September 2012 - The New York City Jazz Record

September 2012 | No. 125 

B O 

B 

B Y 

JERRY 

GRANELLI 

Your FREE Guide to the NYC Jazz Scene 

M CFERRIN STILL UNPREDICTABLE 

• 

DAN 

• 

RAHN 

• 

INNER 

• 

TEPFER BURTON CIRCLE 

nycjazzrecord.com 

IN MEMORIAM 

1932-2012 

LOL COXHILL 

EVENT 

CALENDAR

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6 

7 

9 

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42 

49 

51 

New York@Night 

Interview: Jerry Granelli 

by Ken Waxman 

Artist Feature: Dan Tepfer 

by Ken Dryden 

On The Cover: Bobby McFerrin 

by Alex Henderson 

Encore: Lest We Forget: 

Rahn Burton Wilbur Ware 

by Matthew Miller by Donald Elfman 

Megaphone VOXNews 

by Mario Pavone by Katie Bull 

Label Spotlight: Listen Up!: 

Inner Circle Douglas Detrick 

by Alex Henderson & Adam O’Farrill 

Festival Report: Heineken Jazzaldia • Newport • Jazz Em Agosto 

In Memorian: Lol Coxhill (1932-2012) 

CD Reviews: 

Event Calendar 

Club Directory 

Miscellany: In Memoriam • Birthdays • On This Day 

As you read this intro, you’re probably unconsciously humming “Don’t Worry, 

Be Happy”. Well, stop! Just as Louis Armstrong is hardly just “What a Wonderful 

World”, the career of vocalist Bobby McFerrin (On The Cover) encompasses far 

more than that 1988 hit song. His career as a virtuoso vocalist began in the early 

‘80s and, besides his many albums as a leader, includes work with Pharoah 

Sanders, Chick Corea, Weather Report, Jack DeJohnette, Dizzy Gillespie and 

Wynton Marsalis. McFerrin performs this month to kick off Jazz at Lincoln Center’s 

25th Anniversary Celebration. 

In sadder news, we take two pages to remember the life of saxophonist Lol 

Coxhill, who passed away Jul. 9th at age 79. We have a number of remembrances 

from his friends and colleagues, all who describe a rare musical spirit. 

Drummer Jerry Granelli (Interview) may have gotten his start back in the ‘60s 

with pianist Vince Guaraldi (he played on A Charlie Brown Christmas) but he has 

moved into much deeper territory in the decades since, releasing numerous 

albums as a leader and solo performer. Granelli plays solo and with a trio at 

I-Beam this month. Pianist Dan Tepfer (Artist Feature) recently released an album 

of variations on the famed Goldberg Variations, an ambitious project for this 

30-year-old but just another stop in what is shaping up to be an impressive jazz 

career. Tepfer plays those Goldberg Variations variations at Greenwich House Music 

School this month as well as takes part in a Bud Powell tribute at Birdland. 

We also have features on Rahn Burton (Encore), performing at Cleopatra’s 

Needle, bassist Wilbur Ware (Lest We Forget), fêted at Merkin Hall this month by 

an allstar lineup, a Megaphone from bassist/composer Mario Pavone (appearing 

with various groups at Cornelia Street Café), saxist Greg Osby’s imprint Inner 

Circle (Label Spotlight, with a roster festival at Cornelia Street Café) and 

ShapeShifter Lab plus Festival Reports from Spain, Portugal and Rhode Island. 

Don’t Worry, Be Happy...aw, shoot. 

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

On the cover: Bobby McFerrin (© Carol Friedman) 

Corrections: We are now able to provide the death date of drummer Gerryck King. He 

died Sep. 11th, 2011. Also regarding In Memoriam, pianist Fritz Pauer’s death age 

was inflated. He was 68, not 78. In last month’s Encore, we incorrectly implied that 

Music and Art High School in Harlem was a local school rather than a city-wide elite 

high school. And finally, the photo from the Vision Festival report was taken by Alan 

Nahigian. 

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

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

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

address below or email info@nycjazzrecord.com. 

The New York City Jazz Record 

www.nycjazzrecord.com / twitter: @nycjazzrecord 

Managing Editor: Laurence Donohue-Greene 

Editorial Director & Production Manager: Andrey Henkin 

Staff Writers 

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

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

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

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

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

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

Contributing Writers 

George Kanzler, Matthew Kassel, Mario Pavone, Sam Spokony 

Contributing Photographers 

Geoffrey Creighton, Eckhart Derschmidt, Gary Firstenberg, Scott Friedlander, 

Carol Friedman, Peter Gannushkin, Phillippe Marchin, Alan Nahigian, 

Nuno Martins, John Rogers, Jack Vartoogian, Lolo Vasco 

To Contact: 


116 Pinehurst Avenue, Ste. J41 

New York, NY 10033 

United States 

Laurence Donohue-Greene: ldgreene@nycjazzrecord.com 

Andrey Henkin: ahenkin@nycjazzrecord.com 

General Inquiries: info@nycjazzrecord.com 

Advertising: advertising@nycjazzrecord.com 

Editorial: editorial@nycjazzrecord.com 

Calendar: calendar@nycjazzrecord.com 

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

THE NEW YORK CITY JAZZ RECORD | September 2012 3

NEW YORK @ NIGHT 

SMOKE ® JAZZ&SUPPER CLUB 

4 September 2012 | THE NEW YORK CITY JAZZ RECORD 

Photo by Scott Friedlander 

An eight-week run of free concerts in the Whole Foods 

café at Union Square was more impressive in its 

programming than for its publicity efforts, but 

nevertheless the Wednesday evening shows enticed 

small cadres of the faithful for sets by Steve Berrios, 

Cooper-Moore, Bern Nix, Steve Swell and, on Aug. 

15th, William Parker’s Summer Songs with Charles 

Gayle and Marvin “Boogaloo” Smith. And if free jazz 

in the supermarket doesn’t make New Yorkers’ 

nonplussed heads turn, perhaps nothing would. The 

first set Parker’s trio played was standards, though 

through the voice of Gayle’s hard-bitten tenor they 

might not have been recognized as such by many in the 

room, most of whom were typing on smartphones and 

sipping lattes. They played an impassioned set 

nonetheless, working through “Lady Bird”, “I’ll 

Remember April” and other chestnuts and if it might 

have been a bit cacophonous for the environs, it was 

still a far cry from By Any Means, the Gayle/Parker 

trio with drummer Rashied Ali - not just for Smith’s 

lighter touch but the relative restraint the other two 

musicians displayed. Any such bets were off for their 

second set, though. Gayle let the young Buffalo 

saxophonist James Brandon Lewis open and on the 

small stage area listened intently before picking up his 

horn and laying an appreciative squall over the mix. 

And it was this, not the fractured standards, that got 

the room’s attention: gazes of disbelief to be sure but 

generally topping off smiles. - Kurt Gottschalk 

Jazz 2751 BROADWAY & Supper • NEW YORK Club 

• NY 10025 • 212 864 6662 • WWW.SMOKEJAZZ.COM 

Wednesday, Sept 5 

Nat Adderley Jr. Quartet 

Friday & Saturday Sept 7, 8 

George Coleman Quartet 

featuring Harold Mabern 

Wednesday, Sep 12 

Chris Bergson & Band 


Renee Rosnes Quartet 

Steve Nelson (v) • Peter Washington (b) • Lewis Nash (d) 


Ken Fowser Sextet 


Wallace Roney Quintet 

Ben Solomon (t s) • Victor Gould (p) • 

Darryl Johns (b) • Kush Aberdey (d) 


Pepper Adams Festival: 

Alexis Cole Quintet 

featuring Eric Alexander 


Mike Le Donne’s 5LIVE 

Eric Alexander (t s) • Jeremy Pelt (t) • John Webber (b) • 

Joe Farnsworth (d) 

Sundays Sept 2, 16 

Allan Harris Band 

Allan Harris (v & g) • Pascal LeBoeuf (p & k) • 

Leon Boykins (b) • Jake Goldbas (d) 

Sundays, Sept 9, 30 

SaRon Crenshaw 

George Papageorge (o) • Thomas Hutchings (s) • 

Richard Lee (t) • Cliff Smith (b) • Damon Due White (d) 

Mondays, Sept 10, 24 

Captain Black Big Band 

A 14-piece Jazz Orchestra conducted by Orrin Evans 

Mondays, Sept 3, 17 

The SMOKE Big Band 

A 16-piece Jazz Orchestra directed by Bill Mobley 

Tuesdays, Sept 4, 11, 18, 25 

The Groover Quartet 

Eric Alexander (a s) • tba (g) • Mike LeDonne (B3) • 

Joe Farnsworth (d) 

Thursdays Sept 6, 13, 20, 27 

Gregory Generet 

Saturdays & Sundays Jazz Brunch 

Vocalist Annette St. John 

and her Trio 

2751 Broadway • New York NY 10025 

212-864-6662 

www.smokejazz.com 

William Parker Trio @ Whole Foods Union Square 

Kimmo Pohjonen’s appearance at Lincoln Center 

Out-of-Doors on Aug. 3rd opened in familiar smallworld-after-all 

fashion with a procession by the 

Chinese Chio-Tian Folk Drums and Arts Group before 

the Finnish accordionist and his troupe of wrestlers 

took the Damrosch Park stage. Pohjonen’s thoroughly 

entertaining Accordion Wrestling was a good bit of 

scripted hilarity, but it was borne of a longstanding 

Finnish tradition of bouts with musical 

accompaniments. They pantomimed weighing in, they 

displayed moves, they waltzed, played like airplanes 

and flipped each other about, all to the booming live 

accordion soundtrack, dramatically processed and 

amplified by Helsinki Nelson. The carefully 

choreographed show elicited laughs but at the same 

time was an athletic and a musical display. Pohjonen is 

a new music hero in his homeland, having worked 

with the Kronos Quartet and King Crimson guitarist 

Trey Gunn. He is a striking figure, muscle-bound and 

mohawked and his commanding presence was a big 

part of the stageshow. He unstrapped his instrument at 

one point to assume the role of coach in a gravelly 

voice somewhere between Tom Waits and Donald 

Duck. Later he was quite literally caught up in the 

action as one wrestler lifted him and carried him off, 

his accordion falling over him with a moan. Ultimately 

the much maligned instrument was sacrificed, along 

with its player, in a ritual killing, closing the book on a 

most unusual chapter in musical history. (KG) 

There is something about Roulette’s newish Brooklyn 

space that inspires grandeur. Maybe not in the most 

traditional sense of the word but an actual stage under 

a lovely proscenium arch makes the music played there 

seem especially impressive. Clarinetist Jeremiah 

Cymerman, leading his amplified quartet (Aug. 9th), 

was a beneficiary of this effect. While his grouping of 

like-minded conceptualists - trumpeters Nate Wooley 

and Peter Evans and saxophonist/clarinetist Matt 

Bauder - would feel at home at the city’s more prosaic 

venues, at Roulette the 42-minute piece conceived by 

Cymerman had greater impact, if only because it was 

not constrained by low ceilings, close walls or 

inattentive listeners. The Amplified Quartet is just 

that, the natural timbres of brass and woodwinds 

transmogrified through various forms of manipulation: 

electronic processing; feedback and microphone 

placement; amplifier settings. Except for Cymerman 

presenting melodic fragments in a relatively 

straightforward manner, all the players trafficked in 

extended techniques and Bauder also integrated 

separate electronics. Heard on CD the sounds would 

have been unidentifiable (a factory during an air raid 

or small unmanned drones killing even smaller insects) 

but in person became logically impressive as 

concentrated gestures fed into the whorled whole. 

Most fascinating, however, was a 10-minute acoustic 

encore, more staccato and unadorned, a fanfare that 

seemed to come from a different group. - Andrey Henkin 

Jeremiah Cymerman Amplified Quartet @ Roulette 

In today’s ‘modern mainstream’ (Who came up with 

this awful term? Is there an ‘antiquated avant garde’? 

Actually, yes there is.) players take less from the 

compositional lessons of their forbears in lieu of 

individual instrumental prowess. Blowing sessions 

with interchangeable and forgettable melodies abound 

- as long as everyone can solo and solo often. Hammond 

organist Brian Charette - possibly modern mainstream, 

maybe more main modernstream - is a delightful 

exception, as evidenced by a set at Smalls (Aug. 9th) by 

his Sextette. Charette can burn as can his interesting 

frontline of Itai Kriss (flute), Seamus Blake and Mike 

DiRubbo (saxes) and John Ellis (bass clarinet) but his 

music is not about blowing for blowing’s sake. He 

writes interesting and unique compositions (a step 

above ‘tunes’), his currency inventive little twists, and 

works from behind the keys as an active arranger. 

Much of the music from the first set (slightly marred 

by a loud early evening crowd, which included many 

soon-to-be-playing musicians) came from Charette’s 

recent SteepleChase disc Music for Organ Sextette and 

displayed an advanced whimsy. So Charette is a good 

composer yet doesn’t take himself too seriously? Call 

the police (jazz or otherwise). “Fugue For Katheleen 

Anne/Ex Girlfriend Variations” and “The Elvira 

Pacifier”, classical and reggae respectively, were the 

highlights mainly because Charette’s sidemen believed 

in his music, playing their features with concision - 

run-scoring singles instead of solo home runs. (AH) 

Peter Gannushkin/DOWNTOWNMUSIC.NET

Photograph © 2012 Jack Vartoogian/FrontRowPhotos 

The World Yacht sailed into Pier 81 on Aug. 3rd, 

propelled not only by its engines, but also by the Hot 

Club of Detroit’s gypsy jazz sound. The quintet 

assembled gauntlet-style on the vessel’s makeshift 

stage, resembling the Django Reinhardt band model 

with guitarists Paul Brady and Evan Perri in the 

frontline. The former shined as lead instrumentalist 

throughout the evening, strumming full-bodied notes 

in unison with the latter’s rhythmic accentuation. 

Their spirited approach rejuvenated the set of classic 

boleros, reaching full-bodied harmony both in upbeat 

and reflective tunes. “Troublant Bolero” featured 

another poignant duo, with Andrew Bishop on bass 

clarinet and Shawn Conley on bass. Bishop’s buzzing 

notes lent the air an electronic feel - but once Conley 

joined, the vibe rippled into exhilarating territory. 

Accordionist Julien Labro stirred up a subtler dynamic 

in his “Chutzpah”. His acerbic notes sparked a rich 

contrast with Brady and Perri’s acoustic vibe. Bishop’s 

soprano sax solo, however, proved most intriguing of 

all. His slurs ranged from slow and methodical to 

assertive and blaring, emerging in a nearly free-form 

manner. On another band original, Labro paired with 

Bishop (on clarinet) in a shrill battle of musical wills, 

exuding an off-putting astringency that soon yielded 

to smooth cohesion. And as the yacht rolled into the 

pier after its two-hour voyage, the Hot Club of Detroit 

clinched the set with a final Reinhardt piece, coasting 

forward into vibrant horizons. - Sharon Mizrahi 

Hot Club of Detroit @ World Yacht 

The dusky-lit Zebulon might have found its soulmate 

on Aug. 15th in the likeness of Sam Mickens. This 

experimental pop-turned-jazz vocalist is more than 

just a singer - Mickens turns the vocal craft into a 

transcendent art-form. His raspy, soulful wail filled the 

dark confines of the hip Williamsburg venue, beckoning 

the ears to abandon all preoccupations and enter a 

trance-like stupor. His sound emerged as neither song 

nor instrument, slinking along like a forlorn romantic. 

Mickens’ band heightened the hypnotic appeal by 

crafting a slow yet chaotic scene of brass, percussion 

and electronics. Alexis Marcelo’s electric Rhodes 

harmonized with Mickens’ glimpses of falsetto, 

brought to full-fledged radiance by Jonathan Moritz’ 

pitchy tenor saxophone. Drummer Mike Pride stirred 

about cinematic fireworks during the vocalist’s more 

pensive moments, shrouding the sultry momentum 

with energetic nuances. Once Mickens returned to the 

microphone in one swift motion, bassist Peter Bitenc 

kept him company, seeping out a rich hum that 

resonated across the space. Throughout the evening, 

Mickens also hearkened back to his roots in the avantpop 

scene (Seattle’s The Dead Science), Marcelo 

drenching the air in an electronic haze, echoing 

Mickens’ vocals in a futuristic context. With every 

evocative inflection and rise in pitch, Mickens charmed 

the hipster audience with his mysterious mask of 

romance and darkness, morphing entropy and drear 

into sources of light. (SM) 

One of the most distinctively original voices in music 

today, Rebecca Martin transcends the boundaries 

between jazz vocalist and singer/songwriter in her 

performances, alternating original compositions with 

an eclectic mix of classic pieces from the standards 

songbook. At The Jazz Gallery (Aug. 3rd), with only 

the spare accompaniment of her own acoustic guitar 

and bassist Larry Grenadier, the individuality of her 

approach was all the more clear. From the opening 

strains of her “Don’t Mean A Thing At All”, Martin 

marked herself as a modern-day troubadour, a musical 

storyteller possessed of a daring willingness to bare 

her soul in the telling of tales fraught with both 

personal and universal meaning. Alternately exuding 

bold confidence and delicate fragility in tone, her 

renditions of “Willow Weep For Me”, “Brother, Can 

You Spare A Dime”, “Sophisticated Lady” and 

“Everything Happens To Me” were thoroughly fresh, 

full of new intrigue despite their well-known words 

while the originals “Beyond The Hillside”, “Some 

Other Place, Some Other Day”, “To Up And Go” and 

“God Is In The Details”, in spite of their newness, had 

an air of familiarity resulting from the convincing 

honesty of her delivery. Throughout the evening 

Grenadier was typically masterful, his supple chords 

accompanying sensitively while his lyrical 

introductions and solos offered refreshing contrast, 

right through the final notes of the closing “Born To Be 

Blue” and “The Sweetest Sounds”. - Russ Musto 

Rebecca Martin & Larry Grenadier @ The Jazz Gallery 

During the course of her 15 years on the New York 

music scene, Kendra Shank has progressively 

expanded the role of the improvising vocalist in a jazz 

ensemble. Taught in Seattle by Jay Clayton, introduced 

here by Shirley Horn and championed by Abbey 

Lincoln, she has blazed her own incomparable trail, 

demonstrating a deep respect for tradition while still 

daring to be different. At Jazz at Kitano (Aug. 15th), 

Shank served up a courageous set, leading her 

longstanding quartet of Frank Kimbrough at the piano, 

Dean Johnson on bass and Tony Moreno on drums, 

through a kaleidoscopic assortment of music old and 

new. Beginning with a dramatic intoning of her poem 

“Reflections In Blue”, which climaxed in an unusually 

free reading of Irving Berlin’s “Blue Skies”, the singer 

embarked on an intrepid journey filled with rewarding 

surprises. On two selections from the Norma Winstone 

songbook, “Some Time Ago” and “Songs and 

Lullabies”, she exhibited a virtuosic range while on 

Jeff Johnson’s ironic “I’m Never Sure” she affected an 

easy conversational tone recalling Betty Carter. 

Coupling Abbey Lincoln’s lyric to “Blue Monk” with 

her own improvised chorus, she paid tribute to her 

mentor while remaining true to herself. Shank further 

enhanced the multi-hued panorama of her performance, 

singing wordlessly on Kimbrough’s “November” and 

in French on “Papillion de Nuits”, then ended by 

revisiting her folk roots, with transformations of 

“Lonesome Road” and “Black Is The Color”. (RM) 

john rogers/johnrogersnyc.com 

WHAT’S NEWS 

A city-wide celebration of the life and music of 

baritone saxophonist Pepper Adams will take 

place this month in conjunction with the Motéma 

Music release of Joy Road: The Complete Works 

of Pepper Adams (Volumes 1-5), organized by 

jazz historian Gary Carner. Events include the 

Vanguard Jazz Orchestra Honors Pepper Adams 

(Village Vanguard, Sep. 24th); The Hammond 

B3 Meets Pepper Adams (Smoke, Sep. 25th); 

Alexis Cole Sings Pepper Adams (Smoke, Sep. 

26th); Frank Basile Sextet Plays the Compositions 

of Pepper Adams (Smalls, Sep. 28th); The Three 

Baris (Ginny’s Supper Club, Sep. 29th) and 

Urban Dreams and String Quartets (Birdland 

Sep. 30th). For more information, visit 

PepperAdams.com. 

The dates for the Jazz Connect Conference, 

organized in conjunction with Association of 

Performing Arts Presenters (APAP) conference, 

have been announced. It will be held Jan. 

11th-13th at the Hilton New York and Sheraton 

New York Hotels in midtown Manhattan and 

include panels, workshops and presentations. 

Admission will be free. For more information, 

email jazzconnectnyc@gmail.com. 

Historian/radio personality Phil Schaap has 

signed a deal with Jazz at Lincoln Center to pen 

two history books, compiling the exhaustive 

information presented on his daily radio program 

Bird Flight. 

Every Thursday night, Jazz at Lincoln Center 

webcasts that night’s Dizzy’s Club set. For more 

information, visit jalc.org/live. 

Vibraphonist Gary Burton has begun teaching an 

online course through Berklee College of Music 

called “Jazz Improvisation” as part of the school’s 

online music courses and certificate programs. 

There are over 150 courses available for the Fall 

Semester beginning Sep. 24th. For more 

information, visit berkleemusic.com. 

As a followup to last month’s item about Rome 

Neal’s daughter Lia Neal’s participation in the 

US Olympic swim team, we can now report that 

Ms. Neal won Bronze in the Women’s 4x100m 

Freestyle Relay. 

As part of the festivities surrounding the 25th 

annual Thelonious Monk International Jazz 

Competition (this year spotlighting drummers), 

taking place Sep. 22nd-23rd, a “Women, Music 

and Diplomacy” Gala will be held at which former 

US Secretary of State Madeleine Albright will be 

honored. Judges for the competition will be Carl 

Allen, Brian Blade, Terri Lyne Carrington, Peter 

Erskine, Roy Haynes and Ben Riley. For more 

information, visit monkinstitute.org. 

Memphis native saxophonist George Coleman 

has been named among the inaugural class of 

the Memphis Music Hall of Fame. 

Submit news to info@nycjazzrecord.com 


Photo by Geoffrey Creighton 

INTERVIEW 

Percussionist Jerry Granelli, now 72, has been involved in 

so many different projects over the years that he would seem 

to be several drummers. A San Franciscan, Granelli was the 

drummer on Vince Guaraldi’s popular series of Peanuts LPs 

and TV music specials. He has played on hit records and 

with psychedelic rock bands while his jazz gigs encompass 

work with Denny Zeitlin, Jane Ira Bloom and Mose Allison. 

Granelli, who moved to Canada in the late ‘80s, has taught 

music in three countries and recorded a spate of CDs under 

his own name. 

The New York City Jazz Record: Although you were 

already working steadily at the time, you’ve said that 

it wasn’t until you studied with Joe Morello that you 

finally formed your idea of how to play the drums. 

Jerry Granelli: The Morello relationship was very 

important in my life. I had been, like you say, basically 

working professionally since I was 15. I guess I was 

about 17 when I met Joe. Before that I felt there was so 

much more to playing the instrument than I knew, but 

no one around San Francisco at that time could help 

with the technical aspects. Then I heard Morello and 

was lucky enough to meet him and he became a great 

mentor. His greatest gift was that he really opened up 

another whole level of technical skill to me. That 

continues to be of value, even at this age. I think the 

most important part of his teaching was that he never 

tried to get me to play like him. He just kept saying, 

‘find your voice’ and all the technical teaching was just 

to serve the music. He was first a great mentor and 

later a dear friend. 

TNYCJR: When you joined pianist Vince Guaraldi’s 

trio he already had recorded the Charlie Brown TV 

show albums around that time. Did you figure people 

would still remember those sessions, especially the 

Christmas album, nearly 50 years later? 

JG: Ah, the great Peanuts question. Well, when we did 

it we had no idea what a cultural phenomenon it was 

going to turn into. No one can know those kinds of 

things. It was just the right time, right project, right 

people and right music. I’m just happy that it has 

touched so many people. People don’t know, but the 

recordings with Vince were the tip of the iceberg. Vince 

came to play, really play, every night and he demanded 

that you do the same. It was great training. 

TNYCJR: You were also playing with saxophonists 

Dewey Redman and Pharoah Sanders at the same time 

and in pianist Denny Zeitlin’s trio with Charlie Haden. 

What distinguished those gigs from more mainstream 

ones with Guaraldi or Mose Allison, for instance? 

JG: Like I said, that was a great time, having the ‘real 

gig’ [with Guaraldi]. But [bassist] Fred Marshall was in 

Vince’s trio, so after the gig we would go to [famous 

San Francisco after-hours club Jimbo’s] Bop City and 

Jerry 

Granelli 

by Ken Waxman 


play. Yes, Dewey was there and Pharoah and 

others, but more importantly was a piano player, 

Joseph Nunez. Flip as he was called, was one of those 

legends in the music, who only the players know 

about. The really out playing that I did was with him 

and Fred. All that playing was for no money, but was 

so exciting for all of us. The music was raw, new and in 

those days it really got people upset, because they 

thought we were trying to destroy bebop. But we 

figured we were just going where it led. All of this 

playing, the non-paying and the paying gigs, enabled 

me to find a voice. It was confirmation of what I had 

heard in terms of stating the time, new ways to generate 

time and form and to enter the world of spontaneous 

composition. 

Later, when I played with Denny and Charlie, we 

were really interested in approaching the trio as a 

three-way relationship, which was a different approach 

at the time. The work with Mose has always been one 

of my favorite things. Mose is really pretty out and, 

again, he comes to play all the time. During this whole 

period I played with a lot of different people, but as 

part of the ensemble. Still, I was always pushing 

forward towards getting into creating a larger drum 

set or playing electronics. I think I began to more and 

more see myself as a sound artist rather than a 

drummer, per se. 

TNYCJR: Jazz people may not know that you’ve 

actually been inducted into the Rock and Roll Hall of 

Fame as a pioneer of the psychedelic scene. What was 

the Light Sound Dimension collective? 

JG: I think the time period we’re looking at was late 

‘60s. I’d started working with the big drum set and 

having more sounds and amplifying the instrument. 

Then Frank Werber, who owned the Trident, where I 

had worked with Vince and Denny, somehow got the 

idea of putting us together with the great light painters 

Bill Ham and Bob Fine. They had been innovating with 

light painting at the Avalon and Fillmore [Ballrooms], 

but also loved improvisation. So we started to play 

together and explore the form of a light and sound 

band, playing spontaneous audiovisual work. It was 

pretty underground. We played at Bill’s studio and 

people started showing up; then at the Museum of 

Modern Art in San Francisco. I guess at that time – ‘68, 

‘69, ’70 – we were way ahead of the curve, but that 

work kept growing. 

TNYCJR: Even though you seemed to be established in 

the Bay area in the ‘60s and ‘70s, shortly afterwards 

you moved first to Boulder then Seattle, then Berlin 

and finally Halifax. Was it primarily to teach music? 

You also recorded with people like Gary Peacock, Jane 

Ira Bloom during that period. 

JG: Well, since life always changes that period came to 

its natural conclusion. I, like a lot of folks, began to 

look around for some other ways to live. I was fortunate 

to meet my Buddhist teacher, Chögyam Trungpa, the 

great Tibetan master, who introduced me to meditation 

and another amazing time of life. Trungpa really 

encouraged me to teach and I helped start Naropa 

Institute, in Boulder, particularly the creative music 

program, with [percussionist] Colin Walcott. So San 

Francisco was pretty much over for me. I moved to 

Colorado to teach at Naropa. During the summers we 

were able to invite some of the greatest jazz improvisers 

to inspire new ways of teaching. Each move in my life 

from that point on seemed to involve teaching, 

fortunately from one great innovative program to 

(CONTINUED ON PAGE 41) 

Junior Mance 

…Jazz pianist 

Hidé Tanaka…Bassist 

Michi Fuji...violinist 

at 

Café Loup 

EVERY SUNDAY 

6:30 - 9:30 pm 

NO COVER, JUST AWARD 

WINNING JAZZ AND FOOD 

105 West 13th Street 212-255-4746 

www.juniormance.com

Photo by Phillippe Marchin 

ARTIST FEATURE 

Though he only turned 30 earlier this year, Dan Tepfer 

already has an impressive resumé. The pianist has 

played duo gigs with Lee Konitz, Paul Motian and 

Gary Peacock, recorded acclaimed CDs in duo, trio and 

solo settings and won several jazz piano competitions. 

He has a fascinating background: an American raised 

in Paris. “My mom is an opera singer, so music was 

always around the house. My granddad, Chuck Ruff, 

was a jazz pianist in Eugene, Oregon. My dad’s a 

biologist, which probably explains why I got into 

science, too. I started reading books about astrophysics 

when I was a teenager. I still find the subject 

fascinating.” 

Music came first, Tepfer recalled, “I started 

studying classical piano at six. I went through the Paris 

conservatory system, but also started improvising and 

never really thought of myself as a classical pianist. I 

played a lot of boogie-woogie - I was into James P. 

Johnson and Jerry Lee Lewis. I taught myself jazz: I put 

together a trio in high school and played with local 

French guys in my teens.” 

Tepfer studied astrophysics at the University of 

Edinburgh, though his interest in music remained. “I 

was genuinely passionate about astrophysics: it’s the 

science that deals with the biggest things we can 

possibly imagine, the origin of the universe, the nature 

of time. But I was playing gigs on the jazz scene there 

two or three times a week and I realized that music was 

where my heart really was.” 

After graduating, Tepfer switched to a Masters in 

Music at the New England Conservatory (NEC). 

“Danilo Perez, Bob Brookmeyer, Charlie Banacos, Jerry 

Bergonzi, Bob Moses were all there. I found that they 

had an open-minded curriculum that allowed you to 

check out other forms of music and integrate them into 

your work. I studied composition with Brookmeyer - it 

was almost like a meta-deconstruction of what 

composing is. He would break things down to their 

bare essentials.” 

Tepfer credits additional artists with helping his 

development. “Fred Hersch has been a great mentor to 

me, starting when I was at NEC and I would take the 

bus down to New York to take lessons with him. He 

helped me get a foothold in the city by referring me for 

some great gigs when I first moved here.” In Paris, 

Tepfer also got to know French piano icon Martial 

Solal. “I only took a few lessons with him; he’s been 

more of a mentor than a teacher. I still go to his house 

to play for him and talk about music.” One of his 

greatest learning experiences has been working with 

the demanding Lee Konitz. “I was listening to Lee’s 

duo CD with Martial (Star Eyes, Hamburg 1983, 

hatOLOGY) right after I moved to New York and had a 

sudden urge to play with him. I asked Martial for an 

introduction. I went over to Lee’s house; we played 

and hit it off right away. He invited me to sit in with 

him at The Jazz Gallery, then we did a few duo gigs. 

We’ve ended up playing quite a bit over the last five 

years around the world. Every gig with him is 

Dan 

Tepfer 

by Ken Dryden 

absolutely different. Every time we’re feeling our way, 

because we want to be precisely connected at that exact 

moment and not just recreating some memory of where 

the music might have been last time.” 

Asked about his composing method, Tepfer 

explained, “I’ve gotten a lot of perspective on writing 

in the last few years. I wrote and orchestrated a piano 

concerto in 2010, which is a very labor-intensive 

process, since you’re writing out so many notes for the 

orchestra. I sometimes used to overwrite my jazz 

compositions; I was confusing jazz writing with 

classical writing. Jazz writing is a very minimalist 

framework, like the difference between writing a novel 

and a poem. There’s no point in playing with master 

improvisers if you’re going to micromanage them: the 

goal is to guide them into a vibe and let them work 

their magic. Nowadays, my jazz writing process is 

pretty quick.” 

The pianist has several recordings in the works or 

recently completed. A duo led by bassist Gary Peacock 

is scheduled for tracking in December. There are two 

Sunnyside releases due next year. “I just made a new 

trio record [after three previous trio albums: Five Pedals 

Deep, with Thomas Morgan and Ted Poor, and OXYGEN 

and Before the Storm, both with Jorge Roeder and Richie 

Barshay], which will be out in January. And I have an 

ongoing collaboration with [saxist] Ben Wendel; we’re 

excited about the duo record we made this summer. 

It’s coming out in March.” 

Tepfer’s latest recording is Goldberg Variations / 

Variations, also on Sunnyside. “I discovered the 

‘Goldberg Variations’ in junior high school; I thought it 

was some of the most beautiful music I’d heard. I 

played a lot of Bach growing up, but I only bought a 

score of the Goldbergs after I got to NEC in 2003. I 

realized I could learn the first few variations, so I kept 

moving on. As I learned them, it felt natural for me to 

grab ideas and improvise with them. It was just 

something I did for fun until I was on a solo tour of the 

Czech Republic about four years ago, doing free 

improvisations along the line of my record Twelve 

Improvisations in Twelve Keys. I decided to play a few of 

the ‘Goldberg Variations’ one night and improvise on 

them. The audience reacted to it and I realized it would 

be a fun thing to keep doing. 

Over the last four years I’ve gotten more serious 

about playing the Goldbergs better and the project has 

evolved into a more rigorous framework where I play 

all 30 variations and improvise off of each one.” 

Tepfer’s solo performance this month at Greenwich 

House will be somewhat of a milestone for him: “This 

will be my first performance of the Goldberg Variations 

where I do all 30 of them, with improvisations, live. 

It’ll be around 80 minutes of playing. I’m excited about 

the challenge.” v 

For more information, visit dantepfer.com. Tepfer plays solo 

at Greenwich House Music School Sep. 14th, ShapeShifter 

Lab Sep. 17th, Smalls Sep. 24th with Alexis Cuadrado and 

Birdland Sep. 25th-29th as part of a Bud Powell Tribute. 

See Calendar. 

Recommended Listening: 

• George Schuller - Life’s Little Dramas 

(Fresh Sound New Talent, 2008) 

• Lee Konitz/Dan Tepfer - Duos with Lee 

(Sunnyside, 2008-09) 

• Rob Garcia 4 - Perennial 

(Brooklyn Jazz Underground Records, 2009) 

• Billy Hart - Sixty-Eight (SteepleChase, 2009) 

• Dan Tepfer - Five Pedals Deep (Sunnyside, 2010) 

• Dan Tepfer - Goldberg Variations / Variations 

(Sunnyside, 2011) 

JSnycjr0912 8/13/12 1:02 PM Page 1 

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DEBBIE GRAVITTE’S 

ALL-STAR HOLIDAY SHOW

ON THE COVER 

BOBBY 

MCFERRIN 

STILL UNPREDICTABLE 


30 years have passed since Elektra Records released 

Bobby McFerrin’s self-titled debut album. From the 

beginning of his recording career, it was evident that 

the Manhattan-born singer was not an easy artist to 

pin down stylistically. McFerrin demonstrated that he 

was primarily a jazz vocalist, yet he was far from a 

purist and also influenced by soul, funk, classical, 

gospel, African music and the blues. And at 62, 

McFerrin is no easier to pigeonhole now than he was 

then. In 2012, a McFerrin concert is still likely to 

include anything from jazz standards, soul and rock 

songs to spirituals and European classical compositions. 

McFerrin, in fact, is working on a forthcoming album 

titled SpiritYouAll, which he says will pay tribute to 

the African-American spiritual tradition but will do so 

on his own improvisatory terms. “So much of what I’m 

striving for is the same as it was 30 years ago,” 

McFerrin explains. “I can look back and see the seeds 

of things that took years to bear fruit. But there they 

are, early on.” 

Some artists find one style of music and excel by 

sticking to it but McFerrin’s strength has been his 

flexibility. Along the way, journalists have wondered, 

who is the real Bobby McFerrin? Is he the jazz 

improviser who has performed with the likes of Chick 

Corea, Dizzy Gillespie, Herbie Hancock, Wynton 

Marsalis and the Yellowjackets? Is he the Top 40 star 

who enjoyed a #1 hit with his good-natured popreggae 

single “Don’t Worry, Be Happy” back in 1988? 

Or is he the classical vocalist who has performed with 

cellist Yo-Yo Ma? McFerrin is all of those things. 

“My world has always been full of music of all 

kinds,” McFerrin observes. “It’s only natural that the 

music I hear in my head is inclusive. I’ve met artists 

who’ve been exposed to lots of different music but 

who are specialists, who know in their hearts that 

playing Bach is the true expression of everything they 

want to say. I understand that; it makes sense to me. 

But for me, there are no hard lines around genre or 

style or language or culture. It all comes together. Some 

people have written that I’m coming up with new 

languages; I love that idea, but I’m not working 

towards it consciously. And I don’t try to speak for 

everyone everywhere. I just try to sing the music I hear 

in my head.” 

McFerrin says that his broad-minded outlook can 

be traced back to his childhood and exposure to a wide 

variety of music by his parents Sara Copper (an opera 

and Broadway vocalist) and the late operatic baritone 

Robert McFerrin, Sr. (the first African-American 

vocalist to perform with the Metropolitan Opera). 

“Many people know that my parents were incredible 

singers and I grew up with their practice, their 

listening, their friends,” McFerrin recalls. “I absorbed 

a lot. There was a constant background of symphonies 

and blues and arpeggios and silly made-up songs. I’m 

sure that had an enormous impact. I remember 

standing in front of the stereo pretending to conduct 

the orchestra, hiding under the piano listening to my 

father teach. But for me, there are a series of thunderbolt 

moments - times when I heard something and felt 

changed by it. A Judy Garland song. A spiritual. The 

Miles Davis electric band. Herbie Hancock’s Mwandishi 

project. Mathis der Maler. Mancini. A recording of an 

African marriage ritual. Keith Jarrett solo. Who knows 

why something hits you like a ton of bricks? But 

sometimes, it does - and then, everything is different.” 

McFerrin, however, didn’t start out wanting to be 

a singer. There was a time when he considered himself 

a pianist more than a vocalist and he was a bit of a late 

bloomer in making singing his primary focus. “It 

wasn’t until I was 27 and had been working as a pianist 

for a dozen or more years that I realized I was actually 

a singer,” McFerrin remembers. “But by then, I was 

used to taking responsibility for the harmony and the 

rhythm. I think that’s given me an interesting 

perspective. I enjoy exploring all the different functions 

the voice can serve, communicating melody and 

harmony and rhythm and emotions and ideas. That’s 

always been part of what I wanted to do as a singer. It’s 

easier than it used to be, but it’s the same idea. Part of 

my inspiration was that the voice is so immediate, so 

unquestionably personal. I wanted to do what Keith 

Jarrett was doing and give solo concerts that invited 

the audience on my own internal journey into the 

music. I spent years trying to learn how to do what I 

heard in my head so that I could make that a reality.” 

McFerrin was also a late bloomer to recording; he 

was 32 when his debut album came out. But McFerrin 

has kept busy since then, hurling himself into a variety 

of musical situations. McFerrin’s groundbreaking 

second album, The Voice (Elektra, 1984), marked the 

first time that a jazz singer recorded an entire album 

unaccompanied (without any overdubbing at all). 

Early McFerrin albums like Spontaneous Inventions 

(Blue Note, 1986) underscored his ability to use his 

voice to emulate different musical instruments in an 

improvisatory way. But while those early albums 

established his jazz credentials, they also demonstrated 

that funk, soul, the blues and African pop were a part 

of his musical vocabulary. McFerrin’s musical heritage 

included Jon Hendricks, King Pleasure, Eddie Jefferson 

and Babs Gonzales, but also James Brown, Earth, Wind 

& Fire and The Beatles. 

Asked to reflect on some of his fondest musical 

memories, McFerrin replies: “Oh, my goodness. There 

are too many to choose from. It’s hard to talk about the 

deepest musical ones, hard to put into words. There 

have been some crazy star-struck moments: the time - 

before we ever played together - when Chick Corea 

slapped my shoulder backstage and said ‘nice tune’ 

then walked onstage himself while I tried to keep 

myself from jumping up and down yelling ‘Chick 

Corea liked my tune!’ The time I won my first Grammy 

and had to accept it standing in front of Miles in a 

sequined keyboard suit. Yo-Yo Ma congratulating me 

after my conducting debut at the San Francisco 

Symphony on my 40th birthday.” 

In 2012, the veteran singer plans to look back on 

his long career with My Audio Biography, a three-night 

appearance inaugurating Jazz at Lincoln Center’s 25th 

Anniversary Celebration with trumpeter Wynton 

Marsalis and the Jazz at Lincoln Center Orchestra. My 

Audio Biography is not being billed strictly as a jazz 

concert, but as an event that also acknowledges other 

parts of McFerrin’s artistry, including gospel, soul, 

European classical and the blues. 

“I’ve been thinking a lot about what shaped my 

point of view,” McFerrin explains. “That’s why I’m so 

excited about this My Audio Biography program coming 

up with the Jazz at Lincoln Center Orchestra. Some 

things I heard early on just hit me like a ton of bricks, 

changed me on a molecular level. Those early 

influences made me who I am and all the evolution in 

the world hasn’t altered my DNA.” 

McFerrin says of My Audio Biography: “I listed a 

bunch of the pieces I loved most and felt most deeply 

influenced by and the arrangers in the band picked 

their favorites. So we’ll reinterpret those pieces 

together and take the audience on a journey through 

my formative years. Not so much nostalgia as 

reclamation; the reasons I love those pieces are alive 

and well.” 

These days, McFerrin says, he finds himself giving 

a lot of thought to things that shaped him musically 

over the years. But if one asks McFerrin to evaluate 

contemporary artists, he responds that he would rather 

leave music criticism to professional music critics. 

“There are so many wonderful vocalists and artists 

carrying traditions forward, making new sounds, 

finding their way toward the future - my incredibly 

talented kids among them,” McFerrin asserts. “I trust 

them to get there. And of course, sometimes random 

things find their way into my consciousness: my 

daughter loved Avril Lavigne’s first record and I heard 

it so much that I learned to love it too. But please don’t 

ask me to evaluate them or make critical 

pronouncements. I’m in a very introspective, reflective 

phase. I’m listening to the things I loved 30 or 40 or 50 

years ago - when I was a child - thinking about why I 

loved them so much and how they changed me. There 

are so many gifted people in the world, old and young, 

from so many points of reference. Whatever I hear 

influences me - and then, my job is to keep finding my 

own way forward no matter how old I am.” 

McFerrin concludes: “All of life is improvisation. 

It’s not just beneficial, it’s necessary. I always tell 

people I graduated from MSU: Making Stuff Up.” v 

For more information, visit bobbymcferrin.com. McFerrin is 

at Rose Hall Sep. 13th-15th with the Jazz at Lincoln Center 

Orchestra. See Calendar. 


• Bobby McFerrin - Bobby McFerrin (Elektra, 1982) 

• Bobby McFerrin - The Voice (Elektra/Musician, 1984) 

• Bobby McFerrin - Spontaneous Inventions 

(Blue Note, 1986) 

• Bobby McFerrin - Simple Pleasures 

(EMI-Manhattan, 1988) 

• Bobby McFerrin/Chick Corea - Play 

(Blue Note, 1990) 

• Bobby McFerrin - Circlesongs (Sony, 1996) 

THE NEW YORK CITY JAZZ RECORD | September 2012 9 

© Carol Friedman

ENCORE 

Rahn Burton 

by Matthew Miller 

“I’m just amazed at 

the way destiny 

works,” Rahn Burton 

explained, midway 

through a conversation 

that traced his musical 

journey from part-time 

pianist in the clubs, beer halls and juke joints of ‘50s 

Louisville to the world stage as a long-standing 

member of multi-instrumentalist Rahsaan Roland 

Kirk’s ensemble. “I’m sure that if I had tried to plan all 

of this,” he continued, “it would have been a big flop.” 

Born in 1934, Burton’s interest in music developed 

early, fostered through the myriad sounds wafting 

from open windows throughout his community. “I 

asked my mother if I could take piano lessons, just so I 

could learn to read music - that was all I wanted to do 

- so I did that and it paid off.” The teenage Burton 

began haunting clubs like the Top Hat, one of 

Louisville’s premier music venues in the ‘40s-50s. By 

the time he completed high school, Burton was an 

in-demand pianist with a wide cross section of 

Louisville musicians. “It was a music scene,” Burton 

recalled with emphasis on the word “music”, “because 

we didn’t make any designation between Jazz and 

Rhythm and Blues and Gospel, you know, it was just 

entitled black music, or some other term.” 

