HOLLYWOOD

JULY 2016—ISSUE 171
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
CYRO
BAPTISTA
percussion
traveler
SPECIAL
FEATURE
HOLLYWOOD
JAZZ
CAROL
SLOANE
MARC
CARY
GIANLUIGI
TROVESI
WILLIE
“THE LION”
SMITH

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David R. Adler, Clifford Allen,
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Alex Henderson, Marcia Hillman,
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John Sharpe, Elliott Simon,
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Contributing Writers
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R.I. Sutherland-Cohen, Geoff Tamarind
Jack Vartoogian
Fact-checker
Nate Dorward
nycjazzrecord.com
New York@Night
Interview : Carol Sloane
Artist Feature : Marc Cary
On The Cover : Cyro Baptista
Encore : Gianluigi Trovesi
Lest We Forget : Willie “the lion” Smith
LAbel Spotlight : Gearbox
VOXNEWS
In Memoriam
Special Feature : Hollywood Jazz
CD Reviews
Miscellany
Event Calendar
JULY 2016—ISSUE 171
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Festival Report 13
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by andrew vélez
by donald elfman
by john pietaro
by ken waxman
by scott yanow
by eric wendell
by suzanne lorge
by andrey henkin
by andrey henkin
Mentorship is a powerful thing and can happen with years of collaboration or a single, chance
encounter. Lao Tzu said, “A journey of a thousand miles begins with a single step”; to
paraphrase, a career of decades starts with a single note.
Such experiences run through our “big three” feature subjects this month, as they do, in fact,
with all our coverage since the beginning. Percussionist Cyro Baptista (On The Cover) has
been formed by experiences with Derek Bailey, Naná Vasconcelos, John Zorn and Herbie
Hancock. Now he helps shape the younger players in his bands, some of whom will appear
alongside him at Dizzy’s Club this month. Vocalist Carol Sloane (Interview) speaks of the
influence of pianists like Tommy Flanagan and Jimmy Rowles and fellow singers like Ella
Fitzgerald and Carmen McRae. Those influences will all be on display at her appearance as
part of 92nd Street Y’s Jazz in July program. And pianist Marc Cary has been the product of
lessons learned from drummer Art Taylor and vocalists Betty Carter and Abbey Lincoln, to
name but a few, and passes those teachings along through his focus on community; he does so
this month, presenting his Harlem Sessions at Queensbridge Park as part of SummerStage.
We are all on the journey of music together, at different points but towards the same destination.
On The Cover: Cyro Baptista (photo courtesy of the artist)
In Correction: In last month’s What’s News, Amy Schumer is Jason Stein’s sister.
In last month’s Festival Report on Open Plan: Cecil Taylor, Lawrence Kumpf is
no longer with Issue Project Room
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
2 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

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N EW YO R K @ N I G H T
JULY 19–28
ANAT COHEN
Clarinet
The Vision Festival, held at the beginning of June for
its 21st edition, has been a reliable fixture for supporters
and followers of creative music, both ‘old heads’ and
younger fans alike. This year, the focus often seemed to
be on ensuring the solidity of longterm collaborations,
such as the Sun Ra Arkestra under the direction of
Marshall Allen; renewed partnership of inventor and
multi-instrumentalist Cooper-Moore and alto
saxophonist Alan Michael (Braufman); and longrunning
Southern trio of tenor saxophonist Kidd
Jordan, pianist Joel Futterman and drummer Alvin
Fielder. The latter group was joined for the closing
concert (Jun. 12th) by Chicago bassist Harrison
Bankhead and Kidd’s son Marlon Jordan on trumpet
for a multi-tiered improvisational suite dedicated to
the victims of the Pulse Nightclub attacks in Orlando
the previous evening. The bassist and drummer had
previously worked together in Chicago and their slyly
ante-upping telepathy was infectious, Fielder inhabited
by the ghosts of Max Roach and Kenny Clarke in
swaths of colorful, textured swing. Futterman, like
Fielder, is a somewhat rare visitor to New York and his
thin frame belied gusts of piano-rattling physicality
delivered with rhapsodic poise. While it seemed as
though the swells of internally-conducted energy,
refracted hymns and stark, jittering pastorals could
continue until the wee hours, Kidd calmly brought the
proceedings to an end with a subtle nod.
—Clifford Allen
Jen Shyu gave a brilliant performance of her Song of
Silver Geese to open the second night (Jun. 8th) of the
21st Vision Festival. Composed in commemoration of
Taiwanese poet Edward Cheng and Javanese shadow
puppeteer Sri Joko Raharjo, the piece began in slow
motion as Shyu and dancer Satoshi Haga mounted and
traversed the stage with dreamlike determination to
Anna Webber’s lonely flute, soon joined by the ethereal
Mivos Quartet (violinists Olivia De Prato and Erica
Dicker, violist Victor Lowrie, cellist Mariel Roberts),
who were seated at top rear stage, facing backwards,
later moving to the middle. Shyu knelt center stage to
sing and play the gayageum (Korean zither),
accompanied by her Jade Tongue (vibraphonist Chris
Dingman, violist Mat Maneri, bassist Thomas Morgan,
drummer Dan Weiss), as Haga’s gestures grew more
frenetic. Then, twisting gradually, Shyu moved to the
piano, crooning in a minor key, then exhorting violently
in response to Haga’s kinetic energy. Switching
languages again (there were seven), she sang over the
soft pulsing of the entire band while strumming
a Taiwanese moon lute. As the music grew heavier,
morphing meters and textures, she returned to center
stage to sing and play hand gongs, trailed by her
shadow, a phantom presence on the piano skirt behind
her. For the finale, eight robed women slow-marched
up the aisle carrying trays of electric candles, strewing
them across the stage to evoke a multi-tiered river of
five hundred lights.
—Tom Greenland
DON’T MISS A BEAT
of summer’s hottest jazz festival — with
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CAROL SLOANE
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Kidd Jordan @ Vision Festival
In the Spying series, curated by trumpeter Jaimie
Branch and often bringing into the fray musicians
from her associations with the New England
Conservatory and the Chicago free music scenes,
improvisers take over Greenpoint’s Manhattan Inn on
Thursdays. One such bill (Jun. 9th) featured a wide
range of players—the Flow Trio rhythm section of
bassist Joe Morris and drummer Charles Downs joining
the brittle tenor of Hedy Paz; Chicago drummer
Charles Rumback’s quartet with bassist John Tate, bass
clarinetist Jason Stein and tenor saxophonist Tony
Malaby; and closing with a Branch-led quartet of
drummer Chad Taylor, alto saxophonist Darius Jones
and bassist Brandon Lopez. The triple-header offered
too much to catalog in terms of feeling and approach,
though some of the best moments were those walking
a line between gentle reverence for tradition and
courageous outside playing. Branch’s quartet pitted
sardonic bluesy rejoinders and open-throated reed
vibrato against shimmering rhythmic shakedowns, all
with cutting honesty. Rumback and company built a
seamless program of lush postbop unafraid to dig in its
heels, especially on a strident cover of Andrew Hill’s
“Tough Love”. Paz, meanwhile, is a tenor saxophonist
to watch and was unfamiliar to me. With shades of a
young David Murray in his consummate approach, his
racquetball game with Morris had a fittingly openended
referee in Downs’ airy rumble and gleefully
loose cymbal chatter.
(CA)
© 2016 Jack Vartoogian/FrontRowPhotos
Jen Shyu @ Vision Festival
On one of the windiest days of the year, intrepid
improvisers massed at Urban Meadow (Jun. 12th) for
the ninth annual Red Hook Jazz Festival, battening
down sheet music with jumbo colored clips in defiance
of the powerful bayside gusts, blowing sweet jazz into
the turbulent air. Joe Fiedler’s three-trombone quartet
(Fiedler, Ryan Keberle, Luis Bonilla plus Jose Davila on
sousaphone) played peppery chorales, with Steven
Bernstein adding a fourth slide (trumpet) on Roger
Miller’s “King of the Road” and “Tin Tin Deo”.
Drummer Tomas Fujiwara’s The Hook Up (Jonathan
Finlayson: trumpet, Mark Shim: tenor saxophone,
Mary Halvorson: guitar, Michael Formanek: bass)
wafted gentle counterpoint and swelling dissonances,
with fading finishes. Guitarist Rez Abbasi’s The
Junction (Mark Shim: tenor saxophone/EWI, Sam
Harris: keyboards, Kenny Grohowski: drums) mixed
shredding fusion with freer moments when ambient
wind sounds became part of the performance. Vocalist
Judi Silvano brought her aptly named Zephyr Quintet
(Bruce Arnold and Kenny Wessel: guitars, Ratzo
Harris: bass, Bob Meyer: drums), with Joe Lovano
guesting on soprano saxophone, for an all-original set
showcasing her new age-meets-old school lyrics and
yodeling, ululating scats. The irrepressible Bernstein
was back with Sexmob (Briggan Krauss: alto
saxophone, Tony Scherr: bass, Kenny Wollesen: drums),
working the crowd with improv comedy (musical and
otherwise) and head-bobbin’ beats.
(TG)
4 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Peter Gannushkin/DOWNTOWNMUSIC.NET
Within the cohort of players found regularly at the
Vision Festival, celebrating its 21st edition this year,
trombonist Steve Swell is a member of a rare species.
He can throw flames with the most incendiary of players
but also has a composer’s mindset relatively unique to
the free-form world. His is an especially masterful
control of the instrument, particularly its dynamic
range, which served him well at his Vision set (Jun. 9th),
leading a quintet under the banner of Kende Dreams,
named for their 2015 album on Silkheart (subtitled
Hommage à Bartók) wherein Swell, alto saxophonist Rob
Brown, pianist Connie Crothers, bassist William Parker
and drummer Chad Taylor fêted the late Hungarian
composer. The group, Larry Roland subbing for Parker,
had to wrestle not only with the complex material but
also the booming acoustics of Judson Church, a room
hardly fit for concerts above a whisper. Roland and
Taylor fared worst in the environment, nuance
swallowed up into acoustic quicksand while the range
of Brown’s saxophone helped slice through all the way
to the back of the hall and into the balcony, though
decaying a bit on its way. It could have been a total loss
if not for the fortitude of Swell and Crothers, the former
deciding that shaking the rafters with volume would
tame the building, the latter opting for classical delicacy,
flitting from one corner to the other. The pair were like a
hippo and an oxpecker, a refreshing case of musical
symbiosis, begging for a duo concert at the 22nd edition,
wherever it may be held.
—Andrey Henkin
Steve Swell @ Vision Festival
alan nahigian
One of the relatively few piano players (compared to
saxophonists) to emerge out of the ‘60s revolution in
jazz, Dave Burrell, while well known for his tenures
with Archie Shepp and David Murray, remains largely
unheralded for his own innovative work. Making a
rare New York City appearance, Burrell closed out the
penultimate night of this year’s Vision Festival (Jun.
11th) in a duo performance of his Paradox of Freedom
suite with drummer Hamid Drake. Perhaps more than
any ‘avant garde’ pianist, Burrell’s music is deeply
rooted in the entire jazz tradition of his instrument, as
was evinced in the suite’s eponymous first movement,
which began with a left-hand boogie woogie rhythm
on top of which Burrell laid down a lyrically marching
melody giving way to improvisational lines combining
bright Ellington-ian chords with dissonant Cecil
Taylor-ish clusters. The second movement, “Code
Name: Cheap Shot”, a variation on the theme, began
with a powerfully minimalist motif, moving to a
dynamic piano-drum dialogue showcasing Drake’s
sprawling sense of rhythm and tonality, along with
Burrell’s virtuosic touch, which had his notes ringing
out in stark clarity. In the third movement, “Long Time
Coming”, the pair moved through changes in tempo
and meter as the piece progressed from a percussive
waltz to a steady 4/4 beat, leading into a recap of the
opening theme. An encore, “With A Little Time”, had
the pair moving melodically through tango and bossa
modes.
—Russ Musto
Dave Burrell & Hamid Drake @ Vision Festival
WHAT’S NEWS
The 2017 class of NEA Jazz Masters has been
announced. Winners of a $25,000 award, to be
honored at a concert on Apr. 3rd, 2017 at the Kennedy
Center, are vocalist Dee Dee Bridgewater, author Ira
Gitler, bassist Dave Holland, pianist Dick Hyman and
organ player Dr. Lonnie Smith. For more information,
visit arts.gov/honors/jazz.
As part of their enshrinement in the Ertegun Jazz Hall
of Fame, Jazz at Lincoln Center will celebrate the
three new inductees at Dizzy’s Club: Ben Webster (Jul.
12th), Wayne Shorter (Jul. 13th) and J.J. Johnson (Jul.
14th). For more information, visit jazz.org.
Entries are encouraged for the fifth annual Sarah
Vaughan International Jazz Vocal Competition.
Deadline for submission is Sep. 12th. Finalists will
perform before judges (Christian McBride, Sheila
Jordan, Sheila Anderson and Mark Ruffin) Nov. 20th
as part of the TD James Moody Jazz Festival at the
New Jersey Performing Arts Center. The winner of the
SASSY Award will receive a $5,000 cash prize and a
recording deal with Concord Music Group. For more
information, visit sarahvaughancompetition.com.
Blue Note Entertainment Group and Rivet VR have
announced the release of a 360 Music App, available
at the iTunes app store, featuring “multiple 360-degree
camera rigs, immersive 3D and binaural audio” from
concerts at the West Village club. Content is available
for download and eventually streaming. For more
information, visit bluenoteentertainmentgroup.com.
The New York Jazz Workshop’s eighth summer
series takes place Jul. 18th-Aug. 28th at Michiko
Studios in midtown Manhattan. Faculty include Dave
Liebman, Vic Juris, Ari Hoenig, Kenny Wessel, Marc
Mommaas, Mark Sherman, Tony Moreno, Dan Weiss,
Alan Ferber, John O’Gallagher, Scott Robinson, Fay
Victor, Olivia Foschi, Jocelyn Medina, Richard Boukas,
Chris Washburne, Amina Figarova, Frank Kimbrough
and Dave Scott. For more information, visit
newyorkjazzworkshop.com/workshops/jazzintensivessummer-2016-general-information.
“He is lucky and does not rejoice / He is unlucky and
does not weep / I call him illumined.” Charles Lloyd
intoned the words of the Bhagavad Gita in his song
“Tagi”, the second of two encores given at the end of a
monumental concert at Town Hall (Jun. 11th). Charles
chanted these words while seated at the piano, flanked
visually and aurally by the vocalizing of tabla player
Zakir Hussain and drummer/pianist Eric Harland, his
partners in the trio Sangam. These 14 minutes, where
Lloyd then recapitulated the tenets of the Hindu
philosophy on his inimitable tenor saxophone to close
the evening, was an epilogue to the 12-minute opening
piece, a prologue eventually thickened by Hussain’s
light tabla dancing and Lloyd’s alto. In between those
two statements were five other pieces and if none of
them had words, they were all equally born of Lloyd’s
deep soul and mind. For you see, his playing is not a
corollary to his spirituality; they flow inexorably from
the same source, explaining how, at age 78, he can
summon up a tone on saxophone or flute so absolutely
pure. He fully inhabits another line from the Bhagavad
Gita: “Water flows continually into the ocean / But the
ocean is never disturbed.” Hussain and Harland flow
alongside him, creating an unmatched triumvirate,
upending any notions of hierarchy or communication
fettered by ego. “When a man can still the senses /
I call him illumined.” Lloyd, Hussain and Harland
stilled the senses of all in attendance, illuminating us
for a brief, precious while.
(AH)
The 2016 SummerStage season began auspiciously
with The Legends Honor McCoy, an allstar concert in
Central Park (Jun. 4th) featuring three of the most
venerated names in jazz today. The triple bill, part of
the Blue Note Jazz Festival, began with a performance
by Ron Carter. Leading a quartet with pianist Renee
Rosnes, drummer Payton Crossley and percussionist
Rolando Morales-Matos, Carter eased into the set, his
bass out front on his “595” and “Mr. Bow Tie”, moving
into the Miles Davis songbook for “Seven Steps To
Heaven” and “Flamenco Sketches”, then mellowing
the mood on bossa “How Insensitive” and ballad “My
Funny Valentine”. As rain began to fall, trumpeter
Wallace Roney joined the group to close out the set on
“Billie’s Bounce” and “Bye Bye Blackbird”. Undeterred
by the precipitation, the crowd was treated to an
exciting show by the Roy Haynes Fountain Of Youth
band, with the nonagenarian drummer powering the
group with saxophonist Jaleel Shaw, pianist Martin
Bejerano and bassist David Wong through Pat
Metheny’s “James”, Wayne Shorter’s “Fee Fi Fo Fum”,
Monk’s “Green Chimneys” and Sonny Rollins’ “Grand
Street”. Heavy rain thinned the audience, but the
faithful who came to honor McCoy Tyner heard a
potent set by the pianist with saxophonist Sherman
Irby, bassist Gerald Cannon and drummer Joe
Farnsworth, playing classics “Fly With The Wind”,
“Walk Spirit, Talk Spirit” and” “Blues On The Corner”,
ending with Ellington’s “In A Mellow Tone”. (RM)
Saxophonist Mats Gustafsson, Vienna record store
Substance and Trost Records have announced the
debut of Discaholic, an online platform for rare vinyl,
with weekly updates. For more information, visit
discaholic.com.
The Robert D. Bielecki Foundation has awarded Mary
Halvorson an unrestricted grant of $10,000 “in honor
of her achievements as a guitarist, improviser and
composer blurring facile musical borders while
amplifying what it means to play the guitar in the 21st
century.” The foundation has also made a $10,000
matching grant for the 20th Anniversary of Edgefest in
Ann Arbor, MI, including a double match for all new
attendees, and a $10,000 Grant for the Studio
Museum in Harlem for general operating support for
its 2016-17 season. For more information, visit rdbf.org.
Inaugural recipients of the NYC New Music Impact
Fund, a project of New Music US, supported by a
three-year, $495,000 grant from The Scherman
Foundation’s Axel and Katherine Rosin Fund, have
been announced. Among the organizations receiving
support are Arts for Art, Jack Arts, Inc., So Percussion,
and The Jazz Gallery. For more information, visit
newmusicusa.org.
Submit news to info@nycjazzrecord.com
THE NEW YORK CITY JAZZ RECORD | JULY 2016 5

I N TE RV I EW
photo courtesy of the artist
Carol Sloane has been singing professionally since age 14.
In 1961 she made an unexpectedly memorable splash at the
Newport Jazz Festival, which inspired critical raves and
Columbia Records to sign her immediately. Dozens of
recordings later, working with such jazz greats as Tommy
Flanagan, Benny Goodman, Jimmy Rowles, Rufus Reid, Bill
Charlap, Clark Terry and Jim Hall and subbing for Annie
Ross with Lambert, Hendricks & Ross, she is returning to
performing after what she calls a “voluntary withdrawal”,
prompted in large part by the death of her husband Buck
Spurr two years ago. The occasion for her return is a
celebration of the music of one of her great favorites, Billy
Strayhorn, at 92nd Street Y’s Jazz in July program.
The New York City Jazz Record: You’ve lived in
Stoneham, Massachusetts for quite a while.
Carol Sloane: It’s nice. It’s comfortable. I know my
neighbors and because of its close proximity to Boston
it’s easy for me if I want to hear some music live. I saw
Bill Charlap in April and Kenny Barron about three
weeks ago. And Eric Alexander ten days ago. The
climate for jazz up here is still pretty good.
TNYCJR: I’m surrounded here by dozens of your
recordings to remind me of all your collaborators.
CS: It’s kind of astonishing. Tommy Flanagan, Phil
Woods, Kenny Barron, Clifford Jordan, Art Farmer,
Frank Wess, Ken Peplowski and an enormously long
list of people who are the crème de la crème. I got very
lucky. I have great respect for these guys. They know
my limitations and they are like a wonderful safety
net. They never let me down. I don’t read music and
I very rarely have had arrangements and that sort of
thing on the bandstand. Usually the guys had a list of
songs and keys and that’s about it, which made endings
kind of insecure for everybody but that’s jazz.
When I learned Ella [Fitzgerald] couldn’t read
music I was kind of surprised. Jimmy played for her
for a while and so did Tommy. I worked with both of
those guys and they said she learned pretty much the
same way that I did. Jimmy had a way of describing
certain singers with great admiration. He said they had
“perfect placement”.
TNYCJR: You even worked with Benny Goodman.
CS: Benny is a whole chapter in my book. [Sloane is
writing a memoir.] I traveled with him on one little
tour. He had hired [pianist] John Bunch on that tour,
which was wonderful, and [cornet player] Bobby
Hackett as well. It was wonderful to listen to Bobby
play every night.
It was very funny because people had said you’re
not going to enjoy it because he [Goodman] is playing
the whole time you’re singing. What the hell are you
talking about! We’re talking about Benny Goodman,
not some jerk who came off the street.
CAROL
SLOANE
by andrew vélez
TNYCJR: You also opened for Oscar Peterson.
CS: That was at the Vanguard and before I went up to
Newport for the big hoo-ha there. I was there to see
Lambert, Hendricks & Ross. Jon Hendricks asked me
to sit in and I did. I had already been subbing for Annie
Ross now and again whenever she was unable to get to
a gig. After the set [Vanguard owner] Max Gordon
came over to me and asked how I would like to open
for Oscar Peterson for two weeks. He was saying this
to a 20-year-old woman who was so enchanted to even
be in the Village Vanguard and to contemplate that I
am actually going to be on the stage for two weeks
opening for Oscar and get paid for it. I thought I would
die. I’m in heaven. …Everybody always thinks Oscar
was such a nice guy. He was a nice guy, but he also
loved to play practical jokes.
TNYCJR: But Not for Me is a beautiful Gershwin album
you made with Flanagan.
CS: We had the studio lights out to give us a less sterile
feeling. Also I was not in a booth. I hate a booth. I was
near Tommy with [bassist] George Mraz on my right
and [drummer] Al Foster somewhere over on my left.
…It was a comfortable feeling of breathing together.
Tommy insisted the night before that we go through all
the verses and that’s what we did. The verses of the
Gershwins are simply wonderful. That was the only
rehearsal we had. We found the key and went with it.
We had no written arrangements for that one either.
TNYCJR: Another good one is Carol Sings with Rowles
that you made in 1978.
CS: The thing is Jimmy and I were living together.
…His approach to playing for a singer was so subtle
that you didn’t even realize he was there. Whatever the
singer he played for he knew his or her limitations and
how much help was needed and how much he could
leave them alone.
TNYCJR: How did you two meet?
CS: Jimmy was playing at Bradley’s. I had received a
pretty decent review in the Times and Bradley had read
it. He kept after me to sit in [with Jimmy] …I was
forced to do it. Jimmy’s first words to me in that growly
voice of his were, “What do you want to sing?” (laughs)
So I said how about “My Ship” in A-flat. And we did it
and it was wonderful. (more laughter) He told me later
that he fell in love with me when I sang “My Ship”.
That’s how it all started. He was the second alcoholic
I lived with. It’s such a devastating disease and I never
want to do that again. But anyway Jimmy was another
guy who always made you feel comfortable and more
confident, which is exactly what you need when you
go into a recording studio. He was an interesting man.
Plus he had all that history of playing for Sarah
Vaughan and Lady Day. He loved playing for Billie
Holiday. She called him “Gray Boy”. You know, he
wasn’t white and he wasn’t black. He was in the middle
there. So Jimmy had a long history of association with
black musicians and, as is typical of this wonderful
thing in jazz, there is interaction between races and no
one thinks of anything but how well do you play.
TNYCJR: You developed a friendship with Ella
Fitzgerald.
CS: Yes, because of Jimmy. When Tommy Flanagan
decided he wanted to go out on his own, he
(CONTINUED ON PAGE 46)
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6 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

A RT I S T F E AT U RE
photo by rebecca meek
“We are the world.” Pianist Marc Cary, in speaking
of his approach to the creation of music, used that
phrase in a way that, rather than being hackneyed or
corny, suggests a view that is truly open and inclusive.
It’s about his choice of musicians, recordings and
performances he decides to make, his celebration of
home and neighborhood, the technology he utilizes
and deep appreciation and understanding of his
history and, more universally, the past.
“Music is not about being in any one track,” he
says, “but rather about finding all the resources that
will make the best possible expression of who I am
and, hopefully, even, who we all are.” It’s that full
expression that informs the series he plays at Ginny’s
Supper Club in Harlem and will be at the fore of a
manifestation of his Harlem Sessions, set for Jul. 31st
in Queensbridge Park as part of SummerStage.
Cary was born in New York on Jan. 29th, 1967 but
moved to Washington, D.C. as a child. He got his
interest in jazz from a grandfather who was the first
cousin of Ellington trumpeter Cootie Williams. In
Washington, Marc attended the Duke Ellington School
of the Arts and came to meet, through performances at
places like Blues Alley, such inspirations as trumpeter
Dizzy Gillespie and pianist Walter Davis, Jr. He played
on club dates as early as 15. His parents encouraged
him to listen to their record collection and his mother
would not let him out of the house until she played
something to which she insisted he listen.
In addition, Cary worked at a place called the
Kilimanjaro Heritage Hall, an old arts center type of
venue that did African-American community support.
“I did a program at a place called RAP Inc., or Regional
Addictional Prevention program—I actually did selfhelp
there—and then took that work and went to school
to talk about the kinds of things, good and bad, that I’d
been exposed to. The process was the most liberating
experience for me in setting me free to do the things
I wanted to do. But I had been playing even before the
program. I had a band from the age of 12.” And,
according to Cary, DC has its own beat, its own pulse
and an ethos in which musicianship is focal.
He notes, “[Guitarist/singer] Chuck Brown, for
example, took standards of jazz and popular music and
set them to this beat, originally called go-go. It was one
of the many early things that inspired and engaged me.”
Briefly, these were the experiences that led to Cary
coming to New York—urged and inspired by Walter
Davis, Jr.—and creating what is now a 35-plus-year
career in composing, producing, performing and
recording. Within months of his 1988 arrival, Cary was
playing in bands led by drummer Art Taylor, bassist
Mickey Bass and vocalist Betty Carter. Experience with
the latter, as well as time with vocalist Abbey Lincoln,
provided important musical challenges and rewards.
“Working with Betty was amazing because you not
only had to be expressive on your own but you had to
understand how she was approaching the changes of a
tune. Going from Betty to Abbey was like going from
MARC
CARY
by donald elfman
the street to the theater. Abbey taught me the power of
simplicity, focus and poetry.” The 2012 record he made
for her, a solo piano set called For the Love of Abbey
(Motéma Music), a collection of her and his originals
plus Ellington’s “Melancholia”, is sensitive and loving.
Cary’s facility in these situations goes far in
explaining both his refusal to be pigeonholed and
ability to be creative and expressive in so many
settings. Just a simple scan of the variety of formats in
which he has made music is vastly impressive:
hip-hop; music from Africa, the Caribbean, India and
beyond; acoustic and electronic music, including two
albums and performances on the Fender Rhodes; and,
of course, a great number playing and recording in the
jazz world (and outside of it) with the likes of trumpeter
Roy Hargrove, vocalist Shirley Horn and Erykah Badu,
saxophonist Abraham Burton, vibraphonist Stefon
Harris, drummer Cindy Blackman and MC Q-Tip.
When asked about his group, Cary says, “I have
lots of groups. Most recently is the Focus Trio that
includes, among others, Sameer Gupta on drums and
tabla and David Ewell on bass. There’s also Indigenous
People, which mixes hip-hop, Native American, jazz,
house and West African music. Then there is the music
for the Rhodes groups, including bassist Tarus Mateen,
Gupta, Daniel Moreno on percussion and many more.
And before the Focus Trio there was Trillium with
Tarus and [drummer] Nasheet Waits. On that one we
played covers of Duke Pearson and Miles.” These and
Cary’s individual and group vision have been fruitfully
documented on his many recordings for Enja,
Arabesque, Jazzateria and Motéma.
At the root of all of Cary’s musical exploration is
jazz improvisation. “I’m a musician—I love melody,
rhythm, harmony. But this form that we call jazz entails
everything that I want to do. All my possibilities are
there. It’s a bed over which I can lay other influences
and yet the basic unique form, with a history and
possibilities, remains.” So, it’s clear that, as fellow
eclectic pianist Robert Glasper has said of Cary, “He’s
always who he is…not what people want him to be.”
And that leads us to just where he is right now. Much
of that has to do with the help of his manager and wife,
Tinku Bhattacharyya, who, he says, understands him
personally and creatively.
There’s also his home in Harlem and how that
sense of community moves him to be involved in its
arts and, in that sense, give to the place that has been
the source of so much inspiration for him and others.
So the Harlem Sessions concert in Queensbridge Park
speaks to the artist’s passion for ensemble. “There’s
the power of instrumentalists working together, but
also the power of having them joined in a multi-faceted
way, with dancers and singers, children and adults, all
from the community.” Joining Cary on the concert will
be Dancing Buddhas, choreographed and led by Joseph
Webb, and singers Brianna Thomas and the Jazz
Travelers, all a part of WBGO Kids Jazz. “It’s that
world I choose now to live and create in,” says Cary. v
For more information, visit marccary.com.
Cary’s Harlem Sessions is at Queensbridge Park Jul. 31st as
part of SummerStage and Ginny’s Supper Club Thursdays.
See Calendar and Regular Engagements.
Recommended Listening:
• Art Taylor’s Wailers—Mr. A.T. (Enja, 1991)
• Roy Hargrove—The Vibe (Novus, 1992)
• Marc Cary—Cary On (Enja, 1994)
• Abbey Lincoln—Who Used to Dance (Verve, 1996)
• Marc Cary—Focus Trio Live 2009
(Motéma Music, 2009)
• Marc Cary—For The Love of Abbey
(Motéma Music, 2012)
THE NEW YORK CITY JAZZ RECORD | JULY 2016 7

O N TH E COVER
CYRO
BAPTISTA
percussion traveler
by john pietaro
photo courtesy of the artist
Percussionist Cyro Baptista has lived in the U.S. for
nearly 40 years since relocating from Brazil. The trail
has taken him around the globe, sharing the stage and
studio with many of the most relevant artists of free
improvisation, world music, jazz, experimental
composition and some of the best of pop music too.
Perhaps it is due to his status as a traveler, but Baptista
has never stopped seeking out the community within
the music—in any locale to which it takes him.
Baptista was introduced to performance in
elementary school, where the music teacher engaged
the children in the building of percussion instruments
as well as in playing them. “My first instrument was a
hollowed-out coconut shell,” he recalled fondly, “and
when I brought it the ensemble—this simple thing—
became something great we could do together.”
Immersion in the Brazilian music tradition
introduced him to many instruments as he crafted his
own expression and developed a sense of ensemble
that remains so meaningful. Baptista traveled to New
York in 1980; though he was to become a Downtown
stalwart, his initial destination was considerably
further north. “I was given a full scholarship to attend
the Creative Music Studio (CMS) up in Woodstock.
It was an incredible time to be there. The best musicians
in the world came through that program; Don Cherry
was a regular! Every day, a new experience.”
After considerable exploration of CMS’ unique
approach to improvisation and performance, Baptista
decided to move to New York. “I lived on the Lower
East Side to be near the music—and it was so cheap
then! It wasn’t long before I became friends with John
Zorn and Marc Ribot. They were great to me. I played
a lot on the streets, trying to get to know people, but
I hardly knew any English. I picked up a lot of, um,
bad words immediately but I didn’t know what they
meant,” he said laughing. “It took me a while to realize
I couldn’t use ‘M.F.’ in every sentence. It was brought
to my attention at a big artsy party on the Upper East
Side. That was an eye-opener. My English is still not so
great,” he injected with a smile, “Sometimes I think I
speak like Tarzan. But back then, it was really rough!”
Baptista began playing gigs at now-legendary
performance spaces in the fertile terrain of downtown,
where experimental composition and free improv
tangled deliciously with punk rock and electronica. He
found the mélange to be a refreshing change. “Once
I became a part of the musical scene down there, a big
door opened for me.” His instrumental voice liberated,
Baptista was among a growing brood that soon became
known as the avant apex of the day. “We used to play
these gigs at the old Knitting Factory on Houston Street,
but none of us were well known yet. The audience
didn’t come at first—it could be a really tough
neighborhood—but after a while, the word spread.
John Zorn worked very hard to make it happen and we
played together a lot. All of us struggled so much early
on but we created that community of sound.”
The list of composers, songwriters, improvisers
and other performers Baptista encountered in the years
since can fill volumes. His work with Zorn is well
chronicled but he also spent considerable time with the
recently departed percussion master Naná Vasconcelos,
whom he considers his “inspiration”. Walking in such
good company opened Baptista up to performance
opportunities ranging from gigs with founding
No Wave guitarist Arto Lindsay to globally renowned
cellist Yo Yo Ma. Along the way, he performed and/or
recorded with Sting, David Byrne, Dr. John, Phoebe
Snow, Janis Ian, Gato Barbieri, Geri Allen, Trey
Anastasio, The Chieftains, James Carter, Edie Brickell,
Bobby McFerrin, Cassandra Wilson, Richard Stoltzman,
Herbie Mann, Tony Bennett and others. Baptista enjoys
every facet of his role as a percussionist, whether
playing the traditional berimbau or hand drums,
tearing up racks of blocks, bells and cymbals or playing
what he calls “transparent percussion”, the subtle
touches that lie almost inaudibly on a track.
When guitarist Derek Bailey, master improviser
and theorist, approached Baptista early on for a
recording date, the percussionist jumped at the chance
to make his debut recording. “Derek asked me to
record with him and so I went and we just played.
I never thought anything more of it and assumed it
hadn’t been released. Some years later, I was touring in
the U.K. with Naná and a man came up to me excitedly
saying, ‘You’re Cyro!’ and waving this album at me. It
was Derek’s record. I was shocked to see that not only
had it come out, but Derek had named it Cyro.”
But it hasn’t all been freewheeling music. Baptista
explained: “I toured and recorded with Paul Simon for
six years. He was a very particular kind of songwriter—
he allowed the musicians room to create but then was
strict about parts being played the same way every
time. The band was amazing: Steve Gadd, Richard Tee,
Michael Brecker…wow. I had been used to clubs, halls,
but with Paul I learned how to play to 30,000 people!”
And what of Herbie Hancock? “He’s Number One.
I actually rate my career on what I did before I met him
and after. After Herbie, I was never just a sideman
again. The connection we had went beyond music.
I became a Buddhist through his example. Musically,
everything was so open, the expectations for the band
to CREATE every moment was so high. He approached
me once, saying he was very happy with what I played
but he noticed some of the same phrases night after
night. He said I needed to play something new each
time,” Baptista laughed. “So I went from a leader that
always wanted everything the same to one that never
wanted you to repeat yourself.”
The percussionist has been an active composer for
years and founded several ensembles featuring aspects
of his musical breadth. But he works to build the sense
of ensemble in each situation. “Every time I play it’s a
different set-up. I’m always experimenting with
sounds. For certain gigs, I will learn to play a new
instrument. These days I’m killing myself to learn the
balafon, spending five hours a day practicing. It’s like
starting over, but we should never stop growing.”
Here is where tradition can take wing: “Once you
learn the roots of your instrument then you can go
anywhere. When I moved to the U.S. I learned the
washboard, an American musical manifestation. And
when I formed the band Beat the Donkey I knew
I needed to include a tap dancer for the same reason,”
he offered. “But you must first conquer the roots; that’s
where you’ll find the instrument’s genetic code.”
Beat the Donkey (the translation of a Brazilian
expression for “Let’s go!”), a true fusion of culture and
genre, has been Baptista’s main vehicle these past 15
years. He boldly added adaptations of King Crimson
and Led Zeppelin into an already expansive repertoire,
at times to the chagrin of concert hall administrators.
Still, his work isn’t limited to this band. A case in point
is Baptista’s newly released disc Bluefly (Tzadik),
inspired by the titular insect’s ability to travel mass
distances on the back of a large animal, another
metaphor for the leader’s journey. It features a pair of
musicians from Sting’s band and a bevy of guest artists.
And then there’s the percussionist’s central role in
Jamie Saft’s new album Sunshine Seas (RareNoise).
This month the focus is on Baptista’s tribute to
Heitor Villa-Lobos, Brazil’s greatest composer, and an
extension of a project began a generation ago. He sees
the concerts as a chance both to celebrate and
reconstruct this master’s music. The assemblages
(pianist Brian Marsella, Shanir Blumenkranz on bass,
sintir and oud and drummer Gil Oliveira) will perform
along with guests at Dizzy’s Club, as well as performing
music from Baptista’s Banquet of the Spirits project.
In many ways, this brings it all back home for
Baptista, as does the goal of inspiring coming
generations. “In addition to writing music, Villa-Lobos
ran a program for school children to perform his choral
works all over Brazil. Every year they’d pull these
choirs together for a concert in a soccer stadium.” In
this regard, Baptista has been facilitating a project with
drummer Kenny Wollesen, The Sound of Community,
which brings music programs to economically
deprived areas. “We’ve done this in Mexico so far, but
plan to extend it further. We create instruments with
old people, children, workers—and then together all of
us create compositions for these instruments. In the
end, we hold a concert with them. The program allows
even the poorest people to see the possibilities.”
“Music is music, but we keep changing,” Baptista
relayed. “In the end we can bring it back to what it was
in the beginning, when people sat around a fire for
survival, sharing songs.” v
For more information, visit cyrobaptista.com. Baptista is at
Dizzy’s Club Jul. 22nd-24th. See Calendar.
Recommended Listening:
• Derek Bailey/Cyro Baptista—Cyro (Incus, 1982)
• Cyro Baptista—Vira Loucos (Plays the Music of
Villa-Lobos) (Avant, 1996)
• John Zorn—The Gift (Tzadik, 2000)
• Bar Kokhba Sextet—John Zorn 50th Birthday
Celebration, Vol. 11 (Tzadik, 2003)
• Cyro Baptista Banquet of the Spirits—Infinito
(Tzadik, 2008-09)
• Cyro Baptista—Bluefly (Tzadik, 2016)
8 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

INTERNATIONAL TENNIS HALL OF FAME
GREGORY PORTER • CHICK COREA/ CHRISTIAN MCBRIDE/BRIAN BLADE
FORT ADAMS STATE PARK
GALACTIC • KAMASI WASHINGTON • KNEEBODY • DONNY MCCASLIN • PETER APFELBAUM
TIERNEY SUTTON • STEVE COLEMAN • THE HEATH BROTHERS • ETIENNE CHARLES
TYSHAWN SOREY • SULLIVAN FORTNER • ERIC REVIS w Ken Vandermark, Kris Davis, Nasheet Waits
UNIVERSITY OF RHODE ISLAND BIG BAND • BERKLEE GLOBAL JAZZ AMBASSADORS FEA DANILO PéREZ
FRIDAY
JULY 29
FORT ADAMS STATE PARK
NORAH JONES • GREGORY PORTER • CHICK COREA/ CHRISTIAN MCBRIDE/BRIAN BLADE
THE BAD PLUS • DARCY JAMES ARGUE • JOHN SCOFIELD/JOE LOVANO • JOEY ALEXANDER
MONTY ALEXANDER • EDMAR CASTAÑEDA • BUTLER, BERNSTEIN & THE HOT 9
THE HOT SARDINES • STEFON HARRIS • DAVE LIEBMAN • HENRY BUTLER
MARC RIBOT • KRIS DAVIS • MARY HALVORSON • TERRY WALDO • ROXY COSS
RHODE ISLAND MUSIC EDUCATORS ASSOCIATION SENIOR ALL-STATE JAZZ ENSEMBLE
SATURDAY
JULY 30
FORT ADAMS STATE PARK
ANGéLIQUE KIDJO • NELS CLINE: MUSIC FROM LOVERS • LIZZ WRIGHT
CHARLES LLOYD NEW QUARTET W Jason Moran, Reuben Rogers & Eric Harland
JOSÉ JAMES • POTTER, HOLLAND, LOUEKE & HARLAND
ROBERT GLASPER • KAMASI WASHINGTON
CHRISTIAN SCOTT ATUNDE ADJUAH • KENNY BARRON
SUNDAY
JULY 31
DJANGO FESTIVAL ALL-STARS • YOSVANY TERRY • ANAT COHEN
BEN WILLIAMS w Gilad Hekselman & Christian Sands • CORY SMYTHE
TOSHIKO AKIYOSHI • ROSSANO SPORTIELLO • THE WESTERLIES
MASSACHUSETTS MUSIC EDUCATORS ALL-STATE JAZZ BAND
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9.5x12.indd 4
6/13/16 6:36 PM

