FEBRUARY 2014 - ISSUE 142
NYCJAZZRECORD.COM
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
IN
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JOSHUA REDMAN BACK EAST
RENEE ROSNES
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DAVE REMPIS
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JOHN LURIE
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JAZT TAPES
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EVENT CALENDAR
“BEST JAZZ CLUBS OF THE YEAR 2012”
SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY
FEATURED ARTISTS / 7:00, 9:00 & 10:30pm
SPECIAL EVENT / 7:00, 9:00 & 10:30pm
Fri & Sat, Jan 31 & Feb 1
Sun & Mon, Feb 9 & 10
MIKE LEDONNE & FIVELIVE
Jeremy Pelt (trumpet) • Eric Alexander (tenor saxophone) Mike LeDonne (piano) • John Webber (bass) Joe Farnsworth (drums)
Fri & Sat, Feb 7 & 8
JEREMY PELT QUARTET
featuring George Mraz & Lenny White
Jeremy Pelt (trumpet) • Danny Grissett (piano) George Mraz (bass) • Lenny White (drums)
Fri & Sat, Feb 14 & 15
DEE DANIELS
BRAD MEHLDAU & PETER BERNSTEIN
ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm Wed, Feb 5
Wed, Feb 12
FLEURINE
Fri & Sat, Feb 21 & 22
Kenny Washington vs. Joe Farnsworth
Wed, Mar 5
DAVID BERKMAN QUARTET
Dayna Stephens (saxophone) • David Berkman (piano) Ugonna Okegwo (bass) • Rudy Royston (drums)
COMPACT DISC AND DOWNLOAD TITLES
Antoine Drye (trumpet) • Anne Drummond (flute) Mark Whitfield (guitar) • Jonathan Lefcoski (piano) Corcoran Holt (bass) •Will Terrill (drums)
Wed, Feb 26
Fri & Sat, Feb 28 & Mar 1
SESSIONS
ANTOINE DRYE SEXTET
Wed, Feb 19
Jim Rotondi (trumpet) • Eric Alexander (tenor saxophone) Harold Mabern (piano) • Peter Washington (bass) Kenny Washington (drums) • Joe Farnsworth (drums)
Winter / Spring 2014
Brad Mehldau (piano) • Peter Bernstein (guitar)
Dee Daniels (vocals) • Antonio Hart (alto saxophone) Cyrus Chestnut (piano, fri) • Helen Sung (piano, sat) Paul Beaudry (bass) • Alvester Garnett (drums)
THE NEW DRUM BATTLE
SMOKE
FLAMENCO MEETS JAZZ BARBARA MARTINEZ
Right On Time SSR-1402
The Uptown Shuffle SSR-1403
Expression SSR-1404
For All We Know SSR-1405
CAROLYN LEONHART GREGG AUGUST QUINTET Music 7 Nights a Week & Sunday Brunch No Music Charge (Sunday to Thursday) For Complete Music Schedule Visit www.smokejazz.com
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212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com
SMOKE
4 6 7 9 10
Having put together the reasonably complete list of those lost from the jazz world New [email protected] Interview: Renee Rosnes by Ken Dryden
Artist Feature: Dave Rempis by Ken Waxman
On The Cover: Joshua Redman by Russ Musto
Encore: John Lurie by Kurt Gottschalk
11 12
Lest We Forget: Clifford Thornton
by Clifford Allen
Megaphone VOXNews by William Hooker
by Katie Bull
Label Spotlight: JaZt Tapes
Listen Up!: Melissa Aldana & Tivon Pennicott
by Ken Waxman
14 16 36 41 43
In Memoriam: Jim Hall (1930-2013) CD Reviews: John Hébert, Danilo Pérez, Helen Sung, Brianna Thomas, Tord Gustavsen, Dayna Stephens, David Krakauer, Tom Harrell & more Event Calendar
in 2013 for our January issue, it is easy to get depressed about how many giants we lost. In that vein, we present a two-page In Memoriam spread devoted to late guitarist Jim Hall, who passed away Dec. 10th, with remembrances from friends, collaborators and musical heirs (a tribute to Hall is planned for April at the Blue Note). And, at the risk of being morbid, there will inevitably be more passings, nonagenarians and octogenarians who are direct connections to jazz history. Of course, the progenitors of this music are long gone and yet it continued; so it will as the lessons they taught to younger generations are themselves passed down. To prove our point, none of our Big Three features are even close to “retirement age”. Saxophonist Joshua Redman (On The Cover), son of a legend but very much his own accomplished self, has been a leader for two decades and brings his quartet to Jazz at Lincoln Center ’s Allen Room for two nights. Pianist Renee Rosnes (Interview) moved to New York from her native Canada nearly 30 years ago and has established herself firmly in the local and international jazz scene; she leads her quartet at Village Vanguard and performs with Ron Carter at Blue Note. And the youngest youngin’ of the youngsters, saxophonist Dave Rempis (Artist Feature), is carrying on the rich musical tradition of his adopted home of Chicago. He co-leads a quartet with trumpeter Nate Wooley at Spectrum and Legion Bar. In other features, we have an Encore on one-time Downtown stalwart John Lurie (Encore), who has a new archival release available; late multi-instrumentalist Clifford Thornton (Lest We Forget), celebrated at Baruch Performing Arts Center by Fred Ho’s Eco-Music Big Band; a Megaphone by drummer William Hooker; Label Spotlight on the JaZt Tapes imprint and Listen Up!s from this year ’s 1st and 2nd Place winners of the 2013 Thelonious Monk International Jazz Competition in Saxophone: Melissa Aldana and Tivon Pennicott. We’ll see you out there... Laurence Donohue-Greene, Managing Editor
Andrey Henkin, Editorial Director
On The cover: Joshua Redman (Santa Istvan Csaba / www.photo-santa.com)
Club Directory Miscellany: In Memoriam • Birthdays • On This Day
Corrections: In last month’s CD Reviews, one of the two vibraphonists on Nate Wooley’s Seven Storey Mountain, Chris Dingman, had his name misspelled.
Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $35 (International: 12 issues, $45) For subscription assistance, send check, cash or money order to the address below or email [email protected]
The New York City Jazz Record
www.nycjazzrecord.com - twitter: @nycjazzrecord - facebook.com/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, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Wilbur MacKenzie, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Contributing Writers William Hooker, George Kanzler, Ken Micallef, Sam Spokony, Michael Steinman Contributing Photographers John Abbott, Scott Friedlander, Peter Gannushkin, Jill Goodwin, Hanna Hedren, Santa Istvan, Alan Nahigian, John Rogers, Jack Vartoogian
To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 New York, NY 10033 United States
Laurence Donohue-Greene: [email protected] Andrey Henkin: [email protected] General Inquiries: [email protected] Advertising: [email protected] Editorial: [email protected] Calendar: [email protected]
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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N EW YOR K @ N I G HT
Burnt Sugar’s stageshow “Sun Ra Visitation” at Joe’s This year’s 32nd annual NEA Jazz Masters induction Pub (Jan. 9th), taken at face value, was that crassest of musical forms, the jukebox musical. Except where ordinarily the form is marked by onion-skin-thin storylines strung together to support songs, here the material was surreal enough that making sense wasn’t requisite. It was a musical about a man named Sonny Blount who played the piano, also named Sun Ra, who was on a quest to realize his jazz ideals, also to go to Egypt, also to go forward and backward in time and also to go to outer space and any two of those, it seemed, might have been the same thing. With an electrified quartet backing horns, percussion and multiple vocalists, there were a dozen people crowding the stage and often spilling off into the tightly arranged tables below. Spoken lines from Ra’s own texts were arranged like musical parts. The scenes dissolved into “Rocket #9”, “Face the Music” and other pieces, constructing a chronology of Ra’s life (May 22, 1914May 30, 1993), if not exactly a narrative. While Ra’s bands certainly had dramatic flair, bandleader Greg Tate was wise to revive the music as musical theater rather than theatrical music and with a band that was tighter than some of Ra’s own groups. If there was one frustration it was in not hearing them kick into gear at least not until the end with the 1-2-3 punch of “Outer Spaceways Inc.” and “Nuclear War”, followed by a closing reprise of “Face the Music”. - Kurt Gottschalk
Pete Robbins
Pyramid out now!
Hate LaugH Music
Pete Robbins vijay iyeR eivind oPsvik tysHawn soRey
aLto saxoPHone Piano bass dRuMs
ceremony/concert, held in JALC’s Allen Room (Jan. 13th), awarded Jamey Aebersold, Anthony Braxton, Richard Davis and Keith Jarrett jazz’ highest national honor. It is perhaps the only time you’ll find so many prestigious artists listening to speeches about music (rather than making it themselves), but the inductees all had pearls to share. Aebersold, the first educator to receive the AB Spellman Advocacy Award, avowed that everyone can learn to improvise. In a 45-minute ex tempore excursus, multi-reedist Braxton revealed how his initial intellectual interests evolved into a form of worship at “The House of Music”. Bassist Davis gently reminded the crowd that jazz was born of the black man’s struggle to live in white society, also noting “to be [musically] free, you have to have discipline.” Pianist Jarrett asserted that the greatest talent lies in allowing the music to happen, but that “most of us don’t.” Most of the featured groups mixed new(er) comers with veterans, showing the ongoing generational mentorships. Some of the most transcendent moments occurred during vocalist Ann Hampton Calloway’s rendition of Jobim’s “Wave”; Braxton’s “Trillium J” featuring an operatic libretto to avant accompaniment; trumpeter Jimmy Owens and pianist Kenny Barron’s soulfully memorial “Placitude”; guitarist Bill Frisell and pianist Jason Moran’s duet on Jarrett’s “Memories of Tomorrow” and Jimmy Heath and Melissa Aldana’s tandem tenors on “New Picture”. - Tom Greenland
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Photo by Alan Nahigian
satuRday, FebRuaRy 1 Cornelia Street Cafe nyc
Photo by Scott Friedlander
aLbuM ReLease conceRt
Richard Davis @ NEA Jazz Masters Induction Ceremony
Burnt Sugar @ Joe’s Pub
Inuit singer Tanya Tagaq made three appearances in town as a part of the Association of Performing Arts Presenters Conference last month, starting with a public show at Drom (Jan. 10th) where she and her trio (violinist Jesse Zubot and drummer Jean Martin) accompanied the 1922 film Nanook of the North. That film was the first many people saw of the struggles of life in the Canadian arctic. Tagaq was a vision very different from her Arctic ancestors. In tight jeans, suede boots and Ziggy Stardust t-shirt, she was far from the hunters in the film. But animated and animalistic, feet planted firmly, muscles flexed, she seemed infused with the strength of people surviving in crushing environs. Tagaq practices a style of throat singing native to her Nunavut homeland, similar to the more widely known Tuvan, but given to storytelling and even occasional humor. Her vocalizing was sometimes literal enough to include howls, which meshed nicely with the cricket chirping and baby crying retained from the film. The music the trio played seemed to serve two functions. With the tribal rhythms of pounded toms and cinematic swells of bowed strings, the band seemed inside and outside the film at once. Which is not to say there wasn’t interplay between them. They’ve been together since 2006 and have developed a deep shared consciousness. Quick violin strokes and cymbal scrapes melded with Tagaq’s powerful, sorrowful cries to make a music that managed to be abstract and narrative at the same time. (KG)
4 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
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help Blue Note Records celebrate the 75th anniversary of its first recording session, two of its most innovative recent pianists, Jason Moran and Robert Glasper, strode onto the Town Hall stage (Jan. 8th) in matching black tuxedos and blue-striped Adidas sneakers, faced off across nose-to-nose grands and launched into a Albert Ammons/Meade “Lux” Lewisinspired medley of “Easy Rider Blues” and “Boogie Woogie Stomp”, both tunes from the original studio date (Jan. 6th, 1939). The maestros laid down soulful gutbucket phrases, but found even more inspiration on “Text Me”, co-written (via texting) for the date, on which they traded musical quotes (everything from the Blue Note standards “Sidewinder” and “Speak No Evil” to Scarface’s sample of “Be Real Black for Me”), each curtailed by a jagged phrase. “Tribute” and “Gentle Shift South”, written for their moms, were followed by Moran’s “Retrograde” and a mirrored rewrite of Andrew Hill’s “Smokestack”. After a short break, tenor saxophonist Ravi Coltrane, bassist Alan Hampton, drummer Eric Harland and vocalist Bilal joined the duo for a hard-swinging set including Ornette Coleman’s “Toy Dance”, Bilal’s “All Matter”, a neo-soul update of “Body and Soul”, Monk’s “Criss Cross”, concluding with Glasper’s “Canvas”, featuring a charismatic solo from Harland. Considering that Moran, Glasper, Hampton and Harland all went to the same arts high school, you have to ask, is there something in that Houston water? (TG)
Even if the notion of multiple bass clarinets has been used before in avant garde music (Edmund Welles; le Trio de Clarinettes; The Clarinets), it is still a welcome tool for an ambitious composer, a delicious burry drone that leavens the sharpness of other instruments and adds an air of smoky mystery. Pianist Kris Davis, who certainly doesn’t lack for ambition, be it solo, co-leading a trio or her new quintet, is the latest to be entranced by the bass clarinet’s resonant possibilities. At Roulette (Jan. 6th), she presented her Infrasound project, an octet featuring Joachim Badenhorst, Andrew Bishop, Ben Goldberg and Oscar Noriega (veteran of The Clarinets) on a thicket of bass clarinets as well as the lesser-used contra-alto and contra-bass versions. Davis conducted the piece from behind her grand piano, abetted by guitarist Nate Radley, organist/ accordionist Gary Versace and drummer Jim Black. The clarinetists were lined up in a classical row on stage left and the separation was not only logistical but aesthetic. Across six pieces, Davis wove the clarinets into her compositions - most written for the group, one appropriated from the Paradoxical Frog trio - to mixed results. When there was a dense structure and fixed pulse, the music became a bit leaden, recalling ‘70s arena rock like Blue Oyster Cult and the clarinets were in awkward opposition to the higher-pitched foursome across from them. But when the music erred on the side of spacious, all of the ensemble’s textures became clearer and the results more cohesive. - Andrey Henkin
Multi-instrumentalist Henry Threadgill debuted the latest of his eclectic musical assemblages, Ensemble Double-Up, at Judson Church (Jan. 11th) for the premiere of his ambitious work “In Remembrance of Lawrence Butch Morris”, dedicated to his longtime friend, the pioneering conductioner/cornetist/ composer who died last January. Featuring the dual pianos of David Virelles and Jason Moran and alto saxophones of Roman Filiu and Curtis Macdonald, along with tuba player Jose Davila, cellist Christopher Hoffman (both members of Threadgill’s group Zooid) and drummer Craig Weinrib, the piece (conducted sparingly by Threadgill, absent his customary saxophone and flute) unfolded organically. It began with Virelles’ spacious repetition of a single ringing chord, which gradually advanced into denser rhythmic progressions (at times recalling the imposing pianistic vocabulary of Cecil Taylor), as Moran offered an authoritative percussive counterpoint. This built towards a climactic intensity, which introduced the individual voices of the remaining instrumentalists. The horns’ boisterous and jagged melodic lines clearly evinced the distinctive compositional lexicon of the bandleader, blowing conversationally over the emphatic alternating rhythms of Davila and Hoffman and sprawling drumming. Replete with narrative drama, the music flowed through passages of weighty gravity into ones of serene etherealism, to become a highpoint of Winter Jazzfest 2014. - Russ Musto
WHAT’S NEWS Online voting is open through Feb, 14th for the new set of nominees for induction into the Nesuhi Ertegun Jazz Hall of Fame. The top four vote-getters from the following list will be inducted in June: Jimmie Blanton, Betty Carter, Erroll Garner, Fletcher Henderson, James P. Johnson, JJ Johnson, Elvin Jones, Wes Montgomery, Oscar Pettiford and Lennie Tristano. To vote, visit jalc.org. The Creative Music Studio, founded by Ornette Coleman, Ingrid Sertso and Karl Berger, has announced the dates of its 2014 workshops. They will take place at Full Moon Resort in Big Indian, NY Jun. 9th-13th and Sep. 30-Oct. 4th. Artists confirmed to participate include Vijay Iyer, Dave Douglas, Oliver Lake, John Medeski, Tony Malaby, Mark Helias, Kirk Knuffke, Peter Apfelbaum, Jason Hwang and others to be named. The registration deadline is May 19th. For more information, visit creativemusicfoundation.org. Following the 2012 closure of Feinstein’s at Loews Regency, Michael Feinstein has partnered with Gianni Valenti, owner of Birdland, to open a club in Midtown called Feinstein’s on Broadway. Jazz at Lincoln Center has received a gift in the amount of $20 million from financier and current JALC chairman Robert J. Appel, earmarked for performance, education and audience development. For more information, visit jalc.org.
New Zealand-born and Australia-based pianist Mike Nock has received the 2014 Don Banks Music Award given by the Australia Council for the Arts. For more information, visit australiacouncil.gov.au.
John Rogers/johnrogersnyc.com
Peter Gannushkin/DOWNTOWNMUSIC.NET
W. 77th Street between Riverside Drive and West End Avenue has been renamed as Miles Davis Way. The trumpeter lived in a building on the block for 25 years.
The Library of Congress is the recipient of the musical and personal effects of late drummer Max Roach, including scores, correspondence and an unpublished biography written with the late Amiri Baraka. For more information, visit loc.gov.
Goldberg, Bishop, Badenhorst and Noriega @ Roulette
Henry Threadgill Ensemble Double-Up @ Judson Church
The guitar duo of Julian Lage and Nels Cline is a little over 18 months old, first performing locally in May 2012. Since then they have toured, recently finished recording an album and Cline was featured as the first guest at Lage’s mini-residency at Rockwood Music Hall 3 (Jan. 8th). What differences Lage and Cline may have - age, background, scenes - is artificial distinction at best. For 90 minutes, the paired plectricts showed a packed house (buffeted by a malfunctioning heating system) that their collaboration is a strong continuation of a tradition, one that is safe in their four hands. They mostly played a mix of their originals at the concert, some written specifically for the project while others were brought in, most notably Cline’s “Blues, Too”, a dedication to Jim Hall from the Nels Cline Singers album Initiate (Cryptogramophone, 2009), made bittersweet by the master ’s passing last December. Echoes of Hall’s 1973 meeting with Attila Zoller bubbled up from the unexpected resolutions and shifts from aggression to delicacy. But that earlier duo wasn’t the only one obliquely celebrated; throughout the evening, one could hear Pat Martino/Bobby Rose, John Abercrombie/Ralph Towner, Duane Allman/Dickey Betts, an overdubbed Derek Bailey and, most importantly, Lage/Cline. In their short partnership, a fascinating borderless aesthetic has been created, expansive, virtuosic, playful, supportive, rootsy and ultimately some of the most ‘musical’ music you’ll hear anywhere. (AH)
The youngest scion of the famed Philadelphia jazz family to emerge on the New York scene, Duane Eubanks has advanced through the ranks of hardbopping trumpeters to achieve a stature commensurate with that of brothers Robin and Kevin, trombone and guitar, respectively. Fronting a powerful quintet of Abraham Burton (tenor saxophone), the Curtis Brothers (pianist Zaccai and bassist Luques) and Eric McPherson (drums) at Smalls (Jan. 8th), the versatile trumpeter sailed through two sets that proved him to be a commanding leader, as well as an accomplished composer and engaging soloist, playing ‘in the tradition’ with a sound blending the supple lyricism of Miles Davis and fiery virtuosity of Freddie Hubbard. The evening’s opener, “As If”, was a commanding tour de force, which found Burton tearing into a John Coltrane-ish mode, blowing with a muscular intensity over clattering polyrhythms, punctuated by earthy bass and percussive piano chords, before slipping into a mellow, introspective mood. The leader opened pianist Mal Waldron’s “Soul Eyes” with an unaccompanied introduction, exhibiting his command of the full expanse of his horn, along with the innate melodicism he later displayed on the reading of the classic melody and ensuing improvisation. He showed his soulful side on Hubbard’s “Blues For Duane” and then his compositional range with his tender ballad “P” and labyrinthine “Slew Footed”. (RM)
Pianist Herbie Hancock has been appointed the 2014 Charles Eliot Norton Professor of Poetry at Harvard University and will give six lectures in February and March on “The Ethics of Jazz”. For more information, visit mahindrahumanities.fas.harvard.edu/content/nortonlectures. Jazz author and educator Arnold J. Smith has donated his entire jazz collection, including LPs, cassettes, posters, artwork and ephemera to the University of Nevada, Las Vegas Arnold Shaw Popular Music Research Center. For more information, visit asc.unlv.edu. From Mar. 13th-20th, Larry Rafferty - known by many as “Mr. Bebop” - will have an online auction of his jazz and blues memorabilia collection, including rare autographed photos. For more information, visit rrauction.com. The niece of late drummer Paul Motian has begun a weekly radio program devoted to her uncle’s legendary body of work. Uncle Paul’s Jazz Closet, broadcast on WRFR LP Rockland, Maine, can be streamed online at wrfr.org. Clarinetist Eddie Daniels and pianist Roger Kellaway have been given the The Grand Prix de l’Académie du Jazz, awarded to the best record of the year in France, for their duo album Duke at the Roadhouse Live in Santa Fe (IPO Records). Submit news to [email protected]
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
5
INT ER V I EW
Photo by John Abbott
Renee Rosnes
something. Wayne is paramount in that way of thinking, always searching and exploring. I felt James Moody was so excited about the music all the time; he’d practice and come to the bandstand with something new for us in terms of improvising. I played with Todd Coolman on bass and Adam Nussbaum on drums. We would just look at each other in awe while playing with Moody, when he would just whack it out of the park. After the gig, he would ask, ‘What was that you played on the third chorus of such-and-such tune? I want to check that out. Show me that harmony, or voicing.’ This was a man in his 80s who still had that passion, the desire to keep on learning. Bobby
by Ken Dryden A gifted pianist who arrived on the New York jazz scene in
the mid ‘80s, Renee Rosnes has amassed an impressive resumé, having recorded with Joe Henderson, JJ Johnson, Slide Hampton, Gerald Wilson and the Dizzy Gillespie AllStar Big Band, along with a series of albums as a leader for Blue Note and various Japanese labels. The Canadian has proved herself to be a gifted composer, whose works have been recorded by a number of veteran artists. She leads her own quartet and occasionally shares the stage with her husband/pianist Bill Charlap while also being a member of Ron Carter’s Foursight Quartet. The New York City Jazz Record: Was your family musical? Renee Rosnes: I had parents who loved music but weren’t musicians. They felt it was important for their kids to be exposed to it and learn a musical instrument. I had two older sisters and all of us took piano and a stringed instrument. I started piano at three and violin at five, I was a part of the youth orchestra in Vancouver. TNYCJR: How did you transition into jazz? RR: My high school band director needed a pianist. He knew there was another Rosnes girl coming along who played piano and he recruited me for the band. I knew nothing about jazz. It was in junior high school when I first heard the music and fell in love with it. TNYCJR: When did you start playing jazz outside of the school band? RR: There were numerous little engagements here and there. I was also a part of a vocal group that was jazzoriented, so sometimes I played, too. Right after high school I began to play professionally. I went to the University of Toronto for classical studies. During that time I realized that jazz was my passion and the direction I wanted to take. I moved back to Vancouver. TNYCJR: What was the Vancouver jazz scene like then? RR: In the early ‘80s, there were many great musicians there, as there are now. It was a healthy jazz scene and there were several venues that brought in jazz musicians. One had some of the greatest people coming in for two weeks at a time. I heard Ella Fitzgerald, Oscar Peterson, Joe Williams, Toshiko Akiyoshi and her big band with Lew Tabackin. Then there was the Landmark Jazz Bar in the Sheraton Hotel. They brought in Freddie Hubbard and John Handy. There were other small places that brought in people. Monty Alexander ’s trio really turned me on. It was almost like living in a miniature New York because there was so much live jazz happening. It was great for me, because not only could I hear them, but I could be inspired and learn so much at such a young age from listening to these bands play. I was also playing with peers and musicians in
Vancouver, such as a great guitarist named Oliver Gannon, who is still on the scene and was very integral to my development. Saxophonist Frasier McPherson, who died some years ago. Bassist Wyatt Reuther, who played in Erroll Garner ’s trio [and in the Dave Brubeck Quartet], took me under his wing. We did a lot of duo gigs together and he taught me a lot of tunes, guided me and turned me onto different musical things. Erroll’s brother, Linton Garner, lived in Vancouver and was also on the scene. There was a lot of activity and it was a great environment for me at the time. I got my first experience accompanying major people who came through town and were looking for a local rhythm section. The first engagement like that I did was with Joe Farrell. I played with Dave Liebman in a really small venue called The Classical Joint; it might have held 50 people at most. I remember being overwhelmed and thrilled to be making music with somebody of that stature. TNYCJR: Who were some of the jazz artists you studied with after moving to New York? RR: I took about a half-dozen lessons with Jim McNeely. He was very articulate and a really great teacher. I also had a lesson with Cedar Walton and got together with James Williams and Mulgrew Miller. I went to several of Barry Harris’ workshops. It was an important time for me to be in New York, hear all these players and get to talk to them, know them and learn from them. I had no other responsibilities at the time, so I had a lot of time to practice and hang out, jam with people, it was a different era. It’s quite different now. TNYCJR: You’re now touring with Ron Carter. RR: It’s fantastic, a dream come true to play in Ron’s band. He was the bassist on my very first Blue Note record [Renee Rosnes, 1988-89], which was a huge thrill. Since then I’ve wanted to share the bandstand with him. We’ve been in different situations over the years - he guested with the Carnegie Hall Jazz Band and there were a couple of record dates where we were both sidemen. He makes the music levitate. It’s like riding in a Rolls-Royce, very inspirational. TNYCJR: Who has inspired you as a pianist, composer, or arranger? RR: Musically I’ve been influenced by all the great pianists who came before me. I can’t break it down to a handful, as it’s an ongoing thing. I’m continuing to study and learn. Of course, everyone I’ve played with has had a major impact in different ways, though that’s sometimes difficult to exactly put into words. I was so blessed to be on the bandstand with Joe, JJ and Wayne. One thing I think they have in common is an almost childlike enthusiasm for what they do, a continual discovery for new ways to play and approach
6 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
(CONTINUED ON PAGE 42)
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AR TIST F EA T U RE
Peter Gannushkin/DOWNTOWNMUSIC.NET
Dave Rempis
For more information, visit daverempis.com. Rempis is at Spectrum Feb. 8th and Legion Bar Feb. 9th. See Calendar. Recommended Listening: • The Vandermark 5 - Alchemia (Not Two, 2004) • Ken Vandermark - Resonance (Not Two, 2007) • Dave Rempis/Frank Rosaly - Cyrillic (482 Music, 2009) • Wheelhouse ((Dave Rempis/Jason Adasiewicz/ Nate McBride) - Boss of the Plains (Aerophonic, 2010) • The Rempis Percussion Quartet - Phalanx (Aerophonic, 2012) • Dave Rempis/Joshua Abrams/Avreeayl Ra Aphelion (Aerophonic, 2013)
by Ken Waxman F or proof that a committed improviser can build an impressive career outside of NYC, look no further than Chicago saxophonist Dave Rempis. The Massachusetts native, who relocated to the Windy City in 1993, is kept busy touring with his own bands as well as in a variety of other groups. This month he’ll play two rare gigs in the Big Apple, as part of a completely new configuration with trumpeter Nate Wooley, bassist Pascal Niggenkemper and drummer Chris Corsano. Rempis, 38, who gained notice as a member of the Ken Vandermark 5 from 1998-2010, says that in today’s jazz scene, “there’s not much difference between being a sideman and having a solo career. The paradigm has shifted since the ‘60s, where recording contracts would define a group.” Among the bands with which he works are The Rempis Percussion Quartet with bassist Ingebrigt Håker Flaten and drummers Tim Daisy and Frank Rosaly; the Engines with trombonist Jeb Bishop, bassist Nate McBride and Daisy; Ballister with cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love; a trio with bassist Joshua Abrams and percussionist Avreeayl Ra and a duo with Daisy. He’s also a member of pianist Pandelis Karayorgis’ quintet, Håker Flaten’s bands and many projects featuring Vandermark. Although Rempis and Vandermark grew up in neighboring towns, the younger saxophonist didn’t meet and see Vandermark perform until he was studying at Northwestern University, planning to pursue a degree in classical saxophone. Rempis began studying saxophone at eight, after being fascinated as a child by Zoot, the saxophone-playing Muppet. By his early teens an uncle’s cassette tape, with The Charlie Parker Master Takes on one side and John Coltrane, Live at Birdland on the other, extended his horizons, as did an LP collection he was given by a fellow golf caddy “featuring everything from Circle to Slim and Slam.” Initially obsessed with the saxophone’s technical aspects, Rempis’ classical orientation lasted one semester. “It was stultifying,” he recalls. “The syllabus laid out what mouthpiece you would use, which reeds and what piece of music you would be playing the next year. It was designed to turn out cookie cutter saxophonists.” Switching his major to anthropology with an emphasis on ethnomusicology, Rempis was leaning towards an academic career, when, during a year studying at the University of Ghana, Legon, his sax playing was suddenly in demand. “It may have been because there weren’t many horn players,” he jokes. “But I figured if people wanted to hear me play there, why not here? I was re-inspired.” Graduating, he began gigging and attending as many shows as he could and soon connected with Vandermark. After Rempis took a couple of private lessons, Vandermark told him that V5 needed a replacement saxophonist. Being young and able to travel as part of the band’s phenomenally busy international schedule, Rempis fit right in. “It was really an invaluable, inspired situation, but nervewracking as well since it took me a while to get up to
speed,” he recalls. “It really kicked my ass at the time.” In the early Aughts Rempis also began recording on his own, often in the company of Daisy, with whom he has played in a duo since 2001. “The duo setting is a liberating situation,” he states. “There’s lot of harmonic playing and it provides intensity, flexibility and exhilaration.” Although he insists that “every project I’m in brings out a different facet of my playing”, Rempis describes the Percussion Quartet as the most distinctive. The Ra/Abrams trio is also noteworthy, since the other musicians have Association for the Advancement of Creative Musicians (AACM) ties. That’s an outsider ’s view, Rempis cautions. He has known Abrams since Northwestern and first played with Ra in another quartet. When he and Abrams decided to expand their duo, Ra was the logical choice. “This group came together organically. It’s not as if I suddenly decided to play with guys affiliated with the AACM.” After 20 years of players going back and forth, the supposed North Side/South Side divide among Chicago jazzers is exaggerated, he insists. Aphelion, with Ra and Abrams, is one of four discs available on Rempis’ Aerophonic label, which came into existence in 2013. Aerophonic, he explains, allows him more control over presentation and closer links between CD releases and touring schedules. Its birth came when Rempis noted that many of the imprints for which he recorded were scaling back their operations and that some had so much product that it could be about two years before a session was released. “I felt I was better off working for myself. As a musician I had the contacts and a network of people, such as distributors and writers, I know around the world. We’re living in an age where a musician has to do things completely for himself. It’s part of the DIY marketing effort that came out of punk - the tools are all there.” The name is a combination of “aerophone”: any musical instrument that produces sound by causing a body of air to vibrate, plus “phonic”, “which I always liked”, he reveals. “It’s a good ‘60s word like ‘stereophonic’.” Plans are to release three to four CDs each year, but due to logistics and expenses, they’ll be his own projects, although that may eventually change. Aerophonic isn’t that much of a stretch for Rempis, who, unlike many jazz musicians, has music business experience. For years he has curated weekly shows at different Chicago venues, most recently at the Elastic Arts Foundation and is a member of the Umbrella Music collective that organizes the city’s annual Umbrella Music Festival. Another of his day jobs is bookkeeping for the annual indie-rock Pitchfork Music Festival. Although he states that the scene would be better if more musicians knew exactly how clubs operate, the rock and jazz scene are so distant that his gigs come from knowing people and his playing experience rather than any indie-rock connections. As he’s demonstrated since the ‘90s, it’s an indefatigable work ethic and commitment to expanding the language of improvised music that keeps Rempis working. v