Burton soon settled down in Louisville. “I was a 

mailman at the time,” he recalled, “because it never 

occurred to my mind that I would be able to raise a 

family playing music.” That would change when he 

heard an exciting new saxophonist on a visit to 

Columbus, Ohio. “He was known as Ronnie Kirk,” the 

pianist recalled. “He was playing with the singer Big 

Maybelle and they had a little jam session, so Roland 

got on the mic and said ‘are there any musicians who 

would like to come up and play?’ And I - after some 

apprehension - put my hand up. We played ‘Pennies 

From Heaven’. Nothing much was said and the next 

day, I drove back to Louisville.” 

As the pianist recalls it, destiny reasserted itself a 

year later when his mail route took him by the Top Hat 

and he recognized a familiar face. “I saw this sign in 

the window, ‘Jazz Phenomenon Ronnie Kirk, playing 

two horns at one time’ and it had a picture of him and 

I said ‘oh, I know him.’ I think I went probably three or 

four nights in the two-week stint,” Burton remembered. 

One night, after a late show, the pianist was hanging 

LEST WE FORGET 

Wilbur Ware (1923-79) 

by Donald Elfman 

Bassist Wilbur Ware’s art consisted of rock-solid time, 

natural and authoritative swing and an inspired sense 

of harmony. He supported many of the most original 

and complex soloists in bebop and beyond and did so 

being somehow both unflagging and flexible. 

He was born in Chicago on Sep. 8th, 1923. One of 

Ware’s earliest professional musical contacts was 

saxophonist Von Freeman. Ware was playing gigs 

around Chicago by the time he was 10 and then worked 

around the Midwest through his teenage years. At 15, 

Ware recorded with blues artist Big Bill Broonzy. 

After a brief stint in the military, the bassist 

returned to Chicago in 1946 and soon was playing with 

Stuff Smith, Roy Eldridge, Hot Lips Page and Sonny 

Stitt. Ware came to be known as a musician who loved 


around with Kirk and his band when an argument 

broke out. “It was a falling out over some money,” the 

pianist recalled, “and in the end, the band quit right in 

the middle of the engagement.” 

The band’s departure was a setback for Kirk, but a 

remarkable opportunity for the young Burton. “He 

[Kirk] asked me on the night they quit if I would go 

with him to Nashville, TN,” Burton recalled, “so I took 

a leave of absence from the Post Office and went with 

him.” Unfortunately, the newly formed band with 

Burton in the piano seat only got to play one gig in 

Nashville before the tour came to an abrupt end at the 

hands of Jim Crow, when the entire band was arrested 

for consorting with a group of white women. Despite 

the briefness of the tour, Burton made a lasting 

impression on Kirk and the two toured extensively 

throughout the ‘50s. In the early ‘60s, Burton made the 

move to New York City after the Kirk group recorded a 

session for Argo records, released as Introducing Roland 

Kirk (1960). 

Following a string of well-received gigs in New 

York, Kirk left for Europe without the band and Burton 

was back to a freelance life. “I played with a guy named 

Chris Powell in Syracuse before heading back to 

Louisville,” the pianist explained, to work with touring 

musicians coming through town. One of those was the 

great saxophonist George Adams, who enlisted Burton 

in his band and convinced him to move to Atlanta in 

the mid ‘60s. By 1968, Burton was back in New York 

City and “got a call from Rahsaan Roland Kirk to come 

to Kongsberg, Norway to play with him. After that 

tour, I was a member of the nucleus of his rhythm 

section with the bassist Steve Novosel and drummer 

Jimmy Hopps.” As a core member of Kirk’s band well 

into the ‘70s, Burton recorded on seminal Kirk albums 

like Volunteered Slavery, The Inflated Tear and others. 

Following the extended stint with Kirk, Burton 

returned to New York to play with Marvin Hannibal 

Peterson, Beaver Harris, Michael Carvin, Charlie 

Rouse, Archie Shepp and Art Blakey among other jazz 

luminaries over the ensuing decades. The pianist also 

began leading ensembles, including a group with 

bassist Walter Booker and drummer Jimmy Cobb that 

recorded the pianist’s stunning album The Poem. 

After more than 40 years, Burton continues to call 

New York home, spreading the jazz gospel with every 

bracing run and propulsive phrase. “Nothing will ever 

take away from my desire and love for the music, 

because I know the importance of it,” Burton intoned. 

“That’s enough for me.” v 

Burton is at Cleopatra’s Needle Sep. 29th and 449 Lounge 

Thursdays, Saturdays and the third Sunday of each month. 

to play and sit in with bands whenever he got the 

chance. His enthusiasm and tenacity earned a spot 

leading the house band at the famous Beehive Club. 

In 1955 Ware first performed with Thelonious 

Monk. This led to an association in the later ‘50s with 

the pianist - notable is the 1957 live recording at the 

Five Spot for Riverside - as well as work on the Blue 

Note label with Sonny Rollins and others. It was during 

this period that there was some question about Ware’s 

reliability (there were drug issues) but he did make it 

for the Great Day in Harlem photo shoot in 1958. 

The early ‘60s seemed promising - the bassist 

played with Kenny Dorham, in a group led by Charles 

Mingus, with John Coltrane and Eric Dolphy and with 

a number of the avant garders including Albert Ayler 

and Don Cherry - but moved back to Chicago in 1963 

to contend with tuberculosis. His poor health - 

aggravated, it seems, by his drug use - kept him off the 

scene for much of 1963-68. 

By 1968, Ware was back, meeting up with some of 

See Calendar and Regular Engagements. 


• Roland Kirk - Introducing Roland Kirk 

(and featuring Ira Sullivan) (Chess-GRP, 1960) 

• Roland Kirk - The Inflated Tear (Atlantic, 1967) 

• Dick Griffin - The Eighth Wonder (Strata-East, 1974) 

• Beaver Harris 360 Degree Music Experience - 

Beautiful Africa (Soul Note, 1979) 

• Rahn Burton Trio - The Poem (DIW, 1992) 

• Michael Marcus - Sunwheels (Justin Time, 2000) 

September 11th 

Russ Kassoff Orchestra 

with Catherine Dupuis 


Warren Chiasson 


Santi Debriano Quartet 

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 

Chicago’s New Music folks - Andrew Hill, Roscoe 

Mitchell, Thurman Barker - and then moving to New 

York where he joined Archie Shepp’s group. He also 

worked with Clifford Jordan, Elvin Jones, Philly Joe 

Jones and Hank Mobley. As the ‘60s closed, Ware found 

it harder to get work; some, including Ware himself, 

noted that his inability to read was the root of the 

problem. He moved to Philadelphia in 1972 and did 

some work with members of Sun Ra’s Arkestra but he 

had an advancing case of emphysema and, on Sep. 9th, 

1979, died in the Germantown section of Philadelphia. 

The encyclopedia of great names Ware played 

with attests to his brilliance. Listen to his playing with 

Rollins (Blue Note) to Monk (Riverside) or Chicago 

Sound (Riverside), his leader debut. The bassist’s 

second session as a leader, a 1968 date with Clifford 

Jordan, Don Cherry and Ed Blackwell, will be released 

for the first time this month. v 

A Ware Tribute is at Merkin Hall Sep. 8th. See Calendar.

MEGAPHONE 

Composing...always forward, 

but looking back 

by Mario Pavone 

In the last 18 months or so, I have been getting out and 

hearing music all over Manhattan and Brooklyn. It’s 

been wonderful and enlightening. And while our small 

part of the music industry may be experiencing 

paradigm shifts, downturned economics and possibly 

decreased opportunities to perform, I am happy to 

report that the MUSIC itself is in great shape and is 

being performed at a very high level. Today, almost all 

young and mid-career creative musicians also compose 

and the playing and the writing together make for 

unique and successful performances. 

It wasn’t always this way! 

I have been a bassist in the music for almost 48 

years now (beginning at the relatively late age of 24 in 

1964). Before that, I spent eight years pursuing an 

engineering degree, fulfilling my military service 

obligation and falling in love with jazz. I was a fan, an 

avid listener. 

In my early years of playing I was aware of the 

Jazz Composers Orchestra Association (JCOA), yet it 

had not occurred to me to write music. I was too busy 

playing 8 to 10 hours a day and all night long, at what 

was to be called the “first wave” of Loft-Era jam 

sessions. The music was totally open and free with an 

endless array of musicians jumping in and out of the 

music. It was somewhat of an endurance test (there 

were no bass pickups yet invented), incredible fun 

and, partly due to the political protest climate in the 

country at the time, somewhat angry and rebellious in 

tone. No compositions were brought in, no composing 

was involved. 

Then, 13 years into my bass playing life, I began to 

write down some short, horizontal lines, little sketches 

and ideas about texture, sounds and silence. The 

inspiration to ‘start composing’ came about through 

the direct power and influence of trumpeter/composer 

Wadada Leo Smith. During this time frame (1977-83) I 

was deeply involved in an organization formed in New 

Haven called the Creative Musicians Improvisers 

Forum (CMIF), a self-generating musicians collective 

spearheaded by Leo and modeled on some of the 

precepts of the Association for the Advancement of 

Creative Musicians (AACM), which came into being in 

Chicago some 15 years earlier. The AACM’s importance 

in musical history has been well documented by 

composer/improviser/technologist (and amazing 

by Katie Bull 

VOXNEWS 

If you are walking down a New York City street on a 

balmy September night of jazz listening, a kiss of sharp 

cool air might brush against your skin. As you feel it 

you might say, “Oh, here’s the fall again.” Stop in your 

tracks. Look up. The stars are the same yet not the 

same. The displays are familiar, yet within the familiar, 

the sky is evolving. That’s true in vocal jazz; there is 

invention, nuanced reinvention and everything 

in between. This September, let’s enjoy vocal projects 

that are rooted in the familiar yet are their own 

constellations. 

“We’ve always believed that if Django Reinhardt 

were alive today, he wouldn’t play the same way he 

always did. In his short lifespan you can see how much 

evolution and vision he had. To pay tribute to him is to 

continue pursuing our own ideas.” This statement 

about the familiar and the new comes from guitarist 

Evan Perri, as the Hot Club of Detroit releases the 

trombonist) George E. Lewis in his great book A Power 

Stronger Than Itself. The New Haven offshoot, however, 

remains undocumented and under the radar, but 

recently there are stirrings of interest in writing the 

CMIF story. 

In the 1977-83 era, New Haven was a cauldron of 

creativity. The original members of the CMIF - Leo, 

Gerry Hemingway, Bobby Naughton, Wes Brown, 

Dwight Andrews, myself and others - organized many 

concerts at Yale and other venues, providing me with 

opportunities to develop my compositional skills. I 

constantly recorded myself playing open and free and 

played the tapes back repeatedly, to discern and 

develop my personal voice. I was unencumbered by 

preconceptions; the blank sheet of music paper was a 

wide-open invitation to create a world of notes and/or 

symbols and pictures for musicians to play. The 

influences that were present came from watching Leo 

conduct his pieces, studying the unusual and visually 

colorful graphic scores written by Leo and Anthony 

Braxton. The cauldron of creativity taking place with 

musicians living in and around New Haven and/or 

attending Yale University at the time was extremely 

stimulating (they included, among others, Jane Ira 

Bloom, Mark Helias, Anthony Davis, Pheeroan akLaff 

and Ray Anderson). 20 minutes up the road in 

Middletown at Wesleyan University lived Mr. Braxton, 

Marion Brown, Bill Barron, Joe Fonda and Bill Lowe. 

Among the more significant events organized by 

the CMIF in 1981-82 were several 25-piece large 

orchestra concerts, with veteran masters conducting 

their own compositions. They included Muhal Richard 

Abrams, Leroy Jenkins, Braxton, Carla Bley, Wadada, 

Slide Hampton and others. The members of the 

orchestra included virtually all of the musicians 

mentioned above as well as New York stalwarts 

Andrew Cyrille, Oliver Lake, Amina Claudine Myers, 

Frank Gordon, Marty Ehrlich and JD Parran. These 

epic events were sponsored by one of the oldest 

mainstream jazz organizations in the country - The 

Hartford Jazz Society. One wonders if such 

collaboration could occur today. 

Throughout the existence of the CMIF organization 

and particularly during the extensive preparation for 

these large orchestra concerts, I experienced what I 

believe was a unique process. To quote a recent Nate 

Chinen article in the New York Times – “jazz’ natural 

cycle of mentorship and apprenticeship, that guidelike 

process, by which young musicians absorb invaluable 

lessons from their elders.” Our process offered 

mentoring and apprenticeship within a musicians 

collective! In describing why jazz apprenticeships are 

so vital, Mr. Chinen has captured the essence of this 

Reinhardt-inspired, multi-genre-influenced Junction 

(Mack Avenue). The lively album features the spritely 

young French singer Cyrille Aimée on three tracks. 

Aimée has lightning fast, pitch-perfect chops, yes. 

She’s shining bright, however, because she is her own 

jubilant self in Django’s songs. Hear Aimée at Iridium 

(Sep. 7th-8th), Birdland (Sundays, starting Sep. 9th) 

and The Cupping Room (Saturdays). 

“Life’s a repetition. It’s an action of repeat. Act of 

doing. Act of saying. Something bitter. Something 

sweet...” Abbey Lincoln’s lyrics say it all. Hear 

Lincoln’s songs sung in tribute by the deeply relaxed, 

beautifully swinging Teri Roiger on Dear Abbey (Inner 

Circle); the CD release is at Dizzy’s Club (Sep. 3rd). 

Lincoln’s familiar unrushed phrasing and fluid note 

bending is embodied in Roiger’s own temperament 

and vocal nuance; through Roiger, kindred Abbey lives 

on. Speaking of relaxed, the flowingly layered Luciana 

Souza revisits her Brazilian duos format with Duos III 

and reanimates Chet Baker on The Book of Chet (both on 

CMIF experience - “…a community with every 

ensemble thriving on communication, a code of ethics 

and an implicit grasp of roles.” 

Today I am looking back at having written music 

for some 23 CDs over the last 30 years. It’s great to 

have a body of work. Recently I have gone back to 

some of my early and mid-career writing to remind 

myself of the basic elements that laid the foundation. 

Often I will deconstruct some of the components of 

these early works, reversing the order of written notes, 

stacking one line on top of the other, as well as writing 

new pieces. I still write exclusively from the bass and 

have also been blessed to collaborate with wonderful 

arrangers, whose great musicianship and generosity 

have colored my work. They include saxophonist/ 

composer Marty Ehrlich, trumpeter/bandleader 

Steven Bernstein and more recently trumpeter/ 

educator Dave Ballou and guitarist/composer Michael 

Musillami. 

Finally, it’s always been about the work - and 

composing is hard work. Writing has saved my life as 

a musician, providing a framework for my 

performances. To young players entering this music 

world: I believe we have an obligation to contribute 

something to the music by adding to it. Write early and 

often. v 

For more information, visit mariopavone.com. Pavone is at 

Cornelia Street Café Sep. 29th. See Calendar. 

Bassist/composer Mario Pavone has collaborated with both 

legendary innovators and today’s most respected young 

musicians to define the cutting edge of jazz for the past 40 

years. He has anchored the trios of Paul Bley (1968-72), Bill 

Dixon (‘80s) and the late Thomas Chapin (1990-97) and 

co-led a variety of notable ensembles with Anthony Braxton, 

Wadada Leo Smith, Marty Ehrlich and Michael Musillami. 

His list of sidemen past and present includes Steven 

Bernstein, Dave Douglas, Tony Malaby, Joshua Redman, 

Craig Taborn and Matt Wilson among many others. And, 

unlike most artists whose careers span five decades, his most 

recent recordings are his most widely acclaimed, appearing 

on best-of-the-year lists from AllAboutJazz.com, 

Slate.com, Coda, Village Voice and New York Times, 

among others. Since 1998, Pavone has recorded almost 

exclusively with his own bands. His discography now 

features numerous recordings as a leader/co-leader, 

including seven on Playscape Recordings, the label he has 

called home since 1999. In addition, Pavone’s artwork and 

photography have graced the covers of dozens of recordings 

since the mid ‘90s and he currently serves as an educator, 

administrator and board member for the Litchfield Jazz 

Festival and Litchfield Summer Jazz Camp. 

Sunnyside), capturing his luscious internal solitude 

with her nearly hushed, long and gentle tones. Hear 

Souza’s dual release at Joe’s Pub (Sep. 12th). 

Now, if you are more avant-leaning, the vocal 

comet named Shelley Hirsch is streaking through the 

skies yet again. On her new CD, Where Were You Then? 

(Tzadik), Hirsch has created a powerfully personal 

sung/spoken story arc in a semi-absurdist style; a 

passionately delivered elegant fusion of avant- 

Victorian/new-jazz/art-songs - all originals. The 

exciting album is co-composed and arranged with 

Simon Ho and is in its own jazz galaxy. Hear Hirsch 

collaborate with choreographer Melanie Maar and 

visual artist/performer Kenta Nagai at Roulette (Sep. 

29th). 

From Aimée’s Django to Roiger’s Abbey to 

Souza’s Chet, to the Hirsch ghost of “Then” - the night 

is like a lovely tune and the singers croon under a 

constant moon. In the New York City vocal jazz dome, 

the sky’s the limit. v 


Inner Circle 


Greg Osby has worn many different hats during his 

long career in jazz, including saxophonist, composer, 

bandleader, producer and educator. In 2007, he added 

another to the list: record label owner. Osby has been 

operating Inner Circle Music for five years now and 

the New York City-based label has earned a reputation 

for being a place where musicians are not a mere 

afterthought in the creative process. Often jazz labels 

and their A&R representatives have a lot of say over 

what an album will sound like; at Inner Circle, 

however, the musicians themselves ultimately make 

that decision. 

“As a veteran recording artist with two major 

labels - JMT/Polygram for four years and Blue Note 

Records for 16 years - I took it upon myself to carefully 

observe how the underpinnings of the business 

structure affected how my music was packaged, 

promoted and distributed,” Osby explains. “When I 

organized our label, I wanted to insure that we would 

do everything within our means to make the artists’ 

perceptions of themselves our primary concern. We do 

not aim to mold nor shape anyone into what we think 

they should be. I have chosen to seek out individuals 

who already have a stockpile of compositions at hand 

and have had some experience in leading their own 

ensemble already.” 

Inner Circle has a diverse roster that includes 

younger artists as well as veterans such as Osby and 

Lauren Sevian 

Blueprint 

LABEL SPOTLIGHT 

James Weidman 

Three Worlds 

LISTEN UP! 

DOUGLAS DETRICK is a trumpeter and composer 

whose work straddles the worlds of jazz, contemporary 

classical and folk music. His chamber-jazz quintet 

AnyWhen Ensemble will release its third album in 

2013, the 10-movement suite The Bright and Rushing 

World commissioned by Chamber Music America’s 

2011 New Jazz Works program. 

Teachers: Too many to name, but Brian McWhorter 

helped me to focus on my own aspirations for my work 

and stop worrying about anyone else’s. 

Influences: Living People: Nate Wooley, Arve 

Henriksen. Dead people: Duke Ellington, Thomas 

Tallis, Roscoe Holcomb, Son House, Morton Feldman. 

Current Projects: AnyWhen Ensemble is my primary 

focus as a composer and performer. In addition to our 

upcoming FONT performance, we’ll be touring the 

Midwest and the West Coast this season and 

collaborating with lots of great performers along the 

way. I’m also playing with lots of musicians in New 

York and I hope to have a new band formed soon. 

By Day: I’m a grant writer for a group that teaches 

creative writing to kids. 

I knew I wanted to be a musician when... I was very 

young and was amazed to hear my older sister’s 

middle school band, kids who were just a few years 

older playing music together. 


pianist James Weidman. The Inner Circle roster ranges 

from trumpeters (Evan Weiss), saxophonists (Logan 

Richardson, Meilana Gillard, Russell Kirk, Jacob 

Yoffee) and flutists (Yukari) to vibists (Michael Pinto), 

guitarists (Ben Azar) and vocalists (Aubrey Johnson, 

Sara Serpa, Tammy Scheffer, Akiko Pavolka). Jason 

Yeager is a pianist whose CD, Ruminations, was 

released by Inner Circle in 2011. 

“We are not solely developing virgin artists,” Osby 

points out. “We also have some established veterans 

and there are more in the works. However, I have made 

it my mission to give the younger artists a more 

pleasant and hands-on experience than most new 

deals, which are set up in the best interests of the 

company. Our artists are first selected based upon their 

spirit and individuality and all decisions - unless they 

would be decidedly detrimental to the project - are 

theirs alone. I function as a guide and a second set of 

ears. I also make myself available to give professional 

business counsel or be a sounding board for ideas and 

direction. Ours is a slowly developing family and I’d 

prefer to keep things small and not allow numbers of 

our ranks to swell out of control.” 

Musicians on the Inner Circle roster come from 

different parts of the world; some are American while 

others are originally from Israel (Azar), Japan 

(Pavolka), Italy (bassist Joseph Lepore), Portugal 

(Serpa, guitarist André Matos), Colombia (bassist Juan 

Garcia-Herreros), Chile (tenor saxophonist Melissa 

Aldana), Greece (bassist Petros Klampanis), Slovakia 

(vibist Ludmila Stefanikova) and South Korea (pianist 

Jangeun “JB” Bae). Scheffer was born in Belgium and 

raised in Israel. 

Ran Blake/Sara Serpa 

Obscura 

Dream Band: Playing new music by Christian Wolff 

with the composer and the Merce Cunningham Dance 

Company at their final performances was a dream 

come true. 

Did you know? When I was picking an instrument, my 

sister tried desperately to convince me to play the 

saxophone because I’d get “trumpet lips”. 

For more information, visit douglasdetrick.com. Detrick is 

at The Jazz Gallery Sep. 13th as part of FONT. See Calendar. 

Douglas Detrick 

Adam O’Farrill 

Petros Klampanis 

Contextual 

ADAM O’FARRILL was born in 1994 in Brooklyn to a 

musical family. His grandfather, Chico, was the 

legendary AfroCuban composer and his father, Arturo, 

is a Grammy-award-winning pianist. He has performed 

with Stefon Harris, Joe Lovano, Wynton Marsalis, Lee 

Konitz, Donald Harrison, Christian Scott and DJ Logic. 

O’Farrill is entering his freshman year at the Manhattan 

School of Music, on full scholarship. 

Another thing that makes Inner Circle stand out is 

the abundance of female artists recording for the label 

like vocalists like Serpa, Johnson, Pavolka and Scheffer 

and instrumentalists Aldana, Yukari, Stefanikova, Bae 

and baritone saxophonist Lauren Sevian. Osby asserts: 

“I’ve found through careful observation that my 

musical ideas and intentions fare better when there is 

some female involvement. I’ve worked with many 

talented women throughout my career and in my life, 

so it would only be natural to include them on our 

roster. It shows balance and the natural order of how 

all things should be. Jazz has long embraced the 

‘forbidden boys club mentality’, where even capable 

women have been dismissed and not included in many 

creative circles. In order for our music to flourish and 

reach a broader demographic, it is absolutely 

imperative that all creative output by concerned artists 

be reflective of a woman’s involvement. Too much 

testosterone has hurt the music, in my opinion.” 

Original composition is among the things that 

Inner Circle has been encouraging. Osby observes: “So 

much of the so-called standard repertoire does not 

connect with potential new patrons, as it sounds dated 

and is reflective of older societal tendencies and 

perspectives. This is why Inner Circle is largely 

international: because the potential for a realistic 

portrayal of the global creative music landscape is 

increased when artists of such a vast array of 

backgrounds are involved.” 

When one talks to artists who have recorded for 

Inner Circle, the word “community” often comes up. 

“One of the most unique things about Inner Circle is 


Sara Serpa 

Mobile 

Teachers: Jim Seeley, Nathan Warner, Laurie Frink, 

Vincent Penzarella, Robert Apostle, Ambrose Akinmusire, 

Jason Moran, Michael Rodriguez and Bobby Shew. 

Influences: Vijay Iyer, Maurice Ravel, Francis Poulenc, 

Venetian Snares, John Coltrane, Ambrose Akinmusire, 

Steve Reich, Jason Moran, Christian Scott, Tool, 

Radiohead, The Beatles, Jimi Hendrix and many more. 

Current Projects: Music for the FONT show, half of 

which is inspired by land, architecture and construction 

and the other half which is inspired by more personal 

things inside my twisted mind, etc. 

By Day: I walk to Prospect Park to get some fresh park 

air and sunlight. I get back and practice and/or 

compose, or watch Louie or Mad Men on Netflix, etc. 

I knew I wanted to be a musician when... I used to sit 

behind the trumpet section in my dad’s band. 

Dream Band: My dream band is...not to be disclosed... 

but I do know that I would love to play with these four 

people I have in mind for a band and that I’ll make 

sure that dream comes true. 

Did you know? I have a bit of a balloon phobia. 

For more information, visit ofarrillbrothers.com. O’Farrill 

is at The Jazz Gallery Sep. 14th as part of FONT. See 

Calendar.

© Lolo Vasco/Bluephoto 

FESTIVAL REPORT 

Heineken Jazzaldia 

by Tom Conrad 

Nils Petter Molvær 

San Sebastián, in the Basque region of northern Spain, 

is a spectacular setting for a jazz festival. The town 

curls around Concha Bay, between Monte Igueldo and 

Monte Urgull. You can walk for two miles on a 

promenade along one of Europe’s most beautiful 

beaches. 

This year’s Heineken Jazzaldia (Jul. 19th-23rd) 

was the 47th edition, which makes it the second-oldest 

jazz festival in Europe, after Jazz à Juan in Antibes. In 

2012 there was a disconnect between life inside and 

outside your hotel room. Inside, International CNN 

telecast continuous coverage of massive demonstrations 

in Madrid and other major Spanish cities, protesting 

the government’s cutbacks and tax increases. Outside, 

the golden sand of Concha Beach was black with 

thousands of sun worshipers and young, well-dressed 

Spaniards overflowed the tapas bars of the Old Town. 

Spain’s economic crisis did not seem to affect Jazzaldia. 

Attendance was up 6% this year. 

The bigger names played in Kursaal, an 1,800-seat 

auditorium in an avant garde structure on the Río 

Urumea, or Teatro Victoria Eugenia, an elegant 900seat 

horseshoe with three tiers of opera boxes, or 

outdoors in Plaza de la Trinidad, a stone and brick 

medieval public square. They included Melody Gardot, 

Antony and the Johnsons, Bobby McFerrin, the 

Yellowjackets and Madeleine Peyroux. The best of the 

headliners were Ninety Miles and Miles Smiles. Both 

bands played nothing more ambitious than head-soloshead, 

but the soloists (Stefon Harris/Nicholas Payton/ 

David Sanchez for Ninety Miles; Wallace Roney/Joey 

DeFrancesco/Rick Margitza/Robben Ford for Miles 

Smiles) were strong enough to light up the Plaza. 

As often happens at jazz festivals, most of the 

memorable moments came from artists further down 

the list, usually playing in smaller venues. No one was 

prepared for L’Orchestre d’Hommes-Orchestres, six 

musicians and performance artists from Quebec. Their 

tribute to Tom Waits was wildly bizarre, fascinating 

and hilarious. It took three people to play an accordion, 

none of whom was the person to whom the accordion 

was attached. They were so pitch-perfect and true to 

their strangeness that they became the buzz of the 

festival. A third, unscheduled, performance had to be 

added to the program. 

Enrico Rava’s Tribe Quintet played high-class 

lunch music in the early afternoon at the Basque 

Culinary Center. Rava’s trumpet still erupts in startling 

lines and he surrounds himself with some of the hottest 

young players Italy has to offer. Spearing the air with 

his trombone slide, Gianluca Petrella struck like a 

cobra. Pianist Giovanni Guidi smashed chords at both 

ends of the keyboard. It was powerful stuff for so early 

in the day. 


Photo by Gary Firstenberg 

Newport Jazz Fest 

by Terrell Holmes 

Pat Metheny 

Every year thousands of jazz enthusiasts armed with 

lawn chairs, water bottles and sun block make their 

way to Fort Adams State Park in Rhode Island for the 

Newport Jazz Festival (Aug. 3rd-5th, with opening 

night at the International Tennis Hall of Fame), 

America’s premier jazz fest and the blueprint that 

others have followed since impresario George Wein 

presented the inaugural edition in 1954. The festival’s 

three stages were pulsating with jazz of many different 

genres, concertgoers dashing among the venues to 

check out as much of the great music as possible. 

On Saturday, drummer Jack DeJohnette led a band 

of guitarist David Fiuczynski, alto saxist Rudresh 

Mahanthappa, keyboardist George Colligan (also 

pocket trumpet) and bassist Jerome Harris. Colligan’s 

soulful trumpet underscored the languor of “Blue”, the 

Ornette-ish “Ahmad the Terrible”, written for pianist 

Ahmad Jamal, featured a cyclonic statement by 

Mahanthappa and he and Fiuczynski later had a lively 

call and response on “Priestesses of the Mist”. “Miles” 

was an ultra-funky throwdown that sounded like a 

blend of “Chameleon” and “Birdland”. 

The Bad Plus, with Bill Frisell, followed 

DeJohnette, playing what was essentially a tribute to 

the late Paul Motian since most of the songs were 

penned by the late drummer (the only exception a 

surprisingly straight reading of Sonny Rollins’ “No 

Moe”). From the first notes of “Owl of Cranston” it 

was clear that Frisell’s guitar added a compelling 

dimension to a trio known for its elliptical musings. 

Pianist Ethan Iverson frequently rose from his piano 

bench as if enraptured by what he played. The 

irrepressible Dave King, who always plays like he’s 

discovering the drum kit for the first time, laughed out 

loud during his blistering solo on “Mumbo Jumbo”. 

He and Frisell opened “It Should’ve Happened A Long 

Time Ago” with a beautiful guitar/percussion intro, 

followed with subtle shadings by Iverson and bassist 

Reid Anderson. ”Ramblin’” ended this splendid, 

heartfelt tribute to one of jazz’ all-time greats. 

Pat Metheny and his Unity Band - Chris Potter 

(saxes, flute and bass clarinet), Ben Williams (bass) and 

Antonio Sanchez (drums) - closed the day’s festivities 

at the Fort Stage, the festival’s largest. After Metheny 

opened with a solo acoustic version of the tender 

“Sound of Water”, the band launched into “Come and 

See” with the leader playing fiery licks on the synthguitar 

and Potter weaving intricate, spiraling lines on 

soprano. The uptempo “Police People” had a crisp solo 

by Sanchez, whose timekeeping was economical 

throughout. Potter blew tenor like a madman on “Folk 

Song #1”, the band’s tribute to Michael Brecker. 

Metheny’s encore was his signature tune “Are You 

Going With Me”. 


FCG/Nuno Martins 

Jazz em Agosto 

by Stuart Broomer 

Sunny Murray Trio 

Lisbon’s Jazz em Agosto is a very special festival, 

founded in 1984 and devoted largely to free jazz and 

its legacy. It’s presented by the Gulbenkian Foundation 

with most concerts in an outdoor amphitheatre 

surrounded by trees, ponds and art galleries. In recent 

years the festival has presented some senior innovators 

- Ornette Coleman, Cecil Taylor and Bill Dixon - and 

has also mounted large-scale projects you’ll seldom 

find elsewhere, like Evan Parker’s Electro-Acoustic 

Ensemble, OrchestRova and John Hollenbeck’s Large 

Ensemble. The 29th edition of the festival (Aug. 

3rd-12th) had veterans as well as newcomers, but it 

emphasized compact ensembles ranging from duos to 

a sextet, some intimately conversational, some driven 

by infernal energies. 

The festival began with a trio led by Sunny Murray, 

a founder of free jazz drumming whose broken rolls, 

unpredictable accents and shimmering cymbals can 

launch or cushion a soloist. That floating, layered 

soundscape seemed to embrace the ricocheting lines of 

English tenor saxophonist Tony Bevan and bassist John 

Edwards, who often provided the drive of a more 

conventional drummer. The performance ended with 

Murray turning from free improvisation to sing 

“Nature Boy”, in the process making it - like composer 

eden ahbez had before him - an ode to himself. 

Murray’s whimsy was matched by Dutch pianist 

Misha Mengelberg, the 77-year-old founder of the very 

specifically Dutch school of free improvisation. Here 

he fed tremolos, random flutters, non sequiturs and 

one-liners to British saxophonist Evan Parker, who 

usually managed to create continuity and coherence in 

a fraternal bout of catch-as-catch-can and occasionally 

burst forth in cadenzas the phrases of which had bits of 

Coleman Hawkins-esque bluster shouldering aside 

wisps of Stan Getz-ian luminosity. It was as if this duo 

might have others, like Parker and Parker (or 

Mengelberg and Mengelberg), secreted within. 

In contrast, the festival’s other duo, pianist 

Marilyn Crispell and percussion Gerry Hemingway 

was strikingly direct, two players engaged in 

continuous dialogue based on nearly three decades of 

working together. Empathy was always evident, 

whether the music was an explosion of percussive runs 

and polyrhythms, a rhapsody on a theme by Coltrane, 

an airy flight into an eerie pointillist beauty. 

The same heads-down commitment to the longform 

was evident in Matthew Shipp’s trio with bassist 

Michael Bisio and drummer Whit Dickey, with Shipp 

and Dickey developing monolithic blocks of sound 

that launched Bisio’s more out-going flights. Deviating 

from a continuum of Shipp’s originals to play “On 

Green Dolphin Street”, the trio maintained the same 

sense of sculptural mass. 



IN MEMORIAM 

Lol Coxhill - a great individual, secure in his 

individuality. An unmistakable sound and a warm 

human presence in every one of the many diverse 

music making situations in which he lived. From 

solo to one voice inside the 40-strong London 

Improvisers Orchestra he was always there, in the 

moment, in the music. Thanks Lol. 

- EVAN PARKER, SAXOPHONIST 

Lol Coxhill, the personification of improvising. Some 

years ago the two of us were about to get on a train at 

King’s Cross Station for a gig in Newcastle, but the 

guard closed the gate and said we were too late. 

Faster than giant steps, Lol pointed to his hat, a 

scruffy nonspecific officer type peaked one with an 

anchor on it and said, “We must get on this train, I 

am the captain of a ship that will sail on the next tide 

from Newcastle” and I was his first mate. The guard 

opened the gate and off we went. 

- PHIL MINTON, VOCALIST 

Lol’s soprano saxophone playing was instantly 

recognizable. His free improvisations were endlessly 

inventive. Solo saxophone playing was his speciality. 

When he played in other genres he still retained his 

own character but worked within the ensemble, 

respecting the players and the music. He was 

enormously loved and he was one of the funniest 

people I ever met. 

- STEVE BERESFORD, PIANIST, ET AL 

I started to play with Lol in the ‘80s in Paris at Théâtre 

Dunois, the place where all the creative music was 

happening. I have a wonderful memory of Lol, his 

very special sound on sax, his humor, his eccentricities. 

I was young but he gave me the musical adventure of 

European free music and also generosity and love so 

I could be free to be me. Thanks Lol. 

- JOËLLE LÉANDRE, BASSIST 

I first heard Lol busking outside the National Portrait 

Gallery in London’s Trafalgar Square. Somehow I 

remembered his unique sound quality on the soprano 

from that occasion when I did a concert with John 

Stevens in Lol’s then-home town of Aylesbury with 

the Spontaneous Music Ensemble a few months later. 

He always said that I was the first sax player he heard 

play freely and he remembered my shiny shoes that I 

wore on that occasion and always with a wry smile. 

He was one of the first musicians I invited to 

join my Moire Music Group (1980) as I knew that 

whatever settings I gave him he’d make beautiful 

mincemeat out of them. I remember a recording 

session when the deck kept breaking down and 

everything was delayed. It was the middle of the 

night, he was asleep in the studio and I woke him up 

to do his solo, which he took with aplomb and went 

back to sleep. I was lucky to get a last chance to play 

together during a recording of a film being made 

about the British “improv” scene called Just Not 

Cricket. It was in a Berlin club in October 2011, which 

was the first time I’d played with him in years. A nice 

way to say goodbye if that was how it was to be. 

He was a large presence on the scene, not 

only as a player with a unique sound and approach, 

but as a performer too. I considered him a friend and 

always loved the chance, if it happened, to have a 

drink and chat together. He will be sadly missed for 

all those reasons. He was a lovely human being and 

great player who understood all the traditions of 

music as well as having the ability to play through 

them in his own way. 

- TREVOR WATTS, SAXOPHONIST 


The inimitable sound of his soprano saxophone, like 

Lol himself, was full of humor and wit. Always 

bringing joy to those who, like myself, had the 

opportunity to play with him and to listen. He spoke, 

through his soprano, a language that all could 

understand. Lol’s contribution to the London 

improvised music scene is immense and his presence 

will be sadly missed by all. 

- MARCIO MATTOS, BASSIST 

A unique musician, sometime singer, sometime actor, 

raconteur, wit and gentleman geezer, “The Bald 

Soprano”, a man whose shirts often matched his 

looping, colourful playing style. The inimitable Lol 

Coxhill. 

I played in many different situations with 

Lol. It was always a great pleasure to hear him 

negotiate his own unique path through any music 

that he was involved with - and I’ve seen the old TV 

clip of him playing tenor sax on “Walkin’ The Dog” 

with Rufus Thomas. I was once offered a residency on 

a mock steamboat on a quayside in Southampton. 

They wanted us to play Dixieland music, the money 

was good, so I asked Lol and Roger Turner. We played 

stuff like “Buddy Bolden’s Blues” and “Just A Closer 

Walk”. After a few nights they asked us if we could 

play more popular stuff like The Saints or, better still, 

The Beatles. Lol sang “Ain’t Misbehavin’” and though 

there were vocal mics, he dropped to his knees and 

sang through his soprano mic - in pretend German. 

The management saved us the decision to quit. 

On tour and rummaging through the vinyl 

in a jazz record shop, I found a copy of Jazz Reunion 

with Pee Wee Russell and Coleman Hawkins. Lol 

was quite envious, until he remembered that he had 

it lurking somewhere in his collection. I have always 

thought that there is something of Pee Wee in Lol’s 

playing: the surprises, the wit and the nod to tradition. 

He was modest and quick to praise. A very English 

man, he will always be, the one and only Lol Coxhill. 

- NICK STEPHENS, BASSIST 

In my 40–year career, I have been lucky to play with 

some of the best soprano players in the world but a 

very peculiar collaboration was the one with Lol 

Coxhill from 1977-83. Lol, beside being a stellar 

soprano player and one of the few to develop an 

original language on the instrument, was one of the 

funniest people I ever met in my life. 

I remember the first time I went to pick him 

up at the airport in Florence. I immediately identified 

the man: a big guy with a military kind of coat and a 

soprano case in his right hand. When I said, “Let’s go 

to the baggage claim,” he replied, “Oh, no. I have all 

I need here.” As matter of fact, he had his toothbrush 

on the soprano’s bell and that really was all!!! 

What really was striking in Lol’s personality 

was his openness to explore any form of music he 

discovered, blending it into his own language. In 

concert (both in duo or later in trio with Franz 

Koglmann or Giancarlo Schiaffini) it was a continuous 

flow of quotes from pop songs to jazz standards to 

folk music. And all with his signature mark. 

He also had the ability to pick the most 

trashy kind of stuff and turn it in shining gems. I 

remember once in my house when Lol found the 

Evel Knievel LP…. he went wild listening to it over 

and over. The next duo concert featured “The Ballad 

of Evel Knievel” (certainly not a memorable piece of 

art), turned into a spectacular soprano performance. 

We had five CDs released in duo and in trio 

and each has new elements to discover since he never 

repeated himself. I’ll miss dear Lol, a genius of the 

instrument but especially an incredible human being. 

- ANDREA CENTAZZO, PERCUSSIONIST 

Lol always had his own values - busking solo in the 

streets and underground of London had, to him, no 

less challenge and satisfaction than the most 

prestigious venues and festivals. He had the ability 

to cut to the kernel of the situation and not be 

absorbed into the hype. Whenever I face a lack of 

confidence or uncertainty, I say to myself “What 

would Lol do?” God bless him! 

- GEORGE HASLAM, SAXOPHONIST 

Without Lol, everything to do with jazz and 

improvisation in London would be different. The 

way he played, the way he focused on music. 

Whenever we heard that he was coming to play at 

the Vortex, it was always something to look forward 

to with anticipation because there would always be 

an (impish) twist. And isn’t that a reason why we 

support such musicians? 

- OLIVER WEINDLING, VORTEX CLUB 

Lol was doing things that sometimes were happily 

seen as eccentric but in fact were a manifestation of 

an incredible courage, a deep way to increase the 

power of life, to indicate a possible and strong 

independence of the mind, never far from the one of 

the body - Lol was also a great dancer. Lol was one of 

those creative beings, one of those major musicians, 

improving humanity and relations, showing us 

always a real way not only for free music, but for 

freedom, generosity and autonomy. Thank you! 

- JEAN ROCHARD, NATO RECORDS 

Lol was a great figure of the improvised music. We 

met and played twice - that was a long time ago. Lol 

had a very rich artistic life. He played with so many 

different people and not only musicians! We will all 

remember him, of course! See you on the notes, Lol! 

- RAYMOND BONI, GUITARIST 

I first met Lol Coxhill when Henry Cow shared a bill 

with Kevin Ayers’ Whole World in 1971. He was an 

extraordinary character, shy but very direct, 

combining warm enthusiasm with an inimitably 

eccentric humor and a vast knowledge that seemed 

to encompass pretty much everything that was going 

on in music that was worth listening to. For the next 

ten years or so, until I emigrated to New York, our 

paths crossed more or less constantly and he became 

an important mentor and a valued friend. 

We played together a lot at a time when I 

was trying to figure out who I was and what I wanted 

to do. Lucky for me! Lol strongly reinforced the idea 

that playing in a wide range of musical contexts is a 

sign of strength and not weakness (he liked to 

compare the way actors are praised for their skill and 

range when they take on different kinds of roles 

while musicians are questioned for indecisiveness or 

lack of commitment). More importantly, he was an 

uncompromising player with an instantly 

recognizable sound who could deflate the most 

tenacious egos with charm and efficiency and could 

hold his own with anyone, as those who heard him 

perform with Steve Lacy and Evan Parker can readily 

attest. There was - is - so much music and so much 

history in Lol’s playing that it takes your breath 

away. I was lucky enough to perform with him as 

recently as two years ago and his mastery as an 

improviser was still intact, his playing as intense and 

deeply felt as always. Perhaps his most obvious and 

humbling attribute, however, is that he inspired a 

fierce and loyal affection in all who knew him. We 

are many, to say the least. 

- FRED FRITH, GUITARIST

My first released recording was with Lol. We lived in 

the same artists community for eight years. I learned 

an enormous amount about music and life from Lol. 

There are many different tunes that I learned because 

of Lol. We played them at social events and gigs and 

he never used sheet music. I have a feeling of great 

loss now he has gone. Something enormous is 

missing. He was very funny and would use this 

humor often to make a subtle point sometimes about 

very important issues, often very personal. The 

sound of that soprano saxophone was incredibly 

characterful in any situation, whether playing a 

simple little ditty through to his full-on, hard-edged 

improvising. It was always ‘that sound’. The 

inimitable Lol Coxhill, laid to rest, but his music lives 

on in a huge diversity of recordings thankfully. But 

most important of all – thank YOU Lol. 

- VERYAN WESTON, PIANIST 

Lol Coxhill… the name forever conjures up a warm 

glow of generosity - yes, that’s the word - generosity. 