E N CO RE
GIANLUIGI TROVESI
by ken waxman
Throughout his years as one of Italy’s most respected
improvisers, alto saxophonist and clarinetist Gianluigi
Trovesi has maintained a melodic and folkloric
component in his sound whether with his own projects,
as soloist with large or small ensembles or notable
stints in pianist Giorgio Gaslini’s sextet and the Italian
Instabile Orchestra. This month he tours North America
as featured guest with Tel Aviv-based pianist Anat
Fort’s trio, celebrating her new ECM release
Birdwatching, which has a similar lineage.
“Even though I was born in northern Italy, some of
my interests have revolved around the colors of
Mediterranean music,” Trovesi explains. “For example,
in the duo with [accordion player] Gianni Coscia we’ve
been using phrases that originate in Israeli/Jewish
music for a long time. And maybe this permitted me to
create a good feeling with Anat’s music. I met Anat a
few years ago when I was invited to the Novara Festival
to direct the Luzern big band. Next year the festival
director decided to invite us to play in duo. Anat is
molto brava. Her manner of playing and composing is
full of poetry.”
That’s heady praise from someone acknowledged
as a master stylist, whether the music is jazz, notated,
so-called early music or traditional Italian ballads.
Born in 1944 in Nembro, where he still lives, Trovesi
was influenced by rustic dance music popular in the
area, opera and light classical music on the radio and
jazz and swing band music he played at local dances
while studying for his conservatory degree.
Hearing Eric Dolphy play live with Charles Mingus
in 1964 was one defining moment, he recalls. Winning
first prize in a national competition was another,
leading to a permanent job as first alto and first clarinet
with the Milan Radio Big Band from 1978-93. The band
backed visiting international jazz stars as well as
presenting its own concerts.
At the same time Trovesi was exploring improvised
LEST WE FORGET
WILLIE “THE LION” SMITH
by scott yanow
With his bowler hat, cigar, vintage suit and a bragging
but lovable personality, Willie “The Lion” Smith looked
like a hard-driving hard-drinking honky-tonk pianist.
But while he did his share of riotous Dixieland sessions,
Smith also composed and played some of the most
lyrical, sophisticated and sensitive music of his era.
He was born in Goshen, NY on Nov. 25th, 1893 as
William Henry Joseph Bonaparte Bertholoff Smith. He
took up the piano when he was six and, by the time he
was 18, Smith was earning a living playing ragtime
and early stride piano in establishments in New York
and Atlantic City. Smith served in the Army during
1916-19 and, upon his discharge, he gave himself the
title of “The Lion” to celebrate his heroism in World
War I. By 1920 he was part of the emerging New York
jazz scene. With his pals James P. Johnson and the
young Fats Waller, Smith starred at cutting sessions
and rent parties. He created infectious variations of
pop, classical and jazz melodies, utilizing his own
chord voicings and fresh ideas. He became an early
influence on the piano playing of Duke Ellington, who
in 1939 wrote and recorded “Portrait Of The Lion”.
Surprisingly, Smith was barely on records at all
music’s limits with Gaslini, percussionist Andrea
Centazzo’s Mitteleuropa Orchestra and others in Italy
and elsewhere in Europe, including with late German
bassist Peter Kowald and British saxophonist Evan
Parker. Even then his playing was more harmonically
oriented than others. “In the collaborations and projects
of the last few years the melodic aspect has been
highlighted,” he explains, “although it becomes less
important when I collaborate with free musicians.”
Recording as leader since the late ‘70s, first in a trio
and later with his highly praised octet, Trovesi became
known for mixing jazz improvisation with older
orchestral music plus regional melodies from Sardinia
and Bergamo. His concepts have been amplified over
time with CDs (many available on ECM and the 2014
CAM Jazz boxed set The Complete Remastered Recordings
On Black Saint & Soul Note) and performances centered
on classic operas or pre-modern, non-jazz composers. “I
think the idea of connecting different components of
music is always valid,” he elaborates. “Each of us
chooses points of reference, which can be from the jazz
tradition; a geographic area such as the Mediterranean;
a historical period like medieval times, the Renaissance
or the Baroque period. However, in the end, one must
tell a story and hope that the story is good. In Profumo di
Violetta, for instance, I think I told a good story.”
That reference is to an ECM disc from 2008. On it
Trovesi, playing piccolo and alto clarinets and alto
saxophone, directs a traditional North-Italian wind
and percussion banda in performing operatic themes
by Monteverdi, Cazzati, Pergolesi, Verdi, Puccini,
Rossini and Mascagni.
Today Trovesi spends most of his time as a soloist
with ensembles ranging from the Köln-based WDR Big
Band; L’Arpeggiata, a Paris-based early music group;
German-Turkish Oriental Ensemble FisFüz; and other
more jazz-oriented projects such as Milan’s Nexus.
After a period of years apart, he, pianist Umberto
Petrin and singer Tiziana Ghiglioni have put together a
project dealing with the music of influential ‘60s Italian
singer/songwriter Luigi Tenco.
Trovesi has never used a pianist in any project he
leads but, explaining his close collaboration with Fort,
he notes: “I don’t have any problems collaborating with
prior to 1933, just appearing on six numbers with
Mamie Smith in 1920 (including her historic “Crazy
Blues”) and a total of nine songs with such hot combos
as The Blue Rhythm Orchestra, The Gulf Coast Seven,
Georgia Strutters and Seven Gallon Jug Band. The
pianist made it through The Depression by playing
regularly at Pod’s and Jerry’s on 133rd Street in Harlem
and working as an accompanist to singer/actress Nina
Mae McKinney.
While there were some recording dates during
1933-37, including three he led (as Willie The Lion and
his Cubs), a set with clarinetist Mezz Mezzrow and
several bands led by Clarence Williams, it was not
until 1938 that he began to document his own classic
compositions, starting with “Passionate” and “Morning
Air”. On Jan. 10th, 1939, Smith recorded 14 superb solo
performances for Commodore, including remakes of
those two numbers, a few standards, well-titled romp
“Fingerbuster” and such originals as the picturesque
“Echoes Of Spring” and “Rippling Waters”. It is on the
latter that his lyrical side really emerged, showing that
there was more to stride piano than rapid tempos.
While Smith’s greatest contributions were his
sensitive pieces, he had to make a living. He was
primarily heard in freewheeling Dixieland settings
during the ‘40s-50s, playing and recording with Sidney
Bechet, Eddie Condon and Henry “Red” Allen. While
he added tremendous drive to many of the pieces, he
was heard at his best on his own trio and duet sessions,
groups which include a pianist or have a pianist leader
like Gaslini or Keith Tippett.” Also, considering his
proficiency on multiple members of the reed family,
why only play alto clarinet on Birdwatching? Timbral
color, he clarifies. “The sound of the alto clarinet in E
flat comes between the soprano clarinet and the bass
clarinet so it has a color, a perfume, a timbre quite
different from the other clarinets. It’s similar to the way
a viola has a different color than the violin or cello.”
This Fort collaboration is also not the only new
program about which he is enthusiastic. Recently
FisFüz clarinetist Annette Maye organized a festival
reunion of some of the musicians who played on the
1980 MPS LP Clarinet Summit and there are plans to
record. Besides a new CD with Coscia scheduled for
late 2016, another for ECM formulated with violinist/
conductor Stefano Montanari “gathers a group of
musicians who specialize in early music with whom
I have revisited the period from Dufay to Purcell,”
Trovesi notes. He has also organized a new quartet of
guitar, bass and drums and plans on new interpretations
of Mediterranean music and the compositions of
Alexander Scriabin.
Trovesi’s Octet’s best-known disc is called From G
to G (Soul Note, 1993), with Italian publications naming
Trovesi, the octet and LP, artist, group and record of the
year. But the way things are going right now, it’s
evident that the reed master continues to be immersed
in music from A to Z. v
For more information, visit gianluigitrovesi.com. Trovesi is
at Rubin Museum Jul. 8th with Anat Fort. See Calendar.
Recommended Listening:
• Gianluigi Trovesi—Baghèt
(Dischi Della Quercia, 1978)
• Georgio Gaslini Quintet—Live at the Public Theater
in New York (Dischi Della Quercia, 1980)
• Gianluigi Trovesi—Dances (Red, 1985)
• Gianluigi Trovesi—From G to G (Soul Note, 1992)
• Gianluigi Trovesi/Gianni Coscia—
Frère Jacques - Round About Offenbach (ECM 2009)
• Anat Fort Trio/Gianluigi Trovesi—
Birdwatching (ECM, 2013)
including two sets recorded in Paris in 1949-50.
Highlights of his later years included special piano
workshops with Duke Ellington recorded during 1964-
65, a regular duo with his fellow stride pianist Don
Ewell and trips to Europe. Smith wrote his colorful
memoirs Music On My Mind in 1965 and was profiled
posthumously in the excellent documentary (available
on DVD) simply called Willie The Lion. Because he was
prominent into the early ‘70s, Smith was considered a
rare link to the glory days of early jazz. He passed
away on Apr. 18th, 1973 at the age of 79. v
A Willie “The Lion” Smith tribute with Bill Charlap,
Rossano Sportiello and Ted Rosenthal is at 92nd Street Y’s
Jazz in July Jul. 26th. See Calendar.
Recommended Listening:
• Willie “The Lion” Smith—1925-1937
(Classics, 1925-37)
• Willie “The Lion” Smith—And His Cubs
(Timeless, 1935/1937)
• Willie “The Lion” Smith—Piano Solos:
The Lion of the Piano (Commodore, 1939)
• Willie “The “Lion” Smith—Willie “The Lion” Smith
(GNP Crescendo/Inner City, 1949)
• Luckey Roberts/Willie “The Lion” Smith—Luckey
and the Lion, Harlem Piano (Good Time Jazz, 1958)
• Willie “The Lion” Smith—Memoirs of Willie
“The Lion” Smith (RCA Victor-Koch Jazz, 1967)
10 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

L A B E L S P OT L I G H T
GEARBOX
by eric wendell
In the contemporary music environment of listening to
music on the go, London-based vinyl-only Gearbox
Records is trying to put the custom, the ritual if you
will, back into sitting and listening to music. “Actually
putting a disc on, moving the tone arm across, dropping
the stylus, hearing the faint crackle and then it kicks
off; there’s a whole performance, there’s a whole
theatrical element. Even if you’ve got guests and
they’re watching you do it, there’s something quite
special about that process and then you sit down and
listen to the whole piece,” explains Gearbox founder
Darrel Sheinman.
Sheinman founded Gearbox Records in 2009 as a
hobby label with the goal of releasing previously
unreleased live recordings by British and American
jazz artists. Since its inception, Gearbox has released 34
records with unearthed sessions by tenor saxophonist
Tubby Hayes, vocalist Mark Murphy, pianist Michael
Garrick and others seeing the light of day. Additionally,
Gearbox has expanded its output to include studio
releases from Folk/Americana trio Applewood Road,
jazz duo Binker and Moses and spoken-word performer
Kate Tempest, to name a few. Major periodicals have
taken note of Gearbox’ keen ear as it has received
praise from The Independent, Jazz Journal and more.
Jazz has always been a part of Sheinman’s life. He
grew up with his father spinning classic records such
as Miles Davis’ Kind of Blue and Bitches Brew and Dave
Brubeck’s Time Out. Sheinman sees jazz not only as his
love but also as a direct link to his childhood. Sheinman
states, “The track ‘Take Five’, whenever I hear it,
conjures up childhood memories.” As a youth,
Sheinman began to play the drums, initially starting
out on a series of Tupperware containers. Later, in his
teens, Sheinman was involved in the punk scene.
Sheinman later rediscovered jazz when he started
to collect vinyl records. One of the first original Blue
Note records he purchased was tenor saxophonist
Johnny Griffin’s A Blowin’ Session. Sheinman states the
album “typifies that hardbop feel more than anything
else. And the players: it’s Coltrane, Hank Mobley, Lee
Morgan, Art Blakey, everybody is on it. It’s almost like
a super group.”
The initial idea for Gearbox came after seeing a
live performance of the band N.E.R.D. “They had two
drummers, which was really incredible. And the two
drummers were so incredibly tight. That might have
been part of it; just that real tightness in the live
environment,” explains Sheinman. “I heard this gig
done really well live. I just thought, well how about
putting all this great live music that’s never been
released before onto the best medium possible, which
is vinyl.”
Sheinman tried to secure the rights to the N.E.R.D.
concert, but was unable to do so. However, this gave
Sheinman the idea of releasing previously unavailable
live material. Sheinman turned his attention to his love
of jazz, particularly British jazz. “The British jazz
world had not really been released thoroughly and
done properly on vinyl. I managed to get the rights
quite easily because A) it was vinyl in 2008 when vinyl
was only just on the turn and B) it was British jazz,
which everyone said ‘you can have the rights to that.’
So there we go, that’s how it started.”
In 2009, vinyl albums were only just creeping back
into the consciousness of the music-buying public. The
idea of starting a company whose main physical
product was vinyl was met with some skepticism.
Sheinman stuck to his guns, feeling that a vinyl record
is more than just the music it contains. “It’s more than
just the content; the content is only part of the whole
thing. You’ve got the artwork, you’ve got the technical
production technique that you used, so there’s a
number of elements on the list,” explains Sheinman.
Gearbox’ first release was Tubby Hayes’ BBC Jazz
for Moderns, a 1962 concert featuring the noted tenor
saxophonist performing with a big band. Since then,
Gearbox has unearthed gems from vocalist Leon
Thomas, Ronnie Scott Quintet and others. Sheinman
and his staff, which includes music industry veteran
Adam Sieff, seek out material or have people seek
them out. “Now that Gearbox’ name is well known,
certainly in jazz anyway, we get lots of people coming
forward now with stuff,” says Sheinman, who has been
able to develop his hobby label into a full-time gig,
ultimately quitting his day job in 2012. The same year
also saw Gearbox developing its own cutting and
mastering studio, allowing more freedom in their
recording processes.
While the heart and soul of Gearbox is jazz,
Sheinman looks to Gearbox to represent all alternative
music. However, to keep the live spirit a part of
Gearbox’ mission statement, Sheinman likes to use
only one take and does not allow for overdubs,
resulting in a studio recording being as close to live as
(CONTINUED ON PAGE 46)
Partying with Joe
Joe Harriott
1612 Overture
Ronnie Scott Quartet
A Beautiful Friendship
Mark Murphy
Soy Califa
Dexter Gordon
LIVE 1970
Nucleus With Leon Thomas
VOX N EWS
A NOD TO THE MASTERS
by suzanne lorge
The last vocalist to win an NEA Jazz Masters Award
was Sheila Jordan in 2012. Women don’t receive this
award, which accompanies a grant of $25,000, very often,
but most of the female recipients have been singers. Of
the 145 awardees since 1982, the year of the jazz award’s
inception, only 19 have been women, 13 of which were
singers. But of the 145 recipients in total, 16 (men and
women both) received the award in whole or in part for
their work as vocalists. This means that more than 10%
of all award winners have been vocal artists—a pretty
high percentage. Do what you will with these numbers,
but the story they tell isn’t a bad one for singers. (It’s
another matter for female instrumentalists, however.)
The NEA just announced that Dee Dee Bridgewater
would be the next jazz artist to join the ranks of those
19 women/16 vocalists next year. Bridgewater, who will
be spending this July in Europe promoting her 2015 CD
Dee Dee’s Feathers (OKeh), wins for her 50 years of
concertizing and recording with jazz greats such as Ray
Charles, Horace Silver, Sonny Rollins, Dizzy Gillespie,
Dexter Gordon and Max Roach. In acknowledgment of
these efforts, she has received three Grammy awards,
one Tony award, a Victoires de la Musique award in
France and a nomination for an Olivier award in the
U.K. One aspect of her career that has received less
acknowledgment, however, is her work to raise
awareness of hunger around the globe. In 1999 she was
named the first Food and Agricultural Goodwill
Ambassador for the United Nations, a role she continues
to fill to this day; in addition she works with UNESCO
to spread jazz education abroad. Bridgewater’s example
reminds us that great acts don’t always get noticed,
though it’s awfully nice when they do.
Not many singers take on Dave Brubeck’s
compositions, probably because his melodies contain
tricky intervals and are often written in odd time
signatures that are not usual for vocal repertoire. Two
German musicians have now set a standard for vocal
interpretations of Brubeck’s work with In Your Own
Sweet Way: A Tribute to the Great Dave Brubeck (Double
Moon), the “heart project” of Sabine Külich (vocals,
saxophone) and Laia Genc (piano). The pair approaches
almost all of the tunes lightly and whimsically, whether
usual suspects like “Take Five” and “Blue Rondo à la
Turk” or lesser-known pieces like “Unsquare Dance” or
“It’s a Raggy Waltz”. As with many horn players,
Külich’s scatting is clever and effortless. Equally as
impressive are the sections where the two improvise on
their respective instruments, with Külich using a more
traditional jazz vocabulary and Genç a more modernist
one. Their improvised conversation is especially strong
on “Blessed Are The Poor”, which offers some of the few
somber moments on the disc.
Shuffle Along, or, the Making of the Musical Sensation
of 1921 and All That Followed opened on Broadway in
April 2016 and earned 10 Tony nominations (it lost to
Hamilton for Best Musical). The show is an adaptation of
the original Shuffle Along from 1921, which launched the
careers of several jazz-era stars like dancer Josephine
Baker and singer Paul Robeson. Most importantly, it put
composer/pianist Eubie Blake and singer Noble Sissle
front and center among New York musicians of their
era. Earlier this year The Musical Theater Project/
Harbinger Records released Sissle and Blake Sing Shuffle
Along, which contains demo tracks the vaudeville duo
recorded in 1950 in the hopes of launching a revival of
the landmark show that year. Equally as intriguing as
their demo performances are the detailed liner notes, an
excerpt from a biography on Blake that authors Richard
Carlin and Ken Bloom are crafting. They provide
important insight into the relationship between jazz and
theater and the evolution of racial equality in the U.S.
Free outdoor concerts with great singers in July:
Dianne Reeves will give a SummerStage concert at
Queensbridge Park (Jul. 27th), followed by wunderkind
Brianna Thomas (Jul. 31st). And Grammy-winning
singer/songwriter Gregory Porter, who just released
Take Me To The Alley (Blue Note), a collection of 14
gospel/R&B-tinged jazz originals, will join with
saxophonist Marcus Strickland’s powerhouse band Twi-
Life for a gig at Prospect Park Bandshell (Jul. 28th). v
THE NEW YORK CITY JAZZ RECORD | JULY 2016 11

I N M E MO R I A M
Frank Stewart / Courtesy of Jazz at Lincoln Center
JOE TEMPERLEY
by andrey henkin
Joe Temperley, the baritone and soprano saxophonist/
bass clarinetist who replaced the late Harry Carney in
the Duke Ellington Orchestra and spent 26 years with
the Jazz at Lincoln Center Orchestra (JLCO, founded as
the Lincoln Center Jazz Orchestra), died May 11th at 86
from kidney failure and complications of cancer.
Temperley was born Sep. 20th, 1929 in
Cowdenbeath, Scotland. Beginning on cornet and then
moving to tenor saxophone, he moved to Glasgow at
17 to find work in the city’s club scene. After that, he
made the move to London as was common for most
musicians in the United Kingdom and became a
member of trumpeter Humphrey Lyttelton’s band in
the late ‘50s-early ‘60s after stints with Tony Crombie,
Kenny Graham and others. It was during this period,
playing clubs like Ronnie Scott’s, that Temperley first
met members of the Ellington band and befriended
visiting fellow saxophonists like Stan Getz.
In 1965, Temperley moved to New York (describing
a 1959 visit to our own Alex Henderson in a 2014
interview, Temperley revealed his terror: “I felt, ‘What
the hell am I doing here?’ Everybody sounded so
good.”) Upon his arrival, he got work with the Woody
Herman Band, became a member of the relatively new
Thad Jones/Mel Lewis Jazz Orchestra, toured with the
Clark Terry Big Band and subbed with Buddy Rich,
whom he called Bloody Rich.
After almost a decade as a freelancer, a golden
opportunity arose after the death of baritone great
Harry Carney, stalwart of Duke Ellington’s bands for
decades (like an old married couple, Carney died
within months of Ellington). “When Harry died, John
Gensel, who was the pastor at the Lutheran church at
54th Street and Lexington Avenue, asked me to play at
Harry’s funeral...I played ‘Sophisticated Lady’ at
Harry’s funeral because that was Harry’s solo. Mercer
Ellington offered me the job and the next thing I knew,
I was on the bus going through the Lincoln Tunnel
with the Ellington band for six weeks of one-nighters.”
Despite later work with Gerry Mulligan, Buck
Clayton, the Benny Carter All-Star Sax Ensemble and
others, it is his tenure with the JLCO led by Wynton
Marsalis, beginning in 1990, for which Temperley is best
known. Around the same time he began releasing albums
under his own name like 1991’s Nightingale (Hep), 1998’s
With Every Breath (Hep), 1999’s Double Duke (Naxos) and
2006’s Cocktails for Two (Sackville), almost always
including tunes from the Ellington songbook.
After so many years, Temperley, like other
transplants, became a real New Yorker and he thanked
Marsalis for that when talking to Henderson:
“He’s been so great with me. I’ve enjoyed working
with Wynton. I’ve enjoyed everything here in New
York. I’ve had a marvelous career here. Absolutely
wonderful career.”
JOHANNES BAUER (Jul. 22nd, 1954—
May 6th, 2016) The German trombonist
(younger brother to fellow trombonist
Conrad Bauer) was a staple of the
European improv scene, working with
Peter Brötzmann, Tony Oxley, Cecil
Taylor, Günter Christmann, Fred Van
Hove, Alan Silva and Barry Guy as well as a number of
albums under his own name or co-led with his brother
as DoppelMoppel. Bauer died May 6th at 61.
BUSTER COOPER (Apr. 4th, 1929—
May 13th, 2016) The trombonist had
credits in the big bands of Lionel
Hampton, Benny Goodman and Duke
Ellington (both the original and the
iteration under son Mercer) to go along
with sessions by Yusef Lateef, Johnny
Hodges, Earl Hines, Ernestine Anderson and Abdullah
Ibrahim and a co-led 1989 date with fellow trombonist
Thurman Green. Cooper died May 13th at 87.
MARCO ENEIDI (Nov. 1st, 1956—May
24th, 2016) The saxophonist was a
veteran of bands led by Bill Dixon,
William Parker, Glenn Spearman and
Weasel Walter, collaborated with Peter
Brötzmann, Peter Kowald and Vinny
Golia and released a number of albums
for Eremite, CIMP, Not Two, NoBusiness and his own
Botticelli imprint. Eneidi died May 24th at 59.
YURI KUZNETSOV (Jul. 11th, 1953—
May 2nd, 2016) The Ukrainian pianist,
known for his solo performances and
numerous duos with fellow Eastern
European experimentalists, was founder
(and director) of the Odessa Jazz Fest
and the Pop/Jazz Department at the
Odessa Music Academy. Kuznetsov died May 2nd at 62.
FREDRIK NORÉN (Apr. 21st, 1941—
May 16th, 2016) The Swedish
drummer’s discography includes
credits with Idrees Sulieman, Brew
Moore, Lars Gullin, The Stockholm Jazz
Orchestra, Lennart Åberg and leader
albums on Mirrors from 1993-2004.
Norén died May 16th at 75.
JOÃO PALMA (1943—May 9th, 2016)
The noted Brazilian drummer’s
decades-long career included work
with Sergio Mendes, Luiz Bonfá, Paul
Desmond, Milton Nascimento, Antonio
Carlos Jobim, Astrud Gilberto, Frank
Sinatra, Egberto Gismonti, Robin
Kenyatta, Stanley Turrentine, George Russell and
Deodato. Palma died May 9th at 75.
DOUG RANEY (Aug. 29th, 1956—May
1st, 2016) The credits of the guitarist as
a leader, with his father (fellow guitarist
Jimmy) and in the groups of Horace
Parlan, Hugo Rasmussen, Chet Baker,
Bernt Rosengren, Red Mitchell and John
McNeil were almost exclusively for
SteepleChase Records of Denmark, where he moved in
the late ‘70s. Raney died May 1st at 59.
PAUL SMOKER (May 8th, 1941—May
14th, 2016) The trumpeter’s own albums
featured such players as Ellery Eskelin,
Joe McPhee, Peter Kowald and Phil
Haynes and he also worked with
Anthony Braxton, Gregg Bendian, Lou
Grassi, Fred Hess, Jay Rosen, Adam
Lane and Burton Greene. Smoker died May 14th at 75.
12 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

F ESTIVA L REPORT
MOERS
by tom greenland
FIMAV
by suzanne lorge
NATTJAZZ/NUTSHELL
by andrey henkin
©Elisa Essex
Susana Santos Silva @ Moers
Martin Morissette
Tanya Tagaq @ FIMAV
geoff tamarind
Adam Baldych @ Natjazz
The Moers Festival, held for 45 years in Germany’s
smallest ‘major’ city (100,000 residents, only two traffic
lights) in the North Rhine-Westphalia region, has
always represented counterculture and the political
left. One of the first European festivals to embrace jazz’
New Thing, it booked radical black musicians; attracted
long-haired, pot-smoking fans, who camped outside of
the gigantic circus tent where it was held; and hosted
East German jazz musicians back in 1979, a decade
before the wall came down. Reiner Michalke, Artistic
Director for the last 13 years, likened it to an annual
UFO landing. Surviving a dramatic downturn in the
local mining industry, in 2013 the event relocated to a
1,400-seat hall with state-of-the-art sound and lighting.
Today it remains a political flashpoint: vestiges of
hippie culture are seen in the craftspeople and caravans
hunkered outside the new venue, even as right-wing
interests vie to cut city council funding for the festival
and repurpose the building.
This year’s edition took place May 13th-16th, with
morning sessions at the Musik Campus (featuring
regroupings of performers in an intimate setting),
midday concerts in the historic Stadtkirche, nightly
concerts at the Festivalhalle, followed by midnight
sessions at Die Röhre, the local jazz society’s
‘clubhouse’. The audience was notable for a core group
of five hundred or so loyal followers, most in their mid
60s to mid 70s, who’ve been coming for decades. These
seniors have big ears, listening openly and attentively.
Violinist/composer Carolin Pook, the city’s official
“Improviser in Residence”, kicked it all off with her
international violin octet, using semaphore-like signals
to cue sections and soloists, stamping the stage like a
flamenco bailaora, ending up behind the drumkit,
hammering out rock rhythms. Each violinist doubled
on foot-pedaled drums (gongs, plastic baking dishes,
serving trays, etc.), giving the cyclic forms a heavy
under-beat. Singer/guitarist Sam Amidon’s solo set
mixed Appalachia with Thelonious Monk, Wes
Montgomery, Albert Ayler and Robert Schumann,
toggling easily between shtick and high-lonesome
soul. Although he couldn’t make the gig, Icelandic
keyboardist Jóhann Jóhannsson’s compelling black
and white movies of Antarctica formed the backdrop
for a low-key electronic set. The clear highpoint of the
evening was Richmond, Virginia’s No B.S. Brass Band,
an outfit of high-energy funkateers (think: James
Brown) pumped by four fiery trombonists and overthe-shoulder
tuba player Stefan Demetriadis. The
crowd demanded two encores.
After morning sessions at the Musikschulsaal and
an ambient solokonzert at the church, Saturday’s
program included seven sets. Köln-based Subway
(CONTINUED ON PAGE 47)
When UK singer Julie Tippetts first became involved
with the experimental music movement in the ‘70s, she
had something of an epiphany. “I realized that you’re
allowed to do whatever you want” in music, she
explained in an interview at the Festival International
de Musique Actuelle de Victoriaville (FIMAV, May
19th-22nd). Post-epiphany, Tippetts went on to make a
name for herself in the avant garde jazz world, most
recently with like-minded composer/multiinstrumentalist
Martin Archer. Over the last decade or
so the duo has released several recordings of their
abstract, intuitively composed pieces, many of which
feature Tippetts’ poetry, but they’d never performed
any of their recorded work live—until FIMAV invited
them. Their performance at the festival this year was
only one of several premieres that FIMAV hosted.
Inspired programming decisions like this one have
pushed FIMAV to the forefront of the experimental
music scene this side of the Atlantic and have turned
Victoriaville—a quiet town in the Québec province of
Canada—into a magnet for the avant garde: each year
musicians, journalists, tourists and locals crowd into
Victoriaville’s two concert venues to check out the
latest happenings in musique actuelle. For the most part,
credit for this achievement goes to Artistic Director
Michel Levasseur, the visionary behind the visionaries.
This year’s festival offered 20+ hours of
programming across four days, with various groupings
(solo artists, small ensembles, large groups), a range of
styles (electronic, acoustic, recorded sound, spoken
word, rock, jazz, blues) and almost one hundred
musicians from Canada, Europe and the U.S. While
each performance offered a compelling rationale for
how sound becomes art, several stand out for their
strong conceptual statements.
Composer/trombonist George Lewis, longtime
member and historian of the Association for the
Advancement of Creative Musicians, presented a twopart,
extended improvisation for percussion, piano
and trombone entitled “Calder”, a meditation on a
mobile by the modernist sculptor Alexander Calder.
The piece featured five players (Lewis, Thurman
Barker, Eli Fountain and Aiyun Huang: percussion and
Tyshawn Sorey: percussion, piano, trombone) who
roamed the stage from one instrumental set-up to
another, improvising according to musical prompts
written on pieces of paper. In no particular order, the
players would display a prompt to the other members,
who would proceed to bang, brush, tap, wheeze, beat,
skitter and blow through any number of churning,
non-linear musical ideas. Like a mobile, the piece
twisted in the air, circling back around, each aural
impression different, depending on one’s vantage.
(CONTINUED ON PAGE 47)
The Norwegian western coastal city of Bergen has a
few nicknames: “City of Wood”; “Gateway to the
Fjords”; “City of Rain”. It could also be called the
Fireville; in its nearly millennium-long history, this
bustling center of commerce (look up stockfish and the
rise of Catholicism in medieval Europe) has been
gutted by numerous terrible conflagrations—even the
local football team is called Brann). Despite all that,
Bergen is one of the loveliest cities in Scandinavia. It is
also home to the Nattjazz Festival, which will celebrate
its 45th anniversary next May. This year’s edition,
taking place within the various halls and garrets of the
USF Verftet, a repurposed sardine factory, had its fiery
moments but no lives or wooden houses were lost. In
addition to the nightly festival programming, your
humble correspondent had the unique opportunity—
as part of the Norwegian Jazz in a Nutshell international
guest program—to experience a wide swath of
Norwegian jazz in a number of culturally specific
environments in the region.
Bergen was blessed with uncharacteristically
excellent weather during almost the entirety of my
time there (May 25th-28th). And there is something
magical about being in a city during white nights.
Festivalgoers had the opportunity to sit outside until
midnight at the USF’s Kippers Bar & Kafe, reveling in
the gloaming.
Shortly after arrival in Bergen, the Nutshellers
(Shelled Nuts?) met at USF for bassist Steinar Raknes’
quartet in the upstairs black box studio. This was
pleasant, straightahead jazz in the classic tradition,
slightly noir-ish and not trying to exceed its limitations,
a hallmark of bassist-led bands. The 41-year-old
Raknes’ group included 34-year-old pianist Erlend
Slettevoll and 40-year-old drummer Håkon Mjåset
Johansen but the spotlight was on 65-year-old baritone
saxophonist John Pål Inderberg, who lent gravitas to
the music.
The next day was the first outing. There is natural
beauty and then there is the Hardangerfjord, a
breathtaking vista in the locale famed for the local
Hardanger eight-stringed fiddle. Prior to the main
event, a demonstration of that fiddle tradition was
given by Frank Henrik Rolland, the bucolic strains
echoing across the fields of the Aksnes farm. A different
kind of echo occurred with the Hedvig Mollestad Trio
with guest saxophonist Mats Gustafsson. Mollestad’s
electric guitar-bass-drums trio is raw, psychedelic and
bombastic, full of bluesy riffs and searing guitar solos.
Adding Gustafsson’s primeval wails was like adding a
bottle of lighter fluid to an already-out-of-control fire.
Returning—quite unwillingly—to the city, the first
night of Nattjazz ran an interesting gamut of
(CONTINUED ON PAGE 47)
THE NEW YORK CITY JAZZ RECORD | JULY 2016 13

S PE C I A L F E AT U RE
HOLLYWOOD JAZZ
by andrey henkin
In 2009, the Star Trek franchise was reintroduced to the
masses via the eponymous film directed by J.J. Abrams.
Trekkies, myself included, howled; the canon we had
greedily absorbed over decades was being usurped
and rewritten under the dubious methodology of
“rebooting”. A world we had inhabited to endless
scorn from society was being hijacked. We were being
left behind.
The same thing happened with comic books.
Superheroes whose stories were better known than
those of the Apostles had their narratives changed,
rendering pale legions and their basements of carefully
preserved books irrelevant. There was no compelling
reason to do so except to make money; most failed
even at that modest goal. But those were just stories
and I suppose stories can be retold (see film versions of
Pierre Boulle’s Planet of the Apes and The Bridge on the
River Kwai). But to what extent is that true with actual
historical figures? Spring 2016 has seen a happening as
unlikely as a black hole: three films centered on
complex jazz icons, featuring A-list stars, relatively
large budgets and a target market with no idea what
the inside of the Village Vanguard looks like (more on
this later). Two of the three see DVD release this month.
Trumpeters Miles Davis (1926-91) and Chet Baker
(1929-88) and vocalist/pianist Nina Simone (1933-
2003) are jazz superheroes: they are referred to by a
single name; led double lives; and sacrificed themselves
as people for a higher purpose. The problem linking
these three movies is that, since they are not intended
for informed audiences, it was decided that the
principal characters weren’t compelling enough on
their own. These superheroes were all given sidekicks.
Cultural appropriation is a serious, often dirty
business. An obvious modern example—presented
here without judgment—is the transmogrification of
#blacklivesmatter into #bluelivesmatter. It is,
ultimately, about who gets to control a narrative. In the
jazz world, as the genre becomes increasingly
marginalized, this need for control becomes more and
more desperate. We cry treason when Herbie Hancock
or Esperanza Spalding decamps for the pop world. We
shake our heads when Esquire, in its May 31st issue,
runs an article with the headline “Rahsaan Roland
Kirk Is the Blind Jazz Great You’ve Never Heard Of.”
We want jazz to be in the mainstream again but in a
way of which we approve, which will lead people to
sincere further exploration. So to return to Miles Ahead,
Born to be Blue and Nina. Quite simply, these are
fabrications or at least highly speculative. The events
enacted therein did not happen or have been
extrapolated from apocrypha to the point of caricature.
These are not jazz documentaries; in fact, the music is
secondary or even tertiary to the ‘story’. There is
precedent for this; 1984’s Amadeus and 1991’s The
Doors, to mention only films about musicians, jump to
mind as particularly egregious examples. Mozart and
Jim Morrison’s reputations survived so we know those
of Miles, Chet and Nina will as well.
Miles Ahead finds the trumpeter in his infamous
fallow period between 1975-80. Played by Don Cheadle
(who also directed and co-wrote the screenplay and is
best known for his Oscar-nominated performance in
Hotel Rwanda), Miles is presented as lurching between
gangster cool and cokehead paranoid in a figurative
and literal search for his music (a new session Columbia
desperately wants to release). The story is propelled by
a white journalist (an amped-up Ewan McGregor, the
Owen Wilson to Cheadle’s Jackie Chan) intent on
getting the comeback story for Rolling Stone amid fistfights,
drug deals and Miles’ mercurial personality.
This is Almost Famous, the Modal Version. Setting aside
the inaccuracies (the interior of the Vanguard is too big
and too green and has a convenient back door right
next to the stage; Wayne Shorter, Ron Carter and Tony
Williams are played by actors more suited to an NFL
practice squad); histrionic car chases; and completely
bizarre ending (Cheadle as comeback Miles on stage
alongside the real-life Shorter, Hancock and Spalding),
the point of the film is Miles’ obsession with his first
wife, dancer Frances Taylor (played functionally by
Emayatzy Corinealdi) and the dissolution of their
marriage because of physical abuse. Hallucinations of
Frances provide some of the most subtle and cinematic
moments and allow for nicely surreal transitions
between the haggard current Miles and his more
dapper ‘50s persona (contrived story aside, the movie
is beautifully shot). Cheadle approximates Davis’
famous rasp (utilized sardonically by fictional jazz
musician Rock Banyon in the 2015 spoof The Spoils
Before Dying) and flashes the intensity with which we
associate Miles. A moment, presumably during the
Birth of the Cool sessions, shows a nice bit of interaction
Don Cheadle as Miles Davis in Miles Ahead
Ethan Hawke as Chet Baker in Born to be Blue
Zoe Saldana as Nina Simone in Nina
between Davis and arranger Gil Evans (Jeffrey Grover).
A young, hyped junkie trumpeter (Lakeith Lee
Stanfield) starts out as a minor villain but ends up
helping Davis get back into music. But, sadly, Cheadle
traffics in the most basic types of characters (Anti-
Hero, Antagonist, Foil, Symbolic) and presents Miles
as a brand, the “now-with-real-sugar” version of every
tortured artist or maybe the Stan Lee/Jack Kirby
adaptation. At least Cheadle learned to play the
trumpet to keep that part of the film believable.
Ethan Hawke, portraying Baker in Born to be Blue
(which is actually orange in its coloring), also took it
upon himself to learn his fingerings. The heartthrobbing
star of such films as Gattaca and Training
Day (the film stops many years before Baker’s Sleestak
era) inhabits the tragic figure of Baker by turns George
McFly geeky and Emo Philips pithy. Another
beautifully shot film (directed by Robert Budreau),
festooned with Baker playing against California coastal
vistas (any one of which could have been a Pacific Jazz
LP cover), it begins with Baker snatched out of an
Italian prison in 1966 to make a movie about his life.
His co-star Jane (Carmen Ejogo) becomes his lover and
helps him return to prominence after having his
embouchure destroyed by debt-collecting drug dealers,
all while improbably living in a VW van. The real
co-star, however, is Baker’s always-beneath-thesurface
heroin habit, to which he returns at the end,
choosing its influence on his art over Jane. Born to be
Blue is a classic example of the self-destructive man
redeemed by the love of a good woman (done better in
Groundhog Day) but since we know the ending, it is
hardly a feel-good story. There is the obligatory
supporting cast: abusive father (Stephen McHattie);
intimidating peer (Kedar Brown as a grumpy Miles
Davis); deludedly supportive industry figure (Callum
Keith Rennie as Pacific Jazz head Richard Bock); and
lots of deep comments like “I don’t want a career, I just
want to play” or “Try to be happy for more than ten
seconds at a time.” Baker is seen pumping gas during
his rehabilitation, playing in a mariachi band and
impressing Miles Davis and Dizzy Gillespie (an
unconvincingly sage Kevin Hanchard) in a triumphant
comeback set at Birdland. More self-contained than
Miles Ahead, Born to the Blue is oddly lacking in
emotional involvement. Part of this stems from
knowing full well of Baker’s sad accidental death in
1988 but also from the fact that Jane is an amalgam of
Baker women. As such, you don’t really connect with
her as the ultimate victim of Baker’s vulnerable charm.
Nina has the most troubling provenance of the
three. It has been disavowed by the Simone family and
even the film’s disenfranchised writer/director
Cynthia Mort for its invented storyline and the casting
of Zoe Saldana (who, ironically enough, played Uhura
in the aforementioned Star Trek reboot) in the titular
role. Miles Ahead, even more contrived, was done with
cooperation of the Miles Davis estate and his children
are executive producers; in an interview Cheadle gave
to The Daily Beast, he said, “We had to talk to the family
a lot and hip them to the fact that what we were trying
to do was capture the essence and truth of Miles Davis,
as opposed to the facts of his life. The facts didn’t
matter to us, but the truth of the process did.” What
more needs to be said? We find Simone in 1995 in decline,
helped back to America and the spotlight through the
patience of David Oyelowo as Clifton Henderson,
Simone’s manager for the last years of her life. The
issue with the film is not that Saldana doesn’t look or
sing like (and is too young to play) Simone; the
cardboard cut-out acting of Oyelowo or Ronald
Guttman as Henri Edwards, Simone’s one-time
exploitative manager; a strange segment with an ailing
Richard Pryor (Mike Epps); or the storyline’s
intersection of the worst parts of The Graduate, Breakfast
at Tiffany’s and Rocky IV. It is, instead, how Simone’s
most compelling trait as a person and a performer, her
deep rage, becomes so exaggerated in Saldana’s
performance. Every “motherfucker” she shrieks makes
her seem petulant as does the emphasis on her endless
drinking and smoking. The few flashes of her noted
activism are just that, tacked on via an interspersed
interview for French TV or a younger Simone
threatening to “kill them all” after learning of Martin
Luther King, Jr.’s death. Nina could be any film about a
performer given over to excess who needs someone to
help her find the original truth of why she performs. If
it were pure fiction, it would be a mediocre film.
Overlaid on to the actual compelling life and music of
Simone, it is not to be taken seriously.
In the opening scene of Miles Ahead, Cheadle as
Miles says, “Don’t call it jazz, that’s some made-up
word, trying to box someone in. Don’t call my music
jazz.” One can easily imagine the Dark Magus actually
making that comment, objecting to external control of
his narrative. But listeners believe that they do, in
some manner, own the musicians they love and object
strenuously to anything less than hand-on-the-bible
hagiography. Less clear is what Miles or Chet or Nina
would think of their actual lives being rewritten. v
14 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Improvisational. Sensational.
That’s jazz at NJPAC.
Listen to the finest musicians in the jazz universe
as they play with their friends! Oct 15—Nov 20!
From the Buena Vista Social Club
Omara Portuondo “85 Tour”
special guests Roberto Fonsecca,
Anat Cohen and Regina Carter
Saturday, October 15 at 8pm
Jazz in the Key of Ellison
Wynton Marsalis, Catherine Russell,
Angélique Kidjo and Patti Austin
with Andy Farber and His Orchestra
Tuesday, November 1 at 7:30pm
FELA! The Concert:
Afro Beat Party
Wednesday, November 16 at 7:30pm
GRP Jazz Revisited:
Honoring Larry Rosen
Dave Grusin, Lee Ritenour,
David Sanborn, Phil Perry,
The Yellowjackets and more
Thursday, November 17 at 8pm
Get On Up:
A James Brown Celebration!
Christian McBride, Sharon Jones, Bettye
LaVette, Lee Fields and James Brown Band
alumni Pee Wee Ellis, Danny “Capeman” Ray,
Robert “Mousey” Thompson and Fred Wesley
Friday, November 18 at 8pm
Sarah Vaughan Celebration
The Christian McBride Trio,
Dianne Reeves, Lisa Fischer
and Shelia Jordan
Saturday, November 19 at 7:30pm
The Brubeck Songbook
The Brubeck Brothers Band, Hilary Kole
and Michael Bourne
Sunday, November 6 at 3 & 7pm
Cole Porter from A to Z:
Celebrating 125 Years with Judy Kaye
and Robert Kimball
Sunday, November 13 at 3pm
Sarah Vaughan Celebration
The Christian McBride Trio, Dianne Reeves,
Lisa Fischer and Shelia Jordan
Saturday, November 19 at 7:30pm
Dorthaan’s Place Jazz Brunches
Renee Rosnes
Sunday, November 20 at 11am & 1pm
Sarah Vaughan International Jazz Vocal
Competition—SASSY Awards
with judges Christian McBride, Dianne Reeves,
Sheila Jordan, Sheila Anderson and Mark Ruffin
Sunday, November 20 at 3pm
FREE—NJPAC Day of Swing
Saturday, November 19 • 11am-3pm
NJPAC Center for Arts Education
An exciting day of jazz exploration and learning
for children and families.
For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC • Groups 973.297.5804 • One Center Street, Newark, NJ
9.5x12_NYCJazzRecord_july_njpac_2016.indd 1
6/15/16 12:20 PM

