dexter gordon

FEBRUARY 2016—ISSUE 166
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
dexter
gordon
THE TENOR
OF POWER!
i n
memoriam
paul bley
1932-2016
KENNY
WASHINGTON
RUSS
LOSSING
ALAN
BRAUFMAN
ART
PEPPER

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Staff Writers
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Ken Dryden, Donald Elfman,
Philip Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Marc Medwin,
Russ Musto, John Pietaro,
Joel Roberts, John Sharpe,
Elliott Simon, Andrew Vélez,
Ken Waxman
Contributing Writers
Matthew Kassel, Mark Keresman,
Ken Micallef, Eric Wendell
Contributing Photographers
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Scott Friedlander, Peter Gannushkin,
Alan Nahigian, Antonio Porcar,
Frank Stewart, R.I. Sutherland-Cohen,
Francis Wolff
nycjazzrecord.com
New York@Night
Interview : Kenny Washington
Artist Feature : Russ Lossing
On The Cover : Dexter Gordon
Encore : Alan Braufman
Lest We Forget : Art Pepper
LAbel Spotlight : Barefoot
VOXNEWS
In Memoriam
In Memoriam: Paul Bley
CD Reviews
Miscellany
Event Calendar
FEBRUARY 2016—ISSUE 166
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Festival Report 13
14
16
34
36
by anders griffen
by john pietaro
by alex henderson
by clifford allen
by matthew kassel
by ken waxman
by suzanne lorge
by andrey henkin
There has to be a connection between tenor saxophonist Dexter Gordon (On The Cover) being
born so close to Valentine’s Day and his legendary way with ballads. Fun fact: February is
also the month he recorded “Groovin’ High” and “Blue ’n’ Boogie” as part of Dizzy Gillespie’s
Sextet of 1945. Pianist George Cables, who worked with Gordon regularly in the late ‘70s, will
fête his former boss as leader of the Dexter Gordon Legacy Ensemble with four nights at
Dizzy’s Club. Kenny Washington (Interview) was born on what is now World Digestive
Health Day (May 29th) and his rock-solid drumming certainly makes the many projects of
which he is part go down nice and smooth. He co-leads “New Drum Battle” with fellow
drummer Joe Farnsworth at Smoke. And Russ Lossing (Artist Feature) celebrates his own
February birthday with a week of curatorship at The Stone, featuring the pianist in projects
ranging from his latest solo release Eclipse to various duos, trios and quartets.
We hope our other features will warm you up in what is the city’s coldest month: saxophonists
Alan Braufman (Encore) and Art Pepper (Lest We Forget), Denmark’s Barefoot (Label
Spotlight) and festivals from two Winter Jazzfests—Köln, Germany and right here at home.
And it is our sad honor to present an In Memoriam spread on legendary pianist Paul Bley.
On The Cover: Dexter Gordon (Francis Wolff / Courtesy of Mosaic Records)
2 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD
Corrections: In last month’s In Memoriam, Richard Youngstein had his name legally
changed to Noah Young. And Birthday Spotlight Valery Ponomarev was not the first/only
non-American Jazz Messenger; that honor belongs to Czech bassist Jan Arnet.
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.

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HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH
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MINGUS ORCHESTRA

N EW YO R K @ N I G H T
CAMILA MEZA
TRACES
One of the more robust variants of the harmonicallyliberated
piano-less quartet format pairs the saxophone
with trombone—as heard in tenor saxophonist Archie
Shepp’s mid ‘60s groups with trombonists Roswell
Rudd or Grachan Moncur III, the New York Art Quartet
with Rudd and alto saxophonist John Tchicai or the
Dutch take with tenor saxophonist Hans Dulfer and
trombonist Willem van Manen. Chicago reed player
Ken Vandermark’s long-celebrated quintet played his
arsenal of woodwinds off of the trombone (and
occasional guitar) of Jeb Bishop. Returning to The Stone
for an early January residency with a range of
instrumental combinations, Vandermark took stock of
punchy, caterwauling and eminently groovy sprawl,
channeling the apposite (but related) energies of the
Vandermark 5 and the DKV trio (with drummer Hamid
Drake and bassist Kent Kessler) into a new, ad hoc
quartet with trombonist Steve Swell, bassist William
Parker and drummer Paal Nilssen-Love (Jan. 9th).
Vandermark mostly stuck to the tenor across one
40-odd-minute improvisation and a shorter 8-minute
salvo, trading off glinting, steely rigor with Swell’s
jubilant, detailed slush as Nilssen-Love and Parker
linked into a sweaty wallop (the bassist seemed like the
only one not to soak through his shirt). No familiar
tunes arose in their collective improvisations, though
occasionally Vandermark switched to clarinet and
granted the music terse, woody space built of
anticipatory hackles.
—Clifford Allen
It was, as tenor saxophonist Joshua Redman noted in
his prefatory remarks (Jan. 12th) to the first of a dozen
sets Still Dreaming would play at Jazz Standard, “a bit
meta”. His brand new project with cornet player Ron
Miles, bassist Scott Colley and drummer Brian Blade
was formed to celebrate Old and New Dreams, a mid-
’70s-80s quartet of Ornette Coleman alumni (including
Redman’s father), itself formed to celebrate Coleman’s
early music. The band carefully felt their way through
Coleman’s “Broken Shadows” and “Happy House”,
Don Cherry’s “Mopti”, Charlie Haden’s “Blues for
Pat” (Metheny) and two originals, Redman’s “Blues
for Charlie” (Haden) and Colley’s “It’s Not the Same”,
gathering collective strength as the set proceeded.
Unlike his father Dewey, who walked with equal
authority through the bebop and free zones, Redman
fils is at heart a mainstream player whose solos rely
more on intelligent structuring than ecstatic delivery
for their emotional impact. Miles, the more reticent of
the two horn players, eschewed technical bravado for
subdued intensity, his often sputtery attacks uncoiling
into elegant melodies. Blade, a charismatic force,
managed to create the impression that he was
underplaying, even in his most assertive musical
moments. Redman audibly roused the crowd with his
“Broken Shadows” solo, but the quartet came closest to
emulating the radical energy of its inspirations on the
finale “Happy House”, when an atmosphere of
unpredictability became most acute. —Tom Greenland
WITH
SHAI MAESTRO - MATT PENMAN
KENDRICK SCOTT - BASHIRI JOHNSON
JODY REDHAGE - SACHAL VASANDANI
SSC 1439 / IN STORES Februay 26, 2016
iTunes.com/CamilaMeza
sunnysiderecords.com
appearing at
JAZZ STANDARD
February 24, 2016
2 sets ( 7:30 & 9:30 pm)
Peter Gannushkin/DOWNTOWNMUSIC.NET
Ken Vandermark & Steve Swell @ The Stone
Another Chicago onslaught arrived with several
younger musicians at Greenpoint’s Manhattan Inn
(Jan. 14th)—alto saxophonist/composer Nick
Mazzarella’s trio with drummer Frank Rosaly and
bassist Anton Hatwich and cellist Tomeka Reid and
(now Louisvillian) bassist Jason Ajemian joining
Chi-town expat drummer Chad Taylor and NECschooled
trumpeter Jaimie Branch in a quartet.
Mazzarella’s compositions emphasize precision within
the whorl created by Rosaly’s AfroCuban explosiveness
and the bent harmonics and inventive strength of
Hatwich’s bass. Mazzarella continually unfurled
jaunty, rich and topsy-turvy lines with bluesy depth
and commitment—one could trace a line from Johnny
Hodges, Mike Osborne and Roscoe Mitchell in his
playing and writing while Rosaly’s frequent solos
offered up an aggressive contemporary distillation of
Max Roach and Pete La Roca. The group came prepared,
bringing six tunes from their latest LP, Ultraviolet,
released on upstart indie International Anthem. While
the strings were a focus in Branch’s quartet they were
a little harder to hear (the perennial sound department
challenge), thus switching focus to the trumpeter and
drummer for a loosely designed single piece and its
relative signposts. Taylor’s cracking, tumbling
precision often drove Branch from Spanish-tinged
splay into noisy runs, though her greatest strength
appears to be in a sonic core rather than brittle,
ornamental effects.
(CA)
© R.I. Sutherland-Cohen / jazzexpressions.org
Joshua Redman @ Jazz Standard
Where cozier than Barbès, in Brooklyn’s Park Slope,
to take in local legends Endangered Blood? Led by
tenor saxophonist/chief composer Chris Speed, with
drummer Jim Black, alto saxophonist/bass clarinetist
Oscar Noriega and bassist Trevor Dunn, the quartet
assembled (Jan. 14th) by the half-lamped neon sign,
blood-red walls, curtains and low tin-plate ceiling of
the bar’s backroom to revisit tunes from their two Skirl
albums and try out a couple of new ones. The latter,
often preceded by much technical discussion among
the group—who’d be playing where and so forth—
gave the audience the feeling of sitting in on a
workshop or recording session. The opening, as-yetuntitled
chart by Speed had a catchy melody grouped
in 15- and 5-beat patterns, Speed’s cool, Lester Youngish
tenor tone contrasting with Noriega’s sharperedged
alto. “Diego Partido” sounded like an Irish reel,
Black making backhanded cymbal strokes and sharp
chops on his square-cut “slap” cymbal. “Blues in C Flat
Minor”, an ode to Teddy Wilson’s recording with Chu
Berry, now reimagined in 7/4 time, was followed by
Noriega’s “Complimenti”, featuring the irrepressible
Black, his mouth in a straight grimace, shoulders
rolling forward with each response; on “Manzanita” he
sounded like jazz’ counterpart to Led Zeppelin’s John
Bonham. “Bella V”, an ode to Noriega’s wife, revealed
Speed’s post-Romantic, Johnny Hodges side. A frenetic
medley, “Elvin Lisbon/Tacos at Oscars” came last,
bringing the set to an emotional peak.
(TG)
4 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

The days of connecting a musician to his art via
appearance are pretty much over, whether it be Lester
Young’s pork pie hat or Peter Brötzmann’s aggressive
facial hair. Yet there are some holdouts. Pianist Jacob
Sacks’ musical aesthetic is mirrored by his fashion
sense: conservative suits and ties matched to a
corybantic head of hair and muttonchop sideburns.
Sacks, appearing in the unusual role of leader at
Cornelia Street Café (Jan. 2nd), presented an hour-long
(stiflingly crowded) second set of traditional forms and
textures vying with unfettered group improvisations.
The quintet was a powerful one, the equivalent of a
manhandling offensive football line, featuring the
paired tenor saxophones of Ellery Eskelin and Tony
Malaby (also soprano), themselves alchemical distillers
of their forbears. Beneath, behind and sometimes
through them were bassist Michael Formanek and
drummer Dan Weiss, the former rich and gooey, the
latter part typewriter, part Tibetan gongman. Sacks’
five original pieces—ballads, waltzes and vamps—
ranged between 9 and 12 minutes, yet seemed longer as
the ear tried to focus on all the complexity, while his
jittery solos sounded like they were being projected
through a prism in real-time or trying to catch their
own tail. There were snatches of Thelonious Monk and
Andrew Hill but it was ultimately all Sacks. A good
barometer for a show’s intensity is how high Malaby’s
left elbow goes up when he is playing. It was above his
ear, my friends, above his ear. —Andrey Henkin
The inaugural 2016 Rose Theater engagement of the
Jazz at Lincoln Center Orchestra with Wynton
Marsalis broadened the scope of its repertoire in a
program titled “Jazz In The Key Of Life”. Under guest
musical director, orchestra trombonist Vincent Gardner,
the band performed original jazz arrangements of a
wide range of popular songs of the ‘60s and ‘70s, culled
from the divergent worlds of soul and rock, for the
sold-out Saturday night (Jan. 16th). Noting that the
performance would delve into a canon not often heard
in jazz, Gardner lamented the current state of pop
music, lauding the earlier music’s “substance and
sophistication”. Ted Nash’s original orchestration of
The Beatles’ “Eleanor Rigby”, featuring Marsalis’
soaring trumpet and Carlos Henriquez’ dramatic arco
bass, bore out the trombonist’s assessment. The band
swung Basie style on Sherman Irby’s arrangement of
Stevie Wonder’s “Smile Please”, which spotlighted his
classic alto sound. Other noteworthy selections
included Henriquez’ Latin-tinged take on Cream
classic “White Room”, Gardner’s inventive adaptation
of Wonder’s “Another Star” (featuring Victor Goines’
bass clarinet) and Marsalis’ soulful interpretation of
Crosby, Stills and Nash’s iconic “Wooden Ships”.
Throughout the night the orchestra put its stamp on
timeless pop, pulling out all the stops for its closer,
Gardner’s stomping New Orleans-styled version of
The Jacksons hit “Blame It On The Boogie”.
—Russ Musto
WHAT’S NEWS
Feb. 7th will mark the 50th anniversary of the Vanguard
Jazz Orchestra, originally called the Thad Jones-Mel
Lewis Orchestra, then just the Mel Lewis Orchestra upon
Jones’ move to Europe and finally taking on its current
appellation after Lewis’ death in 1990. The group has been
performing pretty much every Monday at the legendary
West Village club since 1966 and will celebrate that feat
with a week of shows Feb. 1st-8th, the official celebration
coming on Monday, the 8th. For more information, visit
villagevanguard.com. In addition, Resonance Records has
just released All My Yesterdays: The Debut 1966
Recordings at the Village Vanguard, a two-CD set of the
inaugural performance (as well as a set from six weeks
later), reviewed in this issue on pg. 17. For more
information, visit resonancerecords.org.
Much acrimony arose from the sudden halting of WKCR-
FM’s streaming service, especially coming as it did just
before its day-long Paul Bley memorial broadcast. The
Columbia University-based station released the following
statement: “We are in the process of reassessing our
ability to stream online and will update you as soon as
possible. We regret that we are unable to provide this
service. WKCR will continue to broadcast on 89.9 FM and
89.9 HD 1 radio as we work towards a long-term solution.”
For more information, visit cc-seas.columbia.edu/wkcr.
In other Columbia news, the university will hold two events
for the public. Feb. 9th will be Book Talk by Krin Gabbard,
author of Better Git It in Your Soul: An Interpretive Biography
of Charles Mingus, and a performance by the Boris Kozlov
Trio. Feb. 13th will be an all-day symposium, “Albert
Murray—An American Original: Novelist, Essayist,
Thinker”, culminating with a performance by the Michael
Carvin Experience. For more information, visit
jazz.columbia.edu.
scott friedlander
Jacob Sacks @ Cornelia Street Café
To begin 2016, tenor saxophonist Ted Nash crossed
town to the east side and the plush confines of another
Jazz at..., this time Kitano (Jan. 2nd). He was leading a
quartet of old friends: guitarist Steve Cardenas, bassist
Ben Allison and drummer Matt Wilson; with the former
two Nash recorded a forthcoming, vinyl-only album on
Newvelle Records comprised of music by Jimmy
Giuffre, Jim Hall and film composers like Henry
Mancini. This material formed the bulk of the 65-minute
set, bookended by Monk’s “Four in One” and Ellington’s
“Amad” from The Far East Suite. The Monk tune was
almost a warm-up, pithy solos all around, Wilson
standing out for his melodic playing, almost sounding
like a pianist comping. Things opened up right away
after that courtesy of an expansive take on Giuffre’s
“The Train and the River”, Nash switching to clarinet
and Cardenas channeling Extrapolation-era John
McLaughlin in his solo. Hall’s beloved song “Careful”
followed, Nash’s lead initially just over Allison’s
accompaniment before the band dropped into heavy
swing and the saxophonist slightly shredded his tone.
Prior to an 11-minute “Lujon” (Mancini) and 3-minute
“Love Theme from Spartacus” (Alex North), Nash told
the audience about his father and uncle, trombonist
Dick and saxophonist Ted, respectively, and their long
careers in Hollywood as session players. The final
Ellington piece saw Nash open on tenor and finish on
clarinet, appropriately reaching mizmar-like sonority
on the exotic romper.
(AH)
Frank Stewart for JALC
Wynton Marsalis & Jazz at Lincoln Center Orchestra @ Rose Theater
An overflow crowd packed the West End Lounge for a
Sunday afternoon Tribute To Cedar Walton presented
by VTY Jazz on what would have been his 82nd
birthday (Jan. 17th; he died in 2013). Alto saxophonist
Vincent Herring, bassist David Williams and drummer
Willie Jones III, longtime members of Walton’s last
quartet, were joined at the piano by David Hazeltine,
an unabashed Walton acolyte, whose affection for the
late great pianist is evident in his own individual style.
Williams, who spent the better part of four decades
playing with Walton, began the set fêting his departed
colleague with good humor. “We’re here to honor the
great Cedar Walton. Since he’s not here to protest, we
can compliment him,” he proclaimed before
introducing “Cedar’s Blues”, a typically swinging
Walton piece, which had the whole room tapping their
feet as each member of the band took solo turns.
Following with Walton’s “Simple Pleasure” and
“Hindsight”, the foursome settled into a solid groove,
hardbopping dynamically with Williams and Jones
navigating tempo changes as the mood modulated
from gleeful to melancholy to exhilarating. The trio
spelled Herring for a stirring rendition of “Over The
Rainbow”, a favorite ballad of Walton’s, on which
Hazeltine’s articulate piano runs incited excited
exclamations from the audience. The quartet closed
out the set with an incendiary reading of Walton’s
“Firm Roots”, featuring an extended workout by Jones
that had the crowd cheering wildly.
(RM)
In honor of the final year of Los Angeles Laker Kobe
Bryant’s 20-year career, pianist Robert Glasper was
commissioned by Nike to compose a song, “Be
Courageous”, in his honor. The video for the song can be
viewed at youtube.com/watch?v=jdUvHwpxb2A.
The Banff Jazz Workshop in Alberta, Canada, led by
Vijay Iyer, is accepting applications for its 2016 session
(Aug. 2nd-20th) through Feb. 10th. For more information,
visit banffcentre.ca.
Dr. Lonnie Smith, who just released his first album for
Blue Note in over 45 years, had another milestone when
he sat in with The Roots on NBC’s Tonight Show Jan. 12th.
DASH Radio, a streaming broadcast station, has partnered
with the Miles Davis Estate for the program Evolution Of
The Groove, which began in December 2015. The late
trumpeter’s son Erin and nephew Vince Wilburn Jr, are
co-hosts of the program, which airs Fridays. For more
information, visit dashradio.com.
The German Moers Festival has announced its 2016
Improviser-in-Residence. Composer/violinist Carolin Pook
will be the ninth recipient of the honor, which allows
musicians to live and work in Moers for the duration of a
year. For more information, visit avant-moers-festival.de.
Rome Neal, known for his on-stage portrayal of Thelonious
Monk, is directing Dare to be Black: The Jack Johnson
Story, which will have a three-week run Feb. 4th-21st at
the Theater for the New City. For more information, visit
theaterforthenewcity.net.
Trumpeter Nate Wooley and percussionist William
Winant have been named among of the 14 recipients of
the Foundation for Contemporary Art Grants to Artists
award for 2016. For more information, visit
foundationforcontemporaryarts.org.
Submit news to info@nycjazzrecord.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 5

I N TE RV I EW
johan broberg
Kenny Washington is a representative of the legacy of
bebop and hardbop. Appearing on over 250 albums, he is one
of the greatest straightahead drummers of the last 40 years.
Washington has accompanied many of the masters,
including Lee Konitz, Johnny Griffin, Dizzy Gillespie,
Clark Terry, Benny Carter and too many other greats to
name. He is especially well known for supporting trios led
by pianists such as Hank Jones, Tommy Flanagan, Mike
LeDonne, George Cables, Ahmad Jamal, Bill Charlap and
many more. A native New Yorker, Washington studied with
Rudy Collins and attended the LaGuardia High School for
Music and Art. He is also an avid listener and historian,
bringing his knowledge to a new generation as a private
instructor and educator at Juilliard and SUNY-Purchase
College.
The New York City Jazz Record: Are you still a regular
at The Institute of Jazz Studies (IJS) at Rutgers-Newark?
Kenny Washington: Yes. I haven’t been there in a
minute, but funny you should mention that because
I was thinking about taking a trip up there. There were
a few old records that I found out about and I wanted
to see if the Institute had them.
TNYCJR: Are you a record collector?
KW: You could say that, but I don’t care if the record
has the original Blue Note label, the original Prestige
label and all that kind of stuff. And that’s why these
things are going for so much. [Collectors] don’t want
the reissue; they want the original. And in some cases,
the reissue might sound better. I’m in it for the music.
I don’t collect records like stamps.
TNYCJR: I met you in the stacks at IJS and you had
been checking out a lot of different stuff and some
things I never heard of.
KW: The Institute is fascinating to me anyway, because
I can be trying to find one thing and find something
else that I knew nothing about by accident. It almost
always happens. Or, you’re up there and one of those
guys up there that know a whole lot—Vincent Pelote,
Dan Morgenstern or Ed Berger—you ask them one
thing or they might pop into my listening room and
say, “Hey, Wash, what are you listening to?” and I tell
them and then they start, “Well, you know, man, do
you know about such and such record? Da da da da da
played with such and such and you can get better
sound from this issue.”
These guys know so much. From there, I go and
find what they’re talking about and I run into
something else I didn’t know about. So, I go in there
looking to get one or two records and I come out with
ten. The people they have working there are really,
really knowledgeable. I get there in the morning and
I’m there for the day, man. That’s the greatest archive
in the world.
KENNY
WASHINGTON
by anders griffen
TNYCJR: You continue to be a student, right?
KW: Absolutely. I am a student of this music, there’s
no doubt, and there’s always something more to learn.
And the older you get and the more you mature, the
more you start to understand and hear things you
didn’t hear on records you might have been listening
to for 30 or 40 years. This music is amazing.
TNYCJR: You mention being surprised when making
this or that discovery, but what do you intend to
accomplish with your study otherwise?
KW: Just to be a better musician. I just want to know.
There’s always more music and I just want to know as
much about it as possible. The more you know about
the music, the better you will play it. That’s one of the
things I try to tell my students up at Juilliard and at
Purchase: the more you listen, the better you will be as
a musician. It’s important and it’s one of the things the
younger musicians lack. They don’t listen as much as
they should.
TNYCJR: How long have you been at Purchase?
KW: Maybe five or six years. I love Purchase. That’s
like jazz boot camp. All the people—Todd Coolman,
Jon Faddis, Ralph Lalama—they take this music very
seriously. It’s a very good school. Sadly, it’s a well-kept
secret. There are more kids that should be going to that
school. You can get as much bang for your buck, or
more, than some of these other schools. Nobody in that
school is messing around. The problem is, the kids
want to be in the city. Juilliard is a good school, but it’s
a small jazz department and, let’s face it, not everybody
is going to get in. There are some other alternatives,
which I won’t mention. I say, “Don’t go there”, because
you’re not going to learn what you’re supposed to
learn. I try to recruit people to come to Purchase all the
time. And the first thing I hear out of a student’s mouth
is, “That’s out in the boonies”, because they want to
hang out at Dizzy’s and play at Smalls and other clubs.
They think being seen is how you’re going to get hired,
and that is true, but you have to know how to play
first. But they want everything now. Instead of going
for the right kind of training, they just want to go out
here and they still don’t have their shit together. So, I
tell them about Purchase, where they can really get
their shit together.
TNYCJR: One of the big changes that has come since
you were coming up is that the number of college-level
jazz programs has grown exponentially, but some of
the elders lament that there are just not enough
qualified teachers.
KW: Sure. Because some of these schools these kids are
flocking to, and I’m not going to mention them, they’re
not getting what they’re supposed to. Let’s face it.
These kids are funny, because they say they want to be
jazz musicians, but a lot of them are not serious. They’ll
get these degrees and everything but they still can’t
play. It’s amazing what they don’t know. And I’m not
even just talking about jazz history. I’m just talking
about playing their instrument. And a lot of that has to
do with what they had in elementary school, junior
high and high school and it’s not necessarily the
teacher’s fault, it’s budget cuts. When I was coming up
in New York City in the ‘60s, we had all these programs,
because mayors like John Lindsay and people like that,
their whole thing was: keep kids off the streets. So,
when school ended at 3 o’clock, you had an option to
(CONTINUED ON PAGE 42)
6 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

A RT I S T F E AT U RE
Antonio Porcar
When asked about his rather singular musical
approach, Russ Lossing doesn’t speak in terms of
origins or influences but rather about finding himself
within the sea of inspiration. “I have a very broad
background: classical piano, 20th century music, free
improvisation and the full jazz canon. Plus I spent
some years playing rock and funk gigs on the road, so
I carry it all with me when I sit down to play.” Among
contemporary jazz pianists, during a time in which
so-called ‘legit’ pedigrees are increasingly common,
Lossing’s darting fingers, sparkling technique, widespaced
chords and angular harmonic conception
maintain a unique voice, one born of a special blend.
It’s all in the risk-taking.
Upon first listen, the influence of French
Impressionist composers and pointed inward foray of
Bartók are present, particularly in Lossing’s solo piano
works. But, like a game of Telephone, once you reach
the end of a Lossing piece, something completely
different may be dwelling in your stereo. And in an
ensemble, the drive of other musicians propels him to
quite magical places. While leading his trios through
long, complex rhythmic passages, the pianist is wont
to embark on a profound silence. Without warning.
Born in Ohio in 1960, Lossing spent years taking
musical risks. Classical piano studies began at age five,
with forays into improvisation and composition while
still in grade school and jazz studies at 13. By the time
he’d earned a B.Mus. in Piano from Ohio State, Lossing
had already been a touring professional, moving
fluidly through genres and forcing invention wherever
possible. His forward-thinking approach to both
playing and composing led one of his professors to
introduce him to John Cage. The legendary composer
had a profound impact on the still developing young
pianist. “We only had two occasions to get together
and talk, but any time spent with him was utterly
valuable. He read through my scores and we played
piano together. His thing was creating, not emulating:
don’t copy; trust YOURSELF. I was already going in
this direction but this experience, listening to Cage’s
concepts and philosophy in this setting, made so much
sense. The man was so prolific. His string quartets, his
music for numbers, his constructions in metal...” And
Lossing trails off in a reflective sigh.
Relocating to New York City in the mid ‘80s,
Lossing studied at the Manhattan School of Music,
earning an M.Mus. and began an earnest endeavor into
the Downtown new music scene, then in its most fertile
period. During these years, uptown 20th century
composers and performance conceptualists had
ventured into SoHo and the East Village, forging an
improbable but amazing circle incorporating free jazz,
punk rock and any number of possible combinations.
Lossing is a microcosm of combinations. “I love
the music of Bartók and Schoenberg. And I studied
Bud Powell, Thelonious Monk, Earl Hines, Lennie
Tristano, all of them. But I kept a notebook of my own
ideas. Eventually I had to purge myself of the great
russ
lossing
by john pietaro
jazz pianists, though; I didn’t want to sound like
them.” So he emulsified aspects of them all, alternately
drawing on the influences or simply producing new
genres that grew from the emulsion. “Much 20th
century composition is about interval play, especially
Schoenberg’s. The 12-tone thing helped him to get his
ideas onto paper, but it was always about the intervals.
I’m a jazz pianist but my harmonic approach is based
on this concept—finding new sounds and new
expressions among the intervals.”
Lossing’s musical risk-taking has brought him to
the attention of some of the celebrated jazz artists of
our time, most notably Paul Motian. Lossing often
served as the legendary drummer’s pianist during the
final 12 years of his life. Their relationship extended
further as Motian also took on the role of sideman for
some of Lossing’s trios. As It Grows (hatHUT, 2002) is a
prime example of how democratic, probing and
powerful a trio can be, even as the inventions are
cultivated from silence. Lossing’s alliance to Motian
was demonstrated with 2011’s Drum Music, a series of
alternately meditative and passionately explosive
reflections on Motian’s music and presence.
Lossing has also collaborated with Billy Hart,
Mark Helias, Michael Formanek, Gerry Hemingway,
Tom Rainey, Cameron Brown, Mark Dresser, Tony
Malaby, Dave Liebman, John Abercrombie, Mat
Maneri, Marty Ehrlich, Tim Berne, Bobby Previte,
Jamey Haddad, Tyshawn Sorey, Rudresh Mahanthappa,
Mike Clark, Bob Moses, Jerome Harris and a wealth of
others. He has composed over 400 works, recorded 12
CDs as a leader and another 30 for others. But the
projects keep coming. “I play with many people from a
lot of different backgrounds. That’s why I love to be an
improviser. You just cannot get that in a purely classical
setting,” the pianist added.
A current venture is the quartet King Vulture.
“I like to give bands names rather than putting my
name out front,” he explained, yet the Russ Lossing
Trio (with Masa Kamaguchi and Billy Mintz) has been
a favorite vehicle for some 17 years and is still thriving.
“And there’s Three-Part Invention with [bassist] Mark
Helias and [trumpeter] Ralph Alessi and my ongoing
duos with [drummer] Gerry Hemingway and with
[saxophonist] Tim Berne.” Lossing is also deep into a
composition project with vocalist Kyoko Kitamura
called Song-Cycles, with a repertoire based on historic
Buddhist poetry. And then there’s his duo with
guitarist Ben Monder exploring the music of Cage,
Ligeti and Schoenberg. “We adapted the scores for our
instrumentation and perform them as written, then
they become vehicles for our improvisations.”
Needless to say, Lossing is not hurting for
something interesting to do. But lest we think he’s
slowing down, last year the pianist founded his own
record label, Aqua Piazza, and released Eclipse, an
album of solo improvisations. In a long line of fearless,
nakedly expressive performances, Lossing calls this
one his most personal statement yet. v
For more information, visit russlossing.com. Lossing
curates and appears at The Stone Feb. 23rd-28th. See
Calendar.
Recommended Listening:
• Russ Lossing/Adam Kolker/John Hébert—
Change of Time (OmniTone, 1998)
• Russ Lossing/John Hébert—Line Up
(hatOLOGY, 2006)
• Russ Lossing Trio—Oracle (hatOLOGY, 2007)
• Russ Lossing—Drum Music (Music of Paul Motian)
(Sunnyside, 2011)
• Russ Lossing—Eclipse (Aqua Piazza, 2012)
• Samuel Blaser—Spring Rain (Whirlwind, 2014)
LE POT «HERA»
MENGIS • PFAMMATTER • TROLLER • FRIEDLI
www.everestrecords.ch
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 7

O N TH E COVER
DEXTER GORDON
THE TENOR OF POWER!
by alex henderson
francis wolff / courtesy of mosaic records
Dexter Gordon went down in jazz history as one of its
most influential tenor saxophonists. Some giants came
before him but most tenor saxophonists who emerged
after the mid ‘40s were influenced by him in some way,
from Sonny Rollins and John Coltrane to Jimmy Heath,
Gene Ammons, Eddie “Lockjaw” Davis and Johnny
Griffin. Although 26 years have passed since Gordon’s
death at 67 on Apr. 25th, 1990, his influence hasn’t
waned: one hears echoes in everyone from Joe Lovano
to Eric Alexander to Joshua Redman. And in 2016,
Gordon’s contributions are being remembered with a
variety of activities from the Dexter Gordon Society
(DGS) and New York City-based Dexter Gordon Legacy
Ensemble (DGLE).
Born in Los Angeles on Feb. 27th, 1923, Gordon
would have turned 90 in 2013. That year, Woody Shaw
III (stepson of Gordon’s widow, jazz scholar and DGS
president/co-founder Maxine Gordon) came up with
the idea for the DGS (for which Shaw serves as
director). The DGLE’s first tribute event came in 2013
at Dizzy’s Club, followed by birthday tributes at that
same venue in 2014, 2015 and continuing this year.
“The Dexter Gordon Legacy Ensemble started at
the same time that we launched the nonprofit, the
Dexter Gordon Society, to preserve his legacy and to
further his name and his music,” Maxine Gordon
explains. “Part of that was putting together a group
that would play his music. So the natural person to be
the musical director, of course, was [pianist] George
Cables, who recorded with Dexter. We talked to George
about putting together a group and we had to have
two tenor players so they could play ‘The Chase’.”
The DGLE has had different lineups along the way.
The incarnation appearing at Dizzy’s this month is a
sextet consisting of two Gordon alumni (Cables and
drummer Victor Lewis) as well as vibraphonist Joe
Locke, bassist Dezron Douglas and saxophonists Craig
Handy and Abraham Burton. And the DGLE’s activities
certainly aren’t limited to NYC: during its four-year
history, the group has performed in places ranging
from Cleveland to Denmark.
Locke occupies what Maxine Gordon describes as
the DGLE’s “Bobby Hutcherson Chair”. Hutcherson
played with Gordon in the ‘60s-70s and, in 1986,
appeared in Bertrand Tavernier’s film ‘Round Midnight
(starring Gordon as the fictional Dale Turner, an
American expatriate saxophonist living in Paris in the
‘50s, a role for which he received an Oscar nomination).
The DGS will celebrate the film’s 30th anniversary this
year with a free screening at Jazz at Lincoln Center.
And Gordon’s legacy will also be remembered with
Dexter Calling, a biography that Maxine Gordon has
been working on for University of California Press.
Gordon is not only remembered for his playing but
also for his composing “We’re always adding things to
the repertoire,” the 71-year-old Cables notes. “You can
usually count on hearing us play ‘Cheesecake’ or ‘Fried
Bananas’, but we do want to keep expanding the
repertoire. We’re doing things that people are familiar
with as well as things that might be a little more
obscure. The concept is to keep the memory and the
legacy of Dexter Gordon alive and it’s a very important
legacy.”
Gordon began making a name for himself in the
jazz world in the early ‘40s, when he played swing in
Lionel Hampton’s big band. But soon Gordon was a
champion of bebop and applied the innovations of alto
saxophonist Charlie Parker and trumpeter Dizzy
Gillespie to the tenor. Because of his drug problems
and time served in prison, Gordon was out of
circulation for much of the ‘50s but made a triumphant
comeback in the early ‘60s, recording a series of classic
albums for Blue Note and other labels. When he was
living in Copenhagen, Denmark from 1962-76, Gordon
was prolific both on stage and in the studio.
“Moving to Denmark was really good for Dexter,”
recalls Danish producer Nils Winther, who recorded
Gordon extensively for his label SteepleChase Records
during the ‘70s. “He found a club in Copenhagen that
loved him, the Jazzhus Montmartre. Dexter was a
fixture in the club and had several great rhythm
sections there. Dexter used to play three months during
the summer at the Montmartre Club—every night
except Monday night. Dexter had the summer gig.
Where in America would Dexter have had a threemonth
gig in a club playing every night except Monday
night? Nowhere.”
Danish drummer Alex Riel has fond memories of
playing with Gordon extensively at Jazzhus
Montmartre and other Scandinavian venues. “I’m glad
he chose to stay in Denmark because he meant a lot to
me personally, but also because he had a great impact
on the Danish jazz scene,” Riel explains. “I mean, can
you think of a greater inspiration if you are a young
jazz cat? Dexter would sometimes be playing at
Jazzhus Montmartre several weeks in a row and the
place would be packed every single night. People came
back to hear him. It was usually me or Makaya Ntshoko
on drums, Niels-Henning Ørsted Pedersen on bass and
either Tete Montoliu or Kenny Drew on piano.”
Gordon experienced three major comebacks
during his lifetime: the aforementioned return to
recording in the early ‘60s; his decision to move back to
New York in 1976; and the ‘Round Midnight film in
1986. Winther remembers that when Gordon moved
back to the U.S. after 14 years in Europe, signed with
Columbia/CBS Records and headlined the Village
Vanguard, it was an historic series of events for jazz.
“Dexter was comfortable here in Denmark but, of
course, he also liked to be recognized in America,”
Winther observes. “And Dexter was really big when he
came back to New York. He was on top of his game at
the Vanguard and everybody in New York was there.
Pharoah Sanders was there. I remember walking
around the Village and people on the street were
talking about Dexter.”
Cables, Lewis, Hutcherson, trombonist Slide
Hampton and trumpeter Woody Shaw were among the
improvisers who joined Gordon on 1977’s Sophisticated
Giant, the saxophonist’s first album for Columbia. 39
years later, Lewis still appreciates Gordon’s insistence
that he be part of the project. “Sophisticated Giant is a
record I’m very proud of, but I almost didn’t get on the
record,” Lewis remembers. “I was 27 and I was new on
the scene. The powers that be at CBS didn’t really
know me and since it was a larger ensemble as opposed
to a quartet or quintet, CBS didn’t know if I could
handle the job. So Woody and Dexter convinced CBS to
use me. They really wanted me on that record and it
gave me goosebumps to have them go to bat for me.”
Although Gordon favored a big tone and swung
hard, he also had a reputation for being highly melodic.
According to bassist Buster Williams (who appeared
on some of his Prestige recordings of the ‘60s-70s) that
love of melody was a key element of his greatness.
“Dexter sounded great in the ‘40s and ‘50s and in the
‘60s, he just got better and better, as far as I’m
concerned,” Williams stresses. “Dexter developed a
distinctive sound early on and he never lost it. Dexter
never cluttered things up when he improvised. Dexter
respected melody and when he played a melody, you
could hear that he knew the lyric.”
Like his idol Lester Young, Gordon firmly believed
that instrumentalists should be familiar with the lyrics
of standards they were embracing. Norwegian vocalist
Karin Krog, who performed with Gordon when he was
living in Europe, recalls, “Working with Dexter as a
singer was fun because he knew a lot of lyrics and
I would say he took up the heritage after Lester Young
wonderfully. You can sometimes hear Dexter is playing
the words more than the melody. Don’t forget: he had
done a bit of acting and he brought that into his
performances, which enriched them and got him in
contact with his public.”
Cables recalls that when Gordon employed him in
the late ‘70s, he was struck by the fact that a lot of
younger listeners were showing up at Gordon’s gigs
and, in 2016, the fact that jazz musicians continue to be
affected by his work illustrates his timelessness. “One
thing I noticed when I played with Dexter in the ‘70s
was that two-thirds of the audience was under 30,”
Cables explains. “That would always startle me. People
who were under 30 at the time could relate to Dexter
and they were emotionally and spiritually invested in
the music when they were in the audience. Dexter’s
music is not superficial—it has strength and depth.
Dexter Gordon is the spirit of jazz.” v
For more information, visit dextergordon.org. The Dexter
Gordon Legacy Ensemble is at Dizzy’s Club Feb. 25th-28th.
See Calendar.
Recommended Listening:
• Dexter Gordon—BOPland: The Legendary Elks Club
Concert L.A. (Savoy Jazz, 1947)
• Dexter Gordon—Daddy Plays The Horn
(Bethlehem-Verse, 1955)
• Dexter Gordon—Go (Blue Note, 1962)
• Dexter Gordon—The Tower of Power! (Prestige, 1969)
• Dexter Gordon—The Complete Trio & Quartet
Studio Recordings (SteepleChase, 1974-76)
• Dexter Gordon—Homecoming: Live at the
Village Vanguard (Columbia, 1976)
8 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