Such a great and diverse contributor, so many angles, 

for me memorably Lol as a narrator in Tom Philip’s 

opera Irma, the performance in Raleigh North 

Carolina 1992, his fantastic balanced performance of 

deadpan narration, hint of humor, quirky twist and 

turns, the seamless transition from speech to 

saxophone brilliant. Also on that occasion, in Raleigh, 

while queuing to pay at a fast food diner, Lol heard 

the woman at the till repeat in a robotic manner 

“Thank you all…come back and see me again you 

all…have a nice day!”. When it was Lol’s turn to pay, 

the woman duly repeated her line, to which Lol 

responded by placing his face closer to hers, fixing 

her gaze and in a deep East End London gruff 

gangster accent said, “I’ll decide if I have a nice day, 

thank you very much!” and exited, the woman’s face 

in utter shock. Lol’s ability to place the saxophone in 

to his mouth and just play, without an agenda, 

without a formula, just playing… wonderful. 

- KEITH ROWE, GUITARIST 

If music derives its power from reflecting the patterns 

and rhythms of human consciousness and timeperception 

and if part of the point of improvisation is 

to access this potential in its most direct form by 

presenting music as an outcome of real-time thought 

and response, then Lol Coxhill exemplified this 

aspect of instrumental improvisation in his playing 

to a higher degree than possibly anyone else I have 

ever heard. What one heard was the sound of a mind 

doing what a mind does: moving at its own everchanging 

pace in unpredictable counterpoint to the 

unceasing flow of the time-stream, rifling through its 

own contents - lingering over one, summarily 

dismissing another - and watching intently as its 

components are constantly transformed both by each 

other and by the influence of external perceptions. 

Of course, it helps that the contents of that 

mind as manifested in Lol’s musical vocabulary were 

so captivating in themselves - a phraseology, 

harmonic language and concept of tone that were 

completely individual and recognizable, even as 

they alluded to whole swathes of musical history. 

But while his musical personality was too strongly 

imprinted into everything he played for there to be 

any question of it ever appearing arbitrary, at the 

same time his unconcernedness with making his 

flow of ideas exhibit the traditional signifiers of 

‘musical logic’ gave rise to a phrase-to-phrase 

unpredictability of direction in his playing that is 

practically unmatched. This made both listening to 

Lol and playing with him a completely unique 

experience for me and I will miss him like hell. 

- ALEX WARD, MULTI-INSTRUMENTALIST 

LOL COXHILL 

1932-2012 

© Eckhart Derschmidt 


Plays Toninho Horta 

Duduka Da Fonseca Trio 

(ZOHO) 

CD REVIEWS 

by Ken Dryden 

Samba Jazz - Jazz Samba 

Duduka Da Fonseca 

Quartet (Anzic) 

Percussionist Duduka Da Fonseca has found the 

perfect mix between his native Brazilian music and 

American jazz. Whether working with the cooperatives 

Trio da Paz and the Brazilian Trio, appearing as a 

sideman or leading one of his own groups, Da Fonseca 

has been in the forefront of the growth of samba jazz in 

the US since his arrival in 1975. 

It isn’t surprising that Da Fonseca would be drawn 

to the music of countryman Toninho Horta, as the 

guitarist has been a friend for several decades and 

excels as a songwriter. During a visit to Brazil, the 

drummer took part in a record date by saxophonist 

Paulo Levi, where he met two talented young 

musicians, pianist David Feldman and bassist Guto 

Wirtti. Da Fonseca was so pleased working with them 

that he decided to form his Brazilian Trio, working 

with them whenever he returns to Rio de Janeiro. 

Horta’s music is greatly appreciated among 

Brazilian jazz aficionados, though the general jazz 

public isn’t as familiar with his works. Yet there are 

many songs on Plays Toninho Horta that deserve to 

become standards. As with many piano trios, the focus 

can’t help but center around Feldman, though Wirtti 

and Da Fonseca make their presence felt throughout 

the session. The delicate ballad “Moonstone” is 

beautifully interpreted by the trio, with subtle backing 

for lyrical, spacious piano. The easygoing “De Ton Pra 

Tom” conjures the spirit of Antonio Carlos Jobim, with 

Da Fonseca’s articulate drumming prominent in the 

mix. The band wails in the frenzied bossa nova 

“Aquelas Coisas Todas” and in the energetic finale 

“Retrato Do Gato”, the latter in which Da Fonseca 

takes an extended solo. 

For the quintet session Samba Jazz - Jazz Samba, Da 

Fonseca is joined by tenor saxophonist/clarinetist 

Anat Cohen, pianist Helio Alves, guitarist Guilherme 

Montero and bassist Leonardo Cioglia, a band he 

formed in 2002, which rehearsed regularly even though 

bookings were infrequent. The primary soloists are 

Cohen and Montero, with most of the music written by 

Brazilian composers, with two exceptions. Ornette 

Coleman’s “Blues Connotation” is arranged by Cohen 

into a lively samba, spotlighting fleet guitar and downhome, 

gritty tenor, along with potent solos by Alves 

and Cioglia. Cohen’s clarinet, alongside the leader’s 

whispering brushwork, provides the perfect mix of 

melancholy and nostalgia in Jimmy Rowles’ timeless 

ballad “The Peacocks”. 

The other songs are all by Brazilian composers, 

many of whom have played alongside Da Fonseca in 

various bands: Dom Salvador penned the brisk “Depois 

Da Chuva”; the quintet could easily conjure a Carnaval 

parade with their infectious playing of Raul 

Mascarenhas’ intense “Sabor Carioca” and bittersweet 

clarinet is central to Antonio Carlos Jobim’s “Rancho 

Das Nuvens”, a complex work that deserves to be more 

widely known. The leader’s superb drumming is 

prominent behind the soloists in his breezy “Flying 

Over Rio” while Toninho Horta’s “Dona Olympia” is 

another fine showcase for Cohen’s tenor. 

For more information, visit zohomusic.com and anzicrecords.com. 

Da Fonseca is at Dizzy’s Club Sep. 1st-2nd, Jazz Standard Sep. 

11th and Jazz at Kitano Sep. 28th-29th. See Calendar. 


Eponymous 

Plutino (Spacebone) 

by Elliott Simon 

Like its extraterrestrial namesake, this Plutino is 

rhythmically adventurous yet systemically grounded, 

due in large part to drummer Bobby Previte’s solid 

control of these nine semi-structured musical 

commentaries on Planet Earth’s structured financial 

system. An odd concept, but in a post-bubble-burst 

economy, viewing collateralized debt obligations from 

the outermost reaches of the solar system provides a 

unique and at times clarifying perspective. 

Previte employs his own celestial musical 

mechanics to fill out this power trio with two superb 

young Italian musicians. Baritone saxophonist Beppe 

Scardino is a wonderfully melodic player in touch with 

Previte’s rhythmically complex compositions. He 

invokes the bari’s power to lead the no-frills march 

forward that is “Austerity” but also uses an exquisite 

tone and elegant feel to provide just the right amount 

of despair for “Downgrading”. Guitarist Francesco 

Diodati is a beautiful stylist and his chordal 

expressiveness in the context of this bottom-heavy trio 

is responsible for the brighter colors in what can 

sometimes be a fairly bleak picture. He adds an offcenter 

counterpoint to the ups and downs of “Volatility” 

and colorizes “Default” into a surreal experience. 

Previte’s rhythmic inventiveness is at the heart of 

these tunes. He turns “Rollover” into a full-speedahead 

rocker and comes up with an infectious Latin 

rhythm that emphasizes the contagious in “Contagion”. 

“Tranche”, a treatise on the complex world of bond 

credit ratings, is a vehicle for the band to blow over 

Previte’s driving rhythms while “Contango” delicately 

dances through the ethereal futures trading market. 

Fear not though, it appears that Planet Earth is saved 

yet again through another dirge-like “Bailout”. 

For more information, visit bobbyprevite.com. Bobby Previte 

is at Cornelia Street Café Sep. 2nd with Jane Ira Bloom and 

The Paper Box Sep. 13th. See Calendar. 

Ashes to Ashes (A David Bowie Intraspective) 

The Wee Trio (Bionic) 


Many jazz purists and bop snobs believe that rock 

and R&B material cannot possibly work in a jazz 

setting. But a variety of broad-minded improvisers, 

from The Bad Plus to the late Charles Earland, have 

demonstrated the fallacy of that thinking. On this 

ambitious CD, the Wee Trio (vibist James Westfall, 

bassist Dan Loomis and drummer Jared Schonig) has 

no problem putting an instrumental jazz spin on songs 

that span about 32 years of David Bowie’s career. 

Ashes to Ashes doesn’t limit itself to major hits. 

Missing are “Fame”, “Let’s Dance”, “Ziggy Stardust” 

or “Changes”. Instead, Westfall, Loomis and Schonig 

make unlikely choices that range from “Queen Bitch” 

from 1971’s Hunky Dory to “Ashes to Ashes” from 

1980’s Scary Monsters to the title track of 1970’s The 

Man Who Sold the World and also acknowledge more 

recent efforts, like “Sunday” from 2002’s Heathen and 

“Battle for Britain” from 1997’s Earthling. Anyone 

familiar with all of these songs is a real fan but even if 

one does know the songs, there is plenty of intrigue on 

Ashes on Ashes: the instrumentation is totally different, 

no vocals are used and a considerable amount of 

improvisation occurs, blending postbop with jazz-funk 

and, at times, avant garde elements. 

For more information, visit theweetrio.com. This group is at 

Cornelia Street Café Sep. 4th. See Calendar. 

RECOMMENDED 

NEW RELEASES 

• Riccardo Fassi/New York Pocket Orchestra - 

Sitting in a Song (Alice) 

• Jürgen Friedrich - Monosuite (Pirouet) 

• Fred Hersch Trio - Alive at the Vanguard (Palmetto) 

• François Houle 5 + 1 - Genera (Songlines) 

• Hafez Modirzadeh - Post-Chromodal Out! (Pi) 

• Arturo O’Farrill - The Noguchi Sessions (Zoho) 

David Adler, New York@Night Columnist 

• Bill Barron - The Tenor Stylings of Bill Barron/ 

Modern Windows/Hot Line (Savoy-Fresh Sound) 

• Josh Berman & His Gang - There Now (Delmark) 

• Pat Martino - Alone Together (with Bobby Rose) 

(HighNote) 

• Hafez Modirzadeh - Post-Chromodal Out! (Pi) 

• Stephen Riley - Hart-Beat (SteepleChase) 

• Teri Roiger - Dear Abbey (Inner Circle) 

Laurence Donohue-Greene 

Managing Editor, The New York City Jazz Record 

• Rodrigo Amado Motion Trio & Jeb Bishop - 

Burning Live at Jazz ao Centro (JACC) 

• Marco Cappelli’s Italian Surf Academy - 

The American Dream (Mode) 

• Darth Vegas - Brainwashing for Dirty Minds (Romero) 

• Gato Libre - Forever (Libra) 

• Fred Ho & The Saxophone Liberation Front - 

Snake-Eaters (Big Red Media-Mutable) 

• New Zion Trio - Fight Against Babylon (Veal) 

Andrey Henkin 

Editorial Director, The New York City Jazz Record

Dear Abbey: The Music of Abbey Lincoln 

Teri Roiger (Inner Circle) 

by Joel Roberts 

Abbey Lincoln is nearly alone among the late great 

divas of jazz singing - the ones instantly identifiable by 

first name alone, like Ella, Sarah, Billie, Carmen, Betty 

- in that she wrote much of her own material and left 

behind as rich a legacy as a composer as she did as a 

vocalist. There have been a handful of recorded tributes 

to this much beloved artist but not many, which is a 

surprise given what a fertile ground for exploration 

and improvisation her compositions provide. 

Veteran vocalist Teri Roiger answers the call to 

keep Lincoln’s music alive on her new CD, which 

revisits 13 of Lincoln’s best tunes, including “Wholly 

Earth”, “Bird Alone” and “You Gotta Pay the Band”. It 

is an obviously heartfelt effort that’s helped 

immeasurably by Roiger’s impressive musicianship 

and a vocal timbre that in many ways recalls Lincoln’s. 

Like Lincoln and their mutual influence Billie Holiday, 

Roiger doesn’t have a big voice, but she makes up for it 

with a delicate, sultry, sure-handed touch and a flair 

for drama. Also like Lincoln, she surrounds herself 

with superb sidemen and gives them plenty of room to 

roam. Her fine quartet includes husband John Menegon 

(bass), Frank Kimbrough (piano) and drummer Steve 

Williams. Alto master Greg Osby appears as a guest 

soloist on five tunes and guitarist Mark Dziuba on one. 

If there’s a complaint here, it’s that the 

arrangements, while handled expertly and 

enthusiastically, stick pretty close to Lincoln’s originals, 

a shame given the opportunities her open-ended tunes 

provide for fresh treatments. Still, this is an enjoyable 

hour spent with a delightful vocalist and some 

wonderful tunes. Kudos to Roiger for doing her part to 

ensure that Lincoln’s still underappreciated songs earn 

their rightful place in the jazz canon. 

For more information, visit innercirclemusic.net. This 

project is at Dizzy’s Club Sep. 3rd. See Calendar. 

Hope Dawson is Missing 

Jessica Pavone (Tzadik) 

by Sean Fitzell 

Widely known for her work with composer Anthony 

Braxton and longstanding duet with guitarist Mary 

Halvorson, violist Jessica Pavone seeks boundaryblurring 

music. In her own projects, she’s infused folklike 

song forms into classical chamber settings and 

improvising groups. On her Tzadik debut Songs of 

Synastry and Solitude, Pavone composed for a string 

quartet with bass supplanting 2nd violin. 

On the followup Hope Dawson is Missing, she 

augments the chamber group with Halvorson’s guitar, 

Tomas Fujiwara’s drums and Emily Manzo’s voice. 

The song-cycle explores contradictions - deprivation 

and nourishment, demolition and reconstruction, 

falsity and truth - and the music similarly works in 

contrasts of instrumentation and style with dramatic 

results. 

The prelude “Hope” boasts the Toomai String 

Quartet introducing recurring melodic motifs, 

including one spurred by insistent but spare percussion. 

A clipped guitar phrase opens “Providence”, as bass 

and percussion pulse sweeping string movements and 

short call-and-responses for Manzo to sing against. 

Her almost liturgical delivery on “Dawn to Dark” 

matches the strings’ emotively soaring highs and 

rumbling lows, suggesting both spiritual and physical 

longing. “If You Can’t”, an uncomplicated song 

interestingly introduced by plucked strings, gains 

momentum as the voice mirrors the string cadence and 

percussion punctuates the phrases. 

Halvorson provides textural relief after classical 

strings open “Plutonium”, as bass and cello pulsate 

with supporting minimalist touches. Fujiwara’s 

unwavering percussion paces “Jump to the Thunder” 

as the piece morphs into a colloquial song from its 

classically structured beginning and he powers the 

concluding “And at Last” with a forceful and melodic 

solo before a dynamic middle passage of guitar and 

cropped pizzicato retorts recede to a moody atmosphere 

and brief vocal denouement. A phrase from 

“Deconstruction, Reconstruction” may best summarize 

Pavone’s maturation as a composer: “confidence 

results in migration from what’s familiar.” 

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

I-Beam Sep. 4th. See Calendar. 

Holy Abyss 

Joel Harrison/Lorenzo Feliciati (Cuneiform) 

by Ken Waxman 

There’s a thin line between low-key and listless and 

sadly much of this otherwise lyrical CD crosses it many 

times. For some reason the five seasoned musicians 

decided to pitch most of this program of all-originals 

at tempos that range from gloomy to lugubrious, only 

occasionally lively enough to sound cheerful. 

Certainly the talent is here. New York-based 

session co-leader guitarist Joel Harrison, whose 

previous CDs have featured the likes of saxophonist 

Dave Liebman, manages to work in trebly tone 

distortions and spidery reverb in some of his solos, but 

otherwise stays more linear than a super highway. 

Italian bassist Lorenzo Feliciati, the session’s co-leader, 

was influenced by King Crimson and worked with 

saxophonist Bob Mintzer, but his writing on three 

tracks seems more noteworthy than his stolid playing. 

British keyboardist Roy Powell, who now lives in 

Norway, has played with figures such as guitarist Terje 

Rypdal and manages to inhabit many piano styles from 

supper-club comping to bop chording. Drummer Dan 

Weiss, sideman of choice for saxist David Binney 

among others, plays spaciously and rhythmically, but 

never seems to dig into the material. Probably the 

biggest surprise is Seattle-based trumpeter Cuong Vu, 

whose harmonizing with Harrison provides many of 

the CDs defining moments, closer to his discreet 

contributions to guitarist Pat Metheny’s group. 

That said the trumpeter’s best soloing occurs on 

the Harrison-composed “North Wind (Mistral)”, where 

his flutter-tonguing and vibrating triplets join 

Feliciati’s slap bass and the composer’s rock-tinged 

licks to toughen the initially moderato theme. “Small 

Table Rules”, composed by the bassist, is a spirited 

stand-out, although its soul-jazz vibe sounds a bit 

strained. With the chromatic line pushed along by 

Weiss’ rolls and pops, the piece gains in intensity as it 

careens forward, goosed by sustained triplets from Vu, 

until Harrison’s steady blues progression calms things 

down to eventual diminuendo. 

With artful composing and playing evident at 

points, Holy Abyss isn’t in a complete void. But next 

time out more variety in the writing and liveliness in 

its execution could move the band closer to producing 

something (w)holy satisfying. 

For more information, visit cuneiformrecords.com. Harrison 

is at ShapeShifter Lab Sep. 6th. See Calendar. 

UNEARTHED GEM 

The Bremen Concert 

Noah Howard Quartet (JaZt TAPES) 

by Robert Iannapollo 

By 1975, when this concert was recorded, alto 

saxophonist Noah Howard had already logged six 

years as an expatriate, residing in France. In the late 

‘60s, as a member of the second wave of free jazzers, 

with a brace of ESP albums to his credit but with 

dwindling live venue options and very little press, 

he had little choice but to leave the US to find an 

audience. It’s somewhat surprising since, among the 

vanguardists, his style was more accessible than 

most. His tone was lyrical but with a tart edge and 

his solos could pack heat. But he was just as likely to 

bask in a lyrical glow as he was to scream his piece. 

Recordings from this time period featured a 

quartet that usually included pianist Takashi Kako, 

bassist Kent Carter and drummer Oliver Johnson. 

The Bremen Concert is with that group and is the 

third recording to be released from Howard’s 

European tour of early 1975. (Berlin Concert and In 

Europe, Vol. 1 are the others.) One has to question 

this release, however. It’s a copy of a radio broadcast 

and the sound is less than optimal. The first minute 

is practically inaudible due to what sounds like a 

crinkled tape. When it does finally settle into what 

seems like a reasonable sound, the bass is boomy 

and overpowering, the drums are muffled and the 

piano is underrecorded. Additionally songs and 

musicians are mislabeled. 

But all that said, this is a prime Noah Howard 

performance. The opening track, listed as “Ole 

Negro”, a Noah Howard tune found on his Black 

Ark, has nothing to do with what is played. It’s 

actually Coltrane’s “Olé”, a piece Howard frequently 

used as an opener around this time. It’s a stirring 

performance and Howard tears through it with 

verve. “Pearl Stream” has a skeletal theme that is 

quickly discarded as the band navigates into free 

territory. Howard’s passionate, searing sound spits 

out shredding lines while Kako’s peculiar mix of 

Cecil Taylor and McCoy Tyner scurries after him. 

“New Arrival” is a feature for Howard’s limpid 

lyricism and “Ziki” closes the set with Coltrane-ish 

meditative calm. The Bremen Concert is as good as 

any example of Howard’s music of this period. Just 

wish it sounded better. 

For more information, visit janstrom.se 


GLOBE UNITY: BRAZIL 

Piano Masters Series, Vol. 2 

Philippe Baden Powell (Adventure Music) 

Tempo (feat. Eddie Gomez) Tania Maria (Naïve) 

Constelação Brazilian Trio (Motéma Music) 

by Tom Greenland 

The world’s fifth largest country, home of bossa 

nova, samba and birthplace of Tom Jobim, Airto 

Moreira, Milton Nascimento and Hermeto Pascoal 

(to name only a few), Brazil has deeply impacted 

jazz. Recent releases show that the impact continues. 

Rio-raised Philippe Baden Powell (son of Baden 

Powell) is the second Brazilian pianist to go solo on 

the Piano Masters Series, recorded at Klavierhaus on 

a fabulous Fazioli grand, boasting a brassy, brawny 

bass register that vaults right out of the sounding 

box. On Vol. 2, Powell’s touch is gentle, with deft 

ornamentation and intricate two-hand figures. After 

a short prelude and two minor-keyed ruminations, 

he hits his stride on “’Round Midnight” with 

sprawling, hypnotic gestures. Other highlights are 

Egberto Gismonti’s “Lôro”, a funky samba recalling 

Keith Jarrett; “Canto Triste”, lush with contrapuntal 

harmonies and textures; “Garfield”, an elegant 

original that momentarily ventures off the beaten 

path; Coltrane’s “Giant Steps”, here in semi-modal 

guise; capped by “Ending”, the most harmonically 

adventurous piece. 

Pianist/vocalist Tania Maria, originally from 

northern Brazil, duets with bassist Eddie Gomez on 

Tempo, comfortable yet compelling, in-the-pocket 

but never predictable. Maria’s voice runs hot and 

cool, scatting along to her solos on “Sentado a Beira 

do Caminho” (where she also whistles amazingly) 

or else caressing the Portuguese lyrics of “Estate”, 

“Bronzes e Cristais”, a beautiful bossa, and the title 

track. Tempos are subdued, but rhythmic energy 

never drops. Maria’s originals are standouts: “Yeah 

Man”, a boogie shuffle; “Senso Unica”, which shifts 

between slow soul and spicy samba; “Dear Dee 

Dee”, a tricky yet catchy line rivaling Chick Corea’s 

“Spain”, and “Tempo”, featuring a rhapsodic 

opening, democratic repartee and surprise moments. 

Pianist Helio Alves, bassist Nilson Matta, both 

from São Paulo, and drummer Duduka Da Fonseca, 

from Rio, are all New Yorkers now, known 

collectively as Brazilian Trio. Constelação, their 

second release, contains an original from each 

member, three infrequently played Jobim songs 

(“Quebra Pedra”, “Luiza” and “O Boto”), Cedar 

Walton’s “Bolivia” and a few bossa-jazz standards. 

The threesome plays fast and loose, testy but tasty, 

synched like a six-armed spider. Alves’ “Bebe” 

fronts his fluid, filigreed style, broken chords 

punctuated by sudden exclamations. Da Fonseca 

trades dynamic choruses with bass and drums on 

“Embalo” and gently fleshes out the texture of “O 

Cantador”. Matta’s agile authority is evident 

throughout, notably on “LVM/Direto ao Assunto”. 

For more information, visit adventure-music.com, 

naive.fr and motema.com. Nilson Matta and Duduka Da 

Fonseca are at Dizzy’s Club Sep. 1st-2nd (Brazil Day) 

and Jazz at Kitano Sep. 28th-29th. See Calendar. 


Patience 

Stéphane Kerecki/John Taylor (Zig-Zag Territoires) 

All Strung Out 

Denman Maroney/Dominic Lash (Kadima Collective) 

Duetto Mark Dresser/Diane Moser (CIMP) 

by Sam Spokony 

In these three albums, we find each piano/bass duo 

approaching the world of free improvisation with 

different modes of thought and intensity. 

Patience, by French bassist Stéphane Kerecki and 

British pianist John Taylor, reveals the strong influence 

of the classic dynamic that once existed between 

pianist Bill Evans and bassist Scott LaFaro. After an 

improvised “Prologue” (followed later by a similar 

“Interlude” and, finally, an “Epilogue”) the title track 

is darkly moody, but not tense, as Kerecki’s basslines 

have room to breathe beneath Taylor’s searching 

melodies. “Gary” follows in this same vein, introducing 

more particularly good interplay amidst the tune’s 

swift motion. Taylor tends to display his virtuosity 

while maintaining a wonderfully light touch in the 

upper register, which is expertly balanced by Kerecki’s 

spirited runs up and down the neck of his instrument. 

“La Source” opens with a beautifully bowed 

introduction from the bassist, the fluid, singing quality 

of which seems to epitomize much of what he aimed to 

accomplish with this session. The most successful track 

is the only composition not by Kerecki, LaFaro’s “Jade 

Visions”. Kerecki and Taylor combine their own voices 

with those of the past greats to provide a deep, 

introspective take on that beautiful tune. 

After experiencing that aura, All Strung Out feels 

like a polar opposite. In nine improvisations, American 

pianist Denman Maroney and British bassist Dominic 

Lash release their energy in hectic, fast-paced bursts 

while also exploring the sonic limits of their 

instruments. Maroney utilizes his own “hyperpiano” 

technique, in which he strikes, plucks and bows the 

strings of the piano to create strikingly unusual tones. 

On “Air Wheel”, he achieves a dry, acidic cymbal-like 

sound, as Lash follows with his own untraditional 

bowing. “Bowled Under” is wildly ambient, building 

slowly out of tinny scrapes and lightly jarring punches. 

Phrases are introduced and sometimes repeated, but 

are rarely developed very far beyond their basic stages. 

The layered scratches and metallic screams that swell 

in “Case in Area” remind one, alternately, of a jet 

engine and a frantic ensemble of violinists. It is 

intriguing and impressive that Maroney can even 

express these tones fluently - not to mention 

discovering them in the first place - but they do not 

always inspire much in the way of emotion. 

While the first two albums in this group are 

constructed within two opposing atmospheres, Duetto 

displays ranges of dynamics and insight that are wide 

enough to span across both ends of that spectrum. 

Pianist Diane Moser and bassist Mark Dresser, who 

both contributed compositions to the effort, have the 

strongest and most affecting album of this group - not 

because they display more skill, but simply because 

their free jazz explorations are, well, freer. From the 

first track, Moser’s tune “Hello”, both players exude a 

boundless feeling of self-expression that reveals itself 

in every note they play. What results is a very rare 

balance of wildly atonal improvisation and consonant 

harmonic lushness - one that is born of arrangements, 

but is truly spontaneous in its development and 

execution. Added inventiveness is found on Dresser’s 

composition “Yeller Grace”, which blends “Yellow 

Rose of Texas”, “Amazing Grace” and the National 

Anthem into a barely recognizable yet fully engaging 

mix. And they show plenty of versatility, as piano and 

bass converse equally well within the sweeping, legato 

passages of “For My Mother” or the jarring, playful 

bounces of “Big Mama”. But the true highlight is their 

interplay on Dresser’s composition “Mattress on a 

Stick”, which leads with a breathtakingly lyrical bass 

introduction, over Moser’s sparse and haunting choice 

of chords. Each tune was recorded straight to two 

entirely clean, un-mixed tracks, the depth of the tones 

astounding, providing a truly intimate experience. 

For more information, visit outhere-music.com/zigzag, 

kadimacollective.com and cimprecords.com. Moser and 

Dresser are at Cornelia Street Café Sep. 6th. See Calendar. 

Big Sackbut 

Joe Fiedler (Yellow Sound) 

by Kurt Gottschalk 

Big Sackbut was born as an idea some 25 years ago 

although it only emerged in the physical realm in the 

past couple of years. The genesis came when Joe 

Fiedler first saw the World Saxophone Quartet (WSQ) 

and wanted to devise a similar setting for his trombone. 

But there’s another landmark avant-bop band of the 

‘80s that seems at least as much a forebear. It’s not just 

the instrumentation that invites parallels with Lester 

Bowie’s Brass Fantasy, it’s the music and in the spirit it 

invokes. WSQ aimed at being as huge as possible, both 

in sound and in the conquistadorial cultural aspirations 

its name implied, whereas Bowie already had a world 

takeover ensemble (even if it modestly only 

geographically namechecked Chicago). His Brass 

Fantasy (coming along a half-dozen or so years after 

the WSQ) only sought to prove that the horn section 

was self-sufficient. It wasn’t that they could sound like 

a whole band, just that they could sound like all you 

needed. It was about - deeply about - the love of a horn 

and the love of music, all music. 

Likewise, Big Sackbut is a defiantly naked horn 

section. And just as Bowie fished in diverse musical 

ponds, Fiedler has arranged Captain Beefheart, Willie 

Colon and Sun Ra for the first album by his trombonetrio-plus-tuba 

group, as well as penning some new 

tunes and rearranging a couple from past projects. The 

diversity is no surprise; Fiedler’s work has ranged 

from playing with Celia Cruz and Wyclef Jean to 

Anthony Braxton and Cecil Taylor. But the range of 

styles makes for a roundly enjoyable record. (But let us 

also remember Sun Ra’s traditionalism and Willie 

Colon’s experimentalism before over-enthusing about 

radical programming.) Fiedler is a smart arranger, 

guaranteeing a nice fluidity to the set and his band - 

Ryan Keberle, Josh Roseman and Marcus Rojas - 

breathe warm life into the music. His own compositions 

hold the album together, something called “Ging 

Gong” being an especially sweet surprise. 

All of that said, then, in what chair does Big 

Sackbut sit? It is certainly in the tradition that the late 

Bowie liked to term “serious fun”. (Might we say “out 

for a good time?”) It is not experimental but it is 

inventive. Perhaps best put simply, it’s a job well done. 

For more information, visit yellowsoundlabel.com. This 

project is at The Jazz Gallery Sep. 8th. See Calendar.

Quite Simply 

Mind Games 

Angelika Niescier Maroney/Ilgenfritz/ 

(Enja) 

Niescier/Drury (OutNow) 


Alto saxophonist Angelika Niescier plays on a pair of 

new releases, solidifying her as a first-call player. The 

scope of the discs differs significantly, but Niescier’s 

musical range and talent is such that she can work 

marvelously within these or any other frameworks. 

Niescier leads a high-energy trio on Quite Simply, 

with bassist Thomas Morgan and drummer Tyshawn 

Sorey. Morgan’s fluid plucked solo on the cyclonic 

“Diffractions” sets up a fierce dynamic between the 

thunderous Sorey and Niescier, who improvises with 

excellent tonal and rhythmic balance. Her intensity on 

other burners like “Level 3” and the pulsating 

“Untitled” proves that she can go mano a mano with 

any sax player around. The trio downshifts with 

“Mithra’s Despair”, built from elements like Niescier’s 

breathy murmuring, Sorey’s hand-drumming and 

Morgan’s plucking alternating with a deep-blue arco. 

Her phrasing on “Uncertainty Principle” is melancholy 

but lovely. Niescier adds subtle harmonic punctuation 

and her brand of rhythmic intensity to Ornette 

Coleman’s “Congeniality” and the group’s wonderful 

interpretation of Anthony Braxton’s “69-0” is a perfect 

companion to “Mithra’s Despair”. This trio’s blend of 

straightahead and free jazz is pure dynamite. 

Niescier is also part of an outstanding quartet 

with Denman Maroney (piano), James Ilgenfritz (bass) 

and Andrew Drury (drums). Their album, Mind Games, 

is jazz from the inside out, a compelling damnation of 

theme-solos-theme conventionality. 

Drury’s high-pitched cymbal effects in tandem 

with Ilgenfritz’ moaning arco and bold plucking mark 

the listing-ship abstraction of “Ledig House”. Maroney 

makes his piano strings sing while trilling at the keys 

and Niescier’s harmonic stridency rounds out the 

tableau. Maroney’s first excursion into what he 

describes as “hyperpiano” occurs on “Perplexia”, 

where he strums and uses other objects against the 

piano strings to produce a variety of textures and 

pitches. Indeed, Maroney is the furthest outside the 

box when he’s inside it. Drury, Niescier and Ilgenfritz 

join in on this free excursion, their harmonizing a 

beehive of color and elasticity. Ilgenfritz’ bass is the 

spindle around which “Social Hypochondria” revolves, 

as Maroney’s inspired string effects accompany 

Niescier’s intense sax soliloquy. Niescier involves 

herself in the extra-instrumentality, as she did on Quite 

Simply, by blowing gently into her mouthpiece on 

“Innervista” while her braying harmonics move 

“Greene St.” to another level of creativity. Drury’s 

percussive solo on the brooding “Canter” is his 

signature moment on the album, where he uses 

hy-percussive implements such as bells and bamboo to 

produce his desired sonic textures. The epic “Warum 

Bist Du Gekommen?” is a tour de force that balances 

the abstract and the conventional perfectly. This music 

isn’t sound for sound’s sake but is built within a 

discernible harmonic and rhythmic framework. And 

this striking originality announces a formidable band 

with which to be reckoned. 

For more information, visit enjarecords.com and 

outnowrecordings.com. Niescier is at Douglass Street 

Music Collective Sep. 8th and Spectrum Sep. 14th with the 

Mind Games project. See Calendar. 

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS 

Harlem Speaks 

A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ 

9/20: Roy Eaton 

Pianist 

9/27: George Gee Gee 

9/21: Jonathan Batiste Trio 

Bandleader 

Time: 6:30 - 8:30 pm Price: Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #4D 

$18 ADVANCE $20 AT DOOR 

Jazz for Curious Listeners 

Free classes celebrating Harlem and its legacy 

Tuesdays 7:00 - 8:30 p.m. 

The NJMH Visitors Center, 104 E. 126th Street, #4D | FREE 

Attend any individual class 

Presented with The Berklee College Of Music 

RAY CHARLES: GENIUS & SOUL: 

September 4: 

The Trio and Early Band Years 

September 11: Live! 

Rare Films at Maysles Cinema 

343 Lenox Avenue Between 127th & 128th 

(Donation Suggested) 


Classic Recordings with Milt Jackson 


Big Band Classics with Quincy Jones & Basie 

9/21: Jonathan Batiste Trio 

TICKETS: www.rmanyc.org/harleminthehimalayas 

visitors center: 

OPEN M-F 10 AM - 4 PM 

104 E. 126th Street, #4D, New York, NY 10035 

(Take the 2/3/4/5/6 train) 

WWW.JMIH.ORG 

Jazz Is Now 

7 :00 PM | NJMH Visitors Center, 104 E 126th St., #4D | FREE 

Hosted by: 

Jonathan Batiste and Band 

September: 5, 12, 19, 26 

saturday panels 


Ray Charles in Performance 

NJMH Visitors Center, 104 E. 126th St. #4D 

Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council 

12 PM – 

4 PM 

FREE 


Alive at the Vanguard 

Fred Hersch Trio 

(Palmetto) 


by Matthew Kassel 

Da Vinci 

Fred Hersch/Nico Gori 

(Bee Jazz) 

The title of pianist Fred Hersch’s new album, Alive at 

the Village Vanguard, is a clever updating of two 

previous records he’s put out with similar names. 

There’s Live at the Village Vanguard from 2003 and Alone 

at the Vanguard, recorded in 2010. But the name goes 

deeper than that. Hersch, who has AIDS, fell into a 

pneumonia-induced coma for two months in 2008 and 

almost died. So the title comes with that extra baggage, 

which is not to say that you should appreciate the 

record more for that reason. Appreciate it because it is 

a superb statement from one of the most respected 

pianists in jazz. 

Recorded with bassist John Hébert and drummer 

Eric McPherson during a week-long run at the 

Vanguard back in February, the two-disc set is a 

balanced assemblage of Hersch originals, ballads and 

medium-swing standards. Perhaps most lovely are the 

ballads, particularly renditions of “I Fall In Love Too 

Easily”, lush and melancholy, and “The Song Is You”, 

usually played at a fast tempo but here sounding 

wonderful slowed down. Hersch solos rapturously 

throughout, drawing you in with his beautiful sound. 

The music feels soft and powerful at the same time and 

that’s due in large part to Hébert and McPherson’s 

sensitive accompaniment. 

Equally lovely, though different, is Da Vinci, an 

album Hersch recorded in a duo with the Italian 

clarinetist Nico Gori. Hersch is an inveterate solo 

pianist and this record gives him the chance, 

unaccompanied by drums and bass, to exhibit his 

strong rhythmic feel further. He and Gori have a tight 

connection; the pianist weaves intricate arabesques 

with his left hand around Gori’s concise phrases, as in 

“Lee’s Dream”, which Hersch wrote in dedication to 

the alto saxophonist Lee Konitz. It’s a format you’d 

like to hear Hersch in more often. 

For more information, visit palmetto-records.com and 

beejazz.com. The trio is at Village Vanguard Sep. 11th-16th. 

See Calendar. 

Our Thing (featuring Duduka Da Fonseca) 

Roni Ben-Hur/Santi Debriano (Motéma Music) 

by Sharon Mizrahi 

Roni Ben-Hur and Santi Debriano join with Duduka 

Da Fonseca to craft Our Thing, an album that transforms 

subtlety into an artform. The liner notes stress the 

fierce and fiery cross-cultural unity among the three 

artists - Ben-Hur hails from Israel, Debriano from 

Panama and Da Fonseca Brazil - but their sound 

emerges far more ethereal than anticipated. 

Thelonious Monk provides the trio’s opening 

inspiration in “Green Chimneys”. Ben-Hur is the 

narrator of the lightly tropical tale, counterpointing 

Debriano and Da Fonseca’s earthy vibe with a cool 

electric flair. He evokes the sprightliness of jazz’ 

contemporary guitar generation, dripping away each 

intricate refrain like melodic water. Debriano’s bass 

proves just as acrobatic, through shrouded in far 

muskier overtones. 

Da Fonseca’s complex musical facets blossom in 

his own “Isabella”, a bittersweet piece threaded with 

hopeful layers. The percussionist demonstrates the full 

range of his cymbals, opening with assertive cascades 

before fading to metallic droplets - only to resurge in a 

wave of sparkling leaps. Ben-Hur harmonizes with his 

distinctive starry-eyed flair, setting forth a waterfall of 

pristine and pensive elaborations. 

“Earl’s Key” features Ben-Hur’s clever technique 

as he oscillates from a low-key breeze to a marathon of 

intricate riffs. Da Fonseca’s expressive cymbals slow 

down and fast-forward to keep the pace while 

Debriano’s subliminal bass fuels the action from afar. 

His solo, however, basks in the foreground, emerging 

bold and deeply exhilarating. 

The trio’s cross-cultural unity vibrantly courses 

through the spectral opposites “Afroscopic” and “Ela 

E Carioca”. Debriano’s former composition is a 

kaleidoscope of AfroLatin flavors, strung together by 

Da Fonseca’s innovative hand drums and shakers. The 

bass-guitar dynamic emerges particularly riveting, 

featuring zesty chords alongside thick plucks. The 

latter tune, composed by Antonio Carlos Jobim and 

Vinicius de Moraes, offers dynamism in a breezier 

context. Ben-Hur, Debriano and Da Fonseca sway 

across the air with the grace of palm trees, exuding a 

laidback introspection. 

For more information, visit motema.com. This group is at 

Jazz Standard Sep. 11th. See Calendar.

Songs of Earth Jessica Williams (Origin) 

Wherever You Are (Midnight Moods for Solo Piano) 

Denny Zeitlin (Sunnyside) 

The Noguchi Sessions Arturo O’Farrill (Zoho) 

Contemplation Gabriel Zufferey (Bee Jazz) 

by Donald Elfman 

The four artists who make up this quartet of splendid 

new solo piano recordings are careful and thoughtful 

in their choice of both notes and spaces. The 

performances collected here are clearly about 

expression. 

In concert at Seattle’s The Triple Door, on Songs of 

Earth Jessica Williams’ concept and technique are 

grand and symphonic but fall, as she rightly says, into 

no category or genre. The individual pieces suggest a 

full spectrum of moods and colors as does, says 

Williams, the Earth. “Joe and Jane” is a kind of hymn 

in tribute to the men and women in the military, the 

mood sorrowful but also rhapsodic, working as a 

hopeful prayer for peace. The one tune not composed 

by Williams is John Coltrane’s “To Be”, where she 

avoids any particular stylistic approach but seeks what 

Coltrane means to her in terms of freedom and 

invention. Williams’ latest influence, she notes, is 

Spanish guitarist Carlos Montoya, disliked by critics 

for straying from traditional form; his daring and 

bravery in doing so inspires Williams on her dedicatory 

tune “Montoya”. The pianist’s understanding is 

revealed in her ability to suggest the mercurial passions 

of the guitar and the Spanish forms he both played 

with and transformed. 

Denny Zeitlin has come a long way since he was 

thought of as “the jazz psychiatrist”. He is a master 

interpreter of song and his approach has developed 

into one that is harmonically rich, intellectually 

reflective and deeply lyrical. On Wherever You Are, the 

notion of lyrical goes beyond its meaning of simply 

songlike and melodic to one that celebrates the words 

intoned by the human voice. These are the words of 

the writers of the Great American Songbook, the 

contemplative notions of love and longing that inform 

the human experience. Zeitlin takes familiar and not- 

so-familiar ballads and invests them with his own very 

particular colors and shadings. He comes to us with a 

deeply reharmonized “Body and Soul”, a dark and 

mysterious reading, beautifully embellished to let the 

listener hear it anew. Be prepared for a surprise with 

Bobby Troup’s “The Meaning of the Blues” from the 

Miles Davis album Miles Ahead. Zeitlin, informed by a 

new reading of the lyrics, digs deep into the “tragedy 

of loss”, as he calls it, and fashions an achingly intimate 

rubato gem that unfolds with the slow and exquisite 

pace of a work of nature. The theme only makes itself 

evident as the piece winds to a close. Jobim also is 

reworked as the pianist fuses “Quiet Nights” and 

“How Insensitive” into one sensual poem of bittersweet 

melancholy. It’s the pianist’s smart and ever-thoughtful 

approach that finds new levels of expression in these 

most familiar bossa nova chestnuts. Zeitlin also revisits 

some of his originals - “Time Remembers One Time 

Once” and “Wherever You Are” - and continues to 

reveal insights about love and connection. 

On The Noguchi Sessions, Arturo O’Farrill pays 

tribute to the great Japanese-American artist Isamu 

Noguchi. The pianist set up his instrument in a gallery 

of the Noguchi Museum (in Long Island City) and 

played a celebration to the “fragility” and “transience” 

of our lives and even of our art in 12 affecting and 

compelling performances ranging from originals by 

the composer and works from the Spanish and Latin- 

American canon to an exploration of Americana and 

Irish roots and rarely performed tunes from the jazz 

repertoire. In Stephen Foster’s “Oh! Susanna”, the 

pianist takes the minstrel song, chock full of corny and 

even horrid stereotypes, and finds a way to reflect an 

American past honestly. One of the great and neglected 

composers from this hemisphere is Cuban-born Ernesto 

Lecuona. His “Siboney” is a tribute to an indigenous 

Cuban people and O’Farrill feels it his duty to celebrate 

that “before we got here, there were others”. The 

rhythms of Cuba are present but they take an organic 

role in the commanding power of the piano. O’Farrill’s 

approach is more meditative but no less artful on “Oh 

Danny Boy”, another look back at the past. O’Farrill is 

a gifted composer as well, as is manifest in his 

adventures with “simple chords and major triads” 

coming from “Once I Had a Secret Love”and becoming 

O’Farrill’s “Once I Had a Secret Meditation”. It’s a 

brief and lovely tune, a touching set of intriguing 

improvisations on the old tune. 

Swiss-born Gabriel Zufferey has made 

Contemplation, his first solo piano album, a grand, 

ambitious excursion – 18 tunes, many of them 

associated with some of the greatest names in jazz and 

jazz piano. Zufferey makes these performances his 

own thanks, in part, to brevity - none of these 

performances is much longer than five minutes. The 

five-four pulse of Paul Desmond’s “Take Five” is the 

starting and staying point of this improvisation, which 

never really states the melody except for the bridge. 

Zufferey also offers a number of very brief interludes, 

demonstrating his own adventurous work in miniature 

composition for the keyboard. The young artist 

discovers a new way to enter the world of Thelonious 

Monk, finding “Trinkle Tinkle” at the center of a 

maelstrom of sound, thus framing the melody in a way 

not quite seen before. The same might be said of “Giant 

Steps”, presented as a moody ballad in which the 

familiar and complex line is only revealed after some 

atmospheric soul-searching. Ellington’s “In a 

Sentimental Mood” finds the old standard constructed 

and deconstructed as if to make us think we’ve not 

heard it before but hearkening to something we’re sure 

we know. This pattern is indicative of the way Zufferey 

gets to the heart of great tunes. 