C D REVIEWS
Feet in the Mud
Mimi Jones (Hot Tone Music)
by Philip Freeman
Bassist Mimi Jones owns the Hot Tone label, which
has released a string of excellent records by female
instrumentalists, including pianist Shamie Royston,
saxophonist Camille Thurman and drummer Shirazette
Tinnin. (The only male artist on Hot Tone is pianist
Luis Perdomo, who is also Jones’ husband.) Of course,
it’s also an outlet for her own work: Feet in the Mud is
her third album, following 2009’s A New Day and
2014’s Balance. Primarily a trio disc—Jones (vocals on
six tracks) is joined here by keyboardist Jon Cowherd
and drummer Jonathan Barber—and on three tracks,
Samir Zarif plays soprano saxophone.
The opener “Mr. Poo Poo” sets up a funky organdriven
groove, which shifts into an equally swinging
jazz rhythm. The next piece, “American”, showcases
both the leader’s vocals and bass playing; using
“Ol’ Man River” as her lyrical jumping-off point, but
expanding it into a broader consideration of nature,
Jones heads into a dark and almost ritualistic space,
strumming the bass like Reggie Workman as Barber
cuts loose with militaristic, snapping snare runs.
Cowherd is absent until the final minute, when he
makes a noise sounding like a cross between a theremin
and a frustrated kitten. “The-Min-Or-Way” is another
highlight. Its strutting groove is worthy of Blue Note
circa 1962 and while a tenor or even alto saxophone
would have been a better fit than the soprano, Zarif’s
soloing is bluesy enough, venturing into almost Eric
Dolphy-esque squawks at times.
Zarif is heard to better effect on Wayne Shorter’s
“Fall”. The quartet takes the tender, meditative melody
patiently, allowing Barber to be the dominant voice in
some ways—toward the end, Jones begins singing
along with the horn, wordlessly but beautifully. “The
Grinder”, an acoustic piano trio piece, fades in and
out, as though it is 2:44 sliced from a much longer jam.
Feet in the Mud offers further evidence that Mimi
Jones is an extremely impressive female bassist/
singer/composer and that, yes, jazz can have more
than one of those at a time.
For more information, visit hottonemusic.com. Jones is at
Village Vanguard through Jul. 3rd with Rudy Royston and
Minton’s Jul. 23rd. See Calendar.
Beloved
Kris Allen (Truth Revolution)
by Ken Micallef
Some records blow in like a welcome wind, instantly
lifting you like a bird taking flight on a long, far-flung
journey. Alto and soprano saxophonist Kris Allen’s
Beloved is such a recording, from the opening
“Lowborn” to closing “Threequel” a spirited, fleetfooted,
thoroughly captivating set of original tunes.
A native of West Hartford, Connecticut, where he
studied under the guiding hand of legendary alto
saxophonist Jackie McLean at the Hartt School of
Music, Allen recalls the master in both the framework
of his compositions and his soloing style, but the
influence is natural, never slavish. The sparseness of
Allen’s tunes compels on first listen. While his tone
and soloing style follow the dry linearity of McLean,
the warmth and sense of swing are his alone.
Surrounding himself with an equally adept quartet
of tenor saxophonist Frank Kozyra, bassist (and
co-founder/owner of Truth Revolution Records)
Luques Curtis and drummer Jonathan Barber, Allen’s
tunes breathe and flow forward. Given Barber’s
stylistic kinship with drummer Bill Stewart, there are
rhythmic moments on Beloved that recall the John
Scofield/Joe Lovano quartet, the space between the
notes depicted with a similar sense of openness; as
there is no definitive chordal instrument on the album,
that spaciousness is amplified.
The humidly lovely “Lord Help My Unbelief”
moves cautiously, a slow motion dance prodded by
mallets and sparse bass patter. “Flores”, titled for West
Coast bassist Chuck Flores, works an AfroCuban
groove and popping, McLean-styled melody, but with
an intellectual bent recalling another McLean acolyte:
Steve Lehman. Allen and Kozrya twist and tumble,
their winding solos like surfers riding a wave. The
queasy tones and splayed rhythms of “One for Rory”
are a doppelganger for Wayne Shorter’s “Fall” as
performed on Miles Davis’ Nefertiti. The melody is
equally hallucinogenic if the rhythms are less free. The
group hits the solo sections fully in the pocket while
the head is as disconnected as dice falling down a
staircase. Allen’s tone on the title track is more
apprehensive than loving, but the group’s framework
guides the listener to personal ruminations.
Writing strong compositions for a simpatico
quartet with its own sound and identity, Kris Allen
goes from strength to strength.
For more information, visit truthrevolutionrecords.com.
This project is at Dizzy’s Club through Jul. 2nd.
The Inner Spectrum of Variables
Tyshawn Sorey (Pi)
by Thomas Conrad
Tyshawn Sorey’s sprawling two-hour opus in six
movements was recorded in a marathon 15-hour
session at Systems Two in Brooklyn on Dec. 13th, 2015.
It must have been a challenging day in the studio for
the six musicians involved and engineer Michael
Marciano, a daunting test of creative concentration
and physical endurance. The Inner Spectrum of Variables,
on two CDs, will also test the endurance of listeners.
Those who hang in will receive unique rewards. The
question is how many will.
The ensemble is described as a “double trio”.
There is three-fourths of a string quartet (Chern Hwei
Fung, violin; Kyle Armbrust, viola; Rubin Kodheli,
cello) and Sorey’s working group of pianist Corey
Smythe and bassist Chris Tordini. However you
imagine the double trio will interact, you will be
wrong. Sorey configures the players into every possible
combination and each also plays alone. The genre is
unidentifiable. Because the strings are dominant,
contemporary classical composition is the first
association but there are occasional countrified fiddle
hoe-downs. There are drawn-out, quietly piercing
violin yearnings that suggest a noir film score.
Sometimes, like half way through Movement IV, when
the strings wail over Tordini’s vamp and Sorey’s
rolling groove, it is jazz. But Sorey’s diverse influences
(he includes Anthony Braxton, Bach, Klezmer, Frank
Zappa and “Ethiopian modal jazz” on the list)
aggregate to an austere, unfamiliar sonic landscape.
The suite often proceeds with glacial slowness and
its transitions obey no known logic. Out of silence (or
faint murmurings), veering, scraping lines suddenly
emanate from one or more members of the string trio.
Sometimes Smythe drops piano notes upon them from
above, in a separate, ringing code. Sorey’s percussion
is about color and context, almost never pulse. At two
hours, the piece is too long and sometimes stalls.
The only way to experience this music is to let it
happen to you. Then beauty sometimes surprises you,
when shards of dissonance coalesce in pure melody
like breaking light. Then you discover that Sorey’s
creative process is not illogical, but rather proclaims its
own order, in daring juxtapositions of disparate design
elements. Surprises also hit when Sorey uses Butch
Morris’ concept of “conduction” to direct interludes of
improvisation within his notated composition. Fung,
Armbrust and Kodheli are accomplished musicians
who precisely render the score in rich, resonant
sonorities but they can also cut loose and blow when
Sorey gives them the signal.
When you are done with this record, you feel like
everyone in Systems Two must have felt: exasperated,
exhilarated, exhausted.
For more information, visit pirecordings.com. Sorey is at
The Stone Jul. 3rd with Anthony Coleman, curates and is
there Jul. 5th-10th and is at Rye Jul. 13th with Alan
Bjorklund. See Calendar.
R
eco
m
m
ended
n
e
w
r
ele
a
ses
• Mike Baggetta—Spectre
(Fresh Sound-New Talent)
• Chat Noir—Nine Thoughts For One Word
(RareNoise)
• Christy Doran’s Sound Fountain—
Belle Epoque (Between The Lines)
• Tubby Hayes Quartet—The Syndicate:
Live at the Hopbine 1968, Vol. 1 (Gearbox)
• I.P.A.—I Just Did Say Something (Cuneiform)
• Dawda Jobarteh/Stefan Pasborg—
DUO (ILK Music)
• Naftule’s Dream—Blood (s/r)
• Esa Pietila—Times and Spaces (Eclipse Music)
• Lucky Thompson—Bop & Ballads (Sonorama)
• Finn von Eyben—Plays Finn von Eyben/
Finn von Eyben Workshop &
Radiojazzgruppen (1966-1967) (Storyville)
Laurence Donohue-Greene, Managing Editor
• Arashi (Akira Sakata/Johan Berthling/
Paal Nilssen-Love)—Semikujira (Trost)
• Cosmic Brujo Mutafuka—
Rhapsody of the Oppressed (Dimensional)
• Tomasz Dabrowski—S-O-L-O:
30th Birthday/30 Concerts/30 Cities
(Barefoot)
• I.P.A.—I Just Did Say Something (Cuneiform)
• Sunny Murray Quintet—
Aigu - Grave (Futura)
• Nacka Forum—We are the world
(Moserobie Music)
• Dave Rempis/Joshua Abrams/Avreeayl Ra +
Jim Baker—Perihelion (Aerophonic)
• Cuong Vu Trio—Meets Pat Metheny
(Nonesuch)
• Greg Ward & 10 Tongues—
Touch My Beloved’s Thought
(Greenleaf Music)
• Denny Zeitlin—Early Wayne (Solo Wayne)
(Sunnyside)
Andrey Henkin, Editorial Director
16 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Stranger Days
Adam O’Farrill (Sunnyside)
by Elliott Simon
Stranger Days is partly inspired by The Stranger, Albert
Camus’ treatise on an outsider’s perspective of the
absurdity of life’s futility. However, compositionally
and musically, the session is much more than a paean
to pointlessness. Each instrument in the masterful title
track assumes a role: trumpet as the protagonist freely
soliloquizing; tenor saxophone eventually supporting;
the rhythm section serving as foil. The instrumental
roles change, sometimes within a piece, and the style is
theatrical but only partially absurd. The result is a
sophisticated, well-grounded artistic statement.
Only 23, trumpeter Adam O’Farrill is, ironically,
no stranger or outsider to the jazz scene. He is a third
generation jazz musician and his older brother,
drummer Zack O’Farrill, is an integral part of the band.
The younger O’Farrill could have very easily put
together a killer Latin jazz session for his debut as a
leader; instead, he chose this more cerebral approach
to make his own statement and it works very well. Alto
saxophonist Chad Lefkowitz-Brown and bassist Walter
Stinson complete this piano-less quartet. All is not
subservient to ethos, however, and there is also a bandof-brothers
aspect at work. Together, they make their
way through a seductively bluesy “Alligator Got the
Blues” and work collectively to blend timbres in
“Building the Metamorphesen Bridge” and visiting the
“A & R Italian Eatery”. The band’s shared “Survival
Instincts” win out in this dark piece thanks to
cooperation between saxophone and trumpet.
Stinson penned two compositions, a free-formish
saxophone monologue acquiescing to the thoughts of
trumpet and bass on “Why She Loves You” and the
very cool trumpet/saxophone satirical dialogue
“Forget Everything You Learned in School”. Closer
“Lower Brooklyn Botanical Union” finds meaning to
life through swing.
There is a modernized resurgence of the ‘cool’ that
permeates Stranger Days. Threads of disorder within
the context of its narratives find order and meaning in
a group dynamic and the artistic statement itself.
For more information, visit sunnysiderecords.com. This
project is at The Jazz Gallery Jul. 6th. See Calendar.
Rows and Rows
Keefe Jackson/Jason Adasiewicz (Delmark)
Southern Sun
Keefe Jackson/Josh Berman/
Jon Rune Strøm/Tollef Østvang (Stone Floor)
Chicago Conversations
Peter A. Schmid (Creative Works)
by Clifford Allen
Tenor saxophonist and bass clarinetist Keefe Jackson
has been an integral part of the Chicago jazz scene for
the better part of 15 years, after coming up in Arkansas.
It seems like he hit the ground running, as by the early
Aughts he’d already begun to assemble large-group
projects, work in the sextet Fast Citizens (a then-young
Windy City supergroup) and perform with visiting
European musicians like reed player Christoph Erb
and tuba player Marc Unternährer. Part of this
obsession with diverse playing situations has seemed
endemic to being a bandleader-composer, not hurt by
the consistent availability of numerous top players
(Jackson’s big band Project Project was a tongue-incheek
reference to this fact). While still burgeoning
with structural ideas, such as the all-reed ensemble
Likely So, a number of Jackson’s latest groups and
appearances hinge on the immediacy of improvisation
in small-group environs. What follows are three recent
presentations of that work, with both fellow Chicago
improvisers and some of Europe’s most invigorating
practitioners of the new music.
Vibraphonist Jason Adasiewicz is one of Jackson’s
longest-term collaborators, though Rows and Rows is
their first duo recording. Both musicians have been in
the stable of Delmark Records’ new Chicago vanguard
for some time and it should be noted that, despite the
recent closure of Jazz Record Mart and the phased
retirement of label founder Bob Koester, Delmark
remains a documentary force. Adasiewicz has a thick,
wet and percussive approach to his malleted axe.
Recently he’s used this effectively in collaboration
with German reed player Peter Brötzmann, himself no
stranger to Chicago, so this pairing is apt on a couple
of levels. Jackson, despite a fair allegiance to free play,
is an improviser whose historical grasp is abundantly
clear. Pillowy, gutsy blues, as on the delicately
squirrelly title track, rest alongside low blatting and
scurrying, gently swinging leaps on the bass clarinetfocused
“Where’s Mine”. Adasiewicz is pliably
resonant throughout, his instrument providing both
chordal carpet and charged accents in a 40-odd minute
program of nine originals, the bulk of which were
composed by Jackson. Occasionally providing diffuse
rustle and subtle clacks, Adasiewicz volleys between
cascading vaults and the snappy, glassine shifts of a
drummer’s telepathy, making Rows and Rows a duo
delivering plenty of harmonic and rhythmic rewards.
Southern Sun finds Jackson and frequent foil Josh
Berman (cornet) joined by the Norwegian rhythm team
of bassist Jon Rune Strøm and drummer Tollef Østvang
on eight tunes captured in the studio in Trondheim.
Brashly opening with “Blues”, Østvang shimmering
underneath the punch of tenor and cornet, the frontline
weaves in loping movement and, at a couple minutes
in, when bass and percussion drop out, briefly hold
long tones and curl around the theme in terse, loving
reference. Don Cherry-like whining condensation is
part of Berman’s character on the title piece, in
plaintive contrast to the repeated, woody volumes
emanating from reed glossolalia, plucked strings and
dryly pattering drumkit. The piano-less format gives
ample room to hear the musicians in an honest and
unadorned fashion. In particular, there is Jackson’s
precise, steely and full tenor, as well as his rather
unhurried phrasing, which could be chalked up to a
non-coastal setting and recalls a number of southern
forebears. Strøm and Østvang are meaty, spare
applicants of rhythm and tone and their own
camaraderie supports that of the horns throughout.
Southern Sun is an unassuming record, but that
openness and simplicity is felt in leaps and bounds.
Swiss reed player Peter A. Schmid has worked
with a number of clarinetists and saxophonists stateside
over the years, including New York’s Ned Rothenberg
and California’s Vinny Golia, and appeared in Jackson’s
aforementioned Likely So. Chicago Conversations
presents a number of different improvised playing
scenarios captured in the Windy City, including duets
and trios with Polish reed player Wacław Zimpel,
drummers Michael Zerang and Frank Rosaly, bassist
Albert Wildeman, trombonist Nick Broste and cornet
player Josh Berman. Central to the focus here are duets
and trios with Jackson and Zimpel; the six “clarinetrios”
for alto, bass and contrabass clarinet move elegantly
from gooey processionals to instantaneous, responsive
overlays and stringy pops, like instruments finding a
naturally copacetic framework. The three Schmid-
Jackson duos, “twosax”, bring limber tenor and a clean,
brassy baritone into a language of wheels and spars,
ever so often hinging on the clicks of ligatures or gently
sideways harmonic splay. These reed-only works are
emblematic of an aesthetic of rigorous listening and
playfulness on exhibit throughout Chicago Conversations,
no matter what set of instruments is on offer.
For more information, visit delmark.com,
stonefloorrecords.com and creativeworks.ch. Jackson is at
The Jazz Gallery Jul. 8th with Greg Ward and Threes
Brewing Jul. 10th. See Calendar.
UNEARTHED GEM
Tokyo Adagio
Charlie Haden/Gonzalo Rubalcaba (Impulse!)
by George Kanzler
Although this recording was made at the Blue Note
in Tokyo in 2005, it was one of Charlie Haden’s final
projects as a producer before the bassist died two
years ago this month. According to the notes, Haden
was passionate about releasing this album after
reviewing the tapes and it is easy to hear why. This is
music that exudes grace and serenity, the rare jazz
outing that achieves memorability without the
exuberance or drive we usually associate with great
jazz. Tokyo Adagio is a perfect title for this CD, as the
music is like that slow movement in a symphony,
imbued with subtle emotion and deep resonance.
Haden may seem to have the supporting role in this
duo—his only long acappella solo is on one of the
two non-ballads at the center of the six track
program, Ornette Coleman’s “When Will the Blues
Leave”—but he controls the all-important pace and
has culled mostly reflective, lyrical pieces to anchor
and bookend the album.
Haden had been collaborating with Gonzalo
Rubalcaba for over two decades, since the latter was
a young Cuban piano wunderkind, going as far as to
arrange gigs and recordings outside the U.S. before
the pianist was allowed to come to this country.
Known for his fiery pyrotechnics and keyboard
virtuosity, Rubalcaba is at his most technically
restrained and lyrical here, playing with an
understated yet impressive facility, fully
complemented by Haden’s deep, penetrating bass.
Melody and mood are often paramount on the
ballads, especially the two pieces from Latin
American composers: Martín Rojas’ “En La Orilla
del Mundo (The Edge of the World)” and Agustín
Lara’s “Solamente Una Vez (You Belong To My
Heart)”. The pianist’s limning and elaboration of the
theme on the latter is a cynosure of romantic
interpretation. Another ballad gem is David Raksin’s
“My Love and I”, first recorded by Haden’s Quartet
West on one of its Hollywood-themed albums.
Haden’s long solo interacts perfectly with Rubalcaba,
who reverses roles here and acts as an accompanist.
But more than individual moments, or even tracks,
this album’s impact is in the overall feeling of quiet
perfection it conveys.
For more information, visit impulse-label.com
THE NEW YORK CITY JAZZ RECORD | JULY 2016 17

GLOBE UNITY: CUBA
ABRAZO – The Havana Sessions
Various Artists (Ansonica)
Live in Cuba
Jazz at Lincoln Center Orchestra (Blue Engine)
Tribute to Irakere (Live in Marciac)
Chucho Valdés (Jazz Village)
by Tom Greenland
In the continuing cultural exchange between Cuban
music and North American jazz, it’s hard to say
which has had more of an influence on the other, but
both have clearly profited greatly from the association.
Taking advantage of recently eased restrictions
on the 60-year U.S. embargo of Cuba, Ansonica set up
recording sessions with some of the island’s finest
musicians. ABRAZO – The Havana Sessions is a rich
sampler of big band, small group and choral pieces
written by off-island composers but played by locals.
The first CD contains two big band tracks by Timothy
Lee Miller and a third by Don Bowyer, cleverly
arranged charts percolating with the percussive
fireworks of drummer Enrique Plá, percussionist
Bernardo Bolaños and pianist Emilio Morales. Two
suites by Bunny Beck, the first for sextet with alto
saxophone, trumpet and trombone, the second with
added vocalist, take on a Cuban tinge under the
arranging pen of Juan Manuel Ceruto. The second
disc contains serene choral works by Roger Bourland
(madrigals sung by a female chorus) and Michael
Murray (an elegy sung by full chorus); John Carollo’s
restive suite for guitar and trumpet; Margaret
Brandman’s gentler suite for saxophone quartet cum
percussion; and Mel Mobley’s perky “Coloring with
Water” for trumpet, trombone and French horn.
Live in Cuba, by the Jazz at Lincoln Center
Orchestra (JLCO), at Havana’s Teatro Mella during
a 2010 residency, is more North American than Cuban
in flavor, but the audience, audibly excited to hear
jazz from the U.S., rouses the JLCO to inspired
performances. “2/3’s Adventure”, which mixes
mambo with swing and guajira, and “Como Fue”,
featuring vocalist Bobby Carcassés, both augmented
by musicians from Chucho Valdés’ Afro-Cuban
Messengers, are the two performances with the
strongest Cuban flavor. Elsewhere, the JLCO runs a
fairly traditional set, ranging from Ellington to Monk
to more progressive original arrangements, played
with precision and (thanks to the crowd) passion.
For Irakere 40, pianist/composer Chucho Valdés
expanded his Afro-Cuban Messengers quintet by five
horns to revisit the charts of the groundbreaking
Cu-bop band; Tribute to Irakere (Live in Marciac) is a
souvenir of their 2015 tour. Crackling with energy,
rippling with chops, the show is based around Valdés’
formidable mixture of jazz, classical and Cuban
folklore, enhanced by the Lukumí singing and batá
drumming of Dreiser Durruthy Bombalé and
impeccable timing and versatility of bassist Gastón
Joya. “Juano 1600” moves from Bombalé’s soulful
vocals to driving 6/8 AfroCuban rock; “Lorena’s
Tango” showcases Valdés’ delicate quicksilver lines,
often doubled at the octave; and “Congadanza”
features percussive play and a popping mambo finish.
“Afro-Comanche” and “Afro-Funk” are hard-hitters,
the first as a mambo, the second with swung 16th
notes. “Yansá” moves through 7/4 and 5/4 grooves to
close with Lukumí call-and-response chanting.
For more information, visit ansonicarecords.com,
jazz.org/blueengine and jazzvillagemusic.com
Touch My Beloved’s Thought
Greg Ward & 10 Tongues (Greenleaf Music)
by George Kanzler
Charles Mingus said he wrote his suite, The Black Saint
and the Sinner Lady (1963, Impulse!) “for dancing and
listening.” Alto saxophonist Greg Ward has achieved
that goal with Touch My Beloved’s Thought (taken from
a line of poetry Mingus wrote for the 1963 album),
composing and performing it in collaboration with the
Onye Ozuzu Dancers in Chicago. Ward’s work is
inspired by the seminal Mingus album, drawing
themes and motifs from figures heard in fleeting
passages, including from piano and trombones. But
Ward isn’t just inspired by the earlier work, he’s also
created a piece imbued with the Mingus aesthetic, full
of such tropes and gestures as dynamic and tempo
acceleration; multiple lines creating polyphony; solos
building and being supported by growingly insistent,
muscular ensemble backgrounds; and the controlled
cacophony of ‘free’ group improvisation.
Like the Mingus inspiration, Ward’s suite
coheres—with echoing themes and motifs—and flows
along inexorably from the opening horn chorale
prelude introducing the first riffy, rocking theme,
“Daybreak”, to the final wailing calibrated saxophone
chaos of the conclusion, some 50 minutes later, “Gather
Round, The Revolution Is At Hand”. The nine dances/
tracks range stylistically from a short burst
(:46 seconds) of brass and drums free soloing, “Smash,
Push, Pull, Crash”, to a compact 3:26 neo-hardbop
ensemble piece with rhythm drop-outs and swinging
baritone saxophone solo (Keefe Jackson). Along the
way Ward employs some of Mingus’ favorite
time signatures, such as gospelly triple meters and
even the flamenco rhythm Mingus injected into The
Black Saint and the Sinner Lady. However, Ward’s tentet,
unlike the 11-piece unit on the Mingus album, does not
include a guitarist. Admirably filling in and creating
the flamenco feel is bassist Jason Roebke and drummer
Marcus Evans. The latter is a standout throughout, his
snare- and tom-dominated work as distinctive with 10
Tongues as Dannie Richmond’s was with the Mingus
Jazz Workshop.
While this is indubitably an ensemble triumph,
there are plenty of solo highlights: Dennis Luxion’s
acappella piano on “Singular Serenade”; Ward’s alto,
especially on “The Menacing Lean” and the final track;
Tim Haldeman’s tenor saxophone romp through
“Round 3”; and Beau LaMar Gay’s plunger-inflected
cornet wails on “Dialogue of the Black Saint”.
For more information, visit greenleafmusic.com. This
project is at The Jazz Gallery Jul. 8th. See Calendar.
Nothing But Soul
Tiffany Austin (Con Alma Music)
by Alex Henderson
On her debut album, Nothing But Soul, it is evident
that Bay Area-based Tiffany Austin is a jazz singer
with a strong appreciation of R&B and the blues.
Inspiring comparisons to vocalists like Ernestine
Anderson, Marlena Shaw and Dee Dee Bridgewater,
Austin comes across as one who listens to Ella
Fitzgerald one minute and Aretha Franklin the next.
Nothing But Soul pays tribute to Hoagy Carmichael,
Austin taking her share of chances with material by the
treasured songwriter. It gets off to an intriguing start
with “Stardust”, usually performed as a sentimental,
ethereal ballad, but Austin picks up the tempo, making
it surprisingly R&B-ish. She is no less expressive when
turning her attention to “Baltimore Oriole”, “Georgia
on My Mind” or “Skylark” (to go along with two other
Carmichael tunes: “I Get Along Without You Very
Well” and “Sing Me a Swing Song (And Let Me
Dance)”).
“I May Be Wrong (But I Think You’re Wonderful)”
and country icon Johnny Cash’s “I Walk the Line” are
songs Carmichael recorded but didn’t write.
Approached as fast, exuberant bop, the former is the
disc’s least R&B-minded selection while Austin
transforms the latter into a funky blues shuffle, more
in common with ‘50s-era Ruth Brown or LaVern Baker
than Cash’s honky tonk. “I Walk the Line” is such a
creative success for Austin that it would be interesting
to hear her record an entire album of Cash’s songs.
Austin’s sidemen are tenor saxophonist Howard
Wiley (the album’s producer), pianist Glen Pearson,
bassist Ron Belcher and drummer Sly Randolph. This
release called for gritty backing and all of them
contribute to the overall funkiness of the project and a
promising debut.
For more information, visit tiffanyaustinmusic.com. Austin
is at Smalls Jul. 9th with Tommy Campbell. See Calendar.
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New York, NY 10001
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Email: jazzrecordcenter@verizon.net
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18 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Live at The Tranzac, Vol. 1
Ken Aldcroft/William Parker (Trio)
by Ken Waxman
Toronto’s Tranzac isn’t Carnegie Hall. The midtown
space, initially a social club for Australians and New
Zealanders—hence the name—is now one of the city’s
busiest outposts for music, improvised and otherwise.
Like NYC’s ABC No-Rio or 5C Café, adventurous
sounds compensate for the grungy environment.
Besides collaborating with many locals, guitarist Ken
Aldcroft has built up ongoing relationships with outof-towners
like Wilbert de Joode and Joe McPhee. Live
at The Tranzac, Vol. 1 preserves a particularly inspired
set by the guitarist and bassist William Parker. Unlike
some players who arrive in town as if they’re Old West
gunslingers, Parker is more like a visiting firefighter
called in for a natural disaster. He’s there to cooperate
in order to get the job done the best way possible.
In this case that means providing a steadfast
rhythmic pulse or aggressively strumming and
hammering on the bass strings to provide melodic
continuum, reacting immediately to any changes in the
guitar patterns. With sharp tangy down strokes
Aldcroft pushes themes forward at a moderated pace,
only turning to staccato chording at the midpoint of
the single 47-minute improvisation, his sudden ferocity
matched by Parker pulling on the strings as if launching
arrows from a bow.
The bassist’s shrill shakuhachi hoots introduce a
Third World element to what was a First World abstract
improvisation. Although the transformative mood is
amplified when Parker hums while strumming his
donso n’goni (Malian harp), false exoticism never
replaces accomplished unity. Despite their independent
origins, the textures from both string instruments
shape this interlocking mosaic of beauty and daring.
For more information, visit kenaldcroft.com. This project is
at Downtown Music Gallery Jul. 10th. See Calendar.
Gratitude
Tom Tallitsch (Posi-Tone)
by Mark Keresman
Tenor saxophonist Tom Tallitsch is an Illinois-bred,
New Jersey-based bandleader and Gratitude is his
seventh album as a leader. Tallitsch plays straightahead
postbop, tossing a few curve balls to keep things
interesting. He is of the generation(s) of players that
doesn’t rely on the Great American Songbook for
material (9 of the 11 tracks herein are originals) and he
dips into the rock world for inspiration.
The album opens with “Terrain”, a surging, modal
midtempo tune evoking ‘70s McCoy Tyner. Tallitsch
has a notable tone—burly approach of Sonny Rollins,
flow of Dexter Gordon and cool of Lester Young, etc.—
but no one influence dominates in a fascinating blend
of robustness and yearning. Drummer Rudy Royston
kicks up as much dust (and propulsion) as Art Blakey
and Jon Davis’ piano is spare, slightly percussive (that
Tyner influence) and possessed of an easy lyricism. He
and Tallitsch share a very measured approach, taking
an almost leisurely tack in constructing their solos.
Fleetwood Mac’s “Gold Dust Woman” might not
seem the kind of fare a jazz combo might tackle, but
Tallitsch shows its majesty. The saxophonist invests
some elegant blues feeling into the proceedings while
Davis, Royston and bassist Peter Brendler slyly add a
soul-jazz groove more implied than overt and guest
Brian Charette deftly adds slightly gothic-sounding
organ. These lads close out the program with another
seemingly unlikely tune, Led Zeppelin’s “Thank You”,
essayed with a gospel feel thanks to organ (especially)
and Davis’ sparse, slightly Thelonious Monk-like
chords. Tallitsch gets to shine in a poignant manner
without ever getting cloying or going over the top.
Gratitude is an album that displays a rare and very
engaging balance of fervor and restraint, expressive
ace musicianship and terseness.
For more information, visit posi-tone.com. This project is at
Club Bonafide Jul. 13th. See Calendar.
Night Dreamer
Wayne Shorter (Blue Note)
by Anders Griffen
Wayne Shorter’s Night Dreamer was recorded Apr.
29th, 1964. He had already spent four years with Art
Blakey’s Jazz Messengers, debuted for Vee-Jay and
recorded with others, including Miles Davis’ sextet,
becoming part of his second great quintet later in 1964.
Even after all that activity, Night Dreamer was an artistic
breakthrough, the first of 11 Blue Note records in
6 years and the start of a groundbreaking period. While
he continued to develop as a soloist, his original voice
as a composer became prominent during this time.
It’s not well known that Shorter performed with
John Coltrane’s band in 1959, using his sidemen on his
first Blue Note recordings. Here he is joined by McCoy
Tyner (piano), Reggie Workman (bass) and Elvin Jones
(drums), with Lee Morgan on trumpet completing the
quintet. Nat Hentoff’s original liner notes mistakenly
identify “the characteristically lithe piano of Herbie
Hancock”. This was corrected on the 2004 CD reissue,
though not explained. The LP reissue experience is
different: more spacious and dreamy on Side A and
more of a hardbop edge on Side B.
The title track opens with a rubato piano flourish
before setting up 3/4 time joined by Jones’ signature
groove. The piece gets bluesier during the solos as the
major7 chords supporting the first 4 bars are changed
to dominant7 chords. Shorter solos first and last and
again as the track fades out. “Oriental Folk Song” has a
mysterious intro and melody, changing for the solos,
which are more pronounced and accompaniment more
aggressive. After the solos, there’s a three-bar figure
played by Shorter and Morgan, followed by a five-bar
break by Jones; those are repeated before returning to
the head. “Virgo” is dreamier yet: an unusual 29-bar
form with a 7-bar main theme, recapitulated after 16
bars and then a six-bar ending starts with the 7th bar of
the original theme repeated twice with harmonic
variations before a 7-3-6-2-5 turnaround over the final
three measures. This piece is reminiscent, particularly
Tyner’s accompaniment, of “I Wish I Knew” from
Coltrane’s Ballads, recorded December 1962.
Side B comes out more fleet-footed with the hardswinging
“Black Nile” while “Charcoal Blues” is a
straightahead 12-bar blues. Shorter plays with the
fringe and with his timbre, especially on his final
chorus. After its big intro, “Armageddon” brings back
some of the dreamlike quality of Side A.
This is a portrayal of the city. Even the album cover
is a depiction of traffic and streetlights blurred by a
moving camera as a hazy figure moves in the
foreground. “In the wide, warm night,” wrote E.B.
White, “the horn is startlingly pure and magical.”
For more information, visit bluenote.com. Shorter’s Ertegun
Jazz Hall of Fame entry is celebrated at Dizzy’s Club Jul.
14th. See Calendar.
20 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Manhattan Style
Our Thing (Jazzheads)
by Marcia Hillman
Our Thing, the trio of guitarist Roni Ben-Hur, bassist
Santi Debriano and drummer/percussionist Duduka
Da Fonseca, represent diverse musical and cultural
backgrounds joined together to create a distinctive and
appealing style. Manhattan Style is their second album
after an eponymous 2011 Motéma debut, and consists
of 11 songs: eight originals (three each by Ben-Hur and
Debriano and a pair by Da Fonseca) plus Duke
Ellington’s “African Flower”, Ornette Coleman’s “The
Blessing” and Antonio Carlos Jobim’s “Polo Pony”.
As implied in the title, the threesome are all now
based in New York yet bring to the recording
compositions reflecting the places they once called
home. Ben-Hur’s “Ma’hof”, for example, recalls the
Middle Eastern melodies and rhythms of his Tunisian
and Israeli roots. Debriano, who hails from Panama
but was raised in Brooklyn, calls to mind both,
respectively, with “Imaginary Guinea” and “Skelly”.
Da Fonseca’s lyrical melodies and pulsing rhythms
(heard in “Flying Over Rio” and “Poise E!”) are all
about his native Brazil.
These artists are masters of their instruments: Ben-
Hur’s fluidity shines whether playing chords or single-
note lines in double-time; Debriano stands out for his
arco on “African Flower” and “Poise E!”, his warm
tone cello-like; and Da Fonseca impresses with his
ability to play melody and complicated rhythmic
patterns. The latter also displays his virtuosity on his
original bebop-oriented title track, which closes the
album.
What is really amazing is the trio’s cohesiveness
and obvious enjoyment in their collaboration. Kudos
to Our Thing for a most successful blending of music
and culture, as appropriately diverse and unique as
Manhattan itself.
For more information, visit jazzheads.com. This project is at
Jazz at Kitano Jul. 15th-17th. See calendar.
Chemistry
Houston Person & Ron Carter (HighNote)
by Joel Roberts
Jazz is all about chemistry and never more so than in a
duo setting, where the empathy and cohesion (or lack
thereof) between the two performers is laid bare for all
to hear. Fortunately, veterans Houston Person and Ron
Carter have a brilliant chemistry together, as their
aptly titled new album, their fifth collaboration since
1990, makes abundantly clear.
As on their previous recordings, the tenor
saxophonist and bassist stick to favorite standards.
With seeming ease, they breathe fresh life into
familiar fare like “Bye Bye Blackbird”, “But Beautiful”,
“Young and Foolish” and “Blame It On My Youth”,
creating a full spectrum of sound masking any need for
additional musicians. This is a mature and confident
album by artists who appear to revel in each other’s
company. Everything is taken at a relaxed, unhurried
pace, with both players swinging gently and gracefully;
not a note is wasted.
What these two seasoned performers share, in
addition to decades of experience and mastery of the
jazz vernacular, is a distinctive and gorgeous sound on
their instruments. Person has perhaps been
undervalued by jazz fans over the years, but he proves
he is still a force to be reckoned with at the age of 81,
bringing his soulful, full-bodied tenor, which can recall
Gene Ammons, Ben Webster or Stan Getz at various
times, to the fore on every track. As the only rhythm
player, the 79-year-old Carter has a lot of responsibility
in this setting, playing the roles of timekeeper and
unaccompanied soloist while also making listeners
forget the missing drums or piano. It’s a task he’s
certainly up to, with his deep, supple bass sound and
vast harmonic knowledge.
It’s worth noting the presence of a third master on
this album—eminent engineer Rudy Van Gelder, who,
at the age of 91, brings the rich sound that’s been his
trademark for decades to yet another superb recording.
For more information, visit jazzdepot.com. Person is at
Dizzy’s Club Jul. 12th as part of the Ertegun Jazz Hall of
Fame Celebration of Ben Webster and 92nd Street Y’s Jazz
in July Jul. 21st as part of Unforgettable: The Nat King Cole
Songbook. See Calendar.
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THE NEW YORK CITY JAZZ RECORD | JULY 2016 21

Groovements
Aaron Parks/Thomas Fonnesbæk/Karsten Bagge
(Stunt)
Duets in June
Thomas Maintz/Aaron Parks
(Beach Farm-Gateway Music)
by Tyran Grillo
In the summer of 2014, Aaron Parks held a ten-week
DIVA (Danish International Visiting Artists program)
residency in Denmark. By then, at the age of 30, the
American pianist had already achieved an independent
sound, but on these two albums arising from his
Danish tenure he thrives on the unsolvable riddle of
collaboration.
When Parks released his 2013 disc of solo
improvisations (Arborescence, ECM), he earned kneejerk
comparisons to fellow pianist and ECM stalwart
Keith Jarrett. Yet while their styles could hardly be
more different, they do have one thing in common:
a genuine respect for melody. It’s this sense of song
and structure that balances Parks’ youthful optimism
with patience.
On Groovements, he shares a studio with bassist
Thomas Fonnesbæk and drummer Karsten Bagge.
Despite being the first time this trio had recorded
together—playing tunes written especially for this
session, no less—these virtual strangers make for a
cohesive mesh.
As if in service of that point, the group
improvisation “Shapes ‘n’ Colors” is among the more
seamless tracks. No less groovy than its satellites, the
tune hits all the right pressure points and is every bit
as flexible as Parks’ distinctly New York-ian
“Elutheria”. Fonnesbæk and Bagge contribute two
originals apiece, the former’s “Winter Waltz” and
“Forever This Moment” being special vehicles for the
composer’s artistry while the latter’s “Alcubierre’s
Law” and “A Rabbit’s Tale”, not surprisingly, capitalize
on the rhythmic core. The trio does bare its traditional
chops, however, when handling the swing of Cedar
Walton’s “Bolivia” and evergreen “You And The Night
And The Music” with tact. Even the two surprises,
Bruce Springsteen’s “I’m On Fire” and Danish classical
composer Carl Nielsen’s “Tit Er Jeg Glad”, proceed
with confident logic.
Duets in June would seem to be the more intimate
project on paper, but its unusual combination of guitar
and piano reaches more broadly and adventurously,
the pepper to Groovements’ salt.
Much credit goes to guitarist Thomas Maintz, who
wrote all the music except for three improvisations.
The latter are the highpoints of this date—exercises in
unforced seeking from two musicians who don’t just
react to, but converse with each other. Where the
drunken “Absinthe” and photorealistic “East Village
Waltz” are tongue-in-cheekily illustrative, “Six String
Levitation” (featuring Parks on melodica) and ambient
“Please Hum (A Hymn)” offer more cerebral delights.
Maintz speaks most lucidly through his acoustic
baritone guitar, as on “Nude in Red Armchair”, in
which his adaptability comes to the fore. All that said,
it is Parks whose underlying feel for mood and message
rings truest. Whether singing at the keys in “Secret
Hallway” or going solo for “Riddles Dressed in White”,
he understands that tenderness in music is more than a
pantomime. It’s a way of life.
For more information, visit sundance.dk and
gatewaymusic.dk. Parks is at Mezzrow Jul. 22nd-23rd. See
Calendar.
22 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Thanks to George C. Wolfe, Savion Glover and the
team behind the current Broadway revival of Shuffle
Along at the Music Box Theatre, there’s renewed
interest in black musical theater of the ‘20s, a fascinating
era when jazz began to define the pop culture
landscape. This all-black 1921 show, with music by
pianist/songwriter Eubie Blake and vocalist/lyricist
Noble Sissle, challenged the color line in important
ways and showcased the likes of Florence Mills,
Adelaide Hall, Josephine Baker and Paul Robeson. For
reasons laid out by Richard Carlin and Ken Bloom in
their 20-page liner essay for the astonishing Sissle and
Blake Sing Shuffle Along, the show remains a cultural
milestone. To hear 36-year-old pianist Ehud Asherie
grapple with its legacy on his solo piano album Shuffle
Along adds a welcome contemporary twist.
Sissle and Blake Sing Shuffle Along gathers material
from several sources: ’20s ensemble recordings; an
uncredited piano roll; highlights from a well-preserved
1950 demo; and a couple of tracks of even more recent
vintage. (The ’70s? The sleeve info on this could be
clearer.) Audio quality varies widely but within
acceptable bounds; some is remarkably good. Sissle
and Blake are amazingly magnetic even when they’re
tossing off renditions not meant for release.
In his banter between verses on “Bandana Days”,
Sissle evokes a competition between traditional and
modern dance styles and plays around ingeniously
with jazz’ historical timeline. It’s 1950, so he’s able to
refer to the modern dancers as “jitterbugs”. And one
aside is particularly pointed—Sissle announces, “Uncle
Ned and his old-timers are doin’ an old-fashioned cane
dance!” A long pause, then: “Wonder what the
beboppers are gonna say now.”
From a jazz standpoint the most gripping aspect of
this archival release is Blake’s pianism. The solo piano
breaks in between vocals are a revelation. Content to
play professional, elegant accompaniment most of the
time, Blake seems to relish these breaks, leaping out
like a rodeo bull from the gate, transitioning in an
instant to the most intricate, bouncy and unmistakably
authentic Harlem stride piano. The moment just as
quickly NYCJR12thPageAd0716.qxp_Layout passes and Blake falls back 1 5/27/16 to a support 11:02 AM role Page 1
Photo:
Rod Mickens
Sing Shuffle Along
Sissle & Blake (Harbinger)
Shuffle Along
Ehud Asherie (Blue Heron)
by David R. Adler
TRUMPETS
J A Z Z C L U B
Diane Moser’s
Composers
Big Band
w/guest composer
and performer
Howard
Johnson
Celebrating 53 years
in music and his
75th birthday!
Wed., July 27 • 8-11 p.m.
For more info:
dianemosermusic.com
6 Depot Square Montclair, NJ 07042
For reservations, call 973-744-2600
www.trumpetsjazz.com
(though even there, he can be flashy and genuinely
surprising). “Baltimore Buzz”, a solo piano
instrumental, offers yet more evidence of Blake’s
superior skill and fire.
This is the bar that Blake and the stride masters
have set for up-and-comers who find inspiration in
this vital yet underappreciated music. Asherie covers
just a subset of the Shuffle Along program, though he
includes two songs, “Everything Reminds Me of You”
and “Goodnight Angeline”, which don’t appear on the
Sissle and Blake CD. His touch is confident, improvising
fluid and astute, arrangements poised on the edge
between stride and modern piano languages—
sometimes very consciously as on “Bandana Days”
and “If You’ve Never Been Vamped by a Brownskin”.
Asherie’s rubato ballads, including the landmark
“Love Will Find a Way” (one of the first popular songs
to depict romantic love between African-Americans),
deftly blend a modern sensibility with a fluency in the
sound of the time period. But his Bud Powell-esque
romp on “I’m Just Wild About Harry” seems to answer
Sissle’s gently taunting remark above: this is what the
beboppers are saying now.
For more information, visit harbingerrecords.com and
blueheronrecords.com. A Eubie Blake tribute with Bill
Charlap, Rossano Sportiello and Ted Rosenthal is at 92nd
Street Y’s Jazz in July Jul. 26th. See Calendar.
Like It Is
John Fedchock New York Big Band (MAMA)
by Donald Elfman
Big band jazz thrives in the person of trombonist John
Fedchock, who blends old and new for in-your-face
excitement. Like It Is features some of the most talented
players in New York for fresh takes on songbook
standards and modern originals. This album is about
the evolution of a working big band that honors the
whole history of the genre.
Fedchock opens with the standard “You and The
Night and The Music”, recoloring its basic elements
while keeping enough of the structure to allow
expressive and intriguing solos from himself, Mark
Vinci’s soulful alto, Rich Perry’s powerful tenor and
knockout drumming by Dave Ratajczak, proving that a
classic tune can still be vital. There are other standards
here by Duke Ellington and Cedar Walton but a
highlight is Fedchock’s own tribute to Clifford Brown,
“Ten Thirty 30”, beautifully propulsive with dazzling
piano from Allen Farnham against some impressive
themes by the band and then, in homage to the
dedicatee, blazing yet delicate bravura from trumpeter
Scott Wendholt.
Fedchock’s other originals are the danceable title
tune, with in-the-groove solos from Charles Pillow
(alto) and Barry Ries (trumpet); smart and swinging
“Just Sayin’”, which has knockout acappella brass
playing, a sassy soprano solo (Pillow) and the leader’s
deft trombone fading into the distance at the close;
appropriately named “Hair of the Dog”, moving from
cloudy to sunny thanks to Farnham and bassist Dick
Sarpola to clearing solos by Fedchock and the wailing
Walt Weiskopf (tenor); and sensuous “Havana”,
a lushly exotic tribute to the Cuban capital.
For more information, visit summitrecords.com/genre/
mama-records-2. Fedchock is at Smalls Jul. 29th-30th. See
Calendar.
ADAM O’FARRILL
STRANGER DAYS
SSC 1450 - IN STORES NOW
“
One striking thing about Stranger Days, the
younger Mr. O’Farrill’s debut as a leader, is
how self-secure and disencumbered it sounds.
Marshaling a sharp band of his peers — Chad
Lefkowitz-Brown on tenor saxophone; Walter
Stinson on bass; and Zack O’Farrill, his older brother,
on drums — Mr. O’Farrill establishes both a firm
identity and a willful urge to stretch and adapt.
...
Stranger Days operates in a contemporary
post-bop mode, elastic and alert. More than a
showcase for impressively fluent and focused
trumpet playing, it’s a proper band album, with
each member sworn to the cause. Mr. O’Farrill’s
compositions cover a range of moods, from swinging
pugnacity (“Lower Brooklyn Botanical Union”)
to prowling elegy (“Survival Instincts”). A track
called “Why She Loves” opens with a saxophone
prologue in free tempo, slips into a melody played
as if on tiptoe and opens up to a trumpet solo with
no visible horizon.”
—Nate Chinen (The New York Times)
Appearing at the Jazz Gallery
July 6 @ 7:30 & 9:30 PM
iTunes.com/AdamOFarrill
www.sunnysiderecords.com
THE NEW YORK CITY JAZZ RECORD | JULY 2016 23