E N CO RE
ALAN BRAUFMAN
by clifford allen
From an historical perspective, it’s inevitable that
some of our most intriguing windows into far corners
of the creative world are ever-so-slightly cracked, and
to some, may appear nondescript and hidden. Take, for
example, the music of alto saxophonist and flutist Alan
Braufman, who recorded one LP as a leader in 1974
(with bassist Cecil McBee, drummer David Lee Jr. and
multi-instrumentalists Cooper-Moore [Gene Ashton]
and Ralph Williams) for India Navigation and a
smattering of rare sideman dates, as well as a couple of
nearly invisible CDs under the name “Alan Michael” in
the ‘90s. A thick-toned and technically robust player,
who would have fit in well alongside such wellregarded
alto firebrands as Jackie McLean and Gary
Bartz in the ‘70s, Braufman has remained certifiably
obscure despite his connection to a number of disparate
players and now-vaunted communities.
Born on May 22nd, 1951 in Brooklyn, Braufman
expressed an interest in music at an early age,
supported by a creatively-inspiring family. Raised on
Long Island, he “started playing clarinet at eight. My
mom would play Mingus, Eric Dolphy and Coltrane in
the house. It grabbed me—there was something
exciting about it that I didn’t hear in other music. When
I was 13 I got my first saxophone. I had a teacher who
could teach me how to play but not how to improvise.
I didn’t know changes—I knew I couldn’t get to first
base by looking at a bebop tune, but I could pick out
the patterns that were happening in free music and
figure out stuff to do.” Braufman entered Berklee
College of Music in Boston in 1969 and it wasn’t long
before he met other people interested in creative
expression. “With Berklee, I actually did four years in
three but I took a year off in between, so it was still a
full term. I kick myself making this decision now, but I
played with the Philip Glass Ensemble with
[saxophonists] Dickie Landry and Richard Peck, Jon
Gibson and those guys. I went to one rehearsal and he
LEST WE FORGET
ART PEPPER
by matthew kassel
Alto saxophonist Art Pepper thought very highly of
his own playing. In 1977, he told New York Times music
critic John S. Wilson that he considered himself the
best jazz saxophonist in the world, squaring out that
holy trinity of Lester Young, Charlie Parker and John
Coltrane. “I’ve felt that way all my life,” he boasted.
“I’ve never doubted it.” He may have been right:
Pepper was highly influential in his day. A featured
soloist in Stan Kenton’s orchestra, he finished second
only to Parker in a 1952 DownBeat readers poll and was
a handsome, stylish arbiter of West Coast cool. (He
rarely made New York appearances and spent his life
in California.) But it’s hard to find much evidence of
his impact in today’s jazz circles.
Despite Pepper’s early career success, it seems that
Phil Woods, Cannonball Adderley and Lee Konitz carry
more weight in the jazz world today. Perhaps that’s
because Pepper was more focused on refining his sound
than making stylistic advances in the vein of Ornette
Coleman, who changed jazz forever. Pepper also didn’t
write any well-known compositions, even though his
noir-ish ballad “Our Song”, from the 1980 album Winter
Moon, is underappreciated. Pepper’s sound was sweet
asked me to do a concert and I couldn’t because I was
playing a duo with Cooper-Moore on WKCR the same
day!”
Braufman returned to New York at the culmination
of his time at Berklee and moved into a building at 501
Canal Street, where concerts and rehearsals took place
and musicians like drummer Tom Bruno and vocalist
Ellen Christi would later take root. “There are some
stories about that place! Those space heaters we’d turn
on because there was no electric bill? It was the FEAR
of an electric bill. ConEdison never came around—it
was three years that they’d never been by to check the
meter and we weren’t going to volunteer, because we
were just out of college. One day there was a knock on
the door and David [S. Ware] and I were closest to the
window and saw the ConEdison truck out there. We
realized that if they got in there it would be a $10,000
bill for five floors so it became a cat-and-mouse game.
Every time you went out you had to look around
because you didn’t want to run into the ConEd guy.”
Braufman’s Valley of Search consists of two sidelong
suites and while yet to be reissued is considered
to be a rugged classic of post-Coltrane improvised
music and is a studio embodiment of the loose, allencompassing
sessions taking place at 501 Canal Street
and other artist-run spaces. Interestingly, a sideman
appearance on McBee’s leader debut for Strata-East in
1974, Mutima, led to the bassist’s work on Braufman’s
own album: “He found out about me and asked me to
be on his date, so I felt comfortable asking him to be on
mine, which was a real honor since he’s such an
amazing player. I was just a young guy and he said
‘Yes, I’d love to!’—wow, you know?” Braufman went
on to work with drummer William Hooker (including a
deep, earth-rattling duo issued privately on the Brighter
Lights LP, now part of the compilation Light: The Early
Years 1975-1989) and stints with the Carla Bley Band,
guitarist Paul Nash, progressive art-rocker Michael
Zentner and by the ‘90s was recording sessions under
the name Alan Michael—apparently a result of his
name being continually misspelled or misattributed.
Raising two young children, Braufman and his family
relocated to Salt Lake City, where he continues to teach
saxophone and perform, as well as participating in
and sensual, with just enough dry, reedy grit thrown in
for good measure. He meshed the cerebral stolidity of
Konitz, bluesy Kansas City howls of Parker and
thrashing intensity of Coltrane. “You can feel the love
in his playing,” said saxophonist Joe Lovano.
But his progress was hampered by addiction.
During the late ‘50s and early ‘60s, Pepper was
constantly in and out of jail for heroin possession,
which slowed down his career considerably. Still, in
1957 he managed to produce one of the finest albums
of his life with very little preparation, the creation of
which he recounts in his memoir, Straight Life,
co-written with his wife, Laurie. That album was Art
Pepper Meets the Rhythm Section, with pianist Red
Garland, bassist Paul Chambers and drummer Philly
Joe Jones (the rhythm section for Miles Davis’ first
great quintet). In the late ‘60s, he started to straighten
himself out and joined Buddy Rich’s band. Near the
end of his run, he toured extensively and recorded a
spate of very fine duo albums with the pianist George
Cables, including Goin’ Home and Tête-à-Tête (both
released 1982, the year he died).
Pepper struggled with the physical and
psychological toll drugs, alcohol and cigarettes had
wrought on his body and mind. Pepper was a moody,
complicated man who had seen a lot. (“Hate and
beauty are so close,” he observed, ominously, in the
documentary about him, Notes From a Jazz Survivor.)
His life ended too early; he died from a stroke at the
ultramarathons and other long-distance athletic events.
Recently, however, he has begun making entreaties to
New York’s free music scene in the form of
neighborhood sessions with Cooper-Moore, William
Parker, Chad Taylor and Darius Jones. His tough,
precise ebullience is still in full flower—a commanding
sound that seems only more distilled from what it was
40 years ago—yet Braufman remains largely unknown
to even the most fanatical jazz fan. It is hoped that ratio
will change in the years to come, whether through
well-done reissues or more frequent and publicized
local appearances. v
Recommended Listening:
• Cecil McBee—Mutima (Strata-East, 1974)
• Alan Brauiman Quintet—Valley of Search
(India Navigation, 1975)
• Carla Bley—Musique Mécanique (WATT, 1978)
• William Hooker—Brighter Lights
(Reality Unit Concepts, 1984)
• Paul Nash—Second Impression (Soul Note, 1985)
• William Hooker Quartet—Lifeline (Silkheart, 1988)
WILLIAM
HOOKER
STONE RESIDENCY
FEB 9-14, 2016
Ave C, 2nd St. NYC, $15 per set
williamhooker.com
thestonenyc.com
age of 56, well before he could prove correct his boast
to the Times. Pepper albums continue to be released,
including the Neon Art series and Live at Fat Tuesday’s,
which came out last fall (see review on pg. 30). For
those who are listening, there is much to savor. “Young
players should be hip to players like him and Joe
Maini, but there was always more focus put on the
vibrance of moving music forward to establish more
identity,” said the saxophonist Dick Oatts. Pepper
knew exactly what kind of musician he was, but maybe
that wasn’t sufficient. “Sometimes being just a great
player is not enough,” Oatts noted. “You have to be a
consistent visionary.” v
For more information, visit artpeppermusic.blogspot.com. An
Art Pepper Tribute is at The West End Lounge Feb. 21st,
featuring Dmitry Baevsky and Mike DiRubbo. See Calendar.
Recommended Listening:
• Shorty Rogers/Art Pepper—Popo (Xanadu, 1951)
• Art Pepper—Meets The Rhythm Section
(Contemporary-OJC, 1957)
• Art Pepper—Art Pepper + Eleven
(Contemporary-OJC, 1959)
• Art Pepper—The Complete Village Vanguard Sessions
(Contemporary, 1977)
• Art Pepper—Straight Life (Galaxy-Concord, 1979)
• Art Pepper—Neon Art: Vol. 1-3
(Widow’s Taste-Omnivore, 1981)
10 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

L A B E L S P OT L I G H T
BAREFOOT
by ken waxman
Cinema had The Magnificent Seven, gunfighters who
banded together to protect beleaguered villagers. Jazz
has its own Magnificent Seven, another group of
freelancers, this time musicians banded together to
protect and promote an equally beleaguered entity:
improvised music. This seven-person collective is the
guiding force behind Copenhagen’s Barefoot records.
After a decade of existence and more than 50 releases,
the label will celebrate its 10th anniversary in May
with a birthday bash in the Danish capital.
“We started out as a small group of students from
the Academy of Music in Esbjerg, Denmark, releasing
each other’s music,” recalls label spokesperson,
Norwegian-born drummer Håkon Berre, who is
featured on 21 Barefoot releases. Inspired by the DIY
ethos of the slightly older Danish ILK label, “We
wanted to create a similar solution with our network,”
he adds. “In this way, we could be in control of the
music, own it and keep the sales to ourselves.”
The label’s first release was supposed to be a one-off
by the Barefoot Trio: Norwegian pianist Ole Jonas
Storli, Danish bassist Jesper Dyhre Nielsen and Berre.
Distribution was limited to one now-defunct
Copenhagen record store. Storli and Berre had financed
the initial release, but once they saw the potential of
having their own imprint, they invited other friends to
join the venture and kept the Barefoot name.
With collective members from several Scandinavian
countries as well as Estonia and Poland, the initial
releases included pop and folk-oriented sessions. But
as some participants left to take up other jobs and were
replaced by others, the label’s focus shifted to avant
garde and experimental jazz. Right now, beside Berre,
the members are Estonian saxophonist Maria Faust,
Danish pianists Morten Pedersen and Jeppe Zeeberg
and Polish trumpeter Tomasz Dąbrowski, all in
Copenhagen; Danish drummer Kasper Tom
Christiansen, who lives in Århus; and Berlin-based,
Danish bassist Adam Pultz Melbye. A half-dozen
others have been part of the collective over the years
and can return if they wish.
Set up as “voluntary association” under Danish
law, each member pays yearly membership fees as well
as funding his or her own projects. “Expenses regarding
recording, mixing, pressing, etc. are on the member’s
shoulders,” notes Berre. “When we have common
activities, such as label nights or organizing a concert
series, we apply funds on behalf of the label and evenly
share the outcome. Right now 85% of sales through our
distributors are paid directly to the artists and 15% is
kept for the label manager’s salary.” Yulia Kulgavchuk,
Barefoot’s label manager, was hired on a part-time
basis in autumn of 2014 and handles distribution, sales
and accounting. However, the seven still help out with
grant applications and media relations. “Earlier we
also had to share the workload of distribution, sales
and accountancy,” explains Berre. “But this was
extremely hard to share equally, so we ended up hiring
a label manager.”
Zeeberg, who joined the collective in 2012, has
recorded seven Barefoot albums under his own name
and with the bands Horse Orchestra, Bird Alert and
Dødens Garderobe. “I don’t have any specific tasks
attached to me, per se, but often I am in charge of the
graphic stuff like concert posters,” he relates. “If a
Barefoot member wants to release an album, all
decisions are up to him or her. As a collective we help
each other through the boring tasks like promoting the
albums, but ultimately you’re the only one in charge of
your own releases.”
The biggest challenge, admits Berre, was finding
proper distribution. But now the label is available in
eight countries. When it comes to recordings though,
one member of the collective must still be on every
session. “We never release something if it’s not
connected to one of the members of the collective,”
confirms Berre. “You can release a project either as a
bandleader or as a sideman, as long as at least one
Barefoot member is playing on the record.” Changing
membership means that discs with ex-members remain
in the catalogue. Beach Party, for instance, is a duo with
drummer Han Bennink and ex-member guitarist Jaak
Sooäär while GNOM’s eponymous disc features
another former member, tuba player Kristian Tangvik.
“If an ‘outsider’ wants to record for Barefoot, he or she
must apply for membership in the collective,” Berre
elaborates. “If there are applications, we always
discuss these at meetings. We then decide if we want to
include this musician in the collective, or not. It
depends on the quality of the music, of course, and if
the person applying is ready for voluntary work,
collective thinking, etc.”
Tom, who joined the collective in 2012, notes that:
“My first Barefoot release was Grøn, a co-leader thing
with Pultz Melbye. And altogether I’ve released five
(CONTINUED ON PAGE 42)
Gullet
Adam Pultz Melbye
Maria Faust Sacrum Facere
Maria Faust
Kort Fortalt
Jesper Zeuthen PLUS
Six Months and Ten Drops
Tomasz Dąbrowski FREE4ARTS
I do admire things that are only what they are
Kasper Tom 5
VOX N EWS
AWARDS SEASON
by suzanne lorge
Pianist and singer Freddy Cole has been a Valentine’s
Day fixture at Dizzy’s Club for many years now. Cole
specializes in romantic tunes that sit deep in his husky
voice; his understated, unerringly precise playing
offsets his warm vocals perfectly—together they’re like
champagne for the soul. He’ll be performing in “Songs
For Lovers” at Dizzy’s Club (Feb. 11th-14th).
Freddy’s niece Natalie Cole, who passed away in
December, was one of the first pop stars to reawaken
public interest in the Great American Songbook in 1991
with Unforgettable…With Love, an album of standards
her father, Nat King Cole (Freddy’s older brother) had
popularized during the ‘40s-60s. The album and its
main hit—a touching, posthumous duet with her father
on his classic ballad “Unforgettable”—won several
Grammys and engendered a whole new awards
category for vocal music: Best Traditional Pop
Performance. In this category we often find singers
who have been successful in another genre and yet
want to express their appreciation for American
popular song. The nominees this year are Bob Dylan,
Josh Groban, Barry Manilow, Seth McFarlane and Tony
Bennett—an unusually heterogeneous group of male
singers. But such is the reach of vocal jazz. It’s
everywhere in American music and singers turn (or
return) to it when they want to talk about the things
that last. (An interesting aside: The final album that
singer and guitarist Glenn Frey, of The Eagles fame,
released before his death in January was the 2012
traditional pop album After Hours).
The Grammy Awards will air from Los Angeles on
Feb. 15th. Three of the vocal jazz nominees will be
performing in New York on or around that day: Karrin
Allyson, Many a New Day: Karrin Allyson Sings Rodgers
& Hammerstein (Motéma), will be at the Riverdale Y in
“The King and I…Swings” (Feb. 6th); Denise Donatelli,
Find a Heart (Savant), will be at Club Bonafide (Feb.
9th), Mezzrow (Feb 10th), Metropolitan Room (Feb.
11th), Minton’s (Feb. 12th) and Django at The Roxy
Hotel (Feb. 13th); and Cécile McLorin Salvant, For One
to Love (Mack Avenue), will be at The Appel Room (Feb.
12th-14th). We applaud all of the nominees—including
Lorraine Feather, Flirting With Disaster (Jazzed Media),
and Jamison Ross, Jamison (Concord Jazz)—for the
songs they sing and the way they sing them.
The winner of the 2015 Thelonious Monk
International Jazz Vocals Competition will also be in
town this February when Tribeca Performing Arts
Center presents Jazzmeia Horn in Monk In Motion:
The Next Face of Jazz (Feb. 20th). The competition is
often the first step toward a major career; of the three
Monk Competition winners from the last vocal round—
Salvant, Charenée Wade and Cyrille Aimée—all now
appear on major jazz labels and one (see Salvant,
above) has twice been nominated for a Grammy.
Aimée’s new album Let’s Get Lost (Mack Avenue)
features 13 guitar-based tunes ranging from sultry to
exuberant to introspective, with lyrics in three
languages. It’s a lovely stroll through her personal jazz
world—and, yes, it’s easy to get lost in it. Aimée will
appear at Lycée Française de New York (Feb. 24th).
Alexis Cole also just released a voice-guitar album;
A Beautiful Friendship (Venus) pairs her smooth,
honeyed vocals with Bucky Pizzarelli’s elegant guitar
accompaniment on 14 well-known standards. Cole will
be one of a handful of singers competing in the
American Traditions Competition in Savannah,
Georgia on Feb. 21st; this competition focuses on the
entire canon of American vocal music, from blues to
opera to jazz. Just getting in requires an impressive
amount of stylistic dexterity.
Good gigs this month: Pianist/singer Champian
Fulton will launch her new CD After Dark (Gut String
Records), a retrospective of the music of Dinah
Washington, at Jazz at Kitano (Feb. 24th); soulful,
imaginative singer Sarah Elizabeth Charles will be at
Harlem Stage Gatehouse (Feb. 24th); and on Feb. 2nd
former VOXNews columnist and bright light
Katie Bull will command the stage in the inaugural
concert for VoxEcstatic, a new jazz series at Cornelia
Street Café curated by Deborah Latz. v
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 11

I N M E MO R I A M
SAM DOCKERY
by andrey henkin
SÁNDOR BENKÓ (Aug. 25th, 1940—
Dec. 15th, 2015) The Hungarian
clarinetist founded the longstanding
Benkó Dixieland Band in 1957, which
was the winner of the 1982 Sacramento
Jazz Festival Grand Prize. Benkó died
Dec. 15th at 75.
TONY BLAZLEY (Sep. 10th, 1936—
Dec. 16th, 2015) The New Orleanais
drummer’s career started in earnest on
the West Coast after the army, leading
to late ‘50s-early ‘60s recordings with
Herb Geller, Wes Montgomery and Roy
Ayers. Blazley died Dec. 16th at 79.
Sam Dockery, a pianist who was part of drummer Art
Blakey’s Jazz Messengers from October 1956-October
1957 and recorded on Hard Bop, Ritual (to which he
contributed “Sam’s Tune), Tough! and A Night in
Tunisia, died Dec. 21st at 86 from Alzheimer’s disease.
Though born (1929) and raised in Camden, NJ
Dockery, nicknamed “Sure-Footed Sam”, became a
fixture of the Philadelphia jazz scene of the ‘50s
(13 minutes drive away from each other via the
Benjamin Franklin Bridge, the two cities were sister
cities in music). Early experience came in the jam
sessions above Music City, a now-defunct drum shop.
As Dockery recalled in a 1996 interview with the
Philadelphia Inquirer, “A lot of the musicians who were
playing the old Blue Note on Ridge Avenue would
come by every Tuesday. A lot of us got jobs as a result
of that connection. One night, for instance, some of the
guys from Art Blakey’s band came by to jam. Later,
they recommended me to Art, and that’s how I got that
job.’’ Dockery first worked with the drummer on Sep.
17th, 1956, as part of a quartet led by saxophonist Stan
Getz, released in 1982 as part of Stan Getz Special, Vol. 1
(Raretone). A little over a month later, Dockery made
his debut with the Jazz Messengers and by December
of that year had made his first album, Hard Bop
(Columbia) with the quintet, which at the time was
completed by Bill Hardman (trumpet), Jackie McLean
and Spanky DeBrest (bass).
Though Dockery’s tenure with the band was short
(coming in between the Horace Silver and Bobby
Timmons eras), it was prolific, yielding 10 albums for
Columbia, Savoy, Pacific Jazz, Vik, Jubilee, Cadet and
Bethlehem. “It seemed we were always in a recording
studio. When I joined the band, we did one date and
then we went into the studio to record before going to
California,” Dockery recalled. “Even on the road, we
often recorded. I remember a tour of the Northwest,
when the package also included Chet Baker and Chris
Connor, and we stopped off even then to record.’’
After his tenure with Blakey, Dockery went on the
road with Buddy Rich, Betty Carter and, in what would
be Dockery’s last tour in 1991, Archie Shepp. Despite
this work, Dockery’s only other discographical entry
actually predates the Blakey sessions: Clifford Brown’s
The Beginning And The End, recorded on the day before
the trumpeter’s death.
Dockery remained in Camden, teaching privately
and playing local gigs. His brother Wayne, a bassist
based in Paris who has worked with George Benson,
Sonny Fortune, Eddie Henderson, Hal Galper and
Archie Shepp, often told his brother to move to Europe,
to which Dockery, in the 1996 interview, replied:
“Things are going pretty good for me here. I play and
I teach...I’ve been there and I like it, but it would mean
starting all over again.’’
RICK DAVIES (???—Dec. 11th, 2015)
The trombonist’s later career as an
educator at SUNY-Plattsburgh was
preceded by extensive work in the Latin
scene as well as recordings with Saheb
Sarbib, Jaki Byard and Blondie. Davies
died Dec. 11th at an unknown age.
DON DOANE (Nov. 6th, 1931—Dec.
16th, 2015) The trombonist adapted
years of early big band experience with
Woody Herman, Maynard Ferguson
and Count Basie into a career as an
educator in Maine. Doane died Dec.
16th at 84.
DICK GAIL (Jun. 14th, 1938—Dec. 2nd,
2015) The drummer performed with
Charles Earland, Albert Ayler, Grant
Green, Lonnie Smith, Rhoda Scott,
Frank Wright, Eddie Henderson,
Groove Holmes and Dizzy Reece,
among others. Gail died Dec. 2nd at 77.
OVE JOHANSSON (Dec. 3rd, 1936—
Dec. 24th, 2015) Apart from a stint with
fellow Swede Lars Gullin, the saxophonist
was mostly a leader of his own groups
since the ‘50s, particularly Mwendo
Dawa, and also founded LJ Records in
1989. Johansson died Dec. 24th at 79.
RUSTY JONES (Apr. 13th, 1942—Dec.
9th, 2015) The drummer worked from
1972-78 with George Shearing and also
toured with Marian McPartland, Adam
Makowicz, Ira Sullivan, J.R. Monterose
and Stéphane Grappelli, among others.
Jones died Dec. 9th at 73.
ROLAND SCHNEIDER (Jun. 3rd,
1937—Dec. 25th, 2015) The pianist was
part of his native Germany’s post-war
Swing scene and later worked with
Charly Antolini, Conny Jackel and
Günter Lenz. Schneider died Dec. 25th
at 78.
DANIEL SMITH (Sep. 11th, 1939—Dec.
19th, 2015) The critically acclaimed
classical bassoonist was a featured
soloist with numerous orchestras and
made a late career switch to jazz
performance with a series of CDs for
Summit. Smith died Dec. 19th at 76.
JEROME ZIERING (Mar. 13th, 1924—
Dec. 4th, 2015) The trumpeter toured
with Milton Berle’s U.S. Army show
and later led his own orchestra but is
most thanked for being Woody Shaw’s
first teacher. Ziering died Dec. 4th at 91.
12 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

F ESTIVA L REPORT
WINTERJAZZ KÖLN
by andrey henkin
WINTER JAZZFEST
by tom greenland
NEW RELEASES
© pattrick essex
Mingus Mingus Mingus
Köln, still reeling from a series of sexual assaults
occurring on New Year’s Eve—outside of the central
train station and right on the doorstep of the city’s
famed Gothic cathedral, no less—had a vastly different
and more positive gathering of its citizenry with the
fifth annual Winterjazz festival (Jan. 8th). Inspired by
and emulative of New York City’s Winter Jazzfest
(see reviewè), 19 bands appeared on five stages in a
single-block stretch of Venloer Strasse, about 10
minutes walk from the Rhine River. Like its American
counterpart, the evening was a crowded one,
necessitating hard choices among groups; in contrast,
admission was free and the festival supported by both
local and regional cultural institutions.
Köln is the largest city in the German Federal State
of North Rhine-Westphalia (NRW), encompassing
nearly 18 million Deutschländers and, arguably, the
birthplace of German free jazz (Manfred Schoof and
Alexander Von Schlippenbach both studied in Köln;
Peter Brötzmann and Peter Kowald were both based in
nearby Wuppertal). NRW also includes the cities of
Bonn, Düsseldorf, Dortmund, Essen, Duisburg and
Münster and is one of the most prominent industrial
regions in Germany, full of civic-minded corporations, a
lucky thing for arts organizations located in the area.
During your correspondent’s visit to the area, he was
able to visit the Offene Jazz Haus Schule, a community
jazz school for all ages and styles, housed in one of
medieval Köln’s city gates; Moers Festivhalle, fabulous
home of the marvelously eclectic annual Moers Festival;
and the charming cottage housing the Moers Improviserin-Residence,
one musician selected since 2008 to live
and work in the city, fostering relationships with local
and international players, curating concerts and
undertaking projects within the community (Germanybased
Polish saxophonist Angelika Niescier, curator of
Winterjazz, was the inaugural recipient; local heroine
Ingrid Laubrock participated in 2012; and 2013 resident
Michael Schiefel appeared at this year’s Winterjazz). If
this is modern European socialism, bring it on.
Besides its Eau de Cologne and Kölsch (a local
version of the regional Altbier), Köln is a vibrant jazz
center, as evidenced by the variety on hand at this
year’s edition of Winterjazz. The venues in use were
also quite varied: three sections of the local jazz club
Stadtgarten (Saal, its main concert space; restaurant/
bar area; downstairs studio); local pub Umleitung; and
fragrant burger joint Zimmermann’s. With all the
activity transpiring between 7 pm and midnight, there
was quite a bit of running around (your correspondent’s
American-ness demonstrated by constant jaywalking)
and bites, rather than full portions, of sets; still, like
the local Leberwurst, one felt satisfied at the conclusion.
(CONTINUED ON PAGE 43)
alan nahigian
Steven Bernstein
New Yorkers, especially fans of the creative arts, often
experience cognitive dissonance, the uncomfortable
feeling that they are missing an important event
because something of equal importance is conflicting
with it. The annual Winter Jazzfest just makes it worse.
And better. Where and when else can the intrepid jazz
fan find so many amazing artists performing within
walking distance of each other? It’s like an all-you-canhear
buffet, where the biggest names commingle with
contenders, hardcore fans with dilettante tourists,
opinionated music professionals (jazz’ literati) with
uninitiated observers (the illiterati). The audience is
often filled with accomplished musicians, fresh from
their own gigs at nearby venues, coming to see what
kind of creative sorcery their peers are doing.
Among many notable events of Jazzfest, surely the
highlight are the two Marathon Nights (Jan. 15th-16th),
this year expanded to 11 venues: 7 clubs in the
Washington Square/Bleecker Street area;
4 clustered around The New School facilities up near
Union Square; and The Django in the basement of
TriBeCa’s The Roxy Hotel. This expansion meant that
concertgoers had to be more selective in their choices,
as a trek down to The Django to catch some Francojazz,
over to Greenwich House Music School to hear
trad sounds or up to New School’s Tishman Hall for a
name act required factoring in commute time. In
contrast to last year’s cold, blustery weather and long
waiting lines for the most popular acts in the smallest
clubs, milder weather and shorter waits were a distinct
improvement. Still, it’s almost impossible to plan one’s
itinerary, because you’re likely to drop in on an
unexpectedly vibrant set, stay the course and then
miss out on one you had hoped to see, which is one of
the festival’s great benefits: in addition to seeing a
great talent you know about, you’re sure to find an
equal number of people you wished you’d know about.
The best plan is no plan: just improvise.
Early Friday night I began my odyssey at
Greenwich House Music School with a solo set by Tom
McDermott, a New Orleans piano ‘professor’ who
enlivened a handful of stride classics, ragged Chopin’s
“Waltz in C Sharp minor” and boogied up Hank
Williams’ “Hey Good Lookin’”. Sitting next to a man
who texted or Instagrammed through the entire set,
I caught saxophonist James Brandon Lewis at Zinc Bar,
mixing mid-Coltrane modal blowing with hip-hop
inspired beats. Over at Le Poisson Rouge, slidetrumpeter
Steven Bernstein was visibly holding his
temper when drinkers’ conversation at the back bar
threatened to undermine SexMob’s music, but it didn’t
stop him from doing some serious blues preaching.
Close by, at The Bitter End, multi-instrumentalist
(CONTINUED ON PAGE 43)
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THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 13

I N M E MO R I A M
Meeting and playing with Paul in the late ‘50s
was my introduction to “free jazz”. Though he
was well-schooled musically he was able to see
the limitations of convention without destroying
tradition (listen to “All the Things You Are” on
Sonny Meets Hawk). Recording and touring with
Paul was always a musical adventure that
inspired me to go beyond expectation of “what’s
next” to “just this now”. One of our first recordings
together—Paul Bley with Gary Peacock, which was
recorded in 1963 and released years later on
ECM—is still one of my favorites.
—GARY PEACOCK, BASS
PAUL BLEY
1932-2016
Paul Bley—a master of voices. I met Paul in NYC
in the winter of 1962-63. He was among the first,
if not the very first creative musician in New York
to invite me over to his house to play. For six
months or so we met at his Hudson Street digs
and played in duo. A lot of free improvising but
also using his “personal” songs—mostly from
Carla or Ornette. Sometimes I felt like a babe in
arms, his arms. This comfort invited my musical
ear to flow, and flow it did. These sessions were
the start of a 50 some years of exchange. The only
concert that we played in this early period was in
a funky little club in the village: Paul, me, Alan
Shorter and Rashied Ali (then still Robert).
I remember that there was a clapped-out piano,
with missing strings and keys that didn’t work.
Amazingly, he was able to avoid the impossible
sounding notes and the piano sounded good.
We didn’t play together that often
throughout the years but when we did our
musical story continued on from where it had left
off. I am so happy that Steve Lake provoked the
recordings for ECM that were made in trio with
Paul, Evan Parker and me. They really testify to
the harmonic and melodic story Paul and I shared.
And Paul was a character, a really strong
individual. He was egocentric and sometimes
difficult. I learned things about hotel living from
him. When we checked in he would go up and
look at the room and immediately refuse it saying
that he needed a better room. And after a bit of a
scene, usually involving the organizer of the
concert, he always did get a superior room. He
explained to me that hotels always hold back their
best room for the VIPs who might show up and
that he was one of them. He could also be very
demanding on the business side of things. But
when we got on the stand for the gig there was
never anything coming from him but giving music,
in the most positive ways. Yes, a master of voices.
—BARRE PHILLIPS, BASS
Paul Bley was an iconoclast, but has become an
icon to the generations of pianists who succeed
him. Brilliant, charming, the greatest storyteller
ever, a contrarian for the ages and a restless,
endlessly imaginative improvising pianist, he
was always interested in the NEXT thing. Paul
showed me so much, both in terms of music, but
also in terms of musical philosophy: why we play,
what to play and how long to play it before the
next idea presents itself. He was a social animal,
very generous with his time, so hanging with
him—whether taking long walks or observing
him in the recording studio or at his gigs—was
always a thought-provoking experience. He
believed in the healing properties of music and
had the greatest laugh! I’ll miss him a lot and am
very grateful for the wonderful memories I have
and for the vast recorded legacy he leaves behind.
—FRANK KIMBROUGH, PIANO
14 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

I was one of many young musicians who met Paul
Bley at just the right moment. I was 19 years old,
eager for a life in jazz and badly in need of
instruction. Luckily, Paul needed a bass player.
He taught me what he needed me to know, which,
fortuitously, was also exactly what I needed to
know. He also communicated to me his boundless
enthusiasm for ideas and a fearless willingness to
explore. To Paul, there was no danger in the
unknown, only promise. He and I crossed paths
now and then over more than 40 years; in all that
time his delight in discovering new ways to play
never diminished and I never ceased to profit
from his example.
—STEVE SWALLOW, BASS
There was a period that Paul and I were in Charlie
Mingus’ band. Though I didn’t know Paul
personally well, I admired his musicality and his
quest for new harmonic possibilities. He got a
beautiful sound out of the piano. I enjoyed my
time with him in the band.
—CHARLES MCPHERSON, SAXOPHONE
Paul Bley had a huge impact on me. In my early
and developing years (1968-72), he was already
one of my heroes through listening to his
recordings. So, when he called me to play and
subsequently to tour Europe with his trio, it was a
dream come true. Immediately, his gorgeous
sound and incredible propulsion affected how I
produced my bass tones—the ictus of the notes.
Improvising with Bley was all about risktaking
and maybe not anticipating your
destination before you arrived there. He was one
of the most provocative musician-thinkers in the
music. When, 35 years later, I asked him to record
under my leadership for Playscape Recordings
(Trio Arc, 2008) and should I send him some
music, he offered, ”Great, no music. It will be
about what notes we don’t play, what we choose
to leave out.”
—MARIO PAVONE, BASS
I first met Paul when he came to record at the
studio I was working in as a janitor. We had a
conversation, then to my surprise he called me
about a month after that conversation and asked
me to play a gig with him and Dave Izenzon,
which turned into the first performance at the
now famous club Slugs. That was in 1964. He
never heard me play before that. At the time I was
a hardbop player. Paul had extensive experience
playing with the likes of Charlie Parker, Mingus,
Blakey and the innovative playing with Rollins
and Coleman Hawkins. As a result he influenced
a number of pianists like Herbie Hancock, Chick
Corea, Keith Jarrett and many others who hardly
mention him as an influence. I respected his
knowledge of time and changes, which allowed
me to open up to his concepts of improvisation
and stretching and even ignoring many of the
“rules” of music, like not only phrasing over the
bar line as in bebop, but eliminating the bar line
completely, which allowed for other types of
phrasing and improvising. Instead of linear time,
it became circular time. I was fortunate enough to
keep that gig for a number of years, traveling all
over the world and recording many albums. Paul
opened me up and was an influence on my own
concepts and playing. He helped move jazz
improvisation to a place that many musicians
now take for granted. He will be greatly missed.
—BARRY ALTSCHUL, DRUMS
I first heard about Paul Bley when he was involved
with the Jazz Workshop in Montréal, where
Charlie Parker had played. When later he came to
the States, we worked together on many occasions.
He was quite a guy. One of a kind, really.
—SONNY ROLLINS, SAXOPHONE
I feel very fortunate to have recorded with Paul in
trio with Barre Phillips. This connected me up
with the generation that had been such an
influence on my taste and my development as a
player—Footloose and then a bit later the
recordings with Jimmy Giuffre, culminating with
the extraordinarily visionary music of Free Fall.
I met Paul socially years before ECM
proposed the first recording, but making those
records took the relationship to a higher level.
I heard more of the stories and learned so much
about not wasting time or effort in the studio.
Touring with Paul was also an education:
it was clear that by that point every bad thing that
can happen on the road had happened to him
once and he was determined to avoid repeats.
Maybe the same thing applied to his playing?
—EVAN PARKER, SAXOPHONE
Paul Bley was probably one of the most gifted
improvisers that I have ever worked with. Not a
man to deal in clichés, it was always exciting to
work with him. When I played with him in the
‘ECM’ 4tet, with Paul Motian and Bill Frisell, as I
recall we usually went onstage with a completely
open plan to simply improvise and see what
developed. Although the music went off in many
different directions, Bley was always there to
restore some kind of focus to the proceedings and
set a new direction. Paul Bley was one of a kind
and will be sadly missed for his great creativity.
—JOHN SURMAN, SAXOPHONE
From my experience with Paul, he was to me a
quiet, humble person. In the ‘60s, there were some
musicians who thought I played too much and
would tell me to play less—but Paul allowed me
to do what I did. He just looked at me one time
and said to me that I’m the man who plays the
whole drum set. And that really stuck with me all
these years. About three years ago I read an article
on Paul and I said to myself as I was reading it
how time has really passed and wouldn’t it be
great to do something with Paul again. That’s
something I regret as I would have loved to have
done that during this present time. I can truly say
that Paul was one of the great musicians, this
coming from a musician talking about a musician.
—MILFORD GRAVES, DRUMS
Paul and I go back to when we played in Sonny
Rollins’ band in 1963. In the early ‘60s, Rollins
didn’t use a pianist often, but when he did they
were great. Sonny liked to experiment, so with
Paul in the band it gave Sonny the opportunity to
do that. As a group, we played steadily for a few
months—at The Five Spot for most of that time as
well an appearance at the Newport Jazz Festival
and a tour of Japan, which is now on record (Tokyo
1963). We also did that classic Sonny Meets Hawk
record with Coleman Hawkins. Paul’s solos were
incredible on that record. My memories of him
were of a quiet guy with a pipe in his mouth all
the time, playing chess and the wonderful,
abstract but really nice solos he would play.
—ROY MCCURDY, DRUMS
Taking lessons with Paul was like a dream for me
because I loved his music. I still remember the
day of the first lesson. I was practicing Charlie
Banacos’ motives in a practice room at NEC.
Someone knocked on the door. I opened the door
and Paul was standing there. He asked me what
I was practicing. He was probably interested in
the sound of the patterns. I showed him the music
and I also introduced myself: “I will be your
student. The first lesson is in this afternoon.”
I was surprised to find him at the door but I was
more surprised with his lesson in the afternoon
and with all his lessons for the next two years.
I think in the two years I studied with him we
spent less than two hours in front of the piano.
Most lessons were held in Café Express, which is
very close to the school. Many times I found that
after the talk I could play something I couldn’t
play before even if I had spent 10 years practicing
it. His words always helped me to dig deep within
myself as well as to explore the world beyond to
find my own voice. Paul Bley helped me to realize
that I was capable of far more than I knew.
—SATOKO FUJII, PIANO
I had the pleasure of working with Paul between
1989 and 1991. The first was a trio recording for
SteepleChase with me and Billy Hart called The
Nearness of You. Billy and I hadn’t played with
Paul before this session, arranged by Nils Winther
of SteepleChase, with whom I’d already made
several CDs of my own and others. Paul was an
extraordinary improviser, with a strong rhythmic
and harmonic concept. He didn’t believe in
rehearsing or sharing his chord changes with the
musicians he recorded with. There was never any
discussion. He had a small, spiral notebook with
only the names of tunes he played and the key he
played them in. He never prepared a list for any
of the recording sessions or club gigs I played
with him. He’d refer to his notes and count off
without mentioning the name or key in most
instances, but there was one count-off that I
especially enjoyed on the date with Billy Hart and
me. He looked at us and said: “One, Two, “F”,
Brushes.” It turned out to be the title track and
not a tune I was very sure of, especially at the
dirge tempo he called. On a later session, he
played “Long Ago and Far Away” without saying
a word or stating the melody. I was embarrassed
by what I played and asked Paul if we could do
another take. His response was: “Why? It’s not
going to be better. Symphony Orchestras never do
second takes!” I found a 1963 ECM recording of
Bley’s with Gary Peacock and Paul Motian of that
same tune and Gary’s choice of notes suggested
to me that he might not have known that Paul
was playing this standard composition either,
which made me feel a little less embarrassed!
I consider Paul one of the true innovators
in the jazz idiom. Footloose, his trio album from
1961 with Steve Swallow and Pete La Roca I think
is his most significant recording. I’ve listened to it
a million times! Paul never gained the recognition
he deserved, but being overlooked is not
uncommon in this business. I’ve been on the scene
for 53 years, played with everybody and have had
pretty much the same result. Paul’s playing
seriously influenced pianists Keith Jarrett and
Richie Beirach, both being pianists I’ve played
with extensively. As a jazz bassist and pianist
myself, I draw on Paul’s phrasing and rhythmic
concepts constantly. He was as unique as a person
as he was a pianist and I’m delighted to have
known and worked with this great man.
—RON MCCLURE, BASS
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 15