For more information, visit originarts.com, 

sunnysiderecords.com, zohomusic.com and beejazz.com. 

O’Farrill is at Saint Peter’s Sep. 12th and Birdland Sep. 

30th and Sundays. See Calendar and Regular Engagements. 



Duos III 

The Book of Chet 

Luciana Souza 

Luciana Souza 

(Sunnyside) 

(Sunnyside) 

by Marcia Hillman 

Brazilian vocalist Luciana Souza delivers a one-two 

punch with two new releases - one Brazilian material 

sung in her native Portuguese and the other her first 

recording exclusively of standards sung in English – 

showing the two sides of this talented songbird, or 

uirapuru if you prefer. 

Duos III is the last in the trilogy featuring only 

voice, guitar and song. Souza’s collaborators on this 

album are Romero Lubambo, Marco Pereira and 

Toninho Horta, each on four tracks apiece. The material 

is mostly from Antonio Carlos Jobim, Gilberto Gil, 

Dorival Caymmi and Djavan along with some originals 

by Horta and Pereira. The songs are either bossas or 

sambas, put together to achieve a well-paced album. 

Souza is in fine voice, sounding pure and clear and 

both Lubambo and Pereira are longtime collaborators, 

so there is a marvelous chemistry and while Horta is a 

new partner he also is able to attain a strong musical 

connection with Souza. Highlights include “Doralice”, 

where Souza and Lubambo both shine; “Pedro da Lua” 

(a Horta original) where the composer joins Souza on 

the vocal and “Dona Lu” (a Pereira original), which 

overflows with joy from both performers. But most 

notable is the version of the familiar song “Dindi”, 

treated almost as a blues. 

The Book of Chet offers Souza’s interpretation of 

material associated with the legendary trumpeter/ 

vocalist Chet Baker, accompanied by Larry Koonse 

(guitar), David Piltch (bass) and Jay Bellerose (drums). 

The selections are all ballads, which does result in little 

contrast from track to track but does produce an almost 

hypnotic effect, reminiscent of Baker’s introspective 

singing style. Souza tackles the singing in a 

straightforward manner, including either one chorus 

or a chorus and a half on each song, Koonse’s guitar 

fills blending seamlessly. Piltch steps forward with his 

bass on “The Very Thought Of You”, a track that 

contains some wordless singing with guitar. Bellerose 

contributes drumwork that is almost a whisper. 

Notable tracks on this one are “The Touch Of Your 

Lips” and “I Fall In Love Too Easily”, the former 

dreamlike, the latter with outstanding work by Koonse. 

For more information, visit sunnysiderecords.com. Souza is 

at Joe’s Pub Sep. 12th. See Calendar. 

Dear John C. The Elvin Jones Project 

Elvin Jones 

Michael Feinberg 

(Impulse-Universal) 

(Sunnyside) 

by George Kanzler 

There’s a fine line between homage/tribute and 

exploitation in jazz. But wherever the line is, there can 

be no doubt that the concept - exploiting/honoring a 

jazz figure from the past - has become a plethoric 

marketing strategy around which to build albums. It’s 

nothing new; Louis Armstrong put out an album of 

WC Handy tunes over half a century ago. But honoring 

composers and musician-composers is different than 

referencing musicians for their brand name value. Dear 

John C., an album titled when drummer Elvin Jones 

was still, just barely, a member of John Coltrane’s 

seminal quartet, was producer Bob Thiele’s nakedly 

exploitative way to cash in on the fame of Trane. The 

Elvin Jones Project, by bassist Michael Feinberg leans on 

the value of the Elvin Jones name and its associations 

with Coltrane, whose name as a marketing hook is of 

comparable value in jazz to that of Elvis or Marilyn 

(Monroe). In both cases, the names invoked by the 

album titles are not substantially reflected in the music. 

Dear John C., recorded in 1965, is as much or more 

a showcase for alto saxist Charlie Mariano as it is for 

Jones and the repertoire has little to do with Coltrane. 

The core group is Mariano, Jones and bassist Richard 

Davis, a trio heard on three tracks. Hank Jones and 

Roland Hanna join them on piano for three tracks 

apiece. Charles Mingus’ “Love Bird”, familiar to both 

Mariano and Hanna from their times with the 

composer, is a highlight, as is “Anthropology”, with 

pianist Jones joining his brother-leader, who begins on 

brushes and ends with sticks in a deft delineation of 

the Bird anthem. Elvin is eruptive at times, but is 

almost overshadowed by the ferocious intensity of 

rhythm-mate Davis’ absolutely compelling solos. 

The Elvin Jones Project name may be a good 

marketing tool for Feinberg, but the music can stand 

on its own. Sure, the tracks, save for an original 

purportedly inspired by an Elvin Jones/Dave Holland/ 

Bill Frisell album, are all found on Jones or Coltrane 

recordings but Feinberg and his excellent band give 

them an original spin. Drummer Billy Hart, although 

influenced by Jones, is his own man, with his own 

distinctive sound. Pianist Leo Genovese, the junior 

member, is a welcome revelation, viscerally compelling 

as a soloist. Trumpeter Tim Hagans and tenor 

saxophonist George Garzone both fill ensemble and 

solo roles with winning panache. The musical styles 

range wide, from the eerie “Earth Jones”, a Jones 

original, with shimmering, wafting Fender Rhodes and 

slow ostinato bassline underpinning horn solos, to the 

evocation of the mid ‘50s Miles Davis Quintet on 

“Nancy with the Smiling Face”, melody begun by 

bowed bass, the bulk of it a trio performance, but 

capped off by Harmon-muted trumpet and keening 

tenor sax to take the theme out. Guitarist Alex Wintz 

guests on two tracks, including Frank Foster’s “The 

Unknighted Nations”, a funky hard bop flag-waver. 

For more information, visit analogueproductions.com and 

sunnysiderecords.com. Feinberg’s project is at Birdland 

Sep. 13th. See Calendar. 

Frank BasileÕs newest release 

Modern inventions is noW availaBle. 

Please visit 

WWW.cdBaBy.coM or 

FrankBasileMusic.coM 

to order.

Universal Mind 

Luis Perdomo (RKM Music) 

by David R. Adler 

On Universal Mind, his fourth outing as a leader, 

pianist Luis Perdomo embraces a hard-swinging piano 

trio aesthetic, mixing it up with bassist Drew Gress 

and drummer Jack DeJohnette. It’s a logical move: his 

2006 disc Awareness was also steeped in trio modernism, 

even avant gardism. His 2008 date Pathways, also with 

trio, combined originals with standards and a Bud 

Powell classic. This time the opener is Joe Henderson’s 

“Tetragon”, an angular midtempo blues from 1968, just 

the thing to break the ice. (DeJohnette played on 

Henderson’s album of the same name, but not on the 

title track.) 

There’s a polished virtuosity, a smoothness of 

execution, to be heard on Perdomo’s earlier efforts. 

The interplay on Universal Mind is lumpier, more offcentered, 

thanks largely to the rousing, relentless 

churn of DeJohnette’s drums. Keith Jarrett’s trio with 

DeJohnette is a reference point, although it has worked 

for decades; the Universal Mind session, by contrast, is 

Perdomo and the drummer’s first-ever encounter. 

The newness has musical benefits, of course. Two 

improvised piano-drum duets (“Unified Path” I & II) 

yield strong, semi-abstract results. “Tin Can Alley”, 

originally a vehicle for DeJohnette’s band Special 

Edition, harks back to the midtempo strut of “Tetragon” 

but with a more complex written theme. Perdomo’s 

originals range from the lyrical, harmonically spare 

“Langnau” and “Just Before” to the waltz “Above the 

Storm” and polyrhythmic burners “Gene’s Crown” 

and “Doppio”. His “Rebellious Contemplation” seems 

to start in mid-thought with ferocious eight-bar trades, 

working up to a twisty and unexpected coda. 

It takes high skill to spar with DeJohnette and not 

get overpowered or upstaged. Perdomo thrives under 

the pressure. Whether or not his relationship with 

DeJohnette takes further root, he’s advanced his art 

considerably with this fine release. 

For more information, visit facebook.com/RKMMusic. 

Perdomo is at The Jazz Gallery Sep. 14th with Adam 

O’Farrill as part of FONT. See Calendar. 

Apparent Distance 

Taylor Ho Bynum Sextet (Firehouse 12) 

by Matthew Miller 

Cornetist Taylor Ho Bynum has put funding from 

Chamber Music America’s 2010 New Jazz Works to 

excellent use in Apparent Distance, a four-part suite of 

nonlinear melodies, gripping improvisations and 

brilliant ensemble playing. Bynum states his goal as 

“not just to blur the lines between composition and 

improvisation...but to try to upend the listeners’ 

expectations in other ways: circular melodies without 

beginnings or ends, disguised unisons and nonrepetitive 

vamps, transitions that are simultaneously 

jarring and organic.” 

All of these elements play out as promised 

throughout the fluid, interconnected movements, 

acting as a catalyst for fearless improvisations from the 

sextet: saxist Jim Hobbs, bass trombonist/tubaist Bill 

Lowe, guitarist Mary Halvorson, bassist Ken Filiano 

and drummer Tomas Fujiwara. 

Bynum’s puckish cornet opens “Shift”, the first 

movement, with a brazen cadenza that hops from lipsplitting 

high notes and quivers to thudding, low 

exhortations and finally a series of dizzying runs 

before he’s joined by bass trombone and whispered 

alto. The horn trio’s melancholic polyphony lasts for 

two minutes before Filiano and Fujiwara enter with 

furious rhythms, marking the beginning of the second 

movement, “Strike”. 

The leader’s composing skills certainly rival his 

playing - an extended contrapuntal section in “Source”, 

the third movement, is a standout for the juxtaposition 

of guitar and cornet unisons against the often 

diametrically opposed bass, alto and bass trombone 

figures - but it is ultimately the improvisational 

virtuosity of the ensemble that takes the day. 

Halvorson’s vibrato-laden, turned bone-dry, turned 

blippy, trippy introduction to “Source”, is a high point 

from both a technical and improvisational perspective, 

but it is just one of many in this impressive outing. 

For more information, visit firehouse12.com. This group is 

at The Jazz Gallery Sep. 15th as part of FONT. See Calendar. 


Fortune Songs 

Jasmine Lovell-Smith’s Towering Poppies (Paintbox) 

by Wilbur MacKenzie 

The debut release by Jasmine Lovell-Smith has so 

much to offer: an arrestingly wry and lyrical 

compositional style, a cohesive quintet comprised of 

talented emerging artists and, nestled comfortably at 

the center, a distinctive new voice on the soprano 

saxophone. 

This is clearly a band that has worked together 

and learned to live and breathe in the music, extending 

far beyond the ink and into the realm of a truly 

communicative ensemble of effusive musical cohorts. 

On compositions like “Confidence (One)” or “Let Go 

Be Free”, the band will establish a pervasive mood 

inspired by the folk-like melodies, only to take a 

surprising turn towards expressionism, navigating 

constant shifts of hues in the most logical and evenhanded 

way. 

Sharing the frontline with Lovell-Smith is 

trumpeter Russell Moore, whose bright tone blends 

with the soprano, or darkens and widens in response 

to the shifts from ruminative sentimentality to 

impressionistic gestures. The rhythm section of pianist 

Cat Toren, bassist Patrick Reid and drummer Kate 

Pittman are in a constant state of ebb and flow, 

providing an ever-shifting framework. Pittman’s 

ability to integrate lyrical, almost melodic percussion 

with more frenetic gestures establishes a sense that the 

music will shift anywhere while Reid’s sense of melody 

and counterpoint are distinctive and Toren blends 

broad, lush harmonies with more plucky phrases. 

As a composer, Lovell-Smith’s penchant for 

counterpoint and distinctive blend of melodic 

phrasing, driving pulses and free jazz expressionism 

unfold throughout the record. Any given tune may 

favor one element or the other, but always reminding 

the listener that a few surprising changes to the color 

palette await around each corner. 

For more information, visit paintboxrecords.com. This 

group is at Korzo Sep. 18th. See Calendar. 

Claroscuro 

Anat Cohen (Anzic) 

by Tom Greenland 

With Claroscuro, Anat Cohen exceeds the orbital 

velocity of her rising star status, delivering an 

intelligent and infectious set with pianist Jason 

Lindner, bassist Joe Martin, drummer Daniel Freedman 

and guests clarinetist Paquito D’Rivera, trombonist 

Wycliffe Gordon and percussionist Gilmar Gomez. 

Cohen’s many strengths are immediately apparent 

on “Anat’s Dance”, where she spins out long, logical, 

rhythmically authoritative postbop lines; on “La Vie en 

Rose”, where she slips into a Sidney Bechet bag, 

constructing a liquescent, slightly sassy solo in five 

elegant phrases, and on “All Brothers”, where her 


dense/light soprano spews out high-energy solos full 

of quicksilver ornaments, slurred tumbling sequences, 

non-harmonic interjections, expressive scoops and 

slides, colored with a light, mercurial vibrato. She 

plays light, cool clarinet over the Brazilian ballad “As 

Rosas Nao Falam”, channels Artie Shaw in a faithful 

rendition of “Nightmare”, weaves fluid arpeggios 

around Lindner’s piano on Jobim’s “Olha Maria”, 

matches the irrepressible Paquito D’Rivera note for 

note in a revved-up, jaw-dropping run on Pixinguinha’s 

choro “Um x Zero”, then brings it all home with some 

soulful gospel preaching on “The Wedding”. 

Lindner is excellent everywhere, mixing solo and 

comping styles seamlessly while Martin and Freedman 

are effortlessly at-ease in their pan-global grooves. 

Gordon’s “Tricky” Sam Nanton-style growls and 

“Pops” Armstrong-esque singing are welcome 

additions to “La Vie en Rose” and Dr. Lonnie Smith’s 

“And the World Weeps”, as is D’Rivera’s impeccable 

playing on these cuts (his solo turn on “Weeps” is 

dazzling), “Um x Zero” and “Kick Off”, where his 

clarinet percolates over the hypnotic Candomblé beat. 

For more information, visit anzicrecords.com. This project 

is at Village Vanguard Sep. 18th-23rd. See Calendar. 

Magic Triangle/Leap of Faith 

Dave Douglas (Arabesque-Greenleaf Music) 

by Sean O’Connell 

Trumpeter Dave Douglas has released over 35 records 

under his own name in the last 20 years. Greenleaf 

Music, Douglas’ own label, has been a home to his 

recordings since 2005, including the overwhelming 

recordings of every note played during a six-night run 

at the Jazz Standard in 2006. Here the label has dug 

into Douglas’ back catalogue, releasing two albums 

originally on Arabesque, recorded in 1997 and 1998. 

Both sets feature the same tight quartet - Chris 

Potter (saxophone), James Genus (bass) and Ben 

Perowsky (drums) - with the 2-hour, 20-track collection 

entirely composed by Douglas. These two recordings 

are a fitting pair, highlighting the state of Douglas’ 

pursuits in such a brief timespan despite three other 

albums being released in between. 

“I was trying to see how much harmony I could 

get into the game with just three notes,” states Douglas 

in the liner notes. How much is a funny question. A lot 

isn’t quite an answer to it. Three melodic voices can 

just about make three harmonic relations but which 

and when is where Douglas makes it his own. 

Magic Triangle, which came out in 1997, was 

Douglas’ 11th album and opens with “Everyman”, a 

playful tune that has Douglas and Potter sharing the 

same breaths, almost finishing each other’s sentence, a 

trait that lasts throughout the recordings. “Padded 

Cell” gives Perowsky more room to splatter across his 

cymbals, taking things to the outer reaches of the 

record. “Kisangani” puts a mute in Douglas’ horn for a 

dirge-like spell aided by long saxophone tones and 

sputtering kit. The album closes with “The Ghost”; far 

from a wandering spirit, the track is a hard-hitting 

launching point for the entire band including a nice 

propulsive jaunt between Genus and Perowsky. 

Leap of Faith, Douglas’ 15th album, followed his 

major label release on RCA, Soul on Soul. The band 

picks up right where they left off, a little more 

aggressive and quickly digging into opening track 

“Caterwaul” with more disjointed harmony while the 

title track is a furious clatter that features Perowsky 

fighting a swarm of bees behind his kit as Douglas 

provides a merciless solo. The fairly straightforward 

“Mistaken Identity” finds Douglas at his most gilded, 

twittering over Potter’s engaging counterpoint. The 

album closes with the goofily titled “Euro Disney”, 

which offers up the classic Miles Davis “Theme” 

ending, a fitting closure to an album that embraces 

much of the bop crowd’s tight harmonic intimacy but 

takes it into a future of driving drums and greater 

harmonic freedom. 

For more information, visit greenleafmusic.com. Douglas is 

at 92YTribeca Sep. 19th as part of FONT. See Calendar. 

Remembering Sep. 11: 

Never Again! 

Jazz Celebrates 

New York 

featuring Musicians, Singers and 

Tap Dancers, celebrating Jazz in 

New York. Soft drinks and snacks 

available for purchase 

September 11, 2012 

7 p.m. to 12 midnight 

Free! 

Cobi Narita presents 

SEPTEMBER 2012 

JAZZ VESPERS 

Sundays at 5:00 P.M. — All Are Welcome — Free 

2 Florian Höfner Group 

9 Jimmy Owens Quartet 

16 Ike Sturm Ensemble 

23 Aaron Diehl Trio 

30 Nadje Noordhuis Quintet 

Frank Owens Singers: 

all proceeds 

benefit the Frank 

Owens Workshops 

Kumiko Yamakado 

Jo Marchese 

Ira Lee Collings 

with the Frank Owens Trio 


7 to 10 p.m. 

$10 

Zeb’s 

223 W. 28 Street (between 7th & 8th Avenues), 2nd Floor - 212-695-8081 

for more information: 516-922-2010 or cobijazz@optonline.net 

MIDTOWN JAZZ AT MIDDAY 

Sponsored by Midtown Arts Common 

Wednesdays at 1:00 P.M. — ($10 suggested) 

5 Anderson Twins Sextet 

Peter Anderson, tenor sax/clarinet 

William Anderson, alto sax/clarinet/flute 

Jon-Erik Kellso, trumpet 

Ehud Asherie, piano 

Kevin Dorn, drums 

Clovis Nicolas, bass 

12 Sandy Stewart, singer 

Bill Charlap, piano 

19 Ralph Hamperian’s Tuba D’Amore, 

Bob Albanese, piano 

Will Woodard, bass 

Jeff Brillinger, drums 

26 Aaron Diehl, piano 

JAZZ FOR ALL 

September 16 at 4:00 

Free Improvisation Workshop 

for families and people of all ages

Rafale 

Forever 

KAZE 

Gato Libre 

(Circum-Libra) 

(Libra) 

by Marc Medwin 

Pianist Satoko Fujii and trumpeter Natsuki Tamura’s 

output is astonishing in scope and diversity. Fujii 

manages to lead several large ensembles while 

participating in a seemingly infinite array of others, 

skipping between continents as if simply going out to 

the store and back. Tamura is on board for many of 

these projects, as composer or performer, and these 

two releases represent a part of the duo’s ever-evolving 

transcontinental scene. 

KAZE is a fairly new project, graced by the heavy 

trumpet frontline of Tamura and Christian Pruvost 

while Fujii’s piano is complemented by Peter Orins’ 

drumming. On Rafale, you can hear the trumpets 

pushing each other to new levels of exploration and 

interplay on “Polly”, but that’s the tip of the iceberg. 

This is a stunning achievement from note one and, as 

might be inferred from the title of the first track, “Noise 

Chopin”, the quartet tosses Chopin quotations around, 

or maybe it’s better to say the etudes and sonatas 

referenced form the brew of the piece. It’s all amidst a 

rapidly changing dynamic climate, sudden and 

dizzying shifts in tension and volume keeping things 

fresh over nearly a quarter of an hour. The whole disc 

teems with life, blistering free jazz tempered by 

moments of composed introspection that roil with 

their own undercurrents, threatening to explode at any 

moment. If the arc-and-build formula so common to 

western music, freely improvised music in particular, 

rears its head a bit too often, it hardly seems to matter 

in the face of such excellent and committed 

musicmaking. The recording is spectacular and it 

needs to be, given the group’s interest in sound and its 

deployment. 

Gato Libre’s Forever is not nearly as pleasing on 

the ears, having been done live in less than ideal 

circumstances. However, it represents bassist 

Norikatsu Koreyasu’s last recording with the quartet, 

as he died a short time after the performance. His 

sound is rich and full, perambulating the group 

through its spacious music, serving as an excellent foil 

to Kazuhiko Tsumura’s guitar. Tamura and Fujii 

provide liquid support throughout, the dynamic peaks 

and valleys softer and more malleable than that of 

KAZE, but a beautiful landscape nonetheless. The bass 

and guitar harmonics that punctuate the opening of 

“Court” while Tamura and Fujii emote coolly alongside 

give an idea of the group’s introspective sound yet the 

roles are switched on “Hokkaido”, where trumpet and 

guitar etch innocent lines as bass and accordion drone 

in sympathy. 

Were one forced to choose, KAZE maintains 

interest more completely. However, both discs project 

the Tamura/Fujii partnership’s interest in space, 

timbre and, above all, feeling. These releases are rife 

with conviction and that, peppered with the obvious 

abilities demonstrated by all involved, will carry any 

ensemble a very long way. 

For more information, visit librarecords.com. Satoko Fujii 

and Natsuki Tamura are at Douglass Street Music Collective 

Sep. 22nd. Tamura is at Village Zendo Sep. 23rd as part of 

FONT. See Calendar. 

Live at the Blue Note 

Enfants Terribles (Half Note) 

by Clifford Allen 

There was a very interesting point raised in a recent 

post on the blog Running the Voodoo Down concerning 

the relevance of the standard repertoire in contemporary 

improvisation. From critic Phil Freeman: “This is a 

problem afflicting the music across the board and I 

think it may be time to lay down the law: Jazz musicians 

need to stop recording standards… Play the old 

standards live if you want, if you’ve got so little respect 

for your audience that you think they still want to hear 

‘Body and Soul’ in 2012 (if you do still want to hear 

‘Body and Soul’ in 2012, seek professional help).” 

He was referring to the present album by the 

quartet Enfants Terribles: altoist Lee Konitz, guitarist 

Bill Frisell, bassist Gary Peacock and drummer Joey 

Baron. Sure, their repertoire is based in a very specific 

sector of the book - “Body and Soul”, “I Can’t Get 

Started”, “I’ll Remember April” and, in a performance 

at the Blue Note last month, “All the Things You Are” 

and “Cherokee”, among others. The kick is that each 

musician starts the tune solo or in open dialogue, with 

the others falling into conversation. No discussion of 

the tunes or their order is supposed to color the 

proceedings. It’s meant to be spontaneous, insofar as 

the references are often oblique at first and the tunes 

are dealt with through a mutual love and respect for 

history as well as openness. 

Konitz brings to the proceedings a long, long 

relationship with these tunes and a ‘free’ conception of 

the repertoire is his blood and guts. He began his 

professional career six years before Frisell was born 

and a full decade before Baron, but that’s not to say 

their work isn’t integral: the joy and intellect shared 

between the guitarist and drummer is palpable on both 

recording and stage. Sure, nothing ‘new’ exists under 

the sun, but it’s enjoyable to hear Frisell’s muted, 

Americana-derived fragments weaving through the 

changes against loose, plastic rhythms and Konitz’ 

ebullient runs. Live at the Blue Note captures a 2011 run 

of the quartet and while not as wily with the same 

concept as, say, Ellery Eskelin’s Trio New York, Enfants 

Terrible’s approach shouldn’t necessarily be relegated 

to the bin of anachronism. 

For more information, visit halfnote.net 



A New Margin 

Side A: Ken Vandermark/Havard Wiik/Chad Taylor 

(Clean Feed) 

The Conversation 

Tim Daisy/Ken Vandermark (Multikulti Project) 

Mark in the Water 

Ken Vandermark (Not Two) 

by John Sharpe 

Chicago reedman Ken Vandermark has honed a knack 

for seeking out fruitful working relationships. Since 

moving to Chicago from Boston in 1989, he has been 

integral to the fertile Windy City scene, both as a 

performer and organizer. That solid foundation has 

allowed him to spread his reach wider. His introduction 

to Swedish saxophonist Mats Gustafsson led to 

successful interactions with an ever-widening sphere 

of young Scandinavian musicians. Furthermore, 

working opportunities in Poland have lately led to 

collaborations with other European musicians too, 

notably in his cosmopolitan Resonance Ensemble 

First convened in 2010, Side A neatly brings 

together two of the main strands in Vandermark’s 

career, comprising drummer Chad Taylor, best known 

as part of assorted Chicago Underground units, and 

Norwegian pianist Håvard Wiik, from supergroup 

Atomic and a colleague from Free Fall. 

Everyone writes for what is a cooperative venture 

on A New Margin. Quality is consistently high across 

the ten cuts captured in concert in Portugal at the end 

of a short tour. They have a slightly looser take on the 

inside/outside conundrum than the Vandermark 5, 

but trade in similarly elaborate arrangements, touching 

on both the free jazz and contemporary vernaculars, 

creating vehicles that launch spirited solos. Whether 

filling the role of the absent bass with rolling vamps, 

adding crashing percussive accents or embarking on 

sparkling two-handed runs, Wiik exploits the 

possibilities his piano affords to the full. The 

combination with Taylor’s pulsing polyrhythms and 

diverse timbral palette and Vandermark’s muscular 

baritone and soaring clarinet, creates a very full sound, 

belying the numbers involved. Among the many 

highlights are the folksy “Trued Right”, which finds 

the hornman in full spate over a roiling backdrop, 

suddenly cutting out to leave him floating over empty 

space, and the seething collective “Fold”, which pulls 

the reverse trick, where yelping baritone gradually 

retreats into its normal register while piano and drums 

continue to burn. 

Recorded live back on home turf, The Conversation 

finds the reedman in the company of longtime associate 

drummer Tim Daisy for a series of five expressive, 

spontaneously generated duets. That title gives an apt 

summary of proceedings as the pair maintain a robust 

dialogue, each highly attuned to variations in pace and 

pitch. An ongoing process of calibration means they 

repeatedly lock into each other’s phrase length. 

While built around unfettered two-way 

interaction, there is a strong connection to the tradition 

as each instrument performs its expected role. 

Vandermark moves from overblown harmonics on 

clarinet to squalling skronk on tenor saxophone and 

plosive keypad popping on bass clarinet, matched 

every step of the way by Daisy’s sensitive percussion. 

The first two tracks deal with a defined territory. With 

its boppish bass clarinet and relaxed loping drums, 

“Pasfoto” persuades as lyrical and songlike, with a 

regular beat to satisfy the foot-tapper while on “4 

North” the combination of Daisy’s multiple barrage 

and the saxophonist’s torrential tenor touches on free 

jazz. Thereafter the references are blurred, reaching 

their apogee on the lengthy “Fifty Cent Opera”, which 

incorporates elements from both bop and free, but then 

builds to a storming finish by way of an unlikely 

breathy interlude that might have been inspired by 

Stan Getz. 

More certain influences inform Mark in the Water, 

Vandermark’s second solo album after Furniture Music 

(Okka Disk, 2003), from an unaccompanied 

performance recorded in Poland. In the liners, 

Vandermark explains his strategy, which was to mix 

open pieces with portraits of the reed players who had 

inspired him most through using a loose interpretation 

of their creative aesthetics. 

The selections from the gig present three portraits 

alongside seven extemporizations dedicated to those 

same masters. In some ways the dedications are 

unfortunate, as they inevitably bring to mind a host of 

virtuoso improvisers. That’s not to say that the 

Chicagoan’s efforts are inferior, but as they don’t aspire 

to mirror the virtues of the dedicatees, the comparisons 

afford an unnecessary benchmark. For the ten-piece 

program, he assembles a varied collection of 

improvisations that follow their own inner logic, 

ranging from tightly coiled split-toned squeals all the 

way through to airy impressionistic lyricism. While 

Vandermark concludes the liners with the realization 

that it’s time to take the leap to walking on stage 

without a plan, this set convinces as a worthwhile 

milestone on that artistic journey. 

For more information, visit cleanfeed-records.com, 

multikulti.com and nottwo.com 

Michael Feinberg’s “Elvin Jones Project” 

featuring Billy Hart, George Garzone, 

Leo Geonvese and Tim Hagans available 

everywhere Sept. 2012 

on Sunnyside Records. 

“Hes one bad dude!” - Mike stern 

“A musical prodigy turned into 

an evil genius.” - spinner.com 

9/7 The Blue Whale LA 8 and 10pm $10 

w/Larry Koonse, Dan Schnelle, 

Ryann Dragonn, Walter Smith III 

9/13 Birdland NYC 6pm $20 

w/Donny McCaslin, Ian Froman, 

Tim Hagans, Leo Genovese 

9/15 Emory University Atlanta 7pm $10-15 

w/Billy Hart, George Garzone, Leo Genovese 

9/21 An Die Musik Baltimore 8 and 10pm $10 

w/Leo Genovese, Dayna Stephens, Gregory Hutchinson 

www.michaelfeinbergmusic.com

FRED HERSCH TRIO 

ALIVE AT THE VANGUARD 

recorded live at the Village Vanguard, NYC 

February 7 - 12, 2012 

palmetto-records.com 

A new trio recording by five-time Grammy nominee Fred Hersch offers the rare opportunity 

to recalibrate expectations about the most fundamental of all jazz settings. 

Captured in the heat of creative ferment at the Village Vanguard, the sanctified venue that 

has long served as the pianist’s second home, Hersch’s trio with bassist John Hébert and 

drummer Eric McPherson displays all the rhythmic daring, preternatural interplay, harmonic 

sophistication, and passionate lyricism that makes it one of the era’s definitive ensembles. 

The double album features a diverse array of seven scintillating Hersch originals 

four American Songbook gems, and seven classic jazz tunes. 

This specially priced 2-CD set is available everywhere on September 11 

The Fred Hersch Trio appearing at the Village Vanguard 9/11 -9/16. 

________________________________________________________________________ 

MATT WILSON’S ARTS & CRAFTS 

“An Attitude For Gratitude’s excellence is partly due to the players - bassist 

Martin Wind, gorgeous-sounding trumpeter Terell Stafford, and the droll 

pianist and organist Gary Versace. The other reason the album’s so good 

is Wilson’s knack for writing spry tunes and for picking ones by other 

composers that inspire his players....they all get on Matt Wilson’s slightly 

warped wavelength.” - NPR Fresh Air 

Matt Wilson’s Arts & Crafts appearing at the Village Vanguard 9/4 - 9/9

Live at Smalls 

Jesse Davis (smallsLIVE) 

by Ken Dryden 

New Orleans native Jesse Davis has been impressive 

since his debut recording back in 1991. The alto 

saxophonist, a former student of Ellis Marsalis, 

displays the influence of greats like Cannonball 

Adderley and Phil Woods without merely mimicking 

their work. His big tone, articulate phrasing and the 

ability, in the words of Lester Young, to tell a story in 

his solos have helped him to find his own voice on his 

instrument. This live recording was compiled from sets 

over three nights at Smalls, with trumpeter Ryan Kisor, 

pianist Spike Wilner, bassist Peter Washington and 

drummer Billy Drummond rounding out his quintet. 

The performances all allow for extended blowing, 

yet the band never runs out of steam in the process. 

Davis opens with the standard “I’ll Close My Eyes” at 

a loping tempo, alternately playing spacious lines and 

rapid-fire bop improvisations, followed by Kisor’s 

expressive yet whimsical solo. Critics keep claiming 

that “Body and Soul” has been exhausted with its 

many recorded versions, yet players keep coming back 

to it in search of new possibilities. This rendition is 

opened by Wilner’s elegant solo, followed by Kisor 

and Davis moving in and out of the spotlight as they 


reinforce this standard’s lyricism with thoughtful 

solos, supported by the potent rhythm section. 

The other tracks are all Davis originals. “Piece of 

the Apple” is a brisk reworking of the chord changes to 

“Sweet Georgia Brown”, where the leader’s mastery of 

bop vocabulary is firmly established. A two-song 

medley begins with the bittersweet “Pray Thee”, a 

ballad infused with gospel roots and featuring some of 

Davis’ most emotional playing of the engagement, 

segueing into the boisterous soul jazz number “Beyond 

the Storm”. Closing the album is the jaunty “Journey 

From the Lighthouse”, highlighted by Wilner’s 

swinging solo. Intimately recorded with an attentive 

audience, Live at Smalls is a valuable document. 

For more information, visit smallslive.com. This project is 

at Smalls Sep. 11th-12th. See Calendar. 

Blue Glass Music 

Carol Morgan Quartet (Blue Bamboo Music) 

by Elliott Simon 

Ornette Coleman’s “Lonely Woman” and his 

revolutionary piano-less quartet, certainly informs 

trumpeter Carol Morgan’s own similarly constructed 

foursome. The tune, here clocking in at over 10 minutes, 

features Matt Wilson’s lovely percussive colorations 

and bassist Martin Wind’s bowed didgeridoo-like 

hypnotic undertones. Coupled with the paucity of 

female trumpeters that makes Morgan’s plaintive 

discourse on Coleman’s melody all the more believable, 

it certainly would qualify for title cut status. 

But Morgan is not one to latch on to the obvious, 

titling this release Blue Glass Music and tilting it toward 

intimate bluesy explorations of standards while adding 

a few wild card originals from saxist Joel Frahm and 

Wind. The former is integral to this group and although 

his tenor doesn’t soar and bop like Coleman’s alto, his 

blues is the perfect counterpoint to Morgan’s soul. In 

the context of such an inventive rhythm section, the 

rich tenor/trumpet voicings and delicate instrumental 

give and take between Morgan and Frahm would 

actually be less compelling if a piano was in this mix. 

Two chestnuts, Cole Porter’s “I Love You” and 

Vernon Duke’s “April in Paris”, open the session. The 

former allows Frahm and Morgan to feel each other 

out while remaining true to the tune’s original tonguein-cheek 

intent while the latter leisurely swings in a 

loose after-hours way. Likewise, “Booker’s Waltz” 

gently floats through its changes before Frahm’s 

“Glyph” has the band gelling on a peculiarly devolving 

little nugget to highlight how well Morgan and Frahm’s 

voices blend. “Where are You” revisits loneliness but 

with more astonishment than longing and Wind’s aptly 

titled session closer “Last Waltz” turns the lights down 

low but strays much further afield than trumpeter 

Booker Little’s aforementioned ode to 3/4. A stark 

unhurried beauty elevates each of these seven cuts and 

makes Blue Glass Music a stylish portrayal of Morgan’s 

influences and reach as a leader. 

For more information, visit bluebamboomusic.com. Morgan 

is at Bar Next Door Sep. 11th. See Calendar.

Sat, Sep 1 KIRK KNUFFKE, MARY HALVORSON, ROB GARCIA - 

AMERICAN SONGS 9PM & 10:30PM 

Sun, Sep 2 JANE IRA BLOOM QUARTET/WINGWALKER 8:30PM 

Dawn Clement, Mark Helias, Bobby Previte 

Mon, Sep 3 AMRAM & CO 8:30PM 

David Amram, Kevin Twigg, John de Witt, Adam Amram 

Tue, Sep 4 THE WEE TRIO 8:30PM 

James Westfall, Dan Loomis, Jared Schonig 

Wed, Sep 5 PILC-MOUTIN-HOENIG 8:30PM 

Jean-Michel Pilc, Francois Moutin, Ari Hoenig 

Thu, Sep 6 DIANE MOSER & MARK DRESSER - 

CD RELEASE: “DUETTO” 8:30PM 

DIANE MOSER QUINTET 

“MUSIC FOR THE LAST FLOWER” 10PM 

Anton Denner, Ben Williams, Mark Dresser, Michael Sarin 

Fri, Sep 7 JASON RIGBY QUARTET 9PM & 10:30PM 

Russ Lossing, Kermit Driscoll, Rudy Royston 

Sat, Sep 8 TONY MALABY PALOMA TRIO 9PM & 10:30PM 

Ben Monder, Nasheet Waits 

Sun, Sep 9 GLOBAL LIVING ROOM: 

SKYE STEELE’S RAILROAD RODIA 8:30PM 

Aram Bajakian, Josh Myers, John Hadfield; Jean Rohe, host 

Tue, Sep 11 VOXIFY: ROZ CORRAL 8:30PM 

Alan Broadbent, Boris Kozlov; Nicky Schrire, host 

VOXIFY: JUDI SILVANO 10PM 

Fred Jacobs, Frank Kimbrough, Ben Allison 

Wed, Sep 12 INNER CIRCLE MUSIC FESTIVAL: 

ANDRÉ MATOS QUARTET 8:30PM 

Jacob Sacks, Eivind Opsvik, Billy Mintz 

TAMMY SCHEFFER BAND 10PM 

Andrew Urbina, Dan Pratt, Chris Ziemba, 

Daniel Foose, Ronen Itzik 

Thu, Sep 13 INNER CIRCLE MUSIC FESTIVAL: 

SARA SERPA QUINTET 8:30PM 

André Matos, Kris Davis, Aryeh Kobrinsky, Tommy Crane 

JASON YEAGER TRIO 10PM 

Danny Weller, Michael Gleichman 

Fri, Sep 14 INNER CIRCLE MUSIC FESTIVAL: 

PETROS KLAMPANIS TRIO 9PM 

Lefteris Kordis, Ziv Ravitz 

GREG OSBY 6 10:30PM 

Sara Serpa, André Matos, Jaeung Bae, Joe Lepore, John Davis 

Sat, Sep 15 ELLERY ESKELIN QUARTET 9PM & 10:30PM 

Marc Copland, Drew Gress, Gerald Cleaver 

Sun, Sep 16 NEW BRAZILIAN PERSPECTIVES: 

ROGERIO SOUZA 8:30PM 

Billy Newman, Leonardo Lucini, Ranjan Ramchandani, 

Dennis Lichtman; Billy Newman, host 

Mon, Sep 17 CARL MAGUIRE - CD RELEASE: 

FAR FROM ALMOST ALWAYS 8:30PM 

Oscar Noriega, Stephanie Griffin, John Hebert, Dan Weiss 

Tue, Sep 18 HARRIS EISENSTADT AND SEPTEMBER TRIO 8:30PM 

Angelica Sanchez, Ellery Eskelin 

Wed, Sep 19 JIM BLACK TRIO 8:30PM 

Teddy Klausner, Thomas Morgan 

Thu, Sep 20 JULIAN SHORE 8:30PM 

Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, 

Alexa Barchini, Phil Donkin, Tommy Crane 

Fri, Sep 21 BEN WALTZER TRIO 9PM & 10:30PM 

Dwayne Burno, Gerald Cleaver 

Sat, Sep 22 NASHEET WAITS’ EQUALITY BAND 9PM & 10:30PM 

Logan Richardson, Craig Taborn, Mark Helias 

Tue, Sep 25 CONTINUOUS BREAK - 

THE LEIF ARNTZEN BAND 8:30PM 

Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis 

Wed, Sep 26 BILLY DRUMMOND’S FREEDOM OF IDEAS 8:30PM 

Dezron Douglas, Don Vega 

Thu, Sep 27 TOM CHANG QUARTET 8:30PM 

Jason Rigby, Sam Trapchak, Jeff Davis 

Fri, Sep 28 MARC MOMMAAS - 

LANDMARC: THE GUITAR PROJECT 9PM & 10:30PM 

Nate Radley, Vic Juris, Tony Moreno 

Sat, Sep 29 MARIO PAVONE 9PM 

Mike Dirubbo, Pete Robbins 

MARIO PAVONE’S QUARTET AXIS 10:30PM 

Michael Musillami, Craig Hartley, Tyshawn Sorey 

Sun, Sep 30 ERI YAMAMOTO/YVES LÉVEILLÉ QUARTET 8:30PM 

Yves Léveillé, David Ambrosio, Ikuo Takeuchi 


Homage 

Marcus Printup (SteepleChase) 

by Joel Roberts 

One of the premier trumpeters in jazz today, 45-yearold 

Jazz at Lincoln Center stalwart Marcus Printup 

offers up a mid-career tribute to some of his major 

influences on his latest SteepleChase release Homage. 

Most of the usual suspects are covered in this 

condensed trip through some 80 years of jazz trumpet, 

from Louis Armstrong and Roy Eldridge, Miles and 

Dizzy, Clifford Brown and Lee Morgan, Freddie 

Hubbard and Woody Shaw, right up to Printup’s 

contemporaries Wynton Marsalis and Roy Hargrove. 

Printup, with his clear, crisp tone, shines brightest 

on straightahead burners like Morgan’s “Mr. Kenyatta” 

and Hubbard’s “Mr. Clean”, which are smack in the 

center of his postbop comfort zone. He also does a 

valiant job on the classic “Weather Bird”, aping 

Armstrong’s historic version with Earl Hines with his 

own duo with up-and-coming piano star Aaron Diehl. 

Printup and Diehl team up again for an effectively 

tender duo reading of Dizzy Gillespie’s romantic 

standard “Con Alma”. Printup handles more modern 

material with flair, too, as on Shaw’s ethereal “Theme 

for Maxine”, where he’s ably abetted by Gregory 

Tardy’s intense, Coltrane-esque tenor saxophone. The 

fine quintet is rounded out by bassist Corcoran Holt 

and drummer Alvin Atkinson. 

Printup is such an accomplished and versatile 

player that he’s adept performing tunes from any point 

in the many decades of jazz dealt with here. But so 

much ground and so many styles are covered that the 

album can lose focus and at times feel a bit like a 

history lesson, even if it’s a hard swinging lesson 

taught by a master musician. 

For more information, visit steeplechase.dk. Printup is at 

Rose Hall Sep. 13th-15th with Bobby McFerrin and the Jazz 

at Lincoln Center Orchestra. See Calendar. 

Três Cabeças Loucuras 

São Paulo Underground (Cuneiform) 

by Ken Waxman 

Newest entry in Chicago-based cornetist Rob 

Mazurek’s ongoing Underground ensemble projects, 

this CD fuses American improv textures with the beats 

and melodies prevalent in Brazilian music. With both 

jazz and maracatu based on African roots, the other 

members of the São Paulo Underground - Mauricio 

Takara, who plays percussion and miniature Brazilian 

guitar, drummer Richard Ribeiro and keyboardist 

Guilherme Granado - find common ground with 

Mazurek through rock and samba beats plus the 

spirited use of samples and electronics. 

The end result is that the tracks on Três Cabeças 

Loucuras vary from those whose affiliation seems to be 

with delicate guitar-strummed pop, including mariachi 

brass-like echoes, to tough, percussion-hammered 

near-rock, plus those tunes which could be taken up by 

the cornetist’s jazzier projects like the Exploding Star 

Orchestra, Starlicker or the Chicago Underground 

Duo/Trio with drummer Chad Taylor. 

“Just Lovin’” and “Six Six Eight” are fascinating 

representations of the latter, especially since Mazurek 

Chi-Town associates vibraphonist Jason Adasiewicz, 

bass guitarist Matthew Lux and drummer John 

Herndon are on board. Mazurek’s “Six Six Eight”, his 

most extensive cornet feature, balances on Adasiewicz 

and Herndon’s shuddering percussion pulse and 

includes sliding bass guitar runs and discursive timeshedding 

while the intervallic theme is advanced by 

flutter-tongued triplets from the brassman. Based on a 

loop from Granado, “Just Lovin’” is denser, with an 

avant-rock beat presaging measured vibe echoes and 

snaking guitar runs. 

For the jazz samba-familiar, some of the more 

lyrical tunes with delicate, almost slack-key guitar 

licks, gentle muted brass lines and rumbling dancelike 

beats may sound more South American. Don’t 

forget though that Brazil is home to Ivo Perelman as 

well as João Gilberto. Dragging percussion friction, 

off-center bell-ringing and high-pitched guitar licks on 

Takara’s “Lado Leste” plus the oscillating electronic 

grinds, overdubbed sound loops, rock-guitar-like 

distortions and processed cornet smears on “Pigeon” 

are as much a part of Brazilian music as ever-shifting 

inventive rhythms. 