Standards
Peter Zak (SteepleChase)
by Ken Dryden
Peter Zak moved to New York long ago and made a
name for himself with a series of CDs for SteepleChase.
While one can hear stylistic influences in his playing,
they are never so much in the foreground as to label
him as being of a particular school. Standards, his 11th
date as a leader for the label, is a trio date as most of
his previous recordings. Joined by bassist Jay Anderson
(with whom he was playing for the first time) and
drummer Billy Drummond, Zak came into the session
with songs worked out but with no rehearsal, letting
the musicians find their own approaches.
Zak tackles a number of once popular songs that
haven’t been recorded as much in recent times, in
addition to still-in-demand favorites. The trio kicks off
with a lively samba setting of Alec Wilder’s “Moon
and Sand”, which contrasts with the numerous laidback
ballad recordings. George Gershwin’s “I Loves
You, Porgy” was championed by Bill Evans and Zak’s
glistening arrangement allows plenty of space to
emphasize its beauty, with understated bass and
whispering brushes as the perfect backdrop.
The pianist takes a typically breezy journey
through “The Night Has a Thousand Eyes”, with the
trio alternating between an energetic Brazilian
Carnaval flavor and driving bop. The Duke Ellington-
Billy Strayhorn ballad “The Star-Crossed Lovers” was
a long-time feature for the bandleader’s alto
saxophonist Johnny Hodges, but Zak transforms it into
a brisk swinger with a Latin undercurrent. Drummond’s
engaging, constantly shifting percussion fuels the
leader’s imaginative solo and a superb chorus by
Anderson. Ray Noble’s “The Very Thought of You” has
grown in stature over the last few decades and the
trio’s spacious, playful rendition has a special charm
by keeping its romanticism intact.
Burt Bacharach’s “Wives and Lovers” may not yet
be a standard, but Zak’s uptempo romp through it
reveals its possibilities. And though Victor Herbert’s
“Indian Summer” has been recorded throughout much
of jazz history since it was composed nearly a century
ago, Zak reshapes it with a brief hook inserted into the
melodic line in his swinging arrangement, keeping this
would-be warhorse very much at home in modern jazz.
For more information, visit steeplechase.dk. Zak is at Fat
Cat Jul. 5th. See Calendar.
album Wanted, merging jazz, R&B and hip-hop to
produce exciting amalgams where the glorious past
invigorates the all-encompassing present in exciting
ways.
Like Esperanza Spalding, Robert Glasper and
others, Maret uses diverse sources of musical
inspiration to blend the traditional and the
contemporary seamlessly. Wanted opens with “2Beats”,
a standard contemporary blueprint with slick freestyle
flowing by Kokayi alternating with album co-producer
Terri Lyne Carrington’s sensual vocals. Frank McComb
emotes on “Diary Of A Fool” with the silky, earnest
ruefulness of Kenny Lattimore. And the wonderful
Dianne Reeves lends her flawless tone and feeling soul
to the slow-jam “Heaven’s”.
On other songs Maret uses vocalizing by top-flight
artists as a variation on sung lyrics: the smooth title
track features Take 6 member Mark Kibble adding
some cool, dynamite harmonizing on this airy floating
tune; Luciana Souza lends her warm voice to “Groove”,
the jazziest cut; the great Ivan Lins weaves his vocal
magic on the ballad “Voo Do Pássaro ”. On all of these
songs harmonica doubles the voices on the melodies to
expand the palette. Another cut, though, uses a
different type of ‘vocalizing’ when master
percussionists Mino Cinelu and Kofo The Wonderman
converse on the stirring and lush world music anthem
“Talking Drums”.
Maret also tips his Panama hat to the standards.
There’s a funky take on Wayne Shorter’s “Footprints”
and arrangement of Bill Evans’ “Blue In Green” with
striking contrasts among the harmonica, Roger
Rosenberg’s brooding bass clarinet and Chris Potter’s
tenor saxophone. The album ends on a touching note
with the late, great Jimmy Scott musing on the
sentimental “26th of May”. Scott’s inimitable highpitched
voice cleverly steals the album under the guise
of sending it off into the sunset.
But this is Maret’s show. All of those gigs and
guest spots prepared him for his close-up and he
delivers big time. He’s a solid composer and his
harmonica playing is nonpareil, whether gently
embroidering someone’s vocal or instrumental solo or
weaving his own extended, impassioned praise shout.
Perhaps the most impressive moments, though, are
when he doesn’t play. Knowing when to step aside
underscores his poise, maturity and self-assurance, all
of which make Wanted such an excellent album.
For more information, visit sunnysiderecords.com. Maret is
at Jazz Standard Jul. 26th-27th with Edmar Castañeda. See
Calendar.
simplistic beauty of the viola’s natural resonance.
Though often augmented with electronic processing,
the austere melodic material and repetitive structures
always draw the listener towards the sound itself, with
a sense of carefully measured time.
On “Dawn To Dark”, pizzicato work is paired
either with singing or with a distorted wash of delay,
always perfectly in balance to maintain a sense of
drifting through space. The subsequent transition to
the delay-laden harmonics of “Ugly Story” is beautiful
in its subtlety. These two tracks make a wonderful
pairing at the center of the five-track CD.
Opening the album is the title track, a rhythmic,
pulse-based work, which features a single repetitive
note gradually expanding to bouncing attacks and
harmonics, with the tempo accelerating until being
overtaken by a wash of delay-laden controlled
feedback. As the paradoxically delicate and chaotic
texture recedes, the second track, “Shed The Themes
Of Broken Records”, begins with an evocative but
simple gesture that grows as it is repeated until the
primary thematic material is laid out: a constantly
shifting dialogue between chords built on extremely
wide or extremely close intervals.
Pavone’s sense of harmony is based not so much
on the consonance/dissonance dichotomy, but rather
on sonority and perpetually fluctuating stasis. The
ability to create extensive dramatic narrative from a
carefully chosen set of unadorned motives distinguishes
her solo work. The material moves slowly but always
brings the listener along through the subtle changes of
color and mood.
For more information, visit relativepitchrecords.com.
Pavone curates and is at The Stone Jul. 26th-31st, this
project taking place Jul. 29th. See Calendar.
Wanted
Grégoire Maret (Sunnyside)
by Terrell Holmes
For the past few years Geneva, Switzerland-born
harmonica player Grégoire Maret has been garnering
acclaim through gigs and guest appearances on
numerous albums. Now he’s assembled an impressive
lineup of musicians, singers and MCs for his debut
Silent Spills
Jessica Pavone (Relative Pitch)
by Wilbur MacKenzie
Violist Jessica Pavone has produced an immense
catalog of diverse releases over the last ten years,
ranging from solo music, large-scale chamber and
orchestral works, her longstanding duo with guitarist
Mary Halvorson and improvising groups of all types
while also contributing to an equally diverse body of
work supporting such leaders as Anthony Braxton,
Taylor Ho Bynum, Leah Paul, William Parker and
Jason Cady. Her new album Silent Spills collects her
recent creations for solo viola with electronics.
Throughout Silent Spills, Pavone’s prodigious
technique is reined in just enough to highlight the
24 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

GIANT STEPS
BAGS & TRANE
THE AVANT GARDE
THE COLTRANE LEGACY
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REMASTERED FROM THE ORIGINAL ANALOG TAPES
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July 13 @ 8pm
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July 24 @ 8pm
Glenn Miller Orchestra
An evening of big band swing!
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Al Di Meola
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August 28 @ 8pm
Bernie Williams
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September 10
1pm Game / 7:30pm Concert

Crowded Solitudes
Eric Revis Trio (Clean Feed)
by Stuart Broomer
The previous recording by bassist Eric Revis’ trio, City
of Asylum, charted a first meeting in the recording
studio. Three years later, the present incarnation
retains pianist Kris Davis while Gerald Cleaver has
replaced Andrew Cyrille at the drums with no
attendant loss of energy. If Revis is known for the
breadth of his musical associations, ranging from work
with Branford Marsalis and Kurt Rosenwinkel to Ken
Vandermark and Peter Brötzmann, the trio occupies a
sort of middle ground: they play a kind of free jazz
defined by intense, concentrated rhythmic precision
and interlace collectively improvised pieces with
compositions by Revis, Greg Osby and Paul Motian.
That rhythmic drive is immediately apparent on
the opening “Arcane”, an improvisation held together
by the sequence of rhythmic figures Davis devises,
moving from one insistent percussive pattern to
another, focusing the underlying momentum that
Revis and Cleaver generate. While “Arcane” represents
a distinct kind of urban energy—dense, layered,
forceful, turbulent—the spontaneously conceived title
piece is spacious and abstract, highlighting the
contrasting delicacy of which the three are capable.
The composed material is highly varied. Revis’
boppish roots are clear in “D.O.C.” while the extended
“Anamnesis - Parts I & II” reveals his range, moving
from a lyric delicacy in the first part to layered rhythmic
and tonal complexity in the second, Cleaver and Revis
creating storms to accompany the fierce, two-handed
invention that Davis develops. Revis’ creative humor
is apparent in “Bontah”; credited to Rio Sebastian
Revis (one suspects the bassist’s son), the piece sets a
highly rhythmic phrase of child speech as its theme.
Motian’s “Victoria” demonstrates the depth the
three can bring to a more traditional ballad while Osby’s
“Vertical Hold” is a pointillist abstraction building to a
tumult of drums and dissonant piano. Throughout,
Revis is a master of economy, contributing an occasional
melodic solo and elsewhere establishing a point or
figure around which the music forms and proceeds.
For more information, visit cleanfeed-records.com. Revis is
at The Jazz Gallery Jul. 27th-28th. See Calendar.
Take Me To The Alley
Gregory Porter (Blue Note)
by Matthew Kassel
Singer Gregory Porter likes to couch a hopeful idea in
a depressing image. He did this to great effect on
“Brown Grass”, a wistfully optimistic song about lost
love from his excellent 2013 disc Liquid Spirit, which
won a Grammy for best jazz vocal album. Porter has a
big, sensual baritone, with traces of Bill Withers,
deployed with easy confidence on his own
contemplative compositions, which often deal with
emotional endurance and romantic gratitude.
Take Me To The Alley is a fine follow-up to Liquid
Spirit, though it’s only tangentially related to jazz.
With a core rhythm section of Chip Crawford (piano),
Aaron James (bass) and Emanuel Harrold (drums) as
well as a funky horn section—Keyon Harrold
(trumpet), Yosuke Sato (alto saxophone) and Tivon
Pennicott (tenor saxophone)—Porter puts forth a kind
of acoustic, improvisational R&B. (Guest vocalists
include Alicia Olatuja, Kem and Lalah Hathaway.) The
album has something in common with Jose James’
simmering 2013 Blue Note release No Beginning No
End, which was sort of jazz if you cocked your ear to
one side and listened closely.
Crawford puts down big, rich chords throughout
and James and Harrold go deep in the pocket.
“In Fashion”, for instance, has a narcotized rhythm
that sounds a bit like The Police’s “Roxanne” slowed
way down. “Fan the Flames” comes closest to
traditional jazz as we know it; it’s a swinging tune and
Porter scats a bit, evoking Jon Hendricks, whose grainy
voice seems to be a touchstone for his style. The best
tune is opener “Holding On”, a slow, reflective song in
which Porter finds himself falling in love despite, it
seems, having experienced romantic pain in the past.
“I’ve seen times that were harder,” Porter declares. “I
remember the taste of bitterness.”
For more information, visit bluenote.com. Porter is at
Prospect Park Bandshell Jul. 28th. See Calendar.
26 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

The Music of Jelly Roll Morton
Jim Cullum Happy Jazz Band (Classic Jazz)
by Scott Yanow
It all began back in 1962 when clarinetist Jim Cullum,
Sr. formed the Happy Jazz Band. Featured on cornet
was his 20-year old son, Jim Cullum, Jr. The hot jazz
group became based at The Landing in San Antonio,
TX the following year (appearing on the club’s opening
night of Apr. 18th, 1963), their musical home until 2011.
Jim Cullum, Jr. (who has since dropped the Jr.) became
the group’s leader after his father’s death in 1973 and
the band has since been renamed the Jim Cullum
Happy Jazz Band. In addition to having the blessing of
a homebase (a rarity in the 21st century for a trad
band), Cullum’s group was also unique in that it was
featured on a popular weekly hour-long PBS radio
broadcast (Riverwalk Jazz) during 1987-2016, recently
completing their 30th and final season.
This recent reissue from the Classic Jazz label
features Cullum’s group in 1976 (the date unfortunately
is not listed on the CD), shortly before the band
switched from a banjo-tuba rhythm section to utilizing
acoustic guitar and string bass. The septet, comprised
of Cullum, great clarinetist Allan Vaché, fluent if
obscure trombonist Mark Hess and a solid rhythm
section (pianist Cliff Gillette, banjo player Buddy
Academy Records
& CDs
Black, Buddy Apfel on tuba and drummer Kevin Hess)
performs nine songs associated with Jelly Roll Morton,
who died 75 years ago this month at 50.
One of the first significant jazz pianists, Morton
was also an early jazz composer, arranger and
bandleader. He has been ridiculed regularly since the
late ‘30s when a letter he wrote to DownBeat claiming
that he had invented jazz in 1902 was published. But in
reality, Morton did not need to brag for his
accomplishments to early jazz were immeasurable. His
piano solos and his recordings with his Red Hot
Peppers during 1926-30 are essential for any serious
jazz collection.
In reviving nine songs from Morton’s repertoire,
the Cullum band could have stuck closely to the classic
recordings or merely jammed the tunes. Instead, they
mastered the songs and then came up with fresh
frameworks and solos. In other words, they created
new music while retaining the style and structures of
the vintage material.
For example, since Morton’s time his “Shreveport
Stomp” has always been played as a workout for a trio
of clarinet, piano and drums. However in Cullum’s
version, while Vaché introduces the melody for a
chorus, the whole group gets to participate, with the
first full ensemble chorus being quite explosive.
Cullum’s band is at its best on such uptempo
material as “The Chant”, “Milenberg Joys”, “Black
Bottom Stomp” and “Wolverine Blues”, which are
filled with concise solos and plenty of heated ensemble
work. The rhythm section shows that banjo and tuba
can swing, the horns all display extroverted
personalities along with excellent technique and the
music is full of enthusiasm. The slower and bluesier
pieces work well too but it is the stomps that are most
memorable.
Fans of hot jazz and those who want stimulating
music are advised to pick up this highly enjoyable CD.
For more information, visit innercityjazz.com
inhabits. Convention is not so much jettisoned as it is
thwarted, embraced, reexamined and rethwarted in a
post-Romantic take on the New Thing.
Yet, the freedoms Kikuchi inherited from his ‘60s
contemporaries only constitute a part of this
transcultural narrative; western classical music plays
as integral a role, especially the harmonically rich but
tonally ambiguous music of the Second Viennese
School composers. Fellow pianist Ethan Iverson’s liner
notes mention that Kikuchi transcribed Austrian
composer Alban Berg’s music to internalize his
language and this can be heard especially in the triadic
motion at first track’s end (“Tokyo Part I”) but in the
context of myriad other compositional approaches. His
articulations are miraculous! Listen to the opening of
“Tokyo Part II” to get an idea of his keyboard mastery
and of the various types of counterpoint he creates in
the instant.
By contrast, Kikuchi’s treatment of the title track
and of his own “Little Abi” eschews the diverse
harmonic trails he blazes throughout the concert. They
are points of repose where harmony moves glacially, in
bare fifths, suggested triads and motivic underpinnings
of pure color. The title piece’s sustains are breathtaking
and his homage to his daughter, first waxed with
drummer Elvin Jones in 1972, now takes on a wistful
air, concluding the recital with nostalgic intensity.
It is impossible to resist the temptation to view
this album as a summing up, so skillful and poignant is
each utterance, so finely balanced are the brushstrokes
from which the music is crafted. Such transcendent
pianism does not come along very often and while the
music may not give up its secrets easily, the effort will
reward a hundred fold!
For more information, visit ecmrecords.com
Cash for new and used
compact discs,vinyl
records, blu-rays and
dvds.
We buy and sell all
genres of music.
All sizes of collections
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For large collections,
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Black Orpheus
Masabumi Kikuchi (ECM)
by Marc Medwin
When Lennie Tristano spoke of Bud Powell, he
described how the influential pianist went straight to
the bottom of the keyboard with each note. The same
can be said of Masabumi Kikuchi and especially of this
newest disc. In 2012, Kikuchi released his ECM debut,
the majestic Sunrise, with bassist Thomas Morgan and
drummer Paul Motian. Now, posthumously (the
Japanese pianist died last year on Jul. 6th), we are
treated to a disc of what can only partly be labeled solo
piano improvisations, on which Kikuchi travels
similarly thorny and meditative terrain.
Kikuchi was an absolutely perfect fit for ECM and
there is no better proof than this October 2012 solo
recital from his native Tokyo. The recording is
gorgeous, as is the case with every ECM title, but there
is an urgent need for the kind of production detail the
label lavishes on its artists. As with Liszt, the musical
roads Kikuchi traveled to achieve the many subtleties
heard on this, his final solo concert, do not prepare the
listener for the massive distillation in each gesture.
Each tone carries decades of experience channeled into
points of simultaneous motion and stasis. He then
molds them into layers in which harmony, speed and
dynamics become relative only to the moment each
THE NEW YORK CITY JAZZ RECORD | JULY 2016 27

Villa Lobos Suite
Ivo Perelman/Mat Maneri/Tanya Kalmanovitch (Leo)
Butterfly Whispers
Ivo Perelman/Matthew Shipp/Whit Dickey (Leo)
Tenorhood
Ivo Perelman/Whit Dickey (Leo)
by Philip Freeman
Extremely busy tenor saxophonist Ivo Perelman
continues to release albums in batches, documenting
fully improvised encounters with musicians as
disposed to in-the-moment discovery as he. Sometimes
he returns to a particular combination of players, but
just as often the lineup is as fresh as the music.
Villa Lobos Suite features Mat Maneri, with whom
Perelman has recorded several times previously, and
Tanya Kalmanovitch, a brand-new partner. The
combination of tenor saxophone and two violas is an
unexpected one, perhaps wholly without precedent,
and the feeling of exploration, of feeling around in the
dark and cutting a new path, is all over this 49-minute
album. Although it has the austerity of modern
composition and harmony is as difficult to come by as
in any other fully improvised music (since it is, by
necessity, based on call-and-response rather than
unison playing), there is nevertheless a fully human,
crying quality to it. Perelman ducks and dives from the
bottom of the tenor’s range to the top and back again,
at times essaying quite bluesy phrases while flapping
the horn’s valves or squiggling in an extremely highpitched
voice at others. Kalmanovitch and Maneri saw
and zing around him, occasionally plucking the strings
and even more rarely attempting to build a stage upon
which he can wander and monologue.
Perelman has been partnering up with pianist
Matthew Shipp for close to 20 years, starting with
1996’s Cama de Terra; Butterfly Whispers is the fifth time
the two and drummer Whit Dickey have come together
in the studio, but only the second time without a
bassist (Michael Bisio, on The Edge and The Other Edge)
or a second drummer (Gerald Cleaver, on Enigma). At
this point, they have a collective language that works
very well for them. Shipp’s rumbling, almost liturgical
attack is matched by Dickey’s busy, yet somehow
restrained drumming, heavy on toms and cymbals.
Perelman hovers above and between them, seeming to
hum more than scream; the raucous ‘free jazz’ power
blowing of his earlier years has been replaced by a
thoughtful—but still post-Ayler—more introspective
voice. His notes flow over each other like a cool stream
and at times he even locks into a riff with the pianist
(“Pollen”). On “Irruption”, they get to a point where
they’re almost swinging, with Dickey managing to be
sensitive and martial at once. There’s plenty of space in
the music, too—“Secret Garden” is a brief piano solo
and “Almost Spring” is a saxophone-drums duo.
Perelman and Dickey are paired up for all of
Tenorhood and five of its six tracks are dedicated to
prominent saxophone forefathers: Hank Mobley, Ben
Webster, John Coltrane, Albert Ayler and Sonny
Rollins. Perelman is not mimicking the styles of his
various dedicatees too closely; he spends “For Mobley”
in the horn’s upper register, squealing and whistling as
the drummer plays Rashied Ali-esque free time. “For
Webster” is slightly more apposite, as Perelman goes
for a lower, more murmuring sound, but still finds
himself going up and out more often than not. “For
Coltrane” has a natural antecedent in Interstellar Space,
but Perelman seems more interested in conjuring the
Coltrane of Crescent and Dickey does just as well at
honoring Elvin Jones. “For Ayler” summons the free
jazz pioneer’s spirit well, minus the psychedelicmarching-band
melodic sense. “For Rollins”,
appropriately, is the most melodic piece and Perelman’s
tone is extremely clean and muscular, notes emerging
one by one rather than in a mad rush. Behind him, the
drumming is so minimal it’s almost primitive, until it
speeds up and erupts into clatter in the piece’s second
half. (The title track is a drum solo that feels like an
outgrowth of “For Coltrane”.)
For more information, visit leorecords.com. Perelman is at The
Stone Jul. 12th and Manhattan Inn Jul. 28th. See Calendar.
Psichedelica
Piero Umiliani (Omicron-Schema)
Synthi Time
Piero Umiliani (Omicron-Schema)
Fischiando in Beat
Piero Umiliani E La Sua Orchestra (Omicron-Schema)
by Ken Micallef
The composer of such film scores as Orgasmo, Death
Knocks Twice and Sex Pot, Piero Umiliani, who was
born 90 years ago this month and died in February
2001 at 74, was a gifted musician whose reputation has
taken on greater significance as ‘70s Blaxploitation and
B-movies have seen a resurgence in popularity. Thanks
in no small part to the films of Quentin Tarantino and
popularity of “library music”, Umiliani’s scores, while
not as iconic as those of fellow Italians Ennio Morricone
or Nina Rota, are perhaps more relevant to modern
listening tastes. What might have been kitsch in the
‘70s is now heard as romantic, sonically daring and
evocative owing to creative use of period instruments
and timeless genres.
Schema has kept fans of Umiliani’s work on the
collective edge of their seats as his soundtracks are
slowly reissued on CD. Psichedelica, a collection of
Umiliani’s rare library work, was recorded in 1968.
While its fuzz guitars, Farfisa and Hammond B3 organs
and ‘boogaloo’ drums recall ‘flower power’
atmospheres, the music occasionally rises above its
period setting to sounds blissful and sly. Used for the
soundtrack of director Luigi Scattini’s Heaven and Hell,
Psichedelica also contains Umiliani’s hit single “Mah-
Na Mah-Na”. Best known from its use in Sesame Street
and the first episode of The Muppet Show, “Mah-Na
Mah-Na” is a four-note wonder that sticks to your
head like peanut butter. Horror atmospheres (Umiliani
scored many Italian giallo films) and somnambulant
vocals fill “Viaggio nell’inconscio” and “Sequenza
psiche-delica”; ‘60s psychedelia drives the eerie “Nel
Cosmo”; organ swing adorns “Hippies”.
Recorded on modular synthesizers, Spinet piano
organ and Hammond organ, elements of 1971’s Synthi
Time wouldn’t sound out of place in the music of
French duo Air or in the Krautrock sounds of Harmonia
or Roedelius and Moebius. Layering synths to achieve
rich textures and colors, Synthi Time ranges from the
spectral expressionism of the title track and rhythmbox
kitsch of “Arabian Synthetizer” to the ‘surfing on
sine waves’ galactic frivolity of “Synthi Dance”. While
much of the material is easily shoehorned into easy
listening terrain, “Synthi Water” recalls an off-kilter
Pink Floyd and “Synthi Pastorale” a Wendy Carlos
workout. A dreamy listen straight from the deck of the
Star Ship Enterprise, Synthi Time imagines future
planet-hopping as it appeared in the early ‘70s.
Imagine you’re an action star circa 1969, jetting
between London, Rio and New York City, your trusty
orchestra in tow, spinning delicious atmospheres for
every babe you bed, villain you expunge and country
you conquer. Fischiando in Beat is a perfect distillation
of late ‘60s funk grooves and European-tinged
melodies, each track conjuring a different continent as
easily as slipping from tuxedo to trail gear. That
Umiliani’s melodies remain the main attraction in this
diverse collection is testament to his timeless skill.
“Corro Da Te” drives like Lalo Schifrin coursing
through the Italian Alps; “Autostop Per Rio” combines
wistful whistling and strummed guitar as well as any
Morricone soundtrack; “Go Go Go” intimates big band
on par with Francy Boland and Kenny Clarke.
As Piero Umiliani’s catalog hits the streets,
bringing equal parts nostalgia and awe, the late ‘60s
seems as palpable as the Moon landing and The
Beatles’ breakup, only a lot more fun.
For more information, visit ishtar.it
One for Marian -
celebrating
Marian McPartland
roberta piket steve wilson
virginia mayhew bill mobley
harvie s
billy mintz
with special guest karrin allyson
"A remarkable tribute"
robertajazz.com
thirteenthnoterecords.com
28 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

The Way We Play
Marquis Hill (Concord)
by Elliott Simon
A self-assertive urban vibe permeates the first two
cuts on trumpet player Marquis Hill’s unapologetically
titled The Way We Play. “Welcome / Bulls Theme” and
“The Way We Play / Minority” feature hot interplay
among vibraphonist Justin Thomas, bassist Joshua
Ramos and drummer Makaya McCraven. This is
Chicago talking. Hill’s trumpet pumps it up with
Christopher McBride’s alto sax and the Blacktet is on a
roll. The tension builds as vocalist Meagan McNeal
does the intro honors and spoken word artist Harold
Green III exposes the difference between his elegantly
biting ethnic poetry and self-indulgent rap: “It tastes
like hope and smell like Blue Note.”
Leaning heavily on jazz standards, the remaining
tracks deviate down other paths. The band struggles to
find a groove with vocalist Christie Dashiell on “My
Foolish Heart” and Herbie Hancock’s “Maiden
Voyage” is slowed to a crawl that precludes it from
taking flight. Other attempts fare much better. Hill and
McBride lend their rich tones to Horace Silver’s “Moon
Rays” and Hill’s switch to flugelhorn on an abbreviated
“Polka Dots and Moonbeams” is gorgeous. Green and
the band have a wonderful synergy and his
I always look forward to a new release
from clarinet master Ken Peplowski.
His new CD, Enrapture, on Capri
Records offers many pleasures
including a number of tracks where he
trades his mellow clarinet for an
equally beautiful-sounding tenor sax.
The album features an incredibly
eclectic lineup of tunes by everyone
from Duke Ellington and Noel Coward
to John Lennon…along with a jazz
treatment of Bernard Herrmann’s
main theme from Alfred Hitchcock’s
Vertigo! – Leonard Maltin
WWW.CAPRIRECORDS.COM
reappearance on a Latin-infused contemporary version
of Donald Byrd’s “Fly Little Bird Fly” returns the
session to its original attitude.
A pulsating rhythm section and fleet soloing
rounds the edges of Monk’s “Straight No Chaser” into
speedy bop while the Carmell Jones obscurity
“Beepdurple” benefits from the addition of trombonist
Vincent Gardner. Juan Pastor’s brief percussive
interlude spills over into a rendition of Charlie
Chaplin’s “Smile” that is crisp but loses the original’s
flow. Hill is a talented player and leader who is not
averse to taking a risk. The Way We Play puts the
emphasis on the “We”, capturing Hill and his band at a
point where they are comfortable stretching out on
others’ material and making it their own.
For more information, visit concordmusicgroup.com. This
project is at Ginny’s Supper Club Jul. 22nd-23rd. See
Calendar.
Frictions/Frictions Now
Free Jazz Group Wiesbaden (L.S.T.-NoBusiness)
by Clifford Allen
As a listener, no matter how deeply involved in a
certain musical scene one is, something will always
slip through the cracks. Take, for instance, the free
music scene in then-West Germany at the close of the
‘60s and the beginning of the ‘70s. While some
progressive jazz had been recorded by larger labels
like CBS and MPS, the underground bubbling to the
surface was little documented, at least until the
founding of Free Music Production in 1969. FMP,
however, didn’t really take off until the early to mid
‘70s and primarily captured activities in Berlin and
Wuppertal. In the southwest, around Frankfurt, it was
mostly left to musicians themselves to produce a record
of their work—reed player Alfred Harth, trumpeters
Herbert Joos and Michael Sell and saxophonist-pianist
Dieter Scherf were among the young players around
that scene in groups such as Just Music, The Modern
Jazz Quintet Karlsruhe, Fourmenonly and the Free
Jazz Group Wiesbaden (FJGW).
The FJGW existed for a scant period between 1969-
71 and released two self-produced albums on the L.S.T.
imprint, Frictions and Frictions Now (recorded Jul. 12th,
1969 and Jul. 9th, 1971, respectively), both of which
have long been nearly impossible to find until this
reissue. The group consisted of Scherf, Sell, guitaristflutist
Gerhard König and drummer-visual artist
Wolfgang Schlick, all, except Sell, ‘amateur’ musicians
(though conservatory training wasn’t—and isn’t—a
prerequisite for this music). The instrumentation is
curious; on much of Frictions König’s rapid strums are
seemingly tuned a step down and droning underneath
brassy intersecting cries, flayed overblowing and
Schlick’s constant charge. To call the music ‘free’ is
perhaps a bit of a misnomer as the group improvisations
are loosely stitched together into suites with knotty
unison passages, parts attributed to both Scherf and
Sell, and their conflagrations never go too far off the
rails. Frictions Now dispenses with any heads and
allows side-length group improvisations to unfold
from a biting whorl into seasick wiriness (courtesy of
Schlick’s guitar) and, on the excellent second half,
building palpable energy from bowed and scraped
guitar, flute and toy trumpet ululations.
For more information, visit nobusinessrecords.com
IVO PERELMAN
“PERELMAN ANd ShIPP ARE twO Of thE MOSt
EMPAthEtIc MuSIcAL PARtNERS Out thERE”
dOwNbEAt MAgAzINE, juNE 2016
“PERELMAN IS thE LAttERdAy cOLtRANE, If
ANyONE IS. hE’S tORRENtIALLy PROductIVE,
POSSESSEd Of AN IRON-hARd tONE, dEPthLESS
LuNgS, ANd A tOtALIzINg PhILOSOPhy thAt
bRINgS tOgEthER AdVANcEd hARMONIc
thINkINg, RhythMIc SOPhIStIcAtION
(hE’S bRAzILIAN AftER ALL) ANd AN OftEN
uNREcOgNIzEd gIft fOR MELOdy.”
thE wIRE, juLy 2016
IVO PERELMAN/MAtthEw ShIPP duO
juLy 12, 8PM At thE StONE, Nyc, Ny
IVO PERELMAN tRIO wIth
jOE MORRIS ANd gERALd cLEAVER
juLy 28, 10PM At thE MANhAttAN INN,
bROOkLyN, Ny
THE NEW YORK CITY JAZZ RECORD | JULY 2016 29

Live at the Jazz Standard
Edmar Castañeda World Ensemble (Arpa y Voz)
by George Kanzler
Usually expect hyperbole with the term “world
ensemble”. However, Edmar Castañeda, who plays the
llanera, a 31-string Colombian-Venezuelan harp,
assembled musicians for this live recording from seven
countries ranging over four continents. And this isn’t
any usual configuration; joining him in the frontline are
Grégoire Maret (harmonica), Marshall Gilkes
(trombone), Itai Kriss (flute), Shlomi Cohen (soprano
saxophone) and Pablo Vergara (electric and acoustic
piano). The rhythm section is German-Colombian
drummer Rodrigo Villalon and American percussionist
David Silliman, sometimes joined by pandeiro (Brazilian
tambourine) player Sergio Krakowski. The leader also
provides basslines and is occasionally joined by Tamer
Pinarbasi, from Turkey, on the multi-stringed kanun.
The program here—five Castañeda originals plus
the late Puerto Rican composer José Ramirez’ “Carrao
Carrao”, featuring the one vocal by Andrea Vergara—
is expansive, four tracks over 11 minutes long, and
rhythmically and structurally wide-ranging. There are
descarga-like rounds of traded solos from all the wind
instruments plus harp and piano and tracks often
feature multiple strains or sections. The most versatile
FREE PERFORMING ARTS
IN ALL 5 BOROUGHS
MAY – SEPTEMBER
The season will feature more jazz performances than ever
before, including opening night on June 4 in Central Park,
featuring living legends McCoy Tyner, Roy Haynes, and
Ron Carter. Season highlights include Kamasi Washington
and Henry Butler in Central Park, Terence Blanchard in
Clove Lakes Park, Dianne Reeves in Queensbridge Park,
a tribute to Dave Valentin in Crotona Park, and a screening
of What Happened, Miss Simone? in Von King Park. And,
of course, our annual Charlie Parker Jazz Festival, which
assembles some of the most important legends of jazz
alongside the next generation of innovators, will feature
Jack DeJohnette, Donny McCaslin, Randy Weston, and
Cory Henry. Join us as we celebrate jazz all summer long!
Visit www.SummerStage.org for the full 2016 schedule.
@SummerStage @SummerStageNYC @SummerStage
and tricky is “Double Portion”, with sections
alternating fast, slow and swaggering rhythms,
trombone both plunger-muted and open and harp
sweeping and jaunty to lush and dreamy. “Entre
Cuerdas” piles on false climaxes with drum breaks and
repeating riff cycles and “Quatro de Colores” features
such pairings as harp and harmonica, electric piano
and flute and trombone and soprano. The only ballad—
other pieces display a variety of AfroLatin rhythms
and time signatures—is “Jesus de Nazareth”, a feature
for sumptuous, sweeping harp, a final flute lead-solo
adding to the atmosphere. Finale “Zamir Blues” has an
infectious, chattering dance rhythm, Casteñada’s most
swinging solos and a montuno-driven climax.
For more information, visit edmarcastaneda.com. This
project is at Jazz Standard Jul. 26th-27th. See Calendar.
Enrapture
Ken Peplowski (Capri)
by Alex Henderson
Tenor saxophonist/clarinetist Ken Peplowski has
sometimes unfairly been characterized as strictly a
Swing-oriented player but if he was a ‘30s loyalist, he
wouldn’t be acknowledging everyone from Herbie
Nichols to John Lennon on Enrapture. Whether on tenor
or clarinet, Peplowski is in fine form on this date.
Peplowski offers surprises with his choice of
material. Contrasting Fats Waller’s “Willow Tree”,
Harry Warren’s “An Affair to Remember” and Duke
Ellington’s lesser-known “The Flaming Sword” are
Peter Erskine’s “Twelve”, Nichols’ title tune and John
Lennon-Yoko Ono’s “Oh, My Love”. Nichols, sorely
neglected by the industry in his day but seeing new
adherents in the past decades, fits perfectly with the
swing-to-bop outlook Peplowski brings to the table.
Pianist Ehud Asherie, bassist Martin Wind and
drummer Matt Wilson all deserve credit for
appreciating Peplowski’s sense of adventure.
Musicians hired as sidemen for a Peplowski date know
they are probably going to have to do some homework
when it comes to learning the material. The threesome
rise to the occasion on tunes as disparate as Barry
Manilow’s “When October Goes” and Noel Coward’s
“I’ll Follow My Secret Heart”. A highlight is
Peplowski’s lyrical performance of Bernard
Herrmann’s “Vertigo Scene D’Amour” from Alfred
Hitchcock’s classic 1958 thriller Vertigo, working
especially well in this small-group setting.
For more information, visit caprirecords.com. Peplowski is
at 92nd Street Y’s Jazz in July Jul. 20th and 28th and Jazz
at Kitano Jul. 22nd-23rd. See Calendar.
Flawless Dust
Garrison Fewell/Gianni Mimmo (Long Song)
by Ken Waxman
Best known as a teacher and author of guitar
instruction manuals, a busman’s holiday for guitarist
Garrison Fewell, who died a year ago this month at 61,
involved challenging sessions with players ranging
from pianist George Cables and bassist Cecil McBee to
saxophonist John Tchicai. Like author/activist W.E.B.
Du Bois, who became more radical as he aged, Fewell
seemed headed on the same path. Flawless Dust consists
of nine knotty and reductionist tracks improvised
alongside Italian soprano saxophonist Gianni Mimmo,
whose concepts widen the hairline fissure where jazz
and experimental music meet.
Fewell was open to many modes of expression.
There are no ‘songs’, per se, among these tracks ranging
from barely one minute to almost 14. Mimmo, who
previously matched wits with the likes of cellist Daniel
Levin and electronics maven Lawrence Casserley,
challenges the guitarist by unexpectedly dribbling
delicate pastoral timbres or spraying clotted textures
all over the shorter pieces. In response, Fewell uses
pinched strings or ringing strums to pour figurative
cold water on the saxophonist’s excesses while
outlining reciprocal harmonies.
The two ascend and descend with mountainclimber-like
resolution from the centerpiece
“A Floating Caravan”, the lengthiest duet, which
organically redefines intense blending, spidery string
crawls and angled reed exhalations, giving way to
buttressed blowing and echoing strokes, only to climax
with a dual unbroken line both soothing and
substantial.
A departure from his larger ensemble and more
mainstream efforts, Flawless Dust shows that Fewell
could hold his own in the most demanding situations
and that Mimmo was an enabling collaborator.
For more information, visit longsongrecords.com
Hosted by trombonist/composer CRAIG HARRIS,
a major figure in jazz for over thirty years.
Rendall Memorial Presbyterian Church
59 W. 137 th Street
(between Lenox and Fifth Aves.)
1 st set 12 – 12:45pm ~ 2 nd set 1 – 1:45pm
Admission is just $15!
(discount for students, seniors and groups)
Call 212-662-7779 or purchase at the door
harlemjazzboxx.com or welcometoharlem.com
TOUR COMPANIES ARE WELCOME
July 5 th
July 12 th
July 19 th
July 26 th
Antoine Roney
Jaleel Shaw
Lonnie Plaxico
Linda Oh
30 JULY 2016 | THE NEW YORK CITY JAZZ RECORD
05-18-16A_NYCJazzAd.indd 1
5/18/16 4:53 PM