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“Best Jazz Venue of the Year” NYC JAZZ RECORD001f“Best Jazz Club” NY MAGAZINE+CITYSEARCH
SAT FEB 1
JOHN ABERCROMBIE QUARTET MARC COPELAND - DREW GRESS - JOEY BARON SUN FEB 2HCLOSED FOR PRIVATE EVENT TUE-WED FEB 4-5
CHRIS BERGSON BAND
ELLIS HOOKS - JAY COLLINS - KENNY RAMPTON - IAN HENDRICKSON-SMITH CRAIG DREYER - MATT CLOHESY - AARON COMESS THU-SUN FEB 6-9
DANILO PEREZ: PANAMA 500
ALEX HARGREAVES - BEN STREET - ADAM CRUZ - ROMAN DIAZ TUE-WED FEB 11-12
HELEN SUNG GROUP PLUS SPECIAL GUEST
PAQUITO D’RIVERA
INGRID JENSEN - SEAMUS BLAKE - REUBEN ROGERS OBED CALVAIRE - SAMUEL TORRES THU FEB 13
ANDY BEY: SOLO
FRI-SUN FEB 14-16
MINGUS BIG BAND
RAVI COLTRANE:QUARTETS TUE-WED FEB 18-19 WITH
GADI LEHAVI-DREW GRESS-MARCUS GILMORE THU-FRI FEB 20-21 WITH ADAM ROGERS (FEB 20) - DAVID GILMORE (FEB 21) SCOTT COLLEY - NATE SMITH SAT-SUN FEB 22-23 WITH RALPH ALESSI - ROBERT HURST - KUSH ABADEY TUE-WED FEB 25-26
KENDRICK SCOTT ORACLE
SEAMUS BLAKE - MIKE MORENO - TAYLOR EIGSTI (FEB 25) - GERALD CLAYTON (FEB 26) - JOE SANDERS THU-SUN FEB 27-MAR 2
HOUSTON PERSON QUARTET
LAFAYETTE HARRIS - MATTHEW PARRISH - CHIP WHITE HHHMINGUS MONDAYSHMINGUS MONDAYSHHH MON FEB 17 MON FEB 3, 10 & 24
MINGUS BIG BAND
MINGUS ORCHESTRA
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAYAT 2PM [EXCEPT FEB 2]-DIRECTED BY DAVID O’ROURKE
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
7
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Santa Istvan Csaba / www.photo-santa.com
JOSHUA REDMAN BACK EAST by Russ Musto
“I
love New York. New York was my home for 11 years and it’s the center of the jazz universe,” Joshua Redman says from his home in Berkeley, California, where he was born on Feb. 1st, 1969. “I don’t live there anymore, but New York is still very familiar to me. I’m fortunate that I still come back multiple times a year,” the award-winning saxophonist continues. “I don’t usually do big gigs in New York more than once or twice a year, but every opportunity to play in New York is special.” Redman’s last performance here was back in June of last year at Town Hall, where he appeared leading an allstar quartet featuring longtime colleague, pianist Brad Mehldau, along with bassist Larry Grenadier and drummer Brian Blade. Augmented by the Knights Chamber Orchestra, the group recreated the music from his latest effort, the critically acclaimed Walking Shadows, a “With Strings” album produced by Mehldau, blending originals by both the saxist and the pianist along with interpretations of classic ballads from the Great American Songbook and pieces by Bach, The Beatles, John Mayer and alternative rock band Blonde Redhead. While Redman is neither the first nor the only contemporary player to introduce such disparate material into the jazz canon, he is certainly one of the most proficient at putting his own personal stamp on it, as he proved in 2012 touring with The Bad Plus. “I always knew Josh was great, but what I didn’t know was what a committed improvisor he was,” the eclectic group’s pianist Ethan Iverson notes. “On tour he never seemed to play the same stuff night after night, even at blistering tempos. I started to play better on pieces I’d already played for years, after he brought that inspiring energy to our bandstand.” Another fellow musician inspired by Redman is alto saxophonist Miguel Zenón, who worked with him in the SFJAZZ Collective. “Josh really set an example for me in so many different ways,” says Zenón. “A very successful musician who’s still shooting to get better every day and find new challenges, while still being respectful to everyone and a true gentleman.” Although the saxophonist has made a name for himself playing an expansive repertoire, he remains a stalwart defender of the jazz tradition. “I am a jazz musician, first and foremost, and that is the music that I love,” he proclaims with unabashed pride. “If I had to pick one music that I would play for the rest of my life - if I had to pick my one style of music, it would probably be jazz.” He goes on: “Thankfully I don’t have to do that. I’ve never seen being a jazz musician as having to be an exclusive choice and so I’ve been fortunate enough to have a chance to work with a lot of incredible jazz musicians and also with a lot of great musicians outside of jazz. I enjoy the diversity of the experience and when I play other music in other styles in other settings I take some of that with me. I learn a lot in every situation that I’m in. ...But honestly, if I could only play jazz for the rest of my life, it wouldn’t be such a bad thing. I think of all the music out there, jazz is probably the type of music that handcuffs you
the least, because it’s music that is based on improvisation. It’s based on playing what you feel and what you think and what you hear in a moment and to me there’s nothing more liberating than that.” Some of the saxophonist’s first appearances in New York, where he migrated to following his graduation from Harvard (summa cum laude, Phi Beta Kappa, with a Bachelors in Social Studies), were sitting in at the Village Vanguard with his father, the legendary saxophonist and Ornette Coleman-Keith Jarrett alumnus Dewey Redman. He was soon jamming regularly on the nascent scene that was developing at Smalls, with fellow young players like Mark Turner and Roy Hargrove he had met while in Boston. He was named the winner of the prestigious Thelonious Monk International Saxophone Competition in 1991, making him rethink his acceptance to Yale Law School and embark on a career as a professional musician. He quickly earned a place in the bands of many of the music’s most important players - among them some the genre’s greatest drummers. Working with the likes of Elvin Jones, Paul Motian, Jack DeJohnette, Roy Haynes and Billy Higgins had a profound effect on the young saxophonist’s development. He says, “I think that I’ve taken something from everybody that I’ve played with and certainly all those master musicians; musicians that I grew up idolizing and I learned to play listening to before I ever met them. Then I had the opportunity to actually play with them.” He explains, “I’ve been very fortunate to have had the opportunity to play with a lot of great drummers. I don’t play the drums, but I love rhythm and I think that I have often times a very rhythmic approach to playing the saxophone. I love interacting with drummers. To me the most important thing is connecting to the beat and being able to be as much a part of the groove as possible - even though I’m playing a melody line. Playing with all those great drummers, they taught me how to groove. You know how to maintain the groove and at the same time play around and outside and inside the groove.” Signed to a record contract with Warner Brothers, Redman quickly demonstrated that he had also learned how to lead a band and present his own personal approach to expanding the jazz tradition. His eponymous 1992 debut found him fronting different groups of predominantly fellow young players and featured several engaging originals, in-the-tradition classics like Monk’s “Trinkle Tinkle” and Gillespie’s “Salt Peanuts”, standards “Body And Soul” and “On The Sunny Side Of The Street” and a tour de force reading of James Brown’s “I Got You (I Feel Good)”. His next album was the 1993 allstar date, Wish, with Pat Metheny, Charlie Haden and Billy Higgins, followed by 1994’s original-laden Moodswing with future jazz stars Mehldau, bassist Christian McBride and drummer Brian Blade, wherein he spelled out his musical philosophy with erudite liner notes: “Jazz is music. And great jazz, like all great music, attains its value not through intellectual complexity but through emotional expressivity … Jazz is about communication,
feeling, honesty and soul. Jazz is not supposed to boggle the mind. Jazz is meant to enrich the spirit.” Redman confesses, “Maybe it’s a little selfish, but I make musical choices on what is interesting and inspiring to me, personally as a musician… The audience for jazz is never going to be a mass popular audience. I don’t know if it ever was since the big band era. And I doubt if it ever will be again. I think that’s fine …I’m fortunate that as a jazz musician I’ve been able to build an audience and keep some of that audience.” Redman fills concert halls all over the world and he is currently beginning the second leg of a tour that has had him traversing the United States and later Europe. It has reunited him with his working group from the turn of this century: pianist Aaron Goldberg, bassist Reuben Rogers and drummer Greg Hutchinson. He says of the band, “To me they are three of the finest musicians of their generation and three of the finest musicians playing today. They’re masters of their instruments. They’re steeped in the vocabulary of jazz, in the many different styles of jazz, which I think is very important. But I think most importantly, it’s their spirit. We love to improvise. That’s our stock in trade and that’s the bread and butter of jazz. That’s the heart and soul of jazz. Hopefully every night is fresh and new. This particular quartet, we have a long history of playing together …These guys, Aaron, Reuben and Greg, they come to play every night. The only agenda they have is to try to make as good and as honest and as soulful music as possible in the moment and as creative music as possible in the moment.” Rogers similarly lauds his fellow musicians saying, “The level of trust that I feel playing with Joshua, Aaron and Greg is what all improvising musicians are trying to achieve on some level or the other. Given the difficulty of keeping a working band on the road these days…fewer and fewer musicians get a chance to get to something this special. It makes me run to the bandstand every night, looking forward to the next musical adventure. We are in the trenches together… all for one...one for all.” Redman is looking forward to bringing the band back to New York where it all started. “This will be my first time actually ever playing the Allen Room. I’ve never played there before. I’ve only played at Jazz at Lincoln Center a couple of times before and never with one of my own groups, so I guess it’s a first for me.” v For more information, visit joshuaredman.com. Redman is at Allen Room Feb. 7th-8th. See Calendar. Recommended Listening: • Joshua Redman - Eponymous (Warner Bros., 1992) • Joshua Redman - Wish (Warner Bros., 1993) • Joshua Redman - Spirit of the Moment: Live at the Village Vanguard (Warner Bros., 1995) • SFJAZZ Collective - Live 2005 (2nd Annual Concert Tour) (SFJAZZ, 2005) • Joshua Redman - Back East (Nonesuch, 2006) • Joshua Redman - Compass (Nonesuch, 2008)
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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E NC OR E
John Lurie by Kurt Gottschalk
Jill Goodwin
Hanna Hedren
There was a time when John Lurie was practically a poster boy for East Village jazz. Suave, sharp-witted and well dressed, Lurie also had a sound on the sax like no one else. He released nine albums with his Lounge Lizards and appeared on David Sanborn’s landmark television show Night Music, employing a variety of lineups that included Michael Blake, Curtis Fowlkes, Arto Lindsay, Billy Martin, John Medeski, Roy Nathanson, Marc Ribot, David Tronzo, EJ Rodriguez, G. Calvin Weston, Doug Wieselman, Kenny Wollesen and about as many more again. He appeared in Jim Jarmusch’s movies and did a star-studded fishing show for the IFC Channel. But today, little might be less expected from him than a new record. In 2000, Lurie’s musical career was waylaid by Lyme disease. His focus shifted from music to painting and from the stage to the studio. For people who had followed his two decades of reinventing jazz, the most news about Lurie they heard might have been a 2010 The New Yorker magazine profile that painted him as recluse, suffering from a “mysterious ailment” and being hounded by a maniacal stalker. More than 50 friends signed a letter objecting to the portrayal. (available at johnlurienewyorker.blogspot.com) Now, rather suddenly, Lurie’s music is being heard again. Blake presented a night of his former boss’ compositions at Cornelia Street Café last June. Blake, Martin and Lurie’s brother, the pianist and Lounge Lizard Evan Lurie, are organizing a larger tribute at Le Poisson Rouge this fall. Through the efforts of Martin, an album by the John Lurie National Orchestra (a trio with drummers Martin and Weston) was released in January, combining material from their 1993 debut Men With Sticks and the Fishing With John soundtrack with unissued live recordings.
Lurie speaks with a sort of openness perhaps afforded by years away from his own music. “When the first trio CD came out, a lot of jazz writers were saying, ‘This is a good idea but John Lurie doesn’t have the chops to pull it off, it would be better if it had been ‘so and so’ and they would list their favorite jazz saxophonist. But man - listen to that stuff. Who can play like that?” If he comes off as a bit immodest, it’s not like he’s mistaken. The new album opens with the fleeting two minutes of “Flutter” and a better word couldn’t be found to describe his saxophone style. Jumping up and down with a remarkable evenness of tone, it’s the voice that hid under a blanket of percussion with the National Orchestra and anchored the Lizards’ amalgam of jazz, Latin rhythms and punk attitude. With deft use of polyrhythms and interwoven sax and guitar lines, Lurie’s compositions also bore a subtler imprint of Afropop, in particular the great Nigerian saxophonist and activist Fela Kuti. “Around 1980 or ‘81, the Lounge Lizards were doing this punk jazz thing that was kind of nihilistic and ironic,” Lurie said. “When I heard Fela, it seemed so noble, on top of being hypnotic and incredibly sexy, that it made what we were doing seem kind of cheap. I just sort of turned to myself and said, ‘Come on, man, make it real.’” At the same time, Lurie was developing his painting, conceiving slightly abstract, sometimes primitive imagery with the same sort of evocative titles he gave his musical compositions. For many listeners, the first view of Lurie’s paintings was the covers for 1987’s No Pain for Cakes and 1998’s Queen of All Ears. “I started painting like most people, when I was two, but I just never stopped,” he said. “The only time I did stop was around the time of the two covers for the band because the music, and more accurately the business around the music, was taking all my time. My entire focus is on painting now. I never thought this would happen but it has equaled what music once was in my life.” Meanwhile, that music is echoing around downtown again, even if he’s not currently a part of the machinations. Lurie said he hasn’t been involved in the planning of concerts and record releases and
while allowing that there is more archival material that could come out, he said it would have to get “a push from somewhere.” These days, he doesn’t devote much energy to thinking about presenting his music again or worrying about how it goes down in history. “You know, I try not to,” he said. “That kind of thing tends to make one bitter.” v
arranged a suite of compositions that appeared on reedman Marzette Watts’ 1966 debut LP for ESP-Disk’, a moody and somber reflection on the tumultuous experience of black art and society. On Jul. 19th, 1967, the day after John Coltrane’s funeral, Thornton brought in vibraphonist Karl Berger, bassists Jimmy Garrison, Don Moore and Tyrone Crabb, trumpeters Joe McPhee and Edward Avent, saxophonist Sonny King and drummer Harold Avent to record Freedom & Unity, later released on his Third World label. Thornton headed to Algeria to attend the 1969 Pan-African Cultural Festival as part of saxophonist Archie Shepp’s quintet, though his political affiliations and outspokenness later created difficulties at the Antibes Juan-les-Pins Jazz Festival, resulting in his expulsion from France. Until his 1970 removal, Thornton was a regular on the Parisian free music scene with other expatriates like Shepp and appeared on numerous sessions for the French labels America and BYG, including two under his own leadership: The Panther and The Lash and Ketchaoua. Though an artist for whom the revolutionary politics of the oppressed was textually clear, Thornton’s Black Panther alliances are just one part of a wideranging career and outlook. By 1969 Thornton had begun an intense period of study of West African music and culture under the Nigerian composer Fela Sowande and the Ghanian drummer Kobena Adzenyah, resulting in a teaching post at Wesleyan University as an
Assistant Professor, where he founded the Department of African American Music. Thornton’s travels in North and West Africa and the Caribbean greatly informed his compositional practice, resulting in the Pan-African orchestral suite The Gardens of Harlem, recorded with the Jazz Composers’ Orchestra and released in 1975 after three years of workshops. Later that year, Thornton began working for the UNESCO African American Institute in Switzerland, marking a period of infrequent recording. Albums with itinerant South African saxophonist Joe Malinga and Austrian drummer/saxophonist Muhammad Malli were among his last. Thornton died Nov. 25th, 1983 in Geneva. v
For more information, visit johnlurieart.com Recommended Listening: • The Lounge Lizards - Eponymous (EG-EMI, 1980) • John Lurie - Down By Law/Variety (Soundtracks) (Crammed Discs/Intuition - Capitol, 1986) • Lounge Lizards - Voice of Chunk (Strange & Beautiful Music, 1988) • John Lurie National Orchestra - The Invention of Animals (Amulet, 1991/1993-94) • John Lurie - African Swim and Manny & LO (Strange & Beautiful Music, 1997) • John Lurie - Fishing With John (Strange & Beautiful Music, 1998)
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LE ST WE F OR GE T
Clifford Thornton (1939-83) by Clifford Allen The importance of an artist like Clifford Thornton isn’t measured by copious boxed set reissues or eagerly anticipated biopics, but by his impact on the culture and scenes that his work intersected. Thornton, a multi-instrumentalist and composer most often heard on cornet and valve trombone, was born in Philadelphia on Sep. 6th, 1936 and moved to New York at the age of ten. He matriculated at Temple University in Philly and Morgan State College in Baltimore, followed by military service in Korea and Japan, where he toured as part of the Army band. In the late ‘50s, Thornton studied trumpet with Donald Byrd and Webster Young and was mentored by tuba player Ray Draper. A brief tenure at the San Francisco Conservatory found him gigging alongside heavyweights like saxophonist Pharoah Sanders; returning to New York by 1961, he was playing in the Sun Ra Arkestra the following year. Thornton’s work as a teacher, mentor and inquisitive student of Black Music is one of his most lasting contributions and was evident early on as he taught in LeRoi Jones’ Black Arts Repertory Theatre School in the mid ‘60s; he was also associated with the Free Conservatory of the University of the Streets. Though not listed with compositional credits, Thornton
10 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
A Thornton tribute is at Baruch Performing Arts Center Feb. 18th with the Eco-Music Big Band. See Calendar. Recommended Listening: • Clifford Thornton New Art Ensemble Freedom and Unity (Third World-Goody, 1967) • Archie Shepp - At the Pan African Festival (BYG-Actuel, 1969) • Clifford Thornton - Ketchaoua (BYG-Actuel, 1969) • Clifford Thornton - The Panther and The Lash (America-Universal, 1970) • Joe McPhee Survival Unit II - At WBAI’s Free Music Store 1971 (hatOLOGY, 1971) • Clifford Thornton/Jazz Composers Orchestra The Gardens of Harlem (JCOA, 1974)
ME GA PHON E
Alchemical Fire by William Hooker I
have materialized ideas that have been very multipurposed in deed and scope. The reason has been to link disciplines that are naturally extensions of each other and whole (in themselves) as well. This Megaphone brings the creative spirit to the doors of Education, History and Evolution. My impulses for these statements are influenced by the musical references at the end of each section. It is up to the reader to listen and research to get clarity and closure on these three issues. Thoughts on The Seeds of Education: Education will not be taught properly if only one perspective is taught. Spontaneous creativity coupled with controlled living can release the energy of the multi-faceted human being to yield joy in learning and the discovery inherent in the will to experiment, the will to try, the nature to go on and not accept old lies and biases but to seek out the answers for one’s self using the facts and opinions of ‘educators’ and peers/associates and vibrations/doctrine and intuition. Reference: “Above and Beyond” and “3 & 6 / Right” (William Hooker); “The Bird Song” (Muhal Richard Abrams); “Doughnut” and “Sadness” (Ornette Coleman) Thoughts on The Seeds of History: History is not known by those that created it, or seen properly by those that presently are responsible for the distribution, dissemination and teaching of it. The facts have been lost or misinterpreted to the point of oblivion. For example, the Jackie McLean understanding of AfroAmerican Classical Music is very interesting. Until the music I am playing today is deemed created by AfroAmerican (and other) influences, it will be impossible to see history properly. The European could not have possibly created improvisation/jazz. It is simply not in his life. Yet and still, European perspective will claim this music because the Afro-American does not support, does not know, recognize, gravitate toward
the cream of his own history. The Afro-American does not seek to know his own history and present the best he has to offer. The demise of this historical perspective of truth, greatness and recognition will continue until the Afro-American realizes his own worth and supports it. One must listen carefully and begin to know from one’s own experience. With this understanding of history, there can be right relationships of all groups and disciplines. The Third World People are major voices in art, dance, writing, architecture and other undocumented materials. However, I must also add that blues, rock, rhythm and blues and soul are not the be-all-end-all. They cannot be compared to their white counterparts in the business or the artists and spokesmen for the truly great art. The discerning and discriminating can only tell, learn and grow, regardless of the untruths being recognized and promoted or the blocks of lack of dignity, lack of money and access, harassment and the like, consciously used to keep humanity in darkness. Reference: “The Egyptian” (Art Blakey); “Reverend King” (John Coltrane); What’s Up-That’s It (Elvin Jones); Side 3 of Is Eternal Life (William Hooker/David S. Ware)
plight of millions on Earth. More concerned with being comfortable and promoting computer technology and the clever sarcasm of the mental approach than coupling our hearts with our minds to do more to experiment and find new answers because the mediocre, same old thing does not make it. I do not mean to go rampantly down the road of the unknown to destruction without using sound common sense. Have the willingness to experiment. Breakthroughs are made in that way. Reference: Sunny Murray; Milford Graves; Tony Williams; Alice Coltrane; Pharoah Sanders; Is Eternal Life: “Pieces I & II” (William Hooker) v For more information, visit williamhooker.com. Hooker is at David Rubenstein Atrium Feb. 20th. See Calendar. William Hooker is an artistic whole, a vast circle of vision and execution. A body of uninterrupted work for four decades has brought a serious investigation of his compositional agenda and the science of the modern drumkit. The oeuvre of William Hooker will continue to grow thicker and richer.
Thoughts on The Seeds of Evolution/The Future: What can I say about the future ? It is composed of a continuity of unfoldment. New visions will be placed before us. New teachers will carry messages of truth to awaken sleeping mankind. It will consist of a response from humanity, which is responsible for the life and death of itself and the whole life on earth. It can go one way or another. We can either share, care and see the existence of others or be greedy, selfish and destroy ourselves in the last efforts to maintain an unequal system of justice, economics and society at large, one that does not do the most good for the most people. Progress must go on. We must ceaselessly work to promote new things, do more and more work on inner and outer-subjective and objective levels. Or else just die because we are of no worth to anyone - not even ourselves. Here we can come up short also. We are more concerned about the material side of life than the spiritual side. We are more concerned about maintaining the status quo than the reality of the
VO X NEW S
Hearing is Believing by Katie Bull The late social activist poet Amiri Baraka, who died in January at the age of 79, held core beliefs about race and politics that fueled his vocal fervency, manifesting in sonic strength. As a spoken word pioneer crossing paths with Beat Generation poets in the ‘60s, Baraka had a formative influence on the evolution of spoken word vocal performance. He created a fertile ground and planted seeds for the musicality of the hip-hop and slam poets of today, saying, “Poetry is music and nothing but music. Words with musical emphasis.” (Note the William Burroughs 100th Birthday Celebration and Fundraiser at Bowery Electric Feb. 5th; it will include numerous contemporary spoken word artists in the Beat lineage.) Baraka manifested language with an open-throated, gut-connected, vibrant tone and often delivered his poems alongside improvising jazz instrumentalists. His use of melody and rhythm as well as cadence and crescendo were akin to any great jazz vocalist’s relationship to the expression of lyrics and free improvisation. Some cases in point: hear 20-something Jazz Mobile Competition winner Brianna Thomas’ debut, You Must Believe in Love (Sound On Purpose). The powerhouse Thomas sings with complete ease and
freedom, engaging the story of a lyric from the ground up. In driven warmth she melds blues, R’n’B and gospel influences with earthy sensuality. Hear her celebrate the new album at Dizzy’s Club (Feb. 17th) or catch her Wednesday nights at Smoke, as part of the ‘Round Midnight series. Also at Dizzy’s Club (Feb. 24th), award-winning Catherine Russell is back at us with Bring It Back (World Village), an exploration of the roots of jazz to the R&B explosion. Her mother Carline Ray was a veteran blues singer. Russell’s sound is not just in-thepocket; she’s in a finely tailored outfit for every era. Another fantastic jazz singer, Amy Cervini is exploring her own history and evolution. Cervini has melded a completely fresh genre on her new album, Jazz Country (Anzic), using unadorned swing-nuanced phrasing inside of country songs she embraced as a child growing up. Cervini appears with guitarist Jesse Lewis and bassist Matt Aronoff twice in February: at Perez Jazz for her CD release (Feb. 16th) and at her monthly residency at 55Bar (Feb. 6th). Moving to entirely uncharted territory, go out with Austrian-born jazz experimental vocalist and visual artist Katja Cruz in duo with percussionist Howard Curtis, drawing from their award-winning Lightning and Thunder (Einklang, 2012) repertoire at IBeam Brooklyn (Feb. 9th) and with a larger group at ShapeShifter Lab (Feb. 11th) to celebrate the new CD release of Hexaphone: The Cosmology of Improvised Music
(Rudi), featuring alto saxophonist Oliver Lake. The performance at ShapeShifter Lab will include a film screening of beautiful abstract fractals, floating crystalline forms and unbound spirals in motion, giving backdrop to extended form improvisations. Downtown at Clemente Soto Velez Cultural Center, the Evolving Music Series is curated this month by maverick bassist Shayna Dulberger and includes the genre defying experimental master Kyoko Kitamura (Feb. 10th), in collaboration with saxophonist Ingrid Laubrock and bassist Ken Filiano, and Yuko Otomo, a veteran spoken word poet and visual artist (Feb. 3rd) in collaboration with Dulberger and Arts for Arts Evolving Music/Vision Festival founder Patricia Nicholson Parker. Parker passionately integrates words and movement; together with her spouse, bassist William Parker, they have created a community that was one of Amiri Baraka’s jazz homes. February’s highlighted singers share a fierce vocal ownership of expressive truth in the moment. Thomas seems deeply driven by spirituality; Cruz is entrained with nature, cosmos and healing energy; Cervini is moved to play jazz with country’s intimate stories of human nature and place. Kitamura, Otomo and Parker interweave some of the same forces. Parker, in particular, uses her words directly to protest society’s ills. Like Baraka, these vocalists awaken minds and hearts, living out the dignity that Baraka passionately sang-spoke of his whole life. v
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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LA BE L SPO T LIG HT
JaZt Tapes by Ken Waxman W hat started as a retirement hobby, creating CD-Rs
for selected musician friends, has, over the past couple of years, led to the creation of a thriving, professional outlet for improvisers to get their music to the public. The outlet is label JaZt Tapes, which, in fact, deals only with CD-Rs. Located in Norrköping, Sweden, JaZt Tapes has released 20 limited-run CD-R titles featuring live performances from, among others, tenor saxophonist Abdelhaï Bennani, multi-instrumentalist Daniel Carter, guitarist/pianist Jeffrey Hayden Shurdut and bassist Ingebrigt Håker Flaten. Still the genesis and subsequent growth of JaZt Tapes calls for a new definition of the terms “retirement” and “hobby”. JaZt Tapes’ only employee is Jan Ström. A successful Swedish businessman, Ström founded and ran Ayler Records from 2000-09, releasing 200 CDs. Turning over the imprint to Paris-based Stéphane Berland, Ström, who has been a jazz follower for more than half a century, ‘retired’ until New York-based Shurdut, who is also an artist, was scheduled to display his paintings in a local gallery. Besides performing at the opening, Shurdut, who had recorded frequently for Ayler in the past, suggested that Ström duplicate a few copies of an unreleased trio session for distribution at the opening. Others were made available for sale and soon Ström was back in the record business. “This music comes from the lowest places and
My Mother is My Spaceship Jeffrey Hayden Shurdut
some of the highest you can ever imagine; unfortunately, it’s what’s at eye level that people mainly see,” notes Shurdut. “But Jan is that one out of the 200 kimberlite pipes that finds diamonds. Jan has, and will always have, this skill in him. So whether the initiative [for JaZt Tapes] is me, or him, I’m glad it’s getting done.” Essentially Ström duplicates about 100 copies of each release on his computer, which, when coupled with cover art work, become professional-looking CD-R packages musicians can distribute to whomever they wish. Ström takes care of copyright duties, but the copyright remains with each musician. And although he supplies the CD-Rs to the artists, all profit from disc sales goes to the players. “I’m sure many artists could also manufacture their own discs and they could also take over that work from me any time,” he adds, “but JaZt Tapes artists are happy with me.” So happy, in fact, that major stylists such as late saxophonist Noah Howard, bassist William Parker and others are featured on JaZt Tapes, with proper arrangements made with the leader before the project appears, or in Howard’s case with his estate. Adds Ström: “Artists are, of course, proud of their music and feel it should be known. Most of the time though, many have recordings which for some reason haven’t found the proper label to release them.” That’s where JaZt Tapes comes into the picture. A JaZt Tapes release can be used for promotion or even as a demo to interest other labels with direct income possibilities. Since the artists retain all rights, any JaZt Tapes session could also in time become a full-fledged CD on a bigger imprint.
Solo Force Joacim Nyberg
First Duet Live Remi Àlvarez/Ingebrigt Håker Flaten
“The heavy work with Ayler was administration,” recalls Ström. “So letting young Stéphane Berland keep the released catalogue going was the correct decision for me at the time. The JaZt Tapes Project is something else. No admin work regarding money is involved and I can be in touch with the music I always listen to anyways.” Why release a session on JaZt Tapes? For a start, as Ström says, “The artists have complete say about the music they want to show the world. I never give an opinion on the music.” “My relationship with Jan is based on reciprocal trust,” notes Bennani, the French-Moroccan saxophonist who has been recording since 1986 and has previously released sessions on four other imprints. “Very few labels produce live recordings and when they do, they want to be part of the creation from the beginning. But with JaZt Tapes records are made before any editing and the result is a complete and faithful audio copy of the original master, well shaped, with a readable booklet and Jan’s fantastic photos.” All JaZt Tapes releases so far have been the result of Strom’s contacts. “I can’t manage too big a catalogue,” he admits. The main exposure for the existing releases is as a section on Ström’s own website. “The site is basically concerned with my sessionography of [late alto saxophonist] Jimmy Lyons, which I’ve been working on since the ‘80s. I want people to visit this site so Jimmy will be remembered. To place the JaZt Tapes catalogue there may make some people who never heard of Jimmy interested in him as well.” (CONTINUED ON PAGE 42)
Encounters Abdelhaï Bennani Trio
Retreat New Language Collaborative
LISTEN UP!