Fusion in its best sense, Três Cabeças Loucuras is 

open-minded music that melds North and South 

American impulses without fissure. 

For more information, visit cuneiformrecords.com. This 

project is at University Settlement Sep. 20th as part of 

FONT. See Calendar.

Yesterday and Today 

Toots Thielemans (Out of the Blue) 

by Sam Spokony 

Having recently turned 90, Belgian harmonica player 

and guitarist Toots Thielemans has been recording for 

over six decades and is one the few musicians whose 

playing has spanned the history of modern jazz up to 

the present day. This two-disc, 38-track set offers a 

selection of chronological tracks that are mostly rare or 

even unavailable on CD, providing a deep and 

insightful look at Thielemans’ incredible career, as well 

as his diverse cast of collaborators. 

The first tracks date back to the artist’s earliest 

records in the mid-to-late ‘40s and reveal his initial 

encounters with bop and the vital influence of Charlie 

Parker. From there, we can track the development of 

his playing as he moves to the US in 1951 and eventually 

performs with the George Shearing Quintet, a 1953 

engagement from which two tracks are featured: “Love 

is Just Around The Corner” and an interesting take on 

Ellington’s “Caravan”. 

An early highlight is Thielemans’ 1958 recording 

of his own “Cool and Easy” over a heavily swinging 

rhythm section of Hank Jones, Doug Watkins and Art 

Taylor. Another star-studded track is his 1964 version 

of “Lullaby of Jazzland” with JJ Johnson, McCoy Tyner, 

Richard Davis and Elvin Jones. One can truly hear 

Thielemans’ vocabulary as a soloist grow and mature 

in this period. “Soul Bird”, a 1965 recording with an 

ensemble that includes Clark Terry and Grady Tate, 

also nicely spotlights Thielemans’ foray into Latin jazz. 

The second disc takes the listener into the ‘70s, 

during which time Thielemans took part on some 

interesting collaborations with Quincy Jones. Featured 

here is Jones’ tight and punchy arrangement of 

“Chump Change” as well as “Love Theme from ‘The 

Getaway’”. Following soon after that is a rare gem 

from a live recording in the Netherlands, as Thielemans 

plays his solo guitar version of Ellington’s classic 

“Black Beauty”. An even rarer cut will be “Fritiof 

Anderssons Paradmarsch”, recorded in 1978 in 

Stockholm with local Swedish musicians and never 

previously released outside of that country. This track, 

among several others in collection, also features 

Thielemans’ iconic whistling over his own guitar solo. 

After that point in the collection, passionate 

ballads in smaller groups begin to replace the harddriving, 

larger ensemble work that dominates those 

middle years. Two of the set’s most beautifully 

performed selections are ‘80s duets - first “Bye Bye 

Blackbird” with pianist Louis van Dijk in 1982 and 

then an extraordinarily lyrical and sensitive take on 

“Spartacus Love Theme” with bassist Marc Johnson. 

The final track, then, provides a fittingly emotional 

finish, as Thielemans figures in yet another duet - this 

time playing “What a Wonderful World” alongside the 

piano and synthesizer of Kenny Werner. 

By the end, one hears a very different Thielemans 

but the unexpected and well-ordered selections 

provide the listener with the perfect context to 

understand better the development of this truly unique 

musician. A detailed, explanatory liner essay and 

biography written by Jeroen de Volk also adds a nice 

touch to the collection. 

For more information, visit naxos.com. Thielemans is at 

Rose Hall Sep. 28th-29th. See Calendar. 

As the Crow Flies 

Aych (Relative Pitch) 


The Aych of this unusual trio’s name presumably 

connotes an “H” and stands for the common initial of 

the three members, Jim Hobbs, Mary Halvorson and 

Taylor Ho Bynum, but perhaps primarily for Hobbs, 

the underrated Boston saxophonist who convened this 

assemblage. Hobbs is the leader of the fine Fully 

Celebrated Orchestra, which counted Ho Bynum as a 

member and has worked with Fred Hopkins, Joe 

Morris and Matthew Shipp, to name a few. Here he is 

found in the curious position of what seems to be 

leader of a collective group. 5 of the 12 tracks are his 

compositions with the rest group improvisations. 

Hobbs here is, in a sense, first among equals. 

Hobbs is an impressive composer and arranger for 

larger groups (his Hobbettes, ranging from quintet to 

septet, is his smallest working unit) so As the Crow Flies 

is an uncommon opportunity to hear his horn up close. 

Not that it’s a standard sax trio. With Halvorson on 

guitar and Ho Bynum on cornet, there’s no traditional 

rhythm section. It’s a bit of everyone for themselves, 

except of course they are in it together. Halvorson and 

Hobbs also play together in Ho Bynum’s Sextet and 

Halvorson and Ho Bynum are half of the 13th Assembly, 

so the three are well conversant already. 

That’s the who and the what of Aych. The three 

other Ws fall in close proximity. The where is at 

Hummelvision Studio in Jamaica Plain, MA and the 

when is Dec. 27th, 2010. But what matters is the why. 

Against the sea of small label releases of open-form 

jazz, including plentiful issues by the three members, 

why does As the Crow Flies matter? The answer to that 

lies back in Jamaica Plain and with engineer Joe 

Stewart, who gave this recording a remarkable purity. 

The recording is distinct, direct, almost stark, the 

instruments austere against a backdrop of nothing. But 

it falls shy of being harsh. Instead it’s a remarkably 

honest recording, lacking in undue reverb and 

compression. Ultimately what stands out about this 

record is the unadulterated and superb musicianship. 

For more information, visit relativepitchrecords.com. This 

trio is at The Jazz Gallery Sep. 15th as part of Bynum’s 

sextet as part of FONT. See Calendar. 


Quiet As A Bone 

Art Bailey (HRL) 


While there’s nothing extraordinary about Art 

Bailey’s new album Quiet As A Bone, it’s clear that the 

pianist (known for leading and also playing accordion 

for the experimental Jewish music ensemble Orkestra 

Popilar) and his bandmates, bassist Michael Bates and 

drummer Owen Howard, comprise a trio with 

considerable talent. 

Bates’ querulous arco and bas-relief plucking lie at 

the center of the evocative “Octopants”, which has fine 

interplay among the members. The straightahead “The 

Bread of Affliction” is a solid midtempo tune while 

Bailey’s deft piano weaving drives the uptempo 

“Malocclusion”. Bates’ plucked solo on the driving yet 

cool “Rebus” is also excellent, with Bailey adding bold 

rhythmic harmonic runs and trills to his solo and 

Howard laying down an intense drum groove. “O My 

Swineherd” is a thoughtful, carefully modulated tune 

and Bailey’s tender, reflective playing on the ballad 

“Regime Change” unfolds beautifully. The deft and 

clever “I See Your Little Head” is nicely rendered by 

the trio. “Coupes Are For Chickens” is another spirited 

straightahead bopper and the group stretches out 

nicely on “Ribofree”, with Bailey playing a measured 


piano above the constantly shifting tempos of his 

rhythm section. 

Closing track “Ribofour” is probably the most 

realized song on the album; it almost sounds like this 

whole album is a warmup for this one song, one where 

the group is wholly committed to any kind of true 

musical ideal. With Bailey’s piano string-strumming, 

well-spaced trilling and internal dialogue, Howard’s 

cymbal play and more fine bass work from Bates, this 

is an inspiring finale to the album. 

There are no grand revelations on Quiet As A Bone, 

but there is a lot of really good jazz definitely worth a 

listen. 

For more information, visit hrlrecords.com. This trio is at 

I-Beam Sep. 22nd. See Calendar. 

Introducing 

Eyal Vilner Big Band (Gut String) 


There’s only one chance for a first impression, or so 

the adage goes. And Eyal Vilner’s big band debut takes 

an oddly discreet approach to the first impression. But 

on this album is the sound of a band so well versed 

that flashy allure emerges unnecessary; Vilner and his 

14 musicians are thoroughly comfortable in their own 

skin, tackling ten tracks with ease and finesse. 

Vilner’s arrangement of Bud Powell’s “Un Poco 

Loco” illustrates his rare counterbalance of boldness 

and tact. A dramatic brass sequence opens the piece, 

yielding to more nuanced mingling. Brandon Lee’s 

trumpet rises from the midst, zesting the air with his 

pungent spice. Tinged with an exploratory avant garde 

vibe, alto saxist Andrew Gould’s solos offer an angular 

contrast. The brass section reconvenes for a grand 

finale, clinching the piece with a thunderbolt of energy. 

Singer Yaala Ballin’s balmy vocals set a different 

scene on Irving Berlin’s “Remember”, hearkening back 

to the ‘cocktail party’ big band sound. Though Ballin’s 

appearance spans no more than a few lines, trombonist 

Kevin Cerovich carries her influence in every smooth, 

swinging note then passes on the lively spirit to alto 

saxist Pablo Castano, whose masterful delivery is both 

easygoing and emotional. 

Vilner’s tunes showcase the band’s sophisticated 

range, each revealing a new facet of their sound and 

inspiration. The ears can’t help but get lost in “Your 

Eyes”, a charming number led by Vilner’s slightly 

breathy clarinet. Bassist Alexi David and drummer 

Yonatan Rosen craft a crisp bounce that propels the 

piece through its rosy terrain. “New One” projects this 

quality through a brazen, brass-dominated lens. The 

subtler touches give the piece its flair, however, notably 

Rosen’s athletic cymbal- and drum-rolls. 

The album’s outlier initially appears to be the final 

track “Epilogue” - a procession of mournful horns and 

a lone clarinet. But before the air gets too heavy, the 

band gets into the swinging spirit once again, uniting 

their innate poise with the art of surprise. 

For more information, visit gutstringrecords.com. This 

group is at The Garage Sep. 11th. See Calendar.

Loverly 

Lenore Raphael/Howard Alden (Swingin’ Fox Music) 


The piano-guitar duo format is versatile, two 

instruments equally assured at melody, rhythm and 

chordal harmony engaging in an intimate musical 

colloquy. Pianist Lenore Raphael, whose sobriquet is 

“Swingin’ Fox”, a name she more than lives up to, is 

joined here by the expansive guitarist Howard Alden. 

Although best known for his neo-swing associations, 

Alden is also well versed in bop, AfroLatin and postbop 

styles. Pianist and guitarist mesh well here, creating 

skeins of intertwining lines that never tangle or knot 

and swinging with a contagious brio. 

The program consists of six familiar standards and 

two Raphael originals, but the execution proves that 

even when you think you’ve heard it all with a 

standard, accomplished jazz musicians like these can 

reinvigorate it. Such is the case with opener “Wouldn’t 

It Be Loverly” from My Fair Lady. Raphael semiabstractedly 

bounces into it with an intro right out of 

the Erroll Garner playbook, hide-and-seek playful, 

before laying down the theme with thick chords, 

backed by Alden’s strummed rhythm. Raphael 

introduces most of the tracks a cappella, employing 

rubato flourishes that glance at the melodies before 

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she’s joined by Alden at mostly swinging clips. “Alone 

Together” becomes suite-like, beginning with lush, 

swirling piano, then kicking into a faster tempo as 

Alden sidles into his solo in expounding variations of 

the melody, followed by a sleek, arpeggiated solo by 

Raphael. Then, instead of the expected - many of the 

tracks have them - four-bar trades, the two interlock in 

a fugue variation before taking the theme out in 

swinging, interactive bursts. Raphael has an admirable 

command of piano history, channeling Ellington’s 

distinctive chords on “Do Nothing Till You Hear From 

Me” and referencing Ray Charles, as well as Garner, on 

“Georgia On My Mind”. Alden enlivens the proceedings 

with a variety of approaches, from legato echoing 

tones to sharp, staccato bop cascades. 

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

NY Society for Ethical Culture Sep. 28th. See Calendar. 

Home 

Wallace Roney (HighNote) 


Trumpeter Wallace Roney offers an album of pulsating 

solo work and diverse moods with help from his 

younger saxophone-playing brother Antoine. Along 

with bassist Rashaan Carter, four drummers and three 

keyboardists round out the rhythm section, trading 

spots over the course of eight tracks. Each has their 

own feel with a Fender Rhodes and an organ setting 

the mood amid straightahead piano sounds but the 

transition between tracks is fairly smooth. 

The album opens with Wayne Shorter’s “Utopia”. 

Although never recorded by him, it has the 

unmistakable horn harmonies of mid ‘60s Blue Note, 

with the Roney brothers staying in tight formation 

over the head before they both offer up twisting solos 

over drummer Kush Abadey’s slinky cymbal. The band 

plugs in for “Pacific Express” with Aruan Ortiz 

sneaking through the rhythm section with a clavinetlike 

keyboard sound. The album makes a stylistic leap 

forward with “Plaza Real”, giving George Burton a 

track over which to float his oscillating keyboards. 

Antoine dominates the melody before Wallace steps in 

with a rapid-fire solo on the 10-minute track, Antoine 

following quickly behind. Drummer Darryl Green 

provides much of the momentum. 

Organist Doug Carn joins the band for “Dawn”, 

implying a soul-jazz feel until the band gets going with 

Wallace’s sputtering trumpet over Carn’s clustered 

comping. “Evolution of the Blues” opens with a 

triumphant Charlie Parker reference before Wallace 

tears into the form with help from Abadey. Antoine 

muscles up on tenor to deliver a breathless honk. 

“Ghost of Yesterday” features Wallace in muted 

retrospection. Veteran Boston drummer Bobby Ward’s 

brushes flutter behind Ortiz’ spacious piano creating a 

soft palette over which the brothers stretch out. The 

album closes with a solo drum performance by Ward 

whose snare trembles over three rollicking minutes. 

For more information, visit jazzdepot.com. Roney is at 

Smoke Sep. 21st-22nd. See Calendar. 

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I Carry Your Heart 

Alexis Cole (Motéma Music) 

by Ken Dryden 

In a career that spanned the ‘50s into the mid ‘80s, 

Pepper Adams was one of the most in-demand baritone 

saxophonists, taking part in many memorable dates as 

a sideman, along with leading 20 albums of his own. 

Less attention has been paid to his compositions, 

which are the focus of Joy Road: The Complete Works of 

Pepper Adams, a five-volume set available as a digital 

download, though this fifth volume, featuring vocalist 

Alexis Cole, is available as a physical CD. 

This project was launched by Adams’ biographer 

and discographer Gary Carner. He honored Adams’ 

desire to have lyrics written to his songs by recruiting 

poet Barry Wallenstein, who does a remarkable job, 

particularly since it was his first time writing lyrics for 

jazz tunes. The producer also assembled a fine band of 

pianist Jeremy Kahn, tenor saxophonists Pat LaBarbera 

and Eric Alexander, bassist Dennis Carroll and 

drummer George Fludas. 

The seven ballads were all recorded in the previous 

volumes, but for the vocal interpretations, Carney 

asked Kahn to mix things up, making specific stylistic 

suggestions. “In Love With Night” proves to be an 

auspicious opener with Cole’s sublime vocal, Kahn’s 

sensitive accompaniment and the conversational tenor 

backing them (though it is unknown which saxophonist 

solos). “Now in Our Lives” begins as a slow ballad, but 

soon switches to a peppy postbop setting, with one 

tenor occasionally sounding like Adams’ gruff baritone. 

Cole’s spacious vocal in “Urban Dreams” is another 

session highlight. “Julian” is an infectious groover 

with Cole making a late entrance, first scatting in 

unison with the tenor, then digging into the lyric of 

this neglected tribute to Cannonball Adderley. Only 

one performance disappoints, the midtempo funk 

treatment of “I Carry Your Heart”, far better with 

Adams’ lush melody as the centerpiece instead of the 

quickly tiresome funk rhythm. Fortunately, the song is 

reprised as a duo ballad with Cole and Kahn to close. 

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

Smoke Sep. 26th. See Calendar. 

Escape from 2012 

Don Preston/Andrea Centazzo (Ictus) 

by Ken Waxman 

The majority of people who know of keyboardist Don 

Preston only recall his tenure with Frank Zappa and 

Mothers of Invention and later involvement in Zappa 

tribute bands. But Los Angeles-based Preston, who 

turns 80 this month, has had a more varied career. As 

bassist, pianist and pioneering synthesizer player he 

gigged with people like trumpeter Don Ellis and 

clarinetist John Carter, consorted with rockers and also 

is featured on CDs with trumpeter Michael Mantler 

and pianist Carla Bley. 

Percussionist/composer Andrea Centazzo, 15 

years Preston’s junior, is a perfect partner. Centazzo 

has had a similarly fractured career, playing with 

saxophonist Steve Lacy, large orchestras and gamelan 

ensembles plus creating soundtracks and multi-media 

projects. Using electronic interface and sampling along 

with conventional instruments here, the two conjure 

up textures that suggest staccato cello and violin 

sweeps, positioned marimba pings, conga patting and 

bell-tree shakes. At the same time these acoustic 

approximations burble along beside or are involved 

with interaction from signal-processed whooshes, 

buzzing waveforms and loops. 

Tracks like “Escape #6” and “Escape #7” pinpoint 

the duo’s contrasting jazz-like or electronic-focused 

approaches. The exposition of “Escape #6” features 

Preston’s walking bass and Centazzo time-keeping on 

percussion. But the overdubbed cymbals and tam-tams 

confirm they’re not in the ‘50s. With thick voicing, 

Preston’s pressurized keyboard glissandi drag the tune 

into the 21st Century, as the drummer’s snaps, rattle 

and drags subtly accompany him. While rhythmically 

paced drumbeats underlie the head of “Escape #7”, the 

remainder of the narrative is defined by dial-twisting 

oscillations and watery synthesizer sputters. Yet other 

surprises are on tap at the finale. As Centazzo balances 

a resonating vibe-like tone produced by his MIDIcontrolled 

malletKAT, Preston as pianist creates a 

skeletal note cluster that could fit seamlessly into any 

microtonal performance. 

Considering the talent displayed on this 

2010-recorded concert, you wonder about the title. 

Surely high-quality improvisations like these shouldn’t 

be escaping from this year but celebrated with pride. 

For more information, visit andreacentazzo.com

New York City’s most famous jazz clubs profit from musicians every 

night—but they refuse to contribute a few dollars toward pensions 

that would allow older jazz musicians to retire with dignity. 

Tell The Blue Note, Birdland, The Iridium, The Jazz Standard, 

The Village Vanguard and Dizzy’s Club Coca-Cola that 

hardworking jazz musicians deserve better. 

To sign the petition and learn more, visit: 

JusticeforJazzArtists.org 

Older jazz musicians 

are living in poverty 

while jazz club owners 

are getting rich. 

NYCJazzRecord-J4JA-print-cej.indd 1 3/9/12 10:34 AM

Judi Silvano Trio 

“Word Games” 

Ratzo B. Harris, bass 

Newman Taylor-Baker, 

drums/percussion 


The Stone, 8 pm 

Premiers of new material with 

Word and Sound Improvisations 

About Life and Love! 

“Like tenor saxophonist John 

Coltrane’s tone, Silvano’s voice is 

commanding and sublime. 

It is one that cannot be ignored.” 

– C. Michael Bailey, 

AllAboutJazz.com 

celebrates 20 years of 

recording with her 10th CD 

Indigo Moods. 

Available now at 

www.jazzedmedia.com & 

www.amazon.com 

judisilvano.com 


Where Were You Then? 

Shelley Hirsch/Simon Ho (Tzadik) 


Shelley Hirsch is among the most honest of 

improvisers, direct and deeply in the moment. Where 

other performers are said to “work the room”, Hirsch 

works it like a fistful of modeling clay, using the décor, 

the temperature, maybe a hat someone in the audience 

is wearing or a song playing on a radio on the street as 

inspiration for her vocalizing. When she turns that 

candor and intimacy to composed works, the results 

can be revelatory in the strictest sense of the word. 

Her talent doesn’t stop at her singing. Hirsch is at 

heart a storyteller with a particular flair for bringing 

personal memories to the fore. She infuses her 

reflections with a sentimentality that invites rather 

than alienates and her talents as a vocalist allow her to 

fill simultaneously the roles of narrator and cast of 

characters. It’s a lot to balance, a sort of fictive 

schizophrenia and her musical associates have 

generally met that with an equally mad soundtrack. 

The Swiss composer Simon Ho has taken a very 

different approach to collaborating with Hirsch and in 

so doing has cast her in a theatrically austere light. 

Employing an ensemble of 17 musicians (heavy on the 

strings and percussion with the composer on piano, 

accordion, organ and electric keyboards and including 

drummer Tony Buck, violist Stephanie Griffith, tuba/ 

bassist Dave Hofstra and cellist Tomas Ulrich), Ho has 

crafted an effective and sometimes quite beautiful 

soundtrack for Hirsch’s multi-tracked tales. Travel 

features prominently in the 16 storysongs as do lost 

loves and past acquaintances, aging parents and online 

dating. Some pieces fall into song form while others 

contain what seem to be full chapters of text. And at 

about the two-thirds mark, the repeated phrase “take 

down the wall” becomes an unexplained yet urgent 

call, an emotive pivot in Hirsch’s mysterious memoir. 

For more information, visit tzadik.com. Hirsch is at Roulette 

Sep. 29th. See Calendar. 

Organica 

Iron Creek 

David S. Ware 

Neil Welch 

(AUM Fidelity) (Table & Chairs Music) 


In art, abstraction is eyed suspiciously, cautiously 

tolerated and frequently frowned upon, like the shady 

relative who shows up uninvited at family holiday 

gatherings. Solo saxophonists are among the boldest 

abstractionists, baring their souls through a visceral 

rhapsodizing that to cynics is just (to quote The Talented 

Mr. Ripley) insolent noise. Two albums stare down 

those cynics and literally blow their notions away. 

David S. Ware is a saxophone conquistador whose 

creative genius is evident on Organica, a live album 

recorded in Brooklyn and Chicago, masterfully 

blending linear musical constructs with freer elements. 

Ware plays sopranino on “Minus Gravity 1”, working 

off of what might be described as a blues-based raga, 

growling, moaning and shrieking with circular 

breathing to sustain the intensity. “Minus Gravity 2”, 

the Chicago version, was equally passionate and 

inventive. In both instances the flow of ideas is rapid 

and dynamic, supplemented with occasional lightness 

and humor. Ware’s tenor is ferocious on both versions 

of the title track. From cyclonic stridency to the soft, 

sweet blues, Ware pushes himself to the limit and the 

result is neither forced nor pretentious. His outstanding 

improvisational skills are transcendent in the way he 

swiftly builds and transforms the music. What’s 

important, however, is that the songs are anchored by 

a harmonic and melodic coherence and sophistication 

that goes beyond simple self-indulgent blowing. 

Neil Welch is a lively impressionist whose album 

Iron Creek is equally striking. Welch doesn’t just play 

the sax, he creates images. “Figure of Eight” begins 

with a tremulous whisper and ends with a raucous, 

triumphant growl. In between, the arresting aural 

effects within the tenor harmonies evoke a solitary 

voice in the distance, a ship’s horn blowing far away, 

the spinning beacon of a lighthouse. The gate in the 

wind sound of Welch’s soprano on “Hollow Braid” 

turns out to be a door opening onto the rudiments of 

the creative process: Welch modulating his breathing 

to create the various effects on the soprano; the urgent 

percussion of his fingers hitting the keys and the 

vibrations in the horn as he wails like an air-raid siren. 

The subtle melodies that emerge give the song a deeper 

meaning and power and underscore Welch’s overall 

technical excellence and creativity. 

For more information, visit aumfidelity.com and 

tableandchairsmusic.com

Conduit 

Greg Diamond (Dot Time) 


Though Greg Diamond’s new release Conduit falls 

under the Latin jazz genre, the distinction is more 

categorical than descriptive. The guitarist’s style is a 

smorgasbord of approaches both compositional and 

aural, each as rejuvenating as the last. 

Diamond collaborates with six musicians on the 

album, but each track exudes the intuitive musical 

chemistry of a trio or quartet. The introspective piece 

“Inertia” illustrates the band’s powerful harmony. A 

somber mood permeates the melody, first led by pianist 

Mike Eckroth and tenor saxist Seamus Blake. The 

latter’s brassy cries are slightly acidic, providing a 

bright complement to Diamond’s mellower notes. And 

at a moment’s notice, Eckroth restarts the tune with a 

rock-inspired flair, set aflame by Diamond’s blaring 

riffs. Percussionists Henry Cole and Mauricio Herrera 

add an organic element to the mix, toning down the 

fire without fizzling it out. 

At a Joe’s Pub release concert last month, the vibe 

turned even more immersive, especially in “El 

Martillo”, Spanish for “the hammer”. The fast-paced 

tune channeled effortless fluidity amid impressive 

musical gymnastics, notably Diamond’s lightning duo 

with tenor saxist Stacy Dillard (appearing in Blake’s 

place). The two invigorated the space with their sinusclearing 

energy, leading into Edward Perez’ 

surprisingly fierce bass solo. Eckroth shines in the 

denser album version, where his chords agitate the 

melody to gripping effect. 

The band takes a few moments to meditate in “El 

Pozo” (or “the well”). Diamond particularly sparks an 

acoustic sensibility, stirring up a deep contrast to his 

powerhouse approach. He unites with Eckroth, Cole 

and Perez to craft a sublime aura that cleanses and 

stimulates the musical palate. Once “Turbulence” 

charges through, however, the band’s vivacity returns. 

Diamond streaks the air with bolts of guitar while Cole 

and Herrera shake up a percussive dust storm, 

intensified by Brian Hogans’ alto sax slurs, until the 

tempest settles several minutes later. 

For more information, visit dottimerecords.com 

LifeTimes 

Brubeck Brothers Quartet (Blue Forest) 

by Ken Dryden 

Chris and Dan Brubeck have long made a powerful 

rhythm section, though their recordings as The Brubeck 

Brothers Quartet have been among their best work. 

With honorary brothers guitarist Mike DeMicco and 

pianist Chuck Lamb, the Brubecks have achieved a 

tightly-knit group sound over their nine years together. 

It’s not surprising that much of the repertoire has come 

from their famous father’s band, as Chris and Dan 

both toured and recorded with him for significant 

stretches, in addition to being on call to fill as subs 

after going out on their own. 

The Dave Brubeck repertoire begins with his 

constantly shifting “The Duke”, which Lamb reshaped 

by adding a tense vamp and alternating between laidback 

and uptempo sections. The quartet arranged the 

remaining tracks. “Jazzanians” is the first of several 

tunes to feature Chris overdubbed on bass trombone, 

though the solo spotlight is stolen by Lamb and Dan. 

The graceful rendition of “Kathy’s Waltz” (a salute to 

their sister) has a lighthearted touch with swinging 

solos by Lamb and DeMicco. Chris’ heartfelt bass 

trombone is back as the lead voice in the bittersweet 

ballad “My One Bad Habit”. The extended workout of 

Paul Desmond’s “Take Five” is highlighted by Dan’s 

skilled polyrhythmic solo, which he has perfected by 

playing this jazz standard for over four decades. 

The band also contributed originals to the date. 

DeMicco’s “Prezcence” is a cooking workout based 

upon the familiar “I Got Rhythm” chord changes, 

showcasing his superb bop chops, followed by Lamb, 

though Chris (on bass trombone) threatens to steal the 

composer’s thunder with his boisterous solo. Lamb’s 

two originals include the constantly shifting “Go 

Round”, a new piece debuted in the studio during the 

sessions, and the lively Latin-infused “The Girl From 

Massapequa”. 

For more information, visit brubeckmusic.com. This project 

is at Iridium Sep. 30th. See Calendar. 


Instant Replay Lol Coxhill (Nato) 

The Rock on the Hill 

Lol Coxhill/Barre Phillips/JT Bates (Nato) 

GN82 (with Lol Coxhill & Evan Parker) 

Glasgow Improvisers Orchestra (Iorram) 


Saxophonist Lol Coxhill - who died in July at the age 

of 79 after a period of illness - left behind a fascinatingly 

diverse discography, to be amended as more recordings 

surface. On the one hand, he was an immediately 

recognizable player, so dedicated to his horn of choice 

that he was often referred to as simply “the bald 

soprano” (following a 1989 cassette release, The Bald 

Soprano Companion). On the other, the groupings he 

entered into were wildly diverse enough nearly to defy 

comprehension. A free improviser at heart, he still 

toured with punk band The Damned, released a 10” 

record of TV theme show songs with a trio known as 

The Melody Four and worked with Jimi Hendrix, the 

Balanescu String Quartet and AMM. 

Coxhill was a part of the generation dealing with 

(and not trying to get over) Britain’s dance hall 

tradition, that quasi-Vaudevillian entertainment 

which, for example, allowed the Beatles to look back 

and come up with “Your Mother Should Know”. He 

was also of that country’s first generation of free 

improvisers. Between those two signposts, it seemed, 

anything was possible. He was a squawker and a 

crooner both and those tendencies are displayed quite 

nicely on the recently reissued Instant Replay from 

1982. It’s a brilliant record born of a sequence of 

failures. The collection includes selections from a set of 

compositions Coxhill wrote for the French Bagad bro 

Kemperle orchestra (most of which they refused to 

play). There are tracks with another orchestra (La 

Chantenaysienne), which feature Coxhill improvising 

over them as he was inaudible in the original 

recordings. Those wonderful inventions aside, most of 

the album is duos and trios with a variety of other 

improvisers, including Louis Sclavis, Tony Coe, Joëlle 

Léandre and Raymond Boni. These become source 

material for another aspect of Coxhill’s inventive 

genius. The album is essentially four suites built from 

disparate sources and Coxhill’s editing and sequencing 

are wonderful. A typically scraggly duet with 

trombonist Paul Rutherford melds into an artsy 

exploration with percussionist Sven-Åke Johansson 

and vocalist Annick Nozati, which finds its way into a 

quick and charming vocal duet on “Embraceable You”. 

A tuneful improv with Misha Mengelberg resolves 

with a meandering “Caravan” and shapeshifts via sax 

solo into an organ trio. It’s uncommon to get to hear 

Coxhill from so many angles on one record, making 

this just a terrific title in the Coxhill canon. 

The Rock on the Hill is a very different affair, a 

straightforward free improv set recorded live in Paris 

in 2010. Bassist Barre Phillips is the guiding force here, 

at once serene and intensely focused. His spirit makes 

for an unusual (and beautiful) setting for the bald 

soprano. While generally a boisterous player, here 

Coxhill pulls back on the tempo while matching 

Phillips in the focus. The trio is rounded out by 

Minneapolis drummer JT Bates, who is versed in 

classical and country, giving him plenty to pull from 

for their quiet intricacies. 

If it even makes sense to call a Coxhill context 

surprising, his spot as one of two guest soloists with 


the Glasgow Improvisers Orchestra (GIO) is another 

unexpected turn. Guitarist George Burt composed the 

large-scale structured improvisation “Improcherto (for 

HB)” in memory of trumpeter Harry Beckett, who died 

in 2010 at the age of 75, and recorded it the following 

year with the 18-strong GIO the following year at the 

Gateshead International Jazz Festival, adding to the 

lineup Coxhill and Evan Parker. That 40-minute piece 

takes up the whole of GN82 and it’s a wonderfully 

expansive chunk of music. The playing is deliberate 

and conscientious enough that it truly merits the term 

“orchestra” - to some ears it might even come off as an 

electronic soundbed for saxophones. True to the spirit 

of cheeky UK eccentricity, the piece was scored on 

sticky notes handed out to the ensemble immediately 

before the performance and was led by a rotation of 

conductors. And also true to that Brit spirit, the ends 

succeed despite the means. It’s a fine tribute to Beckett 

and the London community he fell into and as it 

happens an inadvertent tribute to Coxhill as well. 

For more information, visit natomusic.fr and 

iorram.blogspot.com 

Loverman Paul Hubweber (Cadence Jazz) 

Solo Henrik Munkeby Nørstebø (Creative Sources) 

Trombonealone Christof Thewes (JazzHaus Musik) 

by Ken Waxman 

More so than most brass instruments, the trombone 

has the structure to be used as a solo instrument, yet, 

as these choice examples of contemporary European 

solo trombone discs make obvious, careful planning as 

well as limitless chops is needed to make things work. 

Paul Hubweber decided to balance his 

improvisations on Loverman with some of Charlie 

Parker’s more familiar lines. Not only does he play six 

Bird tunes, but some of the other solos are actually 

contrafacts of contrafacts. For instance when he creates 

his version of “A Leu Cha”, he’s playing a piece which 

Bird manufactured from “Honeysuckle Rose” with a 

bridge based on the chord changes of “I Got Rhythm”. 

Contrast that with his reading of “Lover Man”, in 

which his rugged pitch-sliding and gargling cries 

make the piece even more dyspeptic and agitated. 

Furthermore, among dark guffaws, split tones and 

staccato runs, suggestions of contrafacts from pop 

tunes such as “The Girl from Ipanema” or “Love Me or 

Leave Me” sneak into his own compositions. 

Henrik Munkeby Nørstebø on the other hand 

creates 10 solo tracks which are microtonal and 

abstract. However, among the blustery guffaws and 

agitated glissandi, some surprisingly expressive 

timbres can be heard. For instance “s3” may have a 

finale based on doubling the brass tone with throatmurmured 

growls, but the exposition is dedicated to 

fully formed vibrations resulting from a blustery 

chromatic tone and tongue stops. Utilizing extended 

brass techniques ranging from wide-bore blowing to 

expansive throat tightening, Nørstebø produces any 

manner of textures from his horn. 

Christof Thewes takes a middle course on 

Trombonealone. His Ornette Coleman-mashup of “Free/ 

Beauty is a Rare Thing/Ramblin’” is more dissonant 

than Hubweber’s tune strategy. Although the oftensprightly 

themes peak through, Thewes is more 

concerned with theme variations. Smooth, chromatic 

glissandi are quickly replaced by disjointed 

deconstructions, spiced with verbal mumbles and 

shouts and studded with fuzzy triplets, gruff tonalities 

and even a bugle-like tattoo. Other times his capillary 

strategies include plunger cries and mouthpiece 

bubbling, bagpipe-like quivering and fortissimo 

plunger evacuations. Using his voice to create 

multiphonics, there are other instances when he 

executes speedy runs with the facility of a cornet 

player. Thewes simultaneously salutes and extends the 

jazz tradition on the disc without making it obvious. 

For more information, visit cadencejazzrecords.com, 

creativesourcesrec.com and jazzhausmusik.de 

IN PRINT 

Wail: The Life of Bud Powell 

Peter Pullman (Bebop Lives) 

by Russ Musto 

Coming on the heels of Thelonious Monk: The Life 

and Times of an American Original, Peter Pullman’s 

Wail: The Life of Bud Powell is a most valuable 

addition to jazz bibliography, an unsentimental 

examination of the 41-year existence of the other 

most important and enigmatic pianist in modern 

jazz. Also the result of over a decade of research, 

based upon “the public record and press on Powell… 

eyewitness accounts of his live performances and on 

personal opinions of his private life - in addition to 

subjective assessments of his studio recordings”, 

Pullman’s work is, in his words, “a political book”, 

one that “looks to explain how one of the most 

exciting art forms coexisted…with the harsh realities 

that its performers had to endure.” 

The life story of the person Elvin Jones called 

“the most mistreated man I ever knew”, this is for 

the most part not a happy tale. Pullman does a good 

job of recounting his subject’s earliest joy-filled days 

as a child prodigy pianist, first taught the stride 

idiom by his father, further soaking up the living 

history of his instrument looking over the shoulders 

of masters Willie “The Lion” Smith and James P. 

Johnson. He then took the music to another level in 

uptown after-hours clubs before becoming the 

acknowledged master of bebop piano, playing on 

52nd Street and in Birdland, where he performed as 

a leader for the better (and worse) part of his career. 

Pullman examines the circumstances of Powell’s 

mental deterioration, his lifelong struggle with 

alcohol (and heroin), which resulted in the 

institutional abuse (including electroshock therapy) 

that only further exacerbated his fragile psyche. 

Pullman’s discovery of heretofore unseen medical 

and court records is most telling in just how terribly 

Powell was treated, not just by the establishment, 

but also by those purportedly trying to help him. 

Yet it is the ample quoting of those who knew 

Powell the best, in both his up and down days, first 

in New York, then Paris and Scandinavia and finally 

New York again, that brings him to vivid life (even 

if it is most often a predominantly depressing one) 

and sets this legend’s story, so full of myths, straight. 

For more information, visit BudPowellBio.com. A Powell 

tribute is at Birdland Sep. 25th-29th. See Calendar.

Golden Child 

Jared Gold (Posi-Tone) 


In the vast jazz animal kingdom, few instruments have 

as big a personality as the ever-temperamental organ. 

It has the power to transform trios and quartets into 

“organ bands” and concert halls into portals of funky 

soul. But it’s the organ’s transcendent, otherworldly 

musical presence that emerges most captivating of all. 

Jared Gold’s Golden Child illustrates this charm 

through a tangy mix of reinvented standards and 

creative originals. As soon as Gold belts out the 

opening notes to “A Change Is Gonna Come”, the air 

comes alive with groovy zest. Though the organist 

assumes a laidback vibe, his approach is laced with 

plenty of attitude in the Sam Cooke piece, growing 

ever more intricate and bold. Guitarist Ed Cherry’s 

coolly electric chords introduce some complex 

dynamics to the mix, acting as both a mellow foil and a 

fierce contender to the organ. And while Quincy Davis 

knocks out several sharp cymbal accents, Gold brings 

the tune to newfound acerbic heights. 

Gold takes a narrative approach on the Johnny 

Nash piece “I Can See Clearly Now”. The tune’s classic 

refrain resonates through the Hammond B-3, twisted 

with a magnetic edginess that persists even in the most 

subdued moments. Gold’s musical fire meets its match 

in Cherry’s guitar, stirred along by Davis’ rolling 

momentum. “I Wanna Walk” further illustrates the 

band’s unity, propelled by Gold’s assertive chords. 

Even when the trio simmers down to a more 

introspective sound, their energy remains innately 

gripping. Gold’s own “Pensa Em Mim” unravels 

slowly and organically, shrouded in a ghastly hum of 

cymbals and guitar. Gold periodically pierces through 

the blur with fierce electric uprisings, making the piece 

as enthralling as the album’s fast-paced tracks. But 

whether the band is feeling energetic or pensive, this 

album can’t help but be absolutely golden with a 

bandleader as innovative as Jared Gold. 

For more information, visit posi-tone.com. Gold is at Bar 

Next Door Sep. 8th with Dave Stryker, Jazz Standard Sep. 

13th with Oliver Lake and Smalls Sep. 25th. See Calendar. 

Live at Smalls 

Rick Germanson Quartet (featuring Eddie Henderson) 

(smallsLIVE) 

by Ken Dryden 

Rick Germanson has been part of the New York City 

jazz scene since the late ‘90s, arriving not long after 

winning the Grand Prize at The American Pianists’ 

Association Jazz Piano Competition. He served as a 

sideman with Pat Martino for several years, along with 

touring and recording as a part of The Cannonball 

Legacy Band featuring Louis Hayes. His lengthy 

resumé also includes record dates with Wayne 

Escoffery, Brian Lynch, Jeremy Pelt, Carolyn Leonhart 

and David Gibson. He’s shared the stage with George 

Coleman, Tom Harrell, Slide Hampton, Frank Morgan 

and Charles McPherson, to name only a few. 

Germanson has a self-confidence that proves 

infectious on the bandstand. His quartet includes 

several veterans of note: trumpeter Dr. Eddie 

Henderson, bassist Paul Gill and drummer Lewis 

Nash. The pianist launches this live set with a driving 

take of Bobby Timmons’ neglected hardbop gem “So 

Tired”, which features potent solos throughout its 

high-octane reading. Henderson adds a mute for the 

creative reworking of the standard “The Surrey With 

the Fringe on Top”, which only hints at its theme as the 

musicians explore endless variations. The pianist also 

appreciates when less is more, as he plays Duke 

Ellington’s lovely “The Single Petal of a Rose” with 

minimal embellishment. 

Germanson’s writing is equally interesting. His 

dark, infectious “Interloper” is a driving postbop work 

that crackles with energy, His lyrical side is showcased 

in the wistful “Shorter Waltz”, Henderson’s expressive 

trumpet as its lead voice. Germanson’s rambunctious 

postbop vehicle “Edge” keeps the listener guessing 

with its many twists, the enthusiastic Smalls audience 

wanting more. 

For more information, visit smallslive.com. Germanson is at 

Smalls Sep. 6th with Bill Cantrall. See Calendar. 

ON DVD 

Live in France 1961 

Ray Charles (Eagle Vision) 


In the spring of 1961 Ray Charles toured for the first 

time with an expanded, 17-piece band that for the 

next 40-plus years was part of his performance 

package. But when he went to Europe for the first 

time that summer, he led an octet, like his smaller 

band for much of the previous decade, when his 

records for Atlantic defined a new category of black 

pop music: Soul. This DVD, filmed for French TV at 

the Antibes Jazz Festival, captures one of the last 

instances of Charles working in concert with that 

smaller band. And without an electric instrument in 

sight - Charles plays only acoustic grand piano, 

Edgar Willis an upright double bass - the film is 

invaluable as a document of Charles’ concert style in 

the ‘50s. The black and white footage also captures a 

bygone era when jazz festivals were largely ad-hoc 

affairs. Charles is seen straddling a mic stand 

between his hands at the piano and on the first night 

the horns use chairs for music stands. 

The bulk of the DVD consists of shows on two 

nights, Jul. 18th and 22nd, the first notable for 

kicking off with three instrumentals: James Moody’s 

“The Story”, followed by Horace Silver’s “Doodlin’” 

and “One Mint Julep”, Charles playing the latter in 

a montuno Latin piano style very different from his 

B-3 organ recording of the piece. The two trumpets 

- Phillip Guilbeau and John Hunt - and three saxists 

- tenor David “Fathead Newman”, alto Hank 

Crawford and baritonist Leroy Cooper - all get to 

solo, but on most of the vocal numbers Newman and 

Guilbeau are the only horn soloists. 

Those vocals range from the then-recent- 

Grammy-winning hit “Georgia On My Mind” to 

quintessential, multi-layered call-response and 

stop-time soul classics like “Sticks and Stones”, 

“Hallelujah, I Love Her So” and “What’d I Say”. 

Joining Charles on some of them are the four 

Raelettes, with Margie Hendrix front and center on 

the gospel-testifying “Tell the Truth”, a perfect 

amalgam of sanctified soul and get down blues. And 

don’t miss Jul. 22nd’s only instrumental, “Hornful 

Soul”, the frame for a great, bluesy jazz piano solo. 

For more information, visit eaglerockent.com. Ray Charles 

events are at Jazz Museum in Harlem Sep. 4th, 11th, 

15th, 18th and 25th. Visit jmih.org for more information. 


BOXED SET 

Joy Road: The Complete Works of Pepper Adams 

(Motéma Music) 


Park Adams III already had a pretty great stage 

name set in place two generations before his birth. 

Pepper works too though. The baritone saxophonist’s 

great career has been thankfully getting the attention 

it deserves in the last few years. Adams passed away 

in 1986, less than a month shy of his 56th birthday 

but during that brief life, he managed to be a part of 

every major jazz scene of his time, working with the 

Detroit scene of the ‘50s, with Mingus in the early 

‘60s, the birth of the Thad Jones/Mel Lewis big band, 

even the Lighthouse All Stars out on the West Coast. 

He was in-demand until his passing, managing to 

lug his baritone to over 600 sessions. 

Motéma Records with producer Gary Carner 

has compiled a five-volume tribute to Adams’ underrecognized 

talent as a composer. The recordings 

were done mostly in the 25th anniversary of Adams’ 

passing, covering all 43 of his tunes with bands led 

by pianists Jeremy Kahn and Kevin Bales, baritone 


saxophonist Frank Basile and vocalist Alexis Cole. 