Bands and projects:
• Ray Anderson - Han Bennink - Ernst Glerum - Paul van Kemenade
• Three Horns And A Bass (Verploegen - Boudesteijn - Mahieu - Van Kemenade)
• Podium Trio (Wierbos-Van Kemenade-Kuiper) on request with
Jamaaladeen Tacuma & Cornell Rochester
• Duo Stevko Busch - Paul van Kemenade
• Van Kemenade Quintet & South African Faku - Mhlanga - Mnisi a.o.
• Van Kemenade c.s. + renaissance ensemble
Cappella Pratensis
• Workshops
• Festival Stranger than Paranoia (since 1993)
• All year special projects with various
musical disciplines
For info, bookings and cd’s check our website: www.paulvankemenade.com +31 (0) 13 5365656 / +31 (0) 6 55 398498
Also order / buy cd’s: www.cdbaby.com, Downtown Music Gallery, NY

The Road to Love
Kenny Burrell (HighNote)
by Joel Roberts
There’s probably nothing on the new album from
veteran guitarist Kenny Burrell you haven’t heard
before. But that doesn’t mean it’s not an example of
state-of-the-art straightahead jazz played by a true
master of the genre. Burrell, who turns 85 this month,
isn’t charting any new territory, but rather honing the
understated style of bluesy bebop he’s been performing
since the ‘50s, when he emerged from the vibrant
Detroit jazz scene. And despite his advancing years,
Burrell doesn’t appear to have lost a step on this live
date, recorded a year ago at Catalina Jazz Club in
Hollywood with his stellar Los Angeles-based quintet.
The set mixes time-honored standards along with
a handful of Burrell originals, including “Brush
Magic”, a standout feature for his superb longtime
drummer Clayton Cameron. Burrell’s restrained brand
of swing fits perfectly with the Count Basie-Neal Hefti
classic “Li’l Darlin” while his still-formidable technique
is on full display on a pair of Brazilian numbers:
“Serenata” and Antonio Carlos Jobim’s “Someone to
Light Up My Life”. Barbara Morrison joins the group
for winning vocal versions of a pair of Billie Holiday
and Duke Ellington tunes while Burrell’s gorgeous
solo reading of Ellington’s “The Single Petal of a Rose”
offers ample evidence why the great bandleader once
called Burrell his favorite guitarist.
A final highlight is a rousing and heartfelt
rendition of “Confessin’ the Blues”, played in honor of
B.B. King, who passed away just a few weeks before
this club date. It’s a fitting tribute from one guitar
legend to another and an appropriate exclamation
point to this satisfying and life-affirming album.
For more information, visit jazzdepot.com
Bells/Prophecy (Expanded Edition)
Albert Ayler (ESP-Disk’)
by Mark Keresman
Saxophonist Albert Ayler (1936-70; he would have
turned 80 this month) is one of the most seminal and
controversial American jazz musicians. Emerging
during the flowering of jazz’ avant garde in the early
‘60s, he was a genuine maverick whose work impacted
his contemporary John Coltrane and many in his wake,
including David S. Ware, Ken Vandermark, Peter
Brötzmann and poet/rock singer Patti Smith, who said
of Ayler in a poem, “mysterious as a lily and just as
perfect.” Ayler played wild ‘n’ woolly with a deep,
blistering attack in the lower registers, birdlike calls up
high and wide vibrato, testifying via gloriously brutal
yawp and skronk—notes and harmony taking a
backseat to timbre and primal expression. His
compositional style owed little to the Great American
Songbook aspects of the jazz tradition, inspired rather
by gospel hymns, marches, folk tunes and children’s
songs, possessed of an almost naïve tunefulness.
This two-CD set is a combination of two Ayler
albums, Bells and Prophecy, plus tracks from an album
of German origin, Albert Smiles With Sunny. Bells was
recorded live at NYC’s Town Hall in May 1965 and
released that year as a one-sided LP record. ESP-Disk’
boss Bernard Stollman was so excited about Ayler’s
20-minute title piece that he didn’t even want to wait
for music for the other side of an LP. It begins with a
grand gale of unfettered and forceful playing from
Ayler trumpeter brother Donald, alto saxophonist
Charles Tyler (in his recording debut) and drummer
Sunny Murray until a moment of relative calm courtesy
of Lewis Worrell’s nimble bass. There are solos from
the saxophonists that seem rough on the surface but at
their core express an odd but palpable calm, until a
chorale emerges. While some avant garde jazz of the
period was driven by fury, “Bells” brims over with
catharsis and joy.
Prophecy is a collection of live recordings by
Ayler’s fabled trio of Murray and bassist Gary Peacock,
recorded at the Cellar Café, NYC 1964 but not released
until 1975—Albert Smiles With Sunny consists of takes
from that same gig. This lineup recorded Spiritual
Unity, Ayler’s first for ESP-Disk’. Ayler is even more
unrestrained here than on “Bells”, literally ROARING
and conjuring fervent talking-in-tongues passages
alternating with tuneful melodic heads. Murray
dispenses with the beat but not with rhythm, laying
down a percussive barrage and shimmering waves of
cymbals and Peacock’s pliant, flowing lines are the
calm in the eye of the storm. Incidentally, the sonic
quality on the Albert Smiles With Sunny material is
slightly better than that of Prophecy.
This is not for novices. For enthusiasts of Ayler in
particular and free jazz in general, it is indispensable.
For more information, visit espdisk.com
Short Stories
Dominick Farinacci (Mack Avenue)
by Donald Elfman
Dominick Farinacci’s Short Stories is a perfect
distillation of virtuosity, diversity, craft and
intelligence. The trumpeter has enlisted celebrated
producer Tommy LiPuma (like Farinacci, a native of
Cleveland), arranger Gil Goldstein and some
remarkable musicians and then assembled a most
extraordinarily eclectic set of music.
The album opens with a tune by The Gipsy Kings,
“Bamboleo”, and Farinacci treats it as a showcase à la
Louis Armstrong. It’s a heartbreakingly attractive and
bittersweet love song. Over the gorgeously textured
ensemble, Farinacci finds the richness in the melody
and soars in several glorious solo sections. Keyboard
player Larry Goldings is the quiet complement to the
leader in his solo segment.
The recording positively rings with surprise:
there’s a very funky “Señor Blues”, Horace Silver’s
sinuous melody first intoned by the band with
electronic additions and some soulful singing by Jacob
Collier; powerfully slow “Soldier’s Things” by Tom
Waits; “Doha Blues”, a celebration of the trumpeter’s
time in Qatar as a global ambassador, with intense
vocals by Mike Massy and percussion from fellow
Clevelander Jamey Haddad; quietly hypnotic version
of Cream classic “Sunshine of Your Love”, where Dean
Parks takes a bluesy and definitively un-psychedelic
guitar solo; hit “Somebody That I Used To Know” from
Belgian singer-songwriter Gotye; “Tango”, penned by
vocalist Dianne Reeves; and the old Peggy Lee hit
“Black Coffee”. Farinacci enfolds every one of these
tunes in his splendid sound and expressive phrasing.
The album closes with a true delight, Goldings’
“Parlour Song”. It sounds like just that—an oldfashioned
melody played by trumpet and piano—and
so lovely it’s nearly heartbreaking. Short Stories is
informed throughout by that kind of intelligence and
sensitivity.
For more information, visit mackavenue.com. Farinacci is at
Mezzrow Jul. 24th. See Calendar.
Rob buRke Sextet
the Cutting Room
Wed 13th July - 9:30pm
Club bonafide
Wed 20th July - 10pm
Rob buRke - Sax
paul WilliamSon - tRump
JoRdan muRRay - tRomb
maRC hannafoRd - piano
maRk heliaS - baSS
geRald CleaveR - dRumS
(13th July)
naSheet WaitS - dRumS
(20th July)
RobeRtbuRke.bandCamp.Com
TIFFANY AUSTIN
DEBUT ALBUM AVAILABLE NOW
“NOTHING BUT SOUL”
__________________
“★★★★”
Yoshi Kato, DownBeat Magazine
__________________
“A vocalist to keep an ear on.”
Kevin Whitehead, NPR’s Fresh Air
__________________
TIFFANYAUSTIN.COM
32 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Father Figure
Michael Dease (Posi-Tone)
by Ken Dryden
Michael Dease has always challenged himself. In high
school he was All-State on saxophone, but switched to
trombone his senior year and repeated the feat. Since
his arrival in New York, Dease has developed into one
of his generation’s top trombonists.
Father Figure features a tight quintet with
vibraphonist Behn Gillece, pianist Glenn Zaleski,
bassist Endea Owens and drummer Luther Allison,
occasionally augmented by alto saxophonists Markus
Howell and Immanuel Wilkins. Strutting blues
“Church of the Good Hustler” shows that Dease can
back the acclaim he has received for his expressive,
swinging trombone. Howell and Wilkins engage in a
playful trading of fours while Gillece recalls Milt
Jackson. The leader’s “Brooklyn” is a gorgeous work
named for his newborn daughter, with a multi-faceted
theme evolving as quickly as its namesake.
Charlie Parker’s “Confirmation” was an in-studio
suggestion by producer Marc Free and the impromptu
performance demonstrates how quickly talented
musicians can incorporate fresh ideas into standards.
Both alto saxophonists shine in their respective
choruses, Dease turning things up a notch soloing over
walking bass. Claudio Roditi’s engaging samba
“Annette’s For Sure” crackles with tight, inventive
solos by both Dease and Howell, Zaleski getting the
final say. Dease gives “Marian the Librarian” (from The
Music Man) a loping, cowboy undercurrent and salutes
the late pianist Mulgrew Miller with a fiery setting of
his “Wingspan”. Dease penned the title track for
Owens, one of his students at Michigan State, who
keeps a solid groove in this wild reworking of
“All God’s Chillun Got Rhythm” and adds a tasty solo
as well. Father Figure is a valuable addition to Michael
Dease’s already impressive discography.
For more information, visit posi-tone.com. Dease is at 92nd
Street Y’s Jazz in July Jul. 28th. See Calendar.
Live At Maxwell’s
DE3 (Sunnyside)
by Philip Freeman
Trumpeter Duane Eubanks made his Sunnyside debut
in 2015 with Things Of That Particular Nature, a suave,
melodic and classicist hardbop date. That album
featured Abraham Burton and Marc Cary alongside the
musicians who make up DE3: Eubanks, bassist Dezron
Douglas and drummer Eric McPherson. This
one, a looser and more stripped-down effort, was
recorded at the Manhattan drum shop rather than in a
traditional studio and gives the listener the feeling of
eavesdropping on a conversation.
Eubanks’ tone is soft, but full—his notes seem to
roll out of the bell, patiently and thoughtfully taking
the air. Behind him, Douglas and McPherson set up
loping, relaxed grooves. All the compositions are
written by the trio’s members, though “Little Johnny C
Blues” nods to the title track of Johnny Coles’ sole Blue
Note album. (Coles was Eubanks’ teacher, though their
approaches to the horn are starkly different.) It’s not
all mellow shuffles and soft soloing, though; about
three-quarters of the way through “A Slight Taste”,
Eubanks reaches for the sky, squeezing out a sudden,
forceful run at the top of the horn’s range that surprises
without feeling unwelcome or gratuitous.
This group is a trio, not a trumpeter and his
rhythm team. On “Little Johnny C Blues”, Douglas and
McPherson take a full minute to themselves before the
horn is heard and it’s a terrific, organic sound, the
drummer’s energy restrained but ever-present as the
bass boings and booms in a manner recalling Charlie
Haden behind Ornette Coleman in 1959. “Strokish”,
meanwhile, is a seven-minute track, which begins with
a three-minute drum solo building from delicate
skittering runs to avalanche-like rolls; when the others
start playing, McPherson settles into a Tony Williamsish
zone of precise hi-hat and occasional snare eruption,
like he hasn’t quite gotten all of that opening solo out
of his system. These three players have a lot to say,
individually and collectively, and whether they bring
the other two members of the quintet back for the next
album or not, it’ll be worth hearing.
For more information, visit sunnysiderecords.com. Duane
Eubanks is at Smalls Jul. 22nd-23rd. See Calendar.
KERRYTOWN CONCERT HOUSE
edgefest20
2016
20 YEARS AT THE EDGE!
October 26th through 29th, 2016
Jason Kao Hwang’s Burning Bridge Ensemble • William Parker Quartet
Northwoods Improvisers Trio • Trio 3 • John Hollenbeck’s Claudia Quintet
Kris Davis Trio • Noh Prezens • Ingrid Laubrock’s Serpentines
Sylvaine Hélary’s Spring Roll • TranceFormation • Stephen Rush
Tad Weed’s Freedom Ensemble featuring Vinny Golia • Blue Dog
Conference Call Quartet • Wadada Leo Smith & John Lindberg
John Hollenbeck - Works for Large Ensemble • Craig Taborn
The University of Michigan Jazz Ensemble • and more!
Edgefest is honored to receive a matching grant on
ticket sales from the Robert D. Bielecki Foundation,
including a double match for every new attendee!
The Maxine & Stuart Frankel
Foundation for Art
For more info or to reserve festival passes, contact us:
reservations@kerrytown.com • kerrytownconcerthouse.com/edgefest
(734) 769-2999 • 415 N. Fourth Ave., Ann Arbor, MI 48104
THE NEW YORK CITY JAZZ RECORD | JULY 2016 33

Habana Dreams
Pedrito Martinez (Motéma Music)
by Elliott Simon
Pedrito Martinez is a world-class conguero with a
spiritual connection to his tumbadora drums. Notable
Latin and jazz musicians have taken notice and opener
“Mi Tempestad” has trumpeter Wynton Marsalis
adding the jazz flow and poet/rapper Telmary
contributing the edge to a base of hot AfroCuban
rhythms. Marsalis returns with guitarist Juan Wust on
the gorgeous Ruben Blades ballad “Antadilla” for a
touching portrait of the fisherman and his village.
Marsalis and Martinez recently collaborated on Ochas,
a concert-length piece with pianist Chucho Valdés and
the Jazz at Lincoln Center Orchestra. Pretty fast
company, but Martinez is used to such environs with
the likes of Sting, Paul Simon, Eddie Palmieri and
Paquito D’Rivera also on his resumé.
The session was recorded in Habana but with
NYC pluralism: Martinez and pianist Edgar Pantoja-
Aleman are from Cuba, bassist Alvaro Benavides from
Venezuela and bongosero Jhair Sala hails from Peru.
They work with an A-list of musical guests to produce
contemporary music true to its roots. The classic
dance/percussive tune “Compa Galletano” receives a
heavy injection of salsa as it welcomes Blades on vocals
while “Dios Mio” uses Wust and Pantoja-Aleman’s
lovely touches to provide a Latin jazz/pop setting for
vocalist Descemer Bueno.
Percussionist Román Díaz joins with Martinez for
a duet on “Encantamiento Yoruba”, reprising their
wonderful collaboration on The Routes of Rumba (Round
World, 2008). Together they capture the stately and
spiritual origins of the music. This is followed by
“Tributo a Santiago de Cuba” with the phenomenal
West African vocalist Angélique Kidjo and vocalist
Issac Delgado closes out the session with the title cut, a
heartfelt melodic tribute to the city of his birth. The
music on Habana Dreams is at once both conventional
and contemporary, with sweet ripples of jazz running
through its rumba soul—kind of like Habana itself.
For more information, visit motema.com. Martinez is at
Prospect Park Bandshell Jul. 29th with Angélique Kidjo. See
Calendar.
Pythagorean Dream
Rhys Chatham (Foom)
by Clifford Allen
Much abstract American art of the ‘60s-70s focuses on
direct and complete engagement with the viewer,
utilizing shape, color, form and material to offer the
transcendence of an eternal now. Whether one calls the
work Specific Objects, Minimalism, Post-painterly
Abstraction, Hard-edge, Post-minimalism, Systemic or
Concept Art, the impetus for its existence comes back to
this sense of complete yet evolving engagement. Though
Minimalism has stuck as a descriptor, it doesn’t really
do justice to the means and results of unencumbered,
material grace and process-based interaction. Similarly,
the use of just (or unjust) intonation, seriality, loop
structures, delay and resonant overtones allows for the
maximum level of interaction between sonic information
and the listener’s brain and body and Minimalism never
felt accurate in describing that diverse music. Guitarist,
flutist, trumpeter and composer Rhys Chatham has
been active in contemporary composition since the early
‘70s, first creating La Monte Young-like music for gongs
before moving in the direction of a merger between
punk and the splendor of amplified overtones, in both
small guitar-based ensembles and orchestras.
Pythagorean Dream is Chatham’s latest, a two-part
solo work for guitar and alto, bass and C flutes utilizing
loops, delays, natural resonance and just intonation.
Through these feedback devices and levels of
superimposition, Chatham is able to create a chorus of
amplified strings or projected breath through live stereo
play. Sitting at a table facing an array of pedals and
mixers at Le Poisson Rouge on May 30th, Chatham
turned the former Village Gate into a space for cathedrallike
suspensions of ghostly tones and buckling guitar
twang. In this scenario, he began the evening with an
unaccompanied performance, more jarring and
electrified than that on the recording and soon
augmented his bank of instruments with the electric
bass of Tim Dahl (Child Abuse, Lydia Lunch Retrovirus)
and drummer Kevin Shea (Talibam!, Mostly Other
People Do the Killing), the former buzzing and swerving
atop a landscape of partials as the latter gradually took
the music to the stratosphere, playing like Lenny White
against a massed angelic chorus.
But the recorded performance is another thing and
hearing Chatham’s solo music through home speakers
is deeply moving. The second half begins with arrayed
harmonics and quavering washes, gradual chromatic
flute entreaties mapped by delayed mirrors and lifted
by a lapping drone. Though Chatham was at one time a
classical flutist, this is not music of traditional virtuosity,
instead allowing the experiencer to ‘come into
knowledge’ of sounds’ occurrence and relationships,
both to internal and inhabited structure. As phrases are
overlaid, Chatham builds gentle and direct interstitial
architecture, which soon leads into jangling pulses as he
switches to the electric guitar. Here, a ringing and dusty
imprint occasionally scumbled into cottony fuzz is the
focal point, somewhere between Womblife-era John
Fahey and Robert Fripp, sprawling out into thin waves
before falling away. The CD version of this set includes
one extra piece, a solo trumpet work recorded at
London’s Whitechapel Gallery, in which short, dusky
smears are placed in round-robin orientation and create
a visible undercarriage for a frontline of crumpled,
narrow bursts and martial cries. The evolution of Rhys
Chatham’s music may move too fast to see, but one can
still bear witness.
For more information, visit foommusic.bandcamp.com
He Was The King
Freddy Cole (HighNote)
by Alex Henderson
Death came too soon for some members of the Cole
family: Nat was only 45 when he died of lung cancer in
1965 and his daughter Natalie was 65 when she died of
congestive heart failure in 2015. But Freddy is still
going strong at 84 and is in fine form on He Was The
King, a tribute to his brother.
Cole has been recording since the early ‘50s but it
took him several decades to get around to making a
Nat tribute. Whenever one decides to honor his legacy,
the question becomes, “Which part?”—straightahead
jazz with his intimate trio in the ‘30s-40s or jazzinfluenced
traditional pop in the ‘50s-early ‘60s?
Freddy pays homage to both and does so with the help
of an impressive cast of Houston Person or Harry Allen
(tenor saxophone), Joe Magnarelli (trumpet), Josh
Brown (trombone), John Di Martino (piano), Randy
Napoleon (guitar), Elias Bailey (bass) and Quentin
Baxter (drums).
Cliff Burwell’s “Sweet Lorraine” and Harold
Arlen’s “It’s Only a Paper Moon” are from Nat’s trio
repertoire whereas ballad “Mona Lisa” (a major hit in
1950) epitomized his pop side. Freddy’s smoky jazznoir
take on the latter is a departure from his brother’s
lavish orchestral version and Freddy, much to his
credit, doesn’t hesitate to surprise listeners by
unearthing some of the lesser-known songs his brother
recorded such as Benny Benjamin-George David Weiss’
“Jet” and Fred Wise’s “The Best Man”.
Most of the songs were recorded by Nat at some
point, from Ned Washington-Victor Young’s “Love Is
the Thing” to Ray Ellington’s “That’s My Girl” but
there are two exceptions in Richard Rodgers-Lorenz
Hart’s “Easy to Remember” and the title track, a
poignant ballad Freddy wrote in memory of his brother.
Some Nat tributes have been far too predictable.
Freddy offers his share of surprises and the result is
one of the more interesting celebrations to date.
For more information, visit jazzdepot.com. Cole is at 92nd
Street Y’s Jazz in July Jul. 21st as part of Unforgettable: The
Nat King Cole Songbook. See Calendar.
Founded in 2006,
In Performance Music
Workshop Ensemble
invites you to an evening of jazz.
Please join this multi-generational
ensemble with guest artist
Eddie Allen performing music from
NYC greats such as Arturo O’Farrill,
James Jabbo Ware and
JD Parran. Including the music of
Gil Evans, Dave Brubeck,
Freddie Hubbard and others.
Be part of this 10-year celebration at
John Birks Gillespie Auditorium
at The New York Baha’i Center,
August 16th, 2016 at 8pm and 9:30pm,
General Admission is $15 at the door.
Students and WBGO Members with ID $10.
53 East 11th Street
(between University Place and Broadway)
Please contact us at:
IPMW.Events@gmail.com
also visit us at:
youtube.com/ipmw
34 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Derengés/Dawn
Grencsó Open Collective (SLAM)
by Ken Waxman
Although he recorded with master improvisers like
Roscoe Mitchell, Joëlle Léandre and Anthony Braxton,
pianist György Szabados, who would have been 77 this
month but died at 71 in June 2011, is little known
outside of Hungary. Yet his influence loomed over his
country’s post-war music as much as the specter of
Communism haunted Europe. Like the AACM’s Muhal
Richard Abrams, Szabados organized workshops
where musicians absorbed his mixture of
improvisation, jazz and notated music.
Unlike Abrams, though, Szabados’ opportunities
were limited by his government’s Stalin-esque distrust
of free music. That’s one reason why Derengés/Dawn is
so valuable. Almost the equivalent of a samizdat novel
given mass publication, the two-CD set provides
expanded performances of six Szabados compositions.
Budapest-based reed player István Grencsó, a member
of the composer’s ensembles from 1984-2007,
galvanizes the project while Serbian-Hungarian violist
Szilárd Mezei, who played with Szabados from 2003-
09, adds his distinctive string bending to four tracks.
Grencsó emphasizes the jazz/improv qualities of
Szabados’ work by building on the textures from the
ROLFSTURM.ORG
“Sturm is a prodigious talent
and is an unparalleled virtuoso
of the nylon stringed guitar.”
- James Scott “Minor 7th Webzine”
“… a master of scrumptious
chord motion... chops to burn.
But his technique never overpowers
the music. It just acts in its service.”
- Tony Trischka “Banjo Master”
WATERSTREETMUSIC.ORG
rhythm section of pianist Máté Pozsár, bassist Róbert
Benkö and percussionist Szilveszter Miklós. The Open
Collective perform an act comparable to cleaning a
painting to highlight new vibrancy.
Touched with strands of Magyar romanticism,
Pozsár glides along the keys when not relying on the
pedals to judder percussively alongside Benkö’s
unvarying pace. Grencsó’s nasal soprano saxophone
split tones, sardonic alto saxophone digs or bass
clarinet growls mock overwrought Arcadian sentiments
while adding requisite (free) jazz affiliations on a track
like “Adyton”. In quintet formation on “Azesküvö/
The Wedding” and “Fohsáz/Supplication”, the sharp
pulse is maintained yet, frequently, cymbals toll as if
emanating from the belfry of Budapest’s St. Stephen’s
Basilica to balance the Roma-like flightiness expressed
in viola glissandi. Szabados’ tension between sonic
light and darkness is not without humor. The fauxvaudeville
overlay of the concluding “Regölés/
Minstrelsy” could accompany a clown’s pratfalls,
especially after the foreground actions are backed by
three additional horn players: Ádám Meggtes, Ábel
Fazekas and Gergö Kovás.
The Open Collective honors Szabados’ work by
giving it a contemporary sheen as well as daubing
individual brush strokes onto his canvas.
For more information, visit slamproductions.net
Nihil Novi
Marcus Strickland’s Twi-Life (Blue Note/Revive)
by Philip Freeman
It’s been five years since saxophonist Marcus
Strickland’s last album, the self-released two-CD set
Triumph of the Heavy, Vol. 1 and 2. This disc, his debut
for Blue Note (a label exhibiting a shocking vitality in
the last couple of years), was produced by Meshell
Ndegeocello and features trumpeter Keyon Harrold,
organ player Mitch Henry, keyboardist Masayuki
Hirano, bassist Kyle Miles and drummer Charles
Haynes as the core band, with guest appearances from
singer Jean Baylor, guitarist Chris Bruce, keyboardist
James Francies, pianist Robert Glasper, bassists
Ndegeocello and Pino Palladino and drummer Chris
Dave. Strickland’s brother E.J., usually heard behind
the drums, plays keyboards on the aptly titled
42-second interlude “Cherish Family”.
Nihil Novi is more reminiscent of D’Angelo’s Black
Messiah than any recent jazz release, even R&B-oriented
releases by labelmates like Glasper, trumpeter Takuya
Kuroda and bassist Derrick Hodge (on whose album
Strickland played). The tracks are built around grooves
that tick and pulse, tight snare drums cracking as
electric bass throbs and horns spin out melodies that
sound as much like a Greek chorus, commenting on the
lyrics sung by Baylor, as soloists seeking to express
themselves at length. Strickland can get out there when
he wants, but he serves the ensemble just as often, in
the process reminding the listener that there were some
ferocious solos on James Brown tracks back in the day.
But it’s not just the music; it’s the message in the lyrics
and the samples of, for example, Harrold talking about
feeling like he’s viewed through the prism of others’
stereotypes. It’s a conscious (to use a term from ’90s
hip-hop) but not hectoring worldview and perfectly
suits the taut but organic beats the band lays down.
There’s more going on here than just shimmering
jazz-funk, though. “Inevitable” is a lush ballad,
Strickland’s bass clarinet shadowing Baylor’s vocals
the way Lester Young used to slow-dance with Billie
Holiday. Ndegeocello takes a lead role on “Sissoko’s
Voyage”, a strutting homage to Afropop, which also
showcases Bruce’s shimmering guitar. And the albumclosing
“Truth” sounds like 21st Century Afrobeat.
Nihil Novi (which translates to Nothing New) might be
the most self-abnegating album title of the year. Even if
there isn’t anything truly new here, the way Strickland
and company combine elements adds up to something
both unprecedented and thrilling.
For more information, visit bluenote.com. This project is at
Prospect Park Bandshell Jul. 28th. See Calendar.
IN PRINT
A Listener’s Guide to Free Improvisation
John Corbett (University of Chicago Press)
by Tom Greenland
It’s hard enough to put music into words, but even
harder when it’s created without preconceived plans.
Kudos then to John Corbett for his insight into how
one can gain deeper understandings of and
appreciation for such music. Written in a pithy,
metaphor-steeped style, Corbett’s book is humorous
and engaging; he’s having a bit of fun with a subject
about which he cares deeply. Fond of enlarging on his
metaphors, as when he shows the various ways the
book is like a field guide for bird-watching, he’s
equally content to string a series of mixed metaphors
together, thereby acknowledging the imprecise
nature of such allusions, all merely parts, hints, of the
bigger ‘truth’ he wants to illuminate.
After introducing the subject and defining his
parameters—“freely improvised music”, as opposed
to structured improvisation, free jazz or noise
music—Corbett begins defensively, anticipating
objections to music lacking a steady pulse and of
indeterminate duration. Then he moves to the basic
features, or ‘facts’, discernible to audiences, i.e. who’s
playing what when, changes in volume, transitions
and form. In one of the most interesting sections, he
posits a typology of seven types of interactions:
dialogue; independent simultaneous action;
imitation; consensus/dispute; support/stepping up;
making space vs. being tentative; and counterpoint.
These are the individual-within-society relationships
that we intuitively notice in our day-to-day lives, but
Corbett’s discussion serves to pinpoint and sensitize
us to the nuances of these dynamics in the context of
music. He also stresses the importance of learning the
“performance vitae” of individual artists in order to
place their improvisations in a broader context.
The final half of the book addresses “advanced
techniques”. For further listening and reading Corbett
supplies lists of records (both improvised and “polyfree”),
“major” living improvisers and books. He
compares one-off gigs with ongoing groups; alludes
to elements of mystery and metaphysics; debates
group size (trios, he argues, tend to work best); notes
the spectrum of free and pre-determined materials
within an improvisation; and distinguishes “real”
performances from imitative ones.
For more information, visit press.uchicago.edu
THE NEW YORK CITY JAZZ RECORD | JULY 2016 35

BOXED SET
For Those Who Are, Still
William Parker (AUM Fidelity)
by Kurt Gottschalk
AUM Fidelity has done yeoman’s work for close to
20 years publishing the work of bassist William
Parker. In recent years, the label has seemingly had to
turn to the boxed set just so that the pressing plants
could keep up. Bamboo Flute Songs, released in 2013,
had no real thematic tie except that all of the
performances were recorded live. Triple-disc For Those
Who Are, Still is another collection of recent activity,
no more cohesive than any of Parker’s work, put in a
box, would be. (Which is not to say the work is entirely
arbitrary; Parker has an inherent cohesion stronger
than most.) There may be an economic factor at play.
Parker inspires a strong allegiance among the
Downtown jazz intelligentsia. Maybe a large enough
margin of those buying anything he puts out will buy
everything. In any event, the odd mix of the newer set
isn’t necessarily a detriment.
The set collects four large-scale works (if song
sets are included as large works) and one improvised
preamble. Taken together, the three discs provide a
cross-section of some of Parker’s areas of work. More
to the point, however, the set contains his symphonic
debut and a thankful addition to his woefully small
body of work with singer Leena Conquest.
Two song sets with Conquest occupy the first
disc. The half-hour suite For Fannie Lou Hamer,
dedicated to the Mississippi-born Civil Rights activist,
was commissioned by The Kitchen and performed by
the since-defunct Kitchen House Blend ensemble
(which—with reed players JD Parran and Sam
Furnace and trombonist Masahiko Kono—wasn’t
such a stretch for Parker) in 2000. The second half,
Vermeer, is a nine-song cycle clocking in at 50 minutes
and recorded at The Gallery Recording Studio in 2011
with Darryl Foster (saxophones), Eri Yamamoto
(piano) and Parker. These are important recordings,
highlighting not just Parker’s political and spiritual
sensibilities but also his strength at working with
voice. Conquest is a wonderful singer and the best
interpreter Parker has; in lesser hands, his humor and
plain truths could come off as simple or trite. She
imparts to them the meaning they deserve. These are
also serious recordings, lacking the silliness of It’s
Raining on the Moon or funkiness of Parker’s Curtis
Mayfield project. It’d be a mistake to say the disc is
lacking those qualities but listeners may reach for
those earlier records before moving on to Disc Two.
Cross-cultural construction has long been one of
Parker’s (many) concerns and finding himself in Paris
in 2012 Parker seized the opportunity to draw from a
number of pools. Red Giraffe With Dreadlocks, the
second disc in the box, pulls a core group of double
reed player Bill Cole (essential to this recording),
saxophonist Rob Brown, pianist Cooper-Moore and
drummer Hamid Drake together with Indian singer
Sangeeta Bandyopadhyay, Senegalese singer Mola
Sylla (who also plays m’bira and donso n’goni) and
Dutch bass saxophonist Klaas Hekman. Across six
tracks, they find and explore a number of overlapping
territories. At its best moments, the music comes
across as speaking deep truth, as if Bandyopadhyay
the mystic and Sylla the griot were communicating
through unknown tongues. Beautifully serene and
wildly free, it’s the best disc.
A piece commissioned by the Polish National
Forum of Music for the NFM Symphony Orchestra
and performed at the 2013 Jazztopad Festival in
Warsaw comprises the better part of the third disc and
it’s here that Parker finds himself stretched behind his
means. The 10-section, 50-minute Ceremonies for Those
Who Are Still lacks the subtlety of his own bands, even
with Parker, Charles Gayle (saxophone and piano)
and Mike Reed (drums) improvising through the
work. The score works in broad strokes, often
plodding along where a lighter hand would have
better served the purpose. Fortunately for those at the
concert, a 25-minute improvisation by the trio
(included here) delivered what those familiar with
Parker’s work were no doubt anticipating.
Parker is a busy musician full of ideas and it’s
interesting to have some of his divergent efforts
packaged together rather than scattered across so
many individual releases. The discs here might not
invite the same level of repeat listening but there’s
enough here to make it worthwhile all the while.
For more information, visit aumfidelity.com. Parker is at
Downtown Music Gallery Jul. 10th, The Stone Jul. 13th
and Dizzy’s Club Jul. 26th-27th. See Calendar.
JUL 1–3
renee rosnes quartet
JUL 4–11
dizzy’s closed for annual
maintenance
JUL 12
ben webster: ertegun jazz hall
of fame celebration
jerry weldon quartet with
houston person
JUL 13
j.j. johnson: ertegun jazz hall of
fame celebration
vincent gardner sextet
JUL 14
wayne shorter: ertegun jazz
hall of fame celebration
JUL 15–17
the jon faddis quartet
JUL 19
clarice assad/off the cliff sings
milton nascimento
JUL 20–21
tim hagans quintet
JUL 22–24
7:30pm: cyro baptista’s vira
loucos
9:30pm: cyro baptista’s
banquet of the spirits
JUL 25
monday nights with wbgo:
yotam silberstein quartet
JUL 26–27
william parker
JUL 28–30
charles mcpherson quintet
onna
inger
Italy - June 30th
Switzerland - July 2
Lincoln Center MET Guild - July 25
Central Park Ladies Pavilion, NYC - July 26
“Donna Singer is a
first-call vocalist...with
an effervescent spirit and
impeccable phrasing there
is certainly no lack of talent.”
- Brent Black @ Critical Jazz
JUL 18
mason brothers quintet
swing by tonight
set times
7:30pm & 9:30pm
Jazz at Lincoln Center’s Frederick P. Rose Hall
jazz.org / dizzys
Broadway at 60th Street, 5th Floor, nyc
Donna-Singer.com
36 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

M I SCELLANY
ON THIS DAY
by Andrey Henkin
On The Town
Oscar Peterson Trio (Verve)
July 5th, 1958
Pianist Oscar Peterson was born in
Montréal, Canada in 1925. 33 years
later, after he had become an
international star, he waxed this album
back in his native country at the Town
Tavern Club in Toronto. Joining him
are his regular trio mates Herb Ellis
(guitar) and Ray Brown (bass) at the
end of a collaboration that began five
years earlier. While the seven
standards, like “Sweet Georgia Brown”
or “Moonlight In Vermont “, that make
up the program appear on other
Peterson albums, none are considered
staples of his repertoire.
July 1
†Earle Warren 1914-95
†Rashied Ali 1935-2009
Ndugu (Chancler) b.1952
Erik Friedlander b.1960
Sameer Gupta b.1976
Brandee Younger b.1983
July 2
†Charlie Kennedy 1927-2009
Richard Wyands b.1928
Ahmad Jamal b.1930
†William Fielder 1938-2009
Mike Abene b.1942
Gary Dial b.1954
July 3
†Johnny Coles 1926-96
Ronnell Bright b.1930
†Ron Collier 1930-2003
Pete Fountain b.1930
Rhoda Scott b.1938
Dr. Lonnie Smith b.1942
John Klemmer b.1946
July 4
†Aaron Sachs 1923-2014
Conrad Bauer b.1943
Butch Miles b.1944
Fred Wesley b.1943
Matt Steckler b.1974
July 5
†Ray Biondi 1905-81
†Bruce Turner 1922-93
Sha b.1983
July 6
†Betty Smith 1929-2011
Chris White b.1936
Klaus Kugel b.1959
Torben Waldorff b.1963
Bottom Groove
Wild Bill Moore (Jazzland)
July 5th, 1961
Wild Bill Moore is an obscure member
of the Texas Tenor school. His leader
discography is a slim four albums
between 1961-77 to go along with
some sideman credits with Slim
Gaillard, Marvin Gaye and Big Joe
Turner. This second 1961 album for
Jazzland finds him in much more wellknown
company: Johnny “Hammond”
Smith (organ), Joe Benjamin (bass),
Ben Riley (drums) and Ray Barretto
(congas), all but Smith appearing on
the earlier Jazzland date, for a program
of several originals and a tune each by
Nat Adderley and Duke Ellington.
July 7
†Tiny Grimes 1916-89
†Frank Rehak 1926-87
Doc Severinsen b.1927
†Hank Mobley 1930-86
†Joe Zawinul 1932-2007
Sue Evans b.1951
Michael Henderson b.1951
JA Granelli b.1966
Orlando Le Fleming b.1976
July 8
†Bill Challis 1904-94
†Louis Jordan 1908-75
†Johnny Mince 1912-97
†Billy Eckstine 1914-93
†Ken Hanna 1921-82
Roy Babbington b.1940
Sakari Kukko b.1953
Russ Johnson b.1965
Kendrick Scott b.1980
Tyshawn Sorey b.1980
Matt Wigton b.1980
July 9
†Joe Darensbourg 1906-85
†June Richmond 1915-62
†Duke Burrell 1920-93
†Alex Welsh 1929-82
†Frank Wright 1935-90
July 10
†Noble Sissle 1889-1975
†Ivie Anderson 1905-49
†Cootie Williams 1910-85
†Milt Buckner 1915-77
†Dick Cary 1916-94
†Major Holley 1924-90
†Buddy Clark 1929-99
†Arnie Lawrence 1938-2005
†Lee Morgan 1938-72
Brian Priestley b.1940
1 2 3 4 5 6
7 8 9
10
11 12
13 14 15
16 17 18
25
By Andrey Henkin
19 20 21 22
23 24
26 27
July 11
Henry Lowther b.1941
Tomasz Stanko b.1942
Travis Sullivan b.1971
Will Vinson b.1977
July 12
†Sam “The Man” Taylor
1916-90
†Paul Gonsalves 1920-74
†Conte Condoli 1927-2001
†Big John Patton 1935-2002
†Jean-Francois Jenny-Clark
1944-98
Mark Soskin b.1953
Ken Thompson b.1976
Ron Caswell b.1977
July 13
†George Lewis (cl) 1900-68
†Bengt-Arne Wallin 1926-2015
†Leroy Vinnegar 1928-99
†Albert Ayler 1936-70
†Earl Grubbs 1942-89
George Lewis (tb) b.1952
July 14
†Billy Kyle 1914-66
†Alan Dawson 1929-96
Lauren Sevian b.1979
July 15
†Philly Joe Jones 1923-85
†Joe Harriott 1928-73
†Henry P. Warner 1940-2014
Rodrigo Amado b.1964
Petros Klampanis b.1981
July 16
†Teddy Buckner 1909-94
†Cal Tjader 1925-82
Bobby Previte b.1957
visit nycjazzrecord.com for answers
Eponymous
Shakti with John McLaughlin (Columbia)
July 5th, 1975
After folding the brilliant if troubled
Mahavishnu Orchestra, guitarist John
McLaughlin delved into the Indian
music hinted at on 1973’s Love Devotion
Surrender. Recorded live in Long Island
at Southampton College, this debut
featured McLaughlin alongside L.
Shankar (violin), Zakir Hussain (tabla),
Ramnad Raghavan (mridangam) and
T.H. Vinayakaram (ghatam) for the
explosive “Joy”, delicate “Lotus Feet”
and side-long “What Need Have I for
This–What Need Have I for That–I Am
Dancing at the Feet of My Lord–All Is
Bliss–All Is Bliss”.
BIRTHDAYS
July 17
†Mary Osborne 1921-92
†Ray Copeland 1926-84
†Vince Guaraldi 1928-76
†Joe Morello 1928-2011
Ben Riley b.1933
†Nick Brignola 1936-2002
Chico Freeman b.1949
July 18
†Charlie LaVere 1910-83
†Ray McKinley 1910-95
†Joe Comfort 1917-88
†Don Bagley 1927-2012
†Carl Fontana 1928-2003
†Buschi Niebergall 1938-’80s
†Dudu Pukwana 1938-90
William Hooker b.1946
Theo Croker b.1985
July 19
†Buster Bailey 1902-67
†Cliff Jackson 1902-70
†Charlie Teagarden 1913-84
Bobby Bradford b.1934
†Carmell Jones 1936-96
Didier Levallet b.1944
July 20
†Bill Dillard 1911-95
†Joachim Ernst Berendt
1922-2000
†Ernie Wilkins 1922-99
Peter Ind b.1928
†Charles Tyler 1941-82
Samuel Blaser b.1981
July 21
Helen Merrill b.1930
†Sonny Clark 1931-63
Plas Johnson b.1931
Scott Wendholt b.1965
CROSSWORD
ACROSS
Freebop: Live Tracks
John Stevens (Impetus)
July 5th, 1986
Freebop was an ‘80s project of British
drummer John Stevens. Its debut was
from the 1982 Bracknell Jazz Festival,
which is where this album was also
recorded. Only alto saxophonist Pete
King remains from the original band,
joined by later members Ted Emmett
(trumpet), Evan Parker (tenor),
Courtney Pine (soprano/tenor), Annie
Whitehead (trombone), Eddie Parker
(flute), Nigel Moyse and Dave
Marchant (guitars), Nick Stephens and
Ron Herman (basses) and one-off
member Bobby Bradford (cornet) for
three long Stevens originals.
July 22
†Paul Moer 1916-2010
†Al Haig 1924-82
†Bill Perkins 1924-2003
†Keter Betts 1928-2005
†Junior Cook 1934-92
†Johannes Bauer 1954-2016
Al DiMeola b.1954
July 23
†Emmett Berry 1915-93
†Johnny Hartman 1923-83
†Claude Luter 1923-2006
Bill Lee b.1928
†Richie Kamuca 1930-77
†Steve Lacy 1934-2004
Daoud-David Williams b.1943
Khan Jamal b.1946
Loren Schoenberg b.1958
Achille Succi b.1971
July 24
†Joe Thomas 1909-84
†Billy Taylor 1921-2010
Ronnie Lang b.1927
†Rudy Collins 1934-88
Mike Mainieri b.1938
Charles McPherson b.1939
Jon Faddis b.1953
Barry Romberg b.1959
James Zollar b.1959
Etienne Charles b.1983
July 25
†Darnell Howard 1895-1966
†Johnny Wiggs 1899-1977
†Johnny Hodges 1907-70
†Jef Gilson 1926-2012
†Don Ellis 1934-78
Günter Lenz b.1938
Brian Blade b.1970
Mike DiRubbo b.1970
1. The late David Baker was one (abbr.)
4. You’ll need to be on this at
Blue Note Hawaii (abbr.)
7. Home of the annual Summer of the Arts
jazz festival
10. Big band staple “Red ______ A Blue Lady”
11. Les McCann used this corporate
designation in some of his album titles
12. Heliopolis was recorded in 1970 by the
____ Free Jazz Ensemble
13. Track from Wayne Horvitz & Zony Mash
1999 Knitting Factory album Upper Egypt
14. Bobby Timmons covered “Auld Lang ___”
on his 1966 Prestige album Holiday Soul
16. Sarah and Dizzy sang about
this woman in 1956
18. Billy Bang was one
19. “_____ Enough”, tune from Dan Willis
1998 A-Records eponymous album
22. “Mae-Dou-___ Nao” from Maria João/
Aki Takase 1987 Enja album
Looking For Love
23. French drummer Bruno who worked
with Christian Escoudé
July 26
†Gus Aiken 1902-1973
†Erskine Hawkins 1914-93
†Louie Bellson 1924-2009
Charli Persip b.1929
JoAnne Brackeen b.1938
Natsuki Tamura b.1951
July 27
†Charlie Queener 1923-97
Charlie Shoemake b.1937
Carl Grubbs b.1944
Joel Harrison b.1957
Jean Toussaint b.1960
July 28
†Corky Corcoran 1924-79
†Jim Galloway 1936-2014
Nnenna Freelon b.1954
Delfeayo Marsalis b.1965
July 29
†Don Redman 1900-64
†Charlie Christian 1916-42
†Joe Beck 1945-2008
July 30
†Hilton Jefferson 1903-68
†Roy Porter 1923-98
†Frank Smith 1927-74
†Vernell Fournier 1928-2000
James Spaulding b.1937
Hal Smith b.1953
Kevin Mahogany b.1958
July 31
†Hank Jones 1918-2010
†Ahmet Ertegun 1923-2006
†Bjarne Nerem 1923-91
Kenny Burrell b.1931
Michael Wolff b.1952
Stanley Jordan b.1959
Whisper Not
Keith Jarrett (ECM)
July 5th, 1999
The Keith Jarrett Trio actually began in
1977 under bassist Gary Peacock’s
leadership for the ECM LP Tales Of
Another. Jarrett’s name was put first for
1983’s Standards (also ECM). The trio
disbanded in 2014 after nearly 20
releases and hundreds of concerts.
This particular session was recorded
live at the Palais De Congres in Paris
and finds Jarrett, Peacock and
drummer Jack DeJohnette in typically
fine form on 14 standards, ranging
from “Poinciana” and “Bouncing with
Bud” to “’Round Midnight” and the
Benny Golson-penned title track.
CHICO FREEMAN
July 17th, 1949
The saxophonist is a scion of
the most famous musical
family of Chicago. His father
was the noted saxophonist/
AACM member/club owner/
mentor Von Freeman and his
uncles are guitarist George
and late drummer Bruz. The
younger Freeman has put his
own stamp on the family
business since the mid ‘70s on
his own albums, with the
cooperative band The Leaders
and on sessions led by Cecil
McBee, Ahmed Abdullah, Jay
Hoggard, Edward Vesala, Jack
DeJohnette, Wynton Marsalis,
Kirk Lightsey, Sam Rivers,
Hilton Ruiz, Dom Um Romão
and many others. A longtime
European resident, Freeman
had a homecoming concert at
the 2015 Chicago Jazz Festival
and has decided, Dexter
Gordon-style, to return to the
States, recently relocating to
The Big Apple. (AH)
25. “_______ Summer” from Graham Collier’s
2000 Jazzprint album Winter Oranges
26. ’30s Austrian pianist Harry von ____
27. Nat Adderley named a tune for this
electric animal in 1968
DOWN
1. New Orleans brass band
2. Blue Ellington tune?
3. Neighborhood of Smoke Jazz Club (abbr.)
4. ‘50s stereos
5. Danish label named for New Orleans district
6. Longtime Sun Ra Arkestra trombonist
8. Mitchell/Jarman/Bowie/Favors/Moye
(abbr.)
9. Late ’60s-mid ’70s Danish Dixieland label
11. Audio channel specifically intended for
low-pitched sounds (abbr.)
15. ‘70s Japanese electric bassist Isao ____
17. Fred Frith 1998-99 Winter & Winter album
Traffic Continues had this piece in
four iterations
20. Liuto Records catalogue prefixes
21. Violinist C. Spencer
24. Bassist Bill whose son is filmmaker Spike
THE NEW YORK CITY JAZZ RECORD | JULY 2016 37