C D REVIEWS
Hidden Voices
Aruán Ortiz Trio (Intakt)
by Stuart Broomer
Aruán Ortiz is a Cuban-born pianist whose background
includes a 1996 solo debut recorded in Spain, where he
spent six years before coming to the United States in
2002 to study at Berklee. Since then he has recorded
several times, exploring different dimensions of Cuban
and Haitian music in the context of jazz. In this program
made up largely of originals, Ortiz asserts his own
voice within a vigorous tradition of modern jazz piano
and composition running from Thelonious Monk and a
circle including Elmo Hope and Herbie Nichols through
the young Cecil Taylor to Andrew Hill and on to the
present. Ortiz is joined by the stellar team of bassist
Eric Revis and drummer Gerald Cleaver, masters at
creating three-way trio music.
From rambunctious opener “Fractal Sketches”,
there is a sense of circular logic to Ortiz’ compositions.
Deeply etched, expansive patterns support and
encourage the dense rhythmic dialogue central to this
music, with its expansive view of jazz harmony and a
rhythmic tradition reflecting the close relationship
between jazz and AfroCaribbean materials. Sudden,
almost-random, cluster splatters reveal that complexity
and joy are kin here, with a prevailing inventiveness
either playful or forceful. Ortiz makes a mini-medley of
Ornette Coleman compositions—”Open & Close/The
Sphinx”—treating the latter to a leaping, kinetic solo
strongly invoking Taylor circa 1960. Monk’s “Skippy”
is abstracted further, with a dense overlay of thick
harmonies. It sounds much more like “Skippy” at the
end than it does at the beginning.
Ortiz gets closest to his Cuban roots on “Caribbean
Vortex/Hidden Voices”, adding percussionists Arturo
Stable and Enildo Rasúa for rhythmic patterns on
claves. At the other end of the spectrum, there’s the
sheer mass and gravity of the almost funereal
“Arabesques of a Geometrical Rose (Summer)”, which
Ortiz somehow manages to lighten eventually.
For more information, visit intaktrec.ch. This project is at
Jazz Standard Feb. 2nd. See Calendar.
James Moore Plays The Book Of Heads
John Zorn (Tzadik)
by Eric Wendell
James Moore Plays The Book Of Heads showcases the
early compositional abstractions of avant garde
luminary John Zorn. Comprised of 35 etudes as short as
21 seconds and as long as 2 1/2 minutes, the album is a
great study of Zorn’s early work as a causerie of
experimental music and guitarist James Moore’s
capacity as a vessel for the same.
Composed between 1976-78, Zorn’s The Book Of
Heads utilizes a “hermetic language of meticulously
notated sounds inspired by contemporary classical
extended techniques, the idiosyncratic guitar languages
of free improvisation, cartoons, film noir, world music,
philosophy and more.” Moore, a founding member of
guitar quartet Dither, cleverly translates Zorn’s
mannerisms and methodology as he is tasked to employ
numerous items such as balloons, violin bows and
other objects.
Zorn’s pieces walk a fine line between clever and
annoying and, unfortunately, have a tendency to fall
towards the latter. “Etude #2” is an ingenious sonic
display intermittently destroyed by the harsh stretching
of a balloon. Whether this feeling was intentional, it’s
jarring enough to shroud the intent of the song.
The album is most successful when quoting, or
seemingly quoting, another piece of music for satirical
effect—”Etude 5” flows from “Row, Row, Row Your
Boat” before sliding into a stomp-box infused electronic
soup while “Etude 14” quotes The Beatles classic
“Blackbird”— or takes shots at specific genres, such as
on “Etude 11”, a jazzy piece with beautiful chord work
ringing sonorously through the mix. “Etude 21” begins
with Moore breaking a string and tuning it before
slowly moving into a bluegrass romp, as if signaling he
is not afraid of literally breaking the music and then
rebuilding it.
While the satirical and genre-specific etudes are
clear highlights, the album suffers from a heavy amount
of filler. However, it is a fine showcase for Moore’s
talents and essential for completists to understand
Zorn’s development as a composer.
For more information, visit tzadik.com. James Moore is at
The Stone Feb. 2nd-7th as part of Dither. See Calendar.
Blues for Tahrir
Todd Marcus Jazz Orchestra (HiPNOTIC)
by Donald Elfman
The 2011 Arab Spring uprising provides the central
inspiration for bass clarinetist Todd Marcus’ new large
ensemble recording, a smart and passionate blend of
jazz and Middle Eastern influences.
The album opens with “Many Moons (Intro)”,
a brooding line scored for just the horns of the leader,
Gregory Tardy (tenor saxophone), Russell Kirk (alto
saxophone), Brent Birckhead (alto saxophone, flute),
Alex Norris (trumpet) and Alan Ferber (trombone). Its
darkness and dissonance serves as a powerful intro to
what follows. Marcus’ solo ranges from delicate to
raucous, followed by pianist Xavier Davis, who begins
almost Monk-like, then builds slowly in intensity. The
band and the soloists are spurred on by the rhythmic
pulse of bassist Jeff Reed, drummer Eric Kennedy and
percussionist Jon Seligman.
The core of the set is the four-part title suite (Tahrir
or Liberation Square is a public space in downtown
Cairo used for demonstrations): “Adhan”; “Reflections”;
“Tears on the Square”; “Protest”. Marcus is of Egyptian
heritage on his father’s side and he attempts to come to
terms with frustrations over recent political and social
developments in that country. The suite traces the
progression of feelings from hope to fear, anxiety and
more. After the opening “Adhan”, named for and
expressive of the Muslim daily call to prayer, a piano
riff moves us into the struggle, brought to life by the
deepening unrest of the ensemble, complemented by
various solos: Marcus; Reed’s introduction to “Tears on
the Square” and the wordless vocals of Irene Jalenti.
The closing segment “Protest” is a portrait of conflict
and the drum solo suggests military aggression, also
reflected in Birckhead’s fiery solo.
Jalenti is strong and individual on the following
“Alien”, written by Marcus’ photographer friend Gary
Young, which also includes a trombone solo by Ferber
and another potent statement from Davis. Most
surprising, perhaps, is Marcus’ inclusion of and
arrangement for George Gershwin’s “Summertime”,
hauntingly colored by expressive horns, percussion
punctuation and some very striking vocals. This is
music that is smart, heartfelt and alive with ardent
conviction.
For more information, visit toddmarcusjazz.com. Marcus is
at Bar Next Door Feb. 3rd with Kevin Clark. See Calendar.
Marlene VerPlanck
The Mood I’m In (Audiophile)
CD Release Concert at Blue Note
Feb. 21st, 11:30 am 1:30 pm $35
R
eco
m
m
ended
n
e
w
r
ele
a
ses
“A wildly winning set
throughout, this is a master
class on jazz vocal
that you better show
up on time for.”
CHRIS SPECTOR,
Midwest Record
“Marlene swings the
high notes here,
while a stunningly
tasteful quintet
frames her
perfectly”
- MARC MYERS,
Jazz Wax
marleneverplanck.com
• Ab Baars/Zlatko Kaučič—Canvas (Not Two)
• Florian Bergmann—Cobalt Cluster (Umlaut)
• Ari Brown/Francis Wong—Needs Are Met
(Asian Improv)
• Ed Cherry—Soul Tree (Posi-Tone)
• Michael Formanek Ensemble Kolossus—
The Distance (ECM)
• Charles Lloyd & The Marvels—
I Long to See You (Blue Note)
• Myra Melford/Ben Goldberg—
Dialogue (BAG Productions)
• Marc Mommaas/Nikolaj Hess—
Ballads and Standards (Sunnyside)
• Sonny Sharrock—Ask the Ages
(Axiom-MOD Technologies)
• Lew Tabackin Trio—Soundscapes (s/r)
Laurence Donohue-Greene, Managing Editor
• Michael Formanek Ensemble Kolossus—
The Distance (ECM)
• Gush—The March (Konvoj)
• Hélène Labarrière/Hasse Poulsen—
Busking (Innacor)
• John Lindberg/Anil Eraslan—
Juggling Kukla (NoBusiness)
• New Old Luten Quintet—
Tumult! (Euphorium)
• Aruán Ortiz Trio—Hidden Voices (Intakt)
• Art Pepper—Live at Fat Tuesday’s
(Elemental Music)
• Saagara—Eponymous (Multikulti Project)
• Heinz Sauer/Jasper Van’t Hof—Hamburg
Episode (Live at Fabrik) (Art Of Groove)
• Veryan Weston/Trevor Watts—
Dialogues For Ornette! (FMR)
Andrey Henkin, Editorial Director
16 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Meltframe
Mary Halvorson (Firehouse 12)
by David R. Adler
This release by Mary Halvorson is doubly unusual in
that it is a solo guitar CD and a collection of material
solely by other composers. But these solo meditations
end up transforming the music in turn. Meltframe plays
out as a kind of many-layered tribute, a fresh attempt to
unite diverse threads and find a common entry point.
Only one piece, Noël Akchoté’s loosely folksy and
melodic “Cheshire Motel” (from the 1996 Sam Rivers/
Noël Akchote/Tony Hymas/Paul Rogers/Jacques
Thollot album Configuration), is by a fellow guitarist.
Halvorson opens at full blast with Oliver Nelson’s
“Cascades”, a corkscrew minor blues head she all but
obliterates with grinding fuzz-tone and a spasmodic
staccato delivery. As an opener it’s perplexing and not
very representative of the rest. When Halvorson comes
later to McCoy Tyner’s “Aisha”, the fuzz-tone wall of
sound returns, but only as a brief and deliberately jarring
tangent. Otherwise her tone is clean, her harmonic palette
more subtle and alluring, as it is on much of the disc. It’s
worth noting that her “Aisha” owes less to the original
Olé Coltrane version and more to the freer solo piano
interpretations of Tyner himself (e.g., Counterpoints from
1978).
There are no noise-rock outbursts during Duke
Ellington’s “Solitude”, one of several tracks where
Halvorson outlines a lyrical chord-melody approach
marked by a wide oscillating volume swells or tremolos.
Wobbly pitch-shifting and harmonizer effects, with an
otherwise dry amplified tone, have also become a
Halvorson signature—they’re powerfully present on the
closing rendition of Roscoe Mitchell’s “Leola”, a stately
minor-key theme from Nine to Get Ready (1997). On
Ornette Coleman’s “Sadness”, from Town Hall 1962, she
summons rattling and buzzing timbres with what is
presumably a slide. It’s brilliant: she seems to emulate
the arco of bassist David Izenzon or perhaps even the
heart-rending portamento of Coleman’s alto saxophone.
Halvorson also makes the case for current young
composers, choosing “Platform” from bassist Chris
Lightcap’s recent Epicenter. She identifies something
more explicitly raw in the tune—call it Lightcap meets
Soundgarden. Second to last is Tomas Fujiwara’s “When”,
originally a 10-minute epic on After All Is Said by
the drummer’s band The Hook Up. On that version
Halvorson played a three-minute solo intro; the Meltframe
example could almost be a second take, but with a more
intimate, less reverb-y sound.
That the legacy of the late Paul Bley seeps into
Meltframe more than once is bittersweet following the
piano legend’s death last month. “Blood”, from Annette
Peacock’s radical 1972 opus I’m the One (which featured
Bley on synthesizer), evolves as a mournful rubato ode,
replete with Halvorson’s distinct wavering tremolo.
Carla Bley’s “Ida Lupino”, famously played by Bley in
1965 on Closer and throughout his career, takes on a
quasi-rock flavor at a majestic medium tempo. It’s the
one song that Halvorson plays with no effects whatsoever.
For more information, visit firehouse12records.com.
Halvorson is at The Stone Feb. 4th and 12th and Ibeam
Brooklyn Feb. 7th. See Calendar.
Written in the Rocks
Renee Rosnes (Smoke Sessions)
by Andrew Vélez
Consistently notable for the variety and adventurousness
of her playing and writing, Canadian pianist Renee
Rosnes has been recording since the ‘90s. The bulk of her
latest venture is an ambitious new suite, “The Galapagos
Suite”, named for the island chain off of South America,
which inspired Darwin’s theory of evolution and our
own ever-evolving understanding of it.
The album begins with “The KT Boundary” (the
point in between the Cretaceous and Tertiary periods
some 65 million years ago), a prologue for the mass
extinction of the dinosaurs and most other life on the
planet at the time. Rather than focusing on the disaster, it
is the blossoming of new life that comes through the
music. Here and throughout saxophonist/flutist Steve
Wilson gives joyful life to the unfolding epic as does
Steve Nelson, whose luminous vibraphone playing
sounds as if it is pouring out of Rosnes’ keyboard.
The poignancy of Wilson’s flute contrasts with the
swinging drums of Bill Stewart on “Deep in the Blue”,
a melody which suggests both the ocean and the land.
“So Simple a Beginning” builds from a single note to a
complex chord as Rosnes reaches to express the very
origins of life on Earth. Her sounds are fresh and friendly,
with off-center phrasing at once complex and yet utterly
uncluttered, such as the motifs played by Rosnes and
longtime cohort bassist Peter Washington on “Lucy From
Afar”, evoking the first tentative footsteps of one of our
first ancestors walking.
The suite concludes with “Cambrian Explosion”,
a telling of the burst of life over 500 million years ago,
which gave rise to most of the species alive today. The
seismic event is characterized with a spiky, atonal line
gaining momentum. The focus bounces from one
instrument to another, ending in a closely-knit collective
improvisation by all.
Two originals unrelated to the Suite close the album.
“Goodbye to Mumbai” a jazzy piece, recalls Rosnes’ first
visit to India in 2013, after discovering that her biological
mother was of Punjabi heritage. “From Here to a Star”
builds on the harmony of Irving Berlin’s classic “How
Deep is the Ocean”. Washington and Stewart quietly add
to the stargazing mood of the piece. It’s all ear-opening
music.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Feb. 5th-7th. See Calendar.
UNEARTHED GEM
All My Yesterdays:
The Debut 1966 Recordings at the Village Vanguard
Thad Jones/Mel Lewis Orchestra (Resonance)
by Duck Baker
All My Yesterdays captures one of the greatest
modern big bands live on the occasion of its firstever
public performance and again six weeks later.
50 years on, a version of the same band is still
holding forth on Monday nights at the same venue.
The historic value could not be higher, the packaging
is superb and the sound quality excellent. But the
reason this release is a must is the performances
themselves, which beg the question of how any
band could ever sound this good right out of the
starting gate with material this complex. Resonance
founder George Klabin was barely more than a
neophyte as a sound engineer when he was asked to
record the band live so they could have a demo for a
record deal and the balance he was able to get speaks
volumes for his capabilities. Fans of the Orchestra
have already been treated to several Jones/Lewis
live recordings from the late ‘60s, but this one feels
‘liver’ than any of the others. We hear not only
exhortations from the audience but also from the
bandstand. It’s almost like being onstage, especially
on the first night’s recordings.
Alto saxophonist Jerry Dodgion kicks off the
opening “Back Bone” on his own, with Jones calling
the band in at the end of the third chorus with one of
his trademark chords, which seems to have every
horn hitting a different note and we are off and
running. Those who know other recordings will
appreciate a lot of subtle and not-so-subtle changes
in how the arrangements are played here, one reason
Jones-Lewis fans shouldn’t be concerned about
whether they already ‘know’ the material. Indeed, it
is only the chance to hear different readings that
gives us any hope of scratching the surface of Jones’
writing. An even more obvious reason for those who
have the other records to pick this up is that the
level of soloing is very high. What else would one
expect from Pepper Adams, Joe Farrell, Jerome
Richardson, Hank Jones, Tommy McIntosh, etc.?
The music is enhanced by page after page of
testimonials by former band members, which not
only give an idea of what playing in the band was
like, but also help us glimpse some of the inner
workings. For instance, Lewis has often been
described as a perfect big band drummer, but having
the people who worked with him break down what
made him special helps us really hear it. The
improvisational style of Jones as a leader is also
remembered by several commentators. For all that
he put into writing the arrangements, he left room
not just for soloists but also for other players or
sections to ad-lib riffs or counterpoint lines. The
fuller picture that emerges helps explain the
palpable excitement we can feel in the room when
this band first took the stage half a century ago.
For more information, visit resonancerecords.org. The
Vanguard Jazz Orchestra is at Village Vanguard Feb.
1st-8th, with the official 50th Anniversary Celebration
taking place Feb. 8th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 17

GLOBE UNITY:SWITZERLAND
Welcome Back
Irène Schweizer/Han Bennink (Intakt)
Hera
Le Pot (Everest)
Koch-Kocher-Badrutt
Hans Koch/Jonas Kocher/Gaudenz Badrutt (Bruit)
by Tom Greenland
Most renowned for its mountains, lakes, watches,
chocolate, banks and folding knives, Switzerland
deserves equal attention for its vibrant jazz scene.
Recent recordings by Swiss artists furnish the proof.
Schaffhausen-born septuagenarian pianist Irène
Schweizer has been an outspoken voice on the
European free improv scene since the late ‘60s. It’s
somewhat surprising, therefore, that she hasn’t been
heard more often with iconic Dutch drummer Han
Bennink; Welcome Back, only their second duet
recording in 20 years, is a long overdue reunion. Both
inhabit overlapping musical orbits, sharing an
affinity for incisive swing, spontaneity and serious
playfulness, such that their camaraderie is effortless.
Besides short readings of Schweizer and Bennink
compositions, ranging from nervous pointillism and
frenzied bombast to light fairytales and rattling tone
poems, the album contains covers of “Meet Me
Tonight in Dreamland”, Johnny Dyani’s “Ntyilo,
Ntyilo”, “I Surrender Dear” and Thelonious Monk’s
“Eronel”, all rendered in a more straightahead style.
Hera, recorded for the Bern’s Everest Records, is
the second installment of a fairytale trilogy by Le Pot,
a Swiss quartet of trumpeter/electronicist Manuel
Mengis, keyboardist Hans-Peter Pfammatter,
guitarist Manuel Troller and drummer Lionel Friedli,
all veterans of Mengis’ Gruppe 6. After a four-day
sojourn at the ancient hilltop church of St. Roman
overlooking the historic hamlet of Raron, the group
emerged with an extended suite of collective
improvisations based on motifs gleaned from the
music of Benjamin Britten. Acoustic elements—open
trumpet, piano, hand percussion, even the church’s
carillon tolling nine o’clock in the background of a
piece inspired by Britten’s “Requiem Aeternam”—
readily blend with an almost constant wash of
processed electronica, making it difficult to
distinguish guitar from synthesizer or glissandoing
gongs from echoing trumpet. Hypnotic and
scarifying, it suggests a macabre soundtrack.
The Biel/Bienne district is homebase for Koch-
Kocher-Badrutt, a project recorded on the local Bruit
label by local musicians: bass clarinetist Hans Koch,
accordionist Jonas Kocher and live sampler Gaudenz
Badrutt. Koch and Kocher often perform duets with
Badrutt, so expanding to trio format was a natural
extension. Recorded live at Blutopia, a record store/
performance space in Rome, Italy, for a highly
attentive audience, the album is a study in contrast
and restraint, beginning with a high-pitched whine
reminiscent of a pediatrician’s hearing test, wending
through an eerie series of soundscapes until an
abrupt caterwauling conclusion. It could be a day in
the life of an industrial factory, with its various
whirrings and stirrings, squeaks and drones, rubbings
and mumblings, leaky faucet sounds and swelling
murmurs, punctuated with gaping silences, then
slowly cleaving into sustained plateaus with
occasional burps and brief climaxes.
For more information, visit intaktrec.ch, everestrecords.ch
and bruit-asso.org
Eat the Air
Sean Sonderegger’s Magically Inclined (Skirl)
by Tom Greenland
Reed player Sean Sonderegger makes his leader debut
with Eat the Air on Skirl, a decade-old, artist-run label
featuring cutting-edge, Brooklyn-based improvisers.
His septet, Magically Inclined, is made up of fellow
troopers from the new music underground—vocalist
Areni Agbabian, guitarist Harvey Valdes, drummer Joe
Hertenstein (all alumni, like Sonderegger himself, of
Butch Morris’ conduction ensembles)—along with
trombonist Curtis Fowlkes and bassist Greg Chudzik.
The music on the album is unusual yet accessible,
containing elements of vaguely familiar references, but
assembled in unexpected ways. The title track,
“Crown”, “We’re Born” and “A Visit” are all pieces set
to the poems of Joanna Penn Cooper (the former three
by Sonderegger, the latter by Chudzik), whose imageladen,
psychologically probing lyrics are variously
interpreted by Agbabian in light, oddly angled
melodies, often doubled by the horns and/or as
spoken-word exposés. Typically, the words and melody
defy a ‘natural’ prosodic relationship, the melodic
accents at odds with the spoken accents, as if daring
the listener to hear these phrases with fresh ears.
Sonderegger’s arrangements are a mix of control
and freedom: favoring the former when setting the
song, often with intricate counterplay among the vocal
line and horn players; favoring the latter in brief
intervals where the artists are given free rein to
co-improvise, as on the outro blowing of “Old Timers”
and “The Crown” and in various spots on the title
track. Sonderegger’s playing style, primarily featured
on tenor saxophone, is both logical and loose, grounded
yet floating. On “The Ball” he outlines the tune’s
unusual changes with elegant sequences, delivered
with a smoky cool tone, while on “Crown”, “The Fifth”
and elsewhere he suggests a blues preacher, reworking
time-tested boogie licks through a mellowed filter.
Fowlkes adds much to the date with his conversational
exchanges and unhurried aplomb.
For more information, visit skirlrecords.com. Sonderegger
is at Kettle and Thread Feb. 6th. See Calendar.
Shelter of Trees
Ike Sturm & Evergreen (Kilde)
by Elliott Simon
The relationship between jazz and religiosity is
complex and has been broadening and deepening since
Louis Armstrong first played “When the Saints Go
Marching In”. Duke Ellington’s Spiritual Concerts, John
Coltrane’s A Love Supreme, Ed Summerlin and Mary
Lou Williams’ sacred jazz and even John Zorn’s Tzadik
label are milestones in the jazz/spiritual/religious
timeline. Equal in importance, less well known and
replicated in many cities is the seminal jazz vespers
service held every Sunday for the past 50 years at Saint
Peter’s Church in Midtown. Bassist Ike Sturm has been
at its helm for the past decade and Shelter of Trees is a
reflection on that experience.
The comfort Sturm obviously receives from his
faith is present throughout and on first listen, Sturm’s
approach is innocent and delicate, distinguished by
the fragile blend of a trio of female voices with Chris
Dingman’s angelic vibraphone and Fabian Almazan’s
flowing piano. The voices sing in praise with both
words (lots of Hallelujahs) and non-lexical vocables.
The effect is, well...heavenly. However, from a jazz
mindset there are some landmines inherent in the style.
Sometimes it veers too close to Godspell/Jesus Christ
Superstar territory and other times toward Yanni
vaporwave. However, saxophonist Loren Stillman,
guitarist Jesse Lewis and Sturm himself keep this from
being a major issue as they cut across the sunshine and
rainbows to great effect.
“Rejoice” opens the program with an underlying
theme and ambience that sets the stage for the album
and the flowing “River” that follows. “Origins”
surprises with Almazan’s discordance and “Turning
Point” impresses with its rich tones. The title cut has
an infectious riff, which allows for Stillman and Lewis
to stretch out a bit before “Guide” returns to the overall
groove. “Renew” is a lovely vehicle for Almazan to
blend artfully with Dingman while “Sanctus” is an
intensely heartfelt joining-together in praise of the
trinity. An intimate portrait of “Family” features
touching guitar work before an ethereal “Psalm 23”
closes out the program. Shelter of Trees downplays
individual chops in favor of communal praise—an
ethos at the heart of the session.
For more information, visit ikesturm.com. This project is at
Saint Peter’s Feb. 7th. See Calendar.
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ART
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Dmitry baevsky & Mike DiRubbo
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Mike LeDonne (piano)
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Peter Van Nostrand (drums)
*Live from The West End Lounge*
Sunday, February 21st, 4-7 pm
$25 with one drink minimum
The West End Lounge
955 West End Avenue @ W. 107th Street
Reservation Hotline: 917-882-9539
Sunday Street Parking No Meters
Food & beverages Are Available
vtyjazz.com
18 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Light: The Early Years (1975-1989)
William Hooker (NoBusiness)
by Philip Freeman
Drummer William Hooker has been a fixture on the
New York music scene for four decades, bouncing
between the worlds of free jazz, avant-rock and liminal
in-between zones of his own devising. In recent years,
he’s developed a relationship with the Lithuanian
NoBusiness label, releasing three albums since 2010:
the double LP Earth’s Orbit, which featured alto
saxophonist Darius Jones on one of its two discs;
Crossing Points, an archival recording of a 1992 duo
with the late saxophonist Thomas Chapin; and Live At
Vilnius Jazz Festival, a duo with Lithuanian saxophonist
Liudas Mockūnas. Now, NoBusiness has compiled this
four-CD set, which gathers Hooker’s early, selfreleased
LPs alongside two-and-a-half discs’ worth of
previously unreleased performances. It’s not only a
tribute to his thunderous, explosive style and
indomitable artistic spirit, but also a companion to
similar boxed sets the label has devoted to the work of
saxophonist Jemeel Moondoc and bassist William
Parker.
Hooker’s first release, …Is Eternal Life, is spread
across the first CD and half of the second. A double LP
originally issued on his own Reality Unity Concepts
label in 1977, it opens with “Drum Form (Wings/
Prophet of Dogon/Still Water/Desert Plant/Tune)”, an
18-minute side-long solo on which Hooker plays the
drums, chants, sings and generally goes all out in an
expressionistic eruption straight from the Loft Era. The
next two pieces, “Soy: Material/Seven” and “Passages
(Anthill)”, are also epic in length and find the drummer
doing battle with saxophonist David S. Ware, then
fresh out of his own trio Apogee and soon to join Cecil
Taylor’s Unit. On “Soy”, electric bassist Mark Miller
serves as intermediary/sacrificial lamb; “Passages” is
a duo, every bit as unremitting and ferocious as one
might expect. His second album, 1982’s Brighter Lights,
is also included here; the first two pieces, “Others
(Unknowing)” and “Patterns I, II and III” are duos
with little-known saxophonist Alan Braufman while
“3 & 6/Right” pairs Hooker with pianist Mark Hennen,
who was an early member of Jemeel Moondoc’s Muntu,
as well as the long-running Collective 4tet.
It’s the previously unreleased material that’s the
most interesting, though; that includes the nearly
19-minute “Present Happiness” with Moondoc on alto
saxophone and Hasaan Dawkins on tenor and an hourlong
performance from 1988 featuring the late
trumpeter Roy Campbell and tenor saxophonist Booker
T. Williams. It’s clear from this boxed set that Hooker
doesn’t like chords getting in between him and the
other musicians—he prefers to stand toe-to-toe,
metaphorically speaking, with a horn player (or a
guitarist) or two and give as good as he gets until
whatever they’re doing has run its course and the
improvisers who do best with/against him are those
who can operate on an intellectual and a gut level at
once. But even solo, his performances have a musicality
and cohesion more Max Roach than Sunny Murray and
command the listener’s attention even at lengths that
might initially seem forbidding. Hooker is a titan
behind the kit and this boxed set is no less tribute than
he deserves.
For more information, visit nobusinessrecords.com. Hooker
curates and is at The Stone Feb. 9th-14th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 19

Very Good Year
Jon Burr Quintet (jbQ Media)
by George Kanzler
Bassist Jon Burr’s new quintet album is an ode to the
enduring appeal of swinging, muscular and captivating
hardbop. Taking cues from Art Blakey’s Jazz
Messengers, the Jazztet and, especially, the Clifford
Brown-Max Roach Quintet, Burr’s group brings a
driving rhythmic focus to a repertoire that, like
hardboppers and beboppers before them, employs
familiar standards as sources for jazz contrafacts, as
well as swaggering reimaginings of pop tunes. Among
the latter is the Sinatra anthem from which the CD title
derives: Ervin Drake’s “It Was A Very Good Year”.
Refrains of the song are voiced by different instruments,
beginning with the leader’s pizzicato bass, then Steven
Frieder’s tenor saxophone and Tim Ouimette’s
trumpet, each punctuated by a romping, stomping
turnaround bridge driven by Jerome Jennings’ drums
with stabbing chords from pianist Mike Eckroth. Stevie
Wonder’s “Don’t You Worry About a Thing” is given a
similarly radical remake, with a looser, loping rhythm
and sections of suspended time. Another pop song, Bill
Withers’ “Lovely Day”, is carried by a slithery Latin
shuffle, engaging solos from tenor and trumpet
weaving in and out of tropical beats and semi-rubato,
horns tandem soloing in the finale.
The Brown-Roach influence is strongest on Burr’s
contrafacts. They include “All the Things You Ate”
(Are), with a slow burning trumpet solo, authoritative,
burly tenor—Frieder sounds much more commanding
than his 22 years would suggest—and tart harmonies
in a closing chorus and coda. “Cherry Keys” (Cherokee)
adds Latin accents, Frieder easily extending his range
upwards. “Savoy Fare” brings a relaxed savoir-faire to
a “Stompin’ at the Savoy” frame, bass adding to the
varied solo strategies, and “Out of This Word” (World)
ends the CD on an ebullient high note, alternating
Latin and 4/4 swing tempos behind extended solos
(it’s the longest track by far) from all. The dozen tracks
are a diverse excursion into the heart of hardbop.
For more information, visit jonburrquintet.com. This
project is at NYC Baha’i Center Feb. 9th. See Calendar.
Blue Buddha
Louie Belogenis (Tzadik)
by Ken Waxman
Some musicians are so comfortable with free jazz they
work through its challenges as effortlessly as breathing.
Case in point is tenor saxophonist Louie Belogenis,
who, as part of Prima Materia during the ‘90s,
partnered with free-drumming master Rashied Ali.
Blue Buddha’s seven spiritually-infused tracks establish
a group identity among the saxophonist and players
who are anything but hardcore free jazzers: bassist Bill
Laswell is identified with a blend of ethnic, industrial
and rock sounds; drummer Tyshawn Sorey mixes
mainstream and advanced concepts; and trumpeter
Dave Douglas is known as much for his composing as
his playing.
The band’s varied background demonstrate that
free improvising is adaptable to changeable variants,
with “Wrathful Compassion” the best instance of this.
Belogenis’ altissimo cries and stratospheric glissandi
may arise from the John Coltrane-Albert Ayler sphere,
but he brings a personal precision while Douglas
advances high-pressure euphoria by mixing Woody
Shaw’s lyricism with Donald Ayler-like wails. Laswell’s
sluicing rhythms emphasize pure power and are as
assertive as they would be in a rock setting.
Heat from tonal exploration outdistances hybrid
incapability. On “Renunciation”, for example,
skittering trumpet counterpoint adds brightness to
renal tenor saxophone tones. The sparkling “Diamond
Vehicle” is driven by a bassline fit for an R&B session,
as Douglas’ aviary peeps and Belogenis’ banshee wails
couple as deliciously as wine and cheese.
The closing “Lineage”, featuring only Sorey and
Belogenis, moves through all variations of shaking and
screeching reed tones alongside irregular and
unanticipated percussion feints without ever becoming
intimidating. As Sorey’s pops and claps move the
theme back to systematic textures, Blue Buddha’s ability
to challenge without alienating is highlighted.
For more information, visit tzadik.com. Belogenis is at The
Stone Feb. 11th and 28th. See Calendar.
MANUEL VALERA & GROOVE SQUARE
URBAN LANDSCAPE
An urban vision full of funk, groove,
and habanera.
— C. Michael Bailey (All About Jazz)
Highly recommended.
— Bill Milkowski (Downbeat)
FEATURING:
JOHN ELLIS, NIR FELDER, JOHN BENITEZ, EJ STRICKLAND,
JEFF “TAIN” WATTS, & GREGOIRE MARET
Available at DestinyRecordsMusic.com
and wherever music is sold online
20 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Joyful Jazz
Pittsburgh Jazz Orchestra (with guest Freddy Cole)
(MCG Jazz)
by Marcia Hillman
This new album by the Pittsburgh Jazz Orchestra and
co-artistic directors Sean Jones and Mike Tomaro is
truly a joyful sound and even though the selections are
Christmas songs and carols, the sound is appropriate
for any time of the year for several reasons.
One is the guest appearance of Freddy Cole for
three vocal contributions: “Jingles, The Christmas
Cat”, “A Cradle In Bethlehem” and Irving Berlin’s
classic “White Christmas”. Cole’s voice is like comfort
food—warm and nourishing—and his ability to tell a
story, whether singing or half-talking, is at its best
here.
The next is the arrangements, mostly by Tomaro
(also one of the orchestra’s saxophonists). They bring
freshness to these overly done selections with jazzy
riffing, chordal colors and new rhythmic patterns:
“Carol Of The Bells”, Leroy Anderson’s “Sleigh Ride”
and the Mel Tormé-Robert Wells classic “The Christmas
Song” are all Latin-ized; aforementioned “White
Christmas” (subtitled “In The Sahara”), arranged by
Jay Ashby (the band’s trombonist), is spiced with a
decidedly Middle-Eastern flavor, calling up visions of
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a caravan across the desert. “The Christmas Song”
features vocalist Maureen Budway (who died in
January 2015). Well known in the Pittsburgh area but
flying under the radar in the rest of the country, she
possessed a clear voice, wide range and inventive
phrasing to impress the most hardened critic.
And finally it is the talent of the band, especially
Jones’ featured trumpet work on the opening “Jingle
Bells” and closing “Joy To The World”, the latter which
ends with a New Orleans marching band statement.
For the size of this orchestra (20 members), they are a
tightly-knit group producing a crisp and bright sound.
This offering proves that jazz is alive and well in
Pittsburgh at any time of the year!
For more information, visit mcgjazz.org. Freddy Cole is at
Dizzy’s Club Feb. 11th-14th. See Calendar.
For One to Love
Cécile McLorin Salvant (Mack Avenue)
by Joel Roberts
Vocalist Cécile McLorin Salvant is just 26, but sure
sounds like she’s been around a lot longer than that.
While her voice has a fresh, youthful quality, the
maturity with which she approaches her material,
fierce intelligence that comes through in her singing,
and remarkable depth of her musical knowledge leave
you wondering how she’s learned and mastered so
much in such a short time.
For One to Love is a follow-up to 2013’s Grammynominated
WomanChild, which established Salvant as
the breakout jazz singer of her generation. The new
release is a collection of standards and originals,
mostly on the theme of romance, Salvant backed by a
superb trio led by pianist Aaron Diehl. Like many of
the finest vocalists, she is equal parts singer and
actress, with a flair for the dramatic and, even more
notably, a real aptitude for comedy. It’s no surprise,
then, that some of her best performances are on musical
theater numbers, in which she gets to inhabit
characters, like the ingénue smitten by a handsome
man in “The Trolley Song” or the jealous sister in
Richard Rodgers-Oscar Hammerstein’s “Stepsister’s
Lament”. She’s also sly enough to comment, with a
wink and a nod, on the dated, misogynistic lyrics of
Burt Bacharach-Hal David’s “Wives and Lovers”. Best
of all is her tour de force, 10-minute-plus reading of
Stephen Sondheim-Leonard Bernstein’s “Something’s
Coming” from West Side Story.
There’s a scholarly bent to Salvant’s repertoire,
too, as she seeks out obscurities like the sassy ‘30s
blues “Growlin’ Dan”, which she attacks with glee,
and mournful French ballad “Le Mal de Vivre”. She
also contributes some thoughtful originals chronicling
love lost and found, including a pair of beauties on the
shared theme of being unnoticed by the object of your
desire (“Look at Me” and “Left Over”).
None of this would matter, though, if Salvant didn’t
have the voice to bring it all together. And she certainly
does—a rich, silky tone recalling Sarah Vaughan at
times and uncanny control over every note. She can sing
crisply and clearly, perfectly articulating each word, but
really seems to relish growling and snarling the blues.
It’s a rare combination unmatched among young jazz
singers today.
For more information, visit mackavenue.com. Salvant is at
The Appel Room Feb. 12th-14th. See Calendar.
MONTY
ALEXANDER
cécile mclorin salvant
FEB 12–14 • 7PM & 9:30PM
Vocalist Cécile McLorin Salvant performs for
Valentine’s Day weekend
monty alexander & friends:
sinatra at 100
FEB 12–13 • 8PM
Pianist Monty Alexander and special guest
vocalist Kurt Elling
christian mcbride/
henry butler, steven
bernstein & the hot 9
FEB 26–27 • 8PM
An outstanding double bill of two of today’s most
exciting and energetic jazz ensembles
moonglow: the magic
of benny goodman
MAR 4–5 • 7PM & 9:30PM
With narrator Wendell Pierce, pianist Christian
Sands, drummer Sammy Miller, vibraphonist
Joel Ross, and clarinetists Peter Anderson, Will
Anderson, Patrick Bartley, and Janelle Reichman
aaron diehl: the real deal
MAR 18–19 • 7PM & 9:30PM
Pianist Aaron Diehl with vibraphonist Warren
Wolf, guitarist Dani de Morón, and saxophonist
Joe Temperley
jazz at
lincoln center
jazz.org
Venue Frederick P. Rose Hall
Box Office Broadway at 60th, Ground Fl.
CenterCharge 212-721-6500
PHOTO BY JOE MARTINEZ
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 21