Volume 1 features a piano trio led by Kahn. 

They open with “Muezzin”, giving bassist Rob 

Amster and drummer George Fludas ample space to 

stretch out. The trio works gently and swinging with 

Adams’ compositions: “Etude Diabloque” and 

“Bossa Nouveau” finds the trio sprinting while “I 

Carry Your Heart” gives Kahn plenty of room to roll 

up and down the keyboard. “Doctor Deep” gets the 

most joyful pummeling with Kahn digging into the 

quartal bag. 

Volume 2 features Bales in a straightahead 

quartet amped by guitarist Barry Greene. The latter 

blasts off early, strutting over “Cindy’s Tune” but 

Bales is no slouch keeping up the pace, trembling on 

the low-end with precision. The band maintains the 

high energy throughout their set with a bouncing 

“Mary’s Blues” and the high harmonies of 

“Apothegm”, slowing down only for the graceful 

“Lovers of the Their Time”. 

Volume 3 finally brings some horns with Basile’s 

baritone-driven sextet. Trumpeter Joe Magnarelli 

and trombonist John Mosca bring a rich, bellowing 

frontline to the band. The bombastic “What Is It” 

tests the limits of the hornmen’s embouchure while 

“Joy Road” has an effervescent swing that provides 

a nice platform for Mosca’s breathless rip. They close 

out their disc with a striding ballad, imbuing “Urban 

Dreams” with a sound as ethereal as the title. 

Volume 4 brings back the Kahn trio with a boost 

from baritone saxophonist Gary Smulyan. He is in 

top form, providing rapid-fire Adams-like lines 

throughout the set. The lengthy “Patrice” and 

“Hellure” gets swinging turns from Smulyan and 

Kahn before trading popping phrases with drummer 

George Fludas. The Strayhorn-esque “Julian” slows 

the pulse while “Jirge” is a playful, labyrinthine 

performance by the two leads. 

Volume 5 is the most curious. Here lyrics have 

been set to Adams’ tunes by poet Barry Wallenstein. 

It’s always a delicate task of adding lyrics to a tune 

long after the composer has passed. The group plays 

it safe by sticking to the ballad repertoire. Vocalist 

Alexis Cole gives very pure, straightforward 

readings of the tunes, handling Wallenstein’s puzzles 

with ease. Despite the addition of a vocalist, the 

band still manages to stretch out on the tunes, with 

the aforementioned “Julian” more upbeat and 

building to nearly 11 minutes with help from the 

horn crew. The set closes with an elegant duet 

between Kahn and Cole on “I Carry Your Heart”. 

The result of these five volumes is an 

unbelievably thorough tribute to a saxophone 

master. Clocking in at over five hours the box can get 

a little overwhelming but it is for a worthy pursuit, 

bringing a legend to the spotlight. It might be a 

strange place to start for someone unfamiliar with 

Adams’ work but its mere existence will do a lot to 

increase awareness of the overlooked baritone saxist. 

For more information, visit motema.com. A celebration of 

the life and music of baritone saxophonist Pepper Adams 

will take place this month. Events include the Vanguard 

Jazz Orchestra Honors Pepper Adams (Village Vanguard, 

Sep. 24th); The Hammond B3 Meets Pepper Adams (Smoke, 

Sep. 25th); Alexis Cole Sings Pepper Adams (Smoke, Sep. 

26th); Frank Basile Sextet Plays the Compositions of Pepper 

Adams (Smalls, Sep. 28th); The Three Baris (Ginny’s 

Supper Club, Sep. 29th) and Urban Dreams and String 

Quartets (Birdland Sep. 30th). See Calendar. 

TITO PUENTE JR. 

ORCHESTRA 

YORK COLLEGE 

PERFORMING ARTS CENTER 

Tickets available at the Box Office 

94-45 Guy R. Brewer Blvd. 

Call: 718-262-2840 or online at 

www.york.cuny.edu 

For more information call 

718-262-3750 

Major funding for this series provided by NYC Councilmembers Leroy Comrie 

(27th-CD), Deputy Majority Leader NY City Council and Chair of Land Use 

Committee, and Ruben Wills (28th-CD), Chair of Substance Abuse Sub-Committee. 

Saturday, 

October 13, 2012 

at 7:00PM 

$20.00 Adults / 

$10.00 Students & Seniors

(INTERVIEW CONTINUED FROM PAGE 6) 

another: the Cornish Institute of Arts in Seattle, the 

Hochschule der Kunst in Berlin, now Jazz Institute 

Berlin and the Maritime Conservatory of Performing 

Arts in Halifax. For two weeks each summer I also 

teach at the Creative Music Workshop, part of the 

Halifax Jazz Festival. 

In Seattle, Ralph Towner, Gary Peacock and I 

became a trio and toured and recorded for ECM. Also 

during this time I spent a lot of really great time with 

Jane Ira Bloom, touring and recording. She loved 

electronics and creating new sounds and the music she 

composed challenged me to go further with using 

more electronics, synths and octopads. In Europe I 

formed my double guitar band called UFB and worked 

on projects with Lee Townsend, the great producer. So 

it’s funny how teaching allowed me to find some new 

music and to begin producing work as a leader and 

composer - and now it’s something like 20 CDs later. 

TNYCJR: Why move to Canada? 

JG: I moved to Halifax, in, I guess, 1988 really because 

of Trungpa, who moved there along with about 1,000 

people in the sangha [community] because he thought 

it was a good place for the dharma [natural law] to 

grow. ...I’ve been able to get projects presented here 

and to develop an ongoing relationship with 

[Vancouver’s] Songlines Records, for which I’ve 

recorded six CDs, including V16, Badlands and The 

Sandhills Reunion [a spoken-word cycle with music 

featuring writer Rinde Eckert]. You know, you can 

trace connections. Like getting to spend so much time 

at Naropa working with the great poets like Allen 

Ginsberg probably lead to recording A Song I Heard 

Buddy Sing based on Michael Ondaatje’s novel Coming 

Through Slaughter (The Life of Buddy Bolden), which led 

me to connect with Rinde years later for Sandhills. 

Now I’ve got the new trio with two Nova Scotians, 

[bassist/cellist] Simon Fisk and [tenor, soprano and 

baritone saxist] Danny Oore, brilliant young artists 

who I’ve kind of watched grow up musically. Wanting 

to play with them and to record Let Go [Plunge Records] 

came out of V16, the band I had with [guitarists] David 

Tronzo and Christian Kogle and [electric bassist] J. 

Anthony Granelli. I needed to take a rest after six years 

and three CDs and I wanted to explore trio playing 

again. Both [Fisk and Oore] play more than one 

instrument, so it was a chance to try to make the trio 

more diverse and orchestral. Right now that’s my 

working band, but I’m also doing some solo recording 

and playing. And I’m reforming a trio with David 

Tronzo and J. Anthony, which is also so much fun. 

TNYCJR: Why did you wait until you were 70 to record 

“Stripped-down music that is as 

organic as it is ethereal.” 

— C. Michael Bailey, All About Jazz 

the solo album 1313 when other drummers have done 

so at an earlier age? 

JG: I’ve always thought about doing a solo record, but 

I also love to play in the band context - and solo is a big 

leap even from working in a duo. The idea for 1313 

came from Darcy Spindle at Divorce, a Halifax-based 

alternative music label. I had to push myself a little to 

do it since it was all spontaneous compositions. The 

real challenge came when I started doing solo 

concerts, what with just getting used to the 

compositional form, learning how to develop things 

with even more patience and space, since they’re so 

many different ways to play the drums not in a band 

context. One of the great benefits though is that I do 

these concerts in settings where there are new and 

young audiences. v 

For more information, visit jerrygranelli.com. Granelli 

plays solo and in trio at I-Beam Sep. 7th. See Calendar. 


• Denny Zeitlin - Shining Hour: Live at the Trident 

(Columbia, 1965) 

• Jay Clayton/Jerry Granelli - Sound Songs 

(Winter & Winter, 1985) 

• Jerry Granelli - Another Place (Intuition, 1994) 

• Jerry Granelli and Badlands - 

Enter, A Dragon (Songlines, 1998) 

• Jerry Granelli V16 - Vancouver ‘08 (Songlines, 2008) 

• Jerry Granelli Trio - Let Go (Plunge, 2011) 

(LABEL CONTINUED FROM PAGE 12) 

that it is a community as much as it is a business,” 

Evan Weiss says. “Although Greg gives a lot of support 

and guidance, the label is really in the hands of all the 

artists. We have complete freedom over our music and 

a great network of support from the other musicians. 

Rather than being told what to work on, we hold 

meetings and send constant streams of emails to 

discuss the next direction for the label.” 

Yeager explains: “Greg founded the label, but he 

likes to say it’s not ‘his’, but rather, a collective where 

each artist is independent and responsible for her or 

his own project and, at the same time, responsible for 

helping the label as a whole progress. Also, projects are 

primarily self-funded by each artist him/herself - the 

label serves as an artistic community, distributor and 

incubator of ideas on how to get new creative music 

out there to the public. It does not provide funds for 

each project. The result is that each artist owns his/her 

copyright and project.” 

Sara Serpa notes: “I like the fact that [Inner Circle] 

is a collective of people with different backgrounds 

who have the same goal, which is to be able to make 

and record the music they love and make it available to 

the public. What I appreciate about working with Greg 

Osby is the fact that he gives me a lot of freedom to 

find my own role - or to be myself - in his band, in his 

music and in this label.” 

Tammy Scheffer says that as a young artist, one of 

the things she appreciates about recording for Inner 

Circle is its “artist-run nature” and the fact that Osby 

and other participants are genuinely interested in her 

ideas. “Having a say and [being able to] collaborate on 

label initiatives means that anything is possible 

because it’s in our hands,” Scheffer notes. “In today’s 

changing music industry, I think it’s important to be 

proactive and learn the business side of things - and 

being on this type of label gives you a great support 

system without making you dependent.” v 

For more information, visit innercirclemusic.net. Inner 

Circle showcases are at Cornelia Street Café Sep. 12th-14th 

and ShapeShifter Lab Sep. 16th. See Calendar. 

JAZZ at KITANO 

Music • Restaurant • Bar 

“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD 

LIVE JAZZ EVERY 

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$10 WED./THUR + $15 Minimum/Set. 

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2 SETS 8:00 PM & 10:00 PM 

JAZZ BRUNCH EVERY SUNDAY 

TONY MIDDLETON TRIO 

11 AM - 2 PM • GREAT BUFFET - $35 

OPEN JAM SESSION MONDAY NIGHTS 

8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG 

TUES. (4, 11, 18, & 25) IN SEPTEMBER 

8:00 PM - 11:00 PM • STEVEN FEIFKE - SOLO PIANO 

SAT. SEPTEMBER 1 

JOANNE BRACKEEN TRIO 

JOANNE BRACKEEN, TBA - BASS 

ADAM CRUZ 

$25 COVER + $15 MINIMUM 

WED. SEPTEMBER 5 

DEANNA KIRK QUARTET 

DEANNA KIRK, HARRY ALLEN 

JOHN DI MARTINO, NEAL MINER 


THURS. SEPTEMBER 6 

AUBREY JOHNSON QUARTET 

AUBREY JOHNSON, MALCOLM CAMPBELL 

ZACH BROWN, LEE FISH 


FRI. & SAT. SEPTEMBER 7 & 8 

VICTOR GOINES QUARTET 

VICTOR GOINES, AARON DIEHL 

PHILIP KUEHN, MARION FELDER 



SHIRLEY CRABBE QUARTET 

SHIRLEY CRABBE, DONALD VEGA 

JON BURR, STEVE JOHNS 



MEL MARTIN QUARTET 

MEL MARTIN, DON FRIEDMAN 

PHIL PALOMBI, SHINNOSUKE TAKAHASHI 



DENA DEROSE TRIO 

DENA DEROSE, BEN WOLFE, STEVE WILLIAMS 



IRIS ORNIG QUARTET 

IRIS ORNIG, MIKE RODRIGUEZ 

HELEN SUNG, JEROME JENNINGS 



CLARENCE PENN QUARTET 

CLARENCE PENN, JALEEL SHAW 

DONALD VEGA, YASUSHI NAKAMURA 



LEW TABACKIN QUARTET 

FEATURING ROBERTO GATTO 

TRIBUTE TO SHELLY MANNE 

LEW TABACKIN, YAKOV OKUN 

PHIL PALOMBI, ROBERTO GATTO 



CHIEMI NAKAI TRIO 

CHIEMI NAKAI, LUQUES CURTIS, STEVE BERRIOS 



BILLY TEST QUARTET 

BILLY TEST, MARC MOMMAAS 

BORIS KOZLOV, TONY MORENO 



NILSON MATTA'S 

BRAZILIAN VOYAGE BAND 

NILSON MATTA, MAUCHA ADNET 

HELEN SUNG (9/28), MATT KING (9/29) 

DUDUKA DA FONSECA 


RESERVATIONS - 212-885-7119 

VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork 

www.kitano.com • email: jazz@kitano.com 

66 Park Avenue @ 38th St. 


CALENDAR 

Saturday, September 1 

êCharlie Parker Birthday Celebration: Brian Lynch, Vincent Herring, George Cables, 

Lonnie Plaxico, Victor Lewis Birdland 8:30, 11 pm $30-40 

• Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, 

Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, 

Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, 

Kenny Washington Jazz Standard 7:30, 9:30 pm $30 

• Kenny Werner Quintet with Lionel Loueke, Miguel Zenón 

Blue Note 8, 10:30 pm $35 

êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston 

Village Vanguard 9, 11 pm $25 

êJoanne Brackeen Trio with Adam Cruz 

Jazz at Kitano 8, 10 pm $25 

• Steve Turre Quintet with Billy Harper, Xavier Davis, Corcoran Holt, Dion Parson 

Smoke 8, 10, 11:30 pm $30 

• The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, 

Romero Lubambo, Nilson Matta, Duduka da Fonseca 

Dizzy’s Club 7:30, 9:30, 11:30 pm $35 

• Bruce Harris Quintet Dizzy’s Club 12:45 am $20 

• Jonathan Saranga; Juini Booth plays McCoy Tyner with Norbert Stachel, 

Benito Gonzalez, Ronnie Burrage; Joe Magnarelli Quartet with Mulgrew Miller, 

Dwayne Burno, Jason Brown Smalls 4, 7:30, 10 pm $20 

êKirk Knuffke, Mary Halvorson, Rob Garcia 

Cornelia Street Café 9, 10:30 pm $15 

• Gelsey Bell; Shannon Fields The Stone 8, 10 pm $10 

• Sheryl Bailey 3 with Ian Froman, Ron Oswanski 

Bar Next Door 7:30, 9:30, 11:30 pm $12 

• Sam Trapchak’s Put Together Funny with Jason Rigby, Tom Chang, Christian Coleman; 

Jonathan Goldberger, Aryeh Kobrinsky, Satoshi Takeishi; Juan Pablo Carletti Trio with 

Michael Attias, Angelica Sanchez Douglass Street Music Collective 8 pm $10 

• Jaimeo Brown The Bar on Fifth 8 pm 

• Cartography Duo: Douglas Detrick/Mazz Swift 

I-Beam 8:30 pm $10 

• Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 

• Banana Puddin’ Jazz: Devin Starks Trio 

Nuyorican Poets Café 9 pm $15 

• Roberto Pianca/Gabriele Donati Quartet with Greg Ruggiero; Olli Hirvonen with 

Frederick Menzies, Sam Anning, Philippe Lemm; Racha Fora with Hiroaki Honshuku, 

Rika Ikeda, Mauricio Andrade, Rafael Russi, Renato Malavasi 

Somethin’ Jazz Club 5, 7, 9 pm $10 

• Jacob Teichroew Trio; Kenji Yoshitake Trio 

Tomi Jazz 8, 11 pm $10 

• David Robinson Quartet Cleopatra’s Needle 8 pm 

• Larry Newcomb Trio; Evgeny Lebedev; Carl Bartlett Jr. Quartet 

The Garage 12, 6:15, 10:45 pm 

Sunday, September 2 

êJane Ira Bloom Quartet with Dawn Clement, Mark Helias, Bobby Previte 

Cornelia Street Café 8:30 pm $10 

InterpretatIons 

season 2012/13 

Thursday, September 20, 2012 

Tim Brady // david Behrman 

Thursday, October 11, 2012 

John eckhardT // PeTer evans 

Sunday, November 4 at 5 pm, 2012 

s.e.m. ensemBle Plays cage, koTik, 

& miTchell 

Thursday November 15, 2012 

erik griswold // camilla hoiTenga 

& Taavi kerikmäe 

Thursday, December 6, 2012 

sTeve swell & omar Tamez // 

douglas r. ewarT & invenTions 

Thursday, January 24, 2013 

ekmeles vocal ensemBle 

// Pheeroan aklaff 

Thursday, February 21, 2013 

Thomas Buckner, wiTh ensemBle 

l’arT Pour l’arT 

Thursday, March 21, 2013 

anne leBaron // melvyn Poore 

& corT liPPe 

Thursday April 11, 2013 

dioTima sTring quarTeT 

Thursday May 9, 2013 

marTy ehrlich // Brandon ross 

roulette 


• Object Collection: Devin Maxwell, John P. Hastings, Taylor Levine, Paula Matthusen, 

Daniel Allen Nelson, Kara Feely, Travis Just; Shoko Nagai/Satoshi Takeishi 

The Stone 8, 10 pm $10 

• The Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis 

Barbès 7 pm $10 

êRobin Verheyen, Michael Bates, Owen Howard 

Sycamore 8 pm 

êJohn di Martino/Warren Vache Smalls 7:30 pm $20 

• Elad Gellert Group ShapeShifter Lab 8 pm 

• Peter Leitch Duo Walker’s 8 pm 

• Simona Premazzi The Bar on Fifth 8 pm 

• Rubens Salles Quintet with Conor Meehan, Jon de Lucia, Ben Gallina, Pedro Silva 

Somethin’ Jazz Club 9 pm $10 

• Shrine Big Band Shrine 8 pm 

• Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, 

Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, 

Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, 

Kenny Washington Jazz Standard 7:30, 9:30 pm $30 

• Kenny Werner Quintet with Lionel Loueke, Miguel Zenón 

Blue Note 8, 10:30 pm $35 

êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston 


• The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, 

Romero Lubambo, Nilson Matta, Duduka da Fonseca 

Dizzy’s Club 7:30, 9:30 pm $35 

• Florian Höfner Group Saint Peter’s 5 pm 

• NYU Jazz Brunch Blue Note 12:30, 2:30 pm $29.50 

• The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew 

BB King’s Blues Bar 12 pm $25 

• Roz Corral Trio with Gene Bertoncini, Sean Smith 

North Square Lounge 12:30, 2 pm 

• Joel Perry Trio; Rob Edwards Quartet; Masami Ishikawa Trio 

The Garage 11:30 am 7, 11:30 pm 

Monday, September 3 

êThe Music of Abbey Lincoln: Teri Roiger Quartet with Frank Kimbrough, 

John Menegon, Steve Williams Dizzy’s Club 7:30, 9:30 pm $25 

• David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram 


• John Merrill solo; Ari Hoenig Group with Shai Maestro, Gilad Hekselman, 

Johannes Weidenmuller; Spencer Murphy 

Smalls 7:30, 9 pm 12 am $20 

• Aruan Ortiz The Bar on Fifth 8 pm 

• Jon Madof’s Zion80 The Stone 9 pm $10 

• Chris Stover Big Band Tea Lounge 9, 10:30 pm 

• Mike Gamble’s Second Wind with Simon Jermyn, Tommy Crane; 

Igor Lumpert Innertextures with Chris Tordini, Tommy Crane 

Bar 4 8 pm 

• Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm 

Bar Next Door 8:30 pm $12 

24 

509 Atlantic Ave Downtown Brooklyn. 2, 3, 4, 5, C, G, D, M, 

N, R, B & Q trains & LIRR. General admission: $15 / $10 Roulette 

Members, Students, Seniors. Tickets can be purchased online: 

www.interpretations.info 

• Aimee Allen Zinc Bar 7 pm $8 

• Howard Williams Orchestra; Ben Cliness Trio 

The Garage 7, 10:30 pm 

• Arthur Vint and Quartet Premiere with Scott Colberg, Gordon Au, Adrian Cunningham 

Maison Premiere 3 pm 

• Deanna Witkowski Bryant Park 12:30 pm 

Tuesday, September 4 

êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker 

Birdland 8:30, 11 pm $30-40 

êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind 


êVernon Reid Trio Iridium 8, 10 pm $25 

• Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana 

Blue Note 8, 10:30 pm $30 

• Alfredo Rodriguez Trio with Ricardo Rodriguez, Henry Cole 

Jazz Standard 7:30, 9:30 pm $20 

• Sarah Elizabeth Charles Quintet with Obed Calvaire 

Dizzy’s Club 7:30, 9:30 pm $30 

êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10 

• Jack Jeffers and the New York Classics 

Zinc Bar 8, 10 pm 

• The Wee Trio: James Westfall, Dan Loomis, Jared Schonig 


êJames Carney Trio with Chris Lightcap, Ted Poor; Russ Lossing Trio with 

Masa Kamaguchi, Billy Mintz Korzo 9, 10:30 pm $5 

• Cage100@Stone Festival: The Noisy Toy Piano Orchestra directed by Miguel Frasconi; 

Samuel Clay Birmaher The Stone 8, 10 pm $10 

• Toomai String Quintet: Pala Garcia, Emilie-Anne Gendron, Erin Wight, John Popham, 

Andrew Roitstein; Jessica Pavone’s Hope Dawson with Pala Garcia, Erin Wight, 

John Popham, Andrew Roitstein, Emily Manzo, Mary Halvorson 

I-Beam 8:30, 10 pm $10 

• Spike Wilner solo; Dezron Douglas New Jazz Workshop with Lummie Spann, 

Josh Evans, Joel Holmes, Chris Beck; Frank Lacy, Josh Evans, Theo Hill 

Smalls 6:30, 9 pm 12 am $20 

• 1RIS + Hannah Read Band ShapeShifter Lab 8 pm 

• Ed Cherry Trio with Pat Bianchi, Jerome Jennings 

Bar Next Door 8:30, 10:30 pm $12 

• Jack Wilkins/Joe Giglio Bella Luna 8 pm 

• Steven Feifke solo Jazz at Kitano 8, 10 pm $25 

• Malcolm Parson Somethin’ Jazz Club 7 pm $10 

• Mike Dease Big Band with Sharel Cassity, Godwin Louis, Troy Roberts, Tony Lustig, 

Eric Miller, Stafford Hunter, Coleman Hughes, Nick Grinder, Seneca Black, Mat Jodrell, 

Benny Benack III, Bruce Harris, Miki Hayama, Russell Hall, Evan Sherman; 

Brandon Less Quartet \The Garage 7, 10:30 pm 

• Isaac Darche; Duke Bantu X Shrine 6, 9 pm 


• Deanna Witkowski Bryant Park 12:30 pm

Wednesday, September 5 

êPeter Brötzmann/Jason Adasiewicz Duo; Joshua Abrams Natural Information Society 

with Chad Taylor Le Poisson Rouge 8 pm $18 

êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, 

David Wong Dizzy’s Club 7:30, 9:30 pm $35 

êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10 

êReunion: Gene Bertoncini, Mike Manieri, Michael Moore, Joe Corsello 


êValery Ponomarev “Our Father Who Art Blakey” Big Band 

Zinc Bar 8 pm 

êJean-Michel Pilc, Francois Moutin, Ari Hoenig 


êFrank Kimbrough Trio with Masa Kamaguchi, Jeff Hirshfield; Simona Premazzi with 

Melissa Aldana, Yasushi Nakamura, Shinnosuke Takahashi 

Smalls 9 pm 12 am $20 

• Eric Alexander Quartet with Harold Mabern, John Webber, Joe Farnsworth 

An Beal Bocht Café 8, 9:30 pm $15 

• Nat Adderley Jr. Quartet with Vincent Herring, Kenny Davis, Dion Parson 

Smoke 7, 9, 10:30 pm 

• Deanna Kirk Quartet with Harry Allen, John di Martino, Neal Miner 


• Cage100@Stone Festival: The John Cage Variety Show Big Band directed by 

Miguel Frasconi with Daniel Goode, Gelsey Bell, Kathleen Supove, Chris McIntyre, 

Cristian Amigo, Richard Carrick, David Watson, John Zorn 


• Michael McNeill Trio with Ken Filiano, Andrew Drury 


• Rob Scheps Core-tet with Jamie Reynolds, Cameron Brown 

ShapeShifter Lab 8 pm 

• Liz Wagener with Jacob Cohen, Eric Colman, Dimitri Moderbacher, Mike Johnson; 

Mac Gollehon Oddessey of Nostalgia with Ronnie Cuber, Robert Arron, 

Amina Claudine Myers, Ron McClure, Warren Smith, Olga Merediz 

Somethin’ Jazz Club 7, 9 pm $10 

• Teriver Cheung; Young Gu Kim Shrine 7, 9 pm 


Birdland 8:30, 11 pm $30-40 




Blue Note 8, 10:30 pm $30 


• Marc Devine Trio; The Anderson Brothers 


• Peter and William Anderson Sextet with Jon-Erik Kellso, Ehud Asherie, Kevin Dorn, 

Clovis Nicolas Saint Peter’s 1 pm $10 


Thursday, September 6 

êMulgrew Miller Trio with Ivan Taylor, Rodney Green 


êJoel Harrison’s Infinite Possibility with Ned Rothenberg, Ohad Talmor, Ben Kono, 

Rob Scheps, Andy Laster, Michel Gentile, Nick Marchione, Dave Smith, Taylor Haskins, 

Justin Mullens, Jacob Garchik, Curtis Fowlkes, Alan Ferber, Jose Davila, Daniel Kelly; 

Kermit Driscoll, James Shipp, Rob Garcia, JC Sanford; Ohad Talmor’s Newsreel with 

Shane Endsley, Miles Okazaki, Jacob Sacks, Matt Pavolka, Dan Weiss 

ShapeShifter Lab 8, 10 pm 

• Meah Pace and the MAP Legends; Michael Kammers’ MK Groove Orchestra 

The Paper Box 9 pm $10 

• Nils Weinhold Quintet with Adam Larson, Fabian Almazan, Linda Oh, Bastian Weinhold 

The Jazz Gallery 9, 10:30 pm $15 

• Diane Moser/Mark Dresser; Diane Moser Quintet with Anton Denner, Ben Williams, 

Mark Dresser, Michael Sarin Cornelia Street Café 8:30 pm $10 

• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am 

• Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; 

Bill Cantrall’s Axiom with Freddie Hendrix, Stacy Dillard, Rick Germanson, 

Gerald Cannon, Montez Coleman; Bruce Harris/Alex Hoffman Group 

Smalls 4, 7, 9 pm 12 am $20 

• Jamie Fox Trio with Stephan Crump, Ches Smith 


• Vinnie Sperrazza, Mike McGinnis, Khabu Young; Jesse Stacken 

I-Beam 8:30 pm $10 

• Aryeh Kobrinsky’s Down to the Valley with Josh Sinton, Owen Stewart-Robertson, 

Jonathan Goldberger; Alex Wyatt Douglass Street Music Collective 8 pm $10 

• Broken Reed Saxophone Quartet ZirZamin 7:30 pm 

• Aubrey Johnson Quartet with Malcolm Campbell, Zach Brown, Lee Fish 


• Cage100@Stone Festival: Ecstasy Mule: Kurt Gottschalk/Len Siegfried; 

Todd Reynolds and Friends The Stone 8, 10 pm $10 

• Jacaszek/Holly Herndon Roulette 8 pm $10 

• Amy Cervini Quartet with Michael Cabe, Mark Lau, Ernesto Cervini 

55Bar 7 pm 

• Kozue Kuriyama Quartet with Zac Zinger, James Robbins, Oscar Suchanek; 

Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10 

• Mamiko Taira Trio Tomi Jazz 9 pm $10 

• Steve Elmer Trio Cleopatra’s Needle 7 pm 



• Michael Pedicin Band with Johnnie Valentino, Jim Ridl, Andy Lalasis, Bob Shomo 

Birdland 6 pm $20 


Birdland 8:30, 11 pm $30-40 




Blue Note 8, 10:30 pm $30 


• Natalie Cressman’s Secret Garden with Ivan Rosenberg, Chad Lefkowitz-Brown, 

Pascal LeBeouf, Ruben Samama, Jake Goldbas 

Drom 6:30 pm $15 

• Rick Stone Trio; Dylan Meek Trio The Garage 6, 10:30 pm 


Friday, September 7 

êJerry Granelli solo and Trio with David Tronzo, J. A. Granelli 

I-Beam 8:30, 10 pm $10 

• Eugene Marlow’s The Heritage Ensemble with Bobby Sanabria, Michael Hashim, 

Frank Wagner, Oba Allende; Henry Grimes Quartet with Roberto Pettinato, Dave Burrell, 

Tyshawn Sorey Somethin’ Jazz Club 7, 9 pm $15-20 

êBig Satan: Tim Berne, Marc Ducret, Tom Rainey 

Greenwich House Music School 8 pm $12 

êMary Halvorson Septet with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock, 

Jacob Garchik, John Hébert, Ches Smith 

Roulette 8:30 pm $15 

êGeorge Coleman Quartet with Harold Mabern 

Smoke 8, 10, 11:30 pm $35 

• Victor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder 


• Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, 

Luques Curtis, Henry Cole, Mauricio Herrera 

Blue Note 8, 10:30 pm $35 

êJason Rigby Quartet with Russ Lossing, Kermit Driscoll, Rudy Royston 


êRebecca Martin/Larry Grenadier The Jazz Gallery 9, 10:30 pm $20 

• Sam Raderman, Luc Decker, Nial Djuliarso; Neal Miner Quartet with Alex Hoffman, 

Phil Stewart; Tim Green Group Smalls 4, 7:30, 10 pm $20 

• Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30 

• Dan Wilson Trio with Marco Panascia, Jerome Jennings 


• Tim Perkis, Han-Earl Park, Harris Eisenstadt; Kinda Green: Tom Djll, Tim Perkis, 

Andrew Drury The Stone 8, 10 pm $10 

• Ilusha Tsinadze with Richie Barshay, Chris Tordini, Rob Hecht, Liam Robinson and 

guest Jean Rohe Barbès 8 pm $10 

• Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25 


• Tomoko Omura Duo Tomi Jazz 9 pm $10 

• Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm 


Jazz Standard 7:30, 9:30, 11:30 pm $30 



êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20 


Birdland 8:30, 11 pm $30-40 




• Federico Ughi Quartet with Kirk Knuffke, Dave Schnug, Max Johnson; 

Jonathan Scales Fourchestra Shrine 6, 8 pm 

• Hide Tanaka Trio; Jason Prover Quintet 

The Garage 6:15, 10:45 pm 



êRemembering Wilbur Ware: Louis Hayes/Juini Booth and Friends with Javon Jackson, 

Rodney Kendrick; Barry Harris Quartet with Ray Drummond, Leroy Williams, 

Kiane Zawadi; Rufus Reid/Russell Malone and Company with Jimmy Owens, 

Michael Carvin; guests Bill Crow, Larry Ridley 

Merkin Concert Hall 8 pm $35 

êJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Marcus Rojas 


• Tony Malaby Paloma Trio with Ben Monder, Nasheet Waits 


êRuss Lossing Trio with Masa Kamaguchi, Billy Mintz; Billy Mintz Two Bass Band with 

Tom Christiansen, John O’Gallagher, Dave Scott, Ron Horton, Brian Drye, Scott Reeves, 

Ben Street, Masa Kamaguchi I-Beam 8:30, 10 pm $10 

• Billy White Group; Adam Kolker Group; Tim Green Group 

Smalls 4, 7:30, 10 pm $20 

• Dave Stryker Trio with Jared Gold, McClenty Hunter 


• Ha-Yang Kim and JACK Quartet Roulette 8:30 pm $15 

• Scot Gresham-Lancaster; Gordon Monahan with guest Pauline Kim Harris 


êBrad Henkel solo; Angelika Niescier, Florian Weber, Chris Tordini, Tommy Crane; 

Han-earl Park, Michael Evans, Louise Dam Eckardt Jensen 

Douglass Street Music Collective 8 pm $10 

• Roberto Pianca, Ben Syversen, Flin Van Hemmen 

Launch Pad Gallery 8 pm 

• New York Tokyo Connection: Dave Pietro, Jonathan Katz, Sam Minaie, Ross Pederson; 

Dani and Debora Gurgel with Jon Burr, Thiago Rabello 


• Yuko Okamoto Trio; Erisa Ogawa Trio 


• Hank Johonson Trio Cleopatra’s Needle 8 pm 

• Noah Kohut; Fractal Attraction; Freddy Fuego 

Shrine 6, 8, 9 pm 

êGeorge Coleman Quartet with Harold Mabern 

Smoke 8, 10, 11:30 pm $35 

êVictor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder 




Blue Note 8, 10:30 pm $35 

• Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30 






êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20 


Birdland 8:30, 11 pm $30-40 




• Festival of New Trumpet Music (FONT): Stephanie Richards’ Rotations, Rotations 

Brooklyn Bridge Park 6:30 pm 

• Roulette Kids: Free Music Funhouse with Matthew Mehlan, Doron Sadja 

Roulette 1 pm $5 

• Daniela Schaechter Trio; Brooks Hartell Trio; Akiko Tsuruga Trio 


SEPTEMBER 7, 2012 

DRUMMING LEGEND 

JERRY GRANELLI 

Plays 

BROOKLYN’S 

IBEAM 

168 7th Street 

Brooklyn, NY 11215 

www.ibeambrooklyn.com 

WITH 

DAVID TRONZO 

& 

J. ANTHONY GRANELLI 

________________________________ 

AN EVENING OF SOLOS 

8:30PM 

AND 

THE JERRY GRANELLI TRIO 

10:00PM 

The IBEAM performances will 

highlight work from 

JERRY GRANELLI’s 

long-awaited solo drum project: 

1313 

-Divorce Records- 

and his trio CD: 

Let Go 

-Plunge Records- 

Find both recordings 

@ 

JerryGranelli.com 


SEP 13–15 

8 PM 

SEP 28–29 

7:30PM 

& 9:30PM 

SEP 28–29 

8 PM 

2 5 years o f jazz 

bobby mcferrin Photo by Platon 

OCT 5–6 

7:30PM 

& 9:30PM 

OCT 12–13 

7:30PM 

& 9:30PM 

OCT 12–13 

8 PM 

Preferred Card of 

Jazz at Lincoln Center 

JAZZ AT LINCOLN CENTER 

opening night 

b O bby mC f ERRIN: 

m y AudIO bIOg RAphy 

Jazz at Lincoln Center Orchestra 

with Wynton Marsalis 

JAm E s COTTON 

‘ s upERh ARp’ bANd 

TOOTs T h IELEm ANs: 

CELEb RATINg 90 yEARs 

with Herbie Hancock, Kenny Werner, 

Oscar Castro-Neves, Eliane Elias, 

and Dori Caymmi 

bRAd mE h L d A u: 

s OLO 

KuRT ELLINg 

m ARCus ROb ERTs: 

ROm ANCE, swINg 

ANd T h E bL u E s 

T h 

b OX OffICE Broadway at 60 

CENTERCh ARg E 212-721-6500 

jalc.org 



êMark Helias’ Open Loose with Tony Malaby, Tom Rainey 


êBucky Pizzarelli/Ed Laub Duet Smalls 7:30 pm $20 

êNoah Preminger, Masa Kamaguchi, Rob Garcia 

Sycamore 8 pm 

• Ras Moshe, Fay Victor, Tom Zlabinger, Tor Yochai Snyder; Jen Baker/ Daphna Naphtali 

Brecht Forum 7 pm $10 

• Aki Onda/Raha Raissnia; Gina Leishman/Kenny Wollesen 


• Skye Steele Railroad Rodia with Aram Bajakian, Josh Myers, John Hadfield 


• Rebeca Vallejo; Hadar Noiberg ShapeShifter Lab 8 pm $15 

êPascAli: Sean Ali/Pascal Niggenkemper 

Ze Couch 7 pm 

• Peter Leitch/Harvie S Walker’s 8 pm 

• A Small Dream In Red: Nora McCarthy/Jorge Sylvester; Mossa Bildner, Blaise Siwula, 

Hill Greene and guest Gian Luigi Diana 

ABC No-Rio 7 pm $5 

• Takana Miyamoto Trio with Matt Penman, Ulysses S. Owens Jr. 


• Swingadelic Swing 46 8:30 pm 



Blue Note 8, 10:30 pm $35 








êJimmy Owens Quartet Saint Peter’s 5 pm 

• David Berkman Trio with Ed Howard, Eric McPherson 

Blue Note 12:30, 2:30 pm $29.50 

• Michelle Walker Trio with Jason Ennis, Michael O’Brian 


• Lou Caputo Quartet; David Coss Quartet; Maurício de Souza Trio with Benito Gonzales, 

Joonsam Lee The Garage 11:30 am 7, 11:30 pm 


êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 

• Sammy Figueroa Blue Note 8, 10:30 pm $15 

• Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs and guests 

Luigi Grasso, Jesse Davis Feinstein’s at Loews Regency 7 pm $25 

êIngrid Laubrock, Dan Peck, Tom Rainey; Chris Hoffman’s Magic Wells with 

Stomu Takeishi, Sara Schoenbeck, Brian Chase 

Sycamore 8:30 pm $10 

êPeter Bernstein solo; Ari Hoenig Group with Shai Maestro, Johannes Weidenmuller; 

Spencer Murphy Smalls 7:30, 9 pm 12 am $20 

• Alphonso Horne/Jordan Pettay Quintet 

Dizzy’s Club 7:30, 9:30 pm $25 

• Zeena Parkins and Ne(x)tworks Ensemble, JACK Quartet 



• Antonio Ciacca The Bar on Fifth 8 pm 

• Dani and Debora Gurgel with Thiago Rabello, Jon Burr 

ShapeShifter Lab 8 pm $10 

• Nathan Parker Smith Large Ensemble 

Tea Lounge 9, 10:30 pm 

• Vin Scialla/Eric Schugren’s World Elements with Leco Reis, Lars Potteiger 

LIC Bar 9:45 pm 

• Jocelyn Medina Trio with Dan Rochlis, Chris Tarry 


• Nancy Harms Zinc Bar 7 pm $8 

• John Snauwaert/Marcos Varela Quartet 


• Howard Williams Jazz Orchestra; Tomas Janzon Trio 


êDaryl Sherman Bryant Park 12:30 pm 


êTarbaby: Eric Revis, Nasheet Waits, Orrin Evans with guests Oliver Lake, Marc Ducret 

Le Poisson Rouge 10:30 pm $15 

êDave Liebman Group Birdland 8:30, 11 pm $30-40 

• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, 

Ada Rovatti, George Whitty, Will Lee, Oli Rockberger 

Blue Note 8, 10:30 pm $35 

êFred Hersch Trio with John Hébert, Eric McPherson 


êResoNations - Breath of Peace: Jane Ira Bloom, Lety ElNaggar, Joe McPhee, 

Zafer Tawil, Erik Friedlander, Mark Dresser, Gerry Hemingway, Sarah Weaver 

Iridium 8, 10 pm $25 

• Roni Ben-Hur, Santi DeBriano, Duduka Da Fonseca 


• Johnny O’Neal Trio with guests Dizzy’s Club 7:30, 9:30 pm $30 

• Paul Nedzela Quartet Dizzy’s Club 11 pm $10 

• Russ Kassoff Orchestra with Catherine Dupuis 

NYC Baha’i Center 8, 9:30 pm $15 

• Spike Wilner solo; Jesse Davis Quintet with Ryan Kisor, Spike Wilner, 

Peter Washington, Billy Drummond; Frank Lacy, Josh Evans, Theo Hill 

Smalls 6:30, 9 pm 12 am $20 

• Carol Morgan Trio with Corrin Stigall, Jackie Williams 


• Secret Keeper: Mary Halvorson/Stephan Crump; Tyler Blanton Group with 

Donny McCaslin Korzo 9, 10:30 pm $5 

• Voxify: Roz Corral, Alan Broadbent, Boris Kozlov; Judi Silvano, Fred Jacobs, 

Frank Kimbrough, Ben Allison Cornelia Street Café 8:30 pm $10 

• Sasha Bogdanowitsch; Peter Whitehead 


• Mariel Vandersteel; Hannah Read Band 


• Stan Killian Group with Mike Moreno, Benito Gonzalez, Corcoran Holt, McClenty Hunter 

55Bar 7 pm 

• September 11th Tribute Zeb’s 7 pm 

• The Verge: Jon Hanser, Kenny Shanker, Brian Fishler, Danny Conga 


• Eyal Vilner Big Band with Andrew Gould, Mike McGarril, Asaf Yuria, Lucas Pino, 

Jonah Parzen-Johnson, Cameron Johnson, Matt Jodrell, John Mosca, Nick Finzer, 

Yonatan Riklis, Tal Ronen, Joe Strasser, Yaala Ballin, Brianna Thomas; Mayu Saeki Trio 


• Jack Wilkins/Howard Alden Bella Luna 8 pm 


• Zeena Parkins and Ne(x)tworks Ensemble, JACK Quartet 



• The September Concert: The Heart of Jazz 

Sugar Bar 6 pm 

• Antonio Mazzei Shrine 6 pm 



êInner Circle Festival: André Matos Quartet with Jacob Sacks, Eivind Opsvik, Billy Mintz; 

Tammy Scheffer Band with Andrew Urbina, Dan Pratt, Chris Ziemba, Daniel Foose, 

Ronen Itzik Cornelia Street Café 8:30, 10 pm $10 

• Celebrating Stanley Turrentine: Myron Walden Group with Jerry Weldon 

Dizzy’s Club 7:30, 9:30 pm $30 

• Paul Nedzela Quartet Dizzy’s Club 11 pm $10 

êLuciana Souza with Romero Lubambo, Scott Colley, Clarence Penn 

Joe’s Pub 7:30, 9:30 pm $20 

• John O’Gallagher’s Anton Webern Project with Matt Moran, Pete McCann, 

Russ Lossing, Johannes Weidenmuller, Tyshawn Sorey; Joe Branciforte and Friends 

I-Beam 8:30, 10 pm $10 

• Annea Lockwood/Miguel Frasconi; Miguel Frasconi 


• Mike Moreno Quartet with Aaron Parks, Matt Brewer, Ted Poor and guest Warren Wolf 


• Emilio Solla y La Inestable de Brooklyn with Terry Goss, Chris Cheek, Alex Norris, 

Ryan Keberle, Meg Okura, Victor Prieto, Jorge Roeder, Eric Doob 

Zinc Bar 7, 8:30 pm 

• Shirley Crabbe Quartet with Donald Vega, Jon Burr, Steve Johns 


• Sheryl Bailey 4 with Jim Ridl, Tal Ronin, Joe Strasser 

Fat Cat 9 pm 

• Chris Cochrane with mbiraNYC, Manhattan Samba, Chris Rael 


• Ben Gerstein, Mat Maneri, Garth Stevenson 


• Tim Kuhl’s St. Helena with Grey McMurray, Joshua Valleau, Rick Parker, Ryan Ferreira 

Union Pool 9 pm 

• Michael Kammers’ MK Groove Orchestra 10th Anniversary 


• Jamie Reynolds Trio ZirZamin 9 pm $5 

• Equilibrium?: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, 

Dan Silverstone Caffe Vivaldi 8:30 pm 

• David Ullmann with Chris Dingman, Karel Ruzicka Jr., Gary Wang, Vinnie Sperrazza 





Blue Note 8, 10:30 pm $35 



• Jesse Davis Quintet with Ryan Kisor, Spike Wilner, Peter Washington, Billy Drummond; 

David Bryant Trio with Dezron Douglas, Kush Abadey 



• Sandy Stewart/Bill Charlap Saint Peter’s 1 pm $10 

• Joan Uttal Anderson Memorial with Arturo O’Farrill, Junior Mance, Barbara Carroll, 