CALENDAR
Friday, July 1
êEddie Palmieri Salsa Orchestra B.B. King’s Blues Bar 8 pm $38
êDr. Lonnie Smith’s Evolution with Alicia Olatuja, John Ellis, Maurice Brown,
Johnathan Blake, Joe Dyson Jazz Standard 7:30, 9:30 pm $35
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Dizzy’s Club 7:30, 9:30 pm $40
• Kris Allen Quartet Dizzy’s Club 11:30 pm $10
êRavi Coltrane and Friends with Orrin Evans, Dezron Douglas, E.J. Strickland and guest
Ralph Alessi Birdland 8:30, 11 pm $40
êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson
Blue Note 8, 10:30 pm $35
êCarl Allen and The Heritage Band with Tim Green, Steve Turre, Bruce Barth,
David Williams Smoke 7, 9, 10:30 pm $40
• Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder,
Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30
• Ed Palermo Big Band Iridium 8 pm $25
êJulian Lage Bar Lunàtico 8:30, 10 pm $10
êTom Rainey Trio with Mary Halvorson, Ingrid Laubrock
Cornelia Street Café 9, 10:30 pm $10
• Christian Artmann Quartet with Laszlo Gardony, Johannes Weidenmueller,
Jeff Hirshfield ShapeShifter Lab 8:15 pm $10
• J.A. Granelli and Mr. Lucky with Nate Shaw, Owen Howard
Ibeam Brooklyn 8:30 pm $15
Jon Cowherd
Neighborhood Church of Greenwich Village 8, 9:30 pm
• Sacha Perry solo; Jeb Patton with David Wong, Peter Van Nostrand; Johnny O’Neal
Mezzrow 8, 9:30 pm 12:30 am $20
• Pucci Amanda Jhones Quartet with Bertha Hope, Kim Clarke, Bobby Sanabria;
George Colligan Quintet with Steve Wilson, Nicole Glover, Boris Kozlov,
Donald Edwards; Joe Farnsworth Smalls 7:30, 10:30 pm 1 am $20
• Tanya Kalmanovitch, Anthony Coleman, Ted Reichman;
Survivors Breakfast Chamber Ensemble: Leo Hardman-Hill, Sarah Hughes,
Travis Bliss, Dan Pencer, Joanna Mattrey, Abby Swidler, Anthony Coleman,
Aaron Edgcomb The Stone 8, 10 pm $20
• Martin Piecuch’s Jazzical Fusion with Regan Ryzuk, David Acker, Dmitri Kolesnik
Jazz at Kitano 8, 10 pm $32
• Jerome Sabbagh Trio with Vincente Archer, Kush Abadey
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Steve Kortyka Quartet; Jared Gold/Dave Gibson; Ken Fowser
Fat Cat 6, 10:30 pm 1:30 am
êBenito Gonzalez Trio with Essiet Okon Essiet, Jeremy Dutton
Terraza 7 8:30 pm $10
• Devin Bing and The Secret Service; Albert Marques Quartet with Livio Almeida,
Alberto Miranda, Ari Hoenig; Keri Johnsrud
Club Bonafide 7:30, 9:30, 11 pm $10-20
Spike Wilner Trio; Ian Duerr Quintet The Django at The Roxy Hotel 8, 10:30 pm
Craig Brann Tomi Jazz 9 pm $10
• Brian Beninghove’s Hangmen with Eyal Maoz, Dane Johnson, Ezra Gale, Rick Parker,
Shawn Baltazor
The Lively 9 pm
Kate Cosco Trio
Cleopatra’s Needle 8 pm
Organ Trio Fuego; Chris Clark Trio Silvana 6, 8 pm
Sebastian Acosta from Ecuador Shrine 6 pm
• Larry Ham
Bryant Park 12:30 pm
Saturday, July 2
êArild Andersen Trio with Tommy Smith, Paolo Vinaccia
Le Poisson Rouge 7 pm $20
êThe Stone Improv Benefit: Anthony Coleman, John Zorn and guests;
Anthony Coleman solo The Stone 8, 10 pm $20
Warren Wolf and Wolfpack Joe’s Pub 7 pm $22
• Barbara King and The Spirit of Jazz with James Weidman, Paul Beaudry, Vincent Ector
Jazz at Kitano 8, 10 pm $32
Curtis Lundy Trio
The Roxy Lounge at The Roxy Hotel 7 pm
• Monday Michiru; Nitzan Gavrieli Trio; Beekman: Kyle Nasser, Pablo Menares,
Yago Vazquez, Rodrigo Recabarren Club Bonafide 7:30, 9:30, 11 pm $10-20
• Pasquale Grasso Trio with Paul Gill, Keith Balla
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Tom Chang Quintet with Jeremy Powell, Quinsin Nachoff, Matt Pavolka,
Kenny Grohowski Cornelia Street Café 9, 10:30 pm $10
Steve Carrington
Minton’s 7 pm
• La Descarga; Raphael D’lugoff Quintet; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
Billy White Metropolitan Room 7 pm $10
Dayeon Seok Tomi Jazz 11 pm $10
• Sachmo Mannan Quartet Cleopatra’s Needle 8 pm
êDr. Lonnie Smith’s Evolution with Alicia Olatuja, John Ellis, Maurice Brown,
Johnathan Blake, Joe Dyson Jazz Standard 7:30, 9:30 pm $35
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Dizzy’s Club 7:30, 9:30 pm $45
• Kris Allen Quartet Dizzy’s Club 11:30 pm $20
êRavi Coltrane and Friends with Orrin Evans, Dezron Douglas, E.J. Strickland and guest
Robin Eubanks Birdland 8:30, 11 pm $40
êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson
Blue Note 8, 10:30 pm $35
• Robert Mwamba Blue Note 12:30 am $10
êCarl Allen and The Heritage Band with Tim Green, Steve Turre, Bruce Barth,
David Williams Smoke 7, 9, 10:30 pm $40
• Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder,
Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30
Ed Palermo Big Band Iridium 8 pm $25
• Spike Wilner; Jeb Patton Trio with David Wong, Peter Van Nostrand; Anthony Wonsey
Mezzrow 8, 9:30 pm 12:30 am $20
Shun Ino
Silvana 6 pm
• Valery Ponomarev Quintet with Don Braden, Mamiko Watanabe, Ruslan Khain,
Richie Morales; George Colligan Quintet with Steve Wilson, Nicole Glover, Boris Kozlov,
Donald Edwards; Brooklyn Circle Smalls 7:30, 10:30 pm 1 am $20
Sunday, July 3
êAnthony Coleman, Brad Jones, Tyshawn Sorey; Anthony Coleman/Tyshawn Sorey
The Stone 8, 10 pm $20
êRon Stabinsky solo; Mostly Other People Do the Killing: Ron Stabinsky, Moppa Elliott,
Kevin Shea and guest Thomas Heberer; Vinnie Sperrazza Quartet with Jon Goldberger,
Geoff Kraly, Satoshi Takeishi ShapeShifter Lab 7:30 pm
Gene Bertoncini The Drawing Room 7 pm $20
Ben Monder Trio Bar Next Door 8, 10 pm $12
• Louise D.E. Jensen, Tamio Shiraishi, Ricardo Gallo; Louise D.E. Jensen/Erica Dicker;
Matt Lavelle/Nicole Johänntgen Downtown Music Gallery 6, 7 pm
• Grassroots Jazz Effort: Adam Kolker, Jerome Sabbagh, Jeremy Stratton,
George Schuller
Grassroots Tavern 9 pm
• Dan Levinson with Koran Agan, Josh Kaye, Eduardo Belo
Cornelia Street Café 8:30, 10 pm $10
• Pasquale Grasso solo; Jeremy Manasia Trio with Gerald Cannon, Charles Ruggerio
Mezzrow 8, 9:30 pm $20
• Joel Press Quartet with Michael Kanan; Dmitry Baevsky Quartet with David Hazeltine,
Mike Karn, Joe Farnsworth; Hillel Salem
Smalls 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Jade Synstelien Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
Wishing on Stars
Tomi Jazz 8 pm
• Shrine Big Band
Shrine 8 pm
êDr. Lonnie Smith’s Evolution with Alicia Olatuja, John Ellis, Maurice Brown,
Johnathan Blake, Joe Dyson Jazz Standard 7:30, 9:30 pm $30
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Dizzy’s Club 7:30, 9:30 pm $40
êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson
Blue Note 8, 10:30 pm $35
êCarl Allen and The Heritage Band with Tim Green, Steve Turre, Bruce Barth,
David Williams Smoke 7, 9, 10:30 pm $40
• Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder,
Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30
• Ike Sturm + Evergreen
Saint Peter’s 5 pm
êMarco Cappelli Gallery 440 4:40 pm $5
• The Requinte Trio: Janis Siegel, Nanny Assis, John Di Martino
Highline Ballroom 12:30 pm $22-30
Lauren Henderson Blue Note 11:30 am 1:30 pm $35
• Roz Corral Trio with John Hart, Boris Kozlov
North Square Lounge 12:30, 2 pm
Monday, July 4
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Sean Smith Freedom Trio with John Ellis, Russell Meissner
Blue Note 8, 10:30 pm $15
Chiara Izzy/Tony Tixier
Boudoir 10 pm
• Ari Hoenig Nonet; Jonathan Michel
Smalls 10:30 pm 1 am $20
• Abhik Mukerjee and Eric Hanson; Richie Vitale Octet; Billy Kaye Jam
Fat Cat 6, 9 pm 12:30 am
• Peter Amos Trio with Dave Hassell, Tim Talavera; Tammy Scheffer Trio with Billy Test,
Daniel Foose Bar Next Door 6:30, 8:30, 10:30 pm $12
Melinda Rodriguez
Silvana 6 pm
• Gotham Kings with Alphonso Horne
Louis Armstrong House 2 pm $18
êDaryl Sherman
Bryant Park 12:30 pm
Tuesday, July 5
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
• John Pizzarelli Quartet Jazz Standard 7:30, 9:30 pm $40
êStacey Kent Birdland 8:30, 11 pm $50
• Amirtha Kidambi/Tyshawn Sorey Duo; Big Machine: Aaron Burnett, Peter Evans,
Carlos Homs, Nicholas Jozwiak, Tyshawn Sorey
The Stone 8 pm $20
êCyrille Aimée with Adrien Moignard, Michael Valeanu, Shawn Conley, Dani Danor
Joe’s Pub 7:30, 9:30 pm $35
• Midsummer Night Swing: Gregorio Uribe Big Band
Damrosch Park 7:30 pm $17
• Senri Oe with Jim Robertson, Sheila Jordan, Lauren Kinhan, Ella Marcus,
Travon Anderson, Sachal Vasandani
The Jazz Gallery 7:30, 9:30 pm $15
• Lainie Cooke with Tedd Firth, Cameron Brown
Mezzrow 8 pm $20
• Spike Wilner Trio with Tyler Michell, Anthony Pinciotti; Theo Hill Trio; Kyle Poole
Smalls 7:30, 10:30 pm 1 am $20
• Peter Zak Trio; Willie Martinez; Yoshi Waki
Fat Cat 7, 9 pm 12:30 am
• Voxecstatic: Evelyn Horan with Erik Kramer, Mickey Vershbow;
The Pittson Family Band: Suzanne, Jeff Pittson and Evan Pittson, Jakob Dreyer,
Dave Meade Cornelia Street Café 8, 9:30 pm $10
• Tommy Holladay Trio with Sharik Hassan, Robert Giaquinto; Eden Bareket Trio with
Pablo Menares, Felix Lecaros Bar Next Door 6:30, 8:30, 10:30 pm $12
• Audrey Silver Band with Chantal Gagne, Elias Baily
Cornelia Street Café 6 pm $10
• PLS.trio: Pier Luigi Salami, Martin D. Fowler, Shawn Crowder
Club Bonafide 7:30 pm $10
• The Westerlies; Kate Davis; Kenny Warren’s Laila and Smitty
Threes Brewing 8 pm $5-15
• Uri Kleinman and Friends with Itamar Borochov, Yoni Halevi, Shaul Eshet,
Mathias Kunzli
Rockwood Music Hall Stage 2 11 pm
Megumi Yonezawa solo Jazz at Kitano 8 pm
• Bora Lim
Tomi Jazz 8 pm
êDaryl Sherman
Bryant Park 12:30 pm
êAntoine Roney Rendall Memorial Presbyterian Church 12, 1 pm $15
Wednesday, July 6
êTyshawn Sorey solo The Stone 8 pm $15
êAdam O’Farrill’s Stranger Days with Chad Lefkowitz-Brown, Walter Stinson,
Zack O’Farrill The Jazz Gallery 7:30, 9:30 pm $15
• Joel Harrison and Infinite Possibility with Seneca Black, Dave Smith, Ingrid Jensen,
Marshal Sealy, Alan Ferber, Curtis Hasselbring, Andy Clausen, Ben Stapp, Ben Kono,
Ken Thompson, Stacy Dillard, Anna Webber, Carl Maraghi, Samuel Budish,
Jesse Stacken, Gregg August, Jeremy Clemons, Matt Holman
National Sawdust 7 pm $25
Shai Maestro Joe’s Pub 9:30 pm $20
Sachal Vasandani/Gerald Clayton Mezzrow 8 pm $20
• Quincy Davis Quintet with Dayna Stephens, Steve Nelson, Victor Gould, Ben Wolfe;
Walking Distance: Caleb Curtis, Kenny Pexton, Adam Cote, Shawn Baltazor;
Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20
• Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
êAlexis Cole with Sarpay Ozcagatay, Scott Arcangel, Seth Lewis, Joe Spinelli
Smoke 7, 9, 10:30 pm $12
• Melissa Hamilton Quartet with Lee Tomboulian, Rusty Holloway, Peter Runnels
Jazz at Kitano 8, 10 pm $17
Bill Brovold/Jamie Saft Zürcher Gallery 8 pm $15
• Gracie Terzian; Hailey Niswanger Quartet
Club Bonafide 7:30, 9:30 pm $10-15
• Yoni Kretzmer Trio with Kevin Shea
Rye 9 pm
Michael Garin; Avalon Jazz Band The Django at The Roxy Hotel 8, 10:30 pm
• Nicolas Letman-Burtinovic, Aaron Burnett, Noel Brennan
Bar Chord 9 pm
• Jim Piela Project
Silvana 6 pm
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
• John Pizzarelli Quartet Jazz Standard 7:30, 9:30 pm $40
êStacey Kent Birdland 8:30, 11 pm $50
• Aaron Weinstein/Tedd Firth Saint Peter’s 1 pm $10
êDaryl Sherman
Bryant Park 12:30 pm
Thursday, July 7
êSummerStage—Tribute to Dave Valentin
Crotona Park 7 pm
êHenry Butler Bar Lunàtico 8:30, 10 pm $10
êMario Pavone Blue Dialect Trio with Matt Mitchell, Tyshawn Sorey
The Stone 8 pm $15
• Spike Wilner solo; David Budway Trio with Ron Affif, Chris Smith
Mezzrow 8, 9:30 pm $20
êEd Neumeister Quintet with Billy Drewes, David Berkman, Ugonna Okegwo,
Tom Rainey Cornelia Street Café 8:30 pm $10
• Jazz Composers Workshop Vol. 6: Ben Kono, Alexa Tarantino, Jeremy Powell,
Roxy Coss, Andrew Gutauskas, Nathan Eklund, Matthew Jodrell, Andy Gravish,
Dave Smith, Matthew McDonald, Nick Finzer, Max Seigel, Steven Feifke, Kenji Herbert,
Marty Kenney, Curtis Nowosad The Jazz Gallery 7:30, 9:30 pm $15
• George Burton and Excerpts with Chris Hemmingway, Jason Palmer, Edward Perez,
Corey Rawls Zinc Bar 9 pm $15
Bryn Roberts/Lage Lund Duo Jazz at Kitano 8, 10 pm $17
• The Ghost: Michael Foster, Henry Fraser, Connor Baker; VD: Brandon Seabrook,
Brandon Lopez, Max Jaffe Manhattan Inn 10 pm $10
Tuomo Uusitalo Trio
Scandinavia House 7 pm
• Billy Kaye Quintet; Saul Rubin Zebtet; Tadataka Unno
Fat Cat 7, 10 pm 1:30 am
• Gioel Severini Trio with Shin Sakaino, Kazuiro Odagiri; Tom Lippincott Trio with
Thomson Kneeland, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12
• Quincy Davis Quintet with Dayna Stephens, Steve Nelson, Victor Gould, Ben Wolfe;
Ken Fowser Quintet; Tyler Clibbon Smalls 7:30, 10:30 pm 1 am $20
êAlexis Cole with Sarpay Ozcagatay, Scott Arcangel, Seth Lewis, Joe Spinelli
Smoke 7, 9, 10:30 pm $12
• Berta Moreno with Steve Wilson, Manuel Valera, Maksim Perepelica, David Hardy;
Christine Tobin with Leo Genovese, Phil Robson; Ian Buss Quartet with Alicyn Yaffee,
Gal Shaya, Colin Hinton Club Bonafide 7:30, 9:30, 11 pm $10
Stephen Fullers Tomi Jazz 9 pm $10
Kuni Mikami Duo
Cleopatra’s Needle 7 pm
• Sam Raderman Quartet Cavatappo Grill 9 pm $8
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
John Pizzarelli Quartet Jazz Standard 7:30, 9:30 pm $40
• Laila Biali Birdland 6 pm $25
êStacey Kent Birdland 8:30, 11 pm $50
Brian Pareschi Quintet
Silvana 6 pm
• Tetralogy Horn Quartet
Shrine 6 pm
êDaryl Sherman
Bryant Park 12:30 pm
Willie Martinez La Familia Sextet Citigroup Center Plaza 12:30 pm
• Swingadelic
345 Park Avenue 12:30 pm
Friday, July 8
êAnat Fort Trio with Gary Wang, Roland Schneider and guest Gianluigi Trovesi
Rubin Museum 7 pm $20
êGreg Ward and 10 Tongues with Lucas Pino, Keefe Jackson, Russ Johnson,
Ben LaMar Gay, Willie Applewhite, Christopher Davis, Dennis Luxion, Jason Roebke,
Kenneth Salters The Jazz Gallery 7:30, 9:30 pm $22
êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen
Bar Lunàtico 8:30, 10 pm $10
êJon Irabagon Trio with Chris Lightcap, Dan Weiss
Bar Next Door 7:30, 9:30, 11:30 pm $12
êAlan Broadbent Trio with Harvie S, Paul Wells
Jazz at Kitano 8, 10 pm $32
êMarty Ehrlich Philosophy of a Groove with James Weidman, Jerome Harris,
Ben Perowsky Cornelia Street Café 9, 10:30 pm $10
êDavid Hazeltine Quartet with Jim Rotondi, Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $38
• Banff/NYC Improvisers Orchestra conducted by Tyshawn Sorey with Bryan Qu,
Dre Hocevar, Jessica Ackerly, Kalia Vandever, Nadav Remez, Phil McNeil,
Jonathan Saraga and guests The Stone 8 pm $15
• Ehud Asherie solo; David Berkman/Ed Howard
Mezzrow 8, 9:30 pm $20
• Todd Marcus Jazz Orchestra with Bruce Williams, Alex Norris, Greg Tardy, Russell Kirk,
Alan Ferber, Helen Sung Jeff Reed, Eric Kennedy; Myron Walden Momentum with
Philip Dizack, Eden Ladin, Yasushi Nakamura, Mark Whitfield, Jr.; Corey Wallace DUBtet
Smalls 7:30, 10:30 pm 1 am $20
• Joe Manis Trio with Jared Gold, Jochen Rueckert; Aexander Claffy; Ray Gallon
Fat Cat 6, 10:30 pm 1:30 am
• Midsummer Night Swing: Tatiana Eva-Marie and Avalon Jazz Band
Damrosch Park 7:30 pm $17
Dannis Winston
Minton’s 7 pm
Chad Lefkowitz-Brown
The Roxy Lounge at The Roxy Hotel 7 pm
Rale Micic/Sheryl Bailey Symphony Space Bar Thalia 9 pm
Adam Kolker Quartet Prospect Range 7:30, 9 pm $20
• Morwenna Lasko/Jay Pun Quartet with Peter Spaar, Devonne Harris and guests
Ezra John, John Banco; Karl Lathan Group with Oz Noy, Alex Echardt; Ada Pasternak
Club Bonafide 7:30, 9:30, 11 pm $10-15
Horace Scott Quartet Metropolitan Room 7 pm $15
Takenori Nishiuchi Tomi Jazz 9 pm $10
• Michika Fukumori Trio
Cleopatra’s Needle 8 pm
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
Wave Magnetik Blue Note 12:30 am $10
• John Pizzarelli Quartet Jazz Standard 7:30, 9:30 pm $40
êStacey Kent Birdland 8:30, 11 pm $50
Horace Bray
Silvana 6 pm
• Imraan Khan Quartet
Shrine 6 pm
êDaryl Sherman
Bryant Park 12:30 pm
Saturday, July 9
êMidsummer Night Swing: Harlem Renaissance Orchestra 12th Annual Tribute to
Illinois Jacquet Damrosch Park 7:30 pm $17
• Steve Blum Trio; Corcoran Holt Quintet; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
êGilad Hekselman Trio with Rick Rosato, Jonathan Pinson
Cornelia Street Café 9, 10:30 pm $10
• On Your Mark!: Roseanna Vitro, Mark Soskin, Dean Johnson, Tim Horner
Jazz at Kitano 8, 10 pm $32
Clifford Barbaro Trio
Cleopatra’s Needle 8 pm
• Joel Ross Good Vibes with Philip Dizack, Immanuel Wilkins, Dayna Stephens,
Fabian Almazan, Ben Tiberio, Jeremy Dutton
The Jazz Gallery 7:30, 9:30 pm $22
• Hendrik Meurkens Quartet with Helio Alves, Gustavo Amarante, Adriano Santos
Zinc Bar 8 pm
• Vadim Neselovskyi Agricultural Dreams Trio with Dan Loomis, Ronen Itzik and guest
Sara Serpa; Grupo Los Santos: Paul Carlon, Pete Smith, David Ambrosio,
William “Beaver” Bausch, Max Pollack; Raviv Markovitz Electric Band with
Andrew Gould, Ben Eunson, Steven Feifke, Jimmy Macbride
Club Bonafide 7:30, 9:30, 11 pm $10-15
John Iannuzzi; Ken Fowser Trio The Django at The Roxy Hotel 8, 10:30 pm
• Ale Demogli Trio with Rich Syracuse, Jeff Siegal
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Ricardo Grilli Quartet with Jon Cowherd, Matt Clohesy, Lee Fish
Rockwood Music Hall Stage 3 11:30 pm $10
The Highliners; Chika Tanaka Tomi Jazz 8, 11 pm $10
• Jacob Varmus Quartet
Shrine 7 pm
êDavid Hazeltine Quartet with Jim Rotondi, Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $38
• Banff/NYC Improvisers Orchestra conducted by Tyshawn Sorey with Bryan Qu,
Dre Hocevar, Jessica Ackerly, Kalia Vandever, Nadav Remez, Phil McNeil,
Jonathan Saraga and guests The Stone 8 pm $15
• Spike Wilner; David Berkman/Ed Howard; Jon Davis
Mezzrow 8, 9:30 pm 12:30 am $20
• Tommy Campbell & Vocal Eyes with Marcelino Deliciano, Tiffany Austin, Ben Sher,
Helio Alves, Kenny Davis; Myron Walden Momentum with Philip Dizack, Eden Ladin,
Yasushi Nakamura, Mark Whitfield, Jr.; Eric Wyatt Band with Benito Gonzales,
Essiet Essiet, Mark Whitfield, Jr. Smalls 7:30, 10:30 pm 1 am $20
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
Peter Valera Jump Blues Band Blue Note 12:30 am $10
• John Pizzarelli Quartet Jazz Standard 7:30, 9:30 pm $40
êStacey Kent Birdland 8:30, 11 pm $50
38 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Sunday, July 10
êCarl Maraghi Quartet with Adam Birnbaum, Yasushi Nakamura, Jared Schonig;
Keefe Jackson, Michaël Attias, Jason Roebke; Musicianer: Josh Sinton, Adam Hopkins,
Tomas Fujiwara Threes Brewing 8, 9, 10 pm $15
• Scott Reeves Jazz Orchestra; Marianne Solivan Quartet with Joshua Richman,
Matthew Parrish, Chris Smith; David Gibson Quintet with Theo Hill, Alexander Claffy,
Anwar Marshall; Hillel Salem Smalls 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Brandon Lee; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 1 am
êJure Pukl Trio with Carlo DeRosa, Eric McPherson
Bar Next Door 8, 10 pm $12
• Salvatore Macchia/Jazer Giles The Drawing Room 7 pm $15
• Annie Chen Septet with David Smith, Alex LoRe, Marius Duboule, Glenn Zaleski,
Desmond White, Jerad Lippi and guest Tomoko Omura
Club Bonafide 7 pm $10
• William Hooker Quartet with Chris DeMiglio, Mark Hennen, Larry Roland
Cornelia Street Café 6 pm $10
• Richard Sears Quartet; Roman Filiu Trio with Rick Rosato, Craig Weinrib
Cornelia Street Café 8:30, 10 pm $10
• Dissipated Face 2016: Steve X Dream, Kurt Ralske, Daniel Carter;
Ken Aldcroft/William Parker Downtown Music Gallery 6, 7 pm
• Grassroots Jazz Effort: Adam Kolker, Jerome Sabbagh, Jeremy Stratton,
George Schuller
Grassroots Tavern 9 pm
• Allegra Levi
Tomi Jazz 8 pm
êDavid Hazeltine Quartet with Jim Rotondi, Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $38
• Banff/NYC Improvisers Orchestra conducted by Tyshawn Sorey with Bryan Qu,
Dre Hocevar, Jessica Ackerly, Kalia Vandever, Nadav Remez, Phil McNeil,
Jonathan Saraga and guests The Stone 8 pm $15
êJoe Lovano Quartet with Kenny Werner, John Patitucci, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êDizzy Gillespie All Star Big Band Blue Note 8, 10:30 pm $35
• John Pizzarelli QuartetJazz Standard 7:30, 9:30 pm $40
• Ken Simon Quartet
Saint Peter’s 5 pm
• Pedro Giraudo Big Band with Alejandro Aviles, Todd Bashore, Luke Batson,
Jeremy Powell, Carl Maraghi, Tatum Greenblatt, Linda Briceño, Alejandro Berti,
Josh Deutsch, Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, Jess Jurkovic,
Franco Pinna, Sofia Tosello Blue Note 11:30 am 1:30 pm $35
• Linda Ciofalo Trio with Mark Marino, Harvie S
North Square Lounge 12:30, 2 pm
Monday, July 11
êMichael Winograd, Anat Fort, Jorge Roeder, Kenny Wollesen
Rockwood Music Hall Stage 3 8:30 pm $12
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Dave Damiani and The No Vacancy Orchestra with guest Molly Ringwald
Iridium 8 pm $25
• Joe Grandsen Big Band Blue Note 8, 10:30 pm $15
• Rob Duguay and Friends Boudoir 7:30 pm
Brooklyn Blowhards
“Avante Nautical” Tour Summer 2016
July 13 – Jeff Lederer hosts WKCR’s “Musicians Show”
on the occasion of Albert Ayler’s 80th Birthday!
July 16 – “Anchors Aweigh! Herman Melville in the Bronx”
2pm at the Bronx River and Herman Melville’s gravesite
citylore.org
July 21 – Mystic Seaport, CT. 2pm
mysticseaport.com
July 22 – Nantucket Historical Association 5pm
nha.org
July 23 – Brooklyn Barge – 8pm w/special guests
Steven Bernstein/Gary Lucas/Joe Fiedler
waterfrontmuseum.org
July 24 – Downtown Music Gallery, NYC 7pm
downtownmusicgallery.com
“The octet’s performance of Ayler’s soaring sounds
alongside doleful sea shanties was an act of
inspired genius” – Ken Micallef, DownBeat)
Brooklyn Blowhards:
Jeff Lederer/Petr Cancura (reeds)
Kirk Knuffke/Brian Drye (brass)
Art Bailey (accordion) Mary LaRose (vocals)
Allison Miller/Stephen LaRosa (percussion)
littleimusic.com
• Julieta Eugenio Trio Bar Lunàtico 8:30, 10 pm $10
• Alicyn Yaffee Trio with Marcos Valera, Alejandro Enrique; Nora McCarthy Trio with
Marvin Sewell, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12
• John Merrill; Neal Kirkwood Mezzrow 8, 9:30 pm $20
• Lauren Falls’ Boptarts with John Ellis, Vickie Yang, Clark Gayton, Fraser Calhoun,
Alex Goodman, Riley Mulherkar, Obed Calvaire; Ari Hoenig Trio with Gilad Hekselman,
Orlando Le Fleming; Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
• Ned Goold Quartet; Billy Kaye Jam
Fat Cat 9 pm 12:30 am
• Stephanie Griffin Trio; Chris Cochrane, Kevin Shea, Gordon Beeferman;
Kid Millions/Sarah Bernstein Duo Muchmores 9 pm
• Gabrielle Stravelli/Michael Kanan Cornelia Street Café 8 pm $10
• Atsushi Shinoda
Tomi Jazz 8 pm
• Tulio Araujo Duo; Tetralogy Horn Quartet
Silvana 6, 7 pm
êJon Weber
Bryant Park 12:30 pm
Tuesday, July 12
êErtegun Jazz Hall of Fame Celebration of Ben Webster: Jerry Weldon and
Houston Person Dizzy’s Club 7:30, 9:30 pm $35
• Riley Mulherkar Dizzy’s Club 11:30 pm $5
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Earl Klugh Blue Note 8, 10:30 pm $35
• George Coleman, Jr. Octet with Harold Mabern, Leon Dorsey, Eric Alexander,
Adam Brenner, Josh Evans, Gary Smulyan, Alexander McCabe and guests Jess Young,
Don Braden Jazz Standard 7:30, 9:30 pm $25
• Birdland Big Band Birdland 8:30, 11 pm $40
• Laurie Krauz and Daryl Kojak Metropolitan Room 7 pm $20
êVeronica Swift with Greg Chen, Daryl Johns, Scott Lowrie
Iridium 8 pm $25
êIvo Perelman/Matthew Shipp; Nate Wooley, Whit Dickey, Matthew Shipp
The Stone 8, 10 pm $20
• Matt Nelson, Devin Hoff, Sam Ospovat; Horse Phalanx Trio: Matt Mitchell, Kim Cass,
Kate Gentile
Korzo 9, 10:30 pm
êJon Irabagon Duo; John Yao and His 17-piece Instrument with Alejandro Aviles,
Aaron Irwin, Rich Perry, Jason Rigby, Andrew Hadro, John Walsh, Jason Wiseman,
David Smith, Andy Gravish, Luis Bonilla, Matt McDonald, Eric Miller, Jennifer Wharton,
Jesse Stacken, Robert Sabin, Vince Cherico
ShapeShifter Lab 7, 8:15, 9:30 pm $10
• Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; JC Stylles Trio with
George Delancey, Josh Davis Bar Next Door 6:30, 8:30, 10:30 pm $12
• Q Morrow Quartet with Evan Francis, Sam Bevan
Club Bonafide 7:30 pm $15
• The Westerlies; Gregory Uhlmann; Samora Pinderhughes VENUS
Threes Brewing 8 pm $5-15
• John Dokes Mezzrow 8 pm $20
• Ehud Asherie Trio with Mike Karn, Aaron Kimmel; The Smalls Legacy Band;
Jovan Alexander Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop
Fat Cat 7, 9 pm
• Ittetsu Nasuda
Tomi Jazz 8 pm
• Megumi Yonezawa solo Jazz at Kitano 8 pm
• Elise Wood Duo
Silvana 6 pm
êJaleel Shaw Rendall Memorial Presbyterian Church 12, 1 pm $15
êJon Weber
Bryant Park 12:30 pm
• Orquestra Silva
345 Park Avenue 12:30 pm
Wednesday, July 13
êErtegun Jazz Hall of Fame Celebration of J.J. Johnson: Vincent Gardner Septet
Dizzy’s Club 7:30, 9:30 pm $35
• Riley Mulherkar Dizzy’s Club 11:30 pm $5
êWilliam Parker, Daniel Carter, Matthew Shipp; William Parker, Rob Brown,
Matthew Shipp The Stone 8, 10 pm $20
• Evan Christopher Mezzrow 8 pm $20
• Adam Kolker Quartet with Steve Cardenas, Jeremy Stratton, Billy Mintz;
Pete Zimmer Quintet with Mike Rodriguez, Joel Frahm, Rick Germanson;
Sanah Kadoura Smalls 7:30, 10:30 pm 1 am $20
• Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
êDavid “Happy” Williams and the Shining Caribbean Light with Sherma Andrews,
Jaleel Shaw, David Hazeltine, Willie Jones III
Smoke 7, 9, 10:30 pm $12
êZeena Parkins/Mick Barr; Chris Pitsiokos Quartet with Andrew Smiley, Henry Fraser,
Jason Nazary; Pulverize the Sound: Peter Evans, Tim Dahl, Mike Pride;
Seabrook Powerplant: Brandon Seabrook, Tom Blancarte, Jared Seabrook
Muchmore’s 9 pm $10
êRob Burke Sextet with Paul Williamson, Jordan Murray, Marc Hannaford, Mark Helias,
Gerald Cleaver The Cutting Room 10 pm $20
• Superette: Chris Lightcap, Curtis Hasselbring, Jonathan Goldberger, Dan Rieser
Barbès 8 pm $10
• Gabrielle Stravelli Quartet with Art Hirahara, Pat O’Leary, Eric Halvorson
Jazz at Kitano 8, 10 pm $17
• Smooth Cruise: Jonathan Butler and Gerald Albright
Pier 40 6:30, 9:30 pm $45
• Emi Takada Quartet with Chiemi Nakai, Noriko Ueda, Dwayne “Cook: Broadnax;
Tom Tallitsch Quartet with Art Hirahara, Peter Brendler, Vinnie Sperrazza
Club Bonafide 7:30, 9:30 pm $15
• Miho Hazama Maiden Voyage Suite
Joe’s Pub 7 pm $20
• Harlem Blues and Jazz Band Brooklyn Public Library Central Branch 6:30 pm
• Jason Yeager Trio with Danny Weller, Jay Sawyer; Mike Bono Group with Christian Li,
Andrew Mulherkar, Josh Crumbly, Jimmy Macbride
Cornelia Street Café 8, 9:30 pm $10
• Rick Parker/Li Daiguo Duo; Alan Bjorklund’s Smirk with Mark Shim, Travis Reuter,
Chris Tordini, Tyshawn Sorey Rye 9, 10:15 pm
• Tsuyoshi Yamamoto
Tomi Jazz 8 pm
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Earl Klugh Blue Note 8, 10:30 pm $35
• George Coleman, Jr. Octet with Harold Mabern, Leon Dorsey, Eric Alexander,
Adam Brenner, Josh Evans, Gary Smulyan, Alexander McCabe and guests Jess Young,
Don Braden Jazz Standard 7:30, 9:30 pm $25
• Birdland Big Band Birdland 8:30, 11 pm $40
• Geoff Gallante Saint Peter’s 1 pm $10
êJon Weber
Bryant Park 12:30 pm
Celebrating the
Release of
Suite Ellington
Cornelia Street Cafe
July 7th, 2016, 8:00pm
Billy Drewes:
sax & Clarinet
DaviD Berkman:
Piano
Ugonna okegwo:
Bass
tom rainey:
DrUms
eD neUmeister:
tromBone &
arrangements
Cornelia Street Cafe / 29 Cornelia Street
New York, NY 10014 / (212) 989-9319
Ed Neumeister Solo
ShapeShifter Lab
July 20th, 2016, 9:30pm (one set)
18 Whitwell Place / Brooklyn, NY 11215
(646) 820-9452
THE NEW YORK CITY JAZZ RECORD | JULY 2016 39