Sixteen: Drummers Suite
Dan Weiss Large Ensemble (Pi)
by Thomas Conrad
Our current jazz era is dynamic with worldwide
experimentation and innovation. Yet even now it is
rare to encounter a jazz recording of a kind you’ve not
heard before. Sixteen: Drummers Suite is one.
Dan Weiss never treats his 16-piece ensemble as
an orchestra, but as a company of artists on whom he
can draw as he needs them, in subgroups of varying
sizes. There are two percussionists (including Weiss),
two keyboardists, four reed players, two trombonists,
three vocalists, a bassist, guitarist and harpist. While
none of the instruments are exotic, Weiss combines
them in ways that create strange sonorities, new color
blends, dense, dizzying ensemble details and startling
energy spikes.
Sixteen is a through-composed suite in six
movements, each named for and inspired by one of the
characteristic rhythmic phrases of a groundbreaking
drummer. For “Tony”, Weiss chose 13 seconds of Tony
Williams’ drum break on “Nefertiti”, from Miles
Davis’ album of the same name. Williams’ rolls and
detonations make a melody bassist Thomas Morgan
uses in his introduction. A wild ride ensues, powered
by the furious alto saxophones of David Binney and
Miguel Zenón. Throughout, Williams’ drum song lurks
in the ensemble infrastructure. For “Philly Joe”, only
four seconds by Philly Joe Jones (from “Billy Boy”, on
Miles Davis’ Milestones) motivates a diverse nineminute
form containing Ohad Talmor’s brooding tenor
saxophone, careening voices, tuba, massed keyboards,
glockenspiel and even silence. For “Ed”, Weiss used a
seven-second Ed Blackwell drum pattern from The
Avant Garde by John Coltrane and Don Cherry.
Blackwell’s stark design gets into many instruments on
this 15-minute climax to Weiss’ suite. The piece is
assembled like a rough canon, the incantatory melody
first traced by Talmor, then alto saxophone and flute
and singers and all the others joining, until “Ed”
becomes a seething sonic sea.
There is formidable solo firepower here (pianist
Matt Mitchell and guitarist Miles Okazaki, among
others), yet solos are subservient to the collective
enterprise. Sixteen is turbulent but not chaotic. It is tied
together by its thematic connective tissue and by the
intricate, flowing energy sustained by the leader. Weiss
is a remarkable drummer who has just become more
remarkable as a composer and conceptualist.
For more information, visit pirecordings.com. This project
is at The Jazz Gallery Feb. 12th-13th. See Calendar.
Songs from Afar
Lucian Ban Elevation (Sunnyside)
by Terrell Holmes
Pianist Lucian Ban sends a love letter to his native
Romania with his new album Songs from Afar. Ban and
his group Elevation—tenor saxophonist Abraham
Burton, bassist John Hébert and drummer Eric
McPherson—blend the traditions of jazz and folk songs
seamlessly on this touching, inspiring journey.
Ban shows admirable composing range but he
evidently prefers the softer touch, as evinced by the
ballad “Farewell”, which has Mat Maneri guesting on
viola, a somber complement to Burton’s wistful tenor.
That measured interplay of tenor and viola continues
on the clever and economical “Travlin’ With Ra”,
whose construction contains hints of Monk, and on the
laid-back, excellent “Southern Dawn”. Ban’s vivid
arpeggios and opulent tonality define the reflective
“Solo for a Brother with Perfect Timing” while Burton’s
tenor on “Chakra, the Island” is dreamy, with a touch
of stridency. The band goes to church with the elegiac
“Spiritual”, moving among gospel-inflected piano,
percussion highlights and saxophone praise shouting.
Ban’s hometown of Cluj-Napoca, unofficial capital
of the Transylvania region, is the driving force behind
this album and to that end he offers a pair of traditional
songs, “Transylvanian Sorrow Song” and two versions
of “Transylvanian Wedding Song”, all sung in
Romanian by Gavril Tarmure, with translations in the
liner notes (interestingly, though polar opposites
thematically, both use sleep as a central metaphor).
The second version of the latter is closer to traditional
with the core group only but the furious interplay of
saxophone, viola, drums and vocals turn the first
version into a folk/jazz burner—hardbop at the altar.
The blending of the two genres and tempos defines the
intelligence of the Hébert arrangement, especially the
way Maneri echoes the vocal line splendidly. The
album’s valediction, the nominal title track, is another
Ban solo, “Teaca, a Song from Afar”, a warm tribute to
the village where he grew up.
For more information, visit sunnysiderecords.com. Ban is at
Cornelia Street Café Feb. 13th. See Calendar.
The Mood I’m In
Marlene VerPlanck (Audiophile)
Better Than Anything: Live
Sheila Jordan (There)
by Fred Bouchard
Here’s a paean to two elegant octogenarian doyennes
of swing and bop, still in the game after all these years.
Marlene VerPlanck and Sheila Jordan are wonderfully
bipolar opposites—straight arrow vs. notebender,
unflappable vs. excitable—but intersect on tasteful
repertoire, respectful interaction with their bands,
glorious sense of community with adoring audiences
and loyal labels to document impressive careers.
Born and raised in Newark, Marlene Pampinella
married trombonist/arranger Billy VerPlanck at 21 in
1955, the year of her debut I Think of You with Every
Breath I Take. Her superb pipes, pinpoint intonation
and winning charm earned VerPlanck a prolific career
singing with big bands and made her a go-to-gal for
jingles, famously Campbell Soup’s “M’m M’m Good!”
Marlene VerPlanck Loves Johnny Mercer came out in
1979, her first of a dozen Audiophiles, each balanced
and articulate and she has lost nary a whit of it on The
Mood I’m In, a companionable date laid last March in
London with relaxed Brits like pianist John Pearce and
trombonist Mark Nightingale. An upholder of
endangered repertoire, she handcrafts textbook
versions of Billy Eckstine’s “I Want To Talk About
You”, Mack Gordon-Harry Warren’s “This Is Always”,
Sammy Cahn-Jimmy Van Heusen’s “Come On Strong”
and Ducal delights “All Too Soon” and “It Shouldn’t
Happen To A Dream”. A marvel of elegant phrasing,
perfect timing, an elocutioner’s enunciation, easy wit
and nuance, she invests “Certain People” with grit
while mustering the palest aqua on ‘blue’ songs.
Sheila Jordan has enjoyed a similarly lengthy, if
late-starting, career: born in hardscrabble Appalachia,
she blossomed as a Detroit bop child baptized in Charlie
Parker’s beaming eights, practiced prescient vocalese
with her group Skeeter, as Cherokee blood-lines fed her
singular chant-scat. Since diving full-time into jazz-biz
in her 50s, Sheila keeps slinging arrows from her quiver
and hitting bulls-eyes: fine improvisatory lyricist!
head-to-head scat whiz! globetrotting teacher! denmother
to generations of ardent singers! Better Than
Anything celebrates the 25th anniversary of a set at
Kimball’s East (Oakland, CA) with bassist Harvie S and
pianist Alan Broadbent. Her genius at timbral variation
and pitch modulation often finds each note in a falling
phrase with its own little arc—a sob, grace note, inflated
tear. Lyrics embrace her musical autobiography, in-themoment
observations (“Hi, [name here]!”) and roomreading
shout-outs (“Nice tie!”) as fans melt under her
glow like cocoa pips in a cauldron. Medleys unfold as
intuitive narratives; here “You’d Be So Nice To Come
To” flows into Clifford Jordan/Abbey Lincoln’s
“Japanese Dream” and Irving Berlin’s “What’ll I Do?”.
A deep bow to Bird (“Confirmation” with lock-hand
Broadbent) and duo with Harvie S on Bill Evans’ “Waltz
For Debby”, hilarious chit-scat with Harvie (“Falling In
Love with Love”) and a haunting “Caterpillar Song”
and we’re home.
For more information, visit jazzology.com and a-train.com.
VerPlanck is at Blue Note Feb. 21st. Jordan’s trio is at
Cornelia Street Café Feb. 14th. See Calendar.
22 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Wax & Wane
Brandee Younger (Revive Music)
by John Pietaro
Brandee Younger is a jazz harpist with a classical
pedigree and impressive performance resumé to
match. Her instrument has held a sparing spotlight
over the decades, most powerfully by Dorothy Ashby,
whose spirit, the listener is told, loomed over the
recording of Wax & Wane, as did Alice Coltrane. Given
the limited history the instrument has within jazz, the
influence of either would be impossible to avoid.
Unfortunately, one would be hard-pressed to verify the
presence of either on the seven tracks offered.
Here is a disc largely imbued with the CD-101
aesthetic—a style of which critics often tag “fuzak”—
to build on the funk influence of Younger’s last release.
This format is interrupted just twice by atmospheric
chamber works of harp, violin and viola (the latter
played by string duo Chargaux) in which the leader is
vividly featured. The brevity of these selections leaves
the ears feeling cheated once the next mellow grooveoriented
piece kicks in. The format is planted all too
firmly: tenor saxophonist Chelsea Baratz’ smoky
melodic lines can conjure memories of ‘80s Grover
Washington, Jr. Wax and Wane is at its best in the
acoustic moments or when bassist Dezron Douglas is
afforded freedom to create fluid, driving lines recalling
the best work of Alphonso Johnson.
Yes, there is room for a hip jazz harpist to grasp
the torch of Ashby, Coltrane and the rarely mentioned
Adele Girard, but this instrument needs to breathe.
Younger will prove to be an important voice but the
path will be clearer when she forgoes the trappings of
slow-jam crossover and just plays.
For more information, visit revive-music.com. This project
is at Dizzy’s Club Feb. 17th. See Calendar.
Charm
John Ellis & Double-Wide (Parade Light)
by Mark Keresman
Saxophonist John Ellis’ Double-Wide has a distinct
New Orleans bent to it, but not just one particular
N’awlins style; Ellis brings various strands together:
Preservation Hall Jazz Band, Dr. John and The Meters
and music beyond The Big Easy as well.
Opener “Booker” has a loping groove part souljazz
(Gary Versace’s chugging organ) and part Crescent
City (Matt Perrine’s huffing-puffing sousaphone)
while Ellis’ creamy-smooth tenor saxophone gets
sweet ‘n’ sour with Alan Ferber’s suave yet rollicking
trombone. “Horse Won’t Trot” has a lazy summer
afternoon tempo, Ellis’ blues-rich clarinet and vocallike
trombone taking on expressive Ellington-ian
qualities. “Charm is Nearly Always Sinister” takes
Monk for a trip down to the Latin Quarter of New
Orleans, Versace’s chords so thick you could virtually
walk on them. “International Tuba Day” combines
Monk with the chase-scene music Carl Stalling and
Raymond Scott composed for Warner Brothers
cartoons; Perrine peels out a nimble, punchy solo and
Ferber’s lead brings a bit of Argentina to the
proceedings. “Snake Handler” begins with Ellis’
unaccompanied saxophone, playing some obliquely
sweet lines. Ferber enters, singing (through his horn)
and it evolves into a classical-sounding dirge. “Better
Angels” is a detour into hard funk, but of the Northern
variant, its slightly cinematic, twisty tone recalling the
music from ‘70s Blaxploitation films.
Charm is, obviously, not a platter for the stodgy
purist: it’s a funk album; a tribute to the range of
sounds that have emerged from New Orleans in the
past several decades; and a quirky modern jazz session,
albeit one leaning more to groove than swing. Great
music and great fun as well.
For more information, visit johnaxsonellis.com. Ellis is at
The Jazz Gallery Feb. 19th-20th. See Calendar.
Or should our criteria be more emotional? Does it elicit
sadness, excitement? Do I get lost in the music and
simply float along on its rhythm, pace, melody and
movement? Florian Hoefner’s Luminosity made me ask
myself these questions, as it addresses all these criteria
at once, a rare feat.
Hoefner’s tunes are seamlessly intertwined, as is
his band’s performance. Luminosity is a total experience.
Besides sizzling saxophonist Seamus Blake, the other
musician names are less familiar on this record, the
third from German-born Hoefner. The entire band,
completed by bassist Sam Anning and drummer Peter
Kronrief, performs as if joined at the hip, as if they all
wrote the compositions, not Hoefner alone.
Composed while on sabbatical in Newfoundland,
Luminosity plays out like a suite, so flawless is the
material. The fabric of each composition relies on
complex chordal and rhythmic motifs but, as the album
speeds by, one is only caught up in the sound of the
music, grace of the piano, swells and surges of the
rhythm section and swirling tenor.
The rhythmic ingredients in Hoefner’s music are
telling: a calm 5/4 time feel on the title track; a deft
metric modulation effect between drums and piano on
“In Circles”; scatting, bop-like tenor and bass unison in
“The Bottom Line”; gentle rhythms cascading like a
waterfall in “The Narrows”. Throughout, Hoefner’s
music is as thoughtful as it is thought-provoking.
Far from a collection of tunes with separate
meanings and musical messages, Luminosity is a
complete work, so unified one forgets where one track
ends and the next begins. It is the essence of flow, as
clear as a stream rushing by and equally invigorating.
For more information, visit originarts.com. This project is
at Cornelia Street Café Feb. 23rd. See Calendar.
Luminosity
Florian Hoefner Group (Origin)
by Ken Micallef
On what basis do we judge and review jazz records?
Is it on performance, skill, composition and production?
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 23

Let’s Get Lost
Cyrille Aimée (Mack Avenue)
by Matthew Kassel
Jazz critics tend to describe French singer Cyrille
Aimée’s bright, springy voice as “girlish”, which is
certainly apt (though she’s no Blossom Dearie). But it’s
not really worth ascribing human characteristics to her
style, because the songs she performs carry little
emotional weight. This is not to discredit the Frenchborn
Aimée, 31, Third Place Winner in the 2010
Thelonious Monk International Jazz Vocals
Competition, who may have the best voice-asinstrument
in modern jazz.
On her new album, Let’s Get Lost, a slightly
melancholy follow-up to her upbeat previous record,
It’s a Good Day, she scats her way through the entirety
of Oscar Pettiford’s wordless, bebop-inflected
“Laverne Walk”, accompanied only by bassist Sam
Anning. You get the sense that Aimée, who arranged a
number of the songs on this record—taking its name
from the Frank Loesser-Jimmy McHugh tune—is most
at home when she isn’t bound by the linguistic confines
of old standards like “Three Little Words”, “That Old
Feeling” and “There’s a Lull in My Life”.
Sure, she can be romantic when she wants to be.
The songs she sings in her native tongue, for instance,
are particularly lovely, such as “T’es Beau Tu Sais” and
“Samois à Moi”. A dreamy tune called “Nine More
Minutes”, which she wrote with guitarist Michael
Valeanu, who is part of Aimée’s band along with
second guitarist Adrien Moignard and drummer Rajiv
Jayaweera—will send you into a contented haze. Light
Latin rhythms are scattered throughout the record, as
are faint nods to gypsy jazz. The singer also layers her
voice with a loop pedal.
She’s at her best, though, when she’s improvising,
which is why her finest albums are live ones, recorded
within the intimate confines of New York jazz clubs
where she regularly performs.
For more information, visit mackavenue.com. Aimée is at
Lycée Français de New York Feb. 24th. See Calendar.
After Dark
Champian Fulton (Gut String)
by Ken Dryden
Champian Fulton has become a fixture in New York
City since earning her degree at SUNY-Purchase, where
she studied with pianist Hal Galper. Fulton is one of
the rare pianist/vocalists who excels in both areas and
has blossomed with each new release, displaying
maturity far beyond her years.
After Dark is a tribute to the Queen of the Blues,
Dinah Washington, one of Fulton’s favorite singers,
covering songs from her repertoire. Fulton is joined by
two talented veterans, bassist David Williams and
drummer Lewis Nash, with her father, trumpeter
Stephen Fulton, guesting on several tracks. She says
that listening to Washington “comforted me when I
needed it, made me laugh and warmed my heart” and
Fulton has also absorbed how Washington
communicated with her fans.
While there’s a touch of sass in Fulton’s vocals
that has rubbed off from the singer who inspired her,
she is very much her own person. She captures the
essence of Fats Waller’s “Ain’t Misbehavin’” in her
miniature arrangement, supported by whimsical
muted trumpet. Fulton is at her most playful in the
sparkling, driving setting of “That Old Feeling”,
injecting humor into her vocal and a bit of Erroll
Garner in her piano solo while she audibly chuckles
during Williams’ feature. Her robust treatment of
“Blue Skies” swings like the band is playing in a club,
due to assertive piano, witty Clark Terry-flavored
flugelhorn and strong pulse of the rhythm section.
Fulton’s expressive rendition of “A Bad Case of the
Blues” is masterful, accented by vocal-like responses
from muted trumpet. “Mad About the Boy” is an
overlooked gem, which has fallen out of favor, but
Fulton uncovers what attracted so many vocalists to it
during the ‘50s while her spacious, bluesy playing
buoys her sensual vocal. Fulton wraps the session with
a down-home original instrumental blues played solo,
“Midnight Stroll”, which sounds like it could have
been performed during Washington’s heyday.
For more information, visit gutstringrecords.com. This
project is at Jazz at Kitano Feb. 24th. See Calendar.
FEBRUARY 13
GREGORY PORTER
@ THE TOWN HALL
FEBRUARY 20
MESHELL
NDEGEOCELLO
MARCH 13
KNEEDELUS
(KNEEBODY + DAEDELUS)
MARCH 16
TORTOISE
APRIL 15
SARAH NEUFELD
W/ EARTHEATER
24 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Busy Being Free
Barbara Fasano (Human Child/Harbinger)
by Alex Henderson
Some in the jazz vocal world are strict purists, rejecting
anyone not totally straightahead in their approach.
That type of rigidity is unfortunate because one need
not be a purist to be a worthwhile contributor. Barbara
Fasano is a good example. Busy Being Free, the Long
Island native’s fourth album, is an appealing mixture
of vocal jazz and cabaret. Drawing on direct or indirect
influences ranging from Sarah Vaughan and Lena
Horne to Barbra Streisand, Fasano is a thoughtful
interpreter of lyrics with in-depth knowledge of classic
Tin Pan Alley songs of the 20th Century.
That oeuvre is the priority on this album with
standards such as Richard Rodgers-Lorenz Hart’s
“Where or When”, Richard Rodgers-Oscar
Hammerstein’s “The Surrey with the Fringe on Top”
and Arthur Schwartz-Howard Dietz’ “Dancing in the
Dark”. Fasano also finds the jazz/cabaret possibilities
in everything from Joni Mitchell’s “Cactus Tree” and
Jimmy Webb’s “Time Flies” to Nellie Lutcher’s “Hurry
on Down”. And even when Fasano is acknowledging
Tin Pan Alley, she doesn’t limit herself to the most
overdone standards; one of the highlights here is a
likable performance of Vernon Duke’s “Roundabout”
(from the 1952 musical Two’s Company).
Despite the strong cabaret factor, Fasano is backed
by some heavyweight jazz improvisers and is not shy
about letting them stretch out: pianist John di Martino
(who handles the arrangements) and cornet player
Warren Vaché. Also on board are Aaron Heick (soprano
saxophone and flute), Paul Meyers (guitar), Boris
Kozlov (bass) and Vince Cherico (drums).
Combining vocal jazz and cabaret elements in a
pleasing fashion is clearly Fasano’s strong point and
she does well on this respectable outing.
For more information, visit humanchild.com. This project is
at Metropolitan Room Feb. 25th. See Calendar.
Ubatuba
Ingrid Laubrock (Firehouse 12)
by John Sharpe
Given that German-born New York-based saxophonist
Ingrid Laubrock started her career in London playing
Brazilian-inspired music, she is likely aware that
Ubatuba is a Brazilian municipality in the state of São
Paulo. Not that there are samba grooves anywhere to
be found on the eponymous debut of her new outfit. Of
course the name is also a punning reference to Dan
Peck’s blown bass, which takes its place in an
idiosyncratic roster. Although Laubrock has adopted a
different compositional method for this band, the
opacity of her charts remains familiar from units like
Anti-House.
What is written blurs deliciously with what is
improvised. It results in a typically unpredictable
program, which retains a vivid freshness as repeated
phrases and overt structure peer out from a welter of
divergent voices. With its concentration on softly
blown exhalations, “Any Breathing Organism”
performs a scene-setting function. Thereafter pieces go
through multiple moods, even the relatively short
“Homo Diluvii” with its involved contrapuntal lines.
Several cuts, like “Hall Of Mirrors” and “Any Many”,
experience an abrupt shift to near silence before
progressing via a series of minimalist restrained
gestures, to a dissonant horn choir in the former and a
bracing crescendo in the latter.
Alto saxophonist Tim Berne fully enters into this
knotty universe. His most insistent and expressive
moments come on the suite-like “Hypnic Jerk” after an
extended spell featuring Laubrock also on alto.
Drummer Tom Rainey’s spasms of rhythm and texture
cause the music to snap into sudden focus. His staccato
outbursts become especially prominent on the spiky
“Hiccups”, first in a dynamite duet with Laubrock’s
skittish tenor and then nudging Ben Gerstein’s garrulous
trombone and Berne’s squalling alto. Although Gerstein
and Peck largely refrain from the spotlight, there’s lots
of scope for braying horn polyphony, which creates
some of the most thrilling passages herein.
For more information, visit firehouse12records.com. This
project is at The Jazz Gallery Feb. 27th. See Calendar.
Spanish Fighters
AMM (Matchless)
by Marc Medwin
This is the most recent document from the cryptic and
brilliant AMM, who celebrated 50 years in December
2015. The ensemble’s debut was an uncompromising
journey into ambiguous sound and its production,
whose genre-bending resonances the label
“improvisation” would only partially explain. This
version of AMM, consisting of pianist John Tilbury,
who turns 80 this month, and percussionist Eddie
Prévost, charts a similarly engaging course, though it
is quieter than that blistering first outing.
AMM’s use of silence and space has increased over
the years and this new disc certainly follows the trend
toward subtlety and nuance. This is, of course, an
overgeneralization and the sooner the listener becomes
acclimated to AMM’s subtle shades of sonic color and
depth, the more shape is perceived. One way of
describing this 2012 festival performance is a series of
widening and concentric arcs punctuated by silence.
The timbres themselves may be fluid, as with the liquid
piano sonorities and bowed tamtam that begin the
performance, or may involve the imaginative interplay
of prepared piano and pitched percussion following
the first silence. The commencing softer sounds also
usher out the performance, giving an arc-like contour
to the whole.
As with every other AMM project, reference is
both enigmatic and exhilarating. Tilbury is well known
for his interpretations of Morton Feldman’s piano
music and there is a Feldman-esque quality to the
meditative calm with which he touches the piano, but
his chords also conjure shades of Scriabin and Bill
Evans, so delicate and intricate are his harmonic
choices. Prévost has also established a unique aesthetic,
a ‘swung’ rhythm sneaking through at key moments
during passages with a harder attack. Heard in
aggregate, these two players create the illusion of an
ensemble of varying size and instrumentation, ranging
from the sparest textures to passages of full-blown
romanticism. As with all of the most recent AMM discs,
the recording is first-class, allowing for every detail to
be captured in a natural environment.
For fans of what is still called free jazz, AMM
music is the logical next step. It embodies the freedoms
inherited from John Coltrane and Albert Ayler but in a
decidedly different language, of which AMM were
among the pioneers. Spanish Fighters now joins the
long list of testimonials to their adventurous spirits
and continued relevance and vitality.
For more information, visit matchlessrecordings.com
The Stone NYC
Russ Lossing Residency
February 23-28, 2016
2/23 @ 8pm Gerry Hemingway/Russ Lossing Duo
2/23 @ 10pm Hemingway/Lossing + Loren Stillman
2/24 @ 8pm King Vulture
Russ Lossing, Adam Kolker, Matt Pavolka, Dayeon Seok
2/24 @ 10pm Oracle Trio +1 -
Russ Lossing, Masa Kamaguchi, Billy Mintz + Samuel Blaser
2/25 @ 8pm Mark Helias, Russ Lossing, Dayeon Seok
2/25 @ 10pm Kyoko Kitamura, Adam Kolker, Russ Lossing
2/26 @ 8pm Russ Lossing, solo piano CD release, Eclipse
2/26 @ 10pm Gerald Cleaver, Masa Kamaguchi, Russ Lossing
2/27 @ 8pm Michael Formanek, Michael Sarin,
Russ Lossing, Russ Johnson
2/27 @ 10pm Ben Monder, Russ Johnson, Russ Lossing,
Michael Formanek, Michael Sarin
2/28 @ 8pm Tim Berne/Russ Lossing
2/28 @ 10pm Louie Belogenis, Kirk Knuffke, Jason Rigby,
Eivind Opsvik, Jeff Davis, Russ Lossing
New Album: Eclipse: Russ Lossing piano improvisations
(Aqua Piazza Records)
thestonenyc.com avenue C and 2nd street, NYC
russlossing.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 25

Blui
Pierre Dørge (SteepleChase)
by Robert Iannapollo
Danish guitarist Pierre Dørge, who turns 70 this
month, first came to prominence as a protégé of John
Tchicai, playing on the Danish-Congolese saxophonist’s
epochal 1969 large ensemble (Cadentia Nova Danica)
album Afrodisiaca. Although he’s since played in and
led bands of many different stripes, his most wellknown
project has been the New Jungle Orchestra
(NJO), a collective that draws from Duke Ellington,
Sun Ra, African and Indian music and Danish composer
Carl Nielsen, somehow making sense of the whole
shebang. Formed in 1980, they’ve released 20 albums
since 1982 and are still going strong. But Dørge has
always returned to the small-group format throughout
this career and released some excellent recordings in
the process.
Blui is his latest, a quartet comprised of current
NJO bassist Thommy Andersson, Chicagoan drummer
Hamid Drake (former NJO drummer roughly from
1987-92) and American cornet player Kirk Knuffke. It’s
an inspired collection of musicians and all serve the
material well, eight songs written by Dørge. The
opener “Else Belse Bird Beard” has a wistful cast, with
Knuffke’s beautiful tone essaying the melody in
tandem with Dørge, creating a vaguely melancholic
mood, their sounds meshing nicely.
Although they straddle different eras of the NJO,
Andersson and Drake are a perfect rhythm section,
giving this music its drive as well as its color. Dørge
provides the quartet with some interesting and diverse
material. “Beauty Of Insects” consists of small sounds
and scrapes from all four members while the raucously
upbeat “Happy As A Cow” is the perfect follow-up.
Dørge draws on his favored world music influences as
well: on “Wulla Wussa” he manages to infuse a Middle
Eastern flavor into his solo guitar introduction; “Cha
Cha Lupa is a cha cha only in the most abstract sense
but it’s fun.
When people think of Dørge, they tend to gravitate
toward the NJO releases but his small-group recordings
provide an excellent alternative and a more expansive
picture of this unique guitarist.
For more information, visit steeplechase.dk
Dawn
Mike Osborne (Cuneiform)
by Clifford Allen
While it would be unfair to claim any sort of cosmic
clairvoyance, there are certain artists whose flourish
seems linked to an implicit understanding that their
careers may not be particularly lengthy, placing a
premium on cramming as much creative energy as
possible into a given stretch. Alto saxophonist and
clarinetist Mike Osborne, one of the most significant
instrumentalists that Britain produced during the
heyday of English jazz (1965-85), was only active for
about 15 years but almost everything he produced
during that time showed a unique command of rhythm
and melody in otherwise wide-open situations. A fiery,
thick and acerbic improviser with searing swing, he
was on call as a regular sideman throughout the period,
as evidenced by numerous large and small-group
appearances in England and the Continent with the
likes of Selwyn Lissack, Michael Gibbs, Ric Colbeck,
Harry Beckett, Mike Cooper, Norma Winstone, Kenny
Wheeler, Chris McGregor’s Brotherhood of Breath and
Harry Miller’s Isipingo. Sadly, mental health issues
sidelined him by the early ‘80s and he spent his latter
years institutionalized, dying just shy of his 66th
birthday.
Dawn collects three previously-unreleased studio
sessions and two are firsts: the opening three tracks are
the debut of the saxophonist’s regular trio with South
African bassist Harry Miller and drummer Louis
Moholo while the closing four tracks, from 1966, make
up Osborne’s earliest known work. The latter is a
quartet featuring Miller, baritone and soprano
saxophonist John Surman and drummer Alan Jackson
on three modernist covers and Osborne’s “An Idea”.
On the two trio sessions, Osborne is unbridled but not
without gruff sentimentality as he weaves Charlie
Haden’s “Song for Ché” into the original “Scotch
Pearl” before moving into the title track and spry yoke
of Herbie Hancock’s “Jack Rabbit”. Moholo and Miller
are a robust team and create expanding and contracting
tumbling circles that the saxophonist traces and pushes
against in jubilant, bitterly-edged pirouettes. The
second trio session, from a few months later, is perhaps
a little less crisp sonically but captures the seamless
motion of their volleys and allover sketches through
three Osborne tunes—as the late engineer Mike King
put it once in conversation, the trio was like a
ferociously amped-up rock band (speaking especially
of Miller’s bass, which on later recordings was often
grungily distorted) in its approach.
Three years earlier, Osborne hadn’t yet waxed his
LP debut as part of composer Mike Westbrook’s
orchestra (Celebration, Deram), but if he is a little more
tentative than frontline mate Surman on a bright,
choppy version of Pharoah Sanders’ “Seven By Seven”,
the sheer cooperative joy of this unit is infectious. A
brief, taut and captivating take of Carla Bley’s “And
Now the Queen” follows (Surman appeared on a
version of Bley’s “Ictus” a year earlier as part of pianist
Peter Lemer’s Local Colour date), leading into stomping,
vampy skirls of “An Idea”. The music on offer here is
incredibly rich and provides ample fuel for the fire of
any self-professed Osborne-ophile.
For more information, visit cuneiformrecords.com
Septych
Bram De Looze (Clean Feed)
by Stuart Broomer
Bram De Looze is a 24-year-old Belgian pianist and
Septych is the first CD under his own name, following
recordings with percussionist Dre Hocevar and two
collective groups, the LABTrio and De Looze/Machtel/
De Waele. Septych is ambitious work, with De Looze
leading a septet that immediately establishes the
independence of his thought: the band includes three
reeds, piano, drums and—far less likely—two cellos.
The style falls within the realm of free jazz, but
what stands out are the numerous ways De Looze
deploys his unusual resources and the absolute fluidity
with which the band moves between moods and
textures, written and improvised segments. The
opening “Thorium” develops through shifting layers,
reflective segments highlighting the lyrical resource of
the individual reed players (Belgians Robin Verheyen
on soprano and tenor and Bo Van Der Werf on baritone;
German Gebhard Ullmann on bass clarinet, tenor
saxophone and flute) contrasting with the raw, welling
power of the whole roaring ensemble. On “Xenolith”,
it’s the strange mix of bowed percussion (Dutch Flin
Van Hemmen) and the array of gritty arco sounds and
wandering quartertones from the cellos (Americans
Daniel Levin and Lester St.louis) that is particularly
distinctive. De Looze’s gift for orchestral color of a
more conventional kind is especially evident on the
beautiful “Land of Morning Calm”, certainly the most
‘written’ piece here, bass flute and soprano standing
out against exotic percussion and harmonies; “Seven
Trees Out East”, co-composed by De Looze and
Verheyen, has an almost boppish soprano lead. Subtle,
shifting contrasts between individual and collective
voices are a constant and they arise in three group
improvisations as well.
De Looze rarely foregrounds his own playing
here, but he’s possessed of a special quickness of mind
and hands, weaving in and around the other voices.
His playing is in the spotlight on two improvised
duets, the almost balladic “Interlink” with Van Der
Werf and conversational “L’Esprit d’Escalier” with Van
Hemmen. Like the larger ensemble music, it is fresh,
thoughtful work.
For more information, visit cleanfeed-records.com. De Looze
is at Spectrum Feb. 7th. See Calendar.
February 2nd
Warren Chiasson and Trio
February 9th
Jon Burr Group
February 16th
Paul Hefner Group
February 23rd
Frank Perowsky Group
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
26 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Present Time
Matt Parker Trio (Bynk)
by Eric Wendell
Living in the moment is a theme that weighs heavy on
saxophonist Matt Parker’s latest release. Following up
from his 2013 album Worlds Put Together, Parker
stretches the vocabulary defining the jazz idiom. Nine
tracks highlight Parker’s melodic tool-kit, showcasing
a chameleon-like style both hell-bent on defying jazz’
many sub-genres and putting his stamp on them all.
Aiding Parker is the sparse instrumentation of
bass and drums, expertly defined by Alan Hampton
and Reggie Quinerly, respectively. Taking a cue from
other saxophone-bass-drums trios, the rhythm section
allows the saxophone to experiment freely. This is
evident from bluesy opener “Noah’s Arc”,
Parker taking his time to build a dramatic narrative.
Parker’s songs each highlight a different melodic
component of the saxophone. The second track, “New
Horizons”, features the leader on soprano, strident
squeals and squawks before a minimalistic melody.
“One For Duke” mixes postbop delicacy and early
Ornette phrasing, bridging the gap between beauty
and bestial. Hampton’s solo demonstrates a firm
rhythmic foundation and beautiful melodic sensibility.
Parker is at his best when accompanied by vocalist
Emily Braden, the pair intertwining their timbres in a
beautiful dance on three tracks. The album also features
an arrangement of a previously unrecorded Charles
Mingus tune, “Song to Keki”, based on a brief melody
that appears in the documentary film Charlie Mingus
1968. It shows Parker’s talents as an arranger, building
a strong musical construct from a short melodic figure.
The one misstep is “The Gong”, an attempt at
trance-like abstraction, which feels too short to be
successful and too long to be taken seriously. This one
gaffe can hardly derail this nearly airtight album,
which sets up Parker as a talent with a bright future.
For more information, visit mattparkermusic.com. This
project is at National Sawdust Feb. 11th. See Calendar.
Natural Perception
Tobias Meinhart (Enja)
by Elliott Simon
“Chord” opens saxophonist Tobias Meinhart’s
Natural Perception as a loose but melodic vehicle to
highlight his tenor’s affinity for Ingrid Jensen’s
honeyed trumpet. Pleasant enough stuff, but the heart
and soul of this release lies deeper in the program.
Meinhart’s muse is Alejandro Jodorowsky, whose acid
Western El Topo remains a seminal psychedelic Zen
masterpiece. It spawned a pretty cool and obscure jazz
fusion release (The Music of El Topo, Shades of Joy,
Douglas, 1970) but those tunes are not featured here.
Instead, it is Jodorowsky’s philosophy and specifically
his goal of attaining an “empty mind full heart” that
most informs this session.
“Dark Eyes of Tomorrow” presages the soughtafter
self-actualization as pianist Yago Vazquez
introduces the band to an egoless fluidity through
collective improvisation. “The Effort” is a paean to the
journey. A delicate rhythm from Vazquez, bassist Phil
Donkin and drummer Jesse Simpson frees Meinhart to
demonstrate his gorgeous tone and improvisatory
skill. “Effortless Mind” is the self-surrender as
Meinhart’s soprano blends with trumpet in graceful
organic flow. Donkin and Simpson similarly unbind
their minds and support the progression with subtle
colors. Jensen’s mellow horn shows Meinhart the way
on “Native Speaker”, the two trading off, Vazquez
injecting tranquility into the piece by switching to
Fender Rhodes. “Chorale”, a Vazquez original,
contrasts a fleet rhythm with Meinhart’s relaxed but
beefy tenor to close out the session.
Two covers, creatively restyled but incongruous
with the session’s ethos, round out the program. Jazz
standard “You’re My Everything” gets a total facelift
with the addition of synthy trumpet while guitarist Bill
Frisell’s “Throughout” sacrifices surreal drift for
power as a result of Meinhart’s muscularity and
Vazquez’ sparse setting.
While Charlie Parker never read Jodorowsky; he
got it when he said, “Master your instrument, master
the music and then forget all that crap and just play.”
Natural Perception is at its best when Meinhart follows
that advice and plays from his heart.
For more information, visit jazzrecords.com/enja. This
project is at Jazz at Kitano Feb. 18th. See Calendar.
Jersey Cat
Freddie Hendrix (Sunnyside)
by George Kanzler
West Orange, New Jersey, is only a half hour’s train
ride from Penn Station in midtown Manhattan. Its jazz
scene centered around the now-defunct Cecil’s Jazz
Club, where trumpeter and New Jerseyan Freddie
Hendrix was a regular at jam sessions, along with most
of the musicians, including drummer Cecil Brooks III,
on this showcase for the performing and arranging
talents of the leader, a mainstay of many New York
area big bands since emerging on to the scene around
the turn of the century. The trumpeter is not only from
New Jersey, but one of his idols and influences is the
late Newark trumpeter Woody Shaw, although in his
more exuberant uptempo moments Hendrix recalls
namesake Freddie Hubbard. This album is a diverse
presentation of Hendrix’ playing and writing, featuring
formats ranging from quartet through septet, ballads
to hardbop and even a bit of hip-hop.
The latter rises from Brooks’ off-center accents in
his introduction to Hubbard’s “Hubtones”, giving this
septet version a bounce continued in the spirited fours
exchanged by Hendrix and Brooks at the climax of the
soloing cycle. The two also interact excitingly in a
duologue coda to Tex Allen’s “St. Peter’s Walk”, the
flagwaver that opens the CD with a blast of trumpet
and saxophones (Bruce Williams, alto and Abraham
Burton, tenor). Hendrix’ originals move from the
heartbeat tempo title track, with a rangy theme voiced
by the soulful flugelhorn to Latin blues “The Journey
Man” and exotic “Madeira Nights”. “On the Rise” is a
neo-bop swinger from a quintet with Burton, where
Hendrix’ midrange soloing recalls Clifford Brown and
Shaw, while “Whims of A Waltz”, a more overt nod to
Shaw—who often favored 3/4 and other odd times—
also features a quintet format favored by Shaw,
trombonist David Gibson joining the frontline.
But Hendrix might be most impressive as a
moving, lyrical ballad interpreter on flugelhorn,
burnishing the glow on the standard “You Don’t Know
What Love Is” and showing why Horace Silver’s
“Peace” is his favorite ballad. And in a sparkling bit of
revisionism, his chart on Bronisław Kaper’s oft-soppy
“Invitation” is hiply enlivened with an early Ahmad
Jamal rhythmic flavor.
For more information, visit sunnysiderecords.com. This
project is at Jazz Standard Feb. 10th. See Calendar.
CAROL SUDHALTER
SUDHALTER.COM
UPDATES AND AWARDS
JANUARY THRU JULY 2016
Feb. 20 – 8-12, Cleopatra’s Needle
Quartet with Patrick Poladian (pno)
March 18 – 8-9 pm, Lady Got Chops Fest - Club 5C
Carol w/Mala Waldron (pno/voc),
Yuka Tadano (bass), Doug Richardson (dms)
April 16 – 8-12, Cleopatra’s Needle
Quartet with Patrick Poladian (pno)
May 18 – 7:30 pm Guest Jazz Artist,
Jackson Heights Chamber Orchestra Concert
St. Mark’s Church, 34th Ave/82nd St, JH, NY
May 28 – 6 pm,
Flatted 5th Jazz Vespers Series
Memorial West United
Presbyterian Church, Newark, NJ
featuring Cynthia Holiday (voc)
June 18 - 7 pm,
Sunnyside Reformed Church
Astoria Big Band: “Women
Composers of Popular Music”.
Funding: Queens Council on the Arts
July 17-23 - Faculty
Augusta Heritage
Blues/Swing Week, Elkins, WV.
augustaheritagecenter.org/
augusta-schedule/blues-swing
It’s a book for inquisitive players looking for something
stimulating to read after Steve Lacy’s Findings—and curious
listeners who want to know how smart musicians think.
—Kevin Whitehead/NPR’s ‘Fresh Air’;
author of Why Jazz?: A Concise Guide
Newsome’s insights will inspire musicians of all ages and
skill levels to develop to their highest potential.
—Dr. Michael Veal, musician and professor of
ethnomusicology at Yale University, author of
Tony Allen: An Autobiography of the Master Drummer of Afrobeat
This book is for anyone who has tried and failed but
unwilling to give up on their own passion for “becoming.”
—Dr. David Schroder, musician and professor and
NYU Steinhardt Jazz Studies Director
I wish that I had this book when I was much younger, as I’d
probably be further along in my studies by now!
—Ethan Iverson, pianist and composer (with The Bad Plus)
and writer of the blog Do The Math
samnewsome.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 27