Sandy Stewart, Bill Charlap Saint Peter’s 6 pm 

• Bobby Porcelli Quartet; Andrew Atkinson and Friends 


• Daryl Sherman Bryant Park 12:30 pm 


êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra 

Rose Hall 8 pm $30-120 

êAnthony Braxton Quartet with Dan Blacksberg, Ken Filiano, Mike Szekely; 

Diamond Curtain Wall Music Ensemble: Anthony Braxton, Taylor Ho Bynum, 

Josh Sinton, Maura Valenti, Amy Crawford, Michael Douglas Jones, Kyoko Kitamura, 

Anne Rhodes, Vince Vincent Roulette 8 pm $30 

êInner Circle Festival: Sara Serpa 5tet with André Matos, Kris Davis, Aryeh Kobrinsky, 

Tommy Crane; Jason Yeager Trio with Danny Weller, Michael Gleichman and guest 

Cornelia Street Café 8:30, 10 pm $10 

êOliver Lake 70th Birthday Celebration: Oliver Lake Organ Quartet with Jared Gold, 

Freddie Hendrix, Chris Beck Jazz Standard 7:30, 9:30 pm $25 

• FONT: Douglas Detrick’s AnyWhen Ensemble with Hashem Assadullahi, Steve Vacchi, 

Shirley Hunt, Ryan Biesack The Jazz Gallery 9, 10:30 pm $20 

• Misha Piatigorsky’s Sketchy Black Dog with Chris Wabich, Ugonna Okegwo, 

Katie Kresek, Kiku Enomoto, Surai Balbeisi, Agnes Nagy 

Zinc Bar 9, 10:30 pm 12 am 

• Bobby Previte; Michael Kammers’ MK Groove Orchestra; Zongo Junction; 

Josh Roseman’s Line of Swords The Paper Box 9 pm $10 

• Scott Henderson, Jeff Berlin, Mike Clark 


• Joshua Light Show with guests Dame Evelyn Glennie, Zeena Parkins 

Skirball Center 7:30 pm $20-68 

êMel Martin Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi 


êLage Lund Trio with Orlando Le Fleming, Johnathan Blake 


• Sacha Perry Trio with Chris Mees, Ai Murakami; Jeremy Manasia Trio with Barak Mori, 

Charles Ruggerio; Helen Sung Group; Carlos Abadie 

Smalls 4, 7, 9 pm 12 am $20 

• Hunter/Gatherers: John Morton, David Simons, Denman Maroney, Lisa Karrer; 

Suzanne Thorpe The Stone 8, 10 pm $10 

• Mark Dresser; Dave Allen Quartet with David Binney, Drew Gress, Jeff Ballard 


• SPOKE: Andy Hunter, Justin Wood, Dan Loomis, Danny Fischer; 

Pete McGuinness Jazz Orchestra with Dave Pietro, Charles Pillow, Tom Christensen, 

Jason Rigby, Dave Reikenberg, Tony Kadlek, Jon Owens, Bill Mobley, Chris Rogers, 

Bruce Eidem, Mike Christianson, Mark Patterson, Jeff Nelson, Mike Holober, 

Andy Eulau, Scott Neumann Somethin’ Jazz Club 7, 9 pm $10 

• Angela Davis Trio Tomi Jazz 9 pm $10 

• Dan Furman Trio Cleopatra’s Needle 7 pm 

• Celebrating Stanley Turrentine: Myron Walden Group with Jerry Weldon 

Dizzy’s Club 7:30, 9:30 pm $30 

êMichael Feinberg Quintet with Donny McCaslin, Leo Genovese, Tim Hagans, 

Ian Froman Birdland 6 pm $20 




Blue Note 8, 10:30 pm $35 




• Dre Barnes Project; Randy Jonhston Trio 


• The Black Butterflies Shrine 6 pm 

êDaryl Sherman Bryant Park 12:30 pm


êDan Tepfer’s Goldberg Variations / Variations 


êInner Circle Festival: Petros Klampanis Trio with Lefteris Kordis, Ziv Ravitz; 

Greg Osby 6 with Sara Serpa, André Matos, JB Jangeun Bae, Joe Lepore, John Davis 


êJoshua Light Show with guests John Zorn, Lou Reed, Bill Laswell, Milford Graves 

Skirball Center 10 pm $20-68 

êOliver Lake 70th Birthday Celebration: Oliver Lake Big Band with James Stewart, 

Mike Lee, Darius Jones, Bruce Williams, Jason Marshall, Freddie Hendrix, 

Waldron Ricks, Peck Allmond, EJ Allen, Aaron Johnson, Stafford Hunter, Al Paterson, 

Terry Greene, Yoichi Uzeki, Robert Sabin, Chris Beck 


êMarlena Shaw and The DIVA Jazz Orchestra with guests 

Dizzy’s Club 7:30, 9:30 pm $40 

• Stay Human Trio Dizzy’s Club 11:30 pm $20 

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash 

Smoke 8, 10, 11:30 pm $35 

êDena DeRose Trio with Dwayne Burno, Steve Williams 


• Sam Raderman, Luc Decker, Nial Djuliarso; Tardo Hammer Trio with Lee Hudson, 

Jimmy Wormworth; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, 

Cameron Brown, Anthony PinciottiSmalls 4, 7:30, 10 pm $20 

êFONT: Adam O’Farrill Group with Luis Perdomo, Burniss Traviss, Nasheet Waits 

and guest The Jazz Gallery 9, 10:30 pm $20 

êJason Rigby Double Drums with Mark Ferber, Jeff Davis; Jeff Davis Trio with 

Russ Lossing, Eivind Opsvik I-Beam 8:30 pm $10 

• International Contemporary Ensemble 


êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 

êAngelika Niescier, Denman Maroney, James Ilgenfritz, Andrew Drury 

Spectrum 9 pm 

• Nick Moran Trio with Brad Whitely, Chris Benham 


• NewBorn Trio: Katie Down, Jeffrey Lependorf, Miguel Frasconi; Band5: 

Chris Cochrane, Roger Kleier, Richard Carrick, Miguel Frasconi, Annie Gosfield 


• Andrew Sheron ShapeShifter Lab 8 pm 


• Luiz Simas/Freddie Bryant Duo; Jeff McLaughlin Trio 


• Wade Barnes Quartet Cleopatra’s Needle 8 pm 

• Moth To Flame Shrine 8 pm 








Blue Note 8, 10:30 pm $35 




• Kyoko Oyobe Trio; Hot House The Garage 6:15, 10:45 pm 



êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, 

Andrew Cyrille and guest Geri Allen 


• John Zorn Improv Night The Stone 8 pm $25 

êEllery Eskelin Quartet with Marc Copland, Drew Gress, Gerald Cleaver 


êFONT: Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano, 

Chad Taylor The Jazz Gallery 9, 10:30 pm $20 

êSam Newsome/Ethan Iverson Greenwich House Music School 8 pm $12 

êJoe Fonda/Michael Jefry Stevens Group with Herb Robertson, Harvey Sorgen 

The Loft of Thomas Rochon 8 pm 

• Marko Djordjevic Trio with Tivon Pennicott, Des White 


• Kris Bowers and Carson Adjacent Joe’s Pub 9:30 pm $15 

• Tommy Campbell’s Vocal-Eyes with Miles Griffith, Carolyn Leonhart, Helio Alves, 

Richie Goods ShapeShifter Lab 8 pm 

• Iron Eagle Pearring Knife: Jeff Pearring, Adam Caine, Brian Questa, Todd Capp 

I-Beam 8:30 pm $10 

• Frank Owens Singers with Kumiko Yamakado, Jo Marchese, Ira Lee Collings 

Zeb’s 7 pm $10 

• Aaron Ward’s NuGen Jazz Project with Keith Curbow, Joe Alterman, Jim Bloom; 

Luiz Simas/Freddie Bryant Duo; Arun Luthra Quartet with Steve Barry 


• Scot Albertson/Keith Ingham; Benjamin Servenary Trio 



• Larry Newcomb Quartet Cleopatra’s Needle 8 pm 


Dizzy’s Club 7:30, 9:30 pm $40 

• Stay Human Trio Dizzy’s Club 11:30 pm $20 

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash 

Smoke 8, 10, 11:30 pm $35 

êDena DeRose Trio with Dwayne Burno, Steve Williams 


• Tom Tallitsch with Dave Allen, Art Hirahara, Peter Brendler, Mark Ferber; 

Don Friedman Quartet with Mel Martin, Phil Palombi, Shinnosuke Takahashi; 

Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, 

Anthony Pinciotti Smalls 4, 7:30, 10 pm $20 

êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 








Blue Note 8, 10:30 pm $35 




• Larry Newcomb Trio; Mark Marino Trio; Virginia Mayhew Quartet 



êInner Circle Festival: Aubrey Johnson Group with Malcolm Campbell, Zach Brown, 

Lee Fish; Evan Weiss Group with Matt Marantz, Michael Palma, Steve Pruitt; 

JB Jangeun Bae Trio with Daniel Foose, Ross Pederson and guest; Joseph Lepore with 

Lucas Pino, JB Jangeun Bae, Luca Santaniello; Melissa Aldana with Felix Lecaros, 

Pablo Menares ShapeShifter Lab 6 pm 

• The Prisoner: Ingrid Laubrock, Mat Maneri, Jeff Davis 


êRalph Alessi, Kris Davis, Owen Howard 

Sycamore 8 pm 

• Jimmy Bruno/Howard Alden Smalls 7:30 pm $20 

• Rogerio Souza with Billy Newman, Leonardo Lucini, Ranjan Ramchandani, 

Dennis Lichtman Cornelia Street Café 8:30 pm $10 

• Peter Leitch Duo Walker’s 8 pm 

• Attention Screen: Liam Sillery, Bob Reina, Chris Jones, Mark Flynn; 

Francois Grillot Ensemble with Claire de Brunner, Brian Groder, Blaise Siwula 


êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, 

Andrew Cyrille and guest Geri Allen 



Dizzy’s Club 7:30, 9:30 pm $35 



Blue Note 8, 10:30 pm $35 




• Peter Whitehead; The Home of Easy Credit: Louise Dam Eckardt Jensen/Tom Blancarte 

Downtown Music Gallery 6 pm 

• Ike Sturm Ensemble Saint Peter’s 5 pm 

• Juilliard Jazz Brunch - The Voice of the Saxophone with Mike Thomas, Robert Haight, 

Chris Ziemba, John Tate, Jeremy Noller 

Blue Note 12:30, 2:30 pm $29.50 

• Carol Sudhalter’s Astoria Jazz Band with guest Sarah McLawler 

Grace Lutheran Church 2 pm 

• Emily Braden Trio with Theo Hill, Ryan Berg 


• Maurício de Souza Quartet with Nancy Harms, Yotam Silberstein, Iris Ornig 

The Lamb’s Club 11:30 am 

• Evan Schwam Quartet; David Coss Quartet 

The Garage 11:30 am 7 pm 



êBucky Pizzarelli and Gene Bertoncini with Les Paul Trio 


• Young Lions Quintet: Stacy Dillard, Zaccai and Luques Curtis, EJ Strickland 

Dizzy’s Club 7:30, 9:30 pm $25 

êPeter Bernstein solo; Aaron Parks Group; Spencer Murphy 

Smalls 7:30, 9 pm 12 am $20 

êAndrew D’Angelo Group; Matt Garrison; Dan Tepfer Trio with Jorge Roeder, Ted Poor 


• Carl Maguire’s Floriculture with Stephanie Griffin, Oscar Noriega, John Hébert, 

Dan Weiss Cornelia Street Café 8:30 pm $10 

• Jonathan Golberger/Harris Eisenstadt; Juan Pablo Carletti Trio with Michael Attias, 

Eivind Opsvik Sycamore 8:30 pm $10 

• Gato Loco ZirZamin 10 pm 

• Romain Collin Blue Note 8, 10:30 pm $15 

• Magos Herrera Trio with Nir Felder, George Schuller 


• Natalia Bernal Quartet; Samuel Torres Quartet 

Zinc Bar 7, 9 pm 

• Asuka Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm 

• Howard Williams Jazz Orchestra; Kenny Shanker Quartet 



• Dan Manjovi Bryant Park 12:30 pm 

BaM next wave Festival 

SEP 5—JAN 19 

30 

garth 

Fagan 

“Mr. Fagan and Mr. 

Marsalis are their own 

griots, and the story 

they tell is inspiring.” 

–The New York Times 

w y nton 

Marsalis 

Lighthouse/Lightning Rod and 

Griot New York (excerpts) 

sep 27—30 

garth Fagan dance 

wynton Marsalis septet 

Choreography by garth Fagan 

Music by wynton Marsalis 

BaM.org 

Brooklyn, NY / Tickets start at $20 

BAM 30th Next Wave Festival Sponsor Lighthouse/Lightning Rod and Griot New York (excerpts) 

are part of Diverse Voices at BAM sponsored by: 



êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, 

Andrew Cyrille Birdland 8:30, 11 pm $30-40 

• Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45 

êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman 


êEd Cherry Trio with Pat Bianchi, Byron Landham 


• Charenee Wade and Aaron Diehl Trio 

Dizzy’s Club 7:30, 9:30 pm $25 

• John Raymond Quartet Dizzy’s Club 11 pm $10 

• Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian 

NYC Baha’i Center 8, 9:30 pm $15 

• NuSkuMu - Three Generations of New School Alumni: Moon Hooch: Mike Wilbur, 

Wenzl McGowen, James Muschler; Corey King and Taffy with Takuya Kuroda, 

Max Siegel, Leo Genovese, Adam Agati, Vicente Archer, Adam Jackson; 

Peter Bernstein with Sam Yahel, Grégoire Maret, Dwayne Burno, Greg Hutchinson 

Highline Ballroom 8 pm $15 

êRespect Sextet: Eli Asher, James Hirschfeld, Malcolm Kirby, Ted Poor, Josh Rutner, 

Red Wierenga; Loadbang Le Poisson Rouge 7:30 pm $15 

êHarris Eisenstadt September Trio with Angelica Sanchez, Ellery Eskelin 


• Sean Sondregger; Pete Karp The Stone 8, 10 pm $10 

• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits 


• Spike Wilner solo; Rodrigo Villanueva Group with Adam Birnbaum, Eddie Gomez; 

Frank Lacy, Josh Evans, Theo Hill Smalls 6:30, 9 pm 12 am $20 

êJasmine Lovell-Smith’s Towering Poppies with Cat Toren, Russell Moore, Patrick Reid, 

Kate Pittman; Julian Pollack Trio with Noah Garabedian, Evan Hughes 

Korzo 9, 10:30 pm $5 

• Anders Nilsson Band with David Ambrosio, Daniel Kelly, Brahim Fribgane, Rob Garcia; 

Hannah Read Band ShapeShifter Lab 7:30 pm 

• Matt Marantz Trio with Sam Harris, Greg Ritchie 


• Frank Vignola/Vinny Raniolo ZirZamin 7:30 pm 

êJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm 


• Lou Caputo Not So Big Band; Bossa Brasil: Maurício de Souza, Ben Winkelman, 

Joonsam Lee The Garage 7, 10:30 pm 


• Tim Lancaster Shrine 6 pm 



êSonny Fortune/Sharel Cassity Quintet 

Dizzy’s Club 7:30, 9:30 pm $35 

• John Raymond Quartet Dizzy’s Club 11 pm $10 

• FONT: Dave Douglas Quintet with guest Aoife O’Donovan 

92YTribeca 8 pm $15 

• Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project 

Harlem Stage Gatehouse 7:30 pm $30 

• David Kikoski Zinc Bar 8, 10 pm 

êRed Baraat Le Poisson Rouge 8:30 pm $20 

êNate Wooley/Mazen Kerbaj Issue Project Room 8 pm $10 

• Rob Garcia with David Liebman, Craig Taborn, Chris Lightcap; Jamale Davis with 

Shimrit Shoshan, Charles Goold Smalls 9 pm 12 am $20 

êJim Black Trio with Thomas Morgan, Teddy Klausner 


• David Orr with Roy Nathanson, Lloyd Miller, Curtis Fowlkes; Marc Ribot/Roy Nathanson 


• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, 

Joe Dyson and guest Davell Crawford 


• Jean-Michel Pilc/Perry Smith Caffe Vivaldi 8:30 pm 

• Jeff Davis’ Denver General with Kirk Knuffke, Jonathan Goldberger 


• Tyler Blanton Group with Donny McCaslin, Matt Clohesy, Nate Wood 


• Ken Fowser Sextet Smoke 7, 9, 10:30 pm 

• Iris Ornig Quartet with Mike Rodriguez, Helen Sung, Jerome Jennings 


• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits 

Seeds 8 pm $10 

• Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber 

and guest Zach Brock 55Bar 7 pm 

• Jostein Gulbrandsen with Gian Tornatore, Rodrigo Villanueva, Eddy Khaimovich 





• Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman 



• Rob Edwards; Bryan Carter Trio The Garage 6, 10:30 pm 

• KARL 2000 Shrine 6 pm 

• Ralph Hamperian’s Tuba D’Amore with Bob Albanese, Will Woodard, Jeff Brillinger 

Saint Peter’s 1 pm $10 


CORNELIA STREET CAFE 

Saturday, Sept. 29th / 6pm 

29 Cornelia Street 

Reservations (212) 989 9319 

Deborah Latz Trio Series 

Deborah Latz, vox 

Jon Davis, piano 

John Hart, guitar 

“...few are in Deborah Latz’s league...” 

— L.A. Jazz Scene 

www.deborahlatz.com 

Photo 

©Todd Weinstein 



êRudresh Mahanthappa’s Codebook with Craig Taborn, Francois Moutin, Dan Weiss 

Brooklyn Conservatory of Music 7, 9 pm $25 

êFONT: The Spaces In Between with São Paulo Underground 

University Settlement 8 pm 

• Raya Brass Band; Michael Kammers’ MK Groove Orchestra; Natalie Cressman 


• Curtis Fowlkes/Tracy Morris; Truth Thomas and Friends 


• Clarence Penn Quartet with Jaleel Shaw, Donald Vega, Yasushi Nakamura 


• Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; Pete Zimmer Group 

with Mike Rodriguez, Peter Bernstein, Toru Dodo, David Wong; 

Bruce Harris/Alex Hoffman Group Smalls 4, 7, 9 pm 12 am $20 

• Colin Stranahan, Glenn Zaleski, Rick Rosato 


• Intepretations: David Behrman; Tim Brady 


• Julian Shore with Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, Alexa Barchini, 

Phil Donkin, Tommy Crane Cornelia Street Café 8:30 pm $10 

• Jake Saslow Trio with Linda Oh, Mark Ferber 


• Good Vibrations - Theremin x 4: Dorit Chrysler; Michael Evans; Rob Schwimmer; 

Allison Sniffin Joe’s Pub 9:30 pm $15 

• Joe Sanchez Group; Dean Brown Workshop 


• Broken Reed Saxophone Quartet ZirZamin 7:30 pm 

• Bob Rodriguez with Lee Marvin, Bruce Ditmas; Christiana Drapkin/Charles Sibirsky; 

Straight Street: Sam Dillon, Nick Mauro, Shinya Yonezawa, Steven Mooney, Paris Wright 


• Kay Matsukawa Tomi Jazz 9 pm $10 

• Justin Lees Trio Cleopatra’s Needle 7 pm 

êSonny Fortune/Sharel Cassity Quintet 

Dizzy’s Club 7:30, 9:30 pm $35 



• David Kikoski Zinc Bar 8, 10 pm 




• Andy Ezrin Quartet Birdland 6 pm $20 



• Stanley Clarke/Hiromi Duo; Gadi Lehavi solo 

Blue Note 6:30, 8, 10:30 pm $45 




• Harlem Speaks: Roy Eaton Jazz Museum in Harlem 6:30 pm 

• George Weldon Trio; Andrew Hadro Quartet 


• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Jeff Davis 

Shrine 6 pm 



êMuhal Richard Abrams solo and Quartet with Jack Walrath, Bryan Carrott, Brad Jones 

Community Church of New York 8 pm $25 

êErik Friedlander Barbès 8 pm $10 

êLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto 


• Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, 

Kush Aberdey Smoke 8, 10, 11:30 pm $30 

• Sam Raderman, Luc Decker, Nial Djuliarso; Ralph LaLama’s Bop-Juice; 

Montez Coleman Group Smalls 4, 7:30, 10 pm $20 

êFONT: TILT Brass Ensemble University Settlement 8 pm 

• Wayne Krantz with Keith Carlock, Nate Wood 

Highline Ballroom 8 pm $25-55 

• Pedro Giraudo Jazz Orchestra with Will Vinson, Todd Bashore, Luke Batson, John Ellis, 

Carl Maraghi, Jonathan Powell, Tatum Greenblatt, Miki Hirose, Scott Wendholt, 

Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, Jess Jurkovic, Jeff Davis, 

Paulo Stagnaro The Jazz Gallery 9, 10:30 pm $20 

• Ben Waltzer Trio with Dwayne Burno, Gerald Cleaver 


• Jonathan Batiste Trio Rubin Museum 7 pm $20 

• Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5 

• Melissa Aldana Trio with Joseph Lepore, Robert Gatto 


• Geoff Countryman and The Buffalo Band with Chris Bonner, Sean Fitzpatrick, 

Joe Ancowitz, Spencer Cohen, Tyler McDiarmid 

The Firehouse Space 8 pm $10 

• Beat Kaestli’s Vocal Summit with Melissa Stylianou, Elisabeth Lohninger, 

Magos Herrera, Clarice Assad, Jamie Reynolds; E.S.P.: Matthew Vacanti, 

John Magnante, Loraine Faina; Jeron White Quintet with Dimitri Nassar, 

Shannon Cottman, Sam King, Kevin Thornton 


• Kayo Hiraki Tomi Jazz 9 pm $10 

• Masami Ishikawa Trio Cleopatra’s Needle 8 pm 

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release 

Party 

ShapeShifter Lab 

Tues, Sept. 25th, 7pm 

with Ryan Ferreira Solo 

& Jeremy Udden‘s Plainville 

18 Whitwell Pl, Brooklyn 

Questionable Creatures 

out 9.11.12 on DeSoto Sound Factory 

desotoinc.com 

matthewsilberman.com 

• Joyce with Dom Salvador, Chico Pinheiro, Helio Alves 

Dizzy’s Club 7:30, 9:30 pm $40 

• John Raymond Quartet Dizzy’s Club 11:30 pm $20 

• Deidre Rodman and Friends; Sam Bardfeld/Napoleon Maddox 


• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits; Ohad Talmor, 

Chris Benedict, Zack Lober, Dan Weiss 

I-Beam 8:30, 10 pm $10 

• Ron Jackson Group ShapeShifter Lab 8 pm $15 










Blue Note 6:30, 8, 10:30 pm $45 




• New Tricks; Kevin Dorn and the Big 72 

The Garage 6:15, 10:45 pm 



êFanfare Ciocărlia Schimmel Center for the Arts 7:30 pm $35 

êKaren Mantler with Kato Hideki, Doug Wieselman 


êSotto Voce: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Tim Kiah, 

Napoleon Maddox with guests Jeff Friedman, Ross Gay, Judith Vollmer, Gerald Stern, 

Anne Marie Marcarie The Stone 8, 10 pm $10 

êSatoko Fujii/Natsuki Tamura; Colonic Youth: Kevin Shea, James Ilgenfritz, Philip White, 

Dan Blake Douglass Street Music Collective 8 pm $10 

êParadoxical Frog: Ingrid Laubrock, Kris Davis, Tyshawn Sorey 


êNasheet Waits Equality Band with Logan Richardson, Craig Taborn, Mark Helias 


• Marcus Miller with Alex Han, Federico Gonzalez Peña, Adam Agati, Louis Cato 

BB King’s Blues Bar 7:30, 10 pm $40 

• Antonio Hart Quartet Sistas’ Place 8, 10 pm $25 

• Jack Wilkins, Andy McKee, Mike Clark 


• Art Bailey Trio with Michael Bates, Owen Howard; Stephen Gauci Quintet with 

Kirk Knuffke, Art Bailey, Mike Bisio, Nathan Ellman-Bell 

I-Beam 8:30 pm $10 

• Matt DiGiovanna Group with Adam Kromelow, Jason Burger 


• Alon and Words Beyond Trio with Francois Moutin, Dan Weiss and 

guest Donny McCaslin The Firehouse Space 8 pm $10 

• Donna Singer with Doug Richards Trio 

University of the Streets 8 pm $20 

• Sean Ali/David Grollman Fester 8 pm 

• Ross Kratter Big Band with Sam Torres, Robby Mack, Keith Curbow, Casey Berman, 

Lauren Wood, Enrique Sanchez, Dan Filstrup, Kate Amrine, Aaron Ward, Eric Iannucci, 

Kevin Virgilio, Kyle Molitor, Jason Silva, Rahm Silverglade, Eli Rojas; Eliane Amherd; 

Mike Treat Quintet with Adam Ramsay, Matt Podd, Willie Harvey, Chris Earley, 

Diana Yourke Somethin’ Jazz Club 5, 7, 9 pm $10 

• Shoko Amano Trio; Mayuka Ezure Tomi Jazz 8, 11 pm $10 

• Young Joo Song Trio Cleopatra’s Needle 8 pm 

êLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto 


• Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, 

Kush Aberdey Smoke 8, 10, 11:30 pm $30 

• Falkner Evans with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson; 

Richie Vitale Quintet; Montez Coleman Group 

Smalls 4, 7:30, 10 pm $20 

• Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5 


Dizzy’s Club 7:30, 9:30 pm $40 

• John Raymond Quartet Dizzy’s Club 11:30 pm $20 

• Vijay Iyer/Mike Ladd’s Holding It Down: the Veteran’s Dreams Project 








Blue Note 6:30, 8, 10:30 pm $45 




• Guilhem Flouzat Shrine 6 pm 

• Marsha Heydt Quartet; Champian Fulton Trio; Virginia Mayhew Quartet 

The Garage 12, 6:15, 10:45 pm


êFONT: Natsuki Tamura/David Miller; Josh Deutsch/Nico Soffiato 

Village Zendo 7 pm 

êTony Malaby’s Novela with Michael Attias, Joachim Badenhorst, Andrew Hadro, 

Ralph Alessi, Ben Gerstein, Dan Peck, Kris Davis, Tom Rainey 


êMichael Sarin Quartet with Brad Shepik, Russ Lossing, Jerome Harris 

Sycamore 8 pm 

• Two of Anything: JP Schlegelmilch, Jeremy Viner, Jesse Stacken, Eivind Opsvik, 

Jason Nazary; For the Mill: Jesse Stacken, Andrew D’Angelo, Josh Sinton, Mike Pride 

ShapeShifter Lab 7:30, 9 pm $10 

• Lezlie Harrison Smalls 7:30 pm $20 

• Peter Leitch/Dwayne Burno Walker’s 8 pm 

• Jonah Rosenberg/Aleks Karjaka; Herb Robertson, Bob Ackerman, Bob Hovey, 

Jim Yanda, Chris Lough, Jay Rosen 


• The Luddites The Stone 8, 10 pm $10 

• Daryl Shawn The Firehouse Space 8 pm $10 



Dizzy’s Club 7:30, 9:30 pm $35 








• Juan Pablo Carletti/Daniel Levin Downtown Music Gallery 6 pm 

• Aaron Diehl Trio Saint Peter’s 5 pm 

• Kinya Sogawa’s Shakuhachi Exploration with guests Ned Rothenberg, 

Elizabeth Brown, Ralph Samuelson, Laurie Sogawa 


• Women of the World: Ayumi Ueda, Annette Philip, Giorgia Renosto, Débòrah Pierre, 

Hinako Sato, Sara Cristal Peña-Coffin, Shirazette Tinnin, Noriko Terada, Kazuyo Kuriya, 

Sue Buzzard Blue Note 12:30, 2:30 pm $29.50 

• Roz Corral Trio with Paul Meyers, Santi Debriano 


• Iris Ornig Quartet; David Coss Quartet; Dave Kain Group 

The Garage 11:30 am 7, 11:30 pm 


êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo 

Blue Note 6:30, 8, 10:30 pm 


• Etienne Charles’ Kaiso Dizzy’s Club 7:30, 9:30 pm $25 

êIdeal Bread: Josh Sinton, Kirk Knuffke, Richard Giddens, Tomas Fujiwara 

Pete’s Candy Store 8 pm $10 

• Tony Malaby, Juan Pablo Carletti, Chris Hoffman; CACAW!!!: Landon Knoblock, 

Oscar Noriega, Jeff Davis Sycamore 8:30 pm $10 

• Foolish Hearts Duo: Peter Eldridge/Matt Aranoff 


• Jarrett Cherner; Alexis Cuadrado Group with Miguel Zenón, Claudia Acuña, Dan Tepfer, 

Mark Ferber; Ari Hoenig Group with Tivon Pennicott, Glenn Zaleski, Noam Wiesenberg; 

Spencer Murphy Smalls 7:30, 9 pm 12 am $20 

êSean Noonan Double String Quartet with Mat Maneri, Jason Kao Hwang, Tom Swafford, 

David West Roulette 8 pm $10-15 

• James Shipp with James Shipp, Gilad Hekselman, Rogerio Boccato, Becca Stevens, 

Jean Rohe, Ivan Goff ShapeShifter Lab 8 pm 

• Gato Loco ZirZamin 10 pm 


• Mike Webster’s Leading Lines Tea Lounge 9, 10:30 pm 

• Dida Pelled Zinc Bar 7 pm $8 

• Jon Davis The Bar on Fifth 8 pm 

• Howard Williams Jazz Orchestra; Alex Brown Trio 


• Yuka Aikawa Bryant Park 12:30 pm 


êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson 

Birdland 8:30, 11 pm $30-40 

• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan 


• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, 

Justin Brown Jazz Standard 7:30, 9:30 pm $25 

êCecile McLorin Salvant and Aaron Diehl Trio 

Dizzy’s Club 7:30, 9:30 pm $25 

• Rodney Green Trio Dizzy’s Club 11 pm $10 

• Santi Debriano Quartet NYC Baha’i Center 8, 9:30 pm $15 

• Victor Jones Trio Zinc Bar 8, 10 pm 

êLine of Swords: Josh Roseman, Bill McHenry, Ben Monder, Nasheet Waits; 

Jon Irabagon Trio with Mark Helias, Barry Altschul 

Korzo 9, 10:30 pm $5 

• Joanna Wallfisch/Art Hirahara; Will Vinson Quartet with Aaron Parks, Matt Brewer, 

Jochen Rueckert; Jared Gold Trio with Dave Stryker, McClenty Hunter 

Smalls 6:30, 9 pm 12 am $20 

• Leif Arntzen Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis 


• Ryan Ferreira solo; Matthew Silberman and Press Play with Ryan Ferreira, 

Greg Ruggiero, Christopher Tordini, Tommy Crane; Jeremy Udden’s Plainville with 

Pete Rende, Ryan Scott, Eivind Opsvik, Michael Sarin 

ShapeShifter Lab 7 pm $10 

• Le Boeuf Brothers Trio Bar Next Door 8:30, 10:30 pm $12 

• Frank Vignola/Vinny Raniolo ZirZamin 7:30 pm 

• David Watson, Chris Cochrane, Abraham Gomez-Delgado; Iron Dog: Sarah Bernstein, 

Stuart Popejoy, Andrew Drury The Backroom 8:30 pm $10 

• Maurício de Souza Quartet with Emma Larsson, Ben Winkelman, Gary Mazzaroppi 

The Lamb’s Club 7:30 pm 

• Cecilia Coleman Big Band; Justin Lees Trio 


• Jack Wilkins/Tim Cummisky Bella Luna 8 pm 


• Ali Carter’s The Alicats Somethin’ Jazz Club 9 pm $10 

êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo 

Blue Note 6:30, 8, 10:30 pm 




• Lawrence Clark Quartet with Jarod Kashkin, Eric Wheeler, Thomas Galliano; 

Jeff “Tain” Watts 4 with Marcus Strickland, Osmany Paredes, Chris Smith 

Zinc Bar 7, 9, 10:30 pm 12 am 

• Roy Ayers Blue Note 8, 10:30 pm $35 

• Ali Jackson New Generation Dizzy’s Club 7:30, 9:30 pm $30 

• Rodney Green Trio Dizzy’s Club 11 pm $10 

êPepper Adams Festival: Alexis Cole Quintet with Eric Alexander 

Smoke 7, 9, 10:30 pm 

êFONT: Dave Chisholm’s Calligraphy; Bruce Harris Group; 

Jon Crowley’s Heart of Darkness Smalls 7:30, 9, 10:30 pm $20 

• Billy Drummond’s Freedom of Ideas with Dezron Douglas, Don Vega 


• Ari Hoenig Group with Orlando Le Fleming; Naked Truth 


• Terrence McManus’ Obsessive Propulsive with Mat Maneri, Tom Rainey 


êMichael Bates Quartet with Tony Malaby, Russ Lossing, Jeff Davis; 

Michael Blake Band with Landon Knoblock, Michael Bates, Greg Ritchie and guest 

Daniele Richiedei I-Beam 8:30, 10 pm $10 

• Chiemi Nakai Trio with Luques Curtis, Steve Berrios 


• Zach Brock ZirZamin 9:30 pm 

• Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini; Empyrean Atlas: David Crowell, 

Andrew Smiley, Ryan Ferreira, Greg Chudzik, Jason Nazary 

Sycamore 8:30, 10 pm $10 

• Mia Zabelka solo University of the Streets 8 pm $10 

• Alexis Parsons Somethin’ Jazz Club 7 pm $10 

• Bouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson 

Birdland 8:30, 11 pm $30-40 






• Nick Moran Trio; Paul Francis Trio The Garage 6, 10:30 pm 

• Jonas Tauber Shrine 6 pm 

• Aaron Diehl Saint Peter’s 1 pm $10 




êSex Mob plays Nino Rota: Steven Bernstein, Briggan Krauss, Tony Scherr, 

Kenny Wollesen Winter Garden 7 pm 

êPharoah Sanders Quartet with Joe Farnsworth 

Dizzy’s Club 7:30, 9:30 pm $35 

• Garth Fagan Dance/Wynton Marsalis Septet 

BAM Howard Gilman Opera House 7:30 pm $20 

• Andy Laster; Anthony Coleman The Stone 8, 10 pm $10 

• Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth 

Smoke 8, 10, 11:30 pm $30 

êJim Black Trio with Chris Tordini, Teddy Klausner; Steve Coleman Workshop 

ShapeShifter 8 pm 

• Oz Noy Trio with John Patitucci, Jeff “Tain” Watts 

55Bar 10 pm 

• Akio Suzuki, Gozo Yoshimasu, Otomo Yoshihide 

Issue Project Room 8 pm $15 

• Ravish Momin; Michael Kammers’ MK Groove Orchestra; No Small Money Brass Band 


• Dan Blake’s Aquarian Suite with Jason Palmer, Jorge Roeder, Richie Barshay 


êFONT: Alicia Rau’s aRAUz; John Raymond Group; David Weiss Sextet with 

Marcus Strickland, Tim Green, Xavier Davis, EJ Strickland 

Smalls 7:30, 9, 10:30 pm $20 

• Billy Test Quartet with Marc Mommaas, Boris Kozlov, Tony Moreno 


êJoe Phillips’ Numinous/DELIRIOUS Dances 

Irondale Center 8 pm $20 

• Maria Rivas Zinc Bar 9, 10:30 pm 12 am 

• Tom Chang Quartet with Jason Rigby, Sam Trapchak, Jeff Davis 


• Sacha Perry Trio with Chris Mees, Ai Murakami; Carlos Abadie 


• Rondi Charleston Joe’s Pub 7:30 pm $20 

• Nobuki Takamen Trio with John Lenis, Utaka Uchida 


• Liam Sillery Trio with Jesse Stacken, Eivind Opsvik; Noshir Mody Quintet with 

Tsuyoshi Niwa, Carmen Staaf, Daniel Foose, Maiko Uchida 


• Tomoyasu Ikuta Trio Tomi Jazz 9 pm $10 

• Michika Fukumori Trio Cleopatra’s Needle 7 pm 



Birdland 8:30, 11 pm $30-40 






• Harlem Speaks: George Gee Jazz Museum in Harlem 6:30 pm 

• Champian Fulton Trio; Alan Chaubert Trio 




êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, 

Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata 


• Sam Raderman, Luc Decker, Nial Djuliarso; Frank Basile Sextet plays the music of 

Pepper Adams with Adam Birnbaum, Joe Magnarelli, David Wong, John Mosca, 

Tim Horner, Frank Basile; Jonathan Kreisberg Group with Will Vinson, Joe Martin, 

Mark Ferber Smalls 4, 7:30, 10 pm $20 

• Judi Silvano Trio with Ratzo B. Harris, Newman Taylor-Baker; The Jazz Passengers: 

Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware, Brad Jones, EJ Rodriguez 


• Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Helen Sung, 

Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25 

êLuis Bonilla, Bruce Barth, Andy McKee 

Knickerbocker Bar and Grill 9:45 pm $5 

• Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, 

Johnathan Blake The Jazz Gallery 9, 10:30 pm $20 

êLenore Raphael with Howard Alden, Kelly Friesen and guest Jerry Mandel 

NY Society for Ethical Culture 8 pm 

• Marc Mommaas Landmarc with Nate Radley, Vic Juris, Tony Moreno 


• Andrew Smiley, Travis Reuter, Aryeh Kobrinsky; Carlo Costa Quartet with 

Jonathan Moritz, Owen Stewart-Robertson, Sean Ali; Two of Anything: 

JP Schlegelmilch, Jeremy Viner, Eivind Opsvik, Jason Nazary; 

Curtis MacDonald Quartet with Bobby Avey, Chris Tordini, Adam Jackson 


• Baby Soda: Ben Polcer, Patrick Harison, Jared Engel, David Langlois, Peter Ford 


• Tyler Blanton Band; Billy Mintz/John Gross 

I-Beam 8:30, 10 pm $10 

• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Perreira 



• Susan Hefner/Michael Evans Roulette 8 pm $10 

• Sarah Plum The Firehouse Space 8 pm $10 

• Mihoko NY Trio Plus One with Waldron Ricks, Larry Roland, Vince Ector; 

Michael Webster Quintet with Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig 


• Marc Devine Duo Tomi Jazz 9 pm $10 

• Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm 

• Andrei Matorin Shrine 8 pm 


Dizzy’s Club 7:30, 9:30 pm $40 



êRodney Green Trio Dizzy’s Club 11:30 pm $20 

• Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth 

Smoke 8, 10, 11:30 pm $30 

• Akio Suzuki, Gozo Yoshimasu, Otomo Yoshihide 

Issue Project Room 8 pm $15 



• Eugene Marlow’s The Heritage Ensemble 

Nuyorican Poets Café 7:30 pm $15 



Birdland 8:30, 11 pm $30-40 





Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 


• Carl Bartlett Jr.; Joey Morant Trio The Garage 6:15, 10:45 pm 



êRahn Burton Trio Cleopatra’s Needle 8 pm 

êDeborah Latz Trio with Jon Davis, John Hart 

Cornelia Street Café 6 pm 

êMario Pavone, Mike DiRubbo, Tyshawn Sorey; Pete Robbins, Mario Pavone, 

Tyshawn Sorey; Quartet Axis: Michael Musillami, Craig Hartley, Mario Pavone, 

Tyshawn Sorey Cornelia Street Café 9, 10:30 pm $15 

êPepper Adams Festival: The Three Baris: Gary Smulyan, Frank Basile, Joe Temperley 

with Don Friedman, George Mraz, Kenny Washington 

Ginny’s Supper Club 9, 10:30 pm 

êThe Cosmosamatics: Sonny Simmons, Michael Marcus, John Austria, Rashaan Carter, 

Jay Rosen Brecht Forum 8 pm $15 

êNoah Preminger Group with Ben Monder, Matt Pavolka, Colin Stranahan 


• Bill Ware Quartet with Eddie Conde, Tato Laviera; Marty Ehrlich 


êGilad Hekselman Trio with Matt Brewer, Obed Calvaire 


• Larry Gelb with Steve LaSpina, Michael Stephans; Dwayne Clemons Quintet with 

Josh Benko, Sacha Perry, Jamale Davis, Jimmy Wormworth; 

Jonathan Kreisberg Group with Will Vinson, Joe Martin, Mark Ferber 

Smalls 4, 7:30, 10 pm $20 

• Wolfgang Schalk Quartet with Dave Kikoski, James Genus, Clarence Penn 

Drom 9 pm $15 

• Melanie Maar, Shelley Hirsch, Kenta Nagai 


• Federico Ughi’s Songs for Four Cities with Darius Jones, Eri Yamamoto, Ed Schuller 


• David Freeman Runs the Voodoo Down with Oren Neiman, Carsten Rubeling, 

Tyler Susan, Dave Wyrtzen, Adrain Morgan 

Branded Saloon 9:30 pm 

• Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; 

Dee Cassella; Fredrick Levore with Paul Beaudry, Yayoi Ikawa, Tony Jefferson, 

Lou Rainone Somethin’ Jazz Club 5, 7, 9 pm $10 

• Miki Yoshitake; Arthur Sadowsky Tomi Jazz 8, 11 pm $10 

êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, 

Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata 


• Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Matt King, 

Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25 

êLuis Bonilla, Bruce Barth, Andy McKee 

Knickerbocker Bar and Grill 9:45 pm $5 

• Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, 

Johnathan Blake The Jazz Gallery 9, 10:30 pm $20 


Dizzy’s Club 7:30, 9:30 pm $40 

êRodney Green Trio Dizzy’s Club 11:30 pm $20 







Birdland 8:30, 11 pm $30-40 




Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 


• Michika Fukumori Trio The Garage 6:15 pm 

• Omar Haddad Shrine 6 pm 

• ZigZag Quartet: Alexander Wu, Francisco Roldan, Hilliard Greene, Danny Mallon 

David Rubenstein Atrium 2:30 pm 


• The Brubeck Brothers Quartet: Chris and Dan Brubeck, Mike DeMicco, Chuck Lamb 


êPepper Adams Festival: Arturo O’Farrill Trio with guest Lew Tabackin; David Amram, 

Gary Smulyan, George Mraz Birdland 9, 11 pm $30-40 

• Tim Kiah, Jesse Mills, Kenji Bunch; Brad Jones/Julie Patton 


• Keiko Matsui BB King’s Blues Bar 8 pm $32 

êEri Yamamoto/Yves Léveillé Quartet with David Ambrosio, Ikuo Takeuchi 


êQuinsin Nachoff Group Sycamore 8 pm 

• Howard Alden Smalls 7:30 pm $20 

êCargo Cult: Tomas Ulrich, Rolf Sturm, Michael Bisio 


• CACAW!!!: Landon Knoblock, Oscar Noriega, Jeff Davis 

I-Beam 8:30 pm $10 

• FONT: No BS! Brass Rockwood Music Hall 7 pm $12 

• Assaf Gleizner’s Trio Shalva ShapeShifter Lab 8 pm 

• Biba Bell/Ben Hall Roulette 8 pm $10 

• Eyal Maoz/Michael Lytle; Evan Gallagher 


• David Jimenez Quintet with Michael Webster, Charles Evans, Adam Birnbaum, 

Moppa Elliott; Devin Bing; Yasuyuki Saiga, Sousuke Kawamoto, Hiroyuki Yokota 



Dizzy’s Club 7:30, 9:30 pm $35 







• Sean Ali solo Downtown Music Gallery 6 pm 

• Nadje Noordhuis Quintet Saint Peter’s 5 pm 


BAM Howard Gilman Opera House 3 pm $20 

• Marianne Solivan Blue Note 12:30, 2:30 pm $29.50 

• Roz Corral Trio with Dave Stryker, Paul Gill 


• Jazz Kids! with Amy Cervini 55Bar 2 pm $5 

• Maurício de Souza Quartet with Nancy Harms, Benito Gonzales, Joonsam Lee 

The Lamb’s Club 11:30 am 

REGULAR ENGAGEMENTS 

MONDAYS 

• Tom Abbott Big Bang Big Band Swing 46 8:30 pm 

• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am 

• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 

• SMOKE or Captain Black Big Band; John Farnsworth Smoke 7, 9, 10:30 pm 

• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm 

• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm 

• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm 

• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) 