Sofia Reí
The Stone Residency
July 19-24, 2016
the
corner of avenue
c and 2nd street
$20 at the door
stone
Tuesday july 19th
8pm: “Umbral/Threshold”
SofIa Rei (vocals, loops, efx, charango, caja vidalera)
10pm: “Umbral +1”
Jorge Roeder (bass, loops, efx),
SofIa Rei (vocals, loops, efx, charango, caja vidalera)
Wednesday july 20th
8pm: “Footprints of Mercedes/La huella de Mercedes”
Roxana Amed (vocals), Claudia AcuNa (vocals), SofIa Tosello (vocals),
Sofia Rei (vocals), Juancho Herrera (guitar), Silvano Monasterios
(piano), Jorge Roeder (bass), Franco Pinna (drums, percussion)
10pm: “The Trio”
JC Maillard (saz bass, guitar), Franco Pinna (drums, percussion),
Sofia Rei (vocals, charango)
Thursday july 21st
8pm: “The Sextet”
SofIa Rei (vocals, loops, charango), Josh Deutsch (trumpet),
Eric Kurimski (acoustic guitar), JC Maillard (electric guitar),
Jorge Roeder (bass), Franco Pinna (drums, percussion)
10pm: “Slides, Stills and Snapshots”
Kyoko Kitamura (vocals), JD Walter (vocals), Monika Heidemann
(vocals), Aubrey Johnson (vocals), Sachal Vasandani (vocals),
SofIa Rei (vocals), Adam Matta (beatbox)
Friday july 22nd
8pm: “Hidden Tales/Coplas escondidas”
Jorge Roeder (bass), SofIa Rei (vocals)
10pm: “Pianos for Cuchi/Pianos para el Cuchi”
Leo Genovese (piano, keys), Sofia Rei (vocals)
Saturday july 23rd
8pm: “Five Cynical Poems” and other selections
Tupac Mantilla (body percussion, drums),
SofIa Rei (vocals, loops, efx, charango)
10pm: “The Sextet and special guests”
SofIa Rei (vocals, loops, charango), Eric Kurimski (acoustic guitar),
JC Maillard (electric guitar), Jorge Roeder (bass),
Franco Pinna (drums, percussion), Tupac Mantilla (percussion),
Ryan Keberle (trombone)
Sunday july 24th
8pm: “Cursed Heavens/Maldigo del alto cielo”
Leo Genovese (piano), Dan Blake (soprano saxophone),
Sofia Rei (vocals, loops, efx, charango, caja vidalera),
Roxana Amed (vocals)
10pm: “Portable songs”
Jason Lindner (piano, keys), Sofia Rei (vocals, loops)
Thursday, July 14
êErtegun Jazz Hall of Fame Celebration of Wayne Shorter
Dizzy’s Club 7:30, 9:30 pm $40
Riley Mulherkar Dizzy’s Club 11:30 pm $10
• Chris Potter Trio with Ben Street, Billy Hart
Jazz Standard 7:30, 9:30 pm $30
êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker
The Stone 8, 10 pm $20
• Kermit Ruffins and The Barbecue Swingers
The Music Hall at MP 8 pm $40
Henry Butler and John Hammond Wagner Park 7 pm
Amir ElSaffar The Jazz Gallery 7:30, 9:30 pm $22
• Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox
Cornelia Street Café 8, 9:30 pm $10
Jon Cowherd’s Mercy Project Bar Lunàtico 8:30, 10 pm $10
• Ehud Asherie solo; Roberta Piket/Steve Wilson
Mezzrow 8, 9:30 pm $20
• Mark Sherman Quartet with Jim Ridl, Dean Johnson, Tim Horner; Nick Hempton Group;
Tony Hewitt Smalls 7:30, 10:30 pm 1 am $20
• Greg Glassman/Stacy Dillard Quintet with Jeremy Manasia
Fat Cat 10 pm
• Peter and Will Anderson Quintet with Peter Bernstein, Mike Karn
Jazz at Kitano 8, 10 pm $17
• The Awakening Orchestra; Fabian Almazan’s Rhizome
ShapeShifter Lab 7 pm $10
• Lathan Hardy, Sean Ali, Flin Van Hemmen; Brandon Lopez Quartet with Matt Nelson,
Andria Nicodemou, Gerald Cleaver Manhattan Inn 10 pm $10
• Erika Matsuo Quintet with Helio Alves, Juancho Herrera, Leo Traversa, Harvey Wirht;
Sam Blakeslee Quintet with Brandon Coleman, Jorn Swart, Cory Todd, Dan Pugach
Club Bonafide 7:30, 9:30, 11 pm $10-15
• David Kuhn Trio with Daniel Durst, Mario Irigoyen; Yuto Kanazawa Trio with
Zack Westfall, Ray Belli Bar Next Door 6:30, 8:30, 10:30 pm $12
• George Burton and Excerpts with Chris Hemmingway, Jason Palmer, Edward Perez,
Corey Rawls Zinc Bar 9 pm $15
Thorleif & Colescott
Scandinavia House 7 pm
Scot Albertson Tomi Jazz 9 pm $10
Joel Forrester Duo
Cleopatra’s Needle 7 pm
Yvonnick Prene Trio Cavatappo Grill 9 pm $8
• Rodrigo Bonelli
Shrine 8 pm
êDavid “Happy” Williams Shining Caribbean Light with Sherma Andrews, Jaleel Shaw,
David Hazeltine, Willie Jones III Smoke 7, 9, 10:30 pm $12
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
Earl Klugh Blue Note 8, 10:30 pm $35
Birdland Big Band Birdland 8:30, 11 pm $40
• Michael Thomas
Silvana 6 pm
êJon Weber
Bryant Park 12:30 pm
• Duduka Da Fonseca
Citigroup Center Plaza 12:30 pm
êJeff Newell’s New-Trad Octet Battery Park Plaza 12:30 pm
Friday, July 15
êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Hwansu Kang,
Aaron Scott Smoke 7, 9, 10:30 pm $38
• Jon Faddis Quartet with David HazeltineTodd Coolman, Dion Parson
Dizzy’s Club 7:30, 9:30 pm $45
• Riley Mulherkar Dizzy’s Club 11:30 pm $10
êSteve Dalachinsky/Matthew Shipp; Darius Jones/Matthew Shipp
The Stone 8, 10 pm $20
êJack Wilkins Trio with Andy McKee, Mike Clark
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Sacha Perry solo; Peter Bernstein/Gerald Clayton
Mezzrow 8, 9:30 pm $20
• Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth;
TRI-ANGULAR III: Ralph Peterson, Zaccai Curtis, John Benitez; Joe Farnsworth
Smalls 7:30, 10:30 pm 1 am $20
• Orrin Evans Quartet with Stacy Dillard, Luques Curtis, Mark Whitfield, Jr. and guest
Joanna Pascale The Jazz Gallery 7:30, 9:30 pm $22
êLeo Genovese Trio with Tony Malaby, Francisco Mela
Cornelia Street Café 9, 10:30 pm $10
• Arthur Kell and Friends with Brad Shepik, Nate Radley, Mark Ferber
Bar Lunàtico 8:30, 10 pm $10
Kassa Overall Trio
Minton’s 7 pm
• Our Thing Trio: Roni Ben-Hur, Santi Debriano, Duduka Da Fonseca and guest
Steve Nelson Jazz at Kitano 8, 10 pm $32
Michael Mwenso and the Shakes Ginny’s Supper Club 7:30, 9:30 pm $15
• The Synesthetics: Blanca Cecilia González, Jeremy Viner, Jesse Elder, Arthur Vint,
Talya Buckbinder; Underground Horns
Club Bonafide 7:30, 9:30 pm $15
Peter Fish Group The Cutting Room 7:30 pm $25
Ak Nala Shabam and Nu Soil Ship Fat Cat 10:30 pm
Brian Newman
The Django at The Roxy Hotel 10:30 pm
Kuni Mikami Trio Tomi Jazz 9 pm $10
Sharif Zaben Trio
Cleopatra’s Needle 8 pm
• Chris Potter Trio with Ben Street, Billy Hart
Jazz Standard 7:30, 9:30 pm $30
• Kermit Ruffins and The Barbecue Swingers
The Music Hall at MP 7, 9:30 pm $40
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
Earl Klugh Blue Note 8, 10:30 pm $35
Birdland Big Band Birdland 8:30, 11 pm $40
Jon Latona Duo
Silvana 6 pm
• IN/TER\SECT: The Westerlies; Ben Monder; Rabbit Rabbit:
Carla Kihlstedt/Matthias Bossi; Argus String Quartet; Ethan Iverson solo
Bryant Park 5 pm
êJon Weber
Bryant Park 12:30 pm
Saturday, July 16
êMichael Bisio, Mat Maneri, Matthew Shipp; Charles Waters, Andrew Barker,
Matthew Shipp The Stone 8, 10 pm $20
êSonelius Smith Trio
Cleopatra’s Needle 8 pm
êGabriel Alegría Afro-Peruvian Sextet with Laura Andrea Leguía,
Freddy “Huevito” Lobatón, Yuri Juárez, John Benitez, Franco Pinna;
Noël Simoné Band of Friends with C.J. Wright, John Lander, Dylan Kaminkow,
Elisee Augustin, Keenyn Omari Moore, Peter DelGrosso
Club Bonafide 7:30, 9:30, 11 pm $10-30
• Peter Brendler Quartet with Rich Perry, Ben Monder, Vinnie Sperrazza
Cornelia Street Café 9, 10:30 pm $10
Shai Maestro/Theo Bleckmann The Jazz Gallery 7:30, 9:30 pm $22
• Jostein Gulbrandsen Trio with Andrea Veneziani, Mark Ferber
Bar Next Door 7:30, 9:30, 11:30 pm $12
Eddie Barbash
The Roxy Lounge at The Roxy Hotel 7 pm
Curtis Lundy Quartet
The Django at The Roxy Hotel 10:30 pm
Billy White
Minton’s 7 pm
Martha Lorin and Trio Café Noctambulo 8 pm $20
Steve Kirby; Greg Glassman Jam Fat Cat 10 pm 1:30 am
• The Standard Procedure; Sein Oh Tomi Jazz 8, 11 pm $10
êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Hwansu Kang,
Aaron Scott Smoke 7, 9, 10:30 pm $38
• Jon Faddis Quartet with David HazeltineTodd Coolman, Dion Parson
Dizzy’s Club 7:30, 9:30 pm $45
Riley Mulherkar Dizzy’s Club 11:30 pm $20
• Spike Wilner; Peter Bernstein/Gerald Clayton; Anthony Wonsey
Mezzrow 8, 9:30 pm 12:30 am $20
• Joey “G-Clef” Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson;
TRI-ANGULAR III: Ralph Peterson, Zaccai Curtis, John Benitez; Brooklyn Circle
Smalls 7:30, 10:30 pm 1 am $20
• Our Thing Trio: Roni Ben-Hur, Santi Debriano, Duduka Da Fonseca and guest
Steve Nelson Jazz at Kitano 8, 10 pm $32
• Chris Potter Underground with Craig Taborn, Adam Rogers, Fima Ephron, Dan Weiss
Jazz Standard 7:30, 9:30 pm $30
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
Earl Klugh Blue Note 8, 10:30 pm $35
Birdland Big Band Birdland 8:30, 11 pm $40
Isaac Hernandez Quintet Shrine 6 pm
• Cres O’Neal with Manuel Valera, Paul Beaudry, Willie Martinez,
Wilson “Chembo” Corniel Metropolitan Room 4 pm $24
êBrooklyn Blowhards: Jeff Lederer, Petr Cancura, Joe Fiedler, Steven Bernstein,
Art Bailey, Allison Miller, Stephen LaRosa, Mary LaRose and guest Gary Lucas
Hunts Point Riverside Ampitheater 2 pm
êBrooklyn Blowhards: Jeff Lederer, Petr Cancura, Joe Fiedler, Steven Bernstein,
Art Bailey, Allison Miller, Stephen LaRosa, Mary LaRose and guest Gary Lucas
Woodlawn Cemetery 4:30 pm
êLouis Armstrong’s Wonderful World Festival: Dr. John; Kermit Ruffins; Soulive
Flushing Meadows Corona Park 1 pm $20
Sunday, July 17
êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker
The Stone 8, 10 pm $20
• Helio Alves Quartet with Vic Juris, Edward Perez, Alex Kautz
Cornelia Street Café 8:30, 10 pm $10
• Lenticlouds: Álvaro Domene, Briggan Krauss, Andrew Drury;
Sarah Manning’s Underworld Alchemy with Briggan Krauss, Gerald Cleaver;
Christopher Hoffman’s Multifarium Threes Brewing 8, 9, 10 pm $15
• Paula Shocron, Daniel Carter, Pablo Diaz; The Home Of Easy Credit:
Tom Blancarte/Louise D.E. Jensen Downtown Music Gallery 6, 7 pm
Pasquale Grasso; Peter Bernstein Mezzrow 8, 9:30 pm $20
• Lezlie Harrison Quartet; Behn Gillece Quartet with Nate Radley, Paul Gill,
Anthony Pinciotti; Hillel Salem Smalls 7:30, 10:30 pm 1 am $20
• Ehud Asherie; Brandon Lewis/Renee Cruz Jam
Fat Cat 6 pm 1 am
• Elliot Mason and Creation with Brad Mason, Sofija Knezevic, Dave Kikoski,
Matt Penman, Ali Jackson MoMA Sculpture Garden 8 pm
• Grassroots Jazz Effort: Adam Kolker, Jerome Sabbagh, Jeremy Stratton,
George Schuller
Grassroots Tavern 9 pm
Alex Garcia’s AfroMantra Club Bonafide 7 pm $15
Taeko Ota
Tomi Jazz 8 pm
• Cheryl Lynne Skinner; Steve Lacey Trio
Silvana 6, 7 pm
êBilly Harper Quintet with Eddie Henderson, Francesca Tanksley, Hwansu Kang,
Aaron Scott Smoke 7, 9, 10:30 pm $38
• Jon Faddis Quartet with David HazeltineTodd Coolman, Dion Parson
Dizzy’s Club 7:30, 9:30 pm $45
• Chris Potter Underground with Craig Taborn, Adam Rogers, Fima Ephron, Dan Weiss
Jazz Standard 7:30, 9:30 pm $30
êJimmy Heath Quartet with Jeb Patton, David Wong, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Earl Klugh Blue Note 8, 10:30 pm $35
Carlo De Rosa
Saint Peter’s 5 pm
Mordy Ferber Blue Note 11:30 am 1:30 pm $35
• Jane Irving Trio with Paul Odeh, Kevin Hailey
North Square Lounge 12:30, 2 pm
40 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Monday, July 18
êThe Listening Room: Wadada Leo Smith/John Lindberg
Jazz at Lincoln Center 8 pm
• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am
êJerome Harris Group Bar Lunàtico 8:30, 10 pm $10
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• Mason Brothers Quintet: Elliot and Brad Mason, Dave Kikoski, Matt Penman,
Ali Jackson Dizzy’s Club 7:30, 9:30 pm $30
• Calixto Oviedo Latin Jazz Train with Bob Franceschini, Cesar Orozco,
Ruben Rodriguez, Robert Quintero Subrosa 8, 10 pm $15
• For Trees & Birds: Jasper Dutz, Lee Meadvin, Chris Gaskell, Connor Parks
Cornelia Street Café 8:30 pm $10
• Deb Auer with Neal Kirkwood, Lindsey Horner
Café Noctambulo 7:30 pm $25
Stan Killian/Enrique Haneine Boudoir 7:30 pm
• Day So Far: Sarah Bernstein/Stuart Popejoy; Home Of Easy Credit: Tom Blancarte/
Louise D.E. Jensen; Savini Psoas Alphaville 8 pm
John Merrill; Michael Kanan Mezzrow 8, 9:30 pm $20
• Myron Walden Group with Strings; Ari Hoenig Trio with Gilad Hekselman,
Orlando Le Fleming; Jonathan Michel
Smalls 7:30, 10:30 pm 1 am $20
• Mark Phillips Trio with Syberen Van Munster, Sam Zerna; Valentina Marino Trio with
Jay Azzolina, Cameron Brown Bar Next Door 6:30, 8:30, 10:30 pm $12
• Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai
Tomi Jazz 8 pm
• Russ Kassoff
Bryant Park 12:30 pm
Tuesday, July 19
êJazz in July—Summer Swing Party: Bill Charlap, Harry Allen, Jon-Erik Kellso,
Gary Smulyan, Chuck Wilson, Joe Cohn, Todd Coolman, Dennis Mackrel
92nd Street Y 8 pm $25-52
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
• Fred Hersch Mezzrow 8 pm $20
êRalph Alessi Baida Quartet with Gary Versace, Drew Gress, Dan Weiss
Jazz Standard 7:30, 9:30 pm $25
êCount Basie Orchestra directed by Scotty Barnhart with guest Brianna Thomas
Birdland 8:30, 11 pm $50
• Ivan Lins Blue Note 8, 10:30 pm $45
• Clarice Assad Dizzy’s Club 7:30, 9:30 pm $35
• Evan Sherman Dizzy’s Club 11:30 pm $5
• Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins
NYC Baha’i Center 8, 9:30 pm $15
• Umbral: Sofía Rei solo; Umbral +1: Jorge Roeder/Sofía Rei
The Stone 8, 10 pm $20
• Marianne Solivan Big Band with John Chin, Mike Karn, Chris Smith, Yunie Mojica,
Bruce Williams, Stacy Dillard, Carl Maraghi, Alex Norris, Seth Weaver, Rob Stringer and
guest Adezeke Triad Theater 7 pm $20
• Carlo De Rosa; Stephanie Richards, Vincent Chancey, Stomu Takeishi, Tom Rainey
Korzo 9, 10:30 pm
• Nora York’s Throb with Jamie Lawrence, Dave Hofstra, Peter Grant, Sherryl Marshall,
Jack Lawrence, Dakota Lillie Joe’s Pub 7 pm $20
• Danny Fox Trio Bar Lunàtico 8:30, 10 pm $10
• Ben Winkelman Trio with Desmond White, Eric Doob; Pablo Masis Quintet with
Andrew Gould, Broc Hempel, Lauren Falls, Austin Walker
Cornelia Street Café 8, 9:30 pm $10
• NanJo Lee Trio with Pablo Menares, Jochen Rueckert; Alex Goodman Trio with
Zach Brown, Adam Arruda Bar Next Door 6:30, 8:30, 10:30 pm $12
• Arthur Sadowsky and The Troubadours with Anthony Pocetti, Justin Mullens,
Gennaro Esposito, Andrew Atkinson
Club Bonafide 7:30 pm $15
• Monika Ryan with David O’Rourke, Steve Einerson, Rene Hart, Joe Strasser
Metropolitan Room 7 pm $20
• The Westerlies; Sammy Miller and The Congregation; Vuyo Sotashe
Threes Brewing 8 pm $5-15
• Spike Wilner Trio; Lucas Pino Nonet; Kyle Poole
Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin Zebtet; Nu D’lux Fat Cat 7, 9 pm
Megumi Yonezawa solo Jazz at Kitano 8 pm
Lonnie Plaxico Rendall Memorial Presbyterian Church 12, 1 pm $15
• Russ Kassoff
Bryant Park 12:30 pm
Wednesday, July 20
êJazz in July—Jazz Goes Hollywood: Dietz & Schwartz: Bill Charlap, Renee Rosnes,
Ken Peplowski, Gene Bertoncini, Jon Gordon, Sandy Stewart, Sean Smith, Lewis Nash
92nd Street Y 8 pm $25-52
êTim Hagans Quintet with Steve Wilson, Leo Genovese, Jay Anderson, Joe Hertenstein
Dizzy’s Club 7:30, 9:30 pm $30
Evan Sherman Dizzy’s Club 11:30 pm $5
• Theo Croker Escape Velocity with Anthony Ware, Michael King, Ben Eunson,
Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $25
êRick Germanson Quintet with Brian Lynch, Abraham Burton, Nat Reeves, Neal Smith
Smoke 7, 9, 10:30 pm $12
Gregorio Uribe Subrosa 8:30 pm $15
• The Funky Organics: Mark Minchello, Vinny Conigliaro, Bob Hanlon, Rick Savage;
Rob Burke Sextet with Paul Williamson, Jordan Murray, Marc Hannaford, Mark Helias,
Nasheet Waits Club Bonafide 7:30, 9:30 pm $10-20
• Brandon Wright Quartet with Dave Kikoski
Jazz at Kitano 8, 10 pm $17
êEd Neumeister solo
ShapeShifter Lab 9:30 pm
• Roxana Amed, Claudia Acuña, Sofía Tosello, Sofía Rei, Juancho Herrera,
Silvano Monasterios, Jorge Roeder, Franco Pinna; JC Maillard, Franco Pinna, Sofía Rei
The Stone 8, 10 pm $20
Freddie Bryant/Kevin Hays Mezzrow 8 pm $20
• Michael Feinberg Quartet with Noah Preminger, Billy Test, Ian Froman;
Adam Larson Quartet with Fabian Almazan, Linda Oh, Ari Hoenig; Aaron Seeber
Smalls 7:30, 10:30 pm 1 am $20
• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• Pablo Diaz/Paula Shocron; Katt Hernandez; Wilfredo Terrazas/Stephanie Griffin
Soup & Sound 7 pm $20
• Hilliard Greene and The Jazz Expressions with TK Blue, Sharp Radway,
Dwayne Cook Broadnax Wave Hill 7 pm
• Mitch Marcus Quartet with Tom Chang, Peter Brendler, Jesse Simpson
Cornelia Street Café 8, 9:30 pm $10
• Sean Noonan Memorable Sticks with Alex Marcelo, Peter Bitenc
Joe’s Pub 7:30 pm $15
• Andrew Smiley/Sam Weinberg; Nate Wooley Quartet with Chris Pitsiokos,
Brandon Lopez, Dre Hocevar Rye 9, 10:15 pm
Michael Garin; Mike Sailors The Django at The Roxy Hotel 8, 10:30 pm
• Nicolas Letman-Burtinovic, Guillermo Gregorio, Sam Parsons
Bar Chord 9 pm
• Rocco John Iacovone Quartet with Rich Rosenthal, Francois Grillot, Tom Cabrera
Tomi Jazz 8 pm
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
êCount Basie Orchestra directed by Scotty Barnhart with guest Brianna Thomas
Birdland 8:30, 11 pm $50
Ivan Lins Blue Note 8, 10:30 pm $45
Joe Wittman Quartet
Silvana 6 pm
Jimmy Roberts Saint Peter’s 1 pm $10
• Russ Kassoff
Bryant Park 12:30 pm
Fri, Jul 1
Sat, Jul 2
Sun, Jul 3
Tue, Jul 5
Thu, Jul 7
Fri, Jul 8
Sat, Jul 9
Sun, Jul 10
Wed, Jul 13
Thu, Jul 14
Sat, Jul 16
TOM RAINEY TRIO 9PM & 10:30PM
Mary Halvorson, Ingrid Laubrock
TOM CHANG QUINTET 9PM & 10:30PM
Jeremy Powell, Quinsin Nachoff, Matt Pavolka, Kenny Grohowski
DJANGO AT CORNELIA STREET, DAN LEVINSON 8:30 & 10PM
Koran Agan, Josh Kaye, Eduardo Belo
Koran Agan, host
VOXECSTATIC: JAZZ WITH EVELYN HORAN 8PM
Erik Kramer, Mickey Vershbow
VOXECSTATIC: THE PITTSON FAMILY BAND 9:30PM
Suzanne Pittson, Jeff Pittson, Evan Pittson,
Jakob Dreyer, Dave Meade
Deborah Latz, curator
ED NEUMEISTER, CD RELEASE: SUITE ELLINGTON 8:00 & 9:30PM
Billy Drewes, David Berkman, Ugonna Okegwo, Tom Rainey
MARTY EHRLICH, PHILOSOPHY OF A GROOVE 9PM & 10:30PM
James Weidman, Jerome Harris, Ben Perowsky
GILAD HEKSELMAN TRIO 9PM & 10:30PM
Rick Rosato, Jonathan Pinson
WILLIAM HOOKER QUARTET 6PM
Mark Hennen, Larry Roland, Chris DeMiglio
RICHARD SEARS QUARTET 8:30 PM
ROMAN FILIU TRIO 10PM
Rick Rosato, Craig Weinrib
JASON YEAGER GROUP 8PM
Danny Weller, Jay Sawyer
MIKE BONO GROUP 9:30PM
Christian Li, Andrew Mulherkar, Josh Crumbly, Jimmy Macbride
STEPHAN CRUMP’S ROSETTA TRIO 8:00 & 9:30PM
Liberty Ellman, Jamie Fox
PETER BRENDLER QUARTET
CD RELEASE: MESSAGE IN MOTION 9PM & 10:30PM
Rich Perry, Ben Monder, Vinnie Sperrazza
July 19th
Mike Longo 18-piece
NY State of the Art
Jazz Ensemble
with Ira Hawkins.
July 26th
Jabbo Ware and
the Me, We and
Them Orchestra
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
Thursday, July 21
êJazz in July—Unforgettable: The Nat King Cole Songbook: Bill Charlap, Freddy Cole,
Houston Person, Warren Vaché, Randy Napoleon, Elias Bailey, Quentin Baxter
92nd Street Y 8 pm $25-52
• Pat Martino Trio Plus Horns with Adam Niewood, Alex Norris, Pat Bianchi,
Carmen Intorre, Jr. Jazz Standard 7:30, 9:30 pm $30
êArt Lande Quartet with Bruce Williamson, Dean Johnson, Tony Moreno
Jazz at Kitano 8, 10 pm $17
êHenry Butler Bar Lunàtico 8:30, 10 pm $10
• Sofía Rei, Josh Deutsch, Eric Kurimski, JC Maillard, Jorge Roeder, Franco Pinna;
Kyoko Kitamura, JD Walter, Monika Heidemann, Aubrey Johnson, Sachal Vasandani,
Sofía Rei, Adam Matta The Stone 8, 10 pm $20
• Iris Ornig 5 with Jonathan Powell, Jeremy Powell, Billy Test, Allan Mednard;
Jesse Fischer Trio with Luques Curtis, Keita Ogawa
Cornelia Street Café 8, 9:30 pm $10
• Remy Le Beouf Quintet with Shai Maestro, Peter Kronreif
The Jazz Gallery 7:30, 9:30 pm $15
• Tommaso Gambini Trio with Dean Torrey, Aaron Seeber; Kevin Clark Trio with
Jeff Reed, Sylvia Cuenca Bar Next Door 6:30, 8:30, 10:30 pm $12
• Spike Wilner solo; Adam Birnbaum
Mezzrow 8, 9:30 pm $20
• The Wolff & Clark Expedition: Hailey Niswanger, Michael Wolff, Andy McKee,
Mike Clark; JC Stylles Quartet with Kyle Koehler, Troy Roberts, Byron Landham;
Tyler Clibbon Smalls 7:30, 10:30 pm 1 am $20
Point of Departure
Fat Cat 10 pm
• Oskar Stenmark NY-Nordic Quartet
Scandinavia House 7 pm
Vivian Reed Metropolitan Room 7 pm $35
• Peter Negroponte Group; John Welsh/Sam Yulsman
Manhattan Inn 10 pm $10
Roz Corral Trio
Settepani 7 pm
• George Burton and Excerpts with Chris Hemmingway, Jason Palmer, Edward Perez,
Corey Rawls Zinc Bar 9 pm $15
• Uri Shaham Project; Marcus Machado
Club Bonafide 7:30, 9:30, 11 pm $10-15
Kathryn Allyn Duo Tomi Jazz 9 pm $10
Ray Parker Duo
Cleopatra’s Needle 7 pm
• Dennis Joseph Trio Cavatappo Grill 9 pm $8
êTim Hagans Quintet with Steve Wilson, Leo Genovese, Jay Anderson, Joe Hertenstein
Dizzy’s Club 7:30, 9:30 pm $40
• Evan Sherman Dizzy’s Club 11:30 pm $10
êRick Germanson Quintet with Brian Lynch, Abraham Burton, Nat Reeves, Neal Smith
Smoke 7, 9, 10:30 pm $12
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
êCount Basie Orchestra directed by Scotty Barnhart with guest Brianna Thomas
Birdland 8:30, 11 pm $50
Ivan Lins Blue Note 8, 10:30 pm $45
Blues Vipers of Brooklyn The Archway 6 pm
Frank Perowsky
Silvana 6 pm
Russ Kassoff
Bryant Park 12:30 pm
Sari Kessler Quintet
Citigroup Center Plaza 12:30 pm
• Tribute to Frank Sinatra: Steve Magilo
345 Park Avenue 12:30 pm
Sun, Jul 17
Mon, Jul 18
Tue, Jul 19
Wed, Jul 20
Thu, Jul 21
Fri, Jul 22
Sat, Jul 23
Sun, Jul 24
Tue, Jul 26
Thu, Jul 28
Fri, Jul 29
Sat, Jul 30
Sun, Jul 31
NEW BRAZILIAN PERSPECTIVES:
HELIO ALVES QUARTET 8:30 & 10PM
Vic Juris, Edward Perez, Alex Kautz
Billy Newman, host
FOR TREES & BIRDS ALBUM RELEASE SHOW 8:30PM
Jasper Dutz, Lee Meadvin, Chris Gaskell, Connor Parks
BEN WINKELMAN TRIO 8PM
Desmond White, Eric Doob
PABLO MASIS QUINTET 9:30PM
Andrew Gould, Broc Hempel, Lauren Falls, Austin Walker
MITCH MARCUS QUARTET 8:00 & 9:30PM
Tom Chang, Peter Brendler, Jesse Simpson
IRIS ORNIG 5 8PM
Jonathan Powell, Jeremy Powell, Billy Test, Allan Mednard
JESSE FISCHER TRIO 9:30PM
Luques Curtis, Keita Ogawa
STEPHAN CRUMP/KRIS DAVIS/ERIC MCPHERSON
9PM & 10:30PM
CHET DOXAS TRIO 8:30 & 10PM
Jacob Sacks, Vinnie Sperrazza
LOGAN STROSAHL QUARTET 8PM
Alex Lore, Lim Yang, Allan Mednard
SPIN CYCLE 9:30PM
Tom Christensen, Pete McCann, Dean Johnson, Scott Neumann
FABIAN ALMAZAN & CAMILA MEZA 8:00 & 9:30PM
HUSH POINT 9PM & 10:30PM
Jeremy Udden, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti
SHEILA JORDAN & CAMERON BROWN 9PM & 10:30PM
JULIE BENKO 8:30 & 10PM
Andy Warren, Kenny Pexton, Jason Yeager,
Walter Harris, Danny Weller, Jay Sawyer
THE NEW YORK CITY JAZZ RECORD | JULY 2016 41

Litchfield Jazz
Festival
August 6 & 7
Jimmy Heath
Emmet Cohen
Nicole Zuraitis
Donald Harrison
Jimmy Greene
The Curtis Bros.
Albert Rivera
Orrin Evans
and many more!
photo Steve Sussman
litchheldjazzfest.com
and more...
Friday, July 22
êCyro Baptista’s Vira Loucos with Brian Marsella, Shanir Blumenkranz, John Lee,
Vitor Gonçalves, Gil Oliveira; Cyro Baptista’s Banquet of the Spirits with Brian Marsella,
Shanir Blumenkranz, John Lee, Marcos China, Gil Oliveira
Dizzy’s Club 7:30, 9:30 pm $45
• Evan Sherman Dizzy’s Club 11:30 pm $10
êHarold Mabern Trio with Nat Reeves, Joe Farnsworth
Smoke 7, 9, 10:30 pm $40
êDick Hyman/Ken Peplowski Duo Jazz at Kitano 8, 10 pm $32
• Sacha Perry solo; Aaron Parks Trio with John Hébert, Greg Osby; Johnny O’Neal
Mezzrow 8, 9:30 pm 12:30 am $20
• Ralph Lalama Bop-Juice with Mike Karn, Clifford Barbaro; Duane Eubanks Quintet with
Abraham Burton, David Bryant, Gerald Cannon, Chris Beck; Corey Wallace DUBtet
Smalls 7:30, 10:30 pm 1 am $20
• Stephan Crump, Kris Davis, Eric McPherson
Cornelia Street Café 9, 10:30 pm $10
êMarquis Hill Blacktet Ginny’s Supper Club 7:30, 9:30 pm $15
êGilad Hekselman’s ZuperOctave with Ben Wendel, Shai Maestro, Kush Abadey
The Jazz Gallery 7:30, 9:30 pm $22
• Jorge Roeder/Sofía Rei; Leo Genovese/Sofía Rei
The Stone 8, 10 pm $20
• Will Bernard Band Bar Lunàtico 8:30, 10 pm $10
• Larry Corban Trio with Harvie S, Sylvia Cuenca
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Kassa Overall Trio
Minton’s 7 pm
• Truth Revolution Records Showcase: CocoMama: Nicki Denner, Jennifer Vincent,
Mayra Casales, Ariacne Trujillo; Mitch Frohman Latin Jazz Quartet with Zaccai Curtis,
Luques Curtis, Joel Mateo; Oskar Stenmark Quartet
Club Bonafide 7:30, 9:30, 11 pm $10-20
• Chad Lefkowitz-Brown
The Roxy Lounge at The Roxy Hotel 7 pm
• Steven Feifke Trio; Brian Newman The Django at The Roxy Hotel 8, 10:30 pm
• Svetlana Shmulyian and Seth Weaver Big Band
Zinc Bar 10, 11:30 pm $15-20
• Draya Band with Gabriel Chakarji, Carlos Mena, Arturo Stable
Terraza 7 8:30 pm $10
• Rale Micic/Guilherme Monteiro Symphony Space Bar Thalia 9 pm
• Takenori Nishiuchi Tomi Jazz 9 pm $10
• Art Lillard Trio
Cleopatra’s Needle 8 pm
• Leland Baker Quintet
Silvana 7 pm
• Pat Martino Trio Plus Horns with Adam Niewood, Alex Norris, Pat Bianchi,
Carmen Intorre, Jr. Jazz Standard 7:30, 9:30 pm $35
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
êCount Basie Orchestra directed by Scotty Barnhart with guest Brianna Thomas
Birdland 8:30, 11 pm $50
• Ivan Lins Blue Note 8, 10:30 pm $45
• Russ Kassoff
Bryant Park 12:30 pm
Saturday, July 23
• Celebrate Brooklyn: Jon Batiste Stay Human and Friends
Prospect Park Bandshell 7:30 pm
• Joan Belgrave Quintet with Bertha Hope, Endea Owens, Sylvia Cuenca, Stacy Dillard
Metropolitan Room 9:30 pm $24
êBrooklyn Blowhards: Jeff Lederer, Petr Cancura, Joe Fiedler, Steven Bernstein,
Art Bailey, Allison Miller, Stephen LaRosa, Mary LaRose and guest Gary Lucas
Waterfront Barge Museum 8 pm
• Tupac Mantilla/Sofía Rei; Sofía Rei, Eric Kurimski, JC Maillard, Jorge Roeder,
Franco Pinna, Tupac Mantilla, Ryan Keberle
The Stone 8, 10 pm $20
• Mimi Jones
Minton’s 7 pm
• Paul Bollenback Trio with Noriko Ueda, Rogério Boccato
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Josh Evans Ensemble; Greg Glassman Jam
Fat Cat 10 pm 1:30 am
• SLD Trio: Paula Shocron, Hilliard Greene, Pablo Díaz and guest Daniel Carter
Scholes Street Studio 8 pm $10
• Steven Feifke Trio; Mala Waldron Project; Incendio
Club Bonafide 7:30, 9:30, 11 pm $15
• Daniel Bennett Group; Paul Lee Tomi Jazz 8, 11 pm $10
• Mike Lattimore Trio
Cleopatra’s Needle 8 pm
êCyro Baptista’s Vira Loucos with Brian Marsella, Shanir Blumenkranz, John Lee,
Vitor Gonçalves, Gil Oliveira; Cyro Baptista’s Banquet of the Spirits with Brian Marsella,
Shanir Blumenkranz, John Lee, Marcos China, Gil Oliveira
Dizzy’s Club 7:30, 9:30 pm $45
• Evan Sherman Dizzy’s Club 11:30 pm $20
êHarold Mabern Trio with Nat Reeves, Joe Farnsworth
Smoke 7, 9, 10:30 pm $40
êDick Hyman/Ken Peplowski Duo Jazz at Kitano 8, 10 pm $32
• Spike Wilner; Aaron Parks Trio with Ralph Alessi, John Hébert; Jon Davis
Mezzrow 8, 9:30 pm 12:30 am $20
• David Schnitter Quartet with Spike Wilner, Ugonna Okegwo, Anthony Pinciotti;
Duane Eubanks Quintet with Abraham Burton, David Bryant, Gerald Cannon,
Chris Beck; Philip Harper Quintet Smalls 7:30, 10:30 pm 1 am $20
• Stephan Crump, Kris Davis, Eric McPherson
Cornelia Street Café 9, 10:30 pm $10
êMarquis Hill Blacktet Ginny’s Supper Club 7:30, 9:30 pm $15
êGilad Hekselman’s ZuperOctave with Ben Wendel, Shai Maestro, Kush Abadey
The Jazz Gallery 7:30, 9:30 pm $22
• Pat Martino Trio Plus Horns with Adam Niewood, Alex Norris, Pat Bianchi,
Carmen Intorre, Jr. Jazz Standard 7:30, 9:30 pm $35
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
êCount Basie Orchestra directed by Scotty Barnhart with guest Melba Joyce
Birdland 8:30, 11 pm $50
• Ivan Lins Blue Note 8, 10:30 pm $45
• Tony Williams Trio
Shrine 6 pm
êDavid Ostwald Louis Armstrong Eternity Band
Louis Armstrong House 2 pm $18
Sunday, July 24
êMusicianer: Josh Sinton, Trevor Dunn, Tomas Fujiwara; Marty Ehrlich’s Traveler’s Tales
with James Brandon Lewis, Brad Jones, Ben Perowsky
Threes Brewing 9, 10 pm $10
• Leo Genovese, Dan Blake, Sofia Rei, Roxana Amed; Jason Lindner/Sofía Rei
The Stone 8, 10 pm $20
• Dominick Farinacci Mezzrow 9:30 pm $20
• Chet Doxas Trio with Jacob Sacks, Vinnie Sperrazza
Cornelia Street Café 8:30, 10 pm $10
• Rocco John Iacovone, Rich Rosenthal, Francois Grillot, Tom Cabrera;
Jeff Lederer Brooklyn Blowhards Downtown Music Gallery 6, 7 pm
• Grassroots Jazz Effort: Adam Kolker, Jerome Sabbagh, Jeremy Stratton,
George Schuller
Grassroots Tavern 9 pm
• Johnny O’Neal Trio with Luke Sellick, Charles Goold; Hillel Salem
Smalls 7:30 pm 1 am $20
• Ehud Asherie; Brandon Lewis/Renee Cruz Jam
Fat Cat 6 pm 1 am
• Alex Woods Quartet with Mathis Picard, Marty Kenney, Andreas Svendsen
Club Bonafide 7 pm $15
• Jamie Breiwick Quartet; Jeff Morrison Quartet
Silvana 6, 7 pm
êCyro Baptista’s Vira Loucos with Brian Marsella, Shanir Blumenkranz, John Lee,
Vitor Gonçalves, Gil Oliveira; Cyro Baptista’s Banquet of the Spirits with Brian Marsella,
Shanir Blumenkranz, John Lee, Marcos China, Gil Oliveira
Dizzy’s Club 7:30, 9:30 pm $35
êHarold Mabern Trio with Nat Reeves, Joe Farnsworth
Smoke 7, 9, 10:30 pm $40
• Pat Martino Trio Plus Horns with Adam Niewood, Alex Norris, Pat Bianchi,
Carmen Intorre, Jr. Jazz Standard 7:30, 9:30 pm $30
êJoe Lovano Quartet with Tom Harrell, Anthony Cox, Billy Hart
Village Vanguard 8:30, 10:30 pm $30
• Ivan Lins Blue Note 8, 10:30 pm $45
• Roni Ben-Hur
Saint Peter’s 5 pm
• Ronny Whyte Trio with Al Gafa, Boots Maleson
North Square Lounge 12:30, 2 pm
Monday, July 25
êBria Skonberg with Ehud Asherie, Evan Arntzen, Eric Wheeler, Jerome Jennings
Joe’s Pub 9:30 pm $16
• Yotam Silberstein Quartet Dizzy’s Club 7:30, 9:30 pm $30
• Misha Piatigorsky’s The Sketchy Orkestra
Le Poisson Rouge 10:30 pm $25
• Donna Singer and Quartet with Ryan Cerullo, Hunter Isbell, Mike Cervone, William Fleck
Metropolitan Opera Guild 7:30 pm $25
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
êSheryl Bailey 3 with Ron Oswanski, Ian Froman; Will Vinson with Shai Maestro,
Orlando Le Fleming, Nate Wood 55Bar 7, 9 pm
• John Merrill; Larry Ham Trio with Dave Glasser, Lee Hudson
Mezzrow 8, 9:30 pm $20
• Mario Castro Quintet and Strings with Josh Shpak, Ziarra, Kyumin Shim,
Tamir Schmerling, Joel Mateo, Leonor Falcon, Allyson Clare, Tomoko Omura,
Brian Sanders; Godwin Louis Group; Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
êJustin Kauflin Trio Bar Lunàtico 8:30, 10 pm $10
• David Coss
Boudoir 7:30 pm
• Prawit Siriwat Trio with Cody Rowlands, Daniel Durst; Sonia Szajnberg Trio with
Matt Davis, Leon Boykins Bar Next Door 6:30, 8:30, 10:30 pm $12
• Bill Stevens, Rich Russo, Gary Fogel
Tomi Jazz 8 pm
• Isaac ben Ayala
Bryant Park 12:30 pm
Y’ALL OF NEW YORK, INC.
PROUDLY PRESENTS
JAMES JABBO WARE AND THE
ME WE AND THEM ORCHESTRA
“GIVE ME A MOMENT”
FEATURING
TENOR SAXOPHONIST
PAAVO CAREY
TUESDAY JULY 26, 2016, 8 & 9:30PM
JAZZ TUESDAYS BAHA’I CENTER
John Birks Gillespie Auditorium
53 East 11th St. (Broadway and University)
Tickets $15 (Students $10)
Call 212 222 5159
facebook.com/Yall-of-New-York-INC
THE ME WE AND THEM ORCHESTRA
JAMES JABBO WARE: COMPOSER/CONDUCTOR
CECIL BRIDGEWATER, EDDIE ALLEN, HECTOR COLON
(TRUMPETS); RICHARD HARPER, CLIFTON ANDERSON,
WILLIAM LOWE (TROMBONES); J D PARRAN, PAAVO CAREY,
JAMES STEWART, ALEX HARDING (SAXOPHONES);
MARCUS PERSIANNI (PIANO); BRYCE SEBASTIEN (BASS);
WARREN SMITH (PERCUSSION)
42 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