Harlem Stride: Jazz NOW Series
For tickets and details, visit www.harlemstage.org or call 212 281 9240 Ext.19
Experience the emerging voices and rising stars in the world of jazz!
Elena Pinderhughes
Photo by Julie Vastola
Feb 10
The Kwami Coleman Trio
Photo by Idris Solomon
Mar 2
James Francies—JF3
Photo by Rob Davidson
Apr 20
Nate Smith + KINFOLK
Photo by Laura Hanifin
May 4
SHOW TIME: 7:30PM
PRICES: Single Ticket—$15 | Series Subscription—$50
Purchase the series subscription and save over 15%
These programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership
with the City Council, The National Endowment for the Arts and New York State Council on the Arts. Additional program
support comes from Mertz Gilmore Foundation and Jerome Foundation.
Please visit http://www.harlemstage.org/donate/corporations-foundations/ for a complete list of our sponsors.
Live at Firehouse 12
Manuel Valera Trio (Mavo)
Urban Landscape
Manuel Valera & Groove Square (Destiny)
by Terrell Holmes
Manuel Valera, an innovative and adventurous
pianist and composer, has issued a pair of diverse new
releases, confirming his status as one of the most
talented and promising young players around.
Valera, with bassist Hans Glawischnig and
drummer E.J. Strickland, recorded a swinging live set
in 2014 at Firehouse 12, a club in New Haven,
Connecticut that has quickly become one of the premier
jazz spots on the New England map.
The show begins with “Spiral”, a song with which
Valera opened his fine 2014 solo album Self Portrait. He
lays down his distinctive fluid arpeggios and rapidfire
single notes as Strickland thrashes behind him and
Glawischnig lays down pizzicato with the quickness
and force of Ali jabs. The classic-styled bop tune
“Wayne” appropriately precedes a stellar arrangement
of Wayne Shorter’s “Footprints”, which includes a
blistering ostinato passage by the trio, another one of
Valera’s trademarks. Valera uses ostinati constantly
during this set and it isn’t tedious; instead it lets the
trio truly stretch out and build momentum. They are
dazzling on “En Route” and the tango-influenced
“Lirico” and quite adept on ballads like the warmhearted
“Distancia” and a lovely version of the
Intermezzo Sinfonico from the opera Cavalleria
Rusticana (used famously as the music behind the
opening credits of the 1980 Robert De Niro character
vehicle Raging Bull). Valera is a stunning musician
whose celerity detracts neither from his lyricism nor
his flawless harmonic schemes. Live at Firehouse 12
defines energy and cohesiveness and the crowd at the
club that night was clearly bowled over by these
amazing players.
The focus shifts from acoustic to electric on Urban
Landscape. Valera’s band Groove Square is comprised
of Strickland, John Ellis (tenor and bass clarinet), Nir
Felder (guitar) and John Benitez (electric bass). Valera
works out on several electric keyboards, sounding like
a kid in a music store and the greater instrumental
depth results in a vivacious sonic palette.
The album begins with the cool funk of “121st
Street” and from there Valera and the band breezes
through a silky roster of contemporary jazz tunes. And
if the core band isn’t enough, this party has an
impressive guest list. Drummer Jeff “Tain” Watts
Spring supplies 2016 polyrhythmic Harlem drive Stride: on three Jazz tunes, Now including Series
the blistering “Coming Down”. Ascendant harmonica
Subscription player Grégoire Offer Maret lends his soulfulness to
“Gliding” and forms a splendid tandem with Ellis on
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ings of Stagnaro over 15%. and Mauricio Herrera give an added
dimension to “All Around You” and “Geometrico”,
respectively. Felder is seductive on the blues-steeped
“As I Listen” and Valera turns into a sorcerer on the
burner “Never Absent”. Benitez lays down ice blue
lines on the bright-eyed “Little By Little” and Ellis and
Felder engage in a frenetic trading of fours on the
closer “New Ways”. Urban Landscape takes up almost
all of the 74-minute CD limit and one gets the feeling
that without the time constraint Valera and the band
would play forever.
For more information, visit manuelvalera.com and
destinyrecordsmusic.com. Valera is at Terraza 7 Feb. 5th
and Smoke Feb. 24th-25th. See Calendar.
28 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Threshold
Mike DiRubbo (Ksanti)
by Mark Keresman
Alto saxophonist Mike DiRubbo has been part of the
NYC scene for 20+ years, with eight platters as a leader.
DiRubbo studied under late fellow alto saxophonist
Jackie McLean and while he doesn’t sound much like
him, DiRubbo has the same “cry”. Stylistically, this is
hardbop but not yet another redux in the classic Blue
Note/Prestige glory days mode. Threshold has affinities
with that classic sound—state the moody, minorkeyed,
catchy theme and solo—but what separates this
from similar albums is the intensity DiRubbo and
company bring to the table.
Without any histrionics or excess, DiRubbo’s
playing is passionate and razor-sharp. Trumpeter Josh
Evans’ fiery crackle brings to mind Freddie Hubbard
and Lee Morgan and the way he and DiRubbo play off
one other in the title track is exhilarating. Ace drummer
Rudy Royston is volatile but never overbearing, always
supporting the totality of the music. Brian Charette is
known for his organ playing but here applies himself to
the acoustic piano without any loss of heat. Bassist
Ugonna Okegwo is self-effacing but solid.
As fine a player as DiRubbo is, he is also a striking
composer. “Curvas Perigosas” has a pleasing but not at
all predictable melody; DiRubbo’s solo is full of thrust
and parry, deep dark phrasing and bittersweet locution
while Evans conveys many shades of blue yearning.
This tune fades with a great sense of mystery. On the
other hand, DiRubbo is sublime on his ballad “Salter of
the Earth”—while many saxophone wizards can burn
and roar, not everyone can make distinctive, surgingwith-longing
balladry.
Threshold is aptly named—on one side, the glories
of the past; on the other, fresh glories and vistas
beckon. DiRubbo will take you there.
For more information, visit ksantirecords.com. DiRubbo is
at The West End Lounge Feb. 21st with Altos For Pepper.
See Calendar.
Dark Blue
Jim Rotondi (Smoke Sessions)
by Ken Dryden
Trumpeter Jim Rotondi is a postbopper who emerged
in the late ‘80s, playing with veterans such as Toshiko
Akiyoshi and Charles Earland, in addition to working
as a sideman with numerous leaders of his generation
and recording extensively under his own name. After
over two decades working in New York when not on
tour, Rotondi settled in Europe several years ago to
take a university faculty position.
Dark Blue reunites him with two old friends,
pianist David Hazeltine (a frequent collaborator for
years and fellow member of the collective One For All)
and vibraphonist Joe Locke, with bassist David Wong
and drummer Carl Allen providing a solid rhythmic
punch, producing performances that make it sound
like a working group.
Most of Rotondi’s new CD was inspired by his
extensive touring, starting with the hard-charging “In
Graz”, named for the Austrian city where he has taught
for the past few years. The fiery unison line by Rotondi
and Locke, the infectious theme and inspired solos all
around make it the perfect opener. The title ballad
initially has a melancholy, road-weary air, but rich,
expressive trumpet quickly changes the mood to one of
reflection, with both Locke and Hazeltine contributing
engaging solos. The pianist’s “Highline” utilizes many
twists in a showcase for Allen.
The quintet excels with their rich, deliberate
interpretation of the jazz standard “Monk’s Mood”,
giving it a dreamy air that suggests Ellington. Hazeltine
switches to electric piano for several numbers,
including the leader’s frenetic “Biru Kurasai” (written
quickly for a record date in progress) and a playful,
upbeat setting of “Pure Imagination” (from the film
Willy Wonka & the Chocolate Factory). Bob Hilliard-Mort
Garson’s “Our Day Will Come”, a ‘60s pop hit covered
numerous times by a wide range of singers over the
past half-century, is recast by Hazeltine as an easygoing
samba feature for Rotondi’s soulful horn. With this
superb session, Jim Rotondi sounds like he has never
left New York.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Feb. 26th-28th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 29

Live at Fat Tuesday’s
Art Pepper (Elemental Music)
by Stuart Broomer
Art Pepper’s career began brilliantly enough, as a
17-year-old alto saxophonist in bands led by Benny
Carter and Stan Kenton and, as this previously
unreleased 1981 session indicates, recorded just a year
before his death at 56, it ended the same way. For much
of the 38 years in between, however, Pepper’s life was a
disaster, marked by heroin addiction, prison terms and
brief periods of musical brilliance, some of it documented
in the 40-page booklet accompanying this CD and
including interviews with Pepper, his widow Laurie
and other people associated with him. Cast as a “West
Coast” jazzer, Pepper never quite fit in, his style rooted
instead in the rapid-fire flurries and blues inflections of
Charlie Parker. By the time he took the stage at New
York City’s Fat Tuesday’s for these recordings, his
always passionate approach had grown to convey all
the urgency, pain and genius of his undone life.
There are five long tracks here, each intensely
etched by Pepper and an incendiary (and very well
recorded) rhythm section that fuels his flights: his
regular pianist Milcho Leviev and the first-rank pairing
of bassist George Mraz and drummer Al Foster. The
opening version of “Rhythm-a-ning” is a masterpiece,
Monk’s theme taken at a bright uptempo, ricocheting
between the poles of playful and manic. The remarkable
thing about Pepper’s late work is that he never stopped
growing as a saxophonist, never stopped expanding his
expressive range. One of the first musicians to cover an
Ornette Coleman composition (“Tears Inside” in 1960),
Pepper’s playing here includes a highly personal
absorption of Coleman’s vocal insistence and even
something of Eric Dolphy’s convoluted phrasing and
intervallic leaps.
The intensity level is heightened on “What Is This
Thing Called Love?” while Pepper brings his somber,
almost tearful depth to the ballad “Goodbye”, at times
reaching to high-pitched shrieks and cries. A pair of
Pepper originals—”Make a List, Make a Wish” and
“Red Car”—have the rhythm section developing strong,
gospel-suffused funk riffs. Each member of the band
individually stretches the form to the breaking point
while the others hold it together.
Pepper is consistently remarkable, a musician
capable of such emotional depth that joy and pain,
exuberance and terror, live side by side, constantly
impinging on and inferring the opposite. This is among
the recorded highlights of his career.
For more information, visit elemental-music.com. An Art
Pepper Tribute is at The West End Lounge Feb. 21st,
featuring Dmitry Baevsky and Mike DiRubbo. See Calendar.
Our Father Who Art Blakey
Valery Ponomarev Jazz Big Band
(with Benny Golson) (ZOHO)
by George Kanzler
When trumpeter Valery Ponomarev came to America
from his native Russia in 1973 at age 30 (he turned 73
last month), his playing reflected that of his jazz role
models, Clifford Brown and Lee Morgan, both of whom
had played with drummer Art Blakey. Ponomarev had
devoured Blakey’s Jazz Messengers recordings in Russia
and fulfilled a dream when he joined the band in 1976,
staying for four years.
Now, after appearing in Blakey tribute bands
himself, he debuts his own jazz big band, a tribute to
Blakey featuring four tunes from the Messengers’
repertoire as well as his own short “Overture” and
“Gina’s Cooking” and Duke Jordan’s “Jordu” as a
tribute to Brown. In a move that shows confidence in the
big band’s charisma, the album was recorded live at two
Big Apple venues: the majority at Dizzy’s Club and two
tracks featuring guest tenor saxophonist Benny Golson
at Zinc Bar.
Golson appears first on pianist Bobby Timmons’
“Moanin’”, close to a theme for the Messengers when
Golson was a member of the band. Ponomarev’s rousing
arrangement includes his own solo quoting Lee
Morgan’s, plus driving solos from Golson and pianist
Mamiko Watanabe and closing choruses that quote from
Morgan and Timmons’ solos. Golson returns to reprise
his own “Blues March”, Victor Jones bringing frisson to
the band from his perch at the drums, the leader’s
trumpet kicking off a string of building solos from
Golson, Jones, trombonist Corey Wallace, alto
saxophonist Todd Bashore and Watanabe before a fervid
ensemble finale.
Ponomarev incorporates and expands on elements
of original Jazz Messengers performances, including
signature solo phrases, in his charts, but outdoes himself
on the only non-Blakey tribute, “Jordu”, featuring his
scintillating orchestration of a Clifford Brown solo as a
soli for the brass and reeds. And the leader showcases
another exciting trumpeter, Josh Evans, on both Jordan’s
“No Hay Problemas” and Freddie Hubbard’s “Crises”,
both from the Messengers’ book (the latter was in the
band from 1961-64). Ponomarev’s own compositional
take on the Messengers ethos comes through on his
backbeat-driven original “Gina’s Cooking”, featuring
yet another talented trumpeter, Chris Rogers. It all adds
up to an exhilarating outing from a powerful new big
band.
For more information, visit zohomusic.com. Ponomarev is at
Zinc Bar Feb. 3rd and Smalls Feb. 6th. See Calendar.
IN PRINT
Life Lessons From The Horn
Sam Newsome (Some New Press)
by Kurt Gottschalk
The 2007 documentary Musician is uncommon in
the annals of music documentaries in its depiction
of the mundane, filmmaker Daniel Kraus following
Ken Vandermark as he made phone calls and hauled
gear. Eugene Chadbourne’s 1998 book I Hate the Man
Who Runs the Bar provides an insider’s perspective
on the practicalities of being a gigging musician.
Add to that short stack of nonglamorizing
documents Life Lessons From the Horn: Essays on Jazz,
Originality and Being a Working Musician.
Sam Newsome is a remarkable saxophonist and
if the truly unique solo albums he makes have a
limited audience, his book has an even more limited
appeal. The straightforward talk in this slim volume
concerns such issues as time management, valuing
community over money, the worthiness of publicists
and, above all, diligence. The target audience is the
young jazz musician just setting out on a career or
perhaps the ‘seasoned professional’ wondering why
his or her career never took off.
Newsome does allow himself the occasional
sidetrack and it’s there that he falls short. He makes
comments about “cold and uncommunicative”
music and “abstract computer sounds” and tends
toward some grand and unchecked pronouncements
about human behavior and the need for order (the
notoriously slovenly Beethoven might question his
“tidy workplace” doctrine). And it’s more revealing
than it is instructional when he states, “It’s annoying
to find some knucklehead from Norway who claims
to play Norwegian jazz knowing nothing about the
traditions of American jazz and with no interest in
finding out about them.” While an editor might
have called such paragraphs to question, they don’t
take away from his larger lessons.
In other chapters, Newsome boldly defends
Kenny G and Wynton Marsalis and makes interesting
points in the process. And when he gets around to
Coltrane, he writes quite pointedly about taking the
legend’s quest for individuality as inspiration rather
than simply emulating his style. This might be the
strongest of Newsome’s lessons, whether or not
those who should be learning are listening.
For more information, visit samnewsome.com. Newsome
is at The Stone Feb. 20th. See Calendar.
30 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Embraceable
Svend Asmussen (Storyville)
by Mark Keresman
Danish violinist Svend Asmussen, who turns 100 this
month, is still active. He has played with generations
of performers, from Fats Waller and Duke Ellington to
bluegrass mandolin wizard David Grisman and
fusioneer violinist Jean-Luc Ponty. Like contemporary
Stéphane Grappelli, Asmussen is profoundly oriented
to small group swing incorporating bebop and beyond
but has a darker tone, jaunty blues influence and some
of Fats Waller’s exuberant irreverence.
Embraceable is Asmussen in trio with a pair of
players with whom he’d never previously worked,
recorded in a small Paris club in September 1985. The
recording quality is excellent (though the bass is a little
distant in the mix) and is a treasure trove for lovers of
jazz violin. “Singin’ In the Rain” begins with a wry,
country-hoedown lilt before Asmussen embraces that
classic top-o’-the-world melody as much as dancer
Gene Kelly did in the film of the same name. French
pianist Georges Arvanitas (1931-2005) peels out a
rollicking, punchy solo in a Bud Powell-like manner.
On “Sophisticated Lady”, Asmussen makes his violin
weep and moan vividly while Arvanitas provides the
balm-like counterpoint, picking his notes wisely
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without ever sounding tentative, drummer Charles
Saudrais providing subdued but assured propulsion.
Asmussen was trained in European classical
music—Chopin’s “Prelude in C minor” is perhaps an
acknowledgement of that tradition, or perhaps he
simply thought it was a beautiful melody. While the
tune is full of bittersweet angst, the way Asmussen
essays it is purely from the bluesy ballad tradition.
Arvanitas skirts the melody in his solo, interspersing it
with some spare, almost noir-ish blues playing, bassist
Patrice Caratini and Saudrais subtly providing a cool
locomotion. In contrast, Sonny Rollins’ “Pent-Up
House” is a breakneck swing vehicle, Asmussen
wailing as if it were his last-ever chance to do so,
Arvanitas taking after him, Caratini getting a brief,
enthusiastic bowed spotlight and Saudrais
demonstrating how to be both vigorous and
understated simultaneously.
Asmussen’s playing is firmly based in the prebebop
jazz tradition but, unlike some players of his
generation, his personal style didn’t stop developing
after [pick an idealized year]. Every now and then he’ll
insert some wry, impactful dissonances in his solos
and not only is his violin amplified at times it even
uses a wee bit of electronic delay. For never having
played together before, incidentally, this foursome has
remarkable drive and unity of purpose. It is magnificent
this recording—originally done for radio broadcast—
finally sees the light of day in CD form.
For more information, visit storyvillerecords.com
For Stéphane
Didier Lockwood (Fremeaux & Associes)
by Ken Dryden
Didier Lockwood, who turns 60 this month, counts
late violin master Stéphane Grappelli among his
influences, though Lockwood established his own
musical identity long ago. For this tribute, Lockwood
utilizes a constantly shifting supporting cast of
veterans and others deserving wider international
recognition, with most of the 18 selections pieces
Grappelli recorded or performed during his career.
For much of his Gypsy-flavored rendition of
“Night and Day” Lockwood emulates a whistler with
his violin, though he swings quite nicely, complemented
by Romane’s Django-inspired guitar solo. Lockwood
opts for subtlety in his approach to “Tea For Two”,
playing a spacious duet with guitarist Sylvain Luc.
Pianist Martial Solal is his partner for the darting take
of “C’est Si Bon” while the rhythm section is anchored
by the underrated veteran pianist René Urtreger in an
explosive take of “Just One of Those Things”, featuring
some of Lockwood’s best work on this release.
Guitarist Martin Taylor toured and recorded
extensively with Grappelli, so he is a perfect match, in
addition to bassist Jean-Philippe Viret, for an intimate
interpretation of “Someone To Watch Over Me”.
Another Grappelli sideman, guitarist Marc Fosset, is
on hand for a hard-charging take of “Honeysuckle
Rose”, the leader acknowledging the late master by
replicating his trademarked end-of-phrase high notes.
Lockwood’s choice of a slow tempo for “As Time Goes
By” enhances its lyricism and showcases harmonica
master Toots Thielemans.
Like Grappelli, Lockwood delights in sharing the
spotlight with a fellow violinist, trading hot licks with
Fiona Monbet in a rousing “Tiger Rag” or with Pierre
Blanchard in the leader’s Baroque-flavored “Jazzuetto”.
Of course, it’s hard for Lockwood to restrain himself
from showing off his virtuoso chops as in his solo
feature of 19th century classical violin great Niccolò
Paganini’s “Mouvement Perpétuel”. Disc 2 was
obviously made for European audiences; the interviews
with Lockwood, Grappelli and documentary footage
are all in French, as are the PDF documents, The two
stand-alone audio tracks have nothing to do with the
tribute: “Solo Globe-trotter” is a lively overdubbed
raga while “Bossa For Didier” is an easygoing affair
with bass and guitar.
For more information, visit fremeaux.com
ON SCREEN
Channeling Coltrane:
Electric Ascension/Cleaning the Mirror
ROVA (RogueArt)
by Kurt Gottschalk
In 2003, ROVA Saxophone Quartet marked its 25th
anniversary with a new realization of John Coltrane’s
Ascension. Their interpretation of the free jazz
landmark was (and remains) as surprising as it was
successful. Adding electronics (Chris Brown, Ikue
Mori and Otomo Yoshihide), strings (Carla Kihlstedt
and Jenny Scheinman), electric guitar (Nels Cline)
and electric bass (Fred Frith) , they remained faithful
to the original while updating the onslaught of
sound. It’s almost equally surprising that, over a
decade later, they’ve retained it as a repertory piece,
especially given that Coltrane himself never played
the piece live. They brought the project to Winter
Jazzfest last month, marking the release of a Blue-
Ray and DVD set capturing the project at the 2012
Guelph Jazz Festival, with much the same personnel.
There’s not actually a lot of music in the
Coltrane piece: a simple theme followed by a
sequence of solos and group improv. (Coltrane’s
album had 11 players; ROVA has tended to slightly
up that number.) ROVA has continued to capture the
spirit of the original, the sense of exploration, even
of yearning. They don’t try to play the piece so much
as represent it. What must have been an enormously
noisy record to many ears upon its release in 1966 is
recontextualized with more contemporary noises. In
that regard, special mention should be given to
Cline, who also rerecorded Coltrane’s Interstellar
Space with drummer Gregg Bendian back in 1999.
He has a remarkable way of finding his place within
a wide range of settings and has been invaluable to
this Ascension since the beginning.
The Guelph set is beautifully shot and edited,
with multiple cameras capturing the project’s scope.
It feels both expansive and intimate. But nearly as
valuable is the 45-minute documentary on both the
Coltrane and ROVA Ascensions. Cleaning the Mirror
includes interviews with a musician on the Coltrane
album (Art Davis) and footage of players in previous
ROVA incarnations (Yoshihide, Eyvind Kang).
Without attempting to make grand claims about
connectivity, it draws a nice lineage for the continued
survival of a key piece of the ‘60s revolution in jazz.
For more information, visit roguart.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 31

BOXED SET
The Complete Dial Modern Jazz Sessions
Various Artists (Mosaic)
by Clifford Allen
The music of Charlie Parker is at this point more
likely referenced as an abstraction than actually
heard. That certainly makes sense, given that he died
almost 61 years ago and had only a brief, explosive
floruit. His influence on others whose careers lasted
considerably longer and resulted in more diversity—
fellow alto saxophonists Lee Konitz, Phil Woods,
Ornette Coleman, only to mention collaborators like
Miles and Max Roach—means that our perception of
Parker is often somewhat distilled. But, despite a
short life, Bird was copiously recorded both live and
in the studio and while not every session or
configuration was perfect, almost everything is
worth spending several lifetimes exploring. Most of
us don’t have that much on the clock, so even a brief,
considered immersion in his work serves to reform
the way in which we hear jazz. While his later dates
for Verve/Norgran and Savoy are rightly esteemed,
the seven sessions he recorded over two years for
Ross Russell’s Dial label are among the foundational
materials for everything in modern jazz.
Russell founded Dial in Los Angeles in 1946 and
closed up shop in 1949, with the tail-end of the
catalog mostly consisting of modern composers’
work like that of John Cage and the second Viennese
school. Dial wasn’t just a home for Bird, as Russell
also recorded early sessions from, among others,
tenor saxophonists Lucky Thompson, Dexter Gordon
and Wardell Gray; pianists Dodo Marmorosa and
Erroll Garner; trumpeters Dizzy Gillespie and
Howard McGhee; trombonists Bill Harris and Melba
Liston; and vocalist Earl Coleman. The nine discs
that make up The Complete Dial Modern Jazz Sessions
augment a massive set released on Spotlite/Toshiba
in 1995 with extra takes and a bonanza of photos
from the Ross Russell papers held at the University
of Texas-Austin, though most of the booklet’s text
comes from the earlier version’s notes. Dial
recordings may not stand up to contemporary
audiophile ears or those weaned on Rudy Van Gelder
and Roy DuNann, though Russell was able to use
some of the best studios available at the time. With
original acetates lost, the recordings are primarily
from later transfers and suffer somewhat, especially
in the sound of the drums or the low end, which can
sound boxy or positively underwater. This fact is
something one gets used to and it’s usually
counteracted by the forceful presence of the horns
(Bird sounds particularly beautiful and unmarred
across the set), but is a bugaboo of which to be
cognizant. After all, bebop is a drummer’s music
and one wants to hear as much Max Roach, J.C.
Heard, Roy Porter and Stan Levey as possible.
Parker expressed that he wanted Dial to
represent a level of maturity in his musical concept—
slower tempos being one facet of the next phase of
his music—when he signed a contract with Russell
in February 1946. That said, everything he (and by
extension most of the other musicians) waxed for the
label was certifiably scrappy in execution. Parker’s
initial salvo for the label was actually made in 1945
under vibraphonist Red Norvo’s name for Comet
and later reissued by Dial and these sides present
jaunty, crackling soli bursting out of refined
arrangements. From 1946, “Max Making Wax” finds
Parker nearly violent in his outpouring on a session
co-led with McGhee; unsurprisingly, the saxophonist
could inhabit worlds of leaps and tectonic
adjustments from take to take, as well as lay out
syrupy, quavering cries in the caresses of an
occasional ballad. But even if this is a language
attributable to Parker and Gillespie, the sheer
number of co-practitioners is staggering and some
might even take stabs at eclipsing the originators
(such as Gordon and Gray on “The Chase”). It’s also
interesting to hear players who became known for
their almost genteel qualities breaking out of that
cast early on, such as pianist Hank Jones and
saxophonist James Moody, with McGhee sounding
positively ferocious on a December 1947 session.
There’s so much music across the Dial universe
that it is hard to give many specifics, but suffice it to
say that these nine discs are a master class in raw,
uninhibited modern jazz. Alto saxophonist/flutist
James Spaulding once opined to this writer that there
was “nobody freer than Bird”. Going by the nearly
ten hours of music on this set, I’d have to agree.
For more information, visit mosaicrecords.com
FEB 1
oscar peñas
FEB 2
brooklyn big band
FEB 3
silver city bound & sammy
miller and the congregation
FEB 4
mickey bass and the new york
powerhouse ensemble
FEB 5 –7
joe farnsworth prime time
quartet
FEB 8
the mark sherman quartet
FEB 9
gotham kings
FEB 10
bria skonberg
FEB 11–14*
freddy cole: songs for lovers
*prix fixe menu on feb 13 – 14
swing by tonight
set times
7:30pm & 9:30pm
FEB 1 5
antoinette henry
FEB 16 | FLIP SIDE SESSIONS
7:30pm greg lewis organ
monk quintet
9:30pm emmet cohen organ
quartet
FEB 17
brandee younger
FEB 18–21
ben allison group
FEB 22
akua allrich
FEB 23–24
joe chambers outlaw band
FEB 25–28
the music of dexter gordon:
a celebration
FEB 29 | MONDAY NIGHTS WITH WBGO
gerald clayton trio with
robert hurst & greg hutchinson
jazz.org / dizzys
Jazz at Lincoln Center’s Frederick P. Rose Hall
Broadway at 60th Street, 5th Floor, nyc
32 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

M I SCELLANY
ON THIS DAY
by Andrey Henkin
Jazz at the Philharmonic
Various Artists (Fresh Sound)
February 29th, 1956
This two-CD set was released a halfcentury
after it was recorded in
Hamburg, Germany as part of the
JATP’s 1956 European tour, 12 years
after producer Norman Granz first
established the series, which would
continue intermittently through the
‘80s. Three bands are represented: the
JATP All-Stars with Dizzy Gillespie,
Roy Eldridge, Flip Phillips, Illinois
Jacquet, Oscar Peterson, Herb Ellis,
Ray Brown and Gene Krupa;
Peterson’s trio with Ellis and Brown;
and Ella Fitzgerald backed up by the
Peterson trio and Krupa.
February 1
†James P. Johnson 1894-1955
†Tricky Sam Nanton 1904-46
Sadao Watanabe b.1933
Tyrone Brown b.1940
Bugge Wesseltoft b.1964
Joshua Redman b.1969
February 2
†Sonny Stitt 1924-82
†Mimi Perrin 1926-2010
†Stan Getz 1927-91
James Blood Ulmer b.1942
Louis Sclavis b.1953
February 3
†Lil Hardin Armstrong
1898-1971
†Dolly Dawn 1919-2002
†Snooky Young 1919-2011
†Chico Alvarez 1920-92
John Handy b.1933
Leroy Williams b.1937
Bob Stewart b.1945
Greg Tardy b.1966
Rob Garcia b.1969
February 4
†Manny Klein 1908-96
†Artie Bernstein 1909-64
†Harold “Duke” DeJean
1909-2002
†Jutta Hipp 1925-2003
†Wally Cirillo 1927-77
†Tony Fruscella 1927-69
†John Stubblefield 1945-2005
February 5
†Roxelle Claxton 1913-95
†Gene Schroeder 1915-75
Rick Laird b.1941
Bill Mays b.1944
9
Movin’ & Groovin’
Horace Parlan (Blue Note)
February 29th, 1960
Horace Parlan, who came up in the
mid to late ‘50s bands of Charles
Mingus, began his career as a recording
leader with this release, the first of over
30 albums the pianist has made in his
native United States and adopted
home of Denmark. Parlan, who would
go on to make seven more albums for
Blue Note before switching mainly to
SteepleChase and, more recently,
Stunt, is joined by the rhythm section
of Sam Jones and Al Harewood for a
program that includes only one
original, “Up in Cynthia’s Room”, to
go along with seven standards.
February 6
†Ernie Royal 1921-83
Sammy Nestico b.1924
†Bernie Glow 1926-82
Tom McIntosh b.1927
†Nelson Boyd 1928-1985
Oleg Kiryev b.1964
Michael Griener b.1968
Scott Amendola b.1969
February 7
†Eubie Blake 1887-1983
†Ray Crawford 1924-97
†Ray Alexander 1925-2002
†King Curtis 1934-71
Sam Trapchak b.1984
February 8
†Lonnie Johnson 1889-1970
†Buddy Morrow 1919-2010
†Pony Poindexter 1926-88
†Eddie Locke 1930-2009
Renee Manning b.1955
February 9
†Walter Page 1900-57
†Peanuts Holland 1910-79
†Joe Dodge 1922-2004
†Joe Maneri 1927-2009
Steve Wilson b.1961
Daniela Schaechter b.1972
Behn Gillece b.1982
February 10
†Chick Webb 1909-39
†Sir Roland Hanna 1932-2002
†Walter Perkins 1932-2004
†Rahn Burton 1934-2013
Rufus Reid b.1944
†”Butch” Morris 1947-2013
Michael Weiss b.1958
Paolo Fresu b.1961
1 2 3 4 5
6 7 8
10 11 12
13 14
15 16 17
18 19 20
24
By Andrey Henkin
21 22 23
25
February 11
†Claude Jones 1901-62
†Matt Dennis 1914-2002
†Martin Drew 1944-2010
Raoul Björkenheim b.1956
Didier Lockwood b.1956
Jaleel Shaw b.1978
February 12
†Paul Bascomb 1912-86
†Tex Beneke 1914-2000
†Hans Koller 1921-2003
†Art Mardigan 1923-77
†Mel Powell 1923-98
Juini Booth b.1948
Bill Laswell b.1955
Ron Horton b.1960
Szilárd Mezei b.1974
February 13
†Wingy Manone 1900-82
†Les Hite 1903-62
†Wardell Gray 1921-55
†Ron Jefferson 1926-2003
Keith Nichols b.1945
February 14
†Perry Bradford 1893-1970
†Jack Lesberg 1920-2005
Elliot Lawrence b.1925
Phillip Greenlief b.1959
Jason Palmer b.1979
February 15
†Harold Arlen 1905-86
†Walter Fuller 1910-2003
Nathan Davis b.1937
Kirk Lightsey b.1937
Henry Threadgill b.1944
†Edward Vesala 1945-99
Herlin Riley b.1957
Dena DeRose b.1966
visit nycjazzrecord.com for answers
34 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD
Estilhaços
Steve Lacy (Guilda Da Música)
February 29th, 1972
Steve Lacy recorded for dozens of
labels from 1954 to his final tour in
2004, shortly before his death at 69.
This live release (the only LP he made
for the Portuguese folk imprint and
reissued in 2012 by Clean Feed) is from
the Cinema Monumental in Lisbon,
Portugal and features the soprano
saxophonist’s quintet of the period:
Steve Potts (alto saxophone), Irène
Aebi (cello, harmonica and radio
transistor), Kent Carter (bass) and
Noel McGhie (drums). As was the case
throughout most of his career, the fourtune
program is all Lacy originals.
BIRTHDAYS
February 16
†Bill Doggett 1916-96
†Charlie Fowlkes 1916-80
Howard Riley b.1943
Jeff Clayton b.1954
February 17
†Wallace Bishop 1906-86
†Charlie Spivak 1906-82
†Harry Dial 1907-1987
†Alec Wilder 1907-80
†Buddy DeFranco 1923-2014
†Buddy Jones 1924-2000
Fred Frith b.1949
Nicole Mitchell b.1967
February 18
†Hazy Osterwald 1922-2012
†Frank Butler 1928-84
†Billy Butler 1928-91
Jeanfrançois Prins b.1967
Gordon Grdina b.1977
February 19
†Johnny Dunn 1897-1937
Fred Van Hove b.1937
Ron Mathewson b.1944
Blaise Siwula b.1950
David Murray b.1955
February 20
†Jimmy Yancey 1894-1951
†Fred Robinson 1901-84
†Oscar Aleman 1909-80
†Frank Isola 1925-2004
†Bobby Jaspar 1926-63
Nancy Wilson b.1937
†Lew Soloff 1944-2015
Anthony Davis b.1951
Leroy Jones b.1958
Darek Oles b.1963
Iain Ballamy b.1964
CROSSWORD
ACROSS
The Heart of the Ballad
Baker/Pieranunzi (Philology)
February 29th, 1988
American trumpeter/vocalist Chet
Baker (b. 1929) and Italian pianist
Enrico Pieranunzi (b. 1949) first
worked together in December
1979-January 1980 in a co-led quartet.
They reconvened for some dates in
1987-88, their collaboration cut off due
to Baker’s tragic death at 58. This is
their only session as a duo, Baker and
Pieranunzi coming together in an
Italian studio (the following two days
would yield Chet Baker Meets Space
Jazz Trio’s Little Girl Blue) for a relaxed
program of seven standards, four by
Johnny Burke-Jimmy Van Heusen.
February 21
†Tadd Dameron 1917-65
†Eddie Higgins 1932-2009
†Nina Simone 1933-2003
†Graham Collier 1937-2011
Akira Sakata b.1945
Herb Robertson b.1951
Warren Vaché b.1951
Matt Darriau b.1960
Christian Howes b.1972
February 22
†James Reese Europe 1881-1919
†Rex Stewart 1907-67
†Claude “Fiddler” Williams
1908-2004
†Buddy Tate 1914-2001
†Joe Wilder 1922-2014
Dave Bailey b.1926
George Haslam b.1939
Marc Charig b.1944
Harvey Mason b.1947
Joe La Barbera b.1948
February 23
†Hall Overton 1920-72
†Johnny Carisi 1922-92
†Richard Boone 1930-99
†Les Condon 1930-2008
Wayne Escoffery b.1975
February 24
†Eddie Chamblee 1920-99
†Ralph Pena 1927-69
†Andrzej Kurylewicz 1932-2007
Michel Legrand b.1932
†David “Fathead” Newman
1933-2009
†Steve Berrios 1945-2013
Vladimir Chekasin b.1947
Bob Magnusson b.1947
Maggie Nicols b.1948
1. Helen 12 ____, 1976 Charlie Mariano
MPS album
6. 1993 Naked City release on Avant
9. Black and Tan Fantasizer?
10. Vogue Records compilation
double-LP catalogue prefix
11. Play slowly
13. Rick DellaRatta’s Jazz For Peace
partnered with this aid org.
14. Jazz Crusaders drummer Hooper
15. Dr. Lonnie Smith is the most
famous one in jazz
17. This song from Mike Barone’s
2014 Rhubarb album The Vamp
features Ernie Watts
18. Like many a free-jazz group?
20. Video Co. that is a sponsor of
the Shanghai Jazz Festival
21. Jean-Milc Pilc tune from 2005 Dreyfus
album Live At Iridium, New-York
24. Senator Allen ______ of Louisiana
who called Dizzy Gillespie’s music
“so much pure noise” in 1957
February 25
†Tiny Parham 1900-43
†Ray Perry 1915-50
†Fred Katz 1919-2013
†Rene Thomas 1927-75
†Sandy Brown 1929-75
†Tommy Newsom b.1929-2007
†Ake Persson 1932-75
Brian Drye b.1975
February 26
Dave Pell b.1925
†Chris Anderson 1926-2008
†Hagood Hardy 1937-97
Trevor Watts b.1939
Yosuke Yamashita b.1942
Guy Klucevsek b.1948
February 27
†Leo Watson 1898-1950
†Mildred Bailey 1907-51
†Abe Most 1920-2002
†Dexter Gordon 1923-90
†Chuck Wayne 1923-97
Rob Brown b.1962
Joey Calderazzo b.1965
February 28
†Louis Metcalf 1905-81
Svend Asmussen b.1916
†Bill Douglass 1923-94
†Donald Garrett 1932-89
†Willie Bobo 1934-83
Charles Gayle b.1939
Pierre Dørge b.1946
Hilliard Greene b.1958
Mikko Innanen b.1978
February 29
†Jimmy Dorsey 1904-56
†Paul Rutherford 1940-2007
Richie Cole b.1948
Wood Winds West
Frank Strazzeri (Jazz Mark)
February 29th, 1992
The title of this album is an oblique
reference to Rochesterian pianist Frank
Strazzeri’s career thriving for decades
in Los Angeles. This session was
recorded in Hollywood and features a
veteran three-horn frontline of Bill
Perkins (soprano and alto saxophone,
flute, alto flute), Bob Cooper (tenor
saxophone, clarinet) and Jack Nimitz
(baritone saxophone, bass clarinet), the
band completed by Dave Stone (bass)
and Paul Kreibich (drums). The band
plays several Strazzeri originals, such
as the quirkily named “Strazzatonic”,
plus a few standards.
25. Paris _____ Kulesi, jazz club in
Mülheim an der Ruhr
DOWN
HILLIARD GREENE
February 28th, 1958
Hilliard Greene is a living
example of how bassists are
among the hardest working
musicians in jazz. After
studying at Berklee College
of Music and the University
of Northern Iowa, Greene
has gone on to a busy and
diverse career: how many
people can say they worked
with both pianist Cecil
Taylor and vocalist Jimmy
Scott? He has also released
some of his own albums, be
it solo (literally) or as part of
collective groups, to go
along with discographical
entries with Charles Gayle,
Marc Edwards, Dave
Douglas, Pheeroan akLaff,
Steve Swell and Billy Bang.
Greene is a fixture around
his adopted home of New
York, found improvising in
free jazz ensembles or
backing up singers in more
traditional groups. (AH)
1. Track on Eyal Maoz’ 2009 Tzadik album
Hope And Destruction
2. Renate Da ___, founder of publishing house
Buddy’s Knife Jazzedition
3. Natl. of 12 Down
4. Vocalists Jones and James
5. J.J. Johnson’s favorite dessert?
6. Claude Thornhill arranger Ralph
7. Second album from Marino Pliakas/
Michael Wertmüller/Peter Brötzmann trio
Full Blast
8. Rudy Van Gelder, eg.
9. Lerner-Loewe tune “I Still See _____”
from Paint Your Wagon, covered by
Tom Scott, Nat King Cole and Al Hirt
12. Incus co-founder Tony
16. Flutist Hofman
19. Last half of a F Major scale
22. The Jazz Gallery to Jazz at Kitano dir.
23. Country of ICP (abbr.)