Saxophonist MELISSA ALDANA was born on Dec. 3rd, 1988 in Santiago, Chile and began her musical studies at age six with her father Marco Aldana. In 2006 she met the great Panamanian jazz pianist Danilo Pérez, who invited her to audition for Berklee College of Music. She currently lives in New York and has performed at Blue Note, Iridium, Smalls and The Jazz Gallery with artists like Benny Golson, Greg Osby, George Garzone and Antonio Sanchez. She has two albums on Osby’s Inner Circle Music label. Teachers: Marcos Aldana, George Garzone, Greg Osby, George Coleman, Hal Crook.
Dream Band: I would like to play with so many people! Hard to decide but I would say Herbie Hancock’s band and Kurt Rosenwinkel’s band would be some of them.
Djordjevic. Most recently, Pennicott toured with the two-time Grammy Award Winner Esperanza Spalding, appearing on her crossover success Radio Music Society.
Did you know? I am the first non-vocalist woman and first South American to win the Monk Competition.
Teachers: Chad Davenport, Ravan Durr, Stutz Wimmer, Sam Skelton, Gary Keller.
For more information visit wommusic.com/2013/02/ melissa-aldana. Aldana is at Tribeca Performing Arts Center Feb. 8th as part of Monk in Motion and Birdland Feb. 21st-22nd with Reflections of Monk. See Calendar.
Influences: Duke Ellington, Coleman Hawkins, Charlie Parker, Sonny Rollins, Sonny Stitt, Joshua Redman, Chris Potter, Mark Turner.
Influences: Charlie Parker, Don Byas, Benny Golson, Sonny Rollins, John Coltrane, Michael Brecker, Mark Turner, Kurt Rosenwinkel, Miles Davis, Wayne Shorter and George Coleman, among others.
By Day: Mostly playing piano, watching Netflix documentaries or reading. I knew I wanted to be a musician when… I always knew I would be a musician. Uniquely, it was never a question for me. It was such a natural process.
Current Projects: Melissa Aldana & The Crash Trio with Pablo Menares (bass) and Francisco Mela (drums). By Day: Practice, write music, sessions, cook, read and watch movies. I knew I wanted to be a musician when... I was six years old and my dad was teaching at home and he gave me a horn to play a few notes because he needed a third person while they played the tune “Brazil”. I played the few notes (really badly) but I remember I loved it since then...and I never stopped playing!
Current Projects: My band Sound Quartet has an album to be released this year. We play locally and have a YouTube channel with studio performances.
Melissa Aldana
Tivon Pennicott
TIVON PENNICOTT was born in Marietta, Georgia in
December 1985. He moved to New York in 2009 and has since established himself as a talented young leader as well as a versatile sideman. He has worked with bandleaders from jazz songstress Nellie McKay, Grammy nominee Gregory Porter and R&B crooner Joe Thomas to central figures in the contemporary jazz scene like Ari Hoenig, EJ Strickland and Marko
12 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Dream Band: Ornette Coleman, Thelonious Monk , Ray Brown and Philly Joe Jones. Did you know? My favorite food to eat is white radish (daikon). For more information, visit tivonpennicott.com. Pennicott is at Tribeca Performing Arts Center Feb. 22nd as part of Monk in Motion.
The multi-Grammy® winning vocalist melds R&B, Latin & Pop with 21st Century jazz on her Concord Records debut and first album in 5 years.
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Jim Hall was one of the greatest musicians in the world. With a beautiful touch and a deep intelligence and soul, everything he played had the kind of individuality and spirit that gave his musical voice such a unique quality. But for all of Jim’s excellence as a musician, everyone that knew him loved him as one of the great people in their lives. He was consistently generous and curious and always a great listener, on and off the bandstand. We will all miss him so much. - PAT METHENY, GUITARIST I first heard Jim Hall on the Sonny Rollins recording The Bridge when I was about 17 years young. It was an incredible revelation. I didn’t know what they were doing, but I knew that that’s what I wanted to do. Jim, more than any other guitarist, changed the way the instrument functioned in a group, as well as a soloist. His way of comping was a composition in itself. His solos were always so melodic and thematic and just made sense! His beautiful warm singing tone and touch just completed the package. He played with grace, humor, intelligence and, above all, he could swing like mad. A most gentle and caring man - that came across in person as well as in his music. A true model for us all. I miss him.
JIM HALL 1930-2013
- JOHN ABERCROMBIE, GUITARIST
Jim Hall made such extraordinary, beautiful music, like nothing we had heard before. Absolutely one of a kind. A master. We all know that. But what I’m thinking about now is the humanity, humility, generosity...STRENGTH. In all his interactions, whether on the bandstand or in everyday conversation, it always seemed as if his energy and attention was directed outward, away from himself. He listened. LISTENED in such a big way and cared. He was so aware of what was going on around him and could transform it, bring it (us) together, lift it up. It wasn’t about him. It was about all of us. He never looked back, never settled, uncompromising, kept going and going, stayed excited, curious, like a little kid. Wow. Jim Hall! Amazing. Thank you Jim.
- BILL FRISELL, GUITARIST
Jim Hall was one of my favorite guitar players of all time. More importantly, he was also one of my favorite people. His influence on me musically was very strong and will always be very strong. Personally he was also an inspiration. His music was warm, soulful and very thoughtful and that’s the way he was as a person.
- MIKE STERN, GUITARIST
So sad to hear that the master musician Jim Hall has left this earth. He left it a much better place through his deep humanity - which came through his music in such a profound way. He showed us the power of subtlety, nuance and understatement. His strength and expressiveness came from playing only the essential. A true poet of the guitar - and one of the most thoughtful people I have ever known. I feel so privileged to have had him as a teacher and example of a human being so completely generous of spirit. A life and legacy so worthy of celebration - he left us so much to learn from and I am so grateful to him for so much.
14 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
- PETER BERNSTEIN, GUITARIST
Jim Hall was a great sensitive musician and a great sensitive man.
- SONNY ROLLINS, SAXOPHONIST
I knew and played with Jim for over 40 years and never once was it anything less than pure musical joy. If it’s true that you are forever changed by your experience of another, my life was certainly changed forever by playing with him. I could never quite attain the same level of interplay with other musicians that I did with Jim...perhaps because Jim always insisted that I (as well as the other bandmembers) had a voice in the musical conversation that he had initiated - and that is the essence of true jazz, as I see it. Audiences were always captivated by the spell that he would cast over them and he was a true gentleman of jazz. He never gave less than 100 percent to the musicians that he collaborated with and also to the audiences that adored him. Jim was a tremendous influence on generations of guitar players and his pure musical direction will be felt forever. Our loss is painful, gut-wrenching and brings into focus the fact that artistic integrity is primary in an artist’s life. Jim was constantly looking for alternative sounds beyond his instrument. As a result of that approach, he influenced us to do the same on our respective instruments - which was especially daunting for a drummer attempting to complement Jim’s discovery of a steel-drum sound on his new Retro pedal. Dry, wry hilarity abounded in the man and nobody was immune to it - in fact, the drier, the better. His music cut through all strata of society and his admirers ranged from the likes of Tom Brokaw to Eric Clapton to Jerry Stiller. It was always grounding to hear his guitar and to be reminded of what purity of sound could be attained when your goals (and your intent) are pure. Long live the music and the legacy of Jim Hall!
- TERRY CLARKE, DRUMMER
I had a deep connection with Jim both musically and personally and I’m overwhelmed by the loss. We met when he came to New York from California with the Jimmy Giuffre Three in 1958. He moved into an apartment near mine in Greenwich Village and we began hanging out together a lot. We listened to records, played, laughed a lot and went around to hear all the music in town together. Jim was one of the best laughers I ever had the pleasure to know. Many things delighted him and he would twinkle and laugh when he told me about something that amused him. One day, early in our friendship, he and Bob Brookmeyer and Jimmy Giuffre were at my apartment on Cornelia Street, listening to some records. Jim lay down on my carpet on his back, with his hands behind his head. Bob and I were making jokes and something I said struck Jim funny. He leaped up with laughter so convulsively that he dislocated his left shoulder. We had to rush him over to Saint Vincent’s hospital where they managed to get him back together, but he had a very sore arm. He had a record date the next day with Giuffre and told me he did a lot of moving the guitar around with his knees to avoid moving his left arm. Jim Hall’s playing was always so satisfying. Good time, beautiful sound and an immediacy that always drew you into the heart of the music. I was glad when both Brookmeyer and Gerry Mulligan included me in recording projects with Jim and I treasure those records.
- BILL CROW, BASSIST
Jim Hall was one of my dearest friends and jazz colleagues. Along with John Lewis we did so many things together. He was one of my favorite guitarists.
- GUNTHER SCHULLER, COMPOSER
I am incredibly lucky to call Jim Hall a close friend and so honored to have shared music with him over the last 20+ years. His incredible empathy, humor and curiosity are in the forefront of my mind when I think of Jim. But during the last month since his passing, I keep returning to thoughts of his incredible generosity, with me and with the many others who shared his presence. He has given us all so much in his unbelievable seven decades of making music. That is obvious. Every modern improviser owes something to Jim (he would hate to hear me say that, but it’s true). He taught us all that in order to truly connect to another person, you have to leave space and listen. He continued to place emphasis on that connection and I think that was Jim’s greatest lesson for us all. And it was because of his inherent generosity that he always wanted to help his friends succeed in their expression. One thing that was sure to make Jim’s eyes glaze over with boredom was when someone started talking about his musical past in abstract terms, as if they were baseball statistics. I saw it happen many times. But when someone talked about people he knew and respected and the music that resulted, telling their musical experiences and humorous stories related to individuals and how those individuals connected to each other through music, that was what got Jim’s attention. I think in a way, he cared a great deal more for the people whom he made music with than he did for the music itself. And that is just one part of what made his music so powerful - his ability to make a significant connection and experience with those with whom he shared the music-making process. If I knew Jim at all, he would want us to tell his stories and celebrate his music. But most of all, I think he would want us to continue listening to each other, to live, connect, share experiences and of course, make music.
- SCOTT COLLEY, BASSIST
Working with Jim Hall was LIFE-CHANGING. It is difficult to find the words to properly describe knowing him and playing with him for 28 years. I remember our first gig. It was on a Sunday night in May of 1986 at the Village Vanguard. Everything seemed to click from the very first tune we played. Jim’s sound, his choice of notes and his time feel had me playing my bass effortlessly. He had a way of comping behind me during my solos that made me feel like I could try anything and succeed. When we finished the first set, Jim asked me to join his trio and a fantastic journey through music and life began. One memory I would like to share was when we played at the Library of Congress in March of 2009. Jim had been dealing with some medical issues and it was his first gig after his recuperation. When Jim was introduced and came onstage, the audience gave him a rousing standing ovation. It was an incredible moment filled with admiration and love. I think it really showed how deeply he touched so many people with his music. As a person, his sense of humor could lighten any situation and his political views were never hidden. He was a dear friend and he inspired me personally and musically. I feel so lucky to have seen Jim at a birthday celebration just six days before he passed away. We had a lot of laughs that day as Jim shared his favorite stories. I will miss him greatly!
- STEVE LASPINA, BASSIST
Jim Hall was one of the most influential musicians in my life from the beginning. Jim and my dad were friends, playing gigs and going to concerts together at the Cleveland Institute of Music where Jim was studying composition before he went to LA in 1955. I grew up listening to Jim on recordings he made with Jimmy Giuffre, Bob Brookmeyer, Art Farmer and Sonny Rollins. I remember rushing home from high school to watch The Merv Griffin Show hoping to see Jim. One of my dreams as a kid was to somehow get myself together on my horn and someday play with Jim Hall. That focus guided me for years. After moving to NY in the mid ‘70s, we finally met. Jim was also a fan of the Paul Motian Trio with Bill Frisell and myself and heard us at the Vanguard on occasion. We first played together around 1994 or so. Jim called me to be a part of his Telarc recording Dialogues. We recorded Jim’s beautiful ballad “Bon Ami” and a tune he wrote for me “Calypso Joe”. I was overjoyed and overwhelmed. Textures followed and that led to us co-leading our quartet Grand Slam in 1996 with George Mraz and Lewis Nash. Last May we played Blues Alley in Washington DC, which unfortunately was the last time we all played together. I am deeply saddened by Jim’s passing but will continue learning from his innovative and poetic contributions to jazz, treasure our moments together and celebrate his genius, humanity and friendship for all of my days.
- JOE LOVANO, SAXOPHONIST
Whether on or off the bandstand, James Stanley Hall never ceased to surprise. Straight-faced, racked with pain in a hospital bed, he tells me how his nurse bathes him, yet did not seem impressed. Everytime we played together, I would discover yet another facet of his subtle genius. I would chuckle in disbelief, look up and, for an instant, meet that incredible knowing grin of his. Over the years Jim would often call me in some remote corner of the world when least expected. His postcards and snail mail were like his musicianship: incredibly thoughtful. On the bandstand Jim listened so deeply and set the climate for all of us to do the same so that I could not wait to hear what would be coming next. It was always a surprise!
- JOEY BARON, DRUMS
Jim, to me, was always the beacon of modern, creative, emotionally driven, adventurous music. He embraced the guitar, in all its circuitous glory. Utilizing open strings, triads, bends, Jim invited all the colors and sounds that are very unique to the design of the instrument into the modern vocabulary of improvised music. Jim’s sense of humor was also paramount. When hanging out, the focus was always on funny stories or encounters, shedding light on the humorous and often completely surreal side of people and how they interact. In a lot of ways, this is the lesson I have been learning from Jim my whole life and continue to learn. Jim was so inclusive as a person and a musician. He could show you how our mistakes were just as human and rich as what we played perfectly. And at the core of our mission as musicians, is a responsibility to take risks, be willing to fall and have love and compassion for the absurd and the sublime. Jim showed us that these are all ingredients of the human condition and what better way to honor them than through the gift of music.
- JULIAN LAGE, GUITARIST
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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CD R EVI EW S
Pyramid Pete Robbins (Hate Laugh Music) by Ken Micallef
Alto saxophonist Pete Robbins signals his increasing presence on the New York scene with a fourth album that not only corrals some of the best musicians in the city but gives them fresh palettes with which to paint different aspects of their considerable skills. Along with four oddly melodic originals, Robbins, pianist Vijay Iyer, bassist Eivind Opsvik and drummer Tyshawn Sorey tackle pop and rock nuggets from artists as different as Guns N’ Roses to Leonard Cohen. Instrumentally, Robbins plays it consistently cool, often favoring repetitive melodic patterns and a melancholic tone. He keeps himself in check within his own material, “Vorp” and the title track making inventive use of stop-start, odd-metered rhythms, sleek fusion-oriented backbeats and serpentine melodies. Meters dance, pulses drop back then speed ahead, solos eject like torpedoes then sparkle and flow forward. Approaching Nirvana’s “Lithium”, Stevie Wonder ’s “Too High” and GN’R’s “Sweet Child O’ Mine” as simple ingredients to be dissected and rearranged, Robbins transforms the familiar melodies into mantras, hypnotic rhythms, often turning jaggedly abstract. “Wichita Lineman” opens with somber piano chords and Sorey’s perpetually funky declarations (his drums are very well recorded, revealing every iota of detail in a rich, highly evolved style), before the song’s familiar melody enters. Robbins alters the melody in his solo by first repeating it, then contorting it, flip-flopping and pulling it like silly putty. Iyer takes it a step further, finding fresh wrinkles in the melody, expressed in cascading droplets of tone and rhythm. The best moments of Pyramid are like that - masters turning hoary standards into music that is fresh and curiously, quizzically playful. For more information, visit peterobbins.com. This group is at Cornelia Street Café Feb. 1st. See calendar.
Swing n’ Dix Jeff Lederer (LittleiMusic) by George Kanzler
Inside this CD is a black and white photo of Lawrence Welk on accordion surrounded by the horns of a Southern California teenage band, a Beatle-mopped Jeff Lederer on alto sax. It was Swing n’Dix, a band where “Dixieland and Swing were King”, playing “Honeysuckle Rose” with the TV bandleader. This is Lederer ’s homage to that time and band. It recalls trad jazz stalwart Eddie Condon’s quip “The beboppers flat their fifths, we drink ours” in that Lederer and his cohorts here - Kirk Knuffke (cornet), Bob Stewart (tuba) and Matt Wilson (drums) - bring a spirit of fun and humor relatively rare among postbop avant-modern musicians. With Swing and Dixieland as their inspiration, or at least referent, this quartet ventures
far, wide and free. Appropriately, Fats Waller ’s “Honeysuckle Rose” kicks things off with a burbling, bouncy tuba and Wilson’s second-line trad drumming anchoring a clarinet/cornet melody, giving way to horn solos that veer increasingly away from the trad jazz opening as clarinet eventually noodles over cow bells, bass drum, tuba and squawking cornet. A tuba solo morphs into the set-up intro of Charles Mingus’ “Haitian Fight Song” before it all returns to trad-style Fats. The album ends with the title tune, a romping two-beat theme led by alto sax and cornet with typical Dixieland breaks, band vocals echoing “Bye Bye Blues”, a drum solo with vocally counted off breaks and an off-the-rails free-forall that settles back for a syncopated finale. In between those Dixie-ish bookends, the band essays a range of music, from Knuffke’s dirge-like “Silver Spade” and Wilson’s brushes-dominated “Nibble” to Lederer ’s flute ballad “Two Jeffs” and Knuffke’s bop-with-swing-tags “Ride”. Covers are just as varied, from Duke Pearson’s boogaloo “E.S.P.” with hardbop tenor sax; “La Rosita”, a tango hit song from 1923; Lederer ’s “I’ll Take A Dozen!!”, a riff tune with 12 drum solo breaks; a Pee Wee Russell blues and “My Sweet Home In Zion”, a traditional Shaker hymn with guest vocalist Mary LaRose. All of it is played with a zestful sense of abandon.
electronics on record, neither sounding alien or overwhelming the acoustic instruments. On the title cut, tension between bass and piano resolves into an off-kilter swing, where the three demonstrate their mastery, slightly expanding and contracting the time. A similarly left field approach informs the only nonoriginal, an intriguing rendition of the traditional “Just A Closer Walk With Thee”, which drifts dreamily in and out of bluesy focus. Nothing is quite what it seems, except that there is more to appreciate with each listen. For more information, visit cleanfeed-records.com. Hébert is at Greenwich House Music School Feb. 1st and Village Vanguard Feb. 18th-23rd with Fred Hersch. See Calendar.
For more information, visit littleimusic.com. Lederer is at Dizzy’s Club Feb. 1st-2nd with Matt Wilson. See Calendar.
Floodstage John Hébert Trio (Clean Feed) by John Sharpe
Bassist John Hébert has clearly picked up a thing or two from his association with some of the hottest names in the business, from Andrew Hill and Fred Hersch to Mary Halvorson, Ingrid Laubrock, Peter Evans and Taylor Ho Bynum. He steps into the limelight on Floodstage, the sophomore effort by his trio with French pianist Benoît Delbecq, renowned for his use of piano preparations, and in-demand drummer Gerald Cleaver. He’s made his choice of bandmates wisely, as they follow the model of egalitarian interplay championed by pianist Bill Evans and developed via the likes of Paul Bley and Howard Riley. Hébert’s writing generates unforced but thoughtful interaction full of barely suppressed emotion. Although leader, the Louisiana native remains unshowy. His solid resonance allied to flawless judgement gives his contributions an air of inevitability, as he appears to subscribe to the Charlie Haden school of bass playing, in which one note takes the place of ten. Cleaver proves the perfect foil, his subtle impressionistic momentum, comprising splashy cymbals, tappy percussion and tight rolls, hinting at the beat but rarely settling on it consistently. Delbecq combines polyrhythms with melodic fragments and minimalist repetition, which mesh into a propulsive latticework, most persuasively on the unaccompanied “Saints” and then with accompaniment on the subsequent “Sinners”. In a splendid opening summing up the ambience of the disc, both weighty and airy at the same time, “Cold Brewed” offers a heady mix of prepared and regular piano, amid a flurry of cymbals and measured bass. To that Delbecq adds some birdlike warbles from his analog synth in one of the most tasteful uses of
16 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
RECOMMENDED NEW RELEASES • Scott Feiner & Pandeiro Jazz A View from Below (s/r) • Mary Halvorson/Michael Formanek/ Tomas Fujiwara - Thumbscrew (Cuneiform) • Jeremy Pelt - Face Forward, Jeremy (HighNote) • Danilo Pérez - Panama 500 (Mack Avenue) • Brandon Ross & Stomu Takeishi Revealing Essence (Sunnyside) • Helen Sung - Anthem for a New Day (Concord) David Adler, New [email protected] Columnist • Katja Cruz (feat. Oliver Lake) - Hexaphone (The Cosmology of Improvised Music) (Rudi) • David Krakauer - The Big Picture (Table Pounding) • Gilles Laheurte - Wings of Light (Self-Gratifying Prod.) • Ingrid Laubrock/Tom Rainey ...And Other Desert Towns (Relative Pitch) • Catherine Russell - Bring It Back (World Village) • Frank Wess - Magic 201 (IPO) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record • Donald Byrd/Barney Wilen Jazz in Camera (Sonorama) • Double Trio De Clarinettes - Itinéraire Bis (Challenge-King) • Agustí Fernández/Barry Guy/ Ramón López - A Moment’s Liberty (Maya) • Adrian Raso and Fanfare Ciocărlia Devil’s Tale (Asphalt Tango) • Aki Takase La Planète - Flying Soul (Intakt) • Henri Texier Hope Quartet - at l’Improviste (Label Bleu) Andrey Henkin Editorial Director, The New York City Jazz Record
Face Forward, Jeremy Jeremy Pelt (HighNote) by Robert Milburn
Throughout
trumpeter Jeremy Pelt’s career, he has often revisited Fender Rhodes-driven electric jazz. It’s a sound that befits the 37-year old’s moody trumpet playing and lends itself nicely to his intricately weaving compositional style. His young working band appears to revel in the trumpeter ’s burgeoning idiom. Face Forward, Jeremy opens eerily with “Higby Part 1”. Pelt’s trumpet is laden with swirling effects like delays and reverbs, each one of his searching lines seeming to finish with a question mark. The spare and ominous traipsing of pianist David Bryant and bassist Chris Smith enhance the sense of longing. After this foreboding intro, Pelt peppers listeners with a mélange of subtle stylistic changes that nonetheless remain true to his melody-driven tunes. Drummer Dana Hawkins begins “The Secret Code”, leading with a workout of aggressive, oddlymetered rapping while Pelt, his trumpet taking on marked robustness, and Roxy Coss, on bass clarinet, weave a frantic line that seems to evolve with each iteration. The dulcet sprightliness of “In My Grandfather ’s Words” lightens the mood while the buoyancy of Coss’ original “The Calm Before The Storm” has a groovy R&B vibe led again by Hawkins’ drumming, which takes on a funky swagger. Guest appearances add a nice touch. Brazilianborn singer Fabiana Masili lends airy wordless vocals to the steadily percolating “Princess Charlie”, a song for Pelt’s two-year old daughter with definite stylistic references to São Paulo. Joined by harpist Brandee Younger and cellist Jennifer Shaw, Masili appears again on the delicate, drumless and remarkably atmospheric “Rastros”, beautiful Portuguese set against Younger ’s spare plucking, Coss’ improvisational somersaulting on soprano and gentle, muted trumpet. The dreamy “Verse” closes the album with Milton Suggs’ velvety vocals expressing poetic evocations of Pelt’s love for his daughter: “Each day the sun comes shining through and so begins the morning new / Light that shines brings the divine design right into you / And as the world revolves you know it’s all for you.” It’s short, sweet and provides resolution to the diverse collection of tunes. For more information, visit jazzdepot.com. Pelt is at Smoke Feb. 1st with Mike LeDonne and Feb. 7th-8th as a leader. See Calendar.
39 Steps John Abercrombie Quartet (ECM) by Terrell Holmes
G uitarist John Abercrombie brings a solid musicality and a love of Hitchcock to 39 Steps. Abercrombie, pianist Marc Copland, bassist Drew Gress and drummer Joey Baron are a splendid quartet. Why, then,
does the album ultimately disappoint? This album is a study in eloquence, economy and stylistic diversity. “Vertigo” and the title track are pointillist musings marked by Copland’s stark single notes and cleverly shifting time signatures. The group steps lightly through the lovely waltz “Bacharach” and slick tunes like “Greenstreet” and “LST”. Copland’s elegant and thoughtful shading gives the ballad “As It Stands” a “Blue in Green”-type of feeling. The quartet swings on “Another Ralph’s”, fitting its classic bop pedigree nicely within the context of their open landscapes. Baron’s robust snare shots underscore Abercrombie’s cool blues on the skulking “Spellbound”. But it is a striking contrast between two songs that illustrates where 39 Steps stops just short of soaring. The group improvisation “Shadow of a Doubt” is built on gradual layering and a burgeoning, subtle dynamism, which the quartet navigates deftly. But like the rest of the album it sounds too measured. It doesn’t seem like it’s being created on the spot, feeling calculated instead of spontaneous. If the band had done more of the stretching out that occurs on “Melancholy Baby” the album would have been truly exceptional. The elation is nearly palpable as Abercrombie and the band deconstruct this chestnut, giving it a freshness and vigor by trumping its gravitas. “Melancholy Baby” sounds like more of an improvisation than “Shadow of a Doubt” and the reduced distance and lack of self-consciousness is what makes it work. The expansiveness that the group reached for on the improvisation is, ironically, fully realized on a song that has been played ad nauseum. Throughout 39 Steps Abercrombie is as surehanded as ever, leading the way with his trademark harmonically sophisticated technique and crystal-clear lines. The rhythm section of Copland, Gress and Baron is excellent. The music is thoughtful, well played and enjoyable. As sound as all of these elements are, however, 39 Steps is a work whose overall neutrality offsets its merits. For more information, visit ecmrecords.com. This group is at Jazz Standard Feb. 1st-2nd. See Calendar.
Live From New York! Mike Longo (CAP) by Marcia Hillman
Pianist Mike Longo keeps the big band sound alive
and kicking on this new release from his New York State of the Art Jazz Ensemble. Recorded live in July 2013 at the Gillespie Auditorium at the NYC Baha’i Center (where Longo has been presenting a weekly jazz series for over a decade), the 16-piece band delivers a collection of jazz standards, American songbook standards and three Longo originals. The ensemble, some of New York City’s finest musicians, can be considered a “working” band, appearing regularly at the Gillespie Auditorium, making for a very tight sounding unit. In addition to conducting and playing piano, Longo is responsible for all of the arrangements with the exception of “I’m Old Fashioned”, done by Ira Hawkins, who contributes vocals to it, “Over The Rainbow” and “Muddy Water”. Longo’s leadership is felt strongly, both instrumentally and as an arranger. His distinctive spare piano style can be heard up front on “Whisper Not” and “I’m Old Fashioned” and his compositions are almost singable (ie, “Afro Desia”).
The band features a very powerful Stan Kentonian brass section and drummer Mike Campenni keeps the rhythm firmly pulsing. Notable soloists are tenor saxophonist Frank Perowsky (“Whisper Not” and “Wee”) and trumpeters Brian Davis (“Whisper Not”) and Waldron Ricks (“Afro Desia”). Hawkins, whose tonal quality is reminiscent of Billy Eckstine and Joe Williams, fits perfectly with this big band sound. This CD captures the high energy of a swinging big band performance, letting you be in the audience without ever leaving home. For more information, visit jazzbeat.com. Longo is at NYC Baha’i Center Feb. 4th. See Calendar.