Tuesday, July 26
êJazz in July—Kings Of Stride: Eubie, Fats & The Lion: Bill Charlap, Rossano Sportiello,
Ted Rosenthal, Anat Cohen, David Wong, Aaron Kimmel
92nd Street Y 8 pm $25-52
êWilliam Parker’s Cosmic Mountain Quintet with Rob Brown, Kidd Jordan,
Cooper-Moore, Hamid Drake Dizzy’s Club 7:30, 9:30 pm $35
êChristian Sands Quartet with Gilad Hekselman, Yasushi Nakamara, Marcus Baylor
Dizzy’s Club 11:30 pm $5
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Nicholas Payton Quintet with Anthony Wonsey, Vicente Archer, Joe Dyson,
Daniel Sadownick Birdland 8:30, 11 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
êEdmar Castañeda World Ensemble with Yosvany Terry, Marshall Gilkes, Itai Kriss,
Andrea Tierra, Grégoire Maret, Pablo Vergara, Dave Silliman, Rodrigo Villalon
Jazz Standard 7:30, 9:30 pm $30
êJabbo Ware and the Me, We and Them Orchestra with J.D. Parran, Paavo Carey,
James Stewart, Alex Harding, Hector Colon, Eddie Allen, Cecil Bridgewater,
Clifton Anderson, Richard Harper, Bill Lowe, Marcus Persiani, Bryce Sebastien,
Warren Smith NYC Baha’i Center 8, 9:30 pm $15
• Donna Singer and Quartet with Ryan Cerullo, Hunter Isbell, Mike Cervone, William Fleck
Central Park Ladies Pavilion 6:30 pm
• Melissa Aldana/Glenn Zaleski Mezzrow 8 pm $20
• Spike Wilner Trio; Josh Evans Group; Jovan Alexander
Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop
Fat Cat 7, 9 pm 12:30 am
• JOBS: Max Jaffe, Rob Lundberg, Dave Scanlon, Jessica Pavone, Jeff Gretz;
Till By Turning: Erica Dicker, Amy Cimini, Henna Chou, Katherine Young, Emily Manzo
The Stone 8, 10 pm $20
• Mike Baggetta Trio with Jerome Harris, Billy Mintz; Sean Moran, Hank Roberts,
Vinnie Sperrazza
Korzo 9, 10:30 pm
• Logan Strosahl Quartet with Alex Lore, Lim Yang, Allan Mednard;
Spin Cycle: Tom Christensen, Pete McCann, Dean Johnson, Scott Neumann
Cornelia Street Café 8, 9:30 pm $10
• Tal Yahalom Trio with Anne Rivers, Ben Silashi; Tom Tallitsch Trio with Jon Davis,
Peter Brendler Bar Next Door 6:30, 8:30, 10:30 pm $12
• Billy White Club Bonafide 7:30 pm $10
• The Westerlies; Adrianne Lenker; Buck Meek
Threes Brewing 8 pm $5-15
• Rico Yuzen Duo
Tomi Jazz 8 pm
• Megumi Yonezawa solo Jazz at Kitano 8 pm
• Joe Pino Quintet
Silvana 7 pm
• Linda Oh Rendall Memorial Presbyterian Church 12, 1 pm $15
• Isaac ben Ayala
Bryant Park 12:30 pm
• Dominic James Rhythm Machine 345 Park Avenue 12:30 pm
êSummerStage: Dianne Reeves
Wednesday, July 27
Queensbridge Park 7 pm
êJazz in July—Take The A Train: Billy Strayhorn At 100: Bill Charlap, Renee Rosnes,
Carol Sloane, Jeremy Pelt, Steve Wilson, Jimmy Greene, Peter Washington,
Kenny Washington 92nd Street Y 8 pm $25-52
êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen
Bar Lunàtico 8:30, 10 pm $10
êEric Revis Quintet with Ken Vandermark, Kris Davis, Chad Taylor
The Jazz Gallery 7:30, 9:30 pm $22
êAlbert “Tootie” Heath, Ethan Iverson, Ben Street
Mezzrow 8 pm $20
• Jerome Sabbagh/Greg Tuohey Group with Orlando Le Fleming, Kush Abadey;
Stafford Hunter Quintet with Todd Bashore, Victor Gould, Alexander Claffy, Vince Ector;
Sanah Kadoura Smalls 7:30, 10:30 pm 1 am $20
• Raphael D’lugoff Trio +1; Ned Goold Jam
Fat Cat 7 pm 12:30 am
êThe Pavones: Jessica Pavone, Michaël Attias, Matt Bauder, Ben Holmes,
Brandon Seabrook, Harris Eisenstadt; Army of Strangers: Jessica Pavone,
Brandon Seabrook, Jonti Siman, Harris Eisenstadt
The Stone 8, 10 pm $20
êFreddie Hendrix Quintet Birthday Celebration with Stacy Dillard, Brandon McCune,
Chris Berger, Chris Beck Smoke 7, 9, 10:30 pm $12
• Christine Tobin Quartet with Phil Robson, John Hébert
Jazz at Kitano 8, 10 pm $17
• Smooth Cruise: Norman Brown, Kirk Whalum, Rick Braun
Pier 40 6:30, 9:30 pm $45
• Matt Munisteri and his Syncopatin’ Detonators
Brooklyn Public Library Central Branch 6:30 pm
• Ross Kratter Orchestra with Robby Mack, Brian Schatz, Bob Franceschini,
Xavier Del Castillo, Larry Bustamante, Charles Clausen, Enrique Sanchez, Aaron Bahr,
Paul Tafoya, Eric Iannucci, Ric Becker, Karl Lyden, Peter Isaac, Quintin Zoto,
Will Armstrong, Jerrold Kavanagh, Megan Tischhauser
Club Bonafide 7:30 pm $15
• Patrick Breiner Group with Daniel Carter, Chris Hoffman, Adam Hopkins, Billy Mintz;
Maestro Day: Joe Moffett, Sam Weinberg, Henry Fraser, Connor Baker
Rye 9, 10:15 pm
• Michael Garin; Avalon Jazz Band The Django at The Roxy Hotel 8, 10:30 pm
• Raquel Rivera
Tomi Jazz 8 pm
êWilliam Parker’s In Order To Survive Extended Breath Ensemble with Rob Brown,
Kidd Jordan, James Brandon Lewis, Steve Swell, Dave Burrell, Hamid Drake
Dizzy’s Club 7:30, 9:30 pm $35
êChristian Sands Quartet with Gilad Hekselman, Yasushi Nakamara, Marcus Baylor
Dizzy’s Club 11:30 pm $5
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Nicholas Payton Quintet with Anthony Wonsey, Vicente Archer, Joe Dyson,
Daniel Sadownick Birdland 8:30, 11 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
êEdmar Castañeda World Ensemble with Yosvany Terry, Marshall Gilkes, Itai Kriss,
Andrea Tierra, Grégoire Maret, Pablo Vergara, Dave Silliman, Rodrigo Villalon
Jazz Standard 7:30, 9:30 pm $30
• Hilary Kole Saint Peter’s 1 pm $10
• Isaac ben Ayala
Bryant Park 12:30 pm
Thursday, July 28
êJazz in July—American Rhapsody: Gershwin, Arlen & The Blues: Bill Charlap,
Dick Hyman, Randy Sandke, Ken Peplowski, Jon Gordon, Michael Dease,
Peter Washington, Kenny Washington
92nd Street Y 8 pm $25-52
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, David Wong,
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40
êChristian Sands Quartet with Gilad Hekselman, Yasushi Nakamara, Marcus Baylor
Dizzy’s Club 11:30 pm $10
• Celebrate Brooklyn: Gregory Porter; Marcus Strickland Twi-Life
Prospect Park Bandshell 7:30 pm
êJulian Lage Trio with Scott Colley, Kenny Wollesen
Jazz Standard 7:30, 9:30 pm $25
êJeff Williams Group with Duane Eubanks, John O’Gallagher, Phil Robson,
Leo Genovese, John Hébert, Solange Prat; Carlos Abadie Quintet; Tony Hewitt
Smalls 7:30, 10:30 pm 1 am $20
• Mary Halvorson/Jessica Pavone The Stone 10 pm $20
• Maurice Hines Tappin’ Thru Life with DIVA Jazz Orchestra;
Michael Mwenso and The Shakes Damrosch Park 7:30 pm
• Jon Cowherd’s Mercy Project Bar Lunàtico 8:30, 10 pm $10
• Lynette Washington/Dennis Bell Jazz NY
Jazz at Kitano 8, 10 pm $17
• Ivo Perelman, Joe Morris, Gerald Cleaver; Fabio Trio: Jonah Rosenberg,
James Ilgenfritz, Kevin Shea Manhattan Inn 10 pm $10
• Fabian Almazan/Camila Meza Cornelia Street Café 8:30, 10 pm $10
• Jeff Miles Trio with Ed Perez, Rodrigo Recabarren; Alex Goodman Trio with
Rick Rosato, Jimmy MacBride Bar Next Door 6:30, 8:30, 10:30 pm $12
• George Burton and Excerpts with Chris Hemmingway, Jason Palmer, Edward Perez,
Corey Rawls Zinc Bar 9 pm $15
• Emi Takada Tomi Jazz 9 pm $10
• Alan Rosenthal Duo
Cleopatra’s Needle 7 pm
• Myriam Phiro Trio Cavatappo Grill 9 pm $8
êEric Revis Quintet with Ken Vandermark, Kris Davis, Chad Taylor
The Jazz Gallery 7:30, 9:30 pm $22
êSpike Wilner solo; Albert “Tootie” Heath, Ethan Iverson, Ben Street
Mezzrow 8, 9:30 pm $20
êFreddie Hendrix Quintet Birthday Celebration with Bruce Williams, Brandon McCune,
Chris Berger, Chris Beck Smoke 7, 9, 10:30 pm $12
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Rose Kingsley/Bob Corwin Birdland 6 pm $25
• Nicholas Payton Quintet with Anthony Wonsey, Vicente Archer, Joe Dyson,
Daniel Sadownick Birdland 8:30, 11 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
• Joe McDonough
Silvana 6 pm
• Isaac ben Ayala
Bryant Park 12:30 pm
• We Four
Citigroup Center Plaza 12:30 pm
êLadies Sing the Blues: Catherine Russell, Charenee Wade, Brianna Thomas
Metrotech Commons 12 pm
C H I C K
CO R E A
Birthday
Celebration
Oct 19 - Dec 11
80 shows • 60 musicians • 15 lineups • 8 weeks
FEATURING JOHN MCLAUGHLIN,
MIKE STERN, GARY BURTON,
DAVE WECKL, MARCUS MILLER,
JOHN PATITUCCI, KENNY GARRETT,
EDDIE GOMEZ, VICTOR WOOTEN,
WALLACE RONEY, STEVE GADD
ERIC MARIENTHAL,BRIAN BLADE,
FRANK GAMBALE, HUBERT LAWS,
LENNY WHITE, RAVI COLTRANE,
MARCUS GILMORE, AVISHAI COHEN,
TRONDHEIM JAZZ ORCHESTRA,
HARLEM STRING QUARTET,
& MORE
131 w. 3rd st. new york city 212. 475. 8592 www.bluenotejazz.com
THE NEW YORK CITY JAZZ RECORD | JULY 2016 43

Friday, July 29
• Celebrate Brooklyn: Angelique Kidjo’s Celia Cruz Tribute with Pedrito Martinez
Prospect Park Bandshell 7:30 pm
êWayne Escoffery Quartet with Mark Whitfield, Yasushi Nakamura, Billy Hart
Smoke 7, 9, 10:30 pm $38
• Hush Point: Jeremy Udden, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti
Cornelia Street Café 9, 10:30 pm $10
• Ehud Asherie solo; Alan Broadbent; Johnny O’Neal
Mezzrow 8, 9:30 pm 12:30 am $20
• Larry Ham/Woody Witt Quartet with Lee Hudson, Tom Melito;
John Fedchock NY Sextet with Scott Wendholt, Walt Weiskopf, Allen Farnham,
Dave Finck, Eric Halvorson Smalls 7:30, 10:30 pm $20
• Point of Departure
Fat Cat 10:30 pm
êDavid Virelles Trio with John Benítez, Keysel Jimenez
The Jazz Gallery 7:30, 9:30 pm $22
• Jessica Pavone solo; Mary Halvorson/Jessica Pavone
The Stone 8, 10 pm $20
• Kyoko Oyobe Quartet with Steve Wilson, Michael O’Brien, Dave King
Jazz at Kitano 8, 10 pm $32
• Eva Novoa Ditmas Quartet Ibeam Brooklyn 8:30 pm $15
• Phil Robson Trio with Joseph Lepore, Tom Rainey
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Raye 6
Minton’s 7 pm
• Adison Evans Quintet; Sergej Avanesov 4tet
Club Bonafide 7:30, 9:30, 11 pm $10-15
• Steven Feifke Trio
The Roxy Lounge at The Roxy Hotel 7 pm
• Brian Newman
The Django at The Roxy Hotel 10:30 pm
• Jazz Flavas with Frankie Keane, Stix Bones and The Bone Squad
Metropolitan Room 9 pm $20
• Eric Plaks Tomi Jazz 9 pm $10
• Ai Murakami Trio
Cleopatra’s Needle 8 pm
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, David Wong,
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40
• ELEW Dizzy’s Club 11:30 pm $10
êJulian Lage Trio with Scott Colley, Kenny Wollesen
Jazz Standard 7:30, 9:30 pm $30
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Nicholas Payton Quintet with Anthony Wonsey, Vicente Archer, Joe Dyson,
Daniel Sadownick Birdland 8:30, 11 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
• Isaac ben Ayala
Bryant Park 12:30 pm
Saturday, July 30
êSheila Jordan/Cameron Brown Cornelia Street Café 9, 10:30 pm $10
êHarry Allen Quartet Jazz at Kitano 8, 10 pm $32
êKate McGarry and What To Wear In The Dark with Keith Ganz, Sean Smith, Allison Miller
Jazz Standard 7:30, 9:30 pm $30
• SummerStage: Stefanie Batten Bland with Burnt Sugar the Arkestra Chamber
Queensbridge Park 7 pm
• Etienne Charles S.O.B.’s 8, 10 pm $15
• Songs Of Synastry And Solitude: Julianne Carney, Jeanann Dara, Eric Allen,
Andrew Roitstein; Hope Dawson is Missing: Julianne Carney, Jeanann Dara,
Hamilton Berry, Andrew Roitstein, Emily Manzo, Ava Mendoza, Tomas Fujiwara
The Stone 8, 10 pm $20
• Chloé Perrier with Aki Ishiguro, Rodrigo Recabarren; Matt Geraghty Project
Club Bonafide 7:30, 9:30 pm $10-15
• Ben Eunson Trio with Alexander Claffy, Kush Abadey
Bar Next Door 7:30, 9:30, 11:30 pm $12
• John Iannuzzi Trio; Ken Fowser Quintet
The Django at The Roxy Hotel 8, 10:30 pm
• Yuko Ito; Yusuke Seki Tomi Jazz 8, 11 pm $10
• Kayo Hiraki Trio
Cleopatra’s Needle 8 pm
êWayne Escoffery Quartet with Mark Whitfield, Yasushi Nakamura, Billy Hart
Smoke 7, 9, 10:30 pm $38
• Spike Wilner; Alan Broadbent; Anthony Wonsey
Mezzrow 8, 9:30 pm 12:30 am $20
• Richie Vitale Quartet with Frank Basile, Lou Rainone, Paul Gill, Clifford Barbaro;
John Fedchock NY Sextet with Scott Wendholt, Walt Weiskopf, Allen Farnham,
Dave Finck, Eric Halvorson; Brooklyn Circle
Smalls 7:30, 10:30 pm 1 am $20
êDavid Virelles Trio with John Benítez, Keysel Jimenez
The Jazz Gallery 7:30, 9:30 pm $22
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, David Wong,
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $45
• ELEW Dizzy’s Club 11:30 pm $20
• Barry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Nicholas Payton Quintet with Anthony Wonsey, Vicente Archer, Joe Dyson,
Daniel Sadownick Birdland 8:30, 11 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
• PlayOn6: Jonna Majoko, Gibron Lockhart, Chris Coles, Paul Cornish, Tyrone Allen III,
Nolan Byrd Blue Note 12:30 am $10
Sunday, July 31
• Josh Evans Quintet with Keith Loftis, David Bryant, Rahsaan Carter, Kush Abadey
MoMA Sculpture Garden 8 pm
• Joanna Walfisch National Sawdust 7 pm $25
• Amnon Freidlin, Evan Lipson, Jessica Pavone; Nora Krohn/Nick Revel
The Stone 8, 10 pm $20
• Sarah Bernstein Quartet Cornelia Street Café 6 pm $10
• Julie Benko with Andy Warren, Kenny Pexton, Jason Yeager, Walter Harris,
Danny Weller, Jay Sawyer Cornelia Street Café 8:30, 10 pm $10
• Musicianer: Josh Sinton, Trevor Dunn, Chad Taylor; SAVAK
Threes Brewing 9, 10 pm $10
• Grassroots Jazz Effort: Adam Kolker, Jerome Sabbagh, Jeremy Stratton,
George Schuller
Grassroots Tavern 9 pm
• Pasquale Grasso solo Mezzrow 8 pm $20
• George Gee Swing Orchestra; Johnny O’Neal Trio; Hillel Salem
Smalls 4:30, 7:30 pm 1 am $20
• Ehud Asherie; Brandon Lewis/Renee Cruz Jam
Fat Cat 6 pm 1 am
• Kengo Yamada
Tomi Jazz 8 pm
êKate McGarry and What To Wear In The Dark with Keith Ganz, Sean Smith, Allison Miller
Jazz Standard 7:30, 9:30 pm $30
êWayne Escoffery Quartet with Mark Whitfield, Yasushi Nakamura, Carl Allen
Smoke 7, 9, 10:30 pm $38
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, David Wong,
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $35
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $30
• Hiromi The Trio Project with Anthony Jackson, Simon Phillips
Blue Note 8, 10:30 pm $45
êSummerStage: Marc Cary The Harlem Sessions; Joseph Webb Dancing Buddhas;
WBGO Kids Jazz with Brianna Thomas and The Jazz Travelers
Queensbridge Park 7 pm
• Alan Bjorkland, Kim Cass, Sam Ospovat
Downtown Music Gallery 6 pm
• Melissa Stylianou
Saint Peter’s 5 pm
• Peter Beets Blue Note 11:30 am 1:30 pm $35
• Roz Corral Trio with Yotam Silberstein, Santi Debriano
North Square Lounge 12:30, 2 pm
• The Cat Came Back: April Armstrong with Mario Sprouse, Napoleon Revels-Bey
Flushing Town Hall 10:30 am $13
REGULAR ENGAGEMENTS
MONDAY
• Richard Clements and guests 11th Street Bar 9 pm
• Orrin Evans Captain Black Band Smoke 7, 9 pm $9
• 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
• 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)
• Joel Forrester solo
Stop Time 7 pm
• Loston Harris
Café Carlyle 9:30 pm $20 (ALSO WED-SAT)
• Art Hirahara Trio
Arturo’s 8 pm
• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm
• 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
• Bill Todd Open Jam Club Bonafide 9 pm $10
• Diego Voglino Jam Session The Fifth Estate 10 pm
• The Westet
Analogue 7:30 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
• 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 Ginny’s Supper Club 10:30 pm $10
• Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5
• Harlem Renaissance Orchestra Swing 46 8:30 pm
• 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
• Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 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
• 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
• 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
• Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am)
• 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
• Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10
• 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
• Stefano Doglioni Trio Analogue 7:30 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
• Joel Forrester solo
Grace Gospel Church 11 am
• 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
• Brandee Younger; Jackie Gage Minton’s 11 am 6 pm
• Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm
44 JULY 2016 | THE NEW YORK CITY JAZZ RECORD

CLUB DIRECTORY
• 345 Park Avenue Subway: 6 to 51st Street; E to Lexington Avenue
• 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
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 92nd Street Y Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
• ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
• Alphaville 140 Wilson Avenue, Brooklyn
(347-508-5006) Subway: M to Central Avenue www.alphavillebrooklyn.com
• 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
• 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 Archway Water Street Brooklyn Subway: F to York Street
www.dumbo.is
• 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
• B.B. King’s Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square
www.bbkingblues.com
• 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 Lunàtico 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
• Battery Park Plaza Subway: 4 or 5 to Bowling Green
• 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
• 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
• Boudoir 135 Atlantic Avenue
Subway: 4, 5 to Borough Hall www.boudoirbk.com
• Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
• Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Noctambulo at Pangea 178 Second Avenue
(212-995-0900) Subway: L to First Avenue www.pangeanyc.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
• Cavatappo Grill 1712 First Avenue
(212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com
• Central Park Ladies’ Pavilion
(212-310-6600) Subway: B, C to 72nd Street www.centralparknyc.org
• Central Park SummerStage, Rumsey Playfield 72nd Street and Fifth Avenue
(212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org
• Charley O’s 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
• Citigroup Center Plaza 53rd Street and Lexington Avenue
Subway: 6 to 51st 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
• Cornelia Street Café 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com
• Crotona Park 1591 Fulton Avenue, Bronx
(212) 639-9675 Subway: 2, 5 to 174th Street
• Damrosch Park at Lincoln Center Broadway and 62nd Street
Subway: 1 to 66th Street
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350)
Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• 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
• Duet 37 Barrow Street (212-255-5416)
Subway: 1 to Christopher Street www.duetny.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.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
• Flushing Meadows Corona Park Subway: 7 to Willets Point/Shea Stadium
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• The Graham 190 Graham Ave (718-388-4682)
Subway: L to Montrose Avenue www.thegrahambrooklyn.com
• Grassroots Tavern 20 Saint Marks Place
(212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street
• Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
• Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
• Highline Ballroom 431 W. 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
• Hunts Point Riverside Ampitheater Lafayette Avenue, Bronx
(718-860-5544) Subway: 6 to Hunts Point Avenue www.nycgovparks.org
• 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
• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling
Subway: 5 to Sterling Street www.plgarts.org
• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
• 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
(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
• Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
• 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
• The Lively 26 Ninth Avenue
(212-837-4700 Subway: A, C, E, L to 14th Street www.thelivelyspot.com
• Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• Louis Armstrong House 34-56 107th Street, Queens
(718-478-8274) Subway: 7 to 11th Street www.satchmo.net
• L’ybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
• Manhattan Inn 632 Manhattan Avenue
(718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com
• Metropolitan Opera Guild 70 Lincoln Center Plaza
(212-769-7000) Subway: 1 to 66th Street www.metguild.org
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• Metrotech Commons corner of Flatbush and Myrtle Avenues
(718-488-8200) Subway: A, C, F to Jay Street/Borough Hall
• Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street
www.mezzrow.com
• Minton’s 206 West 118th Street (between St. Nicholas Avenue and Adam
Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com
• MoMA Sculpture Garden 11 West 53rd Street
(212-708-9400) Subway: E, V to Fifth Avenue/53rd Street www.moma.org
• Mona’s 224 Avenue B Subway: L to First Avenue
• Muchmore’s 2 Havemeyer Street
(718-576-3222) Subway: L to Bedford Avenue
• The Music Hall at MP 470 Driggs Avenue
(718-387-4001) Subway: L to Bedford Avenue www.thehallbrooklyn.com
• NYC Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
• National Sawdust 80 N. 6th Street
(646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org
• Neighborhood Church of Greenwich Village 269 Bleecker Street
(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street
• 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
• Opia 130 E. 57th Street
(212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com
• 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
• Pier 40 353 West Street (212-627-2020) Subway: 1 to Houston Street
• 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 Park Bandshell Subway: F to Prospect Park
• Prospect Range 1226 Prospect Avenue
Subway: F to Fort Hamilton Parkway www.prospectrange.com
• Queensbridge Park 21st Street, Bridge Plaza, Vernon Blvd. and East River
Subway: 7 to Vernon/Jackson Blvds.
• Rendall Memorial Presbyterian Church 59 W. 137th Street #61
(212-283-2928) Subway: 2, 3 to 135th Street
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
• The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com
• Rubin Museum 150 West 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.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
• S.O.B.’s 204 Varick Street
(212-243-4940) Subway: 1 to Varick Street www.sobs.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
• Scholes Street Studio 375 Lorimer Street
(718-964-8763) Subway: L to Lorimer Street; G to Broadway
www.scholesstreetstudio.com
• Settepani 196 Lenox Avenue at 120th Street
(917-492-4806) Subway: 2, 3 to 116th Street www.settepani.com
• 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 www.silvana-nyc.com
• 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
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue
• 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
• Triad Theater 158 West 72nd Street, 2nd floor
(212-362-2590) Subway: 1, 2, 3 to 72nd Street www.triadnyc.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
• Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• Wagner Park at Battery Park Subway: 4 or 5 to Bowling Green
• 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 Waterfront Barge Museum 290 Conover Street at Pier 44
Bus: B61 or B57
• Wave Hill West 249th Street and Independence Avenue, Bronx
• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
• Woodlawn Cemetery 517 E 233rd Street
(718-920-0500) Subway: 2, 5 to 219th Street
www.thewoodlawncemetery.org
• Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
• Zürcher Gallery 33 Bleecker Street (212-777-0790)
Subway: 6 to Bleeker Street www.galeriezurcher.com
THE NEW YORK CITY JAZZ RECORD | JULY 2016 45

www.cuneiformrecords.com
REZ ABBASI & JUNCTION
Behind the Vibration
A modern, electric jazz album from musicians
employing a breadth of influences from jazz & beyond
as well as current technologies.
THE CLAUDIA QUINTET
Super Petite
Their eighth CD packs the wit and virtuosity
listeners expect from this critically-acclaimed, proudly
eccentric band, into shorter time frames.
I.P.A.
I Just Did Say Something
A powerhouse Scandinavian quintet exploring
the jagged contours of form and freedom, featuring
members of Atomic, The Thing and Motif.
(INTERVIEW CONTINUED FROM PAGE 6)
recommended that Norman [Granz] hire Jimmy. …The
terms were that I would go along because somebody
had to keep track of Jimmy. I could get Jimmy straight
enough to go onstage. Almost every night I was back
there making sure Ella had everything she wanted. So
we would talk. We’d sit together in an airport waiting
for a plane. I remember this very distinctly because it’s
one of my favorite memories ever. I said Ella, is it
possible after all these years you have a favorite song.
And she said, oh, yes, and without hesitation she
started to sing the verse to “Something to Live For”.
And I started singing it with her. She said, “do you
know it?” And I said yes so we sang it together. In that
VIP lounge, singing “Something to Live For” with Ella
Fitzgerald. I will never forget that as long as I live.
TNYCJR: Carmen McRae is someone else you became
friends with and who you greatly admired.
CS: She could get into a song and very carefully pick
out the essence of a song and present it whole in her
own way and make you stop in your tracks. Shirley
Horn could do it too. But Carmen, particularly with a
ballad, made you understand the essence of the song
and with absolute integrity for the composer. Shirley
used that trick of space much more than Carmen did.
Even a song like Jimmy Webb’s “Didn’t We”. Carmen
was at the top of her game on that recording. …I don’t
think I have heard anybody, anybody sing a ballad like
she could.
TNYCJR: You played the tapes of As Time Goes By, a
newly recorded album, when you stayed with her in
Los Angeles on your way home from Japan in 1982.
CS: I got off a plane exhausted. I called Carmen and
she said come over here until you get some rest. …And
I played the stuff for her. After I had played one or two
tracks and I thought they were at least acceptable, I got
up to stop the machine. And she said, “I’ll say when
I don’t want to hear anymore. Just sit down.” She
listened to the rest of it and when it was done she said,
“Carol, you have a perfect voice.” (laughter) Now that
is forever in my brain. This is the woman who was
quoted as saying she would jump off of the Empire
State Building for Billie Holiday. Well, I would have
done the same thing for Carmen. So for her to say that
to me was just another one of those things you keep
inside yourself forever.
TNYCJR: Bill Charlap has not only been a great musical
partner playing for you, but also an influential friend.
• Carol Sloane—Sophisticated Lady
(Trio-Audiophile, 1977)
• Carol Sloane—Love You Madly (Contemporary, 1988)
• Carol Sloane—The Songs Carmen Sang (Concord, 1995)
• Carol Sloane—I Never Went Away (HighNote, 2001)
• Carol Sloane—Dearest Duke (Arbors, 2007)
(LABEL CONTINUED FROM PAGE 11)
possible. “That’s kind of the philosophy of the label.
I believe that music should be a snapshot in time. So
it’s really capturing the emotion of the instrumentalists
and the writers and the vocalists or whatever at that
moment and I feel unfortunately that if you spend a
year doing overdubs it can’t be natural. I think a lot of
what we put out people like because hopefully we’re
capturing that feeling,” explains Sheinman.
Sharing the communal experience of listening to
music is also an important factor. Gearbox hosts
gatherings where they invite people to their studio to
listen to their collection of Blue Note records. The
gatherings are modeled after the “Jazz Kissaten” cafes
that were popular in Japan in the ‘60s where people
would gather in cafés and listen to music. “We invite
12 people and serve up whiskey and nobody talks and
we sort of play out,” explains Sheinman.
Ultimately, Sheinman would like to see Gearbox
introducing jazz to a younger audience in the most
organic way possible. “What I hope to be doing is
bringing jazz to a younger audience but without
manipulating the jazz.” With 10 releases scheduled for
2016, Sheinman and Co. show no plans of slowing
down. v
For more information, visit gearboxrecords.com
Online and in Print
THUMBSCREW
[Mary Halvorson, Michael Formanek, Tomas Fujiwara]
Convallaria
The work of a true collective with all three players
contributing compositions and taking equal
responsibility for shaping the music.
Before you buy, listen at
cuneiformrecords.bandcamp.com
Buy these and thousands of other
interesting releases at our online store:
waysidemusic.com
46 JULY 2016 | THE NEW YORK CITY JAZZ RECORD
CS: In the past few years I had a voluntary withdrawal.
I got kind of fed up with listening to singers and people
being praised as the next this or that and wanting to
shake them by the shoulders and say you’re not doing
it right. THAT’S NOT IT! If this is what the world
really accepts as jazz singing, everybody has lost their
brains and I’m not going to be a part of it. …And I had
the focus of taking care of my husband. But now with
this wonderful invitation from Bill to sing some of the
great music of Strayhorn, I’m hoping it will be a little
springboard to get me back into some serious
competition. Bill in particular reminded me that my sin
is that I have neglected the gift I was given and to
neglect that gift is the greatest sin. …He has shaken me
to a new kind of clarity of vision and confidence. v
For more information, visit carolsloane.com. Sloane is at
92nd Street Y’s Jazz in July Jul. 27th as part of Take The A
Train: Billy Strayhorn At 100. See Calendar.
Recommended Listening:
• Carol Sloane—Out of the Blue
(Columbia-Koch Jazz, 1961)
Angel Foot - Cadence Jazz
with Julian Priester, Bernard Purdie,
Andre St. James
Solo - CIMP Records
Stix and Stones - SLAM
with Bernard Purdie, Marvin Bugalu
Smith and others
Primitive Arkestra – SLAM
with Julian Priester, Roy Campbell,
Steve Swell, Adam Lane and others.
ulian Priester, Bernard Purdie, Andre
St. James
Solo - CIMP Records
Stix and Stones - SLAM
with Bernard Purdie, Marvin Bugalu

(MOERS CONTINUED FROM PAGE 13)
Jazz Orchestra, a highly skilled but fairly conventional
big band, was followed by an intimate duet by
Slovenian pianist Kaja Draksler and Portuguese
trumpeter Susana Santos Silva, which blended
compositional control with creative soundscaping.
Another Slovenian, Maja Osojnik, gave a shouted (as
opposed to spoken) word performance over a barrage
of joystick-controlled, high-energy/lo-fi electronic
mayhem, making eye-to-eye, hit-for-hit contact with
drummer Patrick Wurzwallner. Boston singer/guitarist
Jeremy Flower’s melancholy song cycle “The Real Me”
included Carla Kihlstedt on vocals, backed by a
chamber orchestra.
The night’s brightest moments came during Cuban
pianist Harold López-Nussa’s trio set, featuring his
brother Ruy Adrian on drumkit and cajón, both
charismatic performers who connected well with the
audience. Vocalist/guitarist Cassandra Wilson and the
trio Harriet Tubman (guitarist Brandon Ross, bassist
Melvin Gibbs and drummer J. T. Lewis) ended the
show with a medley of blues, psychedelia and On the
Corner-era Miles—with mixed results, if the
underwhelmed audience response was any indication.
Sunday was extraordinary. Roots songster Becca
Stevens and vocalist/multi-instrumentalist Jacob
Collier shared a morning set at the music school that
showcased the latter’s innovative harmony singing,
improvised in four- (and more) parts on his Novation
synthesizer. On the main stage, Moers-born Tim Isfort’s
“Zapptet”, featuring a rowdy four-alto saxophone choir
(Silke Eberhard, Jan Klare, Angelika Niescier, Hayden
Chisholm, the latter pair former Improvisers-in-
Residence), roused the crowd with seamless soli
sections and blasting freebop and funk.
The Liz (Lizes Kosack, Allbee and Erel; the first
hidden in a full-body jackal costume, the last in drag)
staged an elaborate performance art piece based on
Egyptian mythology, including a pyramid illuminated
with home movies and a giant white dinosaur/bird
puppet with eerie lightbulb eyes lip-syncing Kosack’s
avant-recitative. Medusa Beats, a piano trio led by
Köln-based drummer Jonas Burgwinkel, gave a refined
yet adventurous set. While performing from his ECM
album Mbókò, Cuban pianist David Virelles ran rampant
over the steady pulse provided by bassist Thomas
Morgan, drummer Eric McPherson and percussionist
Román Díaz, delivering dazzling high-speed runs and
nuanced ornaments, encoring with Díaz on a
magnificent duet. Amazingly, the energy cranked up a
notch further when Warped Dreamer, a half-Norwegian,
half-Belgian quartet of trumpeter/electronicist Arve
Henriksen, guitarist Stian Westerhus, keyboardist Jozef
Dumoulin and drummer Teun Verbruggen, selfdetonated
onstage in a bombastic free blow.
Two Brooklyn bands concluded the night: piano
trio Dawn of Midi changed it up with a highly
disciplined and restrained set—a lesson that less can be
more—followed by Moon Hooch, a frenetic two-tenor
saxophone trio (one doubling on contrabass clarinet)
with shirtless drummer James Muschler, all plugged in
to a relentless click-track beat, playing what might be
called ‘house jazz’.
The festival wound down Monday with more
morning sessions at the music school and, in the big
hall, the Lisbon Underground Music Ensemble, a
raucous big band featuring clarinetist Paulo Gaspar,
German-Finnish keyboard-percussion duo Hauschka
& Kosminen and U.S./German/Swedish improvising
quartet Amok Amor, to end with a second performance
by Stevens and Collier.
If this year was any indication, the future holds
many more political, economic and artistic challenges
for the Moers Festival. Far less predictable is the music
that will be played there. v
For more information, visit moers-festival.de
(FIMAV CONTINUED FROM PAGE 13)
The trio Microtub (tuba players Robin Hayward,
Peder Simonsen and Martin Taxt) also used sculpture
as a focal point in its performance, but to different
effect. The group’s work centered on the expanded
capabilities of the microtonal tuba, a brilliant oddity
that composer/leader Hayward created in 2009 to
explore the full spectrum of tonality on the burly
instrument. Together the three tubas, positioned in a
circle around a geometric construction, created deep
consonances that dissolved seamlessly into palpable,
oscillating dissonances—hard work on a brass
instrument. But the result was a subtle, nuanced
performance, full of oceanic movement despite the
seeming stillness of the piece.
For his three sets at the center of the festival,
composer John Zorn, a regular at FIMAV, culled
selections from his “Bagatelles”, 300 short compositions
with themes alternating between haunting/melodic
and frenetic/disjointed. Zorn asserts that any small
group can play these pieces and to prove it he cast his
musicians from all corners of the musical establishment:
concert pianist Sylvie Courvoisier and violinist Mark
Feldman; young rock group Trigger (guitarist Will
Green, bassist Simon Hanes, drummer Aaron
Edgcomb); acoustic guitarists Julian Lage and Gyan
Riley; and jazz guitarists Mary Halvorson and Marc
Ribot, for instance. To be sure, some renderings were
more interesting than others. But even the lesser pieces
only served to underscore Zorn’s clever approach to
deconstructing genre.
Inuit throat singer Tanya Tagaq reduces improvised
music to its most elemental. The ancient art of throat
singing requires dramatic shifts between vocal registers
and masterful command of vocalizing on the inhalation;
using this technique Tagaq conjures up unearthly
sounds from some other dimension—guttural screams,
disconcerting hisses, flute-like riffs. Backed by her trio
of drummer Jean Martin, violinist Jesse Zubot and
sound artist Peter Kadelbach and along with guitarist
Bernard Falaise, Tagaq on stage was at times terrifying
as she swept through the complete arc of human
emotion. In her willingness to reveal the fierce
howlings of her inner reality, however, Tagaq frees us
to acknowledge certain primal forces in ourselves. At
some point in our human history, her work reminds us,
the preternatural singer with the animal voice was the
avant garde artist for the tribe—to wit, the one who
envisions the future and holds it up for all to see. v
For more information, visit fimav.qc.ca
(NATTJAZZ CONTINUED FROM PAGE 13)
styles and ensemble sizes. Voice & Strings & Timpani
in Røkeriet, USF’s main hall, was a fascinating sextet of
paired (processed) vocalists, guitarists and drummers.
The effect was hypnotic and multi-layered, so much so
that the switch between folk, hippie drum circle, ‘60s
Santana, indie rock and industrial was remarkably
seamless, frosted by a live oil-based light show. Spirit
in the Dark in the club-like Sardinen was a tribute to
the long history of the organ trio (bass subbing for
guitar in this case) but suffered from a lack of crispness
and energy, two aspects crucial to the aforementioned
history. Then it was back upstairs to the USF Studio for
the Bjørn Alterhaugh Quintet, another bassist-led
ensemble featuring John Pål Inderberg, this time paired
in the frontline with the much younger alto saxophonist
Frode Nymo for a warm sound, exploring moody
originals in the spirit of late ‘50s postbop.
The night closed with shows contrasting in the
success of their ambition. Where the Trondheim Jazz
Orchestra featuring vocalist Maria Roggen at Røkeriet
didn’t excite with their arrangements of American jazz
classics, due primarily to Roggen’s stiff, almost-poppy
delivery rather than the work of the band, American
quartet Sexmob, celebrating their 20th anniversary and
the work of Italian composer Federico Fellini in
Sardinen, did their best to liven up the somewhatsedate
crowd with a patented mixture of bracing
groove, extemporaneous squawk and leader Steven
Bernstein’s Catskills humor.
Edvard Grieg, composer of Romantic-era classical
music, spent his life in Bergen, dying in 1907 at 64,
a giant despite his height of 5’1”. A short bus ride south
of Bergen center the next morning brought the Nutshell
program to his house/composing shack Troldhaugen.
As part of the museum on the site, an absolutely lovely
concert hall has been erected, with views of said shack
and the fjord behind it, hosting daily concerts and the
annual International Edvard Grieg Piano Competition.
Perhaps a bit far afield of Grieg’s own music, pianist
Svein Olav Herstad’s trio with bassist Magne
Thormodsæter and drummer Håkon Mjåset Johansen
presented originals ranging from a burner that nearly
toppled over itself to a soft pastoral march taking full
advantage of the hall’s acoustics. Later that afternoon,
back in Bergen, it was up the nearly-century-old Fløyen
funicular’s 26-degree grade for absolutely spectacular
overhead views of the city and the solo trumpet and
electronics of Hilde Marie Holsen. Veering away from
the more apocalyptic sounds of a Peter Evans or Nate
Wooley, Holsen focused on delicacy and attention to
detail, even interacting with the birdsongs coming in
through the window.
At Nattjazz that evening, there was an emphasis
on the larger jazz world with the Polish/Norwegian
collaboration of violinist Adam Baldych with pianist
Helge Lien’s trio and Norwegian fusion group Red
Kite, both at Sardinen, and Danish trio The Firebirds at
Studio USF, playing the music of Russian composer
Igor Stravinsky. The Baldych/Lien band was mystical,
mixing Nordic strains with frenetic gypsy dances,
Baldych using his virtuosity to spur the rest of the
group to higher and higher levels of intensity from the
softest of openings. Red Kite’s guitar-bass-keys-drums
format had a similar approach but overegged the
pudding, becoming plodding funk or overamped
garage rock, not really impressing with its
musicianship. Neither was an issue for The Firebirds,
another in a long line of eclectic projects for drummer
Stefan Pasborg. Alongside saxophonist Anders Banke
and keyboard player Anders Filipsen, The Firebirds
invigorated already invigorating music with
intelligence, bold deconstructions and impossibly high
energy married to nearly mechanical tightness.
The final day brought your correspondent’s trip
full circle, beginning with a Nutshell showcase of
vocalist Mari Kvien Brunvoll and guitarist Stein
Urheim, one-third of the first night’s Voice & Strings &
Timpani, at the former women’s poorhouse Stranges
Stiftelse. There was glacial movement to the duet,
helped along by an array of effects pedals and
flirtatious melodies appearing out of and then
disappearing back into the mist.
Another highlight of Nattjazz also came from
Denmark in the form of the Carsten Dahl Experience at
Sardinen, featuring the caustic alto saxophone of Jesper
Zeuthen soaring over Dahl’s piano, Nils Bo Davidsen’s
bass and Pasborg once more. The music was a series of
loose, shifting structures in lengthy expositions,
abstract post-Bill Evans in one tune, free skronk in
another. It was perfectly conceived and executed. The
same cannot be said about Hardanger fiddler Erlend
Apneseth’s trio with guitar and drums at Studio USF.
There were very pretty moments, cinematic elegance,
fjord-worthy resonance and narrative flow. But the
25-year-old Apneseth needs some time to sort out all of
these influences into something more cohesive.
I’ll close with a confession about my wonderful time
in Bergen. I ate whale. It was delicious. I am ashamed. v
For more information, visit nattjazz.no
THE NEW YORK CITY JAZZ RECORD | JULY 2016 47