BROOKLYN
CENTER for the PERFORMING
ARTS
AT BROOKLYN COLLEGE
2016 Grammy nominee
The Robert Glasper Trio
Sat, Mar 19, 2016 at 8pm, $35
Rhythm Revue: A Latin Soul Celebration
Featuring Joe Bataan and DJ Felix Hernandez
A Con Edison Music Masters Series Event
Sat, Apr 9, 2016 at 8pm, $25
Regina Carter’s Southern Comfort
Sat, Apr 16, 2016 at 8pm, $35
BrooklynCenter.org
or 718-951-4500
Whitman Theatre at Brooklyn College
2 to Flatbush Avenue / on-site paid parking available
Supported by:

CALENDAR
Monday, February 1
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
êMcCoy Tyner Trio with guest Gary Bartz
Blue Note 8, 10:30 pm $45
• Oscar Peñas with Pete Rende, Moto Fukushima, Richie Barshay, Grégoire Maret
Dizzy’s Club 7:30, 9:30 pm $30
George Gee Swing Orchestra The Rainbow Room 6, 8 pm $175-225
• Los Aliens: Ricardo Gallo, Sebastian Cruz, Andrés Jiménez, Amanda Ruzza
Barbès 9:30 pm $10
êJohnathan Blake Group with Joe Dyson, Dayna Stephens, Dezron Douglas
SEEDS 9 pm
John Merrill; Peter Bernstein Mezzrow 7:30, 9:30 pm $20
• Alex Brown Quartet; Ari Hoenig Quartet; Jonathan Michel
Smalls 7:30, 10:30 pm 1 am $20
Behn Gillece; Billy Kaye Jam Fat Cat 9 pm 12:30 am
Brandon Lopez Group Delroy’s Cafe and Wine Bar 9, 10 pm $10
• Ms. Sauderton: Josh Sinton, Matt Bauder, Ava Mendoza, Adam Hopkins,
Kenny Wollesen; Folklords: Jason Ajemian, Nathaniel Morgan, Angela Morris,
Jason Nazary Threes Brewing 8:30, 10 pm $10
• Junbeom Lee Trio with Dustin Kiselbach, Piotr Pawlak;
Elisabeth Lohninger Trio with Walter Fischbacher, Hans Glawischnig
Bar Next Door 6:30, 8:30, 10:30 pm $12
Yako Eicher Trio
• Marcos Rosa
Tomi Jazz 8 pm
Silvana 6 pm
Tuesday, February 2
êHarlem Stride Celebration hosted by Ethan Iverson
Jazz Museum in Harlem 7 pm
• Monterey Jazz Allstars: Raul Midón, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
• Victor Wooten Blue Note 8, 10:30 pm $35
êAruán Ortiz Trio with Brad Jones, Eric McPherson and guests Enildo Rasúa,
Mauricio Herrera Jazz Standard 7:30, 9:30 pm $25
Brooklyn Big Band Dizzy’s Club 7:30, 9:30 pm $35
Patrick Bartley Dizzy’s Club 11:15 pm $5
• Warren Chiasson Trio with Ed MacEachen, Alex Gressel
NYC Baha’i Center 8, 9:30 pm $15
Spiros Exaras/Elio Villafranca Club Bonafide 7:30, 9:30 pm $20
• Dither: Taylor Levine, Joshua Lopes, James Moore, Gyan Riley;
Object Collection: Taylor Levine, Joshua Lopes, James Moore, Gyan Riley,
Deborah Wallace, Avi Glickstein, Daniel Allen Nelson, Shayna Dunkelman,
Owen Weaver, Travis Just, Kara Feely
The Stone 8, 10 pm $15
êThe Horns Band: Matt Pavolka, Kirk Knuffke, Loren Stillman, Jacob Garchik,
Mark Ferber; Josh Sinton, Angelica Sanchez, Christian Weber, Harris Eisenstadt
Korzo 9, 10:30 pm
• Joel Ross Good Vibes with Immanuel Wilkins, Jeremy Corren, Ben Tiberio,
Jalon Archie The Jazz Gallery 7:30, 9:30 pn $15
êJocelyn Medina Quartet with Pete McCann, Evan Gregor, Todd Isler;
Katie Bull Group Project with Jeff Lederer, Landon Knoblock, Ratzo Harris,
George Schuller Cornelia Street Café 8, 9:30 pm $10
• Tommy Holladay Trio with Zach Brown, Jonathan Pinson; Eden Bareket Trio with
Or Bareket, Yonadav Ha Levi Bar Next Door 6:30, 8:30, 10:30 pm $12
êThe Birth of the Cool: Miles Davis and Gerry Mulligan: Juilliard Jazz Ensembles
with guest Lee Konitz
Juilliard School Paul Hall 7:30 pm
• Marianne Solivan Mezzrow 7:30 pm $20
Spike Wilner Trio; Kyle Poole Smalls 7:30 pm 12:30 am $20
• Joe Barna Quartet; Willie Martinez y La Familia; Tadataka Unno
Fat Cat 7, 9 pm 12:30 am
Ryan Slatko solo
Jazz at Kitano 8 pm
Eileen Howard
Tomi Jazz 8 pm
• Yiorgos Kostopoulos Band; Haley Kallenberg
Silvana 6, 8 pm
êVanguard Jazz Orchestra 50th Anniversary Celebration
• Matterhorn
Village Vanguard 8:30, 10:30 pm $30
Shrine 6 pm
Wednesday, February 3
êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr.
Jazz Standard 7:30, 9:30 pm $30
êValery Ponomarev Sextet Zinc Bar 8 pm
• Fabian Almazan Trio with Linda Oh, Henry Cole
Club Bonafide 7:30, 9:30 pm $20
• Desolation Pops: Pauline Kim Harris, Conrad Harris, James Ilgenfritz, Brian Chase,
Kevin Norton, Kathleen Supové; Dither and TILT: Taylor Levine, Joshua Lopes,
James Moore, Gyan Riley, Brian Chase, Mike McCurdy, Kevin Norton, Tim Leopold,
Chris McIntyre, James Rogers The Stone 8, 10 pm $15
• Benny Benack III Band with Braxton Cook, Emmet Cohen, Russell Hall, Bryan Carter
Smoke 7, 9, 10:30 pm $12
Jay Leonhart/Tomoko Ohno Duo Jazz at Kitano 8, 10 pm $15
• Silver City Bound: The Amigos and Sammy Miller and The Congregation
Dizzy’s Club 7:30, 9:30 pm $30
• Patrick Bartley Dizzy’s Club 11:15 pm $5
êSuperette: Chris Lightcap, Curtis Hasselbring, Jonathan Goldberger, Dan Rieser
Barbès 8 pm $10
• Lafayette Harris solo; Tadataka Unno/James Cammack; Sarah Slonim
Mezzrow 7:30, 9:30 pm 12:30 am $20
• Virginia Mayhew Sextet; Jovan Alexandre Collective Consciousness; Aaron Seeber
Smalls 7:30, 10:30 pm 1:30 am $20
• Miki Yamanaka; Groover Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• Ben Winkelman Trio with Desmond White, Obed Calvaire; Dan Wilkins’ Jnana-Vijnana
with Patrick McGee, Mike Bono, Dave Lantz, Daryl Johns, Jimmy Macbride
Cornelia Street Café 8, 9:30 pm $10
Chris Flory Quartet
The Django at Roxy Hotel 8 pm
• Alma Micic Quartet with Rale Micic, Corcoran Holt, Tom Beckham
An Beal Bocht Café 8, 9:30 pm $15
• Kevin Clark Trio with Todd Marcus, John Tate; Matt Chertoff Trio
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Nicolas Letman-Burtinovic, Art Bailey, DaYeon Seok
Bar Chord 9 pm
Michael Gallant Trio
Tomi Jazz 8 pm
• Monterey Jazz Allstars: Raul Midón, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
Hao-Wen Cheng
Silvana 6 pm
• Alex Bryson Quartet
Shrine 6 pm
• Bill Charlap Saint Peter’s 1 pm $10
Thursday, February 4
êJimmy Cobb Trio with Tadataka Unno, David Wong
Ginny’s Supper Club 7:30, 9:30 pm $15
êHighlights In Jazz 43rd Anniversary Gala: Catherine Russell Band; Warren Vaché,
Scott Robinson, Ted Rosenthal, Alvester Garnett
Tribeca Performing Arts Center 8 pm $50
êThe World Of Krakauer—Three Perspectives Of David Krakauer:
Kathleen Tagg/David Krakauer; David Krakauer with String Quartet; David Krakauer’s
Ancestral Groove with Sheryl Bailey, Jerome Harris, Michael Sarin, Jeremy Flower
Le Poisson Rouge 8 pm $25
êMickey Bass New York Powerhouse Ensemble with Steve Nelson, Lakecia Benjamin,
Charles Davis, Jr., Mark Johnson Dizzy’s Club 7:30, 9:30 pm $35
• Patrick Bartley Dizzy’s Club 11:15 pm $10
êInterpretations: Lori Freedman solo; Morton Subotnick/Lillevan
Roulette 8 pm $20
• Jazz Composers’ Workshop Vol. 5: The Stereography Project with Marike van Dijk,
Ben Van Gelder, Lucas Pino, Anna Webber, Brian Drye, Sita Chay,
Benjamin von Gutzeit, Eric Lemmon, Maeghan Burke, Manuel Schmiedel, Rick Rosato,
Colin Stranahan, Martha Kato The Jazz Gallery 7:30, 9:30 pm $15
êMichaël Attias Quartet with Aruàn Ortiz, John Hébert, Nasheet Waits
Greenwich House Music School 7:30, 9 pm $15
êAaron Goldberg/Leon Parker National Sawdust 9:30 pm $25
• Gyan Riley solo; Dither and People: Taylor Levine, Joshua Lopes, James Moore,
Gyan Riley, Mary Halvorson, Kyle Forester, Kevin Shea
The Stone 8, 10 pm $15
• Joe Alterman Trio with James Cammack, Doug Hirlinger
Jazz at Kitano 8, 10 pm $15
• Spike Wilner solo; Ron McClure/Michael Eckroth
Mezzrow 7:30, 9:30 pm $20
• Simona Premazzi’s Outspoken; Ken Fowser Quintet
Smalls 7:30, 10:30 pm $20
• Marcus Persiani Quartet; Saul Rubin Zebtet; Todd Herbert
Fat Cat 7, 10 pm 1:30 am
• Timucin Sahin Quartet with Cory Smythe, Greg Chudzik, Jeff Davis
The Firehouse Space 8 pm $10
• Amy Cervini Quintet with Jesse Lewis, Michael Cabe, Matt Aronoff, Jared Schonig
55Bar 7 pm
• Benjamin Bryden Trio with Marty Kenney, Arthur Vint; Tobias Meinhart Trio with
Marcos Varela, Jesse Simpson Bar Next Door 6:30, 8:30, 10:30 pm $12
Terraza 7 Big Band Terraza 7 9 pm $10
• Perfect Nothing: Roberta Michel, Karen Kim, Aminda Asher, Sean Statser
ShapeShifter Lab 7 pm $15
• Queens Jazz OverGround Clinic and Jazz Jam
Flushing Town Hall 6, 7 pm $10
Bob Albanese Duet
Cleopatra’s Needle 7 pm
• Chika Tanaka Trio Tomi Jazz 9 pm $10
êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr.
Jazz Standard 7:30, 9:30 pm $30
• Benny Benack III Band with Braxton Cook, Emmet Cohen, Russell Hall, Bryan Carter
Smoke 7, 9, 10:30 pm $12
Chris Flory Quartet
The Django at Roxy Hotel 10 pm
• Mary Foster Conklin’s Photographs with John di Martino, Ed Howard, Vince Cherico,
Joel Frahm Birdland 6 pm $25
• Monterey Jazz Allstars: Raul Midón, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
• Scott Reeves Quintet with Tim Armacost, Rob Reiche, Rusty Holloway, Eric Reeves
Silvana 6 pm
• Jun Xiao
Shrine 6 pm
36 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Friday, February 5
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Victor Lewis
Smoke 7, 9, 10:30 pm $38
êJoe Farnsworth Prime Time Quartet with Jeremy Pelt, Harold Mabern, Bob Cranshaw
Dizzy’s Club 7:30, 9:30 pm $40
• Patrick Bartley Dizzy’s Club 11:15 pm $10
• Roni Ben-Hur Quartet with George Cables, Harvie S
Jazz at Kitano 8, 10 pm $30
êPeter Evans Quintet with Sam Pluta, Ron Stabinsky, Tom Blancarte, Jim Black
and guests Ingrid Laubrock, Aaron Burnett
Roulette 8 pm $20
• Dither plays Zorn Game Pieces: Taylor Levine, Joshua Lopes, James Moore,
Gyan Riley, Ikue Mori, Michael Nicolas; Dither plays Zorn The Bagatelles: Taylor Levine,
Joshua Lopes, James Moore The Stone 8, 10 pm $15
• Shannon Powell New Orleans Rhythm King Mardi Gras Celebration with Kyle Roussel,
Chris Severin, Aaron Fletcher and guest Evan Christopher
Blue Note 8, 10:30 pm $35
• Peter Apfelbaum’s Sparkler with Natalie Cressman, Jill Ryan, Will Bernard, Kyle Sanna,
Charlie Ferguson The Jazz Gallery 7:30, 9:30 pm $22
• Manuel Valera Trio with Zach Brown, Ludwig Afonso
Terraza 7 9:30 pm $10
• Duende: Josh Sinton/Jason Ajemian; Alvaro Domene’s Desvelo with Josh Sinton,
Briggan Krauss, Mike Pride Ibeam Brooklyn 8:30, 10 pm $15
• Julian Shore Quintet with Gilad Hekselman, Dayna Stephens, Jorge Roeder,
Colin Stranahan Cornelia Street Café 9, 10:30 pm $10
• Steve Davis with Larry Willis, Ugonna Okegwo; Johnny O’Neal
Mezzrow 9:30 pm 12:30 am $20
• David Bixler Quintet; Jean-Michel Pilc Total Madness Quintet
Smalls 7:30, 10:30 pm $20
• Ray Parker Quartet; Jared Gold/Dave Gibson; Tal Ronen
Fat Cat 6, 10:30 pm 1:30 am
• Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9 pm $3.50
êTerrence McManus solo; Far Cry Flutes: Jamie Baum, Robert Dick, Jessica Lurie,
Elsa Nilsson Soup & Sound 8 pm $20
• Rob Garcia Quartet; Sam Sadigursky/Leo Genovese Duo
Prospect Range 7:30, 9 pm $20
• Chris Washburne and SYOTOS Bronx Museum of the Arts 7:30 pm
• Electric Red; Harvey Valdes Trio ShapeShifter Lab 7, 8:15 pm $8
• The Sugarman 3 and Patrick Sargent
The Django at Roxy Hotel 10 pm
• Audrey Silver/Dominique Gagne The West End Lounge 9 pm $10
• Rick Stone Trio with Joe Strasser Bar Next Door 7:30, 9:30, 11:30 pm $12
• Tony Tixier Rockwood Music Hall Stage 3 7 pm $10
• Gustavo Moretto Trio
Cleopatra’s Needle 8 pm
• Ryoji Ray Daike Tomi Jazz 9 pm $10
êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr.
Jazz Standard 7:30, 9:30 pm $35
• Monterey Jazz Allstars: Raul Midón, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
• Dana Reedy
• Valentina Marino
Silvana 6 pm
Shrine 6 pm
Saturday, February 6
êThe Fringe: George Garzone, John Lockwood, Bob Gullotti
Cornelia Street Café 9, 10:30 pm $10
êRENKU: Michaël Attias, John Hébert, Satøshi Takeishi
Greenwich House Music School 8 pm $15
• Theo Crocker DVRKFUNK Ginny’s Supper Club 7:30, 9:30 pm $15
• The Blasted Heath: Joshua Lopes, Jon Lango, James Ilgenfritz, Mike Sperone;
Taylor Levine, Kevin Shea, Philip White
The Stone 8, 10 pm $15
êThe King and I…Swings: Ted Rosenthal, Karrin Allyson, Jay Leonhart, Dennis Mackrel
Riverdale Y 7:30 pm $35
• Napoleon Revels-Bey Sistas’ Place 9, 10:30 pm $20
• Keio Light Music Society Big Band: Hirotoshi Shiraishi, Takeshi Nishikawa,
Hirotaro Takeuchi, Mikiko Motomuro, Ryoma Suzuki, Shun Katayama, Kazuki Yasui,
Yutaro Suzuki, Nayu Watanabe, Mai Imamura, Ryosuke Minowa, Shigetaka Ikemoto,
Hajime Taguchi, Keisuke Yoshida, Shoko Kitahata, Takahiro Nawashiro, Maho Suzuki,
Shimpei Ogawa, Takahiro Sakamoto, Kento Watari
The Jazz Gallery 7:30, 9:30 pm $22
êVinnie Sperrazza solo; Brian Drye/Rob Curto; Ben Goldberg, Michael Coleman,
Hamir Atwal Ibeam Brooklyn 8:30 pm $15
• The Hot Sardines The Rainbow Room 6, 8 pm $250
• Sugartone Brass Band
BAMCafé 9 pm
• James Silberstein Trio with Marco Panascia, Peter Grant
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Melvis Santa and Ashedi; E.J. Strickland’s Transient Beings with
Sarah Elizabeth Charles, Nir Felder, Tom Guarna, Rashaan Carter
The Cell 7:30, 9:30 pm $15
• Theo Hill; Raphael D’lugoff Quintet; Greg Glassman Jam
Fat Cat 6, 10 pm 1:30 am
• Jim Hickey and Friends Symphony Space Bar Thalia 9 pm
• Richard Clements Trio
Cleopatra’s Needle 8 pm
• Emi Takada; Kathrine Vokes Tomi Jazz 8, 11 pm $10
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Victor Lewis
Smoke 7, 9, 10:30 pm $38
êJoe Farnsworth Prime Time Quartet with Jeremy Pelt, Harold Mabern, Bob Cranshaw
Dizzy’s Club 7:30, 9:30 pm $45
• Patrick Bartley Dizzy’s Club 11:15 pm $20
• Roni Ben-Hur Quartet with George Cables, Harvie S, Victor Lewis
Jazz at Kitano 8, 10 pm $30
• Shannon Powell New Orleans Rhythm King Mardi Gras Celebration with Kyle Roussel,
Chris Severin, Aaron Fletcher and guest Evan Christopher
Blue Note 8, 10:30 pm $35
• Spike Wilner; Steve Davis with Larry Willis, Ugonna Okegwo
Mezzrow 7:30, 9:30 pm $20
• Valery Ponomarev Quintet; Jean-Michel Pilc Total Madness Quintet;
Philip Harper Quintet Smalls 7:30, 10:30 pm 1:30 am $20
• Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9 pm $3.50
êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr.
Jazz Standard 7:30, 9:30 pm $35
• Monterey Jazz Allstars: Raul Midón, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
• Isak Gaines
Silvana 6 pm
êBriggan Krauss solo Gallery 440 4:40 pm $5
• 8-Bit Aesthetic: Sean Sonderegger, Michael Eaton, Michael Bates
Kettle and Thread 4 pm
• Family Concert—Who Is Frank Sinatra?: Allen Harris; Kenny Washington with
Andy Farber Orchestra Rose Theater 1, 3 pm $10
Sunday, February 7
êMoonseed: Tomas Fujiwara, Mary Halvorson, Briggan Krauss
Ibeam Brooklyn 8:30 pm $15
êJane Ira Bloom Trio with Mark Helias, Dominic Fallacaro
Cornelia Street Café 8:30 pm $10
• Giacomo Fiore, Stephen Griesgraber, Taylor Levine, Joshua Lopes, Grey McMurray,
James Moore, Larry Polansky, Geremy Schulick; Dither: Taylor Levine, Joshua Lopes,
James Moore and guests The Stone 8, 10 pm $15
êLester St.louis solo; Bram De Looze, Henry Fraser, Dre Hocevar; Aaron Larson Tevis,
Bryan Qu, Joe Morris, Brandon Lopez, Dre Hocevar
Spectrum 7 pm
• Heroes Are Gang Leaders: Ryan Frazier, Larkin Grimm, James Brandon Lewis,
Thomas Sayers Ellis The Firehouse Space 8 pm $10
• Pasquale Grasso solo; Joel Frahm with Spike Wilner, Neal Miner
Mezzrow 7:30, 9:30 pm $20
• Johnny O’Neal Trio; Charles Owens Quartet; Hillel Salem
Smalls 7:30, 10:30 pm 1:30 am $20
• Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
• Stephen Fullers Trio
Tomi Jazz 8 pm
• George Nazos Band; Astrid Kuljanic
Silvana 6, 8 pm
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Victor Lewis
Smoke 7, 9, 10:30 pm $38
êJoe Farnsworth Prime Time Quartet with Jeremy Pelt, Harold Mabern, Bob Cranshaw
Dizzy’s Club 7:30, 9:30 pm $35
• Shannon Powell New Orleans Rhythm King Mardi Gras Celebration with Kyle Roussel,
Chris Severin, Aaron Fletcher and guest Evan Christopher
Blue Note 8, 10:30 pm $35
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
• Deep Ecology Trio: Cristian Amigo, JD Parran, Andrew Drury; George E. Pinal,
Michael Foster, Kevin Shea Downtown Music Gallery 6, 7 pm
• Ike Sturm + Evergreen
Saint Peter’s 5 pm
• John Zorn’s Bagatelles: Gyan Riley/Julian Lage
The Stone 3 pm $20
• ”Hot Lips” Joey Morant and Catfish Stew
Blue Note 11:30 am 1:30 pm $35
• Roz Corral Trio with John Hart, Paul Gill
North Square Lounge 12:30, 2 pm
FIND A HEART FEBRUARY 9-13
WITH
2016 BEST JAZZ VOCAL ALBUM GRAMMY® NOMINEE
DENISE DONATELLI
Join the superb vocalist and her outstanding
Band for a musical tour of NYC celebrating her
latest CD and GRAMMY® Nomination for
www.denisedonatelli.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 37