UNEARTHED GEM
The White House Sessions, Live 1962 Tony Bennett/Dave Brubeck (Columbia-Legacy) by Andrew Vélez
More than half a century has gone by since Tony Bennett and Dave Brubeck shared a concert at the Washington Monument on Aug. 28th, 1962. Never previously released, a chance discovery of a journal entry in the Sony archives confirmed that a recording had indeed been made. Further excavating revealed the tapes had accidentally been stored with some classical recordings from the same period. So The White House Sessions, Live 1962 is at last available. It’s a performance that captures both musicians at key moments. “I Left My Heart in San Francisco”, which was to become Bennett’s signature career song, had been released just 17 days prior to the concert. Brubeck and his quartet were still riding the crest of their iconic hit “Take Five”. Brubeck and the quartet open the evening with the aforementioned tune, penned by alto saxophone master Paul Desmond, Eugene Wright (bass) and Joe Morello (drums) completing the fabled group. The sweet purity of Desmond’s saxophone blazes right in after Brubeck’s pulsating opening lines and key Morello drumbeats. “Nomad” is typical of Brubeck’s consistently exploratory innovations throughout his career. From the then-recent album Jazz Impressions of Eurasia, it uses some very simple Middle Eastern rhythms sifted through the jazz idiom. It exemplifies the group’s characteristic ease in working with non-standard material. Bennett’s solo part of the evening opens with “Just in Time”, a Styne-Comden-Green classic and just the sort of urbane tune his throaty voice still inhabits most comfortably while “Rags to Riches” is a filler nod to his pop beginnings. His take on “One for My Baby” demonstrates his particular affinity for the blues of Harold Arlen, most memorably collected later on A String of Harold Arlen (Columbia). That penchant may explain why the most easily syntonic of the four tunes that he sings with Brubeck, Wright and Morello to close the CD is Arlen’s “That Old Black Magic Called Love”. This is enjoyable listening even as it evinces the contrast between jazz master Brubeck and Bennett, the easy-to-listen-to pop artist. For more information, visit legacyrecordings.com. A Brubeck tribute is at Rose Hall Feb. 8th. See Calendar.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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GLOBE UNITY: AUSTRALIA
Faceless Dullard Marc Hannaford (s/r) Wave Rider Andrea Keller Quartet (with Strings) (Jazzhead) Open The Necks (Northern-Spy) by Tom Greenland
In the two-plus years since this column last covered Australian jazz, improvisers from Down Under continue to manifest an active and innovative presence, particularly in the scenes surrounding Melbourne and Sydney, but elsewhere as well. Pianist Marc Hannaford is the newest comer among this month’s featured artists, an omnivorous improviser who has delved deeply into contemporary classical composers (particularly Elliott Carter) and various jazz visionaries, resulting in a high-concept yet open-ended approach. On Faceless Dullard he matches musical wits with trumpeter Scott Tinkler and drummer Simon Barker for an unscripted one-track set. With his opening soliloquy Hannaford quickly establishes a rhetoric of interplay through ambidextrous hand-play, soon joined by Tinkler, who delivers chromatic freebop lines with warm resonance and lyric sweep, occasionally emitting whispered screams, while Barker ’s dense and bubbly drumming is laden with pregnant pauses at unpredictable moments. Seven minutes into their collective journey, the trio achieves a form of collaborative zen that they then sustain, more or less, until the final cymbal tap. Like Hannaford, Andrea Keller is another pianist who melds classical and jazz concepts. On Wave Rider, she flaunts minimalist influences, quirky yet catchy melodies (her “Mister Music” could easily be a TV news show theme) and a flair for string arrangements. As opposed to jazz artists who flesh out their sound with strings, Keller has a deep understanding of their potential, seamlessly incorporating them within her musical ethos. A medley of excerpts from three large commissions, the album is nevertheless consistent and cohesive, serving as a progress report on Keller ’s latest efforts, with standout moments on “Waves II”, which stretches out in interesting ways, and “Queen for Tea III”, where lucid melodies emerge amid multilaminate supporting parts. Pianist Chris Abrahams, bassist Lloyd Swanton and drummer Tony Buck, best known as The Necks, are a Sydney-based trio melding ambient minimalism with just enough improvisation to keep their CDs in the “jazz” bin. Open, their 17th release, is a protracted meditation in A-flat major (supplemented by a hodgepodge of additional colors, textures and special effects) that moves to F minor after 17 minutes or so, only to return in the wee hours of the track to the original ‘key’, forming an elegant arc and, in the process, evoking a (Charles) Ives-ian vision of a modern cityscape: cresting incessant subliminal tension. For more information, visit marchannaford.com, jazzhead.com and northernspyrecords.com
Balance Mimi Jones Origins Camille Thurman Humility: Purity of My Soul Shirazette Tinnin (Hot Tone Music) by Donald Elfman
Bassist Mimi Jones created Hot Tone Music in 2009 to give opportunity to those players who may otherwise lack the support to develop as musicians. “Women are a big part of that group,” notes Jones, “so I always look out for them.” The three new releases on the label continue to celebrate women in the jazz world and each appears on the other ’s recordings. Balance encompasses the many sounds Jones heard growing up - jazz, soul, country, rhythm and blues, pop and more. She opens the set with the jaunty Bob Dorough tune “Nothing Like You”, which first appeared on Miles Davis’ 1967 Sorcerer album. Jones bows the melody, accompanied first by drummer Shirazette Tinnin and then pianist Luis Perdomo. Jones also contributes six originals to the set, showcasing her facility with the vocabulary and various facets of modern jazz . On “Speedbump”, her approach is deftly assisted by the trumpet poetry of Ingrid Jensen, propelled by Perdomo and powerhouse drumming by Justin Faulkner. The album also features a few vocal tracks: Jones’ singing on an oddly intriguing take on the children’s song “The Incy Wincy Spider” and emotional reading of “Someone Like You” by Adele as well as some passionate vocals by Mala Waldron on album closer “Dream”. Saxophonist Camille Thurman’s Origins comes bursting in with the power of virtuosity tempered by tradition, understanding and great feeling. Opener “Forward Motion” is a feature for the leader ’s knockout tenor, viscerally exciting drumming by Rudy Royston and foundational but explosive bass playing of Corcoran Holt. Thurman has her own sound and approach on tenor, soprano and flute and also adds a special touch as a vocalist on her “A Change of Mind”, an autobiographical tale about her own journey to making music and suggesting a variety of influences from jazz to pop. Her tenor solo here recalls Joe Henderson, Gene Ammons, Stanley Turrentine and more and is followed by some smart pianistics by Enoch Smith Jr. Two surprises are the unique take on Fats Waller ’s “Jitterbug Waltz”, rephrased as a funky modern dance, and a reinvigoration of the rarely played ballad “Please Be Kind”. There is no waiting for the groove on Humility: Purity of My Soul, the debut from Shirazette Tinnin, a drummer of power, grace and originality. Opener “Her Powerful Locs” is a ferocious yet heartfelt ode to change, even as it’s suggested by the leader ’s hair. Says Tinnin, “…my hair has gone through that transition with me.” Two pianos - Willerm Delisfort and Rachel Eckroth - rock the tune forward on the pulse created with bassist Tom DiCarlo and Tinnin. There are beautiful takes on two modern jazz standards: McCoy Tyner ’s “Passion Dance” and Eddie Harris’ “Freedom Jazz Dance”, the former suggesting the power of Elvin Jones, the drummer on the original, while an AfroPeruvian rhythm called panalivo revitalizes Harris’ ever-so-funky original, both tunes featuring Camille Thurman on tenor. For more information, visit hottonemusic.com. These artists are at Le Poisson Rouge Feb. 4th. See Calendar.
18 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Panama 500 Danilo Pérez (Mack Avenue) by Joel Roberts
P anamanian-born
pianist Danilo Pérez has two distinct and distinguished musical identities. For more than a decade, he’s been a member of tenor saxophonist Wayne Shorter ’s celebrated quartet. As a leader, he’s earned wide acclaim for his explorations of the intersections between jazz and Latin America. Pérez’ two sides come together on his new release Panama 500, an ambitious effort commemorating the 500th anniversary of Spanish explorer Vasco Nunez de Balboa’s historic crossing of the Panama isthmus. Pérez is joined on the album by the rhythm sections from both his working trio (bassist Ben Street and drummer Adam Cruz) and Shorter ’s group (bassist John Patitucci and drummer Brian Blade), along with a diverse cast of percussionists and string players. The ensembles weave together jazz, folkloric traditions of the Americas and classical influences from Europe. This exhilarating mix is a microcosm of Panama itself, a country shaped both by rich indigenous traditions and generations of foreign influences. Opener “Rediscovery of the South Sea”, for example, describes the Spanish conquistador ’s journey through the jungle by combining haunting vocal chants, classical and Asian melodies from violinist Alex Hargreaves and free improv from Cruz and Street. It’s followed by the title track, based on a traditional Panamanian dance rhythm. Other highlights include “Abia Yala”, another traditional-sounding tune, which opens with piano and a native pan flute, before Blade and Patitucci join in, and “The Expedition”, a more explosive, freeform trio piece, again featuring Pérez’ Shorter bandmates. The three-part “Canal Suite” is a wonderfully orchestrated evocation of the famed waterway, which looks ahead to the centenary of its opening next year. The album closes with the stirring “Panama Viejo”, which Pérez poignantly frames with a pair of narrations from indigenous Guna Indians. There’s a lot to grasp, but despite the serious intent and historical lessons, the music can stand on its own and be enjoyed for its sheer beauty. For more information, visit mackavenue.com. This project is 1 1/9/14 2:26 PM Page 1 atDMoNYCJR12thPageAd_Layout Jazz Standard Feb. 6th-9th. See Calendar.
DIANE MOSER QUINTET • CD Release and Concert
“Music for the Last Flower” (Planet Arts Records) Featuring: Diane Moser–piano/composer Ken Filiano–bass Mike Sarin–drums Marty Ehrlich–alto sax/clarinet Ben Williams–trombone
Thursday, February 27 • 8:30PM–11PM
CORNELIA S T R E E T C A F E
29 Cornelia Street New York, NY 10014 212-989-9319
W ith
the death of Gerry Mulligan in the mid ‘90s, there was no dominant player ready to take over his place on top of the jazz polls. Since then, one of the major contenders as king of the baritone saxophonists has been Ronnie Cuber, whose approach has often been the antithesis to that of Mulligan. This 2009 evening at a Berlin club finds him at the height of his powers, supported by pianist Kenny Drew, Jr. (a veteran deserving of far greater recognition), electric bassist Ruben Rodriguez and drummer Ben Perowsky. Starting off with a hard-driving setting of Horace Silver ’s Latin-infused “Tokyo Blues”, Cuber and Drew provide plenty of fireworks. The mood turns a bit more playful with Clare Fischer ’s “Coco B”, an upbeat samba that sizzles in the hands of the quartet. There’s a hip swagger to the quartet’s exploration of Herbie Hancock’s “Tell Me a Bedtime Story”, which suggests this isn’t a tale for kids, though Cuber inserts a number of playful song quotes into his solo. The leader penned two compositions, starting with “Passion Fruit”, an inventive Cuban-flavored reworking of the changes to George Gershwin’s standard “Summertime”. “Arroz Con Pollo” (named for a popular Latin dish) proves to be a delicacy as well; it would get any nightclub audience on their feet. Drew contributed two tunes, including the bluesy “Things Never Were What They Used to Be”, an offbeat, thinly disguised reworking of “Things Ain’t What They Used to Be”, though the hard-blowing Cuber will never be mistaken for Ellington’s longtenured baritone saxophonist Harry Carney. Cuber ’s wry quotes add a comic flavor to this enjoyable piece. Humor is also prominent in the pianist’s “Perpetuating the Myth”, as his lighthearted comping fuels Cuber ’s aggressive blowing. This live CD may not crown Cuber as the top baritone saxophonist, but it adds to his extensive discography of formidable recordings. For more information, visit steeplechase.dk. Cuber is at Dizzy’s Club Feb. 6th-9th with Gerry Gibbs. See Calendar.
Gerry Gibbs Thrasher Dream Trio Kenny Barron/Gerry Gibbs/Ron Carter (Whaling City Sound) by Sean O’Connell
The stories drummer Gerry Gibbs tells in the liner notes for this new record paint the portrait of quite the teenage jazz nerd. He clearly embraced the family business (his father is vibraphonist Terry Gibbs), playing air bass to Ron Carter ’s ‘70s CTI albums and pasting photos of pianist Kenny Barron on his wall. Regardless of how that was viewed by his peers, it is likely that none of them are shooting free throws with Kareem Abdul-Jabbar or strolling arm-in-arm with Cybill Shepherd today. Gibbs, on the other hand, is
For more information, visit whalingcitysound.com. Gibbs is at Dizzy’s Club Feb. 6th-9th and Smalls Feb. 24th. See Calendar.
pianist Eve Risser and vibraphonist Els Vandeweyer on “En urgence” and numerous moments highlighted by Frantz Loriot’s spiky viola work and Frank Gratkowski’s coruscating alto saxophone and somber bass clarinet. While the compositions and the group are constructed to explore Niggenkemper ’s conception, they also represent forums for strong musical personalities, a key function for dynamic jazz composition as well as an ensemble. For more information, visit cleanfeed-records.com. Niggenkemper is at Spectrum Feb. 8th and Legion Bar Feb. 9th, both with Nate Wooley/Dave Rempis, Spectrum Feb. 11th, Legion Bar Feb. 16th and JACK Feb. 25th. See Calendar.
HELIO ALVES
QUARTET
Live at Jazzfest Berlin Ronnie Cuber (SteepleChase) by Ken Dryden
living his boyhood fantasies. This trio recording is sort of a carbon copy of the terrific “Tootie” Heath album released earlier this year, Tootie’s Tempo. This time the bandleader is the young gun and the swinging veterans are joining in. The frequently entertaining results on both albums is a strong argument for more intergenerational mingling. After a pair of standards, Gibbs shows off his writing with a solid homage to pianist McCoy Tyner entitled “When I Dream”. Most of its power derives from Gibbs’ clacking kit, especially when he injects a fluttering dance groove behind his stoic bandmates. Barron and Carter are game throughout, sharing a driving bass figure before Carter takes a supple solo. Barron tackles his contemporary Herbie Hancock with blistering verve, “Eye of the Hurricane” burning with that eye focused primarily on Barron’s lightning quick right-hand lines while a straightahead take on Stevie Wonder ’s “Don’t You Worry ‘Bout A Thing” makes for an excellent soloing platform for the pianist. Gibbs completes his fantasy by playing Barron’s composition “Sunshower”, a tune that Barron and Carter collaborated on when Gibbs was only 13 years old. The bouncing Latin tune, complete with a feral cuíca, provides another showcase for the pianist’s solo voice. Gibbs’ excitement is palpable throughout and deservedly so. He has enlisted two musicians with whom any jazz drummer would love to engage. While the standards are a pleasant enough listen, the real magic comes through with the original tunes. Here’s hoping for the next round, Gibbs writes the whole set.
BEN ALLISON ALEX KAUTZ ROGERIO BOCCATO
“Alves has subtlety, musicianship and extraordinary improvisational facility...” —DownBeat Magazine
FRI. & SAT. FEBRUARY 7 & 8 Sets: 8 and 10 PM @ KITANO 66 Park Avenue, East 38th St • Tel: 212-885-7000 www.kitano.com/Jazz-Schedule www.helioalvesmusic.com
Lucky Prime Pascal Niggenkemper’s Vision7 (Clean Feed) by Stuart Broomer
Pascal Niggenkemper, a French-German bassist active in both the Cologne and New York scenes, has worked extensively in small improvisatory groups with Thomas Heberer and Joachim Badenhorst, as well as his remarkable piano trio with Simon Nabatov and Gerald Cleaver. Lucky Prime marks a departure for him: an extended suite for a midsize ensemble, emphasizing composition and the particularly complex structures sheer numbers make possible, overlaying composed and improvised elements in ways that are sometimes uncanny. There’s a particular complexity achieved here that’s unusual, from the initial “Carnet plein d’histoires”, in which the seven musicians appear to be pursuing different musical paths, sometimes at breakneck speed, but somehow tightly synchronized. It’s a remarkable effect, at once composed and improvised, and with its weird harmonic associations and rhythmic layering can suggest music by Charles Mingus, Cecil Taylor and early Jimmy Giuffre (there’s a structuralist cool at the core) all at once, the effect further multiplied by the text of singer Emilie Lesbros. There’s a particular complexity of mood, a developed ambivalence, which takes another form in the suite’s concluding “Sortir de la Colère”, with Lesbros (in another language) repeatedly spitting out “That’s my dream...” as the underlying music constantly contrasts new and more lyric textures. Along the way, there’s the odd rhythmic insistence of “I don’t know why, but this morning”, held together by drummer Christian Lillinger; the abstract duet of THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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Anthem For A New Day Helen Sung (Concord) by Elliott Simon
Although Helen Sung began as a classical pianist, throw away your stereotypes. This lady from Houston, Texas is filled with emotion and swing in addition to classically clean phrases. She is also not afraid to take chances and Anthem For A New Day captures her spirit better than anything else. Her salient characteristic remains beautiful clarity but she is also a strong leader, arranger and composer for this sextet, which includes saxophonist Seamus Blake, trumpeter Ingrid Jensen and two high-powered guests: violinist Regina Carter and clarinetist Paquito D’Rivera. Sung’s anchor is bassist Reuben Rogers who, with drummer Obed Calvaire and percussionist Samuel Torres, enable the band to move through her varied and difficult paces. “Brother Thelonious” includes initial phrasing that catapults it into a quick clear swinging excursion. Chick Corea’s “Armando’s Rhumba” benefits from a crisp percussive floor as D’Rivera’s sparkling clarinet runs are matched by shining piano lines. Sung melds with Carter ’s sensitive violin on two exceptional cuts; she switches to Rhodes and includes Jensen’s expressive trumpet for the touching “Hidden” and switches back to piano for the achingly beautiful “Never Let Me Go”, buoyed by sensitive bass. Classical chops are tapped in a cleverly arranged “It Don’t Mean a Thing (If It Ain’t Got That Swing)” before soprano saxophone adds to the warmth of “Hope Springs Eternally”. The title track also features Rhodes but skillfully paired with John Ellis’ bass clarinet for a stunningly intimate intro. The band then changes gears into funky fusion à la ‘70s Weather Report. A very adventurous “Chaos Theory” cooks in a downtown way before a surprisingly cool version of Monk’s “Epistrophy” is followed by a tender interpretation of Stanley Cowell’s “Equipoise”. Many things are striking about Helen Sung and are all displayed on her brilliantly-puttogether Anthem For A New Day. For more information, visit concordmusicgroup.com. This group is at Jazz Standard Feb. 11th-12th. See Calendar.
Another Time, Another Place Josh Deutsch’s Pannonia (Alternate Side) by Fred Bouchard
P icture
yourself on holiday in a smallish, fertile country, one of temperate climate and mild disposition, tucked away among rolling old-world hills and dotted with pretty villages whose good folk don’t fret or squabble, but engage in rural pursuits like beekeeping and organic gardening. They eat convivially from small ovenproof bowls and drink home-brewed beer, over which they amicably exhort each other not to discourse on weighty issues but rather erleichda! (“lighten up!”) to sing, play and tell stories. Such a
place once existed - Pannonia was a Roman province on the Danube near Dalmatia and alpine Italy - and trumpeter Josh Deutsch’s merry men lately visited there (transported smoothly via sepia-tint photos, a Kickstarter zeppelin ride and fervent recollections); they now return to tell its tales fluidly, unhampered by chordy piano or guitar. Or rambling solos, either. Part Brigadoon and part Oo-bla-dee, Pannonia’s history unfolds as a suite of tidy, amiable vignettes in the equable voices of Brian Drye’s trombone, Zach Brock’s fiddle, Gary Wang’s bass and Ronen Itzik’s drums. An attractive chorale, serving as ‘opening credits’, introduces a theme that’s varied first briskly as “Bingo’s Bees” (tart trumpet and barreling toms to the fore) then jauntily as “Erleichda” (as violin and rhythm jig under rolling legato horn lines). The two brass and fiddle continue to weave intricate choral lines that unfold as piquantly lyrical on “Dirigible”, or tightly improvised over bowed bass on “Serious Beets”. Eastern, maybe Balkan, dance rhythms come naturally: “K23” struts its brisk 6/4 around Brock’s zesty solo; he’s first up again with a sprightly step in a peppery jam on “Kék Szín” with its bluesy riffs and snappy kitwork. Handclaps precede bass and drum to underscore the modal, muted “Ramekins” while airy then lively arpeggios take us up the mountainside to share a final vista. Then memories fade as Brock’s seesaw arpeggios waft us back, as if from a hazy dream, to the ‘real world’ of brass and cymbals. For those who enjoyed their stay and the band’s mythology, tourleader Deutsch promises to book a return visit soon. For more information, visit alternatesiderecords.com. This group is at Korzo Feb. 11th. See Calendar.
jaunty theme and develops a healthy banter. Another repetitious patter of bass and piano supports Alessi’s muted turn on “Throwing Like a Girl”, which intensifies without abandoning the rhythmic motif. Working in contrasts, the band tests freer terrain on “11/1/10”, which opens with spirited dialogue between drums and trumpet before ominous accents of piano and bowed bass signal a shift. Throughout the program, Alessi’s patient compositions balance structure and spontaneity. For more information, visit ecmrecords.com. Alessi is at Ibeam Brooklyn Feb. 13th and Jazz Standard Feb. 22nd-23rd with Ravi Coltrane. See Calendar.
Billy Lester
is accepting new jazz piano students, offering an original approach to jazz creativity, technique, theory and ear training to students of all levels. Re: Storytime - Billy’s solo piano CD: “Connoisseur jazz...at an ever higher level of daring and mastery.” -Howard Mandel, President, Jazz Journalists Association “You won’t get any better than this.” -Rotcod Zzaj, rotcodzzaj.com “Solo jazz piano at its best” - Scott Albin, Jazz Times www.billylester.com studio in Yonkers, NY
Baida Ralph Alessi (ECM) by Sean Fitzell
The venerable ECM label continues its recent mining of New York City talent, this time tapping trumpeter Ralph Alessi, who deserves the recognition boost the imprint brings. A scene stalwart, he’s released consistently engaging recordings as a leader and been an important sideman and educator. For Baida, Alessi reconvened pianist Jason Moran, bassist Drew Gress and drummer Nasheet Waits, all musicians with whom he has rich history. Although this quartet performs only infrequently, their shared musical sensibility is palpable. The title track bookends the proceedings. The first reading diffusely unfurls with spare drums, smears of trumpet and probing keys while the second is forthrightly articulated, never wandering far from the theme. Befitting its namesake Gong Show host, “Chuck Barris” hatches a manic horn and keys unison head prodded by skittering rhythms and, after pushing Moran’s fleet run, Waits solos off the groove. “Gobble Goblins” boasts a staccato theme mirrored by trumpet and piano, Moran sustaining it for the leader ’s searing solo and then playing against it with quickly cascading runs. The leisurely paced “Sanity” opens with Gress’ melodic thrums amid brushed cymbals and trumpet murmurs and later swells for Alessi’s tender interpretation. Both also shine on “Maria Lydia”, an emotive piece with a gently lilting melody inspiring lyrical improvisations. The leader lays out for the middle of “I Go, You Go” and the trio departs from its
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February 4 Mike Longo Trio Salutes The Great Jazz Pianists February 11th French Horn Master John Clark Group February18th Pianist/Composer Jay D’Amico and Group New York Baha’i Center
53 E. 11th Street (between University Place and Broadway) Shows: 8:00 & 9:30 PM Gen Adm: $15 Students $10 212-222-5159 bahainyc.org/nyc-bahai-center/jazz-night
visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) W W W. J M I H . O R G
Absolute Horizon Life In The Sugar Adam Lane Trio Candle Mines (NoBusiness) Black Host (Northern-Spy) by Ken Waxman
F rom
the time he relocated to NYC from Virginia about a decade ago, alto saxophonist Darius Jones has made a major impact on the local scene, partnering with the likes of pianist Matthew Shipp and releasing acclaimed CDs as a leader. But Jones is a collaborative musician and these notable discs find him using his considerable talents to help realize the vision of others. Absolute Horizons, a trio date under bassist Adam Lane’s name, has the same cast as Big Gurl, Jones’ second CD, with drummer Vijay Anderson the only variable. With the seven tracks attributed to all, the result is a balanced three-way program, each component snugly attached to the others, whether the outcome is a hypnotic, Eastern-inflected rhythmic piece like the title tune or a restful essay in floating, moderato swing such as “Apparent Horizon”. This poised equilibrium shades most of the performances, with each track containing either a saxophone or a bass solo. Anderson astutely maintains the beat, then stays pretty much out of the soloists’ way. For Lane, “Bioluminescence” is the standout, since it appears that he’s feeding his bass strokes through a fuzz box for maximal distortion. Jones’ response takes the form of dramatic slurs and snarls, but with aplomb that maintains chromatic focus, as if the bassist’s grinding oscillations aren’t out of the ordinary. Lane returns the compliment on “Light”, as his steadfast stops keep the piece’s walking pace despite Jones’ decision to divide his solo between split tones and bagpipe-like tremolos. Whether Jones torques his playing with extensions or sticks close to the melody, his expression cleaves to affecting blues and swing references. This combination of searching expressionism and hardcore jazz sensibility is most spectacularly expressed on Life In The Sugar Candle Mines. Featuring Jones and keyboardist Cooper-Moore, who was on the saxophonist’s debut CD, Black Host is filled out by drummer Gerald Cleaver and bassist Pascal Niggenkemper, two of NYC’s busiest jazzers, and guitarist Brandon Seabrook, whose allegiance encompasses string-shredding rock. Considering Cooper-Moore’s great familiarity with folkloric sounds, Niggenkemper ’s skill with notated music and Cleaver being listed as “sound designer”, the concept ensures that the Black Host sound is almost completely original. Besides the thrash-rock and prog-rock inferences that arise, acerbic free jazz noise-making is on the program as well. This is most prominent on “Ayler ’s Children”, where Cooper-Moore’s dynamic darting, octave jumps and percussive pounding is reminiscent of the heyday of energy music. At the same time, while the other frontliners respond with staccato intensity, the continuum is harmonized rather than splintered. On the concluding “May Be Home”, Cooper-Moore’s glissandi are constantly romantic and Jones’ heavy vibrato nearly heart-wrenching, with spare Niggenkemper accompaniment, resulting in a piece as atmospheric as it is aleatory. For more information, visit nobusinessrecords.com and northernspyrecords.com. Darius Jones is at Ibeam Brooklyn Feb. 14th with Firm Roots and 27th-28th with Mara Rosenbloom and Clemente Soto Velez Cultural Center Feb. 17th. See Calendar.
Har lem i n the H i malayas Kavita Shah & Lionel Loueke Friday, February 28, 7:00pm
Rubin Museum of Art • 150 West 17th Street For more information visit www.jmih.org
Jazz for Curious Listeners A Mandolin Jazz Odyssey with Guitar and Bass TUESDAY
SESSIONS
T U E S DAY, F E B R UA RY 4 , 7 : 0 0 P M
T U E S DAY, F E B R UA RY 1 8 , 7 : 0 0 P M
Hand Me Down My Mandolin
Mandolin Skinny on Fat Tuesday
T U E S DAY, F E B R UA RY 1 1 , 7 : 0 0 P M
T U E S DAY, F E B R UA RY 2 5 , 7 : 0 0 P M
Migration Sketches
What's Love Got to Do With It
Musings on Mardi Gras
A Long Shadow and “Pres” Day
Jazz For Curious Listeners Makeup Sessions T H U R S DAY, F E B R UA RY 6 , 7 : 0 0 P M
T H U R S DAY, F E B R UA RY 2 0 , 7 : 0 0 P M
Broadway Boogie Woogie
Bill Savory and the Heroics of Sound
Rhythm in the Visual Arts with Bob O’Meally
with Doug Pomeroy
The National Jazz Museum in Harlem • 104 East 126th Street, Suite 2C Donation Suggested • For more information: 212-348-8300
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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feb 7-8 • 7pm, 9:30pm
JOSHUA REDMAN QUARTET
With Joshua Redman, Aaron Goldberg, Reuben Rogers, and Gregory Hutchinson
feb 8 • 1pm, 3pm jazz for young people series
FAMILY CONCERT: WHO IS DAVE BRUBECK?
Jazz at Lincoln Center Orchestra with Wynton Marsalis
feb 14–15 • 8pm
DIANNE REEVES
Vocalist Dianne Reeves returns for Valentine’s Day
feb 21–22 • 8pm
JLCO HOSTS: KENNY garrETT & THE MUSIc oF MUlgrEW MIllEr
Jazz at Lincoln Center Orchestra with Wynton Marsalis and Kenny Garrett
feb 28–mar 1 • 8pm
JACK DEJOHNETTE, JOE LOVANO, ESPERANZA SPALDING, LEO GENOVESE: THE SprINg QUarTET
Massive Threads Kris Davis (Thirsty Ear) by Kurt Gottschalk
A musician’s first solo album is almost a gimme. With the novelty of hearing them in isolation rather than conversation, the petri dish of sole decisions-making is a guaranteed level of interest. After that, however, they need to step it up or give it up. Pianist Kris Davis’ first solo record - 2011’s Aeriol Piano - wasn’t a huge surprise but it was a pleasant one. Davis had certainly proven her muster since moving to New York, in projects alongside some of the city’s most challenging players and writing arrangements for Tony Malaby. Aeriol Piano showed that pedigree in seclusion, not just from other musicians but laid out like she was a lepidopterist, her various inclinations pinned in rows like captured butterflies. Massive Threads, her second solo effort, furthers that focused examination and from the outset it’s a beautiful and daring recording. The opener “Ten Exorcists” begins as a bold rhythmic study with allusions to Steve Reich before taking a turn into gentle multi-linearity. The direction turns again with the wonderfully spare “Desolation and Despair”, softly striking patterns of the first few minutes of a rainfall. A bit of thunder rolls in, to belabor the metaphor, with the 10-minute title track (the longest cut), but even when she pushes into more muscularity in the lower register, her playing is very measured, becoming about halfway through a recitation of chords reminiscent of Matthew Shipp in his more obsessive moments. The second half of the program continues apace, with the highlight of a wonderfully fragmented version of Monk’s “Evidence”. She doesn’t play with meter like a typical jazz deconstruction so much as she plays with space. The recognizable pieces are recognizable, the flourishes are flourishes and there’s plenty of room to walk around between them. The disc closes with two little wisps of music, a couple minutes each. In performance it’s not uncommon for the silence following the conclusion still to feel like a part of the music, but it’s rare on a recording. Davis continues to inhabit the space after the CD is through. It’s a lovely piece of work. For more information, visit thirstyear.com. Davis is at Greenwich House Music School Feb. 15th with Paradoxical Frog and 26th with Max Johnson, Clemente Soto Velez Cultural Center Feb. 17th, Cornelia Street Café Feb. 19th with Matt Bauder and The Stone Feb. 28th with Ben Goldberg. See Calendar.
With an opening by Cécile McLorin Salvant
jalc.org jazz at lincoln center Venue Frederick P. Rose Hall Box Office Broadway at 60th, Ground Fl. CenterCharge 212-721-6500
LEAD CORPORATE SPONSOR Jazz for Young People LEAD CORPORATE SUPPORTER JLCO Hosts: Kenny Garrett and the Music of Mulgrew Miller
You Must Believe In Love Brianna Thomas (Sound On Purpose Records) by Suzanne Lorge
N ewcomer
Brianna Thomas is, in short, a simply phenomenal jazz singer. Think of Sarah Vaughan’s vocal quality, Ella Fitzgerald’s timing and Mahalia Jackson’s power. She’s been gigging recently with horn players like Wynton Marsalis and Wycliffe Gordon and You Must Believe In Love features Gordon on trombone,
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pianist Allyn Johnson, guitarist Russell Malone and drummer Ulysses Owens Jr. (who also produced). Thomas opens with “Bye, Bye Blackbird”, transforming the simple melody line into a driving scat, which moves deftly through classic bebop references and sets up the instrumentalists’ equally energized solos. She finds inspiration in the moment, diving into a pop tune here, leaping back and forth on the octave there. It’s exciting to anticipate Thomas’ next musical idea and she’s got lots of them. While she may excel at high-intensity uptempos, it’s on the ballad “Thought You’d Never Leave In Summer” that her virtuosity is in full force. She brings a gospel singer ’s passion to her performance and the heartbreak is so palpable that it will make you cry. By contrast, though, her version of the perennial downer “Smile” is so buoyant and happy that one might wonder why anyone would ever hide the song’s uplifting message in melancholy. She also distinguishes herself as a songwriter, contributing three originals to the disc: “Love Doesn’t Die”, a rueful ballad; “I Should’ve Known”, a midtempo blues, both featuring Gordon on standout solos, and “Bree’s Blues”, a wellcrafted traditional blues tune on which trumpeter Marcus Printup and bassist Yasushi Nakamura offer up tight, heartfelt solos. On the latter, Thomas reveals more of her fiercely impressive scatting chops - rapidfire syllables, clever words and full-range howls. Closer “You Must Believe In Spring” is a simple duet of voice and guitar. Malone never intrudes but merely responds to Thomas’ musings. “You must believe in spring - and love,” she sings earnestly. Well, if Thomas is singing it, I’m believing it. For more information, visit briannathomas.com. This project is at Dizzy’s Club Feb. 17th. See Calendar.