• Joel Forrester solo Brandy Library 8 pm 

• George Gee Swing Orchestra Gospel Uptown 8 pm 

• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) 

• Grove Street Stompers Arthur’s Tavern 7 pm 

• JFA Jazz Jam Local 802 7 pm 

• Roger Lent Trio Jam Cleopatra’s Needle 8 pm 

• Iris Ornig Jam Session The Kitano 8 pm 

• Les Paul Trio with guests Iridium 8, 10 pm $35 

• Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm 

• Stan Rubin All-Stars Charley O’s 8:30 pm 

• Kavita Shah Trio Tomi Jazz 8 pm 

• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 

• Rakiem Walker Project Red Rooster 7:30 pm 

TUESDAYS 

• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) 

• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm 

• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) 

• George Gee Swing Orchestra Swing 46 8:30 pm 

• Trevor Long Trio Tomi Jazz 8 pm 

• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) 

• Art Hirahara Trio Arturo’s 8 pm 

• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm 

• Sandy Jordan and Larry Luger Trio Notaro 8 pm 

• Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm 

• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm 

• Iris Ornig Quartet Crooked Knife 7 pm 

• Annie Ross The Metropolitan Room 9:30 pm $25 

• Robert Rucker Trio Jam Cleopatra’s Needle 8 pm 

• Slavic Soul Party Barbès 9 pm $10 

WEDNESDAYS 

• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm 

• Jonathan Batiste Band Jazz Museum in Harlem 7 pm 

• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm 

• Roxy Coss Smoke 11:30 pm 

• Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm 

• Walter Fischbacher Trio Water Street Restaurant 8 pm 

• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm 

• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm 

• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 

• Guillaume Laurent Trio Bar Tabac 7 pm 

• Jake K. Leckie Trio Kif Bistro 8 pm 

• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) 

• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm 

• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) 

• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm 

• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) 

• Alex Obert’s Hollow Bones Via Della Pace 10 pm 

• David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10 

• Yoshino Nakahara Trio Tomi Jazz 8 pm 

• Stan Rubin Orchestra Swing 46 8:30 pm 

• David Schnug Papa’s Gino’s Restaurant 8:30 pm 

• Alex Terrier Trio Antibes Bistro 7:30 pm 

• Justin Wert/Corcoran Holt Benoit 7 pm 

• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm 

• Bill Wurtzel Duo Velour Lounge 6:30 pm 

• Jordan Young Group Bflat 8:30 pm 

THURSDAYS 

• Rahn Burton 449 Lounge 1 pm (ALSO SAT) 

• Jason Campbell Trio Perk’s 8 pm 

• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) 

• Gregory Generet Smoke 7, 9 pm 

• Jazz Open Mic Perk’s 8 pm 

• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm 

• Michael Mwenso and Friends Dizzy’s Club 11 pm 

• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) 

FRIDAYS 

• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm 

• Deep Pedestrian Sintir 8 pm 

• Charles Downs’ Centipede The Complete Music Studio 7 pm 

• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm 

• Patience Higgins & The Sugar Hill Quartet Smoke 12:30 am 

• Kengo Nakamura Trio Club A Steakhouse 11 pm 

• Brian Newman Quartet Duane Park 10:30 pm 

• Frank Owens Open Mic The Local 802 6 pm 

• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) 

• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) 

• Bill Saxton and Friends Bill’s Place 9, 11 pm $15 

SATURDAYS 

• Cyrille Aimee The Cupping Room 8:30 pm 

• Candy Shop Boys Duane Park 8, 10:30 pm 

• Jesse Elder/Greg RuggieroRothmann’s 6 pm 

• Joel Forrester solo Indian Road Café 11 am 

• Guillaume Laurent/Luke Franco Casaville 1 pm 

• Annette St. John; Johnny O’Neal Smoke 11:30 am, 12:30 am 

• Skye Jazz Trio Jack 8:30 pm 

• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) 

• Michelle Walker/Nick Russo Anyway Café 9 pm 

• Bill Wurtzel Duo Henry’s 12 pm 

SUNDAYS 

• Cyrille Aimee Birdland 6 pm 

• Bill Cantrall Trio Crescent and Vine 8 pm 

• Marc Devine Trio TGIFriday’s 6 pm 

• JaRon Eames/Emme Kemp Eats 6 pm 

• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm 

• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm 

• Gene Ess Jam Session ShapeShifter Lab 3 pm $3 

• Sean Fitzpatrick and Friends Ra Café 1 pm 

• Joel Forrester solo Grace Gospel Church 11 am 

• Nancy Goudinaki’s Trio Kellari Taverna 12 pm 

• Enrico Granafei solo Sora Lella 7 pm 

• Annette St. John; Cynthia Soriano Smoke 11:30 am, 11:30 pm 

• Stan Killian Trio Ocean’s 8 8:30 pm 

• Bob Kindred Group Café Loup 12:30 pm 

• Nate Lucas All Stars Ginny’s Supper Club 7 pm 

• Alexander McCabe Trio CJ Cullens Tavern 5 pm 

• Junior Mance Trio Café Loup 6:30 pm 

• Peter Mazza Bar Next Door 8 pm $12 

• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 

• Lu Reid Jam Session Shrine 4 pm 

• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm 

• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm 

• Secret Architecture Caffe Vivaldi 9:45 pm 

• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm 

• Cidinho Teixeira Zinc Bar 10, 11:30 1 am 

• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm 

• Brian Woodruff Jam Blackbird’s 9 pm

CLUB DIRECTORY 

• 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street 

• 55Bar 55 Christopher Street (212-929-9883) 

Subway: 1 to Christopher Street www.55bar.com 

• 92YTribeca 200 Hudson Street 

(212-601-1000) Subway: 1, A, C, E to Canal Street www.92y.org 

• ABC No-Rio 156 Rivington Street (212-254-3697) 

Subway: J,M,Z to Delancey Street www.abcnorio.org 

• American Folk Art Museum 45 W 53rd Street (212-265-1040) 

Subway: E to 53rd Street www.folkartmuseum.org 

• An Beal Bocht Café 445 W. 238th Street 

Subway: 1 to 238th Street www.anbealbochtcafe.com 

• Antibes Bistro 112 Suffolk Street (212-533-6088) 

Subway: J, Z to Essex Street www.antibesbistro.com 

• Antique Garage 41 Mercer Street (212-219-1019) 

Subway: N, Q, R, W to Canal Street 

• Anyway Café 34 E. 2nd Street (212-533-3412) 

Subway: F to Second Avenue 

• Ardesia Wine Bar 510 West 52nd Street 

(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com 

• 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 

• BAM Howard Gilman Opera House 30 Lafayette Avenue 

(718-636-4100) Subway: Subway: M, N, R, W to Pacific Street; 

Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org 

• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) 

Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com 

• Bflat 277 Church Street (between Franklin and White Streets) 

Subway: 1, 2 to Franklin Streets 

• The Backroom 627 5th Avenue (718-768-0131) 

Subway: D, N, R to Prospect Avenue www.freddysbar.com 

• Bar 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue, 

N, M, R, D to Prospect Avenue www.bar4brooklyn.com 

• Bar Next Door 129 MacDougal Street (212-529-5945) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com 

• The Bar on Fifth 400 Fifth Avenue 

(212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com 

• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) 

Subway: F to 7th Avenue www.barbesbrooklyn.com 

• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street 

• Benoit 60 W. 55th Street 

Subway: F to 57th Street, N, Q, R,W to 57th Street 

• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) 

(212-281-0777) Subway: 2, 3 to 125th Street 

• Birdland 315 W. 44th Street (212-581-3080) 

Subway: A, C, E, to 42nd Street www.birdlandjazz.com 

• Blackbird’s 41-19 30th Avenue (718-943-6898) 

Subway: R to Steinway Street www.blackbirdsbar.com 

• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com 

• Brandy Library 25 N. Moore Street 

(212-226-5545) Subway: 1 to Franklin Street 

• Brecht Forum 451 West Street (212-242-4201) 

Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org 

• Brooklyn Bridge Park Furman Street and Atlantic Avenue 

Subway: A, C to High Street; 2, 3 to Clark Street 

• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn 

Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org 

• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets 

Subway: 4, 5, 6 to 42nd Street www.bryantpark.org 

• Buona Sera 12th Street and University Place 

Subway: 4, 5, 6, L, N, R, Q, W to Union Square 

• CJ Cullens Tavern 4340 White Plains Road, Bronx 

Subway: 2 to Nereid Avenue/238th Street 

• Café Carlyle 35 East 76th Street (212-744-1600) 

Subway: 6 to 77th Street www.thecarlyle.com 

• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues 

(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com 

• Caffe Vivaldi 32 Jones Street 

Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com 

• Casaville 633 Second Avenue 

(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com 

• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace 

(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com 

• Charley O’s 1611 Broadway at 49th Street (212-246-1960) 

Subway: N, R, W to 49th Street 

• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) 

Subway: C to Clinton-Washington Avenues www.bistrolola.com 

• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) 

Subway: C to Lafayette Avenue www.chezoskar.com 

• 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 A Steakhouse 240 E. 58th Street (212-618-4190) 

Subway: 4, 5, 6 to 59th Street www.clubasteak.com 

• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue 

• Community Church of New York 40 E. 35th Street 

(212-594-7149) Subway: 6 to 33rd Street 

• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn 

(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com 

• Cornelia Street Café 29 Cornelia Street (212-989-9319) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com 

• The Counting Room 44 Berry Street (718-599-1860) 

Subway: L to Bedford Avenue www.thecountingroombk.com 

• Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street 

(718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria 

• Crooked Knife 29 East 30th Street (212-696-2593) 

Subway: 6 to 33rd Street www.thecrookedknife.com 

• The Cupping Room 359 West Broadway between Broome and Grand Street 

(212-925-2898) Subway: A, C, E to Canal Street 

• David Rubenstein Atrium Broadway at 60th Street 

(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle 

www.jalc.org 

• 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 

• Douglass Street Music Collective 295 Douglass Street 

Subway: R to Union Street www.295douglass.org 

• Downtown Music Gallery 13 Monroe Street (212-473-0043) 

Subway: F to East Broadway www.downtownmusicgallery.com 

• Drom 85 Avenue A (212-777-1157) 

Subway: F to Second Avenue www.dromnyc.com 

• Duane Park 157 Duane Street (212-732-5555) 

Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com 

• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) 

Subway: C, E to Spring Street www.earinn.com 

• Eats Restaurant 1055 Lexington Avenue Subway: 6 to 77th Street 

• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) 

Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org 

• Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) 

Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com 

• Fester 109 Broadway, Brooklyn Subway: J, M, Z to Marcy Avenue 

• The Firehouse Space 246 Frost Street 

Subway: L to Graham Avenue www.thefirehousespace.org 

• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn 

(718-625-9339) Subway: G to Fulton Street 

• The Garage 99 Seventh Avenue South (212-645-0600) 

Subway: 1 to Christopher Street www.garagerest.com 

• Garden Café 4961 Broadway at 207 Street 

(212-544-9480) Subway: A to 207th Street-Inwood 

• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard 

(212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com 

• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard 

(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com 

• Grace Gospel Church 589 East 164th Street 

(718-328-0166) Subway: 2, 5 to Prospect Avenue 

• Grace Lutheran Church 31-20 21st Avenue, Astoria 

(718-728-0093) Subway: N, Q to Astoria-Ditmars Boulevard 

• Greenwich House Music School 46 Barrow Street 

(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org 

• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street 

(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org 

• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street 

• Highline Ballroom 431 W 16th Street 

(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com 

• I-Beam 168 7th Street between Second and Third Avenues 

Subway: F to 4th Avenue www.ibeambrooklyn.com 

• Indian Road Café 600 West 218th Street @ Indian Road 

(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com 

• Iridium 1650 Broadway at 51st Street (212-582-2121) 

Subway: 1,2 to 50th Street www.theiridium.com 

• Irondale Center 85 South Oxford Street 

Subway: C Lafayette Street; G to Fulton Street www.gimmeartirondale.com 

• Issue Project Room 22 Boerum Place 

(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall; A, C, F, N, R to Jay Street 

www.issueprojectroom.org 

• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street 

• Japan Society 333 East 47th Street 

(212-832-1155) Subway: 4, 5, 6 to 42nd Street www.japansociety.org 

• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) 

Subway: 4, 5, 6 to Grand Central www.kitano.com 

• The Jazz Gallery 290 Hudson Street (212-242-1063) 

Subway: C, E, to Spring 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 West 56th Street (212-765-3160) 

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle 

• Joe’s Pub 425 Lafayette Street (212-539-8770) 

Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com 

• Kellari Taverna 19 West 44th Street (212-221-0144) 

Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us 

• Knickerbocker Bar & Grill 33 University Place (212-228-8490) 

Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com 

• Korzo 667 5th Avenue, Brooklyn (718-285-9425) 

Subway: R to Prospect Avenue www.korzorestaurant.com 

• Launch Pad Gallery 721 Franklin Avenue, Brooklyn 

(718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org 

• The Lambs Club 132 W. 44th Street 

212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com 

• Le Poisson Rouge 158 Bleecker Street (212-228-4854) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com 

• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets 

(212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com 

• LIC Bar 45-58 Vernon Boulevard 

(718-786-5400) Subway: 7 to Vernon-Jackson Boulevard 

• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues 

(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org 

• The Loft of Thomas Rochon 100 Grand Street, 6th Floor 

Subway: 6, A, C, E, N, Q, R to Canal Street 

• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) 

Subway: 1 to 145th Street www.londelsrestaurant.com 

• McDonald’s 160 Broadway between Maiden Lane and Liberty Street 

(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com 

• Maison Premiere 298 Bedford Avenue 

(347-335-0446) Subway: L to Bedford Avenue www.maisonpremiere.com 

• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam 

(212-501-3330) Subway: 1 to 66th Street-Lincoln Center 

www.kaufman-center.org 

• Metropolitan Room 34 West 22nd Street (212-206-0440) 

Subway: N, R to 23rd Street www.metropolitanroom.com 

• NY Society for Ethical Culture (NYSEC) 2 W. 64th Street 

(212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org 

• 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 

• Night of the Cookers 767 Fulton Street, Brooklyn 

(718-797-1197) Subway: C to Lafayette Avenue 

• 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.northsquarejazz.com 

• Notaro Second Avenue between 34th & 35th Streets (212-686-3400) 

Subway: 6 to 33rd Street 

• Nublu 62 Avenue C between 4th and 5th Streets 

(212-979-9925) Subway: F, M to Second Avenue www.nublu.net 

• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C 

(212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org 

• Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue 

(718-857-5555) Subway: B, Q to Seventh Avenue 

• The Paper Box 17 Meadow Street 

(718-383-3815) Subway: L to Grand Street www.paperboxnyc.com 

• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 

160th Streets (212-781-6595) Subway: C to 155th Street 

www.parlorentertainment.com 

• Pete’s Candy Store 709 Lorimer Street 

(718-302-3770) Subway: L to Lorimer 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 

• Rhythm Splash 673 Flatbush Avenue 

Subway: B, Q to Parkside Avenue 

• Rockwood Music Hall 196 Allen Street (212-477-4155) 

Subway: F, M to Second Avenue www.rockwoodmusichall.com 

• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) 

Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org 

• Roulette 509 Atlantic Avenue 

(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org 

• Rubin Museum 150 West 17th Street (212-620-5000) 

Subway: A, C, E to 14th Street www.rmanyc.org 

• Saint Peter’s Church 619 Lexington Avenue at 54th Street 

(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org 

• Sapphire NYC 333 East 60th Street 

(212-421-3600) Subway: 4, 5, 6, N, Q, R to 59th Street 

www.nysapphire.com 

• Schimmel Center for the Arts 3 Spruce Street 

(212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.pace.edu 

• The Schomburg Center 515 Macolm X Boulevard (212-491-2200) 

Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html 

• Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza 

www.seedsbrooklyn.org 

• ShapeShifter Lab 18 Whitwell Place 

(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com 

• Showman’s 375 West 125th Street at Morningside) (212-864-8941) 

Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com 

• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) 

Subway: B, 2, 3 to 135th Street www.shrinenyc.com 

• Sintir 424 E. 9th Street between Avenue A and First Avenue 

(212-477-4333) Subway: 6 to Astor Place 

• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn 

(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org 

• Skirball Center 566 LaGuardia Place at Washington Square 

(212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street 

• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) 

Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com 

• Smoke 2751 Broadway between 105th and 106th Streets 

(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com 

• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street 

• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) 

Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street 

www.somethinjazz.com/ny 

• Sora Lella 300 Spring Street (212-366-4749) 

Subway: C, E to Spring Street www.soralellanyc.com 

• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue 

• The Stone Avenue C and 2nd Street 

Subway: F to Second Avenue www.thestonenyc.com 

• Sugar Bar 254 W. 72 Street between Broadway and West End Avenue 

(212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com 

• Swing 46 349 W. 46th Street (646-322-4051) 

Subway: A, C, E to 42nd Street www.swing46.com 

• Sycamore 1118 Cortelyou Road (347-240-5850) 

Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com 

• Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre 

2537 Broadway at 95th Street (212-864-5400) 

Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org 

• Tea Lounge 837 Union Street, Brooklyn (718-789-2762) 

Subway: N, R to Union Street www.tealoungeNY.com 

• Tomi Jazz 239 E. 53rd Street (646-497-1254) 

Subway: 6 to 51st Street www.tomijazz.com 

• Union Pool 484 Union Avenue at Meeker 

(718-609-0484) Subway: L to Lorimer Street 

• University of the Streets 130 East 7th Street 

(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org 

• University Settlement 184 Eldridge Street (212-674-9120) 

Subway: F, M to Second Avenue www.universitysettlement.org 

• Velour Lounge 297 10th Avenue 

(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com 

• Via Della Pace 48 East 7th Street and Second Avenue 

(212-253-5803) Subway: 6 to Astor Place 

• The Village Trattoria 135 West 3rd Street (212-598-0011) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com 

• Village Vanguard 178 Seventh Avenue South at 11th Street 

(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com 

• Village Zendo 588 Broadway (212-340-4656) 

Subway: B, D, F, M to Broadway-Lafayette Street www.villagezendo.org 

• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens 

(718-721-3010) Subway: N to Ditmars Blvd-Astoria 

• Walker’s 16 North Moore Street (212-941-0142) 

Subway: A, C, E to Canal Street 

• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) 

Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com 

• Water Street Restaurant 66 Water Street (718-625-9352) 

Subway: F to York Street, A, C to High Street 

• Williamsburg Music Center 367 Bedford Avenue 

(718-384-1654) Subway: L to Bedford Avenue 

• Winter Garden Battery Park City Subway: E to World Trade Center 

www.worldfinancialcenter.com 

• York College (CUNY) 94-20 Guy R. Brewer Boulevard, Queens 

Subway: E to Jamaica Center www.york.cuny.edu 

• Ze Couch Series 533 Ocean Avenue Subway: B, Q to Church Avenue 

• Zeb’s 223 W. 28th Street 

212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com 

• Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) 

Subway: L to Bedford Avenue www.zebuloncafeconcert.com 

• Zinc Bar 82 West 3rd Street (212-477-8337) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com 

• ZirZamin 90 West Houston Street 

(646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street 

www.zirzaminnyc.com 


(JAZZALDIA CONTINUED FROM PAGE 13) 

Håkon Kornstad’s concert, after midnight under 

the dome of a converted church in the Museo San 

Telmo, was spellbinding. It began with his tenor 

saxophone wafting up into the towering, reverberant 

space. Then he used digital loops to turn himself into a 

tenor saxophone choir. Then he added another tenor 

tone, his own operatic singing voice. Then two more 

musicians joined, Harkaitz Martínez de San Vicente 

and Mikel Ugarte. Together, they played an ethnic 

Basque percussion instrument, the Txalaparta. Striking 

tuned planks with mallets, they surrounded Kornstad 

with ringing, chiming clouds of sound. Kornstad is an 

original thinker and a poet of the first order. 

Terje Rypdal does not so much play songs as 

generate huge looming sonic events. His sound on 

electric guitar is his own: seagull cries over oceans of 

the night, waves crashing into rocks. Jazzaldia put 

Rypdal and three kindred spirits (Ståle Storløkken, 

keyboards; Nikolai Eilertsen, bass; Paolo Vinaccia, 

drums) in the Sala Club beneath the Teatro Victoria 

Eugenia, at one in the morning. In the small space it 

was scary-loud, the antithesis of bedtime music. 

Some of the most intriguing music came from 

Basques. Cantus Caterva, led by drummer Hasier 

Oleaga, was a quintet that snuck up on you, because 

their intelligent version of new millennium jazz was so 

subtle. All the fresh, clear melodies were Oleaga’s. Two 

notable players were Iñaki Salvador, a sinuous, 

seductive pianist, and alto saxophonist Mikel Andueza, 

whose solos were flowing and serene (even on “Mamu 

Sumoak”, which means something like “expecting the 

monster”). On the last night, under the high dome of 

the San Telmo, Gonzalo Tejada on bass and Olivier Ker 

Ourio on harmonica played a recital as rapt as a séance. 

The harmonica is a niche instrument in jazz, but its 

sonorities can be uniquely affecting, especially in an 

acoustic environment that extends every yearning note 

with long decays. “Both Sides Now” and “Moon River” 

were piercing in their poignance. 

Nils Petter Molvær played long after midnight on 

the last night, under the stars in the “claustro” 

(cloisters) of San Telmo. His trio with guitarist Stian 

Westerhus and drummer Erland Dahlen is one of the 

most revolutionary and important projects in current 

jazz. Molvær plays trumpet with spare, cryptic 

lyricism, but his horn is just one design element in a 

gigantic symphony of sound and light created by his 

band’s daring, aggressive use of electronics and video 

imagery. A simple figure from Westerhus or Molvær 

can be digitally exploded into seething sonic oceans. 

No one in jazz uses technology more creatively than 

Molvær. He makes his own world with it. He makes 

music of dark beauty with haunting melodies within 

the maelstrom, music that touches secrets of the 


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subconscious. The video backdrops are the mystery 

made momentarily visible in flickering glimpses. 

Jazzaldia was a five-day jazz festival with almost 

100 concerts that built to a climax and ended with its 

single most powerful performance. v 

For more information, visit heinekenjazzaldia.com 

(NEWPORT CONTINUED FROM PAGE 13) 

The next day, at the Harbor Stage, Mahanthappa 

led his band, Samdhi, comprised of guitarist David 

Gilmore, electric bassist Rich Brown and drummer 

Rudy Royston. They started with the appropriately 

titled “Killer”, a pulsating, funky raga. Mahanthappa 

overdubbed himself on alto, with a computer assist, on 

the funky and whimsical “Enhanced Performance”. 

“Breakfastlunchanddinner”, which had a dance groove 

with a bop border, underscored Mahanthappa’s 

wonderful sense of humor. Mahanthappa ended his 

outstanding set, sweat-soaked and beaming, with the 

ballad “For All the Ladies” where even his stridency 

and harmonics had structural balance and coherence. 

Following Mahanthappa was the string/vocal trio 

of Gretchen Parlato, Lionel Loueke and Becca Stevens. 

Loueke was on guitar and vocals while Stevens and 

Parlato played various stringed instruments between 

them. They opened with Loueke’s “Farfina” and their 

collective vocalizing was sharp and colorful. Parlato 

then sung lead and played ukulele on her arrangement 

of the Jacksons’ “Push Me Away”. Loueke sung one of 

his songs, “Akwe”, whose theme was, as he stated 

succinctly, “Just don’t waste water!” Parlato’s phrasing 

on another Michael Jackson song, “I Can’t Help It”, 

seemed self-conscious, as if she was vocalizing from 

memory and not emotion. The last song of the set was 

the best, Parlato on charango (a small stringed 

instrument made from the back of an armadillo). The 

song, “Magnus”, was based on a melody that the titular 

child invented to sing to his future sibling, who was in 

his mother’s belly. 

The Maria Schneider Orchestra, a virtual all-star 

team, was at the Fort Stage. Accordionist Gary Versace 

duked it out with guitarist Ben Monder on “Green 

Piece”, until Frank Kimbrough stepped in wonderfully 

on piano. Schneider’s lovely tribute to Gil Evans, 

“Evanescence”, featured excellent solos by altoist 

Charles Pillow and trombonist Marshall Gilkes. The 

driving “Gumba Blue” was highlighted by Ryan 

Keberle’s quicksilver trombone and Greg Gisbert’s 

soaring trumpet. The orchestra then performed the 

premiere of Schneider’s “Home”, a commissioned 

suite for Newport, which was dedicated to George 

Wein. It was a lovely, lilting, soaring piece highlighted 

by more of Versace’s accordion and stellar baritone sax 

by Scott Robinson. Schneider closed out with the 

uplifting “Hang Gliding in Rio”, again featuring lovely 

tenor work by Donny McCaslin. 

One constant remains at the Newport Jazz Festival: 

Wein is still on the scene. One of the great sights of the 

weekend was seeing the convivial 86-year-old icon 

being driven around in a golf cart that was rechristened 

the “Wein Machine” in his honor. v 

For more information, visit newportjazzfest.net 

(JAZZ EM AGOSTO CONTINUED FROM PAGE 13) 

The outdoor concerts take place on the first two 

weekends of August. This year the intervening 

weekdays included three nights at the Teatro do Bairro 

in the narrow winding streets of Lisbon’s Bairro Alto, 

trading the perfumed woods of the Gulbenkian Park 

for a cigarette-scented black box theatre. 

Nuova Camerata is a recently formed, Lisbonbased 

quintet that matches the sonic and harmonic 

vocabulary of mid-20th century European formal 

music - Messiaen, Boulez - with the methodology of 

improvisation. Veteran violinist Carlos Zíngaro is 

adept at spontaneously generating music that sounds 

uncannily like the advanced mathematics of serialism 

while classical percussionist Pedro Carneiro, a 

newcomer to improvisation, is possessed of very quick 

ears as well as hands. The younger string players - 

violist João Camões, cellist Ulrich MitzIaff and bassist 

Miguel Leiria Pereira - diligently followed Zíngaro’s 

clear leads, creating pieces of striking coherence. 

At the opposite pole of sound, the Leeds, England 

band Trio VD worked at the edge of chaos with 

telepathic organization, using minimal cueing to create 

an ever-shifting montage of sharp-edged fragments. 

Saxophonist Christophe de Bézenac and guitarist Chris 

Sharkey constantly shifted between articulating 

acoustic bits then sampling, processing, combining 

and recombining them, all of this matched to the 

precision drumming of Chris Bussey to oscillate 

violently between playground and psychodrama. 

The third band to appear at the Teatro do Bairro 

was the trio Das Kapital. Guitarist Hasse Poulsen, 

tenor saxophonist Daniel Erdmann and drummer 

Edward Pérraud performed Hanns Eisler compositions 

from Bertolt Brecht plays and Hollywood movies, even 

the East German national anthem. The trio created a 

free jazz cabaret in the festival’s most entertaining set, 

mining Eisler’s plaintive melodies and hard-edged 

rhythms for maximum effect, then exploding them 

with expressionist bursts. The evening was capped by 

DJ Sniff, whose turntable and sampler exploration of 

free jazz began as collage but developed into a kind of 

sustained dream state. 

The theatre’s emphasis on deconstructed melody 

was matched by the younger bands on the main stage 

at the Gulbenkian. The British quintet Led Bib plays a 

form of latter-day fusion, emphatic funk rhythms 

underscoring the two-alto frontline in which Pete 

Grogan seems to shadow Chris Williams’ rapid, rollercoaster 

lines. 

The final concert in the garden was also one of the 

best, with bassist Ingebrigt Håker Flaten’s Chicago 

Sextet achieving rare levels of drive and invention, 

with fellow Norwegian Ola Kvernberg channeling the 

ghosts of jazz-rock violin and an assemblage of the 

Midwest’s finest. Guitarist Jeff Parker and drummer 

Frank Rosaly were as adept at overdriven rock as free 

jazz. Vibraphonist Jason Adasiewicz and saxophonist 

Dave Rempis were brilliant, the latter’s unaccompanied 

exploration of baritone multiphonics lingering long 

after the festival’s final note. v 

For more information, visit musica.gulbenkian.pt/jazz

BUCKY ADAMS - As an 11-year-old trumpeter, Adams played for Queen Elizabeth’s visit to 

Canada. Later he picked up his father’s tenor saxophone and eventually played alongside Louis 

Armstrong, Dizzy Gillespie, Oscar Peterson, Count Basie and BB King. A fixture on his hometown 

Halifax jazz scene, Adams died Jul. 13th at 75. 

DON BAGLEY - The saxophonist composed the score to the 1975 slasher flick The Swinging 

Barmaids but actually did some real swinging himself as a member of Stan Kenton’s band as well 

as with his own groups in the ‘50s. An active session and touring musician with people like Dexter 

Gordon, Åke Persson, Les Brown, Phil Woods and Ben Webster, Bagley died Jul. 26th at 85. 

LIONEL BATISTE - A mentor to many younger jazz and blues musicians in his native New 

Orleans, the singer and bass drummer, known as Uncle Lionel, was assistant leader of the Treme 

Brass Band since 1995, led Norway’s Molde Jazz parade since 2000 and frequently appeared in the 

HBO show Treme. Batiste died Jul. 8th at 81. 

JOSE ROBERTO BERTRAMI - The Brazilian keyboardist was a tri-founder of the jazz-funk group 

Azymuth in 1972, which released a number of albums on Milestone in the ‘80s and Far Out in the 

‘90s-00s. Prior to and during his time with Azymuth, Bertrami released albums as a leader and 

worked with Latin jazzers and vocalists like Sarah Vaughan, Mark Murphy and Flora Purim. 

Bertrami died Jul. 8th at 66. 

MARIA HAWKINS COLE - Though as a vocalist she is overshadowed by her husband Nat King 

Cole (and later, daughter Natalie), prior to her marriage Hawkins was a big band vocalist with 

Duke Ellington and Count Basie in the mid ‘40s. Hawkins Cole died Jul. 10th at 89. 

LOL COXHILL - While other British saxophonists of his generation were splitting off into genre 

factions, Coxhill could and did play everything, mixing a love of traditional jazz with a keen 

improvisatory intellect. Early in his career he worked in the bands of Kevin Ayers and participated 

in Derek Bailey’s Companys all while playing with visiting blues musicians. Later he became more 

closely aligned with English school of improvising and focused on soprano saxophone, both as a 

solo performer and with Trevor Watts, John Stevens, AMM and more recently the London 

Improvisers Orchestra. Coxhill died Jul. 9th at 79. 

September 1 

†Art Pepper 1925-82 

Willie Ruff b.1931 

†Gene Harris 1933-2000 

Wayne Horvitz b.1955 

Essiet Essiet b.1956 

Wolter Wierbos b.1957 


Horace Silver b.1928 

†Clifford Jordan 1931-93 

†Walter Davis Jr. 1932-90 

John Zorn b.1953 

Jonas Kullhammar b.1978 


Mickey Roker b.1932 

Larry Ridley b.1937 

Onaje Allan Gumbs b.1949 

Veryan Weston b.1950 

Peter Bernstein b.1967 

David Sanchez b.1968 


Gerald Wilson b.1918 

David Liebman b.1946 

Lonnie Plaxico b.1960 

Kenny Davis b.1961 

Bireli Lagréne b.1966 

Patrick Cornelius b.1978 


†Albert Mangelsdorff 

1928-2005 

†Eddie Preston 1928-2009 

†Richie Powell 1931-56 

Charles “Bobo” Shaw b.1947 


†Buddy Bolden 1877-1931 

†Clifford Thornton 1936-89 

Peter Van Huffel b.1978 

Live In Hollywood 

Wardell Gray (Xanadu) 

September 9th, 1952 

The Haig, where this album was 

recorded, was an important club in 

the careers of many West Coast jazz 

musicians. Tenor saxophonist Gray 

settled in Los Angeles in the mid ‘40s 

after time with Earl Hines and was an 

active player until his mysterious 

death in 1955 at age 34. Joining Gray 

for this program of mostly standards 

is Art Farmer (trumpet), Hampton 

Hawes (piano, also writing “Jackie”), 

Howard Roberts (guitar on three 

tunes), Joe Mondragon (bass) and 

Shelly Manne (drums), Amos Trice 

replacing Hawes for a pair of songs. 


†Max Kaminsky 1908-94 

†Graeme Bell 1914-2012 

Sonny Rollins b.1930 

†Makanda Ken McIntyre 

1931-2001 

Ron Blake b.1956 

Bruce Barth b.1958 

Irvin Mayfield b.1978 


†Wilbur Ware 1923-79 

†Specs Wright 1927-63 

†Marion Brown 1935-2010 

†James Clay 1935-95 

Butch Warren b.1939 


†Elvin Jones 1927-2004 

†Walter Benton 1930-2000 

Zbigniew Namyslowski b.1939 

George Mraz b.1944 


†Frank Coughlan 1904-79 

†Rod Rodriguez 1906-92 

†Raymond Scott 1908-94 

†Joe Deniz 1913-1994 

†Cliff Leeman 1913-86 

†Ken Rattenbury 1920-2001 

†Prince Lasha 1929-2008 

Roy Ayers b.1940 

Dave Burrell b.1940 

Craig Harris b.1954 

Steve Davis b.1958 


†Charles Moffett 1929-97 

†Baby Face Willette 1933-1971 

Oliver Jones b.1934 

†Hiram Bullock 1955-2008 

Dan Aran b.1977 


†Cat Anderson 1916-81 

†Joe Shulman 1923-57 

†Earl Coleman 1925-95 

Steve Turre b.1948 

Joëlle Léandre b.1951 

Scott Hamilton b.1954 

Adam Rudolph b.1955 

Brian Lynch b.1956 

Marc Mommaas b.1969 

Champian Fulton b.1985 


†”Chu” Berry 1908-41 

†Leonard Feather 1914-94 

†Dick Haymes 1916-80 

†Charles Brown 1922-99 

†Mel Torme 1925-99 

Alex Riel b.1940 

Joe Morris b.1955 

Moppa Elliott b.1978 


†Cachao 1918-2008 

†Jay Cameron 1928-2011 

†Bill Berry 1930-2002 

Joseph Jarman b.1937 

Eddie Moore b.1940 

Oliver Lake b.1942 

Jerome Sabbagh b.1973 

Aram Shelton b.1976 

Brian Landrus b.1978 

Diederik Rijpstra b.1982 


†Al Casey 1915-2005 

†Gene Roland 1921-82 

†Arvell Shaw 1923-2002 

†Julian “Cannonball” Adderley 

1928-75 

†Seldon Powell 1928-97 

Ned Rothenberg b.1956 

Bad! Bossa Nova 

Gene Ammons (Prestige) 


Gene Ammons, son of pianist Albert 

Ammons, was one of the fathers of the 

Chicago tenor tradition. After work 

with Billy Eckstine and his father, 

Ammons worked mostly as a leader, 

including a partnership with Sonny 

Stitt. His recording rate was consistent 

until this date, which was done before 

a seven-year incarceration for drugs 

(his second). Ammons only wrote 

“Moito Mato Grosso” of the album’s 

six tunes, supported by the dual 

guitars of Kenny Burrell and Bucky 

Pizzarelli, with pianist Hank Jones in 

the rhythm section. 

IN MEMORIAM 

By Andrey Henkin 

BIRTHDAYS 


†Joe Venuti 1903-78 

Jon Hendricks b.1921 

†Charlie Byrd 1925-99 

†Gordon Beck 1938-2011 

Lisle Atkinson b.1940 

Hamiet Bluiett b.1940 

Steve Slagle b.1951 

Graham Haynes b.1960 

Chris Cheek b.1968 


†Jack McDuff 1926-2001 

†Earl May 1927-2008 

Theo Loevendie b.1930 

David Williams b.1946 

Jeff Ballard b.1963 

Craig Haynes b.1965 


†Steve Marcus 1939-2005 

Jovino Santos Neto b.1954 

John Fedchock b.1957 

†Emily Remler 1957-90 

Pete Zimmer b.1977 


Muhal Richard Abrams b.1930 

†Lol Coxhill 1932-2012 

Tatsu Aoki b.1957 

Bruce Cox b.1959 

Cuong Vu b.1969 


†Jackie Paris 1926-2004 

†John Dankworth 1927-2010 

†Red Mitchell 1927-92 

Joe Temperley b.1929 

Eddie Gale b.1938 

†Billy Bang 1947-2011 

Steve Coleman b.1956 

Ben Kono b.1967 

ON THIS DAY 

by Andrey Henkin 

Live at the Lighthouse 

Elvin Jones (Blue Note) 


Despite fame from his association 

with Coltrane, drummer Elvin Jones 

always was his own man, waxing his 

debut as a leader in the early ‘60s. 

After Coltrane’s death, Jones became 

more active fronting groups and 

mentoring younger musicians. Three 

of those are here: the twin saxophones 

of Steve Grossman and Dave Liebman 

(the former a Miles alum, the latter 

just starting with the trumpeter) and 

bassist Gene Perla. Liebman and Perla 

penned half the tracks from this 

Hermosa Beach concert, the last of 

many jazz albums made there. 

EDWIN DUFF - The Scottish popular singer started his career on the other side of the world in 

Australia, winning a vocal contest as a ten-year-old on the ship journey down under. He became a 

national star there, working often on the radio and with many of that country’s big bands as well 

as with visiting Americans like Dizzy Gillespie, Gene Krupa, Carmen McRae, Buddy Rich and Art 

Tatum. Duff died Jul. 9th at 84. 

BEN KYNARD - While part of Lionel Hampton’s band in the ‘40s, the baritone saxophonist wrote 

the future jazz standard “Red Top”, though he never got the accolades that later covers of the tune 

received. Kynard also played with Willis Jackson briefly but spent his post-Hamp days working 

for the US Postal Service while jamming in his native Kansas City at night. Kynard died Jul. 5th at 

92. 

LARANCE MARABLE - A mainstay in bassist Charlie Haden’s late ‘80s-present Quartet West, the 

stalwart Los Angeles drummer came up in that city’s jazz scene in the ‘50s, playing with visiting 

boppers like Wardell Gray, Charlie Parker and Dexter Gordon as well as up-and-coming locals like 

Chet Baker and Frank Morgan while touring in the ‘70s with Supersax and Bobby Hutcherson. 

Marable died Jul. 4th at 83. 

ILHAN MIMAROGLU - Known primarily for the acoustic and groundbreaking electronic music 

he wrote from the ‘50s on, the composer was also a producer at Atlantic (and later his own 

Finnadar) Records, where he worked with Freddie Hubbard and Charles Mingus in the ‘70s as 

well as John Cage and Karlheinz Stockhausen. Mimaroglu died Jul. 17th at 86. 

ROB PRONK - An arranger for Holland’s Metropole Orchestra for 30 years, Pronk also played 

trumpet with and arranged for Kurt Edelhagen in the ‘50s and then appeared occasionally as a 

pianist with such players as Dexter Gordon, Zoot Sims and Frank Rosolino as well as teaching 

arranging and composition at Rotterdam Conservatory. Pronk died Jul. 6th at 84. 

JODY SANDHAUS - The vocalist’s first album Winter Moon featured her husband, pianist Pete 

Malinverni. Since the ‘80s, after a piano education founded on classical music, she performed in 

many New York City venues and released three more albums that included both well-known 

standards and unusual vocal fare. Sandhaus died Jul. 17th at 47. 


†Slam Stewart 1914-87 

Chico Hamilton b.1921 

†Fred Hunt 1923-86 

Sunny Murray b.1937 

John Clark b.1944 


†Fletcher Smith 1913-93 

Bill Smith b.1926 

Ken Vandermark b.1964 

Alex Kontorovich b.1980 


†Albert Ammons 1907-49 

†John Coltrane 1926-67 

†Frank Foster 1928-2011 

†Jimmy Woode 1928-2005 

†Ray Charles 1930-2004 

Norma Winstone b.1941 

Jeremy Steig b.1943 

George Garzone b.1950 


†”Fats” Navarro 1923-50 

†John Carter 1929-91 

Wayne Henderson b.1939 

Bill Connors b.1949 

Jay Hoggard b.1954 

Ingrid Laubrock b.1970 

Walter Smith III b.1980 


†Alex Bigard 1899-1978 

†Charlie Allen 1908-72 

†Sam Rivers 1923-2011 

†Roland Alexander 1935-2006 

Horacee Arnold b.1937 

Mike Gibbs b.1937 

John Taylor b.1942 

Craig Handy b.1962 

Barbara Dennerlein b.1964 


†George Gershwin 1898-1937 

†Dick Heckstall-Smith 

1934-2005 

Gary Bartz b.1940 

Vic Juris b.1953 

Nicholas Payton b.1973 

Mamiko Watanabe b.1980 


†Bud Powell 1924-66 

†Hank Levy 1927-2001 

†Red Rodney 1927-94 

Mike Nock b.1940 

Matt Wilson b.1964 


†John Gilmore 1931-95 

Gerd Dudek b.1938 

Ray Warleigh b.1938 

Rod Mason b.1940 

†Sirone 1940-2009 

†Mike Osborne 1941-2007 

†Kenny Kirkland 1955-98 


Rolf Kühn b.1929 

Malcolm Griffiths b.1941 

Jean-Luc Ponty b.1942 

Roy Campbell b.1952 

Dave Kikoski b.1961 

Alex Skolnick b.1968 


†Buddy Rich 1917-87 

†Oscar Pettiford 1922-60 

†Carmen Leggio 1927-2009 

†Jon Eardley 1928-91 

†Steve McCall 1933-89 

Antonio Hart b.1968 

Melissa Stylianou b.1976 

Marshall Gilkes b.1978 

To a Finland Station 

Gillespie/Sandoval (Pablo) 


Trumpeter Arturo Sandoval owes 

much to Dizzy Gillespie. Not only 

was the elder musician a formative 

influence but it was during a 1990 

tour with Gillespie that Sandoval 

defected from his native Cuba. This 

album, recorded five years after 

Sandoval finally met his idol, was 

documented in the Finnish capital of 

Helsinki, the trumpeters working 

with a local rhythm section (including 

the bassist brother of pianist Heikki 

Sarmanto) for a five-tune program of 

Gillespie pieces, including the 

humorously titled “Dizzy the Duck”. 

GEORGE GARZONE 

September 23rd, 1950 

The tenor saxist’s technique 

and musical imagination was 

honed during weekly gigs in 

his native Boston with the 

freeish trio The Fringe (the 

first two albums are essential) 

starting in 1972. Since then he 

has applied his Coltraneinfluenced 

style to a number 

of albums as leader as well as 

appearances with a wideranging 

selection of artists like 

George Russell, Gunther 

Schuller, Joe Lovano and 

Danilo Perez. His influence, 

instrumentally at least, may be 

felt more in the students he 

has taught (including Joshua 

Redman and Branford 

Marsalis) - many of whom 

pack whatever club in which 

he is playing - as a longtime 

educator at such institutions 

as Berklee College of Music, 

New England Conservatory 

and The New School. -AH 

9.9.99 

Per Henrik Wallin (Stunt) 


Swedish pianist Per Henrik Wallin is 

one of those musicians who worked 

under the surface of general jazz 

consciousness, appreciated by those 

who discovered him. His discography 

is broken up into two periods, the 

early period recording for indigenous 

labels Dragon and Caprice, halted 

due to a 1988 accident, then starting 

again in the late ‘90s, often working 

with younger Swedish musicians. 

This date includes bassist Peter Janson 

and drummer Leif Wennerstrôm for a 

10-song set highlighting Wallin’s 

inside-out sensibilities. 

THE NEW YORK CITY JAZZ RECORD | September 2012 51 

Scott Friedlander

September 2012 - The New York City Jazz Record

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