Monday, February 8
• Kermit Ruffins and The BBQ Swingers with Yoshitaka Tsjiu, Shannon Powell,
Kevin Morris, Nayo Jones Blue Note 8, 10:30 pm $35
êMark Sherman Quartet with George Cables, Ray Drummond, Carl Allen
Dizzy’s Club 7:30, 9:30 pm $30
Chris Wasburne and SYOTOS Subrosa 8, 10 pm $20
• Franky Rousseau Large Band with Arthur Hnatek, Michael Valeanu, Martha Kato,
Alex Weston, Matt Rousseau, Remy LeBoeuf, Dillon Baiocchi, Levon Henry,
Yacine Boulares, Sarah Safaie, Kyla Moscovich, Cody Rowlands, Maz Maher,
Carou Johnson, Andy Clausen, Andy Sharkey, Nick Grinder, Felix Del Tredici;
Keio Light Music Society Big Band: Hirotoshi Shiraishi, Takeshi Nishikawa,
Hirotaro Takeuchi, Mikiko Motomuro, Ryoma Suzuki, Shun Katayama, Kazuki Yasui,
Yutaro Suzuki, Nayu Watanabe, Mai Imamura, Ryosuke Minowa, Shigetaka Ikemoto,
Hajime Taguchi, Keisuke Yoshida, Shoko Kitahata, Takahiro Nawashiro, Maho Suzuki,
Shimpei Ogawa, Takahiro Sakamoto, Kento Watari
ShapeShifter Lab 7, 8:15 pm $15
• John Merrill; Michael Kanan Trio with Neal Miner, Greg Ruggiero
Mezzrow 7:30, 9:30 pm $20
• Eden Ladin’s YEQUM; Ari Hoenig Quartet; Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
Ned Goold Quartet; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am
George Gee Swing Orchestra The Rainbow Room 6, 8 pm $175-225
• Jason Mears/Stephen Flinn; Twiddlesticks: Devin Gray, Joanna Mattrey, Henry Fraser
Delroy’s Cafe and Wine Bar 9, 10 pm $10
• Paul Jones Trio with Johannes Felscher, Jake Robinson; Linda Ciafalo Trio with
Mark Marino, Marcus McLaurine Bar Next Door 6:30, 8:30, 10:30 pm $12
• Joe Maniscalco Trio
Tomi Jazz 8 pm
êVanguard Jazz Orchestra 50th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $30
• Bill Stevens, Rich Russo, Gary Fogel
Silvana 6 pm
• Nodus Trio
Shrine 6 pm
• Tribute to Jobim and Piazzolla: Andres Laprida
Highline Ballroom 12:30 pm $22-30
Tuesday, February 9
êKeith Jarrett solo Stern Auditorium 8 pm $45-125
êThe Kitchen Improvises 1976–1983: George Lewis, Thomas Buckner, Earl Howard,
Oliver Lake, Michael Lytle, Miya Masaoka, Ikue Mori, Andrea Parkins, Lucie Vítková
The Kitchen 8 pm $15
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
êGREEN I: David First, Eri Yamamoto, Reut Regev, William Hooker;
GREEN II: JD Parran, Edward Ricart, Luke Stewart, William Hooker
The Stone 8, 10 pm $15
• Gotham Kings—A Mardi Gras Celebration with Riley Mulherkar and Alphonso Horne
Dizzy’s Club 7:30, 9:30 pm $40
Mathis Picard Dizzy’s Club 11:15 pm $5
Misha Piatigorsky Sketchy Orkestra Birdland 8:30, 11 pm $40
• Jonathan Kreisberg Quartet with David Kikoski, Rick Rosato, Colin Stranahan
Jazz Standard 7:30, 9:30 pm $25
Jon Burr Group NYC Baha’i Center 8, 9:30 pm $15
• Jazz from an African Perspective: Francisco Mora Catlett
Jazz Museum in Harlem 7 pm $10
• Boris Kozlov Trio with Alex Foster, Freddie Bryant
Columbia University Buell Hall 8:15 pm
• Dave Scott Quintet with Rich Perry, Jacob Sacks, Peter Brendler, Satoshi Takeishi
Cornelia Street Café 8 pm $10
• Dejan Terzic Quartet with Chris Speed, Bojan Z, Matt Penman; Tim Berne,
Shahzad Ismaily, Ches Smith Korzo 9, 10:30 pm
• David Smith Quintet with Dan Pratt, Nate Radley, Gary Wang, Anthony Pinciotti;
John Yao and His 17-piece Instrument with Billy Drewes, Alejandro Aviles, Rich Perry,
Jon Irabagon, Frank Basilie, John Walsh, Jason Wiseman, David Smith, Andy Gravish,
Luis Bonilla, Matt McDonald, Kaji Kajiwara, Jennifer Wharton, Jesse Stacken,
Bob Sabin, Vince Cherico ShapeShifter Lab 7, 8:15 pm $10
• Issac Darche Trio with Adrian Moring, Cory Cox; Jeff Barone Trio with Jack Wilkins,
Ron Oswanski Bar Next Door 6:30, 8:30, 10:30 pm $12
• Denise Donatelli with Laurence Hobgood, Lage Lund, Ed Howard, Jeremy Dutton
Club Bonafide 7:30, 9:30 pm $20
Cristina Morrison Metropolitan Room 7 pm $24
• Stan Killian Quartet with Benito Gonzalez, Corcoran Holt, McClenty Hunter
55Bar 7 pm
Evan Christopher/Ehud Asherie Mezzrow 7:30 pm $20
• Spike Wilner Trio; Smalls Legacy Band; Corey Wallace DUBtet
Smalls 7:30, 9:30 pm 12:30 am $20
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop
Fat Cat 7, 9 pm
• Curriculum Quintetn: Josh Sinton, Danny Gouker, Samuel Weinberg, Will McEvoy,
Max Goldman Rye 9, 10 pm $10
• Jeremy Danneman, Anders Nilsson, Michael Bates, Kevin Zubek
Troost 9 pm
Ryan Slatko solo
Jazz at Kitano 8 pm
Jasper Dutz
Tomi Jazz 8 pm
• Forever Moonlight Band Silvana 8 pm
• Marcos Rosa; Big Beat
Shrine 6, 8 pm
• Kermit Ruffins and The BBQ Swingers with Yoshitaka Tsjiu, Shannon Powell,
Kevin Morris, Nayo Jones Blue Note 8, 10:30 pm $35
Wednesday, February 10
êDon Friedman solo Jazz at Kitano 8, 10 pm $15
êMike Clark, Dave Stryker, James Genus
Iridium 8 pm $25
êDawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi
The Kitchen 8 pm $15
êBLUE I: Ted Daniel, Dick Griffin, Hill Greene, Larry Roland, William Hooker;
BLUE II: Michaël Attias, Chris Welcome, David Soldier, Shayna Dulberger,
William Hooker The Stone 8, 10 pm $15
êFreddie Hendrix Septet with Bruce Williams, Abraham Burton, David Gibson,
Brandon McCune, Corcoran Holt, Cecil Brooks III
Jazz Standard 7:30, 9:30 pm $25
êMy Fat Valentine—Love Songs from the Big Easy: Bria Skonberg with Evan Arntzen,
Ehud Asherie, Russell Hall, Jerome Jennings
Dizzy’s Club 7:30, 9:30 pm $35
Mathis Picard Dizzy’s Club 11:15 pm $5
• Sean Lyons Quintet with Jon Faddis, David Hazeltine, Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $12
• Michel Reis with Aidan O’Donnell, Eric Doob; Vinnie Sperrazza with Loren Stillman,
Ben Monder, Eivind Opsvik Cornelia Street Café 8, 9:30 pm $10
Elena Pinderhughes Harlem Stage Gatehouse 7:30 pm $15
Fabian Almazan’s Rhizome ShapeShifter Lab 8:15 pm $10
Denise Donatelli; Sarah Slonim Mezzrow 9:30 pm 12:30 am $20
• Roberto Gatto Quartet; Jimmy O’Connell Sextet; Sanah Kadoura
Smalls 7:30, 10:30 pm 1:30 am $20
• Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• A Tribute to Benny Goodman: Julian Bliss Septet
Schimmel Center 7:30 pm $39
êMichael Weiss Trio
The Django at Roxy Hotel 8 pm
Andrew Shillito; Candice Reyes Tomi Jazz 8, 11 pm
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
• Kermit Ruffins and The BBQ Swingers with Yoshitaka Tsjiu, Shannon Powell,
Kevin Morris, Nayo Jones Blue Note 8, 10:30 pm $35
Nicole Glover
Silvana 6 pm
• Alex Bryson Quartet
Shrine 6 pm
êRyan Keberle and Catharsis Manhattan School Carla Bossi-Comelli Studio 3 pm
Thursday, February 11
êMr. Joy—A Celebration of Paul Bley: Lucian Ban; Ethan Iverson; Frank Kimbrough;
Matt Mitchell; Aaron Parks; Jacob Sacks; Rob Schwimmer
Greenwich House Music School 8 pm
êSongs for Lovers: Freddy Cole Quartet with Harry Allen, Elias Bailey, Quentin Baxter
Dizzy’s Club 7:30, 9:30 pm $40
Mathis Picard Dizzy’s Club 11:15 pm $10
• Dave Stryker/Steve Slagle Band Expanded with John Clark, Billy Drewes, Clark Gayton,
Bill O’Connell, Gerald Cannon, McClenty Hunter
Jazz Standard 7:30, 9:30 pm $25
• Anita Wardell and Art Hirahara Trio with Matt Aronoff, Josh Morrison with guest Perez
Jazz at Kitano 8, 10 pm $15
• Taeko with Noah Haidu, Marcus McLaurine, Tommy Campbell
Birdland 6 pm $30
• Jane Monheit Birdland 8:30, 11 pm $40
êRachelle Ferrell Blue Note 8, 10:30 pm $45
• INDIGO I: Steve Dalachinsky, Lisa Sokolov, AR’BRAF, Jesse Henry, Dave Ross,
William Hooker; INDIGO II: Louie Belogenis, Bern Nix, Cristian Amigo, William Hooker
The Stone 8, 10 pm $15
• Matt Parker with Alan Hampton, Reggie Quinerly, Emily Braden, Jimmy Sutherland,
Michael Arthur National Sawdust 7 pm $25
Denise Donatelli Metropolitan Room 9:30 pm $24
• John Raymond Trio with Gilad Hekselman, Colin Stranahan
Cornelia Street Café 8, 9:30 pm $10
• Spike Wilner solo; Rachel Z/Johnathan Toscano
Mezzrow 7:30, 9:30 pm $20
• Ben Van Gelder Quintet; Nick Hempton Band
Smalls 7:30, 10:30 pm $20
• John Benitez Quartet; Greg Glassman Quintet
Fat Cat 7, 10 pm
• Magos Herrera/Javier Limón and guest Grégoire Maret
Americas Society 7 pm $20
• Great On Paper: Kevin Sun, Isaac Wilson, Simón Willson, Robin Baytas
The Jazz Gallery 7:30, 9:30 pm $15
• Brandon Lewis Trials; Timo Vollbrecht Fly Magic; Wing Walker Orchestra
Threes Brewing 8, 9, 10 pm
Lawrence Leathers Ginny’s Supper Club 7:30, 9:30 pm $15
• Flavio Silva Trio with Maksim Perepelica, Diego Joachin Ramirez; Jure Pukl Trio with
Marcos Varela, Johnathan Blake Bar Next Door 6:30, 8:30, 10:30 pm $12
Ken Simon Duet
Cleopatra’s Needle 7 pm
Scot Albertson Tomi Jazz 9 pm $10
• Sean Lyons Quintet with Eddie Henderson, David Hazeltine, Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $12
Michael Weiss Trio
The Django at Roxy Hotel 10 pm
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
Brian Pareschi BP Express
• Jeffrey Schaeffer
Silvana 6 pm
Shrine 6 pm
Friday, February 12
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Frank Sinatra at 100: Monty Alexander and Friends with Kurt Elling
Rose Theater 8 pm $40-130
êCécile McLorin Salvant The Appel Room 7, 9:30 pm $75-100
êDan Weiss Large Ensemble with Chris Tordini, Jacob Sacks, Matt Mitchell,
Miles Okazaki, Katie Andrews, Stephen Cellucci, Anna Webber, David Binney,
Tim Berne, Ohad Talmor, Jacob Garchik, Ben Gerstein, Jen Shyu, Judith Berkson,
Lana Is The Jazz Gallery 7:30, 9:30 pm $22
êEllery Eskelin Trio with Christian Weber, Michael Greenair
Cornelia Street Café 9, 10:30 pm $10
• Vince Giordano and The Nighthawks
The Rainbow Room 6, 8 pm $275
• Valerie Capers Trio with John Robinson, Doug Richardson
Jazz at Kitano 8, 10 pm $30
• The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Allyn Johnson, Corcoran Holt
Smoke 7, 9, 10:30 pm $45
• Luis Perdomo/Rufus Reid; Johnny O’Neal
Mezzrow 9:30 pm 12:30 am $20
• David Schnitter Quartet; Kenyatta Beasley Septet; Joe Farnsworth
Smalls 7:30, 10:30 pm 1:30 am $20
• Tuomo Uusitalo Trio; Greg Lewis Organ Monk
Fat Cat 6, 10:30 pm
• Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9 pm $3.50
êRED I: Tom Hamilton, David Soldier, Bruce Eisenbeil, William Hooker;
RED II: Andrew Lamb, Mark Hennen, Adam Lane, William Hooker
The Stone 8, 10 pm $15
Mark Guiliana’s Beat Music Rockwood Music Hall Stage 2 10 pm $15
Denise Donatelli Minton’s 7, 8:30, 10 pm $10-20
Sammy Miller and the Congregation Ginny’s Supper Club 7:30, 9:30 pm $15
• Andrew Smiley solo; Chris Welcome, Jaimie Branch, Sam Weinberg;
Julian Kirshner New York Trio with Sam Weinberg, Brandon Lopez
ShapeShifter Lab 7 pm $10
• Tulivu-Donna Cumberbatch’s Seasoned Elegance
BAMCafé 9 pm
Avalon Jazz Band Club Bonafide 7:30, 9:30 pm $20
• Jeff McLaughlin Trio with Marcos Varela, Rodrigo Recabarren
Bar Next Door 7:30, 9:30, 11:30 pm $12
Emanuele Basentini
Cleopatra’s Needle 8 pm
Takenori Nishiuchi Tomi Jazz 9 pm $10
• Songs for Lovers: Freddy Cole Quartet with Harry Allen, Elias Bailey, Quentin Baxter
Dizzy’s Club 7:30, 9:30 pm $40
Mathis Picard Dizzy’s Club 11:15 pm $10
• Jane Monheit Birdland 8:30, 11 pm $40
êRachelle Ferrell Blue Note 8, 10:30 pm $45
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
Liana Gabel Four
Silvana 6 pm
• Jocelyn Shannon Quartet Shrine 6 pm
Saturday, February 13
êGregory Porter Town Hall 8 pm $30-55
êKirk Knuffke/Frank Kimbrough Quartet with Jay Anderson, Matt Wilson
Jazz at Kitano 8, 10 pm $30
êMichael Carvin Experience Columbia University Low Library 7 pm
êLucian Ban/Mat Maneri Tuba Project with Bruce Williams, Bob Stewart, Billy Hart
Cornelia Street Café 9, 10:30 pm $10
êORANGE I: Jessica Pavone, Chris Pitsiokos, Kyoko Kitamura, William Hooker;
ORANGE II: Mixashawn Lee Rozie, Alan Licht, William Parker, William Hooker
The Stone 8, 10 pm $15
• Tribute to Jimmy Scott: TK Blue Quintet
Sistas’ Place 9, 10:30 pm $20
• Ben Monder Trio with Matt Brewer, Mark Ferber
Bar Next Door 7:30, 9:30, 11:30 pm $12
Clifford Barbaro Trio
Cleopatra’s Needle 8 pm
Denise Donatelli
The Django at Roxy Hotel 8 pm
Revive Big Band Ginny’s Supper Club 7:30, 9:30 pm $15
• Janinah Burnett with Natalie Tennenbaum, Joshua Levine, Shirazette Tinnin
The Cell 7:30 pm $15
• Benny Benack; Dayna Stephens; Greg Glassman Jam
Fat Cat 6, 10 pm 1:30 am
• Julian Kirshner, Sam Weinberg, Brandon Lopez; Tanya Kalmanovitch/Mat Maneri;
Anaïs Maviel solo
New Revolution Arts 8, 9, 10 pm
• Oakwood Underground: Maddie Chilton, Nick Summers, Kyle Lashley, Kevin Quinn,
Jon Francke, Mike Schott; John Menegon’s Three for All with Aquiles Navaro,
Travis Sullivan, Mark Dzuiba, Tcheser Holmes, Dave Berger
ShapeShifter Lab 7, 8:15 pm $10
• Daniel Bennett Group; Paul Lee Trio
Tomi Jazz 8, 11 pm $10
• Kadawa; Noel Simone Wippler Band
Silvana 6, 8 pm
• Benjamin Lopez; Abel Mireles
Shrine 6, 7 pm
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Frank Sinatra at 100: Monty Alexander and Friends with Kurt Elling
Rose Theater 8 pm $40-130
êCécile McLorin Salvant The Appel Room 7, 9:30 pm $75-100
êDan Weiss Large Ensemble with Chris Tordini, Jacob Sacks, Matt Mitchell,
Miles Okazaki, Katie Andrews, Stephen Cellucci, Anna Webber, David Binney,
Tim Berne, Ohad Talmor, Jacob Garchik, Ben Gerstein, Jen Shyu, Judith Berkson,
Lana Is The Jazz Gallery 7:30, 9:30 pm $22
• Vince Giordano and The Nighthawks
The Rainbow Room 6, 8 pm $275
• The Baylor Project: Jean and Marcus Baylor, Allyn Johnson, Corcoran Holt
Smoke 7, 9, 10:30 pm $45
• Spike Wilner solo; Luis Perdomo/Rufus Reid
Mezzrow 7:30, 9:30 pm $20
• Tommy Campbell Vocal-eyes; Kenyatta Beasley Septet; Brooklyn Circle
Smalls 7:30, 10:30 pm 1:30 am $20
• Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9 pm $3.50
• Songs for Lovers: Freddy Cole Quartet with Harry Allen, Elias Bailey, Quentin Baxter
Dizzy’s Club 7:30, 10 pm $140
• Mathis Picard Dizzy’s Club 11:30 pm $20
• Jane Monheit Birdland 8:30, 11 pm $40
êRachelle Ferrell Blue Note 8, 10:30 pm $45
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
Sunday, February 14
êSheila Jordan Trio with Alan Broadbent, Harvie S
Cornelia Street Café 8:30, 10 pm $10
êYELLOW I: Matt Lavelle, Mike Noordzy, Ras Moshe, Tor Snyder, William Hooker;
YELLOW II: Anthony Pirog, Jon Irbagon, Luke Stewart, James Brandon Lewis,
William Hooker The Stone 8, 10 pm $15
Gene Bertoncini The Drawing Room 7 pm $20
Chris Turner Ginny’s Supper Club 7:30, 9:30 pm $15
• Maria Grand Trio with Rashaan Carter, Craig Weinrib; Make a Mint: Josh Sinton,
Tony Malaby, Eivind Opsvik, Tom Rainey; Double Double: Patrick Breiner,
Adam Hopkins, Will McEvoy, Flin van Hemmen
Threes Brewing 8, 9, 10 pm $15
• Jon Roche solo; Lezlie Harrison with Saul Rubin, Dezron Douglas
Mezzrow 7:30, 9:30 pm $20
• Johnny O’Neal Trio; Dmitry Baevsky Quartet; Hillel Salem
Smalls 7:30, 10:30 pm 1:30 am $20
• Terry Waldo’s Gotham City Band; Samba de Gringo;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
• Aleksi Glick Trio with Sharik Hasan, Jeff Koch
Bar Next Door 5, 7, 9 pm $72
Melanie Penn/Laila Biali Rockwood Music Hall Stage 3 8:30 pm $10
• Hiroko Kanna Trio
Tomi Jazz 8 pm
• Blu Cha Cha
Shrine 8 pm
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
êCécile McLorin Salvant The Appel Room 7, 9:30 pm $75-100
• The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Allyn Johnson, Corcoran Holt
Smoke 7, 9, 10:30 pm $45
êSongs for Lovers: Freddy Cole Quartet with Harry Allen, Elias Bailey, Quentin Baxter
Dizzy’s Club 6:30, 9 pm $140
êRachelle Ferrell Blue Note 8, 10:30 pm $65
• Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $30
• Tamio Shirashi/Louise Dam Eckardt Jensen
Downtown Music Gallery 6 pm
• Frøydis Grorud, Helge Nysted, Thomas Hvale
Saint Peter’s 5 pm
• NY Japanese Women Jazz Composers: Miho Hazama, Asuka Kakitani,
Migiwa Miyajima, Meg Okura, Noriko Ueda and Sakura Jazz Orchestra
ShapeShifter Lab 4 pm
êJohn Zorn’s Bagatelles: Mary Halvorson Quartet with Miles Okazaki, Drew Gress,
Tomas Fujiwara The Stone 3 pm $20
êEric Wyatt Emmanuel Baptist Church 3 pm $20
• The Ladybugs Blue Note 11:30 am 1:30 pm $35
• Roz Corral Trio with Gilad Hekselman, Joe Martin
North Square Lounge 12:30, 2 pm
Monday, February 15
êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25
êMcCoy Tyner Trio with guest Gary Bartz
Blue Note 8, 10:30 pm $45
• Antoinette Henry with Adam Rogers, Christian Sands, Christian McBride,
Johnathan Barber Dizzy’s Club 7:30, 9:30 pm $30
• John Merrill; Don Friedman Trio with Rale Micic, Phil Palombi
Mezzrow 7:30, 9:30 pm $20
• Rotem Sivan Trio; Matt Brewer Quartet; Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
George Braith; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am
• Anaïs Maviel; Gao Jiafeng; Jordan Morton
Delroy’s Cafe and Wine Bar 9 pm $10
• Kyle Moffatt Trio with Max Marshall, Peter Tranmueller; Sonia Szajnberg Trio with
Matt Davis, Leon Boykins Bar Next Door 6:30, 8:30, 10:30 pm $12
• Kaz&Cats
Shrine 6 pm
Tuesday, February 16
êDave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
êCosmic Lieder: Darius Jones/Matthew Shipp; Darius Jones, Ben Gerstein, Jason Stein,
Pascal Niggenkemper, Ryan Sawyer
The Stone 8, 10 pm $15
êCharles Evans/Ron Stabinsky Duo; Ron Stabinsky solo; Moppa Elliott solo;
Mostly Other People Do the Killing: Steve Bernstein, Bryan Murray, Dave Taylor,
Terrence McManus, Ron Stabinsky, Moppa Elliott, Kevin Shea;
Joe Goehle and Cerebral People with Jim Piela, John Belvins, Alec Dube, Josh Bailey
ShapeShifter Lab 7, 9:30 pm $8-10
• John Pizzarelli Quartet Birdland 8:30, 11 pm $50
êGreg Lewis Organ Monk Quintet with Ron Jackson, Riley Mullin, Reggie Woods,
Jeremy Bean Clemons; Emmet Cohen Organ Quartet with Benny Benack III,
Tivon Pennicott, Joe Saylor Dizzy’s Club 7:30, 9:30 pm $30
Dan Chmielinski Dizzy’s Club 11:15 pm $5
• Nir Felder Quartet with Kevin Hays, Orlando Le Fleming, Ross Pederson
Jazz Standard 7:30, 9:30 pm $25
• Paul Hefner Group NYC Baha’i Center 8, 9:30 pm $15
êTony Malaby, Kris Davis, Nick Fraser; Aaron Burnett and The Big Machine with
Peter Evans, Carlos Homs, Nick Jozwiak, Tyshawn Sorey
Korzo 9, 10:30 pm
• André Carvalho Quintet; Ricky Rodriguez Trio with Troy Roberts, Henry Cole
Cornelia Street Café 8, 9:30 pm $10
• Caroline Davis Trio with Will Slater, Jay Sawyer; Gianni Gagliardi Trio with
Pablo Menares, Jesse Simpson Bar Next Door 6:30, 8:30, 10:30 pm $12
Barbara Rosene/Ehud Asherie Mezzrow 7:30 pm $20
• Spike Wilner Trio; Lucas Pino Nonet; Kyle Poole
Smalls 7:30, 9:30 pm 12:30 am $20
Saul Rubin; Roberto Quintero Fat Cat 7, 9 pm 12:30 am
Ryan Slatko solo
Jazz at Kitano 8 pm
Teodor Vanovski
Silvana 6 pm
• JS Fusion
Shrine 6 pm
38 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

Wednesday, February 17
êBrandee Younger with Anne Drummond, Chelsea Baratz, Dezron Douglas,
Dana Hawkins Dizzy’s Club 7:30, 9:30 pm $30
Dan Chmielinski Dizzy’s Club 11:15 pm $5
• Laurence Hobgood Trio with Matt Clohesy, Jared Schonig
Jazz Standard 7:30, 9:30 pm $25
• Syberen Van Munster’s Plunge with Ben Van Gelder, Vitor Gonçalves, Rick Rosato,
Jochen Rueckert; BassDrumBone: Ray Anderson, Mark Helias, Gerry Hemingway
Cornelia Street Café 8, 9:30 pm $10
êD’ Troy·t Alchemy 1: Darius Jones, Ornate Coldtrain, Marty McCavitt, Chad Taylor;
Grass Roots: Darius Jones, Alex Harding, Sean Conly, Chad Taylor
The Stone 8, 10 pm $15
• Theo Croker Quartet with Sullivan Fortner, Chris Mees, Kassa Overall
Club Bonafide 7:30, 9:30 pm $20
• Gregory Generet with Dominick Farinacci, Rick Germanson, Gerald Cannon,
Lawrence Leathers Smoke 7, 9, 10:30 pm $12
• Lafayette Harris solo; John di Martino/Martin Wind; Sarah Slonim
Mezzrow 7:30, 9:30 pm 12:30 am $20
BeatleJazz; Aaron Seeber Smalls 7:30 pm 1:30 am $20
• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• Ark Ovrutski Quintet with Helio Alves, Michael Thomas, Craig Handy,
Duduka Da Fonseca Jazz at Kitano 8, 10 pm $15
Dennis Lichtman
The Django at Roxy Hotel 8 pm
• Will McEvoy Group with Mike Effenberger, Matt Nelson, Cody Brown;
Jaimie Branch/Jason Stein Quartet
Rye 9, 10 pm $10
• Nicolas Letman-Burtinovic, Josh Sinton, Peter Kronreif
Bar Chord 9 pm
• Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron,
Dan Silverstone
Caffe Vivaldi 8:30 pm
êDave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
John Pizzarelli Quartet Birdland 8:30, 11 pm $50
• Nodus Trio
Silvana 6 pm
• Alex Bryson Quartet
Shrine 6 pm
• Eugene Marlowe’s Heritage Ensemble
Saint Peter’s 1 pm $10
Thursday, February 18
êBen Allison Group with Michael Blake, Jeremy Pelt, Steve Cardenas, Allison Miller
Dizzy’s Club 7:30, 9:30 pm $40
• Dan Chmielinski Dizzy’s Club 11:15 pm $10
êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr.
Jazz Standard 7:30, 9:30 pm $25
êBig Gurl Trio: Darius Jones, Adam Lane, Jason Nazary;
D’ Troy·t Alchemy 2: Darius Jones, Amanda Khiri, Adam Lane, Pascal Niggenkemper,
Jason Nazary, Marty McCavitt The Stone 8, 10 pm $15
êJames Carney Sextet with Ravi Coltrane, Stephanie Richards, Oscar Noriega,
Dezron Douglas, Tom Rainey The Jazz Gallery 7:30, 9:30 pm $15
• Tobias Meinhart Quintet with Ingrid Jensen, Yago Vazquez, Drew Gress, Jesse Simpson
Jazz at Kitano 8, 10 pm $15
Shai Maestro National Sawdust 9:30 pm $25
• Broc Hempel Quintet with Jeff Taylor, Jason Rigby, Sam Minaie, Jaimeo Brown;
Caroline Davis Quintet with Marquis Hill, Julian Shore, Tamir Shmerling, Jay Sawyer
Cornelia Street Café 8, 9:30 pm $10
• Spike Wilner solo; Melissa Aldana/Emmet Cohen
Mezzrow 7:30, 9:30 pm $20
JC Stylles Quartet Smalls 10:30 pm $20
Point of Departure
Fat Cat 10 pm
Carte Blanche Club Bonafide 7:30, 9:30 pm $15
• Yuto Kanazawa Trio with Zack Westfall, Ray Belli; Pete McCann Trio with Matt Clohesy,
Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12
Gillian Margot/Geoffrey Keezer Rockwood Music Hall Stage 3 7 pm $10
Kuni Mikami Duet
Cleopatra’s Needle 7 pm
• Gregory Generet with Dominick Farinacci, Rick Germanson, Gerald Cannon,
Lawrence Leathers Smoke 7, 9, 10:30 pm $12
• Dennis Lichtman
The Django at Roxy Hotel 10 pm
êDave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
Marcus Elliot Quartet Birdland 6 pm $25
• John Pizzarelli Quartet Birdland 8:30, 11 pm $50
Aaron Irwin Trio
• Jae Young Jeong
Silvana 6 pm
Shrine 6 pm
Friday, February 19
êThe New Drum Battle: Joe Farnsworth vs. Kenny Washington with Brian Lynch,
Vincent Herring, Harold Mabern, Peter Washington
Smoke 7, 9, 10:30 pm $38
êBook of Mæ’bul: Darius Jones, Matt Mitchell, Sean Conly, Ches Smith;
Le Bebe de Brigitte: Darius Jones, Emilie Lesbros, Matt Mitchell, Sean Conly,
Ches Smith The Stone 8, 10 pm $15
• Pedrito Martinez Group with Edgar Pantoja-Aleman, Álvaro Benavides, Jhair Sala
Zankel Hall 9 pm $44-52
• Dion Parson 21st Century Band Ginny’s Supper Club 7:30, 9:30 pm $15
êOrrin Evans Captain Black Big Band
Jazz Standard 7:30, 9:30 pm $30
• The Jazz Gallery 20th Anniversary Concert Series: John Ellis’ The Ice Siren
with Gretchen Parlato, Miles Griffith, Mike Moreno, Chris Dingman, Marcus Rojas,
Daniel Sadownick, Hiroko Taguchi, Olivier Manchon, Todd Low, Christopher Hoffman,
Daniel Barnidge The Jazz Gallery 7:30, 9:30 pm $30-40
Mike Longo/Paul West Knickerbocker Bar and Grill 9 pm $3.50
• Lage Lund 3 with Orlando Le Fleming, Nasheet Waits
Cornelia Street Café 9, 10:30 pm $10
• Spike Wilner; Buster Williams/Renee Rosnes; Johnny O’Neal
Mezzrow 7:30, 9:30 pm 12:30 am $20
• Ralph Lalama Bop-Juice; Michael Dease Sextet
Smalls 7:30, 10:30 pm $20
êAlexis Cole Quartet with Scott Arcangel, Seth Lewis, Joe Spinelli
Jazz at Kitano 8, 10 pm $30
Vinnie Knight Ginn Fizz Harlem 9, 10:30 pm $10
• Petros Klampanis Trio with Gilad Hekselman, John Hadfield
Bar Next Door 7:30, 9:30, 11:30 pm $12
Elsa Nilsson/Jon Cowherd Caffe Vivaldi 10 pm
Rudi Mwongozi Trio
Cleopatra’s Needle 8 pm
• Tsuyoshi Yamamoto Trio Tomi Jazz 9 pm $10
êBen Allison Group with Michael Blake, Jeremy Pelt, Steve Cardenas, Allison Miller
Dizzy’s Club 7:30, 9:30 pm $40
Dan Chmielinski Dizzy’s Club 11:15 pm $10
Dennis Lichtman
The Django at Roxy Hotel 10 pm
• Dave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
• John Pizzarelli Quartet Birdland 8:30, 11 pm $50
Leland Baker Quintet
• Tom Blatt Project
Silvana 6 pm
Shrine 6 pm
Saturday, February 20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Miller Theatre 8 pm $20-35
• The Sons Of George Garzone: George Garzone, Chris Crocco, Kenny Brooks,
Peter Slavov, Ian Froman Cornelia Street Café 9, 10:30 pm $10
• Meshell Ndegeocello Le Poisson Rouge 7:30 pm $35
êRené McLean’s Pentagram The Cell 7:30, 9:30 pm $20
êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel
Jazz Standard 7:30, 9:30 pm $30
êShades of Black: Darius Jones, Cooper-Moore, Sam Newsome, Chad Taylor
The Stone 8, 10 pm $20
êSheila Jordan/Cameron Brown and WORKS: Michel Gentile, Daniel Kelly, Rob Garcia
Brooklyn Conservatory of Music 7:30 pm $10
êMark Soskin Trio with George Mraz, Al Foster
Jazz at Kitano 8, 10 pm $30
êRoberto Gatto Trio with Lew Tabackin, Joseph Lepore
Bar Next Door 7:30, 9:30, 11:30 pm $12
êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $15
êMonk in Motion—The Next Face of Jazz: Jazzmeia Horn with Victor Gould,
Anthony Ware, Lawrence LeathersTribeca Performing Arts Center 7:30 pm $25
Raschiim Ausar Sahu Sistas’ Place 9, 10:30 pm $20
• Lawrence Clark; Greg Glassman Jam
Fat Cat 10 pm 1:30 am
• Carol Sudhalter Quartet with Patrick Poladian
Cleopatra’s Needle 8 pm
• Ken Kobayashi; Takafumi Suguri Trio
Tomi Jazz 8, 11 pm $10
êThe New Drum Battle: Joe Farnsworth vs. Billy Hart with Brian Lynch, Vincent Herring,
Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38
• The Jazz Gallery 20th Anniversary Concert Series: John Ellis’ The Ice Siren with
Gretchen Parlato, Miles Griffith, Mike Moreno, Chris Dingman, Marcus Rojas,
Daniel Sadownick, Hiroko Taguchi, Olivier Manchon, Todd Low, Christopher Hoffman,
Daniel Barnidge The Jazz Gallery 7:30, 9:30 pm $30-40
Mike Longo/Paul West Knickerbocker Bar and Grill 9 pm $3.50
• Spike Wilner; Buster Williams/Renee Rosnes
Mezzrow 7:30, 9:30 pm $20
• Michael Dease Sextet; Philip Harper Quintet
Smalls 10:30 pm 1:30 am $20
êBen Allison Group with Michael Blake, Jeremy Pelt, Steve Cardenas, Allison Miller
Dizzy’s Club 7:30, 9:30 pm $45
Dan Chmielinski Dizzy’s Club 11:15 pm $20
• Dennis Lichtman
The Django at Roxy Hotel 10 pm
êDave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
• John Pizzarelli Quartet Birdland 8:30, 11 pm $50
• Rodrigo Bonelli
Shrine 6 pm
• The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey,
Philip Harper, Alex Grassel, Dave Gibson
Brownsville Heritage House 3 pm
Sunday, February 21
êLW-2: Darius Jones/Travis Laplante; The Oversoul Manual: Amirtha Kidambi,
Kristin Slipp, Jean Carla Rodea, Yoon Sun Choi
The Stone 8, 10 pm $20
Claire Daly Quintet Metropolitan Room 7 pm $15
• Chris Pitsiokos, Andrew Smiley, Henry Fraser, Jason Nazary; Peter Evans,
Aaron Burnett, Brandon Lopez, Weasel Walter
JACK 8 pm
• Los Aliens: Ricardo Gallo, Alejandro Flórez, Andrés Jiménez, Amanda Ruzza
Barbès 7 pm $10
• Pasquale Grasso solo; Tad Shull with Ray Gallon, Neal Miner
Mezzrow 7:30, 9:30 pm $20
• New York Jazz Nine; Behn Gillece Quartet; Hillel Salem
Smalls 7:30, 10:30 pm 1:30 am $20
• New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman
with guests Jim Saporito, Harrison Hollingsworth
Symphony Space Bar Thalia 7 pm
• Sein Oh Trio
Tomi Jazz 8 pm
• Tamuz Nissim
Shrine 8 pm
êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel
Jazz Standard 7:30, 9:30 pm $30
êThe New Drum Battle: Joe Farnsworth vs. Billy Hart with Brian Lynch, Vincent Herring,
Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38
êBen Allison Group with Michael Blake, Jeremy Pelt, Steve Cardenas, Allison Miller
Dizzy’s Club 7:30, 9:30 pm $35
êDave Holland Trio with Kevin Eubanks, Obed Calvaire
Village Vanguard 8:30, 10:30 pm $30
Mike Richards
Ellen Rowe Trio
• David White Jazz Orchestra
Silvana 6 pm
Saint Peter’s 5 pm
Full Gospel Assembly of Brooklyn 4:30 pm
êAltos For Pepper: Dmitry Baevsky, Mike DiRubbo, Mike LeDonne, Mike Karn,
Peter Van Nostrand The West End Lounge 4 pm $25
• John Zorn’s Bagatelles: Ikue Mori solo
The Stone 3 pm $20
• Marlene Verplanck Trio with Jon Weber, Jay Leonhart and guest Warren Vaché
Blue Note 11:30 am 1:30 pm $35
• Michelle Walker Trio with Ron Affif, Matthew Parrish
North Square Lounge 12:30, 2 pm
Monday, February 22
• Broadway Musicals of the 1930s: Annaleigh Ashford; Tonya Pinkins; Emily Skinner;
Nellie Mckay; Noah Racey Town Hall 8 pm $50-65
• Akua Allrich with Braxton Cook, Warren Wolf, Kris Funn, Carroll Dashiell III
Dizzy’s Club 7:30, 9:30 pm $30
• Impressions of Hammershøi—The Poetry Of Silence: Nikolaj Hess Trio
Scandinavia House 7 pm $15
• John Merrill; Stephen Riley/Peter Zak
Mezzrow 7:30, 9:30 pm $20
• Gilles Naturel Trio; Ari Hoenig Trio; Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
• Caroline Davis/Greg Saunier; 100 times yourself: Jake Henry, Adam Hopkins,
Flin van Hemmen Delroy’s Cafe and Wine Bar 9, 10 pm $10
• Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber
Bar Next Door 8:30, 10:30 pm $12
• Matt Malanowski Trio with Nick Dunston, Tim Rachbach; Matt Malanowski Quintet with
Lucas Kadish, Patrick McGee, Nick Dunston, Matt Wilson
Metropolitan Room 9:30 pm $10
• Carmen Mizell solo and duo with Brad Whiteley
LIC Bar 8 pm
• Laraine Alison
Tomi Jazz 8 pm
Greg Skaff Trio
• Jon Sheckler Trio
Silvana 6 pm
Shrine 6 pm
Tuesday, February 23
êDouble Entendre: Russ Lossing/Gerry Hemingway; Triple Entendre: Russ Lossing,
Gerry Hemingway, Loren Stillman The Stone 8, 10 pm $15
êJoe Chambers Outlaw Band with Rick Germanson, Ira Coleman, Bobby Sanabria
Dizzy’s Club 7:30, 9:30 pm $35
• Sammy Miller and the Congregation Dizzy’s Club 11:15 pm $5
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno Birdland 8:30, 11 pm $40
• Otis Brown III Group with Jean Baylor, Keyon Harrold, John Ellis, Shedrick Mitchell,
Ben Williams Jazz Standard 7:30, 9:30 pm $25
Frank Perowsky Group NYC Baha’i Center 8, 9:30 pm $15
• Glenn Zaleski Trio with Dezron Douglas, Craig Weinrib
Club Bonafide 7:30, 9:30 pm $20
• Weasel Walter Large Ensemble with Peter Evans, Chris Pitsiokos, Matt Nelson,
Michael Foster, Steve Swell, Leila Bordreuil, Brandon Lopez, Tim Dahl, Chris Welcome
JACK 8 pm
• Tony Malaby, Ricardo Gallo, Juan David Castaño; Danny Fox Trio with
Chris Van Voorst, Max Goldman Korzo 9, 10:30 pm
• Florian Hoefner Luminosity with Lucas Pino, Rick Rosato, Peter Kronreif;
Or Bareket Quartet with Shachar Elnatan, Gadi Lehavi, Ziv Ravitz
Cornelia Street Café 8, 9:30 pm $10
Hilary Gardner/Ehud Asherie Mezzrow 7:30 pm $20
• Ehud Asherie Trio; Josh Evans Quintet; Corey Wallace DUBtet
Smalls 7:30, 9:30 pm 12:30 am $20
• Saul Rubin Zebtet; Itai Kriss Gato Gordo; John Benitez Latin Bop
Fat Cat 7, 9 pm 12:30 am
• Ricardo Recabarren Trio with Raimundo Santander, Joshua Kwassman; Dan Rochlis Trio
with Sean Smith, Diego Voglino Bar Next Door 6:30, 8:30, 10:30 pm $12
• Yuki Shibata Quartet with Yuto Kanazawa, Yoshiki Yamada, Joe Abbatantuono;
Noah MacNeil Quartet with Samir Zarif, Yoshiki Yamada
ShapeShifter Lab 8:15, 9:30 pm $10
Ryan Slatko solo
Jazz at Kitano 8 pm
• Unstable Mates
Tomi Jazz 8 pm
Xinlu Chen
• Tsuyoshi Yamamoto
Silvana 6 pm
Shrine 6 pm
Wednesday, February 24
êKing Vulture: Russ Lossing, Adam Kolker, Matt Pavolka, Dayeon Seok;
Oracle Trio + 1: Russ Lossing, Samuel Blaser, Masa Kamaguchi, Billy Mintz
The Stone 8, 10 pm $15
• Manuel Valera and The New Cuban Express with Troy Roberts, John Benitez,
Obed Calvaire, Mauricio Herrera Smoke 7, 9, 10:30 pm $12
• Javon Jackson, Ron Carter, Billy Drummond
Iridium 8, 10 pm $30
êCyrille Aimée Lycée Français de New York Cultural Center 7:30 pm $35
• Camila Meza Quintet with Shai Maestro, Matt Penman, Jody Redhage, Jeremy Dutton
and guest Sachal Vasandani Jazz Standard 7:30, 9:30 pm $25
êChampian Fulton Quartet with Stephen Fulton, Adi Meyerson, Ben Zweig
Jazz at Kitano 8, 10 pm $15
• Svetlana and The Delancey Five; Danny Lipsitz and his Brass Tacks
Joe’s Pub 7 pm $16
• Sarah Elizabeth Charles with Jesse Elder, Burniss Earl Travis II, John Davis
Harlem Stage Gatehouse 7:30 pm
• The New Cookers: Kenyatta Beasley, Keith Loftis, Anthony Wonsey, Linda Oh,
Chris Smith, E.J. Strickland Dweck Center at Brooklyn Pub. Library Central 7:30 pm
• Ray Charles Tribute: Bryan Carter Quintet with Emmet Cohen, Russell Hall,
Alphonso Horne, Julian Lee Club Bonafide 7:30, 9:30 pm $20
• Iris Ornig’s The IO-5 with Jonathan Powell, Jeremy Powell, Glenn Zaleski,
Allan Mednard Zinc Bar 7 pm $15
• Kavita Shah Quartet with Leo Genovese, François Moutin, Nasheet Waits
Cornelia Street Café 8 pm $10
• Adam Birnbaum/Ben Wolfe; Sarah Slonim
Mezzrow 9:30 pm 12:30 am $20
• Adam Larson Quintet; Sanah Kadoura
Smalls 10:30 pm 1:30 am $20
• Raphael D’lugoff Trio +1; Ned Goold Jam
Fat Cat 7 pm 12:30 am
• Kenny Warren Group; Stephen Gauci Trio with Zach Swanson, Max Goldman
Rye 9, 10 pm $10
• Big Band Sounds of Wayne Shorter, Joe Henderson, and Lee Morgan:
Juilliard Jazz Orchestra with guest Igor Buttman
Juilliard School Peter Jay Sharp Theater 7:30 pm
Nick Brust Quartet Rockwood Music Hall Stage 3 7 pm $10
Chandry Abreu Metropolitan Room 7 pm $15
• Jacob Varmus-Igor Lumpert Group; Fresh Tones Trio
Tomi Jazz 8, 11 pm
êJoe Chambers Outlaw Band with Rick Germanson, Ira Coleman, Bobby Sanabria
Dizzy’s Club 7:30, 9:30 pm $35
• Sammy Miller and the Congregation Dizzy’s Club 11:15 pm $5
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno Birdland 8:30, 11 pm $40
• Alex Bryson Quartet
Shrine 6 pm
• Daryl Sherman Saint Peter’s 1 pm $10
Thursday, February 25
êDexter Gordon Legacy Ensemble: George Cables, Dezron Douglas, Victor Lewis,
Joe Locke, Abraham Burton, Craig Handy
Dizzy’s Club 7:30, 9:30 pm $40
Sammy Miller and the Congregation Dizzy’s Club 11:15 pm $5
• Eric Harland Trio with Alan Hampton and guest
Jazz Standard 7:30, 9:30 pm $30
ê3 Part Invention: Russ Lossing, Ralph Alessi, Mark Helias;
The Cuckoo’s Song: Russ Lossing, Kyoko Kitamura, Adam Kolker
The Stone 8, 10 pm $15
• Eli Yamin Quintet with Lakecia Benjamin, Elias Bailey, Winard Harper, Tom Dempsey
Jazz at Kitano 8, 10 pm $15
• Juanita Delgado/Ricardo Gallo; Ricardo Gallo Cuarteto with Juan Manuel Toro,
Juan David Castaño, Jorge Sepúlveda
Drom 7:30 pm $20
• Jazz from an African Perspective: Michele Rosewoman
Jazz Museum in Harlem 7 pm $10
• Patrick Cornelius Octet with Mike Rodriguez, John Ellis, Nick Vayenas, Alex Wintz,
Fabian Almazan, Peter Slavov, Eric Doob
Cornelia Street Café 8, 9:30 pm $10
• Jeremy Dutton Trio with James Francies, Daryl Johns
The Jazz Gallery 7:30, 9:30 pm $15
• Barbara Fasano with John di Martino
Metropolitan Room 7 pm $25
Michael Mwenso and the Shakes Ginny’s Supper Club 7:30, 9:30 pm $15
• Spike Wilner solo; David Bryant/Gerald Cannon
Mezzrow 7:30, 9:30 pm $20
Carlos Abadie Quintet Smalls 10:30 pm $20
Stafford Hunter Quintet
Fat Cat 10 pm
• Gioel Severeni Trio with Shin Sakaino, Kazuiro Odagiri; Jerome Saabbagh Trio with
Vicente Archer, Kush Abadey Bar Next Door 6:30, 8:30, 10:30 pm $12
• Los Hacheros
The Django at Roxy Hotel 10 pm
Ray Parker Duet
Cleopatra’s Needle 7 pm
Senri Oe Tomi Jazz 9 pm $10
• Manuel Valera and The New Cuban Express with Troy Roberts, John Benitez,
Obed Calvaire, Mauricio Herrera Smoke 7, 9, 10:30 pm $12
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
Papuna Sharikadze Trio Birdland 6 pm $25
• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno Birdland 8:30, 11 pm $40
• Christian Finger
Silvana 6 pm
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 39