IT’S A TRIP
Danilo Pérez
Panama 500
Pianist/composer Danilo Pérez (pianist of Wayne Shorter’s Quartet) embarks on a musical sojourn: the celebration of the historic trip by explorer Vasco Núñez de Balboa spanning Panama’s narrow isthmus, finding the vast Pacific Ocean at journey’s end 500 years ago. Composer Pérez finds musical interpretation and inspiration in two groups of players—one featuring John Patitucci and Brian Blade, with contributions from Rogério Boccato and Sachi Patitucci. The other features Adam Cruz, Ben Street, Alex Hargreaves and Roman Díaz.
also available: Providencia
daniloperez.com • mackavenue.com availablewherever whereveryou youlike liketotobuy buymusic music available
Newport ‘59 Thelonious Monk (Concert Vault) Mulligan Meets Monk (OJC) Gerry Mulligan/Thelonious Monk (Riverside-Concord) Live with Repertoire Howard Riley (NoBusiness) by Robert Iannapollo
soul jazz
N ew Monk is always an occasion to rejoice and the
festival Brian Landrus, Artistic Advisor
Fri, Mar 14 8 pm
Dj logic & Friends
Joey dEFrancesco
All-star band sat, Mar 15 8 pm
Esperanza
spalding Brian Landrus
kaleidoscope Tickets sell fast-order today! Tickets from $20 Lexington Avenue at 92nd Street
accessible at 86th street
24 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
An agency of UJA-Federation
92Y.org/souljazz 212.415.5500
vinyl-only Newport ‘59 fits the bill. It presents Monk at a transitional point. He’d been using bassist Sam Jones semi-regularly and while Art Taylor was a drum outlier for the pianist, he is clearly attuned to Monk’s rhythmic concepts. He and Jones work like a typical Monk rhythm section, discretely driving the music forward and providing soloists with a harmonic and rhythmic base. Tenor saxophonist Charlie Rouse was relatively new to the Monk camp and he sounds it. Although he subsequently became Monk’s right-hand man during the next decade, here he sounds like he’s feeling his way, with a tendency to rely on pet phrases and rhythmic elements while soloing. While his playing is acceptable, he pales in comparison to predecessors Sonny Rollins, John Coltrane and Johnny Griffin. Monk is brilliant, as always, with a program of five of his standards, including a brief, sensitive reading of “Crepuscule With Nellie” that is a highlight. Concert Vault is to be commended on the pressing (180g vinyl), nice cover design and excellent sound. During the late ‘50s, Monk was on Riverside and made some of his most substantial recordings. Credit has to be given to the label for keeping the albums interesting with unique concepts and adding unusual musicians to the lineup. Mulligan Meets Monk is a classic example. On the surface the pianist and baritone saxophonist Gerry Mulligan seem to be diametrically opposed - bop complexity meets West Coast cool. But the two meet more than halfway. Mulligan seems to have a genuine feel for the pianist’s compositions and Monk sounds inspired out of his comfort zone on this set of four of his tunes, a Mulligan original and a popular standard. This is a genuine meeting of the minds, Mulligan’s flowing lines cutting through the angularity of Monk’s comping with ease on “Rhythma-ning”, “Straight, No Chaser” and a beautiful “‘Round Midnight”. This is one of the more undervalued albums in the Monk canon but well worth investigating. Highly regarded veteran British pianist Howard Riley’s discography has comfortably straddled the line between free improvisation and repertoire since the mid ‘60s. Among his influences is Thelonious Monk and Riley’s output is dotted with random Monk compositions. On Live with Repertoire, Riley pays homage by presenting eight songs composed or performed by Monk along with four originals in a Monk-ian style. While Riley is not as spare (his lines tend to have more flow), his interpretations are definitely in the spirit. On “Well You Needn’t”, he highlights little turns-of-phrase in the theme, obsessively repeating and digging deeply into them. But Riley can also be a melodicist, as his takes on “’Round Midnight” and “I’m Getting Sentimental Over You” demonstrate. Recorded at the 2011 Leicester Jazz Festival, this is a fine tribute to Monk, wherein Riley stays true both to himself and his dedicatee. For more information, visit concertvault.com, concordmusicgroup.com and nobusinessrecords.com. A Monk tribute is at Birdland Feb. 18th-22nd. See Calendar.
Extended Circle Tord Gustavsen Quartet (ECM) by Tom Conrad
Between 2003-07, Tord Gustavsen made three hit records in a row for ECM: Changing Places; The Ground and Being There. ECM does not release sales numbers, but the total for the three has reached well into six figures. These piano trio albums made no compromises to popular taste. They contained rapt, pristine, meditative music, which resonated with the inner needs of a large, discriminating audience. The trilogy took a specialized form of atmospheric melodicism to its ultimate expression. The question for Gustavsen was what to do next. He has answered it by bringing in a new bassist, Mats Eilertsen, who has a flair for dark drama and ritual, and augmenting his trio with Tore Brunborg, a fervent poet of the tenor saxophone. The first album by this quartet was The Well in 2012. The new album, Extended Circle, proves that Gustavsen is still a shameless seducer. “Right There” and “The Prodigal Song”, trio pieces without Brunborg, present simple melodies repeated and subtly varied until they are addictive incantations. But “Eg Veit I Himmerick Ei Borg” (“A Castle in Heaven”) reveals a new edginess and dynamic impact that the quartet brings to Gustavsen’s music. Eilertsen
casts a spell with a drone and drummer Jarle Vespestad stirs restlessly. Their tense energy pulls against Gustavsen’s patient portrayal of the melody. Brunborg enters in clarion calls that gradually lengthen and intensify until he is screaming the passion beneath the surface of this traditional Norwegian hymn. The power of the performance is greater because it emerges from the prevailing quietude of a Gustavsen environment. Gustavsen grew up playing church music and now composes it. Brunborg understands Gustavsen’s sensual version of spirituality, but he lights it on fire. He turns the Nordic gospel of “Staying There” into a wicked little groove. “Devotion” is the “Alleluia” movement of Gustavsen’s liturgical mass for choir. Brunborg bears down on it, slowly, with commanding physical force. The sound of Extended Circle, recorded by the great engineer Jan Erik Kongshaug at Rainbow Studio in Oslo, is so vivid it makes you wish ECM still recorded all their studio albums there as they used to do, instead of only some, as they do now. For more information, visit ecmrecords.com. This group is at Saint Peter’s Feb. 21st. See Calendar.
Bring It Back Catherine Russell (World Village) by Michael Steinman
Singer Catherine Russell doesn’t have a gravelly voice
or carry a handkerchief, but she embodies the warm, vibrant spirit of Louis Armstrong. That isn’t surprising, because her parents were Armstrong’s long-time pianist and musical director Luis Russell and singer/ bassist Carline Ray. Bring It Back continues her series of energized yet subtle CDs that draw on little-known tunes from an earlier era (composers from her father to Fats Waller, Harold Arlen, Jimmy McHugh and Ida Cox) and bluesbased material associated with Esther Phillips, Al Hibbler, Wynonie Harris and Little Willie John. The disc is emotionally satisfying because Russell proves herself an adult who brings a consistent understanding to the emotions of each song. Russell’s voice is a pleasure in itself, with a high clear cornet-like attack when she chooses to croon an optimistic love song or romp through a swing fiesta such as “You Got To Swing and Sway” or “Public Melody Number One” or the dark rasp of a tenor saxophone when she sings the blues. Whatever the material or tempo, her intonation and time are splendid; no faux-Holiday lingering behind the beat for her. Russell’s energy comes through whole on Bring It Back, just as audiences worldwide have seen her dancing around the stage, a woman giving herself to rhythm. On this disc, she is surrounded by a limber medium-sized band of New York swing stars: Mark Shane (piano), Matt Munisteri (guitar), Jon-Erik Kellso (trumpet), John Allred (trombone), Andy Farber, Dan Block and Mark Lopeman (reeds) are the standouts. The band evokes but doesn’t copy swing and rhythm and blues from the last century, encouraging Russell to be inspired, never derivative. The CD moves from jitterbug extravaganzas to dark midnight blues without a letup. Louis would be proud. For more information, visit worldvillagemusic.com. Russell is at Dizzy’s Club Feb. 24th. See Calendar.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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SSC 1374 IN STORES
2/04/14 Limitless Stranahan/Zaleski/Rosato (Capri Records) by Sam Spokony
GENEVIEVE & FERDINAND KATE McGARRY & KEITH GANZ @ROCKWOOD MUSIC HALL ON 2/14
SSC 1381 IN STORES
2/04/14
SÓ BRAZILIAN ESSENCE ROMERO LUBAMBO
SSC 1296 IN STORES
2/18/14
FUZZY LOGIC TAYLOR HASKINS
SSC 1277
This reviewer remembers talking with the pianist Glenn Zaleski about this album at his Brooklyn apartment several months ago, not long after it was recorded and before it was actually released. He seemed quite Zen about the whole thing - especially compared to some of his other peers in their mid 20s and mentioned that most of the tunes were completed in one or two takes. He just felt good about the album. And he should, because Limitless, the second release by the co-led Stranahan/Zaleski/Rosato group, is one of the best piano trio albums in recent memory. The pianist once again displays his extraordinary patience, maturity and precision throughout the nine tracks, beginning with the title tune - one of four he wrote - on which he starts out playing something like Steve Reich in his left hand and something like Erik Satie in his right, before diving into his first soaring solo. Zaleski later does a fantastic half-impression/ half-homage to Thelonious Monk on a bouncing interpretation of the bop master ’s “Work”. And later, Zaleski honors another hero of the keys, with his rich and sensitive “Chorale (for Fred Hersch)”. Along with the dynamic support he provides every step of the way, all three of the tunes written by the bassist Rick Rosato are top-notch for different reasons: “Migrations” employs evocative changes and a comfortable midtempo, which allows the trio to start from subtlety and craft a strong shape to its sound; “Vio” is a short and simple gem of a ballad that shows off the group’s strong control and “Rock Song”, unsurprisingly, is a tough, punchy tune that lends a triumphant air to Zaleski’s solo. And underneath it all are the active hands of the drummer Colin Stranahan, who goes far past simple competence to excel with heavy-hitting sticks, breathy brushes and everything in between. There is a bond among these three players that undeniably recalls the epic connection between Bill Evans, Scott LaFaro and Paul Motian. So it’s no surprise that Stranahan’s contribution to the new album is “Motian Sickness”, a fitting tribute to the late great drummer. For more information, visit caprirecords.com. Zaleski and Stranahan are at Smalls Feb. 11th with Lucas Pino. See Calendar.
IN STORES
2/18/14
SKY / LIFT RANDY INGRAM @THE JAZZ GALLERY ON 2/13
sunnysiderecords.com
The Songs of Bobby Troup Bobby Troup (Bethlehem-Verse Music Group) by Andy Vélez
Everything and everyone swings on The Songs of Bobby Troup. After Troup warbles the opening lines of “Cuckoo in the Clock” to his own piano accompaniment, backed by Howard Roberts’ light and easy guitar, they are joined by the warm valve trombone of Bob Enevoldsen. Recorded in 1955, it still sounds brand
26 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
new. With deft use of his light masculine voice, sometime songwriter (“Route 66”, “Girl Talk”) Troup swings comfortably here in that fine and special domain that numbers among its denizens such artists as Matt Dennis, Blossom Dearie, Mose Allison, Bob Dorough and master minimalist/perfect songster Fred Astaire. Using modest vocal equipment, theirs is a shared ability to inhabit a song to the max. Most of the songs have either words or music by the great Johnny Mercer and his “Laura” begins with a leisurely, crisply dreamy piano solo, which savors David Raksin’s exquisite melody. Backed with beautiful simplicity by Red Mitchell’s bass, it’s a wordless poetry. Arlen-Mercer ’s classic “That Old Black Magic” too often gets a fire-alarm delivery but with especially fine Roberts accompaniment, it becomes a hip and amorous mating call. When Troup does “One For My Baby (And One More For the Road)”, his being romantically down for the count is less a morbid drama than a shrug of the soul. The singer ’s uncluttered style with lyrics is concise and respectfully clear without ever losing the beat. Troup died 15 years ago this month but as long as we have recordings like this he’ll continue swinging as freshly as ever. It ain’t what he does, it’s just the way that he does it. For more information, visit bethlehemrecords.com
Meets Sadik Hakim Sonny Stitt (Progressive) by Russ Musto
Bebop didn’t die with Bird or with the birth of the cool. The genre was still a thriving form being advanced by some of its original progenitors well into the last quarter of the 20th Century. This date from 1978, originally titled Deep Roots when initially released in Japan, first paired two of the form’s finest practitioners still at the top of their game. The late Sonny Stitt, born 90 years ago this month and one of the most prolifically documented saxophonists in jazz history, has a fine foil in pianist Sadik Hakim (born Argonne Thornton), who recorded with Charlie Parker on some of his early ‘40s Savoy titles and only rarely as a leader, dying in 1983. The quartet here is anchored by bassist Buster Williams, who solos melodically on nearly every track, and drummer JR Mitchell, whose tastefully unobtrusive playing keeps things swinging throughout. Stitt wields both alto and tenor with breathtaking virtuosity while Hakim puts his personal stamp on each piece, soloing and comping with flair in a style rooted in Bud Powell and Thelonious Monk yet displaying harmonic originality. Two co-written blues (effervescent “Christopher Street Jump” and downhome “South Georgia Blues”) display each man’s ability to improvise creatively on either up or slow tempos. Both players are supremely lyrical on the ballads “Little Girl Blue”, “You Are the Sunshine of My Life” and “‘Round Midnight” and swing intensely on the standards “Easy To Love”, “All God’s Chillun Got Rhythm” and “Fine And Dandy”. Four alternate takes heard for the first time show that the soloists were at no loss for new ideas on each of the pieces; they rival (and perhaps even surpass) the originally issued ones. Recorded pristinely, this disc is a must for all beboppers and jazz fans in general. For more information, visit jazzology.com
Rise and Shine Matt Renzi (3 Ps) by Ken Micallef
Whatever instrument he plays - tenor, clarinet, oboe, flute or English horn - Matt Renzi is a storyteller and it runs in his blood. His grandfather was principal oboist with Toscanini’s NBC Symphony Orchestra and his dad was principal flutist for the San Francisco Symphony. In addition, Renzi studied with saxophonist Joe Henderson and drummer Eddie Marshall. But Renzi is no old school bopper or hipster dealing in dense arrangements and serpentine melodies. He tells stories from the gut, grounded in subtle melodies, unique arrangements and inventive ideas. For his eighth CD, Renzi draws on his longtime trio of bassist Dave Ambrosio and drummer Russ Meissner, with guest trumpeter Ralph Alessi and South Indian percussion and vocal masters Giridhar Udupa and AR Balaskandan. Rise and Shine wakes up slowly, its melodies and rhythms progressing track by track, Renzi’s trio responding hand and glove to his dexterous, rapt improvisations. When joined by Alessi on “Wall Tune”, the pair duel, taunt and intertwine, the accompanying musicians equally entrancing and, by turns, gentle and riveting. The song changes direction from fluttering vehicle for the frontline to a plaintive through-
composed ensemble piece, hanging together gorgeously. The trio bounces angularly in the opening melody of “SP”, the subtle South Indian flavor intensified by Balaskandan’s fragrant mridangam improvisations. Here, upright bass, Indian percussion, trap set and tenor converse like four scholars bounding along a mountain path, with nothing more important than the journey itself. Mridangam dominates “Tha Thom”, establishing a stately dance before erupting into a fullblown solo as intriguing as it is invigorating. An Indiantempered tenor melody floats above broken rhythms in “Number Two”, recalling some alternate version of hoary 1958 hit “The Stripper”. Rise and Shine’s great overall sense of ease and flow, relaxed and engrossing improvisations within such a unique lineup and ingenious arrangements speaks volumes to Renzi’s compositional and arranging skills - but his stories are what you’ll remember most. For more information, visit mattrenzi.com. This group is at ShapeShifter Lab Feb. 18th. See Calendar.
Genevieve & Ferdinand (Live) Kate McGarry/Keith Ganz (Sunnyside) by George Kanzler
Many jazz singers today present a familiar repertoire, dominated by the “golden age” of American Popular Song. But some attempt to stretch the boundaries. Kate McGarry and guitarist-husband Keith Ganz, who have lived in or near Appalachia for years, bring some of the feel of that region’s music, and two songs from singersongwriters who lived in the Shenandoah Valley, to Genevieve & Ferdinand, recorded live in North Carolina. McGarry opens with Paul Simon’s “American Tune”, his melancholy questioning of the American Dream, bringing a particular poignancy to such lines as “don’t know a dream that’s not been shattered / or driven to its knees”. She taps another singer-songwriter from the same era, James Taylor, for the more political and sardonic “Line ’Em Up”, imagining Nixon’s final departure from the White House after resigning. Devon Sproule’s “Plea for a Good Night’s Rest” conjures a ‘revenant’ ghostly figure, in a vividly described “attic we share”, much like an Irish ghost tale. Paul Curreri’s “Beneath a Crozet Trestle Bridge” is highly imagistic, deeply mysterious and fitted with a serpentine melody line. McGarry’s one original, “Ten Little Indians”, is in a similar vein, with haunting imagery and a quirky melodic line reminiscent of Leonard Cohen or Laura Nyro. Guest singers Theo Bleckmann and Gian Slater create a shifting roundelay with McGarry on Todd Rundgren’s caustic “Pretending to Care”. The album replicates the breadth of a concert set by the duo (this writer caught one very similar) as they reflect their love of bossa/samba tunes in a medley, two with wordless vocals and one sung in Portuguese. Standards get a nod too. Showboat show-stopper “Can’t Help Loving that Man” is sung conversationally, with a rare mix of cool passion and hip insouciance. Irving Berlin’s “Let’s Face the Music and Dance” moves from hesitation and desperation to exaltation, McGarry enhancing the feel with idiosyncratic scatting. And Charlie Chaplin’s “Smile” is an impressionistic gem, a smile emerging from tentative to downright perky, all as depicted in a vocal of just over two minutes. For more information, visit sunnysiderecords.com. This project is at Rockwood Music Hall Feb. 14th. See Calendar.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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Folk Brian Settles Trio (Engine) by John Sharpe
W ashington
DC-rooted tenor saxophonist Brian Settles steps out for his second leader date on Folk, joined by two longtime associates, bassist Corcoran Holt and drummer Jeremy Carlstedt, holdovers from Settles’ debut with his Central Union outfit. Settles may be best known for his tenure in drummer Tomas Fujiwara’s The Hook Up alongside rising stars like guitarist Mary Halvorson and trumpeter Jonathan Finlayson and it is a sign of his standing that he doesn’t sound out of place in such fast company. All seven cuts on the 37-minute program flow from the leader ’s pen and though each is bookended by a straightforward head, what follows is not a string of solos but empathetic group interplay. Settles’ brawny burnished sound harks back to models like Chu Berry and Ben Webster, by way of Yusef Lateef and Dewey Redman, while his short asymmetric phrases recall Frank Lowe. Carlstedt incorporates tight cellular patterns within his flowing cadences while Holt’s fleet fingered stylings provide a fertile harmonic launch pad. Shared experience is much in evidence and although few features emerge from bass or drums, the stripped-back format offers lots of space in which
they can express themselves. Settles’ writing sets the tone for the ensuing interaction, most successfully on the tender hymn-like “Sipho”, where gruff saxophone is shadowed by singing bow work. “Efflorescence” displays a Latin feel, with a joyful bounce, presaging a freer section of roiling drums fueling a piping climax. On “Understanding”, a repeated line that recalls Steve Lacy, leads to an intimate conversation between tenor and bass. The only time Settles forsakes his patient probing approach comes on “Soldierly”, his tenor skipping over the choppy continuum, contrasting sequences of clipped notes with extended legato yelps. But whatever the intensity, Settles is a singular voice deserving wider attention. For more information, visit engine-studios.com. Settles is at Cornelia Street Café Feb. 15th with Tomas Fujiwara. See Calendar.
I’ll Take My Chances Dayna Stephens (Criss Cross) by Robert Milburn
Saxophonist Dayna Stephens has the improvisational sensibility to relish in visceral niceties while saving his hard-edged bop chops for those “wow” moments that scream for satiation. I’ll Take My Chances, his most
AS OF FEBRUARY 7, COBI NARITA’S OPEN MIC MOVES TO 519 8TH AVE, 12TH FOOR, STUDIO A Much as we loved our space at ZEB’s , Cobi could no longer climb the stairs every Friday night for the Open Mics, so we have moved to a new space. As of Feb 7, Cobi Narita’s Open Mic will be at the Pearl Studios, 519 8th Ave (an elevator building!), 12th Foor, Studio A, every Friday night. The day is the same, but the time has changed; it is now 7:30 to 10:30 p.m. But the cost remains the same, only $10 for one of the best Open Mics in the city! And it’s all due to Frank Owens, our Host and pianist, whom everyone says is the BEST PIANIST to accompany singers! So please come - Singer, Tap Dancer or Audience Member, you can’t beat the price! And it’s a great show! Don’t miss! Admission: $10.
Cobi Narita Presents
at Zeb’s
COBI NARITA’S CONCERTS ARE STILL AT ZEB’S Saturday, February 22 - 8 p.m.
BILLY HARPER & VOICES (Small Ensemble)
with Billy Harper, tenor sax; Jack Glottman, piano; Panagiotis Kostopoulos, drums; Kevin Smith, bass. Vocals - Sopranos: Eri Isaka, Caroline Santoro, Amber Reynolds, Jazzmeia Horn; Altos: Emma Larsson, Dana Hanchard, Elizabeth Tomboulian, Charenee Wade, Dace Dubrova, Ruby Greenberg, Michele Smith, Emi Makabe; Tenors: John McMahon, Paul Tafoya, Lee Tomboulian; Basses: Dylan Pramuk, Klaus Mueller, Adrian Condis. Come and meet the singers and Billy’s Trio. Come say “Hi!” to Billy. A light buffet supper will be served following the concert. $25. A Fundraising Evening.
Sunday, February 23 - 6 to 9 p.m.
ERA-ENDING PARTY FOR SAEKO ICHINOHE
Saeko, whose dance company performed for more than 40 years in New York, across the nation and worldwide, has closed her company because she says, “It’s time”. Her dancers, both Asian and Caucasian, were among the best dancers in the industry, presenting Saeko’s choreography perfectly, lovingly, and absolutely f lawlessly. Saeko, of course, danced in many of her productions. Her costumes were sumptuous, opulant, beautiful. Her dancers are now dispersed across the country, but those who can, will be at the party to dance “one more time” for their mentor, teacher and head of one of the longest running Japanese dance companies in America. Please come and let Saeko know that her dance company will be missed. Enjoy the dancing and the costumes. A sushi-and-soul-food buffet supper will be served, following the dance presentation. $20.
ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd floor walk-up cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010 28 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
recent effort, again proves the saxophonist’s adept hand at composition for a new first-class group. Stephens is the sole horn player, buoyed by Chick Corea’s young and dexterous guitar player Charles Altura. Veteran drummer Bill Stewart provides the solid foundation on which Stephens’ compositions take shape. Two-thirds of the telepathic Gerald Clayton trio rounds out the group, the pianist himself and nimble bassist Joe Sanders. The album is an exciting listen all the way through but really starts to take flight with third track “JFK International”. Stephens envisioned the melody as a plane on the runway, a precarious staccato line gradually relaxing as the imagined aircraft takes off. The slippery and ever morphing melody of “Field of Landmines”, co-written with drummer Marcus Gilmore, showcases Altura stretching out and loosing spidery lines with silvery tones. Stephens retakes the limelight on the title track, its laidback creaminess hitting the saxophonist’s sweet spot - the consummate warmth of his reedy tone and lyrical approach. Album highlights “Unrequited I” and “Dirty” are departures from the previously mentioned moodiness. The former is a retooled Brad Mehldau tune, which obscures the melody initially for a solo section, gradually building into an uproar. Stewart’s swelling activity from behind the kit is powerful ballast. In a vastly different way, Stewart drives the latter tune as well, heading a romping second-line blues, with Clayton providing bouncy instigation via Hammond organ and Stephens booming away on baritone sax. For more information, visit crisscrossjazz.com. Stephens is at Village Vanguard Feb. 4th-9th with Gerald Clayton, The Jazz Gallery Feb. 22nd with Linda Oh and Smoke Feb. 28th with David Berkman. See Calendar.
The Big Picture David Krakauer (Table Pounding) by Terrell Holmes
The Big Picture is David Krakauer ’s reflection on the comedic, tragic and triumphant aspects of the Jewish experience as expressed through music from some of his favorite films. This fabulous clarinetist’s diversity of experience is evident throughout the album. Krakauer opens with the warm-hearted “Willkommen” from Cabaret, a wonderful mélange of circus theme, bossa nova and Dixieland. From the films of fellow clarinetist Woody Allen, Krakauer gives Sidney Bechet’s “Si Tu Vois Ma Mere” (Midnight in Paris) a hiphop makeover, picking up the reflective tempo and adding a funky backbeat to the swinging clarinet. He serves up a dreamy version of “Body and Soul” (Radio Days) and his whinnying clarinet relishes the iron-fistin-velvet-glove satire of the march from The Love for Three Oranges by Prokofiev (Love and Death). Not all of the music reflects lighthearted moments. The theme from the poignant Life Is Beautiful, “Moving to the Ghetto” from The Pianist and outstanding Irish folk arrangement of the love theme from Sophie’s Choice share the common denominator of tragedy, as well as soaring clarinet, which provides a discernible air of triumph and affirmation in the face of the daunting
circumstances these songs define. The impish arrangement of “Keep It Gay” from The Producers moves wickedly from a stroll along a sleepy Parisian thoroughfare to caffeine-charged slapstick. A little romance is needed after that charge and Krakauer provides it with lovely bass clarinet on “People” (Funny Girl). Tradition is Krakauer ’s organizing principle, so it’s appropriate that he ends the album with that classic throw-down from Fiddler on the Roof, played as a hip dance groove. Krakauer proves once again that he is unrivaled as a clarinetist and The Big Picture is his way of giving his love of movie music, his Jewish heritage and his audience a long, loving embrace. For more information, visit davidkrakauer.com. This project is at Museum of Jewish Heritage Feb. 2nd, 5th, 9th, 12th, 16th, 19th and 23rd. See Calendar.
Sixteen Sunsets Jane Ira Bloom (Outline) by Donald Elfman
Soprano
saxophonist Jane Ira Bloom has made an album of ballads, inspired by this quote from astronaut John Allen: “…you see sixteen sunrises and sixteen sunsets every day you’re in space. No sunrise or sunset
is ever the same.” Her sterling quartet has played these tunes in performance over the last couple of years and there’s comfort and calm complemented by a sense of adventure. She infuses her interpretations - indeed, the best jazz players know this truth - with a different feel every day, every time. It should be mentioned that Bloom co-produced this album with engineer Jim Anderson and his involvement is on the level of a fifth bandmember. Bloom sings these tunes on her soprano saxophone with a tone that is clear and bright but also dreamy and, well, other-worldly. The set opens with a stunningly beautiful “For All We Know”. Bloom states the theme - it’s dark and lonely - but aided by a quietly rhapsodic Domenic Fallacaro on piano it reaches out, particularly in its delicate improvisation, towards some kind of possibly hopeful tomorrow. “Good Morning Heartache” has the weariness its title suggests and also a celebration of all that this song has stood for over the years, particularly as a kind of signature tune for Billie Holiday. There are originals here as well and they serve as powerful frames for the standards as well as tunes that are reflective of Bloom’s artistic stance and stature as a player and composer. There’s a bittersweet prelude stated by piano but composed by Bloom - to the Gershwins’ “I Loves You Porgy”. “Ice Dancing (for Torvil and Dean)” suggests an island beat. And in the dazzling closer, “Bird Experiencing Light”, the saxophonist and her subtly responsive quartet (veterans bassist Cameron Brown and drummer Matt Wilson complete the group) come to terms with the universe as it is and may be. For more information, visit janeirabloom.com. This group is at Cornelia Street Café Feb. 16th. See Calendar.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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powerhouse solos. The unusual instrumental lineup opens things up for Harrell and company, particularly Blake and the two inventive bassists, who eagerly fill the piano-less void. While Harrell cedes much of the spotlight, his masterful trumpet comes forward with its trademark lyricism on several tunes, notably gorgeous ballad “Seventy” and bossa nova number “Family”, on which he’s backed only by the paired basses. Colors of a Dream Tom Harrell (HighNote) by Joel Roberts
After five albums in six years with his stellar quintet, Tom Harrell’s latest release finds the respected 67-yearold postbop trumpeter exploring fresh and imaginative musical territory. He debuts a new group, or at least a partially new one, retaining three members of his working band (tenor saxophonist Wayne Escoffery, bassist Ugonna Okegwo and drummer Johnathan Blake) while adding alto saxophonist Jaleel Shaw and second bassist and vocalist Esperanza Spalding. Harrell wrote all 11 compositions on the disc and nearly all of them feature Spalding’s soft, dexterous vocals, though she only performs actual lyrics on one of them, “Velejar (Sail Away)”, a tropical ballad sung in Portuguese. On the rest of the tunes, her voice is treated like any another instrument in the band, scatting Ella Fitzgerald-like solos on some tracks, like “Even If”, and doubling horn lines with wordless vocalese on others, as on “Phantasy in Latin”. As the song titles suggest, there’s a pronounced Latin texture to the album, from the opening track “Tango” on. And the three-horn frontline evokes a bigband feeling as well, particularly on the strutting “Blues 2013”, where the saxophonists step up with some fierce,
For more information, visit jazzdepot.com. Harrell is at Dizzy’s Club Feb. 7th with the Gerry Gibbs Big Band and Birdland Feb. 18th-22nd with a Monk Tribute. See Calendar.
The Eternal Triangle Peter Zak Trio (SteepleChase) by Ken Dryden
Peter
Zak has developed into a pianist who knows what to leave out when playing, giving his music a buoyancy often lacking in piano trio CDs. He has built an impressive discography with his series of SteepleChase recordings. His ninth release for the label features two older veterans who’ve worked with him in the past: bassist Peter Washington and drummer Billy Drummond. Both have extensive knowledge of tunes from playing with a diverse group of leaders
over the decades so this is an interactive trio of equals, not just a leader and sidemen. That interaction is immediately on display with the lighthearted yet breezy treatment of the show tune “I Believe in You”, with Zak seeming barely to touch the keys, backed by fluid bass and whispering brushes. The tempo picks up a bit in the standard “A Weaver of Dreams”, though Zak retains his soft touch and features his sidemen as much as himself. Cole Porter ’s “Goodbye, Little Dream, Goodbye” is a neglected gem from the composer ’s vast songbook, written for his Broadway hit Anything Goes; Zak proves to be a masterful ballad interpreter, with a lyrical, spacious touch, turning the normally melancholy song into something a bit more upbeat. The pianist’s rollicking side comes forward in his hard-charging dash through Sonny Stitt’s challenging “The Eternal Triangle”, with Washington and Drummond completing the geometric form, rather than being mere accompanists. Zak’s lush, understated style perfectly fits Bud Powell’s elegant ballad “I’ll Keep Loving You”, with Washington’s arco introduction and delicate solo providing the icing on the cake. Washington is also prominent in the hip setting of Gene Ammons’ late-night blues “Hitting the Jug”. Trumpeter Bill Mobley’s “The Hymnotist”, learned during one of Zak’s many sideman jobs, is a modern postbop vehicle that provides a bit of contrast to the rest of the CD. Zak also includes three original compositions: introspective “A Body at Rest”, suggesting the influence of Bill Evans; infectious minor blues “The Walk-Up” and rollicking “George Washington” to wrap the session with a flourish. For more information, visit steeplechase.dk. Zak is at Smalls Feb. 7th. See Calendar.
