September 2012 - The New York City Jazz Record

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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 30 September 2012 | THE NEW YORK CITY JAZZ RECORD 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) by Kurt Gottschalk 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. THE NEW YORK CITY JAZZ RECORD | September 2012 31
Page 1: September 2012 | No. 125 B O B B Y
Page 4 and 5: NEW YORK @ NIGHT SMOKE ® JAZZ&SUPP
Page 6 and 7: Photo by Geoffrey Creighton INTERVI
Page 8 and 9: SATURDAY, SEPTEMBER 22 | 7:30PM |$3
Page 10 and 11: ENCORE Rahn Burton by Matthew Mille
Page 12 and 13: Inner Circle by Alex Henderson Greg
Page 14 and 15: IN MEMORIAM Lol Coxhill - a great i
Page 16 and 17: Plays Toninho Horta Duduka Da Fonse
Page 18 and 19: GLOBE UNITY: BRAZIL Piano Masters S
Page 20 and 21: Alive at the Vanguard Fred Hersch T
Page 22 and 23: 22 September 2012 | THE NEW YORK CI
Page 24 and 25: Fortune Songs Jasmine Lovell-Smith
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Page 28: Live at Smalls Jesse Davis (smallsL
Page 33 and 34: Loverly Lenore Raphael/Howard Alden
Page 35 and 36: New York City’s most famous jazz
Page 37 and 38: Conduit Greg Diamond (Dot Time) by
Page 39 and 40: Golden Child Jared Gold (Posi-Tone)
Page 41 and 42: (INTERVIEW CONTINUED FROM PAGE 6) a
Page 43 and 44: Wednesday, September 5 êPeter Brö
Page 45 and 46: Friday, September 14 êDan Tepfer
Page 47 and 48: Sunday, September 23 êFONT: Natsuk
Page 49 and 50: CLUB DIRECTORY • 449 Lounge 449 L
Page 51: BUCKY ADAMS - As an 11-year-old tru

September 2012 - The New York City Jazz Record

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