Friday, February 26
êChristian McBride Big Band; Henry Butler, Steven Bernstein and The Hot 9
Rose Theater 8 pm $40-130
êBob Dorough Quartet with Steve Berger, Pat O’Leary, Peter Grant
Jazz at Kitano 8, 10 pm $30
êJim Rotondi Quintet with Peter Bernstein, David Hazeltine, David Wong, Carl Allen
Smoke 7, 9, 10:30 pm $38
êEclipse: Russ Lossing solo; Blackout: Russ Lossing, Drew Gress, Gerald Cleaver
The Stone 8, 10 pm $15
• Alan Broadbent/Don Falzone; Johnny O’Neal
Mezzrow 9:30 pm 12:30 am $20
• Chris Flory Quartet; Ken Peplowski Quartet; Joe Farnsworth
Smalls 7:30, 10:30 pm 1:30 am $20
• Point of Departure; Jared Gold Fat Cat 10:30 pm 1:30 am
êJamie Baum Septet + with Amir ElSaffar, Sam Sadigursky, Chris Komer, Brad Shepik,
John Escreet, Zack Lober, Jeff Hirshfield
Cornelia Street Café 9, 10:30 pm $10
• Charles Altura Quartet with Fabian Almazan, Matt Brewer, Marcus Gilmore
The Jazz Gallery 7:30, 9:30 pm $22
• Arcolris Sandoval Quartet Baruch Performing Arts Center 8 pm $30
êElliot Humberto Kavee, Tony Malaby, Stomu Takeishi
The Firehouse Space 8 pm $10
Annie Chen Septet Flushing Town Hall 8 pm $16
John Colianni Knickerbocker Bar and Grill 9 pm $3.50
• Paul Meyers Trio with Tony DiCarlo, Tony Jefferson
Bar Next Door 7:30, 9:30, 11:30 pm $12
Cole Ramstad
The Django at Roxy Hotel 10 pm
MSM Concert Jazz Band Manhattan School of Music Borden Auditorium 7:30 pm
Justin Weret Trio
Cleopatra’s Needle 8 pm
• Takenori Nishiuchi Tomi Jazz 9 pm $10
êDexter Gordon Legacy Ensemble: George Cables, Dezron Douglas, Victor Lewis,
Joe Locke, Abraham Burton, Craig Handy
Dizzy’s Club 7:30, 9:30 pm $40
Sammy Miller and the Congregation Dizzy’s Club 11:15 pm $5
• Eric Harland Trio with Michael League and guest
Jazz Standard 7:30, 9:30 pm $30
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno Birdland 8:30, 11 pm $40
Nick Di Maria
• Alex Hamburger
Silvana 6 pm
Shrine 6 pm
Saturday, February 27
• Terri Lyne Carrington’s Mosaic Project: Love and Soul with Valerie Simpson,
Oleta Adams The Appel Room 8:30 pm $35
êChance Trio + 1: Russ Lossing, Ben Monder, Michael Formanek, Mike Sarin
The Stone 8, 10 pm $15
êIngrid Laubrock’s Ubatuba with Tim Berne, Ben Gerstein, Dan Peck, Tom Rainey
The Jazz Gallery 7:30, 9:30 pm $22
êRashied Ali Tribute with Billy Hart Sistas’ Place 9, 10:30 pm $20
êUri Gurvich Quartet with Leo Genovese, Peter Slavov, Francisco Mela
Rockwood Music Hall Stage 3 10 pm $12
• James Ilgenfritz Quartet; Charlie Evans’ The Language Of
The Firehouse Space 8 pm $10
• Tom Chang Quartet with Jeremy Powell, Sam Trapchak, Kenny Grohowski
Cornelia Street Café 9, 10:30 pm $10
• Ben Flocks Trio with Zach Brown, Michael W. Davis
Bar Next Door 7:30, 9:30, 11:30 pm $12
Steve Carrington; Greg Glassman Fat Cat 10 pm 1:30 am
Masami Ishikawa Trio
Cleopatra’s Needle 8 pm
• Yuko Ito Trio; Yusuke Seki Tomi Jazz 8, 11 pm $10
êChristian McBride Big Band; Henry Butler, Steven Bernstein and The Hot 9
Rose Theater 8 pm $40-130
êBob Dorough Quartet with Steve Berger, Pat O’Leary, Peter Grant
Jazz at Kitano 8, 10 pm $30
êJim Rotondi Quintet with Peter Bernstein, David Hazeltine, David Wong, Carl Allen
Smoke 7, 9, 10:30 pm $38
• Spike Wilner solo; Alan Broadbent/Don Falzone
Mezzrow 7:30, 9:30 pm $20
• Ken Peplowski Quartet; Eric Wyatt Quartet
Smalls 10:30 pm 1:30 am $20
• John Colianni Knickerbocker Bar and Grill 9 pm $3.50
• Cole Ramstad
The Django at Roxy Hotel 10 pm
êDexter Gordon Legacy Ensemble: George Cables, Dezron Douglas, Victor Lewis,
Joe Locke, Abraham Burton, Craig Handy
Dizzy’s Club 7:30, 9:30 pm $45
• Sammy Miller and the Congregation Dizzy’s Club 11:15 pm $5
êEric Harland Trio with Chris Potter, Larry Grenadier
Jazz Standard 7:30, 9:30 pm $30
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno Birdland 8:30, 11 pm $40
Sunday, February 28
êCloned: Russ Lossing/Tim Berne; Pavlov’s Dogs: Russ Lossing, Kirk Knuffke,
Louie Belogenis, Jason Rigby, Eivind Opsvik, Jeff Davis
The Stone 8, 10 pm $15
• Helio Alves Quartet with Vic Juris, Edward Perez, Alex Kautz
Cornelia Street Café 8:30 pm $10
• George Gee Swing Orchestra; Michela Lerman; Alex Norris Organ Quartet; Hillel Salem
Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
• New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman, Jim Saporito,
Harrison Hollingsworth
Symphony Space Bar Thalia 7 pm
• Kengo Yamada
Tomi Jazz 8 pm
êJim Rotondi Quintet with Peter Bernstein, David Hazeltine, David Wong, Carl Allen
Smoke 7, 9, 10:30 pm $38
• Saul Rubin solo; Alan Broadbent/Don Falzone
Mezzrow 7:30, 9:30 pm $20
êDexter Gordon Legacy Ensemble: George Cables, Dezron Douglas, Victor Lewis,
Joe Locke, Abraham Burton, Craig Handy
Dizzy’s Club 7:30, 9:30 pm $35
• Eric Harland Quartet with Ben Wendel, Taylor Eigsti, Larry Grenadier
Jazz Standard 7:30, 9:30 pm $30
êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown
Village Vanguard 8:30, 10:30 pm $30
• Isaac Darche
Silvana 6 pm
Marianne Solivan
Saint Peter’s 5 pm
• John Zorn’s Bagatelles: Brian Marsella solo
The Stone 3 pm $20
Billy Drewes NYU Ensemble Blue Note 11:30 am 1:30 pm $35
• Thana Alexa Trio with Ron Affif North Square Lounge 12:30, 2 pm
Monday, February 29
êGerald Clayton Trio with Robert Hurst, Greg Hutchinson
Dizzy’s Club 7:30, 9:30 pm $35
John Merrill; David Hazeltine Mezzrow 7:30, 9:30 pm $20
• Will Sellenraad Trio; Jonathan Barber
Smalls 7:30 pm 1 am $20
• Paul Jubong Lee Trio with Wallace Stelzer, Colin Hinton; Artemisz Polonyi Trio with
Jeff McLaughlin, BamBam Rodriguez
Bar Next Door 6:30, 8:30, 10:30 pm $12
Setsuko Hata
Tomi Jazz 8 pm
• Damian Allegretti Trio
Silvana 6 pm
REGULAR ENGAGEMENTS
MONDAY
• Richard Clements and guests 11th Street Bar 9 pm
• Orrin Evans Captain Black Band Smoke 7, 9 pm $9
• Joel Forrester solo
Brandy Library 8 pm
• Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE)
• Grove Street Stompers Arthur’s Tavern 7 pm
• Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
• Jazz Foundation of American Jam Session Local 802 7 pm
• Arthur Kell and Friends Bar Lunatico 8:30 pm
• Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Renaud Penant Trio Analogue 7:30 pm
• Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
• Stan Rubin All-Stars Charley O’s 8:30 pm
• Smoke Jam Session Smoke 10:30 pm
• Svetlana and the Delancey 5 The Back Room 8:30 pm
• Swingadelic
Swing 46 8:30 pm
• Gracie Terzian
Bar Hugo 6 pm
• Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
• James Zeller Duo
Spasso 7 pm (ALSO SUN)
TUESDAY
• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
• Irving Fields
Nino’s Tuscany 7 pm (ALSO WED-SUN)
• George Gee Orchestra Swing 46 8:30 pm
• Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
• 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
• Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm
• Mona’s Hot Four Jam Session Mona’s 11 pm
• Annie Ross The Metropolitan Room 9:30 pm $25
• Diego Voglino Jam Session The Fifth Estate 10 pm
WEDNESDAY
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
• Rick Bogart Trio
L’ybane 9:30 pm (ALSO FRI)
• Rob Duguay’s Low Key Trio Turnmill NYC 11 pm
• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm
• Martin Kelley’s Affinity John Brown Smoke House 5:30 pm
• Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm
• Les Kurtz Trio
Cleopatra’s Needle 7 pm
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)
• 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
• Eve Silber
Arthur’s Tavern 7 pm
• Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10
• Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
THURSDAY
• Marc Cary’s The Harlem Sessions Gin Fizz Harlem 10 pm $10
• Sedric Choukroun
Brasserie Jullien 7:30 pm (ALSO FRI, SAT)
• Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5
• Joel Forrester/Christina Clare Vespa 7:30, 9 pm
• Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
• Jazz Jam Session
American Legion Post 7:30 pm
• Kazu Trio
Cleopatra’s Needle 11:30 pm
• Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm
• Lapis Luna Quintet
The Plaza Hotel Rose Club 8:30 pm
• Curtis Lundy Jam Session Shell’s Bistro 9 pm
• Sol Yaged
Grata 8 pm
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm (ALSO FRI-SAT)
FRIDAY
• Scot Albertson
Parnell’s 8 pm (ALSO SAT)
• Gene Bertoncini
Ryan’s Daughter 8 pm
• Birdland Big Band Birdland 5:15 pm $25
• Rick Bogart Trio
New York Yankees Steakhouse 5 pm
• The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka Barbès 5 pm
• Day One Trio
Prime and Beyond Restaurant 9 pm (ALSO SAT)
• Gerry Eastman Quartet Williamsburg Music Center 10 pm
• John Farnsworth Quartet Smoke 11:45 pm 12:45 am
• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
• Sandy Jordan and Friends ABC Chinese Restaurant 8 pm
• Bernard Linnette Jam Session University of the Streets 11:30 pm
• Frank Owens Open Mic The Annex at Hamilton House 7 pm $10
• Richard Russo Quartet Capital Grille 6:30 pm
• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)
• Joanna Sternberg Trio Cleopatra’s Needle 12:30 am
SATURDAY
• Rob Anderson Jam Session University of the Streets 10 pm
• Rick Bogart Trio
Broadway Thai 7:30 pm (ALSO SUN)
• The Candy Shop Boys Duane Park 8, 10:30 pm
• Barbara Carroll Birdland 6 pm $30
• Curtis Lundy Trio with guests Shell’s Bistro 9 pm
• Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm
• Ruben Steijn.Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm
• Nabuko and Friends Nabe Harlem 12 pm
• Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am
• James Zeller Trio
Spasso 1pm
SUNDAY
• Avalon Jazz Quartet The Lambs Club 11 am
• Rick Bogart Trio
New York Yankees Steakhouse 12 pm
• The Candy Shop Boys The Rum House 9:30 pm
• Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm
• Glenn Crytzer Group Pegu Club 6:30 pm
• JaRon Eames/Emme Kemp The Downtown Club 2 pm $20
• The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm
• Ian Hendrickson-Smith The Strand Smokehouse 7 pm
• Jazz Brunch
Harlem Besame Latino Soul Lounge 1:30 pm
• Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm
• Matt Lavelle’s 12 House Orchestra Nublu 9:30 pm
• Peter Mazza Trio Bar Next Door 8, 10 pm $12
• Tony Middleton Trio Jazz at Kitano 11 am $35
• Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
• Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm
• Lu Reid Jam Session Shrine 4 pm
• Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm
• Ryo Sasaki Trio
Analogue 7 pm
OLDEST CONTINUOUSLY RUNNING JAZZ CLUB
IN THE COUNTRY
FEBRUARY SCHEDULE
EVERY THURSDAY JAZZ JAM – NO COVER
2/5 – Vicki Doney Trio
2/6 – Adison Evans’ “Hero” CD Release Party
2/7 – Dave Lantz III Trio
2/12 – Erin McClelland Band
2/13 – Matt Vashlishan Quartet
2/14 – Michele Bautier Trio
2/19 – Joanna Pascale & Jim Ridl
2/20 – Patrick Mc Gee Quintet
2/21 – Bill Test & Jay Rattman
2/26 – Russ Kassoff with special guest
Catherine Dupuis
2/27 – Hailey Niswanger Quartet
2/28 – Denny Carrig Trio
2/29 – Phil Woods’ COTA Orchestra – an 18
piece jazz ensemble
JAZZ PACKAGES AVAILABLE
— includes music, lodging, dinner, breakfast
Serving breakfast at The Morning Cure on
Saturdays and Sundays
DEER HEAD INN • 5 MAIN STREET • DELAWARE WATER
GAP • PA • 18327 • 570-­‐424-­‐2000
WWW.DEERHEADINN.COM
“LIVE AT THE DEER HEAD INN” RECORDINGS
• Phil Woods Quintet
• Five Play
• Nancy Reed & John Coates, Jr.
• Guitar Trio: Bucky Pizzarelli, Ed Laub,
Walt Bibinger
• Quartet: Joe Locke, Bill Goodwin, Jim
Ridl, Tony Marino
• “Sweet” Sue Terry & Friends
WWW.DEERHEADRECORDS.COM
40 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

CLUB DIRECTORY
• 11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
• 440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
• 5C Café 68 Avenue C
(212-477-5993) Subway: F, V to Second Avenue 5ccc.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
• ABC - No Rio 156 Rivington Street (212-254-3697)
Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org
• American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
• American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
• Americas Society 680 Park Avenue
(212-628-3200) Subway: 6 to 68th Street www.as-coa.org
• An Beal Bocht Café 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
• Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
• The Appel 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
• 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
• BAMCafé 30 Lafayette Avenue (718-636-4139) Subway: M, N, R, W to
Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org
• The Back Room 102 Norfolk Street
(212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street
www.backroomnyc.com
• Bar Chord 1008 Cortelyou Road
(347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com
• Bar Hugo 525 Greenwich Street
(212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com
• Bar Lunatico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
• 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
• Baruch Performing Arts Center 17 Lexington Avenue at 23rd Street
(646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu/bpac
• Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• 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
• The Bitter End 147 Bleecker Street between Thompson and LaGuardia
Subway: A, B, C, D, E, F, V to W. 4th Street
• 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
• Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
• Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
• Bronx Museum of the Arts 1040 Grand Concourse (at 165th Street)
(718-681-6000) Subway: 4 to 161st Street
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street bqcm.org
• Brownsville Heritage House 581 Mother Gaston Boulevard
(718-385-1111) Subway: L to New Lots Avenue
• 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, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
• Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
• Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard
(917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com
• The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
• Charley O’s 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
• Cleopatra’s Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
• Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
• Columbia University Buell Hall, Low Library 116th Street and Broadway
Subway: 1 to 116th Street
• Cornelia Street Café 29 Cornelia Street
(212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street
www.corneliastreetcafé.com
• Delroy’s Café and Wine Bar 65 Fenimore Street
Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries
• 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
• The Django at Roxy Hotel 2 Sixth Avenue
(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.roxyhotelnyc.com
• 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
• The Downtown Club 240 E. 123rd Street
(212-868-4444) Subway: 4, 5, 6 to 125th Street
• Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
• The Drawing Room 56 Willoughby Street #3 (917-648-1847)
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com
• Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
• Dweck Center at Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• Emmanuel Baptist Church 279 Lafayette Avenue
(718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com
• Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445)
Subway: 1 to 145th Street www.farafinacafeloungeharlem.com
• 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
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• Full Gospel Assembly of Brooklyn 131 Sullivan Place
(718-940-9687) Subway: 2, 5 to Sterling Street www.fgany.org
• The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
• Gin Fizz Harlem 308 Malcolm X Boulevard at 125th Street
(212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.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
• The Graham 190 Graham Ave (718-388-4682)
Subway: L to Montrose Avenue www.thegrahambrooklyn.com
• The Grange 1635 Amsterdam Avenue
(212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com
• Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
• Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
• Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
• Highline Ballroom 431 W 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.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
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S 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 between Park & Lexington
Avenues (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 at the Public Theater 425 Lafayette Street (212-539-8770)
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com
• John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120)
Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com
• Juilliard School Paul Hall, Peter Jay Sharp Theater 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
• Kettle and Thread 1219 Church Avenue Subway: B, Q to Church Avenue
• The Kitchen 512 W. 19th Street
(212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org
• Knickerbocker Bar & Grill 33 University Place at 9th Street (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.facebook.com/konceptions
• LIC Bar 45-58 Vernon Boulevard
(718-786-5400) Subway: 7 to Vernon-Jackson Boulevard
• The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
• Le Chéile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
• Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com
• Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• L’ybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
• Lycée Francais de New York 505 E. 75th Street
(212-439-3820) Subway: 6 to 77th Street
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
• Manhattan School of Music Borden Auditorium, Carla Bossi-Comelli
Studio Broadway and 122nd Street (212-749-2802 ext. 4428)
Subway: 1 to 116th Street www.msmnyc.edu
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street
www.mezzrow.com
• Miller Theater 2960 Broadway and 116th Street
(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com
• Minton’s 206 West 118th Street (212-243-2222)
Subway: B, C to 116th Street www.mintonsharlem.com
• Mona’s 224 Avenue B Subway: L to First Avenue
• 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
• National Sawdust 80 N. 6th Street
(646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org
• New Revolution Arts 7 Stanhope Street
Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
• New York Yankees Steakhouse 7 W. 51st Street (646-307-7910)
Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com
• 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
• Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
• Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
• Parnell’s 350 East 53rd Street #1(212-753-1761)
Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com
• Pegu Club 77 W. Houston Street (212-473-7348)
Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com
• The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
• Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
• Prospect Range 1226 Prospect Avenue
Subway: F to Fort Hamilton Parkway www.prospectrange.com
• The Rainbow Room 30 Rockefeller Plaza
(212) 632-5000 Subway: B, D, F, M to 47-50th Streets—Rockefeller Center
www.rainbowroom.com
• Riverdale YM-YWHA 5625 Arlington Avenue
(718-548-8200) Subway: 1 to 242 Street - Van Cortlandt Park
www.riverdaley.org
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
• Rose Theater 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
• Rue B 188 Avenue B
(212-358-1700) Subway: L to First Avenue www.ruebnyc188.com
• The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
• Ryan’s Daughter 350 E 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
• Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue
www.ryerestaurant.com
• 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
• Scandinavia House 58 Park Avenue at 37th Street
(212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central
www.scandinaviahouse.org
• Schimmel Center for the Arts 3 Spruce Street
(212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street
www.schimmel.pace.edu
• 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
• Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street
• 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 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
• Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers
Avenues) Subway: 2 to Sterling Street
• Spasso 551 Hudson Street
(212-858-3838) Subway: 1 to Christopher Street www.spassonyc.com
• Spectrum 121 Ludlow Street, 2nd floor
Subway: F to Delancey Street www.spectrumnyc.com
• Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231)
Subway: N, Q to Broadway www.thestrandsmokehouse.com
• Subrosa 63 Gansevoort Street (212-997-4555)
Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
• Terraza 7 40-19 Gleane Street (718-803-9602)
Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com
• Threes Brewing 333 Douglass Street
(718-522-2110) Subway: R to Union Street www.threesbrewing.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
• Troost 1011 Manhattan Avenue
(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
• Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
• University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300)
Subway: B, D to 182-183 Streets www.universityofthestreets.org
• Vespa 1625 2nd Avenue (212) 472-2050
Subway: 4, 5, 6 to 86th Street www.vespaitalianorestaurant.com
• Village Vanguard 178 Seventh Avenue South at 11th Street
(212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com
• 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
• The West End Lounge 955 West End Avenue at West 107th Street
(212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com
• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
• 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
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 41

(INTERVIEW CONTINUED FROM PAGE 6)
go to after school programs. They would have
gymnastics, dramatics or acting, art and music. And
those music teachers I had were very good. They
taught you the basics and they taught you what you
needed to know. Some of them were very stern and
strict and it’s good that they were. After a while, when
the budget cuts started taking over, there were fewer
programs and less exposure to music and art in general.
TNYCJR: Teaching a history course as well as private
students, how do you try to impart the significance of
these different individual artists?
KW: Teaching privately, what these guys don’t know.
They know some names; they know a few records.
Them guys come to my lessons and they want to get
their cymbal beat, their “spangalang” together, and
I say, “Well, do you have Miles Davis’ record Walkin’?”
And they say, “Yeah, the one with Tony Williams” and
I say, “Hell no! The one with Kenny Clarke and Percy
Heath, man.” And they’re looking at me like a deer
caught in headlights. They don’t even know about that
record. I’m not saying that the later versions are not
good; please don’t misunderstand me. The Miles Davis
‘60s group and what they did with “Walkin’” is
fantastic, but if you ask Sir Ron Carter about the
original “Walkin’” with Percy Heath, he’ll talk your
ear off about that record. Every one of those guys—
Wayne Shorter, Herbie Hancock—they were well aware
of the original version with Lucky Thompson; that’s
where they come from. These kids don’t know any of
that stuff, man.
My whole thing about jazz history is,
I could get any goofball off the street to read a couple
books and memorize facts. The thing is the sound. Can
you hear the difference between soloists and bands?
So, on my midterm and final I have what I call “drop
the needle”. We analyze these artists so they get the
chance to see what makes who who. Their assignment
week in and week out is to listen. If it’s Jimmie
Lunceford or a Duke Ellington or Count Basie record,
the arrangements sound a little bit different from one
another. Then you have to know the soloists. You might
say, “I know that lead alto saxophone sound, that’s
Willie Smith.” When [he] gets up and takes a solo
I know that’s Jimmie Lunceford’s band. So, we analyze
and talk about all of these different things. For tests,
the most important part to me is the “drop the needle”.
And you can’t cram to learn the differences in these
soloists and bands.
TNYCJR: Do you continue to practice regularly?
KW: I was practicing on the pad when you called.
I practice every day, at least I try to, which is something
I learned from the great pianist Hank Jones. A few
years back, Hank hired bassist George Mraz and myself
to do this gig with him. He said, “Seeing as the gig is
the next afternoon, why don’t you and George come up
to my house the night before? I got plenty of room for
you all, you can stay at my house.” So, George and
I agreed. Hank had a big house way, way upstate.
Hank’s wife cooked dinner for us and we were sitting
around watching TV and talking and then went off to
bed. The next morning I woke up early and the first
thing I hear is the piano. Hank is practicing scales,
slow, real slow. I’m listening to this master practice. It’s
about 7 in the morning. So I come down to where Hank
is practicing and say, “Good morning, Mr. Jones.”
“Ahh, Mr. Washington, how are you?” “I’m doing fine,
how are you feeling?” “I’m doing fine.” So I asked him,
“Do you practice like this everyday?” And he stopped
and just looked me dead in the eyes and he said,
“Wash, it’s a must.”
Right then and there it hit me and I thought, if you
start practicing like this, then maybe, if you make it to
his age, you’ll still be able to play well. He gave away
his secret right there when he said, “It’s a must”. The
reason that he always sounded good is because he’s
practicing every day. That left a big impact on me
because I always wake up early anyway. So, since that
time, I try to do the same thing. Every morning I’m up,
crack of dawn, practicing slow, practicing my
rudiments. Because sometimes older musicians don’t
practice as much and sometimes they can get rusty.
Not everybody is like that; guys like Dick Hyman,
they’re practicing all the time, that’s why he always
sounds good. That’s what I want to try to do.
TNYCJR: So that’s the goal, always to sound good.
KW: Always sound good. Hank was always sharp.
I played with him the last year or two of his life. Man,
this cat was still playing his ass off. From seeing Hank
do that, that’s what made me start getting in the shed
every morning like that. So that’s what I try to do,
every morning, two or three hours. And then sometimes
during the day I come back to it. If I’m not playing and
I don’t have anything to do, I try to at least put two
hours in. Two hours on the practice pad and then later
on I’ll go upstairs and fool around with the drums. I’m
up between 5 and 6, usually, every morning. That’s the
best time for me. Daybreak.
TNYCJR: I always have so much room to improve and
practice is putting in that work, but the idea of always
sounding good is beautifully simple.
KW: Yeah, well, that and practicing slow. That’s
important too.
TNYCJR: Practicing slow may come with age a little
bit. I know for me I have more patience and
I understand better that I’m teaching my brain to teach
my body how to do this.
KW: That’s true. I never really thought about it like
that. That’s the only way to really grasp, as a drummer,
what one hand is doing and what the other one is
doing is to practice it slow so you can get the feeling of
things. If you can’t play it slow, you will not play it
fast. I have students, they’re just hacking away at
pieces. I’ll actually have to stop and say, “Okay, put the
sticks down. Now, take a deep breath. Inhale and
exhale. Relax. Now, pick up the drumsticks. Let’s play
this again. Slow.” They’ll play it perfect. I say, “There
you go.” Otherwise they’ll just run through the stuff,
but you’re not learning anything like that.
TNYCJR: So what’s coming up? What are you working
on? What are you gonna sound good on next?
KW: I just got through producing a record with Lee
Konitz for Impulse Records. It’s me, [pianist] Kenny
Barron, [bassist] Peter Washington and, of course, Lee.
I would think it will be out some time in the summer or
fall, I don’t really know. So, I’m doing that and still
playing with Bill Charlap. There’s a two-drum thing
coming up with me and Joe Farnsworth at Smoke in
February. We did it once before and had a great time so
we’ll do it again. Peter Washington is playing bass,
Harold Mabern is going to play piano, but I’m not sure
who the frontline is going to be [trumpeter Brian Lynch
and alto saxophonist Vincent Herring]. I’m sure it’s
going to be good though.
TNYCJR: I found a discography of you online listing
251 albums from 1977 to 2010. That’s going to be six
years ago already, so I know there’s a bunch more and
maybe more yet to be released.
KW: I’ve made other records since then, I suppose.
Tony Bennett’s record just came out, the one I did with
Charlap. Charlap has another record coming out too.
I think it comes out in March or April on Verve. It’s
going to be called Notes From New York. This is the first
record we’ve made in a few years. The record business
has gone to pieces, so I’m not, I guess none of us are
recording as much as we did.
TNYCJR: So many artists are reliant on the Internet
and social media to promote their work, but you don’t
even have a website?
KW: No. I’m old school. Really old school. If they like
what I do, they can always find out about it. v
Washington is at Smoke Feb. 19th as part of The New Drum
Battle. See Calendar.
Recommended Listening:
• Lee Konitz—Nonet (Chiaroscuro, 1977)
• Betty Carter—The Audience with Betty Carter
(Bet-Car—Verve, 1979)
• Charlie Rouse—Social Call (Uptown, 1984)
• Tommy Flanagan—Jazz Poet (Alfa-Timeless, 1989)
• Johnny Griffin +3—Dance of Passion (Antilles, 1992)
• Bill Charlap Trio—Live at the Village Vanguard
(Blue Note, 2003)
(LABEL CONTINUED FROM PAGE 11)
records with four different groups. The latest is Kasper
Tom 5’s second release I do admire things that are only
what they are.” Members are also free to record for other
labels. Tom, for example, has done CDs for WhyPlayJazz
and ForTune Records. “In Barefoot you have to do
everything yourself, from planning the recording to
finding the funds to release it,” he reports. “For the
other labels I just have to maybe find a place to record
and they take care of the rest.”
But besides the extra work, Barefoot provides
other advantages, he asserts. “Being part of a wellorganized
and, might I add, very cool label, helps me
get exposure through distribution, through Barefoot’s
other members and through the events we organize.”
Adds Zeeberg: “I haven’t recorded my own music for
other labels. I was and, still am, quite young when
I joined. But being a member has made a lot of things
easy for me, especially regarding releasing music. It
has made me perhaps also more visible to the public.
As an experimental composer/musician you need all
the exposure you can get.”
As part of its democratic process, each Barefoot
member decides on which medium his or her release
will appear, with sessions so far on CD, LP, digital
download, cassette tape and even postcards. Zeeberg
and Rune Lohse’s Music Made in One Day featured
download codes printed on ordinary postcards. “Some
future releases are planned on 3D-printed sculptures,”
reveals Berre. Most physical sales are at concerts or for
domestic distribution, whereas international sales are
largely digital. “These two go nicely hand in hand,” he
affirms.
Besides the 10th anniversary party, new discs are
planned for 2016. They include Flamingo and Jitter,
two trios featuring Pultz Melbye; a Dąbrowski solo set;
a duo with Tom and bass clarinetist Rudi Mahall; a
Pedersen quintet date; and Berre collaborating with
non-members trumpeter Susana Santos Silva, pianist
Christine Wodrascka and bassist Christian Meaas
Svendsen.
Barefoot may not be a major imprint, but the
cooperative ethos and group identity is working
perfectly for its members. As Berre notes: “With the
attention paid to Barefoot everyone benefits and
benefits much more than having seven artists releasing
discs by themselves.” v
For more information, visit barefoot-records.com
42 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

(KÖLN CONTINUED FROM PAGE 13)
(WINTER JAZZFEST CONTINUED FROM PAGE 13)
Mingus Mingus Mingus is a trio playing...well,
you know. Sebastian Sternal (piano), Dieter
Manderscheid (bass) and Dominik Mahnig (drums)
fêted the master bassist/composer in the Saal,
simultaneously faithful to his vision and expanding
upon it. Manderscheid, elder of the group, has a fair
amount of Mingus’ strength behind the instrument
while Sternal is a Jaki Byard-like chameleon at the
keyboard. Mahnig, on the other hand, had far more in
common with NRW native Paul Lovens than Dannie
Richmond and occasionally overplayed or became
overly enamored of his percussive effects. The program
began with a tape of Mingus speaking and included
Top 40 hits “Fables of Faubus”, “Reincarnation of a
Lovebird”, “Eclipse”, “Nostalgia in Times Square”,
“Duke Ellington’s Sound of Love” and “Boogie
Stomp”, the band often chasing shadows of the
melodies. Icelandic pianist Sunna Gunnlaugs and
American trumpeter (and current Köln resident) Ryan
Carniaux followed in the Saal for a first-time meeting,
playing a pithy set of their originals. While there was
the bounded tonality that comes with this type of duo
(think John Taylor and Kenny Wheeler), Gunnlaugs,
who studied and worked in the New York area for
many years, brought an appealing bluesiness to the
proceedings while adding magisterial dynamic shifts.
The Stefan Karl Schmid/Philipp Brämswig 4tett in
the Stadtgarten restaurant had a hard time of it with an
audience talking over their fairly generic brand of
modernist jazz. The most interesting thing about the
group was hearing bassist Robert Landfermann, one of
Europe’s best young improvisers, in such staid
surroundings. The duet of Uli Kempendorff and Niels
Klein (saxophones and clarinets) also had to vie against
the loud Friday night crowd at Umleitung, but one
which quieted down on occasion to absorb some of the
pair’s fascinating conversations. They differentiated
themselves via extended techniques and were most
effective when occupying opposite registers. At times
they sounded like John Surman dueting with himself.
Monsters for Breakfast, appearing in the
surprisingly quiet Stadtgarten studio, was a fascinating
trio of saxophonist Salim Javaid and the dual vocalists
Mascha Corman and Thea Soti. Jittery but surprisingly
warm, the music was all about moving air and
chopping it into pieces. Bassist Sebastian Gramss’
FOSSILE 3 had to compete not only with a raucous
audience but the overwhelming scent of Zimmermann’s
grill. Joining him were iconoclast bass clarinetist Rudi
Mahall and drummer Etienne Nillesen for short, quirky
postbop tunes. The sound and view were worse from
the upstairs seating but at least you could breathe.
The highlight and discovery of the evening took
place back at Umleitung with the pastoral duo of
bassist Clara Däubler and trombonist Janning Trumann.
Such a simple and delicate pairing could hardly stand
up to the audience noise but with extra focus, an
appealing earthiness arose. Trumann operates in a sort
of primeval Albert Mangelsdorff mode, doleful and
melodic, ably supported by Däubler’s restrained
accompaniment. Trumann is actually studying in New
York and is a young player to watch (hear, whatever).
The night closed for your reporter with the solo
piano of Lars Duppler in Stadtgarten Saal (rather than
the world-funk of Terrence Ngassa Band audible next
door), romantic and cerebral in turn. Duppler’s project
was called “Naked” and certainly the packed and quiet
audience was treated to a spiritually bare performance.
The model of Winterjazz (and its parent) is scalable
to any city with a good jazz scene. The audiences will
come (whether they come to any jazz throughout the
year is a question Niescier couldn’t answer) and will
be open to diverse and challenging programming. Of
course, strong municipal support doesn’t hurt. v
Terrace Martin’s septet was experiencing the seismic
tremors of Jonathan Barber’s drumming. After a short
jaunt to the east, I caught part of The Yellowjackets set,
featuring the low-volume pyrotechnics of bassist Dane
Alderson and closing with the gospel send-up
“Revelation”. After a ten-block walk up to the spacious
Tishman Auditorium for the last half of trumpeter
Avishai Cohen’s sensitive set, I stopped to sample a bit
of Charenée Wade’s soulful scatting at the New
School’s 5th floor theater, then took the elevator to the
lobby for the Dave King Trucking Company, which
employed a sort of alternative-rock-meets-jazz
approach. Back upstairs, pianist Marc Cary was taking
up the political banner where Wade had left off, buoyed
by a heavy, double electric bass onslaught. One street
over, Forro in the Dark was covering John Zorn at an
oppressive volume (not the acoustic instruments but
the sound system), so I went back to catch Sharel
Cassity’s set, then moseyed over, at the wee hour of
1 am, to hear the amazing pianist David Virelles’
Mboko with a trance-inducing AfroCuban percussion
team. Then, after seven-and-a-half hours on the trod, I
was ready for some sleep.
Back for the second Marathon Night, I started
north and worked my way south, first at Tishman for
Michael Formanek’s Ensemble Kolossus, a traditional
sounding big band with decidedly nontraditional
players; any semblance of conservatism, however,
gave way to sonic freeplay when trombonist Ben
Gerstein was given space to blow. At the New School’s
12th Street Auditorium, clarinetist Don Byron played a
touching tribute to the recently passed Allen Toussaint,
the venue’s sound still notably loud, but bearable.
Harmonica player Grégoire Maret brought a gospel
choir and organist into the Judson Church on
Washington Square South for a spiritually uplifting
set, especially at the finale when he and drummer
Marcus Baylor went head to head. I just missed solo
guitarist Kaki King, but her all-white outfit, matching
guitar and spiky bleached hair made the strongest
visual statement of the evening. Pianist Cyrus Chestnut
came on next to perform a suite inspired by his travels
to Africa. It took a bit of hoofing to get down to The
Django, where I heard chanteuse Véronique Hermann
Sambin set the poetry of Derek Walcott to a soothing
bossa nova beat. Back on Bleecker Street, on its east
end, was trumpeter Amir ElSaffar’s groundbreaking
Two Rivers ensemble, mixing Iraqi maqam (modal)
music with jazz; traditional Arab instruments like the
oud, buzuq, santour and doumbek blended with
Nasheet Waits’ floating backbeats and François
Moutin’s dazzling acoustic bass playing. From the Far
East I headed all the way West (and back in time) to
Barrow Street for trumpeter Gordon Au’s Grand St.
Stompers, a trad-jazz outfit featuring vocalist/dancer
Tamar Korn. In the midst of all the city’s cutting-edge
experimentalism, it’s easy to forget how strong the
local trad scene is and Au and Co. certainly hold their
own in terms of spontaneity and excitement. For
something completely different and a fitting cap to the
whole event, I crouched up in the corner of the Judson
Church balcony for the 16-piece Sun Ra Arkestra,
a pageant of merriment and mania, saxophonist
Marshall Allen and crew bedecked in glittering gowns
and outlandish hats, playing everything from oldfashioned
back-beat swing or a cover of “When You
Wish Upon a Star” to seemingly anarchic explorations
led by Allen’s sirening electronic wind instrument
(EWI). “Peace and Love! Have a great Sun Ra day
everybody!” called the doorman as we sleepily shuffled
out. I couldn’t resist poking my head into Zinc Bar,
where a late-night, open-mic jam session was going on,
but these participants, though competent, weren’t
traveling the same spaceways. v
Tue, Feb 2
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Fri, Feb 26
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VOXECSTATIC: JOCELYN MEDINA QUARTET 8PM
Pete McCann, Evan Gregor, Todd Isler
KATIE BULL GROUP PROJECT 9:30PM
Jeff Lederer, Landon Knoblock, Ratzo Harris, George Schuller
Deborah Latz, host
BEN WINKELMAN TRIO 8PM
Desmond White, Obed Calvaire
DAN WILKINS, CD RELEASE: JNANA-VIJNANA 9:30PM
Patrick McGee, Mike Bono, Dave Lantz, Daryl Johns, Jimmy Macbride
JULIAN SHORE QUINTET, CD RELEASE:
WHICH WAY NOW 9PM & 10:30PM
Gilad Hekselman, Dayna Stephens, Jorge Roeder, Colin Stranahan
GEORGE GARZONE & THE FRINGE 9PM & 10:30PM
John Lockwood, Bob Gullotti
JANE IRA BLOOM TRIO 8:30PM
Mark Helias, Dominic Fallacaro
DAVE SCOTT QUINTET, CD RELEASE:
BROOKLYN AURA 8PM
Rich Perry, Jacob Sacks, Peter Brendler, Satoshi Takeishi
MICHEL REIS TRIO 8PM
Michel Reis, Aidan O’Donnell, Eric Doob
VINNIE SPERRAZZA QUARTET 9:30PM
Loren Stillman, Ben Monder, Eivind Opsvik
JOHN RAYMOND TRIO, CD RELEASE: REAL FEELS 8PM & 9:30PM
Gilad Hekselman, Colin Stranahan
ELLERY ESKELIN TRIO 9PM & 10:30PM
Christian Weber, Michael GreenAir
LUCIAN BAN & MAT MANERI TUBA PROJECT
FEATURING BILLY HART 9PM & 10:30PM
Bruce Williams, Bob Stewart
SHEILA JORDAN TRIO 8:30PM & 10:00PM
Alan Broadbent, Harvie S
ANDRÉ CARVALHO QUINTET 8PM
RICKY RODRIGUEZ TRIO 9:30PM
Troy Roberts, Henry Cole
SYBEREN VAN MUNSTER’S PLUNGE 8PM
Ben Van Gelder, Vitor Gonçalves, Rick Rosato, Jochen Rueckert
BASSDRUMBONE 9:30PM
Ray Anderson, Mark Helias, Gerry Hemingway
BROC HEMPEL QUINTET 8PM
Jeff Taylor, Jason Rigby, Sam Minaie, Jaimeo Brown
CAROLINE DAVIS QUINTET 9:30PM
Marquis Hill, Julian Shore, Tamir Shmerling, Jay Sawyer
LL3 9PM & 10:30PM
Lage Lund, Orlando Le Fleming, Nasheet Waits
THE SONS OF GEORGE GARZONE 9PM & 10:30PM
Chris Crocco, Kenny Brooks, Peter Slavov, Ian Froman
DJANGO AT CORNELIA STREET: BEDLAM TRIO 8:30PM
Ellie Goodman, Brandon Vetrano, Josh Kaye, James Robbins
DJANGO AT CORNELIA STREET: ANOUMAN 10PM
Peter Sparacino, Koran Agan, Joshua Kaye, Eduardo Belo
FLORIAN HOEFNER, CD RELEASE: LUMINOSITY 8PM
Lucas Pino, Rick Rosato, Peter Kronreif
OR BAREKET QUARTET 9:30PM
Shachar Elnatan, Gadi Lehavi, Or Bareket, Ziv Ravitz
KAVITA SHAH QUARTET 8PM
Leo Genovese, François Moutin, Nasheet Waits
PATRICK CORNELIUS OCTET 8PM & 9:30PM
Mike Rodriguez, John Ellis, Nick Vayenas, Alex Wintz,
Fabian Almazan, Peter Slavov, Eric Doob
THE JAMIE BAUM SEPTET + 9PM & 10:30PM
Amir ElSaffar, Sam Sadigursky, Chris Komer, Brad Shepik,
John Escreet, Zack Lober, Jeff Hirshfield
TOM CHANG QUARTET 9PM & 10:30PM
Jeremy Powell, Sam Trapchak, Kenny Grohowski
NEW BRAZILIAN PERSPECTIVES: HELIO ALVES QUARTET 8:30PM
Helio Alves, Vic Juris, Edward Perez, Alex Kautz
Billy Newman, host
For more information, visit winterjazzkoeln.com
For more information, visit winterjazzfest.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016 43

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