PAUL SHAPIRO - THE WHOLE STORY THE STONE, FEBRUARY 4-9 AVENUE C AND 2ND STREET - 8, 10 PM $15
World Premiere
PHOTO COURTEsY Of GMd THREE
The Big Picture
A Cinematic Concert MUsIC PERfORMEd BY KRAKAUER
FEBRUARY 4: Original Compositions for Film: Paul Shapiro, Steven Bernstein, Tomas Ulrich, Dan Rosengard, Dave Hofstra, Tony Lewis FEBRUARY 5: Premiere! Upcoming Tzadik Release Shofarot Verses: Paul Shapiro, Adam Rogers, Brad Jones, Tony Lewis FEBRUARY 6: Midnight Minyan: Paul Shapiro, Steven Bernstein, Peter Apfelbaum, Elio Villafranca, Booker King, Tony Lewis FEBRUARY 7: Ribs & Brisket Revue: Paul Shapiro, Cilla Owens, Glenn Turner, Jerry Korman, Brad Jones, Tony Lewis FEBRUARY 8: Foreign Legion: Paul Shapiro, Steven Bernstein, William Brown, Tomas Doncker, Gene Perez, Zachary Alford FEBRUARY 9: Encore: Grand Jam Mashup
master clarinetist david krakauer and his band explore the intersection of music and Jewish identity in iconic movies, ranging from Funny Girl and Fiddler on the Roof to Sophie’s Choice and The Pianist.
8 sHOWs ONLY
Wednesdays at 7:30 P.m. on January 29 and february 5, 12, 19 sundays at 2 P.m. on february 2, 9, 16, 23 $35, $30 seniors/students, $25 Members Group discounts available
TickeTs and more informaTion:
WWW.MJHNYC.ORG/BIGPICTURE 646.437.4202 36 BATTERY PLACE IN LOWER MANHATTAN WWW.MJHNYC.ORG
30 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
WWW.PAULSHAPIRO.COM
Expression Javon Jackson (Smoke Sessions) by Sean O’Connell
At the close of this live set from New York’s Smoke jazz club, tenor saxophonist Javon Jackson announces that this is his first live album as a leader. Hard to believe he’s made it through a 25+-year career without doing one but all that practice has helped to make him a charming frontman. Throughout the set he runs a streak of intricate lines and swinging turns-of-phrase, no doubt inspired by his audience and driven by a solid band. His quartet opens with one of the great tunes from the book of his former employer Art Blakey, Wayne Shorter ’s “One By One”. That tune made its premiere 50 years earlier on Blakey’s live album Ugetsu, recorded at Birdland. Drummer McClenty Hunter is initially a little modest wielding a Blakey-esque wrecking ball but his driving swing gradually builds to a muscular pace as Jackson soars ahead. The stomping enthusiasm happily peaks with Orrin Evans’ pounding piano solo. Stevie Wonder ’s “Don’t You Worry About A Thing” carries the momentum further. The tune has been a modern standard in Jackson’s repertoire at least since he recorded it for his 1999 Blue Note release Pleasant Valley and he is faithful in his reading of the
melody. A forceful intensity is heaped on top of the arrangement. Hunter wallops the tune until he’s granted some space to solo over Jackson and Evans’ repeated closing riff to great effect. The band addresses two amorous pleas with “Where is the Love?” and “When I Fall In Love”, Evans delivering a bluesy stab on the former while offering a more contemplative stroll through the latter. Jackson follows with a gentle melodic solo that moves with the expected confidence of a veteran. The Smoke Sessions label aims to roll out these dynamic live sets by road-tested veterans steadily. It’s an ambitious trend for business owners who don’t think the stress of running a jazz club is enough. So far, so good. For more information, visit smokesessionsrecords.com. Jackson is at Blue Note Feb. 18th-20th. See Calendar.
CYO3 Craig Yaremko (Origin) by Elliott Simon
Sax
players who can realize each of the distinctly gorgeous tones within the soprano, alto and tenor are tough to find. One horn, usually the soprano, suffers. If you add to this a weighty sound on flute and alto flute
JAN 3 0 – FEB 2
FEB 17
matt wilson quartet with special guest john medeski
brianna thomas
FEB 3
omer avital FEB 19
FEB 4
swinging tribute to joe wilder
amina figarova sextet
F E B 2 0 –2 3
FEB 5
renee rosnes quartet
jack walrath quintet
F E B 2 4 monday nights with wbgo
FEB 6–9
big band tribute to terry gibbs led by gerry gibbs
ulysses owens cd release FEB 12
kenny rampton organ octet
set times 7:30pm & 9:30pm
F E B 2 5 –2 6
F E B 2 7– M A R 2
with duane eubanks, michael dease, gilad hekselman, and christian sands
swing by tonight
catherine russell cd release t. oliver reid drop me off in harlem
F E B 1 0 –1 1
tierney sutton band
For more information, visit originarts.com. This group is at Somethin’ Jazz Club Feb. 19th. See Calendar.
FEB 18
juilliard jazz ensemble
F E B 1 3 –1 6
Craig Yaremko may be the only player left standing. This brawny sound is perfect for going toe to toe with Matt King’s meaty B3 and is the spirit of the diverse CYO3. With drummer Jonathan Peretz deftly navigating a variety of rhythms, the trio tackles Fats Waller, Thelonious Monk, Billy Strayhorn, Freddie Hubbard and six varied originals. CYO3 showcases the B3 sound but not in a traditional greasy manner. Well, sometimes it does that too, such as on the gospel-infused closer “The Light” but here the organ’s muscularity is wide-ranging. The opener is King’s drunken arrangement of Waller ’s “Jitterbug Waltz”. It presages the session with its changing rhythms and styles. King’s arrangement of Hubbard’s “Little Sunflower” is, by contrast, a brilliantly-put-together take on this classic, pairing rich alto flute with King’s thick chords and thumping bass. Yaremko’s originals are cohesive modern jazz statements. “Blue Fontaine” is a mysterious spyversus-spy blues while “Oil Slick“ is a smooth bop excursion benefiting greatly from the crisp clean lines of guest guitarist Vic Juris. The beautiful ballad structure of “Simply Stated” is elegantly served on a delicate percussive platter and “Sprung” has Yaremko using his flute to summon a breezy samba. King’s two originals, presented back-to-back, are lighter fare: “Beach Blanket Bebop”, though neither surfy or bop, has Peretz and Yaremko trading against the odd melody while “Three’s A Crowd” is an equally quirky setting for some smart sax work. Monk’s “Bye-Ya” rounds out this wide-ranging session with another stellar Juris/Yaremko joint effort.
the music of dexter gordon: a celebration the dexter gordon legacy ensemble with george cables, jerry weldon, jimmy heath (3/2 only), rufus reid, and victor lewis
jalc.org / dizzys
Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
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new jersey performing arts center • one center street, newark, nj
Christian McBride Trio
bbar a J l-
Be rn
iams will ie
Kareem Abd u
with the
Sunday, March 2 at 7pm Three-time Grammy winner Christian McBride hosts an evening of music and conversation with baseball legend and Latin-Grammy nominated guitarist Bernie Williams and NBA icon and jazz connoisseur Kareem Abdul-Jabbar.
Rhapsody in Jazz: George Gershwin
Bill Charlap
Bill Charlap, Mary Stallings, Jeremy Pelt, Jimmy Greene, Steve Wilson, Steve Davis, Peter Washington and Kenny Washington Saturday, February 15 at 7:30pm
Echoes of Harlem: Duke Ellington
Houston Person
Bill Charlap, Ernie Andrews, Renee Rosnes, Sean Jones, Houston Person, Steve Nelson, Peter Washington and Lewis Nash Saturday, April 5 at 7:30pm
My Favorite Things: Richard Rodgers Bill Charlap, Sandy Stewart, Jaleel Shaw, Terrell Stafford, John Allred, Peter Washington, Willie Jones and Freddy Cole Friday, May 9 at 7:30pm Sandy Stewart
Dorthaan’s Place
Antoinette Montague
Join in NJPAC’s series of intimate jazz brunches at NICO Kitchen + Bar, hosted by jazz icon Dorthaan Kirk at 11am and 1pm on Sundays . ERIC AlExANDER, THE ANTOINETTE THE JON FADDIS MONTAGUE QUARTET HAROlD MABERN AND QUARTET JOE FARNSwORTH March 23 February 23 april 27
For tickets and full schedule visit njpac.org or call 1-888-GO-NJPAC NYCjazzrecord_feb_6.25x12.indd 1
32 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Subatomic Particle Homesick Blues Unfold Ordinary Mind Ben Goldberg (BAG Prod.) by Ken Waxman
Clarinetist Ben Goldberg has a consistent vision. The evidence is in how these two sessions, recorded four years apart but released simultaneously, don’t reveal any startling stylistic differences. The main divergence between 2008’s Subatomic Particle Homesick Blues and 2012’s Unfold Ordinary Mind is that different casts create different emphasis. Goldberg and drummer Ches Smith are on both dates. The accent on Subatomic Particle Homesick Blues is harmonic blending and the other participants are tenor saxophonist Joshua Redman, trumpeter Ron Miles and bassist Devin Hoff, Scott Amendola replacing Smith on two tracks. Unfold Ordinary Mind is more novel since Goldberg takes what would be the double bass role on contralto clarinet. The band (which played at last month’s Winter Jazzfest) includes guitarist Nels Cline and Ellery Eskelin and Rob Sudduth on tenor saxes. On Subatomic Particle Homesick Blues, Hoff’s dexterous work paired with Smith’s rim shots on tunes such as “Ethan’s Song” set the pace, leaving Goldberg and Miles to advance the themes as Redman interpolates sharper harmonies. On other pieces such as “Doom”, a jolly romp despite its title, distinct triple counterpoint is divided among the frontline. “Who Died and Where I Moved To” never abandons closeknit harmonies even as it is eventually revealed as a funky swinger. Perhaps the most unusual and descriptive performance is a choral-like arrangement of the old Elvis Presley hit “Satisfied Mind”. Sharp tenor sax lines, slithery counterpoint from the clarinet and rocking bass give way to Miles expanding the familiar theme in strained triplets. The focus shifts on Unfold Ordinary Mind to the contrasting saxophone strategies of Eskelin and Sudduth plus Cline’s distinctive guitar work. The latter ’s sympathetic skill is made most obvious on the nearly 11½-minute “Parallelogram”, his use of whammy bar and Hendrix-styled fuzz tones embellishing rather than slowing down the narrative. With Smith’s backbeat and Goldberg’s basso puffs holding down the bottom, the narrative constantly shifts between the saxophonists, one of whom adds snorting blues licks, the other chunky tongue extensions. Eventually they connect, Cline’s looping reverb first injecting more tension into the arrangement until finally the climax is reached, bringing the tune to a tremolo conclusion. More assertive on “Stemwinder”, the two tenors almost replicate a funky R&B groove, with skywards-heading altissimo lines. Cline plays two roles here, expelling both thick rhythm guitar and some spectacular lead solos. As Smith’s paradiddles harden into a steady backbeat, the intensity relaxes into a comfortable swing. “XCPF” is a quivering and jittery ballad, which suggests reggae, but is given an original treatment by Cline’s pitch-sliding licks. In contrast, “Breathing Room” inhabits that pleasant zone midway between folk and pop song. These high quality discs appear after a drought of Goldberg-led sessions. Hopefully he’ll take time from his gigs with the Tin Hat group and with pianist Myra Melford to produce more soon. For more information, visit bengoldberg.net. Goldberg is at The Stone Feb. 25th-Mar. 2nd. See Calendar.
1/17/14 3:16 PM
…And Other Desert Towns Music from another ass Ingrid Laubrock/ Lily’s Deja Vu Tom Rainey (Relative Pitch) (Trytone) by Kurt Gottschalk
Saxophonist
Ingrid Laubrock and drummer Tom Rainey have become fairly reliable members of each other ’s projects in recent years, dating back at least to 2010 and the excellent record Pool School, Rainey’s first release as a leader. After that, and a number of other groups with them alternating leadership, they’ve issued their first record as a duo. …And Other Desert Towns is a nicely restrained set, showing well the paths of intuition they’ve established between one another. The 10 tracks (clocking in at an hour) are by and large subdued, midtempo improvisations that flow together with ease. Rainey is consistently one of the most inventive drummers in New York, his light and busy style having long given the push to Tim Berne’s groups. With only one cohort here, he is free to make fast changes - at times every few seconds - and it’s great fun to hear how many grooves he can lock into in a minute’s time. Laubrock is, as always, wonderfully lyrical and traipses about as freely as Rainey, occasionally matching pace with him but more often scurrying in circles around his quick figures. While she is most often heard in acoustic, exploratory jazz settings in New York, over in Europe the German-born Laubrock has been mining heavier musics with the intriguingly named Lily’s Déjâ Vu. It would be easy from one track to the next of Music from another ass to peg the quartet as fusion or jazz-rock or some other such moniker, but over the course of seven pieces they shake things up a fair bit. Half were written by guitarist Guillermo Celano, with two more by drummer Marcos Baggiani and one by bass guitarist Jasper Stadhouders, so the music comes from several angles. And while Laubrock doesn’t contribute to the compositions, she’s given a number of different pens in which to play. There are (or seem to be) some progish influences in the mix, but the band keeps the music pretty loose, if perhaps wandering a bit here and getting a little showy there. Until the last track, anyway. Stadhouders’ “Beverrat” starts off with the most blistering playing on the album and abruptly transforms into a lovely two-note ballad, giving the record a couple of high notes on which to end. For more information, visit relativepitchrecords.com and lilysdejavu.com. Laubrock/Rainey are at Barbès Feb. 26th. See Calendar.
Brass Carnival & Tribute! Earl McIntyre (s/r) by George Kanzler
Brass Carnival & Tribute! is not only the title of Earl McIntyre’s first CD as a leader, it is also the names of the bass trombonist/tuba player ’s two ensembles on the album. Brass Carnival is a 20-piece brass and
percussion orchestra while Tribute! is a sextet with Kenny Rampton (trumpet), Vincent Chancey (French horn), Sam Burtis (trombone), Warren Smith (vibraphone and tambourine) and Vinnie Johnson (drums). Like the sextet, the orchestra is filled with veteran jazz and AfroLatin musicians. The tracks, all arranged and mostly written by McIntyre, reference his long career of musical experiences and memories, from playing in a Salvation Army brass band and growing up with Caribbean rhythmic influences to playing with jazz big band and brass band leaders. The Brass Carnival tracks exploit the full range of the ensemble, employing a rainbow of colors and textures, contrasting lines and riffs, all executed with scintillating precision and verve, plus a variety of solo voices, including open and muted trumpets and trombones, plus French horns, euphoniums and tubas. Vernacular rhythms, from a breezy samba and sparkling African high life to a soca with a New Orleans secondline, propel the brass. Two of the seven orchestra tracks are features for singer Renee Manning, her voice blending admirably with the enveloping brass. The Tribute! sextet tracks feature McIntyre prominently in either a lead or solo role - one of the pleasures of the album is the chance to hear the leader stretch out and improvise on instruments he often plays mostly in sections in other bands - and range from a McIntyre contrafact of “On the Sunny Side of the Street” and tributes to Lester Bowie and JJ Johnson to deeply spiritual renderings of Duke Ellington’s “Come Sunday” and a hymn penned for the leader’s mother. For more information, visit facebook.com/earl.mcintyre.12. McIntyre is at Baruch Performing Arts Center Feb. 18th with Eco-Music Big Band and Roulette Feb. 23rd with Slideride. See Calendar.
Daddy Plays The Horn Dexter Gordon (Bethlehem-Verse Music Group) by Terell Holmes
Daddy Plays the Horn, an early album by Dexter Gordon recently re-reissued on CD, is a fine example of the smooth, swinging style that would come to define this all-time great tenor player. The album was recorded in September 1955; Charlie Parker had died a few months earlier and the jazz world was in mourning while trying to fill the tremendous void in the wake of his death. Gordon was one of the emerging new voices. This album is, in effect, a portrait of the artist as a young saxophonist, navigating what was then only lightly trodden ground. There were still many frontiers to be crossed. What might seem quaint (or tired) to modern ears - the simple trading of fours, for example - was then an essential part of the music’s development. Gordon doesn’t just play these songs, he owns them. Right from the opening notes of the title cut, his tenor sax has its inimitable swinging sound and he has a hell of a rhythm section behind him, with Kenny Drew (piano), Leroy Vinnegar (bass) and Larry Marable (drums). But this album is Gordon’s all the way. He was still blooming at this point and one can still hear the influence that other tenor greats like Ben Webster and Coleman Hawkins had on him. (On the other side of the continuum, Coltrane had a hand cupped over one ear, pickin’ up what Dex was puttin’ down.) Gordon’s rendition of “Darn That Dream” is all his. No one else solos, although Drew lays down some sparkling embroidery in response to, or behind, the
pleading, bewildered but steadfast tenor. Gordon’s own “Number Four” swings easily. This quartet keeps it simple, not for a lack of effort or sophistication but because that’s how Gordon wanted it. “Autumn in New York” is vintage Dex, as expressive and expansive as one could want, a masterpiece of phrasing, and he swings heartily on “You Can Depend on Me”. There are no startling new discoveries here, only a simple confirmation: Gordon was great from the start and for a long time afterwards and whatever he played was as smooth and majestic as the man himself. For more information, visit bethlehemrecords.com. A Gordon tribute is at Dizzy’s Club Feb. 27th-Mar. 2nd. See Calendar.
IN PRINT
Mingus Speaks John F. Goodman (University of California Press) by Kurt Gottschalk
The phrase “important to the scholarship” is generally used for a book unlikely to appeal to a general readership, even those interested in the subject. That might be said for Mingus Speaks, a 320page volume of transcriptions from 20 hours of interviews with Charles Mingus conducted in 1972. While fleshed out by interviews with associates and interviewer John Goodman’s observations, the bulk is Mingus’ famously garrulous, often incendiary, sometimes paranoid pontifications. Goodman presents the ramblings with little editing so, for better and worse, the book is a whole lot of Mingus. That said, Mingus Speaks provides a wonderful view into the man’s’ later career. Mingus had just released Let My Children Hear Music when the interviews were conducted. It’s fascinating to read accounts by George Wein or arranger Sy Johnson about the album being Mingus’ greatest achievement. (While the book might well inspire a fresh listen, the album is not Mingus’ masterwork.) Likewise, interviews with people outside the music industry offer unique insights. Filmmaker Tom Reichman’s account of making the documentary Mingus, filmed while the subject was being evicted from his Greenwich Village loft, and editor Regina Ryan’s remembrances of working on the quasi-autobiography Beneath the Underdog are some of the most enjoyable and enlightening parts of the book. But most of the volume is unabashed Mingus and can be a lot of fun if one has the stomach for it. He soapboxes about women, politics, the mafia, the avant garde and the recording industry and can be hilarious and infuriating, often at the same time. Mingus says at one point that he wants the book to reach a general audience and that he hopes it will educate them away from popular musicians like James Brown “laying hysteria on the working people”. Such mass conversion is even less likely in 2014 than it would have been in 1974, but Mingus Speaks is still, well, important for the scholarship. For more information, visit ucpress.edu. The Mingus Big Band is at Jazz Standard Feb. 3rd, 10th, 14th-16th and 24th and the Mingus Orchestra is there Feb. 17th. The 2014 Mingus High School Competition and Festival is at Manhattan School of Music Feb. 15th-16th. See Calendar.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
33
Shadow Box Bob DeVos (American Showplace Music) by Elliott Simon
B3 organ trios created a bluesy and delectably greasy jazz club sub-genre best exemplified by Groove Holmes’ “Misty” and Jimmy Smith’s “Midnight Special”. For guitarist Bob DeVos and his B3 trio/ quartet show on Shadow Box, however, the interplay among organ, drums, guitar and sax can remain true to the tradition while advancing the genre. DeVos understands composition and form; his arrangements are what separate this offering from the pack. He is a guitarist who, though he certainly can play the blues and bop with the best, is content to comp while organist Dan Kostelnik struts the B3’s powerful stuff. DeVos has a nice fat tone and on five cuts adding tenor saxophonist Ralph Bowen to the mix, the two push each other in non-traditional B3 directions. This is particularly true on the four DeVos compositions featuring the quartet format. While the blues certainly runs through most of these tunes, many are tricky and this complexity gives parts of the session a very contemporary modern jazz sound. Drummer Steve Johns is a delight and with three meaty frontmen, he makes the intricacies work. Opener “After Burner”, named for organist Charles “Mighty Burner” Earland, kicks things off with a catchy riff DeVos and Bowen jointly introduce while the title track is a more sophisticated, almost angular, modern blues excursion. “Blue Print” has DeVos going all bluesy in the context of a non-blues structure and “Maine Stay” is another complex forum for slick in-tandem guitar/sax work and boundary stretching. While tunes like “Wives and Lovers”, Latininformed “Pensativa” and Shirley Scott’s “Basie in Mind” are a nod to the past, it is the more contemporary originals that give Shadow Box its eye to the future. For more information, visit showplacestudios.com. This group is at Jazz at Kitano Feb. 27th. See Calendar.
Voices of Grain Totem (New Atlantis) by Ken Waxman
Advancing the idea of the guitar power trio while subtly ignoring most of its principles, Totem’s second CD forges an individual and more profound path than its more mundane 2008 debut. Although snapping guitar runs, sluicing bass continuum and repetitive drum beats defining fusion are present on the introductory “Genosong”, the remainder of the disc is angled towards exploring new sound patterns much more likely to be heard on an improv session than a (jazz) rock date. Sophisticated players, guitarist Bruce Eisenbeil, bassist Tom Blancarte and drummer Andrew Drury have experience with most modern music variants and the only jazz-rock shibboleth they preserve is boiling excitement created
by three instruments playing at full tilt. Even a pseudoblues like “Towards Jouissance” is elaborated without any overwrought rock-blues excesses. While eminently capable of echoing licks and furious single-string solos, Eisenbeil here instead directs his lines to complement the ruggedly rhythmic undertow from bass string scrubs and wrenching percussion fills. But the heart of the session is tracks such as “Counter Memory” and “Post-Repeating”, where the three have more scope to expose novel strategies. Evolving in several sequences, “Counter Memory” is both a thematic evocation of ‘60s cop shows plus an intense instance of arena-rock-like heroics, until the band reveals its tongue(s)-in-cheek(s) intent by exhilaratingly deconstructing the narrative down to staccato atoms. The second instant composition is initially so cohesive that it references expected jazz guitar trio conventions. After that, though, miscellaneous percussion accents keep the tune linear while the others work to rip the narrative apart with tremolo guitar echoes plus vibrating bass friction. The CD does have one off-putting feature. Song titles and booklet information are printed in nearly illegible peach letters on a grey background. The disc may be an affront to the eyes, but it’s a treat for the ears. For more information, visit facebook.com/NewAtlantisRecords. Tom Blancarte is at The Firehouse Space Feb. 6th, JACK Feb. 7th and 61 Local Feb. 23rd. Andrew Drury is at Legion Bar Feb. 9th with Yoni Kretzmer and Clemente Soto Velez Cultural Center Feb. 24th with Jason Kao Hwang. See Calendar.
Pale Horse Jeremiah Cymerman (5049 Records) by Kurt Gottschalk
It is by no means meant as a slight to Christopher Hoffman and Brian Chase that Pale Horse, the latest release by Jeremiah Cymerman, comes off as something of a sequel to the previous Purification/Dissolution, which was only Cymerman’s clarinet amplified with electronic augmentation and then layered and edited into a fairly enormous sound. The new album, while clearly the work of a trio, sounds surprisingly like his solo piece, as if the former might have been a template for composing the two long tracks on the latter. On Purification/Dissolution, reed and key pops provided percussive elements and elongated tones sounded a bit like a bowed bass. On Pale Horse the music is played by a more or less conventional trio clarinet, cello and drums is only so far from Sonny Rollins’ Way Out West - but in practice it’s quite different, more like acoustic music elongated to become ambient electronica. Even still, it wouldn’t seem as if any electronic effects were used in making the album. Rather it’s all about pace and engineering. The forest is too big and too slow to notice the trees. Which brings us back to not slighting Hoffman, the cellist, and Chase, the drummer, who in fact do play a big part in making the record work. And once your ears get used to the darkness you start to be able to hear the trees. As much as Pale Horse seems in ways to be a singular voice at times, it is at others a fully operational trio. The instruments mingle, overlap, meld and separate building a density that might actually be fairly fragile. For more information, visit jeremiahcymerman.com. This group is at The Firehouse Space Feb. 16th. See Calendar.
34 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Jazz in Camera Baltimore 1969 Donald Byrd/ Duke Pearson Big Band Barney Wilen (Sonorama) (Uptown) by George Kanzler
Isn’t it time yet to start calling newly discovered music
made during the middle of the last century - 1958 and 1969 recordings featuring the late trumpeter Donald Byrd, who died a year ago this month, in this case - and restored from original sources “antiques”, “artifacts” or “classics”? After all, cars are considered antiques after 25 years and archeologists and anthropologists routinely label finds from the same era artifacts. And there are intriguing historical archeological and anthropological questions surrounding these recordings. Jazz in Camera is the soundtrack for a never-made avant garde documentary film planned in Paris as an homage to Gjon Mili’s classic 1944 short film Jammin’ the Blues. The acetates from the recording session were found in the effects of Frenchman Barney Wilen, the tenor saxophonist on the date, who had also recorded the soundtrack to Louis Malle’s Elevator to the Gallows with Miles Davis. Here Wilen is paired with trumpeter Donald Byrd (touring Europe that summer), pianist Walter Davis Jr. and bassist Doug Watkins (touring with Byrd at the time), plus guitarist Jimmy Gourley and drummer Al Levitt, both American expats then based in Paris. The album consists of six tracks, labeled Bande I to VI. All but “Bande II”, a ballad with Wilen’s tenor suggestive of Lucky Thompson and Don Byas, draw fragmented thematic material from Dizzy Gillespie’s “A Night in Tunisia”. Some tracks reference the main theme, others key on the famous six-time kicker/tag. I, III and V are different takes on the same material; IV and VI also alternate takes on a different fragment. What makes this simple and repetitive material exceptional is the high caliber of the playing throughout. Byrd, still in his mid 20s, was a font of creativity, tossing off memorable lines take after take. Wilen and Davis almost match him in originality, but the revelation of the date is Levitt, a sporadically longtime expat who is scintillating throughout. Byrd is also a member of the trumpet section in Duke Pearson’s Big Band, captured live at another anthropologically historical type of event, a jazz society (devoted to contemporary, not historical music) concert in a ballroom in Baltimore on a Sunday in 1969. Pearson was pianist and main arranger for the earlier ByrdPepper Adams Quintet and baritone saxophonist Adams is featured in the band. This live recording captures both Pearson’s dense, involving arrangements and the frisson of a live performance, replete with long, energizing solos and explosive ensemble climaxes. Byrd is featured on “El Dorado”, a modal piece in the vein of Gil Evans’ Spain sketches for Miles Davis, and he and Adams roar and romp through Chick Corea’s “Straight Up and Down”. The band, propelled by drummer Mickey Roker, shines through a panoply of the leader’s charts, ranging from a tribute to Count Basie’s New Testament band, complete with Basie dynamics, to a blistering Adams feature on “In the Still of the Night” and tenor saxophonist Lew Tabackin on “Night Song”, building to a dramatic climax. Pearson’s piano comes to the fore on his take on Corea’s “Tones for Joan’s Bones”. This live album is a rare and valuable artifact of a time when jazz big bands ventured out of the Big Apple to play for jazz societies. For more information, visit sonorama.de and uptownrecords.net
ENJOY JAZZ LEGENDS, NIGHTLY 8-11 PM, MEASURE LOUNGE
FEBRUARY 5, 21, 22, 24-28 ANTONIO CIACCA Ciacca continues his exciting residency with Measure Lounge. He will delight your evening with his American and Italian American Song book.
FEBRUARY 6-10 ALBERTO PIBIRI TRIO Respected by jazz enthusiasts everywhere, this jazz trio is sure to impress audiences with their energy and creative stylings.
FEBRUARY 11-15 JUSTIN ECHOLS
FEBRUARY 17-20 DARWIN NOGUERA
After a catastrophic car crash, this Oklahoma City police sergeant has found catharsis and a new career in a longburied talent for jazz music.
Pianist and composer Darwin Noguera is considered to be a rising star in the new generation of pianists in the Latin & Jazz idioms.
PIANO SOLO SUNDAYS FEBRUARY 9 - ALBERTO PIBIRI FEBRUARY 16 - ANTONIO CIACCA FEBRUARY 23 - JON DAVIS
MEASURE 400 Fifth Avenue, New York, NY 10018 212.695.4005
MFa in music composition vcfa.edu/music-comp
“
Teaching in the VCFA MFA Music Composition Program, I am constantly astounded by the high level of commitment the faculty and students have for each other, and that each student has for their own work—as well as the students’ openness to new ideas. Together, we move forward to the highest level of educational and artistic excellence, and that is extremely satisfying.” Diane Moser faculty, MFA in Music Composition
CALENDAR
Saturday, February 1
• John Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron
Jazz Standard 7:30, 9:30, 11:30 pm $30 êMatt Wilson Quartet with Jeff Lederer, Kirk Knuffke, Chris Lightcap and guest John Medeski Dizzy’s Club 7:30, 9:30 pm $45 êMarc Ribot solo; Marc Ribot Trio with Henry Grimes, Chad Taylor and guest Cooper-Moore The Stone 8, 10 pm $15 êBassDrumBone: Ray Anderson, Mark Helias, Gerry Hemingway 61 Local 8, 9:30 pm $10 êRenku: Michaël Attias, John Hébert, Satøshi Takeishi Greenwich House Music School 8 pm $15 êMaceo Parker Blue Note 8, 10:30 pm $35 • Jay Leonhart Duo Birdland 6 pm $30 • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 êMark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Village Vanguard 8:30, 10:30 pm $25 êPete Malinverni Trio; Danny Grissett Quartet with Jaleel Shaw, Ben Williams, Jonathan Barber; Stacy Dillard, Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1:30 am $20 • Mike LeDonne and FiveLive with Jeremy Pelt, Eric Alexander, John Webber, Joe Farnsworth Smoke 7, 9, 10:30 pm $38 êDawn of Midi; Bright Wave Merkin Concert Hall 7:30 pm $25 • Kelvyn Bell Sistas’ Place 9, 10:30 pm $20 • Ole Mathisen and Chris Washburne’s FFEAR with Hans Glawischnig, Marko Djordjevic The Jazz Gallery 9, 10:30 pm $20 • Pete Robbins Pyramid Quintet with Jonathan Finlayson, Carlos Homs, Eivind Opsvik, Tyshawn Sorey Cornelia Street Café 9, 10:30 pm $10 • Misha Piatigorsky Trio with Danton Boller, Rudy Royston Zinc Bar 7:30 pm • Karen Oberlin/Sean Harkness Jazz at Kitano 8, 10 pm $30 • Al MacDowell’s Just Ornette Quartet with Tony Falanga, Tony Lewis and guest Jay Rodriguez ShapeShifter Lab 8:15, 9:30 pm $10 • Nick Moran Trio with Chris Whitely, Diego Voglino Bar Next Door 7:30, 9:30, 11:30 pm $12 êDaryl Sherman/Harvie S Knickerbocker Bar and Grill 9:45 pm $5 • The Amigos Band with guest David Amram Joe’s Pub 9:30 pm $18 • Jazzmeia Horn Ginny’s Supper Club 7:30 pm $15 • John Minnock Metropolitan Room 7 pm $20 • David Jimenez Trio with James Francis, Cole Davis and guest Manuel Canchola; Bogna Kicinska Quintet with Mateusz Smoczynski, Kuba Cichocki, Jimmy MacBride; Gene Ess and Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland, Gene Jackson Somethin’ Jazz Club 5, 7, 9 pm $12 • Tak Iwasaki Trio; Annie Chen Trio Tomi Jazz 8, 11 pm $10 • Kayo Hiraki Trio Cleopatra’s Needle 8 pm • Ben-Or and Boschi Indian Road Café 8 pm • Moth To Flame; Dan White Sextet; Freddie Fuego Sextet Silvana 6, 8, 10 pm êDwayne Burno Memorial: Dwayne Burno Band with Myron Walden, Peter Bernstein, Monte Croft, Richie Goods, Joe Farnsworth; The New Jazz Composers Octet: David Weiss, Myron Walden, Sean Conly, Nasheet Waits, Norbert Stachel, Danny Grissett, Ron Blake; Eric Reed with Bruce Williams, Gerald Cannon, Carl Allen; Orrin Evans with JD Allen, Ralph Peterson, Luques Curtis, Ingrid Jensen; Jeremy Pelt with JD Allen, Gerald Cleaver, Danny Grissett; David Weiss Sextet with Myron Walden, Marcus Strickland, Danny Grissett, Sean Conly, EJ Strickland Saint Peter’s 3 pm • Larry Newcomb Quartet; Evgeny Sivtsov; Akiko Tsuruga Trio The Garage 12, 6, 10:30 pm
Sunday, February 2 • John Zorn Benefit Improv Night The Stone 8 pm $25 êDanny Grissett/Jerome Sabbagh
The Drawing Room 7 pm $20
• Dan Weiss/Samarth Nagarkar Cornelia Street Café 8:30 pm $10 • Chris Flory Trio with Larry Ham, Lee Hudson; Johnny O’Neal with Charles Goold,
Paul Sikivie; Bruce Harris Quintet with Grant Stewart, Philip Marlowe, Yasushi Nakamura, Peter Van Nostrand Smalls 7:30, 10 pm 12 am $20 • Ehran Elisha’s Kinetic 4 with David Bindman, Sam Bardfeld, Ken Filiano; Stephen Gauci/Yoni Kretzmer Quartet with Ken Filiano, Michael Wimberly Legion Bar 7:30, 9 pm $10 • Hiroshi Yamazaki Quintet with Alan Goidel, Howard Levy, Mike Goetz, Charles Zeuren; Sissy Castrogiovanni with Lihi Haruvi, Nando Michelin, Ehud Ettun, Tiago Michelin Somethin’ Jazz Club 7, 9 pm $12 • John Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron Jazz Standard 7:30, 9:30 pm $25 êMatt Wilson Quartet with Jeff Lederer, Kirk Knuffke, Chris Lightcap and guest John Medeski Dizzy’s Club 7:30, 9:30 pm $35 êMaceo Parker Blue Note 8, 10:30 pm $35 êMark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Village Vanguard 8:30, 10:30 pm $25 • John Ehlis Quartet with Sana Nagano, Yasuno Katsuki, Glen Fittin Downtown Music Gallery 6 pm • Thomas Buckner solo 61 Local 6 pm $10 • The Highliner Jazz 5tet Silvana 6 pm • Ike Sturm and Evergreen Saint Peter’s 5 pm • Jazz Vespers: Edmar Castañeda Abyssinian Baptist Church 4 pm $20 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 2 pm $35 • Dave Pietro’s NYU Brazilian Ensemble Blue Note 11:30 am 1:30 pm $29.50 • Vicki Burns Trio with Ed MacEachen, Andrew Klein North Square Lounge 12:30, 2 pm • Ben Healy Trio; Guy Mintus Trio The Garage 11:30 am 7 pm
Monday, February 3 • Roy Nathanson’s Jazz Passengers with I.C.E. Blue Note 8, 10:30 pm $15 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Matt Brewer with Mark Turner, Marcus Gilmore, David Virelles, Lage Lund, Steve Lehman; Will Holshouser with Ron Horton, Dave Phillips, ShapeShifter Lab 8:15, 9:30 pm $10 • Ehud Asherie Trio with David Wong, Aaron Kimmel; Ari Hoenig Quintet; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 êLester St. Louis Project; Shayna Dulberger Quartet Music with Yoni Kretzmer, Chris Welcome, Mike Pride; Desperate Stillness: Yuko Otomo, Patricia Nicholson, Shayna Dulberger Clemente Soto Velez Cult. Ctr. 7:30, 8:45, 10 pm $11-22 • Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $30 • David Amram and Co. with Kevin Twigg, Rene Hart, Adam Amram Cornelia Street Café 8:30 pm $10 • Jussi Reijonen’s un with Utar Artun, Bruno Råberg, Tareq Rantisi Rockwood Music Hall 11 pm • Kavita Shah Brazil Trio with Yotam Silberstein, Rogério Boccato Bar Next Door 8:30, 10:30 pm $12 • Straining to the Edge: Stan Nishimura, Julianne Carney, Evan Gallagher, Blaise Siwula Goodbye Blue Monday 8 pm
• Anthony Cekay Organ Trio with Ben Paterson, Christian Coleman LIC Bar 7:30 pm • Michael Webster’s Leading Lines Tea Lounge 8, 9:30 pm • Jessica Ackerley Quartet with Jon Crompton, Mat Muntz, Vinny Kucinski; Ben Eunson Group with Tamir Shmerling, Diego Joaquin Ramirez Somethin’ Jazz Club 9, 11 pm $10 • Takenori Nishiuchi Trio Tomi Jazz 8 pm $10 • Howard Williams Jazz Orchestra The Garage 7 pm • Sabrina Wender Le Cirque Café 8 pm
Tuesday, February 4
êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Birdland 8:30, 11 pm $40 êGerald Clayton Quintet with Logan Richardson, Dayna Stephens, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Amina Figarova Sextet with Bart Platteau, Marc Mommaas, Ernie Hammes, Jeroen Vierdag, Chris “Buckshot” Strik Dizzy’s Club 7:30, 9:30 pm $30 • Chris Bergson Band with Ellis Hooks, Jay Collins, Kenny Rampton, Ian Hendrickson–Smith, Craig Dreyer, Matt Clohesy, Aaron Comess Jazz Standard 7:30, 9:30 pm $20 • Mike Longo Trio with Paul West, Ray Mosca NYC Baha’i Center 8, 9:30 pm $15 • Jack Jeffers and the New York Classics with Monika Oliveira Zinc Bar 8, 10 pm êConnie Crothers Quartet with Richard Tabnik, Ken Filiano, Roger Mancuso Roulette 8 pm $20 êPaul Shapiro, Steven Bernstein, Tomas Ulrich, Dan Rosengard, Dave Hofstra, Tony Lewis The Stone 8, 10 pm $15 • Hot Tone Music Label Showcase: Camille Thurman; Mimi Jones; Shirazette Tinnin Le Poisson Rouge 7 pm $18 êDoug Wieselman solo Le Poisson Rouge 10:30 pm $10 • Thana Alexis; Nicole Zuraitis; Aperturistic Trio +1: James Weidman, Harvie S, Steve Williams and guest Berhani Woldu ShapeShifter Lab 8:15, 9:30, 10:30 pm $10-15 • Jerome Sabbagh, Simon Jermyn, Allison Miller; Circle Down: Angelica Sanchez, Chris Lightcap, Chad Taylor Korzo 9, 10:30 pm • Mike Hashim/Spike Wilner; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • Dialogues: Warren Smith, Steve Dalachinsky, Edith Lettner Cornelia Street Café 6 pm $20 • Rhys Tivey Quartet with Jean-Michel Pilc, Or Bareket, Ross Pederson Cornelia Street Café 8:30 pm $10 • Juilliard Jazz Artist Diploma Ensemble Paul Hall 8 pm • Ben Gerstein/Flin van Hemmen; Emilie Lesbros, Ben Gerstein, Gian Luigi Diana, Flin van Hemmen Spectrum 9:30, 10 pm $10 • Juan Carlos Formell Terraza 7 9:30 pm • Ed MacEachen Trio with Mike McGuirk, Elliot Zigmund Bar Next Door 8:30, 10:30 pm $12 • CTMD Tantshoyz with Avia Moore Stephen Wise Free Synagogue 7:30 pm $15 • Chris Ziemba solo Jazz at Kitano 8 pm • Jesse Peterson Quartet with Adam Shneit, Ben Galina, Nick Consol Way Station 8 pm • Annette Genovese with Rob Reich, Jim West, Brian Glassman, Andy Winter, Deke Strauss; Brothers of Contrapuntal Swing: Jimmy Halperin, Larry Meyer, Dave Frank Somethin’ Jazz Club 7, 9 pm $10-12 • Marla Sampson Duo Tomi Jazz 8 pm $10 • The Anderson Brothers The Garage 7 pm • Michael Yam Band; Cosmosis; Diana Wayburn Project with Adam Matthias, Dawoud Kringle Silvana 6, 8, 9 pm
Wednesday, February 5 êKeith Jarrett solo Stern Auditorium at Carnegie Hall 8 pm $45-100 êJack Walrath Quintet with Tim Armacost, George Burton, Boris Kozlov, Donald Edwards Dizzy’s Club 7:30, 9:30 pm $30 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 7:30 pm $35 êValery Ponomarev “Our Father Who Art Blakey” Big Band Zinc Bar 8 pm • Shofarot Verses: Paul Shapiro, Adam Rogers, Brad Jones, Tony Lewis The Stone 8, 10 pm $15 • Eric Alexander Quartet with David Hazeltine, Tyler Mitchell, Louis Hayes An Beal Bocht Café 8, 9:30 pm $15 êIngrid Laubrock, Dan Peck, Tom Rainey; Joe Fiedler Trio with Rob Jost, Michael Sarin SEEDS 8:30, 10 pm • Antoine Drye Sextet with Anne Drummond, Mark Whitfield, Jonathan Lefcoski, Corcoran Holt, Will Terrill Smoke 7, 9, 10:30 pm • Rob Garcia 4 with Noah Preminger, Dan Tepfer Barbès 8 pm $10 êLage Lund Quartet; Logan Richardson’s SHIFT Smalls 9:30 pm 1 am $20 • Mauricio de Souza’s Bossa Brasil with Sharel Cassity, Ben Winkelman, Gary Mazzaroppi Jazz at Kitano 8, 10 pm $15 • Butcher Brown and (U)nity ShapeShifter Lab 8:15, 9:30 pm $8 • Antonio Ciacca Measure 8 pm • Carlo Costa Quintet with Joe Moffett, Jonathan Moritz, Denman Maroney, Sean Ali Spectrum 8 pm • Sara Gazarek/Josh Nelson Cornelia Street Café 8:30 pm $10 • Carlos Holms, Cody Brown, Nicolas Letman-Burtinovic Bar Chord 9 pm • Aldemar Valentin Quartet with Zaccai Curtis, Nick Videen, Joel Mateo Terraza 7 9:30 pm • Akemi Yamada Trio Tomi Jazz 8 pm $10 • Roger Davidson; Joe Alterman Caffe Vivaldi 7:15, 9:30 pm • Yvonnick Prene Quartet The Garage 7 pm êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Birdland 8:30, 11 pm $40 êGerald Clayton Quintet with Logan Richardson, Dayna Stephens, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Chris Bergson Band with Ellis Hooks, Jay Collins, Kenny Rampton, Ian Hendrickson–Smith, Craig Dreyer, Matt Clohesy, Aaron Comess Jazz Standard 7:30, 9:30 pm $20 • Queens Jazz OverGround Clinic and Jam Session with Steve Kortyka, Amanda Monaco, Kuriko Tsugawa, Brian Woodruff Flushing Town Hall 5 pm $10 • Rob Duguay’s Low Key Trio The Strand Hotel 6 pm • Hernan Hernandez Shrine 6 pm • Jay Leonhart Family and Friends Saint Peter’s 1 pm $10 • Willerm Delisfort/Jason Marshall Winter Garden 12:30 pm
36 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Thursday, February 6 • Brooklyn Conservatory of Music’s Red Hot Winter Gala with Arturo O’Farrill and
the Afro Latin Jazz Orchestra Roulette 7 pm $200 • Terry Gibbs Tribute: Gerry Gibbs Big Band with Steve Wilson, Vincent Herring, Eric Alexander, Victor Goines, Ronnie Cuber, Robin Eubanks, Condrad Herwig, Steve Davis, Frank Green, Marvin Stamm, Lew Soloff, Joe Magnarelli, Donald Vega Dizzy’s Club 7:30, 9:30 pm $35 • Danilo Pérez Panama 500 with Ben Street, Adam Cruz, Roman Díaz, Alex Hargreaves Jazz Standard 7:30, 9:30 pm $25 êHighlights in Jazz: Lew Tabackin, Toshiko Akiyoshi, Randy Brecker, Boris Kozlov; Kenny Barron/Harvie S Tribeca Performing Arts Center 8 pm $40-45 • The Ringers: Jimmy Herring, Wayne Krantz, Michael Landau, Etienne Mbappe, Gary Novak BB King’s Blues Bar 8 pm $32 • Midnight Minyan: Paul Shapiro, Steven Bernstein, Peter Apfelbaum, Elio Villafranca, Booker King, Tony Lewis The Stone 8, 10 pm $15 êHoward Alden/Warren Vaché Duo Bar Next Door 8:30, 10:30 pm $12 • Mark Whitfield’s Extended Ginny’s Supper Club 8:30 pm $15 êAngelica Sanchez, Steve LaSpina, Kevin Norton Cornelia Street Café 8:30 pm $10 • Phil Grenadier Trio with Larry Grenadier, Bill Stewart and guest Bill McHenry The Jazz Gallery 9, 10:30 pm $20 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm • Timo Vollbrecht Quartet with Kenny Werner, Sam Anning, Jason Burger Jazz at Kitano 8, 10 pm $15 • Daniel Blake Group with Sam Pluta, Dan Peck, Tom Blancarte and guest Terri Hron; Peter Evans/Cory Smythe The Firehouse Space 8 pm $10 • Vinnie Sperrazza solo; Jesse Stacken, Nate Wooley, Devin Gray Ibeam Brooklyn 8:30, 10 pm $10 • Hitomi Nozawa with Sumie Kaneko, Octavia Romano, Yoshiki Yamada, Pablo Eluchans ShapeShifter Lab 8 pm $10 • Martin Terens Group Metropolitan Room 9:30 pm $20 • Alberto Pibiri Trio Measure 8 pm • Isaiah Barr Quintet with Malik McLaurine, Keefe Martin, Ed Heddle, Austin Williamson; The Saxtet: Andrew Beals, Tom Imre, Martin Sather, George Prieto, George Beratis, Darren Litzie, Evan Gregor, Ryan Dunne Somethin’ Jazz Club 7, 9 pm $12 • Scot Albertson/Pete McCann Tomi Jazz 9 pm $10 • Vox Syndrome: Nicolas Letman-Burtinovic, Robin Verheyen, Travis Reuter, Ziv Ravitz, Nick Anderson; Christof Knoche’s Deep End with Caro Pook, Simon Jermyn, Zack Lober, Vinnie Sperrazza Spectrum 7:30, 9:30 pm • Alex Brown Quartet Terraza 7 9:30 pm • Steve Elmer Trio Cleopatra’s Needle 7 pm êChampian Fulton Quartet The Garage 7 pm êLage Lund Quartet; Emmet Cohen Trio with Evan Sherman, Russell Hall Smalls 9:30 pm 12:30 am $20 êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 • Mike Bono Group with Chris Cheek Birdland 6 pm $20 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Birdland 8:30, 11 pm $40 êGerald Clayton Quintet with Logan Richardson, Dayna Stephens, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Amy Cervini and Jazz Country 55Bar 6 pm • Sunfree Shrine 6 pm • Irv Grossman Sextet Silvana 6 pm
Academy Records & CDs Cash for new and used compact discs,vinyl records, blu-rays and dvds. We buy and sell all genres of music. All sizes of collections welcome. For large collections, please call to set up an appointment. Open 7 days a week 11-7
12 W. 18th Street NY, NY 10011 212-242-3000
Friday, February 7 êJoshua Redman Quartet with Aaron Goldberg, Reuben Rogers, Gregory Hutchinson Allen Room 7, 9:30 pm $45-55 êJeremy Pelt Quartet with Danny Grissett, George Mraz, Lenny White Smoke 7, 9, 10:30 pm $38 êMark Helias Quartet with Quinsin Nachoff, Dave Ballou, Mark Ferber Cornelia Street Café 9, 10:30 pm $10 êElliott Sharp’s Mare Undarum with Rachel Golub, Ron Lawrence, Jessica Pavone, Adam Fisher Spectrum 8:45 pm êHelio Alves Quartet with Ben Allison, Alex Kautz, Rogério Boccato Jazz at Kitano 8, 10 pm $30 • Peter Zak Trio; Orrin Evans Group; Anthony Wonsey Trio Smalls 7:30, 10:30 pm 1:30 am $20 • Yosvany Terry Quintet with Mike Rodriguez, Osmany Paredes, Yunior Terry, Obed Calvaire The Jazz Gallery 9, 10:30 pm $20 • Sean Smith/Bruce Barth Knickerbocker Bar & Grill 9:45 pm $5 • Gilad Hekselman Trio with Joe Martin, Justin Brown Bar Next Door 7:30, 9:30, 11:30 pm $12 • Ribs & Brisket Revue: Paul Shapiro, Cilla Owens, Glenn Turner, Jerry Korman, Brad Jones, Tony Lewis The Stone 8, 10 pm $15 • Benny Lackner Trio with Derek Nievergelt, Tommy Crane; Nick Vayenas Quintet with Doug Wamble, Dan Kaufman, Peter Slavov, Paul Wiltgen; Patrick Cornelius Quintet with Miles Okazaki, Dan Kaufman, Peter Slavov, Paul Wiltgen ShapeShifter Lab 8:15, 9:30 pm $10 • Sweet Banditry: Louise D.E. Jensen, Brandon Seabrook, Tom Blancarte, Kevin Shea and guests JACK 8 pm $10 • Festejation: Christelle Durandy, Eric Kurimski, Mike Eckroth, Yonadav Halevy, Keita Ogawa, Edward Perez Terraza 7 10:30 pm • Eleonor Sandresky/Pat Irwin The Firehouse Space 8 pm $10 • Audrey Silver; Somethin’ Vocal with Matt Baker Trio Somethin’ Jazz Club 7, 9 pm $12-15 • John Watts Trio Tomi Jazz 9 pm $10 • Sarah Slonim Trio Cleopatra’s Needle 8 pm • Joel Perry Trio; Kevin Dorn and the BIG 72 The Garage 6, 10:30 pm • Joao Martins Quartet; Dakha Band; Joaquin Pozo Silvana 6, 8, 10 pm • Terry Gibbs Tribute: Gerry Gibbs Big Band with Steve Wilson, Vincent Herring, Eric Alexander, Victor Goines, Ronnie Cuber, Robin Eubanks, Condrad Herwig, Steve Davis, Frank Green, Marvin Stamm, Lew Soloff, Joe Magnarelli, Donald Vega and guest Tom Harrell Dizzy’s Club 7:30, 9:30 pm $40 • Danilo Pérez Panama 500 with Ben Street, Adam Cruz, Roman Díaz, Alex Hargreaves Jazz Standard 7:30, 9:30, 11:30 pm $30 • Alberto Pibiri Trio Measure 8 pm êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 • Sean Schulich Blue Note 12:30 am $10 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Birdland 8:30, 11 pm $40 êGerald Clayton Quintet with Logan Richardson, Dayna Stephens, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Alan Leatherman; Marine Futin Shrine 6, 8 pm
Saturday, February 8 êNate Wooley/Dave Rempis Quartet with Pascal Niggenkemper, Chris Corsano; Cacaw: Landon Knoblock, Oscar Noriega, Jeff Davis Spectrum 8, 9 pm • Gato Barbieri BB King’s Blues Bar 8 pm $40 êMonk in Motion - The Next Face of Jazz: Melissa Aldana Tribeca Performing Arts Center 7:30 pm $25 êA Tribute to Amiri Baraka: Haki Madhubuti, Sonia Sanchez, Quincy Troupe, Randy Weston The Schomburg Center 7:30 pm $20 êDavid Gilmore 50th Birthday Glide with Don Byron, Ravi Coltrane, Marcus Strickland, Raymond Angry, Josh Roseman, Carlton Taylor, Mikel Banks, Fatima, Nabate Isles, Brad Jones, Gene Lake, Derek London ShapeShifter Lab 8:15 pm $15 • Rene McLean Sistas’ Place 9, 10:30 pm $20 êDoug Wieselman solo Barbès 8 pm $10 êJason Rigby Detroit-Cleveland Trio with Cameron Brown, Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 • Freddie Bryant Trio with Leo Traversa, Willard Dyson Bar Next Door 7:30, 9:30, 11:30 pm $12 • Foreign Legion: Paul Shapiro, Steven Bernstein, William Brown, Tomas Doncker, Gene Perez, Zachary Alford The Stone 8, 10 pm $15 • Cyrille Aimée Ginny’s Supper Club 7:30 pm $20 êMikko Innanen, Sylvie Courvoisier, Max Johnson, Lou Grassi Ibeam Brooklyn 8:30 pm $10 • Misha Piatigorsky Trio with Danton Boller, Rudy Royston Zinc Bar 7:30 pm • Paulo Stagnaro Group with Marcos Lopez, Alex Ayala, Dayramir Gonzalez Vicet, Jeremy De Jesús Terraza 7 10:30 pm • Scot Albertson/Dan Furman Klavierhaus 8 pm • Hiromi Kasuga Trio; Florencia Gonzalez Candombe Project with Jonathan Powell, Matt McDonald, Leo Genovese, Mariana Iranzi, Franco Pinna; Leonor Falcon with David Bertrand, Rafal Sarnecki, Ran Livneh, Carter Bales Somethin’ Jazz Club 7, 9, 11 pm $10-15 • Akihiro Yamamoto; Carline Davis Tomi Jazz 8, 11 pm $10 • Kuni Mikami Trio Cleopatra’s Needle 8 pm • Asher Ben-Or Trio Indian Road Café 8 pm • Ben Sher Trio; Sarpay Ozcagatay Silvana 6, 8 pm êJoshua Redman Quartet with Aaron Goldberg, Reuben Rogers, Gregory Hutchinson Allen Room 7, 9:30 pm $45-55 êJeremy Pelt Quartet with Danny Grissett, George Mraz, Lenny White Smoke 7, 9, 10:30 pm $38 êHelio Alves Quartet with Ben Allison, Alex Kautz, Rogério Boccato Jazz at Kitano 8, 10 pm $30 • Bill O’Connell, Phil Palombi, Eliot Zigmund; Orrin Evans Group; Philip Harper Smalls 7:30, 10:30 pm 1:30 am $20 • Yosvany Terry Quintet with Mike Rodriguez, Osmany Paredes, Yunior Terry, Obed Calvaire The Jazz Gallery 9, 10:30 pm $20 • Sean Smith/Bruce Barth Knickerbocker Bar & Grill 9:45 pm $5 • Terry Gibbs Tribute: Gerry Gibbs Big Band with Steve Wilson, Vincent Herring, Eric Alexander, Victor Goines, Ronnie Cuber, Robin Eubanks, Condrad Herwig, Steve Davis, Frank Green, Marvin Stamm, Lew Soloff, Joe Magnarelli, Donald Vega and guest Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $45 • Danilo Pérez Panama 500 with Ben Street, Adam Cruz, Roman Díaz, Alex Hargreaves Jazz Standard 7:30, 9:30, 11:30 pm $30 • Alberto Pibiri Trio Measure 8 pm êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 • Thiefs: Guillermo E. Brown, Keith Witty, Christophe Panzani Blue Note 12:30 am $10 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Birdland 8:30, 11 pm $40 êGerald Clayton Sextet with Logan Richardson, Dayna Stephens, Ambrose Akinmusire, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Who is Dave Brubeck?: Jazz at Lincoln Center Orchestra with Wynton Marsalis Rose Hall 1, 3 pm $12 • Jerry Costanzo; Masami Ishikawa Trio; Virginia Mayhew Quartet The Garage 12, 6, 10:30 pm
Sunday, February 9 êBrad Mehldau/Peter Bernstein Smoke 7, 9, 10:30 pm êNate Wooley/Dave Rempis Quartet with Pascal Niggenkemper, Chris Corsano;
Yoni Kretzmer’s 66 Boxes with Daniel Levin, Chris Welcome, Andrew Drury Legion Bar 8, 9:30 pm $10-14 êLightning And Thunder: Katja Cruz/Howard Curtis Ibeam Brooklyn 8:30 pm $10 • Paul Shapiro Grand Jam Mashup The Stone 8, 10 pm $15 êThe Curators: Mikko Inannen, James Ilgenfritz, Joe Hertenstein Launch Pad Gallery 8 pm • Buyu Ambroise and The Blues In Red Band with Michèle Marcelin, Sarah Elizabeth Charles, Riva Precil, Val Jeanty ShapeShifter Lab 7, 8:15 pm $15 • Vanessa Perea; Johnny O’Neal with Charles Goold, Paul Sikivie; Joe Magnarelli Quartet Smalls 7:30, 10 pm 12 am $20 • Jonah Rosenberg Trio with James Ilgenfritz, Kevin Shea; The Curriculum Quartet: Will McEvoy, Josh Sinton, Danny Gouker, Federico Ughi The Firehouse Space 8 pm $10 • Broc Hempel, Sam Trapchak, Christian Coleman with guest Donny McCaslin Dominie’s Astoria 9 pm • Shoko Amano and Friends; Yongmun Lee Group with Yeolwon Sung, Seongku Lee; Tim Hegarty Band with Ben Rosenblum, Daryl Johns, Steve Johns, Miyuki Hegarty Somethin’ Jazz Club 5, 7, 9 pm $10-20 • John Lander Trio Caffe Vivaldi 9 pm • Terry Gibbs Tribute: Gerry Gibbs Big Band with Steve Wilson, Vincent Herring, Eric Alexander, Victor Goines, Ronnie Cuber, Robin Eubanks, Condrad Herwig, Steve Davis, Frank Green, Marvin Stamm, Lew Soloff, Joe Magnarelli, Donald Vega and guest Paquito D’Rivera Dizzy’s Club 7:30, 9:30 pm $35 • Danilo Pérez Panama 500 with Ben Street, Adam Cruz, Roman Díaz, Alex Hargreaves Jazz Standard 7:30, 9:30 pm $25 • Alberto Pibiri Trio Measure 8 pm êRon Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $35 êGerald Clayton Sextet with Logan Richardson, Dayna Stephens, Ambrose Akinmusire, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Jeffrey Hayden Shurdut Ensemble Downtown Music Gallery 6 pm • The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan, Tommy Mattioli Silvana 6 pm • Vivian Sessoms Saint Peter’s 5 pm • Sharon Isbin with guests Stanley Jordan, Romero Lubambo Lehman Center 3 pm $25-35 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 2 pm $35 • The New Orleans Swamp Donkeys Traditional Jass Band with Sam Friend, James Williams, Jon Ramm, Joshua “Jams” Marotta, Wes Anderson IV Blue Note 11:30 am 1:30 pm $29.50 • Roz Corral Trio with Freddie Bryant, Santi Debriano North Square Lounge 12:30, 2 pm • Lou Caputo Quartet; David Coss Quartet The Garage 11:30 am 7 pm
Monday, February 10 êVanguard Jazz Orchestra 48th Anniversary Celebration
Village Vanguard 8:30, 10:30 pm $25 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êUlysses Owens Band with Tim Green, Duane Eubanks, Michael Dease, Christian Sands, Gilad Hekselman, Matthew Rybicki Dizzy’s Club 7:30, 9:30 pm $30 • Eddie Allen Aggregation Big Band Zinc Bar 9 pm • Hilary Kole Iridium 8, 10 pm $25 • International Guitar Night: Mike Dawes, Pino Forastiere, Quique Sinesi, Brian Gore Blue Note 8, 10:30 pm $25 • Ras Moshe, Matt Lavelle, Shayna Dulberger, Warren Smith; Andrew Lamb Trio with Tom Abbs, Warren Smith; Kyoko Kitamura, Ingrid Laubrock, Ken Filiano Clemente Soto Velez Cult. Ctr. 7:30, 8:45, 10 pm $11-22 êMax Johnson Trio with Kirk Knuffke, Ziv Ravitz JACK 8, 9:30 pm $10 • Diane Marino Quartet with Harry Allen, Alvin Atkinson, Frank Marino Le Cirque Café 8 pm • Brenda Earle Group; Ari Hoenig Quintet; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 • Carlo Costa Quintet with Joe Moffett, Jonathan Moritz, Denman Maroney, Sean Ali; Sweet Talk: Jake Henry, Dustin Carlson, Devin Drobka Ibeam Brooklyn 8:30, 9:30 pm $10 • Nora McCarthy Trio with Aruán Ortiz, Donald Nicks Bar Next Door 8:30, 10:30 pm $12 • Rocco J. Iacovone Composers Workshop with guest Denise Iacovone Piano’s Upstairs Lounge 7:30 pm • Tom Csatari Bigger Band Tea Lounge 8, 9:30 pm • Dan Adler/Grant Stewart Quartet with Arnon Palty, Phil Stewart; Michael Eckroth/Morrie Louden Somethin’ Jazz Club 7, 9 pm $12 • Laura Angyal Tomi Jazz 8 pm $10 • Lou Caputo Not So Big Band The Garage 7 pm • Dave Kardas Band; Terminal Swing; Calligraphy Silvana 6, 9, 10 pm êBrad Mehldau/Peter Bernstein Smoke 7, 9, 10:30 pm • Alberto Pibiri Trio Measure 8 pm
Tuesday, February 11 êHelen Sung Group with Ingrid Jensen, Seamus Blake, Reuben Rogers, Obed Calvaire,
Samuel Torres and guest Paquito D’Rivera Jazz Standard 7:30, 9:30 pm $25 • Cyrille Aimée with Adrien Moignard, Michael Valeanu, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $40 • Nicole Henry Blue Note 8, 10:30 pm $25 • Gregory Generet Iridium 8, 10 pm $25 • John Clark Group with Michael Rabinowitz, Pete Levin, Marty Jaffe, Tommy Campbell NYC Baha’i Center 8, 9:30 pm $15 • The Uzupisians: Kenny Wollesen, William McIntyre, Dalius Noujo and guest Mike Dillion The Stone 8, 10 pm $15 êKatja Cruz’ Hexaphone Film with Oliver Lake, Howard Curtis ShapeShifter Lab 7, 8 pm $10 • Josh Deutsch’s Pannonia with Zach Brock, Bryan Drye, Gary Wang, Ronen Itzik; Joel Harrison Group with Chris Cheek, Jacob Sacks, Michael Bates, Jordan Perlson Korzo 9, 10:30 pm • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Lucas Pino No Net Nonet with Colin Stranahan, Glenn Zaleski, Matthew Jodrell, Desmond White, Alex LoRe, Andrew Gutauskas; Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • Hendrik Muerkens Trio with Misha Tsiganov, Gustavo Amarante Bar Next Door 8:30, 10:30 pm $12 • Sérgio Galvão/Amanda Ruzza Group with Leni Stern, Alex Nolan, Mauricio Zottarelli Cornelia Street Café 8:30 pm $10 • Justin Veloso solo; Killer Bob: David Scanlon/Max Jaffe; Pascal Niggenkemper, Devin Gray, Chris Pitsiokos Spectrum 9 pm • Stan Killian New Quintet with Josh Evans, Chris Dingman, Eric Wheeler, Darrell Green 55Bar 7 pm • Victor Prieto Trio Terraza 7 9:30 pm
• Chris Ziemba solo Jazz at Kitano 8 pm • Justin Echols Measure 8 pm • Steve Nelson/Luca Rosenfeld Duo Somethin’ Jazz Club 7 pm $10 • Andrea Wood Duo; Steve De Troy Trio
Tomi Jazz 8 pm $10 • John David Simon Trio The Garage 7 pm • Ric Molina Group Shrine 8 pm • Nick Wight Band; Todd Walker Quartet Silvana 6, 8 pm êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 êUlysses Owens Band with Tim Green, Duane Eubanks, Michael Dease, Christian Sands, Gilad Hekselman, Reuben Rogers Dizzy’s Club 7:30, 9:30 pm $30
Wednesday, February 12 ê90th Anniversary George Gershwin’s “Rhapsody In Blue” - A Celebration Of Paul Whiteman’s Historic 1924 Aeolian Hall Concert: Vince Giordano and The Nighthawks Orchestra with guests Ted Rosenthal, Jeb Patton Town Hall 8 pm $25-40 êBarry Altschul’s 3Dom Factor with Jon Irabagon, Joe Fonda Cornelia Street Café 8:30 pm $10 • Wollesonic vs Wollesonic: Dalius Noujo, Daniel Jodocy, Jennifer Harris, Sean Francis Conway, Kenny Wollesen, Lorne Watson, Tim Kieper, William McIntyre The Stone 8, 10 pm $15 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 7:30 pm $35 • Kenny Rampton Octet with Bill Sims, Sherman Irby, Donny McCaslin, Brian Charette, Dan Stein, Tony Mason Dizzy’s Club 7:30, 9:30 pm $30 • Fleurine Smoke 7, 9, 10:30 pm • Andromeda Turre Iridium 8, 10 pm $25 • Tine Bruhn with Lars Haake, Joel Holmes, Leon Boykins, Wayne Smith, Jr.; Joey Morant Zinc Bar 7, 9, 10:30 pm 12 am • Victor Gould Group; Rob Garcia Quartet Smalls 9:30 pm 1 am $20 • Now vs. Now: Jason Lindner, Panagiotis Andreou, Mark Guiliana Rockwood Music Hall 10 pm $10 • Burak Bedikyan Quartet with Chris Cheek, Ron McClure, Shareef Taher ShapeShifter Lab 9:30 pm $10 • Kevin Hays New Day Trio with Rob Jost, Greg Joseph 55Bar 7 pm • Chico Hamilton Tribute - Euphoria: Paul Ramsey, Evan Schwam, Jeremy Carlstedt, Mayu Saeki, Nick Demopolous Drom 7:15 pm $20 • Steven Feifke Quartet with Andrew Gould, Raviv Markovitz, Jimmy Macbride Jazz at Kitano 8, 10 pm $15 • Aqualude: Dana Lyn, Mike McGinnis, Jonathan Goldberger, Clara Kennedy, Vinnie Sperrazza Barbès 8 pm $10 • Juan Felipe Mayorga Trio Terraza 7 9:30 pm • Julio Botti; Mischka Seo Quartet with John Nam, Andrew Klein Somethin’ Jazz Club 7, 9 pm $10 • Katharyn Allyn Duo Tomi Jazz 8 pm $10 • Roger Davidson; Equilibrium Caffe Vivaldi 7:15, 8:30 pm • Nick Moran Trio The Garage 7 pm • Bryan Campbell; SisterMonk Shrine 6, 8 pm êHelen Sung Group with Ingrid Jensen, Seamus Blake, Reuben Rogers, Obed Calvaire, Samuel Torres and guest Paquito D’Rivera Jazz Standard 7:30, 9:30 pm $25 • Rotem Sivan Trio Birdland 6 pm $25 • Cyrille Aimée with Adrien Moignard, Michael Valeanu, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $40 • Nicole Henry Blue Note 8, 10:30 pm $25 • Justin Echols Measure 8 pm êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 êJunior Mance, Hide Tanaka, Michi Fuji Saint Peter’s 1 pm $10 êGeorge Cables/Steve Turre Winter Garden 12:30 pm
Thursday, February 13 êAndy Bey solo
Jazz Standard 7:30, 9:30 pm $20
• Tierney Sutton Band Dizzy’s Club 7:30, 9:30 pm $35 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Boom Boom Bombshell vs Wollesonic: Sean Francis Conway, Kenny Wollesen,
Kirk Knuffke, Jonathon Haffner, Jessica Lurie, Samir Zarif, Briggan Krauss The Stone 8, 10 pm $15 êHush Point: Jeremy Udden, John McNeil, Aryeh Kobrinsky, Vinnie Sperrazza SEEDS 8:30, 10 pm êAnalytical Symmetry: Ralph Alessi, Michaël Attias, Aruán Ortiz, Tomas Fujiwara Ibeam Brooklyn 8:30 pm $15 • Paul Carlon’s La Rumba is a Lovesome Thing with Justin Flynn, Alex Norris, Ryan Keberle, Mike Fahie, Nicki Denner, Dave Ambrosio, William ‘Beaver’ Bausch, Chembo Corniel, Benjamin Lapidus, Christelle Durandy Zinc Bar 9 pm $15 • Jason Lindner Trio; Carlos Abadie Quintet Smalls 9:30 pm 12:30 am $20 • Randy Ingram Quartet with Mike Moreno, Matt Clohesy, Jochen Rueckert The Jazz Gallery 9, 10:30 pm $20 • Michelle Walker Quintet with Toru Dodo, Michael O’Brien, Willard Dyson, Ron Affif Jazz at Kitano 8, 10 pm $15 • Ben Flocks’ Battle Mountain with Ari Chersky, Sam Reider, Garret Lang, Evan Hughes Cornelia Street Café 8:30 pm $10 • Quentin Angus Trio with Bam Bam Rodriguez, Kenneth Salters Bar Next Door 8:30, 10:30 pm $12 • Vertical Sun: Paul Steven Ray, Eli Fountain, Theresa Rosas; The North: Romain Collin, Shawn Conley, Abe Lagrimas Jr. ShapeShifter Lab 8:15, 9:30 pm $10 • Manhattan School of Music Concert Jazz Band Borden Auditorium 7:30 pm $12 • Roz Corral Quartet 55Bar 7 pm • Russ Nolan Terraza 7 9:30 pm • Aida Brandes Trio with Lorenzo Sandi, Agustin Grasso; Cristina Morrison Somethin’ Jazz Club 7, 9 pm $10-20 • The Standard Procedures Tomi Jazz 9 pm $10 • Lluis Capdevila Trio Cleopatra’s Needle 7 pm • Ben Paterson Organ Trio The Garage 7 pm • Nena Welson; Elden Hart; Chaance Barnes Shrine 6, 8, 9 pm • The Brighton Beat Fontana’s NYC 10:30 pm • Cyrille Aimée with Adrien Moignard, Michael Valeanu, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $40 • Justin Echols Measure 8 pm êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 êTribute to Amiri Baraka and Roy Campbell: Remembrance Band: Bill Cole, Lewis Barnes, William Parker, Warren Smith, Ras Moshe Brecht Forum 6 pm $11 • Ben Charnley Band Silvana 6 pm
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
37
Friday, February 14 • Dianne Reeves with Peter Martin, Raymond Angry, Peter Sprague, Sean Jones, Tia Fuller, Reginald Veal, Terreon Gully, Nadia Washington, Brianna Thomas Rose Hall 8 pm $30-120 • Gregory Porter and guests Town Hall 8 pm $45 • Michael Feinstein plays André Previn Stern Auditorium at Carnegie Hall 8 pm $15-75 êSheila Jordan, Cameron Brown, Mark Soskin Cornelia Street Café 9, 10:30 pm $10 • Arturo O’Farrill and Afro Latin Jazz Orchestra with guests Pablo Mayor, Gregorio Uribe, Gabriel Alegría, Laura Andrea Leguia, Ivonne Paredes, Yuri Juarez, Freddy Huevito Loboton Symphony Space Peter Jay Sharp Theatre 8 pm $20 êMingus Big Band Jazz Standard 7:30, 9:30, 11:30 pm $30 êFirm Roots: Darius Jones, Fay Victor, Aruán Ortiz, Marika Hughes, Michael Sarin Ibeam Brooklyn 8:30 pm $15 • Kate McGarry/Keith Ganz Rockwood Music Hall 7:30 pm $20 êDee Daniels with Antonio Hart, Cyrus Chestnut, Paul Beaudry, Alvester Garnett Smoke 7, 9, 10:30 pm $38 • Heatsick; Ned Rothenberg Issue Project Room 8 pm $15 • Nanny Assis BB King’s Blues Bar 7, 9:30 pm $18 • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Ryan Kisor Group; Jeremy Manasia Trio Smalls 7:30, 10:30 pm 1:30 am $20 • Himalayas vs Search & Enjoy: Dalius Noujo, Daniel Jodocy, William McIntyre, Sean Francis Conway, Mike Irwin, Kenny Wollesen, Jonathon Haffner, Matt Cole, Wolf Dorr, Jessica Lurie, Samir Zarif, Giuseppe Zevola, Dixie Jean Estes, Lorne Watson, Jennifer Harris, Tim Kieper, Eugenijus Varkalis, Agota Zdanaviciute, Dorote Zdanaviciute, Zivile Rimsaite, Milda Lauzikaite, Lina Saveikyte, Kriste Krupovisovaite The Stone 8, 10 pm $15 • Ben Wendel The Jazz Gallery 9, 10:30 pm $20 • Rob Duguay’s Songevity with Patience Higgins, Justin Kauflin, Nadav Snir-Zelniker Jazz at Kitano 8, 10 pm $30 • Alberto Bellavia/Roberto Rebufello with guests Simone Monnanni, Lorenzo Arese, Lisa Kropp Weill Recital Hall 8 pm $35 • Rory Stuart Trio with Eric Wheeler, Colin Stranahan Bar Next Door 7:30, 9:30, 11:30 pm $72.50 • Hiroko Kanna Somethin’ Jazz Club 7 pm $12 • Ben Wood Trio Tomi Jazz 9 pm $10 • Clifford Barbaro Trio Cleopatra’s Needle 8 pm • Skye Steele/Charlie Burnham Jalopy 8 pm $10 • Cynthia Sayer/Conal Fowkes Knickerbocker Bar and Grill 9:45 pm $5 • La Voz de Tres: Natalia Bernal, Mike Eckroth, Jason Ennis Flushing Town Hall 8 pm $15 • Willie-Mae Perry; Jacqueline Hopkins and Ensemble Metropolitan Room 7, 11:30 pm $20 • Alejo Zuleta Vallenato Collective Terraza 7 10:30 pm • Bernard Linnette Quintet with Dave Schumacher, Anthony Wonsey, Jazzmeia Horn, Tyler Mitchell John Wesley United Methodist Church 7:30, 9:15 pm $20 • David Coss Quartet; Peter Valera and the Jump Blues Band The Garage 6, 10:30 pm • Tierney Sutton Band Dizzy’s Club 7:30, 9:30 pm $200 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Cyrille Aimée with Adrien Moignard, Michael Valeanu, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $40 • Justin Echols Measure 8 pm êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 • Yongmun Lee Shrine 6 pm
Saturday, February 15 • A Valentine from Jane Monheit Grace R. Rogers Auditorium 7 pm $60 • Rasa Rasa: Dalius Noujo, Sean Francis Conway, Kenny Wollesen, Jonathon Haffner,
Giuseppe Zevola, Eugenijus Varkalis, Agota Zdanaviciute, Dorote Zdanaviciute, Zivile Rimsaite, Milda Lauzikaite, Lina Saveikyte, Kriste Krupovisovaite The Stone 8, 10 pm $15 êSonelius Smith Trio Cleopatra’s Needle 8 pm êOrbiting Quartet: Rez Abbasi, Aruán Ortiz, Sean Conly, Eric McPherson Ibeam Brooklyn 8:30 pm $15 êTomas Fujiwara & The Hook Up with Mary Halvorson, Jonathan Finlayson, Brian Settles, Michael Formanek Cornelia Street Café 9, 10:30 pm $10 êParadoxical Frog: Ingrid Laubrock, Kris Davis, Tyshawn Sorey Greenwich House Music School 8 pm $15 • WORKS: Rob Garcia, Michel Gentile, Daniel Kelly with guests Chris Cheek, Linda Oh Brooklyn Conservatory of Music 8 pm $10 • TK Blue Sistas’ Place 9, 10:30 pm $20 • Misha Piatigorsky Trio with Danton Boller, Rudy Royston Zinc Bar 7:30 pm • Alexis Cole Quartet with John di Martino, David Finck, Marcus Baylor Jazz at Kitano 8, 10 pm $30 • Love’s Heat Wave - A Tribute to Carmen McRae and Cal Tjader: Ghanniyyaa Green, Mike Freeman, Willie Martinez, Renato Thoms, Marcus Persiani, Jerry Madera Ginny’s Supper Club 7:30 pm $20 êTriBeCaStan ShapeShifter Lab 9 pm $10 • Dan Adler Trio with Arnon Palty, Marcello Pelletieri Bar Next Door 7:30, 9:30, 11:30 pm $12 • Yana Bibb with Alessandro Fadini, Eva Lawitts, Wes Reid Metropolitan Room 9:30 pm $20 • Towering Poppies and Friends: Cat Toren, Russell Moore, Patrick Reid, Kate Gentile Launch Pad Gallery 8 pm $5 • Claude Diallo solo Michiko Studios 8 pm $15 • The Grautet: Andrew Grau, Drew X Coles, Luke Markham; Takeshi Asai 3 with Daniel Ori, Russ Meissner; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; Alessandro Florio Trio with Vasileios Panagiotopoulos Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Daniel Bennett; Silver Moon Tomi Jazz 8, 11 pm $10 • Upper Manhattan Collective Indian Road Café 8 pm • Arthur Akmetov; Michael Sarian Quintet Silvana 6, 8 pm • Dianne Reeves with Peter Martin, Raymond Angry, Peter Sprague, Sean Jones, Tia Fuller, Reginald Veal, Terreon Gully, Nadia Washington, Brianna Thomas Rose Hall 8 pm $30-120 • Arturo O’Farrill and Afro Latin Jazz Orchestra with guests Pablo Mayor, Gregorio Uribe, Gabriel Alegría, Laura Andrea Leguia, Ivonne Paredes, Yuri Juarez, Freddy Huevito Loboton Symphony Space Peter Jay Sharp Theatre 8 pm $20 êMingus Big Band Jazz Standard 7:30, 9:30, 11:30 pm $30 êDee Daniels with Antonio Hart, Helen Sung, Paul Beaudry, Alvester Garnett Smoke 7, 9, 10:30 pm $38 • Ben Wendel The Jazz Gallery 9, 10:30 pm $20 • Ryan Kisor Group Smalls 10:30 pm $20 • Cynthia Sayer/Conal Fowkes Knickerbocker Bar and Grill 9:45 pm $5 • Tierney Sutton Band Dizzy’s Club 7:30, 9:30 pm $45 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Cyrille Aimée with Adrien Moignard, Michael Valeanu, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $40 • Justin Echols Measure 8 pm êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25
ê2014 Mingus High School Competition and Festival: Mingus Dynasty Manhattan Sch. of Music Ades Perf. Space 12:30 pm • Alex Layne Trio; Mark Marino Trio The Garage 12, 6 pm
Sunday, February 16 • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Highline Ballroom 8 pm $29.50-$55 êJeremiah Cymerman Pale Horse Trio with Christopher Hoffman, Brian Chase The Firehouse Space 8 pm $10 êBucky Pizzarelli/Ed Laub; Johnny O’Neal with Charles Goold, Paul Sikivie; Ned Goold with Jamale Davis, Charles Goold Smalls 7:30, 10 pm 12 am $20 • Wollesonic vs John Faris: John Farris, Kenny Wollesen, Dalius Noujo; Kenny Wollesen vs Dalius Noujo The Stone 8, 10 pm $15 • Jane Ira Bloom Quartet with Dawn Clement, Mark Helias, Bobby Previte Cornelia Street Café 8:30 pm $10 • Greenwich Village Portraits: Ken Radnofsky, Bobby Sanabria, John Ventimiglia; David Amram Quintet Le Poisson Rouge 7 pm $25 êGene Bertoncini solo The Drawing Room 7 pm $20 • Flin Van Hemmen, Sean Ali, David Grollman; HNH: Thomas Heberer, Pascal Niggenkemper, Joe Hertenstein Legion Bar 8, 9:30 pm $10-14 • Adam Caine solo Spectrum 7 pm • Pape Armand Boye ShapeShifter Lab 9:30 pm $10 • Antonio Ciacca Measure 8 pm • Pascal Sabattier Trio; David Ambrosio; Kenji Herbert Trio with Jared Henderson, Roberto Giaquinto Somethin’ Jazz Club 5, 7, 9 pm $10 • Alessandro Florio Trio Silvana 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Tierney Sutton Band Dizzy’s Club 7:30, 9:30 pm $35 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 • Louise Dam Eckardt Jensen/Tim Dahl Downtown Music Gallery 6 pm • Marianne Solivan Saint Peter’s 5 pm êMin Xiao-Fen solo and Quartet with Steve Salerno, Dean Johnson, Satoshi Takeishi Brooklyn Public Library Central Branch 4 pm êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 2 pm $35 • Louis Armstrong Tribute: “Hot Lips” Joey Morant and Catfish Stew Lucille’s at BB King’s Blues Bar 1:30 pm $25 • Amy Cervini Perez Jazz 2 pm $20 • Jason Prover and the Sneak Thievery Orchestra Blue Note 11:30 am 1:30 pm $29.50 • Jane Irving Trio with Ron Affif, Kevin Hailey North Square Lounge 12:30, 2 pm • Michika Fukumori Trio; David Coss Quartet The Garage 11:30 am 7 pm ê2014 Mingus High School Competition and Festival Manhattan Sch. of Music Ades Perf. Space 12:30 pm
Monday, February 17 • Mino Cinelu World Jazz Ensemble Blue Note 8, 10:30 pm $20 • Steve Dalachinsky, Connie Crothers, Steve Swell; Relative Resonance: Kris Davis, Chris Tordini, Devin Gray; Sean Conly/Darius Jones Clemente Soto Velez Cult. Ctr. 7:30, 8:45, 10 pm $11-22 êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 êVanguard Jazz Orchestra 48th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $25 êBrianna Thomas with Marcus Printup, Wycliffe Gordon, Riza Printup, Allyn Johnson, Yasushi Nakamura, Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $30 êPeter Bernstein solo; Anthony Pinciotti Quartet with Rich Perry, Steve Cardenas, Steve LaSpina; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 • Linda Ciofalo Trio with Harvie S, Mark Marino Bar Next Door 8:30, 10:30 pm $12 • Perez and Anita Wardell Zinc Bar 7 pm $8 • Carol Daly Metropolitan Room 7 pm $20 • Linda Ciafolo Trio with Mark Marino, Harvie S Bar Next Door 8:30, 10:30 pm $12 • Kyle Athayde Dance Party Tea Lounge 8, 9:30 pm • Quartet Dalí Launch Pad Gallery 8 pm • Darwin Noguera Measure 8 pm • Philipp Gerschlauer Microtonal Band with Kuba Chichocki, Marty Kenney, Marekie Wiening Somethin’ Jazz Club 9 pm $12 • Howard Williams Jazz Orchestra The Garage 7 pm
Tuesday, February 18 êA Tribute to Cal Massey and Clifford Thornton: Eco-Music Big Band with
Salim Washington, Ben Barson, Livio Almeida, Jay Rodriguez, Wynston Byrd, Nabate Isles, Mark McGowan, Adam O’Farrill, Earl McIntyre, Richard Harper, Adam Fischer, Ernesto Villalobos, Amanda Ruzza, Zack O’Farrill, Albert Marques, Marie Incontrera Baruch Performing Arts Center 7 pm $20 êReflections of Monk: Tom Harrell, Greg Osby, Aaron Goldberg, Ben Allison, Matt Wilson Birdland 8:30, 11 pm $40 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with Gadi Lehavi, Drew Gress, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $25 • Omer Avital Dizzy’s Club 7:30, 9:30 pm $30 • Javon Jackson Band with Les McCann Blue Note 8, 10:30 pm $35 • Nellie McKay The Carlyle 8:45 pm $50-70 êJohn Medeski, Thomas Workman, Mike Rivard The Stone 8, 10 pm $15 • Jay D’Amico Trio with Greg D’Amico, Kevin Norton NYC Baha’i Center 8, 9:30 pm $15 • Dawn Clement Quintet with Ingrid Jensen, Michael Webster, Matt Clohesy, Jon Wikan; Matt Renzi’s Rise and Shine with Shane Endsley, Dave Ambrosio, AR Balaskandan, Russ Meissner ShapeShifter Lab 8:15, 9:30 pm $8-10 • Signal Problems: Danny Gouker, Eric Trudel, Adam Hopkins, Nathan Ellman-Bell; Oscar Noriega Korzo 9, 10:30 pm • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band with Josh Evans, Stacy Dillard, Frank Lacy, Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • Joel Forrester solo Spectrum 9 pm • Juan Carlos Formell Trio with Ben Wills, Chuito Quintero Terraza 7 10:30 pm • Abe Ovadia Trio with Anthony Pocetti, Jarrett Walser Bar Next Door 8:30, 10:30 pm $12 • Dmitri Slepovitch’s Litvakus Trio Stephen Wise Free Synagogue 7:30 pm $15 • Daisuke Abe solo Jazz at Kitano 8 pm
38 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
• Romero with Carmen Estevez, Ina Paris, Sean Kupisz; Dorian Wallace and The Free Sound Ahn-somble Somethin’ Jazz Club 7, 9 pm $12 • Hyan Joo Lee Trio Tomi Jazz 8 pm $10 • Justin Rothberg Group Way Station 8 pm • Mayu Saeki Trio The Garage 7 pm • Nick Grinder Group Silvana 8 pm • Darwin Noguera Measure 8 pm
Wednesday, February 19 êEddie Palmieri Salsa Orchestra BB King’s Blues Bar 8 pm $35 êSwinging Tribute to Joe Wilder Dizzy’s Club 7:30, 9:30 pm $35 êHarold Mabern Trio with Essiet Essiet, Joe Farnsworth
Smalls 9:30 pm $20 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 7:30 pm $35 êRed Cred: John Medeski, Ben Perowsky, Chris Speed The Stone 8, 10 pm $15 • Claudia Acuña Rockwood Music Hall 7 pm $15 êMatt Bauder and Day in Pictures with Nate Wooley, Kris Davis, Jason Ajemian, Tomas Fujiwara Cornelia Street Café 8:30 pm $10 • Jeff Davis’ Dragon Father with Oscar Noriega, Kirk Knuffke, Russ Lossing, Eivind Opsvik Barbès 8 pm $10 • Eric DiVito Trio with Corcoran Holt, Nadav Snir-Zelniker and guest Mavis Swan Poole Jazz at Kitano 8, 10 pm $15 • David Bixler’s Auction Project with Heather Bixler, Arturo O’Farrill, Carlo DeRosa, Vince Cherico; Dialogues: Warren Smith/Edith Lettner ShapeShifter Lab 8:15, 9:30 pm $10 • D.O.V.: Deanna Kirk, Ondine Appel, Vanessa Trouble with John Di Martino; Barbara Mendes/Misha PiatigorskyZinc Bar 7, 9, 10:30 pm 12 am • Barbara Martinez Group Smoke 7, 9, 10:30 pm • Scot Albertson/Daryl Kojak Klavierhaus 8 pm • Tish Rabe and Friends Metropolitan Room 7 pm $20 • Robin Verheyen, Dalius Naujokaitis, Nicolas Letman-Burtinovic Bar Chord 9 pm • Blaise Siwula solo Goodbye Blue Monday 8 pm • Luis Camacho Sounds del Caribe with Roberto Agron, Victor Molina; Craig Yaremko Organ Trio with Matt King, Jonathon Peretz and guests Ryan Keberle, Nathan Eklund Somethin’ Jazz Club 7, 9 pm $10-12 • Mamiko Taira Duo Tomi Jazz 8 pm $10 • Dave Hassell Quintet Way Station 9 pm • Marc Devine Trio The Garage 7 pm êReflections of Monk: Tom Harrell, Greg Osby, Aaron Goldberg, Ben Allison, Matt Wilson Birdland 8:30, 11 pm $40 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with Gabi Lehavi, Drew Gress, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $25 • Javon Jackson Band with Les McCann Blue Note 8, 10:30 pm $35 • Nellie McKay The Carlyle 8:45 pm $50-70 • Darwin Noguera Measure 8 pm • Valerie Capers Saint Peter’s 1 pm $10 êAruán Ortiz, John Beasley, Adam Rudolph Winter Garden 12:30 pm
Thursday, February 20 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $35 êWilliam Hooker’s Body and Soul with Mark Smith, Taylor Ryan, Dave Ross, Skye Steele, Tom Zlabinger, Ras Moshe, Matt Lavelle David Rubenstein Atrium 7:30 pm êMago: John Medeski, Billy Martin and guests The Stone 8, 10 pm $15 • Apollo Club Harlem: Maurice Hines, Margot Bingham, Kevin Mahogany, The Wondertwins, The Manzari Brothers, David Berger Apollo Theater 8 pm $55-165 • Joel Forrester Trio Cleopatra’s Needle 7 pm êRyan Keberle’s Catharsis with Ingrid Jensen, Matt Brewer, Eric Doob The Jazz Gallery 9, 10:30 pm $20 • Simona Premazzi Quartet; Nick Hempton Band Smalls 9:30 pm 12:30 am $20 • Sarah Manning’s Harmonious Creature with Mark Feldman, Jonathan Goldberger, Rene Hart, Allison Miller Cornelia Street Café 8:30 pm $10 • Papanosh: Quentin Ghomari, Raphaël Quenehen, Thibault Cellier, Sebastien Palis, Jérémie Piazza and guest Roy Nathanson Barbès 8 pm $10 • Mazz Swift Ginny’s Supper Club 8:30 pm $15 • The IO-5: Iris Ornig, Dave Smith, Nir Felder, Ronen Itzik Jazz at Kitano 8, 10 pm $15 • Interpretations: Bruce Gremo; Joan La Barbara Roulette 8 pm $15 • Sean Smith Trio with Nate Radley, Russ Meissner Manhattan School of Music Comelli Studio 7:30 pm • Ricardo Rodríguez Quintet with Peter Kronreif, Andrew Gould, Tom Guarna and guest Thana Alex Terraza 7 9:30 pm • Carl Costa solo; HAG: Brad Henkel, Sean Ali, David Grollman Ibeam Brooklyn 8:30, 9:30 pm $10 • Matt Davis Trio with Leon Boykins, Chris Beck Bar Next Door 8:30, 10:30 pm $12 • Lisa DeSpain Quartet with Tom Dempsey, Mary Ann McSweeny, Scott Neumann; Travis Sullivan Quartet with Mike Eckroth, Marca Panascia, Brian Fishler Somethin’ Jazz Club 7, 9 pm $10 • Emilio Teubal Trio Tomi Jazz 9 pm $10 • Rick Stone Trio The Garage 7 pm • Barbara Mendes/Misha PiatigorskyZinc Bar 9, 11 pm • David Bixler’s Auction Project with Heather Bixler, Arturo O’Farrill, Carlo DeRosa, Vince Cherico; Brian McCarthy Quintet with Ray Vega, Justin Kauflin, Evan Gregor, Quinn Blandford ShapeShifter Lab 8:15, 9:30 pm $10 êReflections of Monk: Tom Harrell, Greg Osby, Aaron Goldberg, Ben Allison, Matt Wilson Birdland 8:30, 11 pm $40 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with Adam Rogers, Scott Colley, Nate Smith Jazz Standard 7:30, 9:30 pm $25 • Javon Jackson Band with Les McCann Blue Note 8, 10:30 pm $35 • Nellie McKay The Carlyle 8:45 pm $50-70 • Darwin Noguera Measure 8 pm • Glenn White Quartet Shrine 6 pm • Aaron Irwin Group Silvana 6 pm
Friday, February 21 • Tord Gustavsen Quartet with Tore Brunborg, Mats Eilertsen, Jarle Vespestad Saint Peter’s 8 pm êKenny Garrett and The Music of Mulgrew Miller with Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120 êLew Tabackin Trio with Boris Kozlov, Mark Taylor Jazz at Kitano 8, 10 pm $30 • The New Drum Battle: Joe Farnsworth vs. Kenny Washington with Jim Rotondi, Eric Alexander, Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38 êNeal Smith Group; John Webber Trio Smalls 10:30 pm 1:30 am $20 • Patricia Barber Blue Note 8, 10:30 pm $30 êDin: John Medeski, Marc Ribot, G. Calvin Weston The Stone 8, 10 pm $15 êJamie Baum Septet with Amir ElSaffar, Douglas Yates, Brad Shepik, Chris Komer, John Escreet, Zack Lober, Jeff Hirshfield The Jazz Gallery 9, 10:30 pm $20 • Rez Abbasi Trio with Carlo DeRosa, Mike Clark Bar Next Door 7:30, 9:30, 11:30 pm $12 êEric Wyatt Quartet BAMCafé 9 pm • Bilal Harlem Stage Gatehouse 7:30 pm $30 • The Jazz Age & The Charleston: Barbara Rosene Flushing Town Hall 8 pm $15 • Joel Forrester solo Indian Road Café 8 pm • David Ullmann Quintet with Karel Ruzicka Jr., Jamie Reynolds, Gary Wang, Vinnie Sperrazza; David Fiuczynski MicroJam; Matt Savage’s Jazz Is Young with Seth Weaver, Elena Pinderhughes, Hoo Kim, Curtis Nowosad ShapeShifter Lab 7, 8:15, 9:30 pm $10 êJames Brandon Lewis Ensemble with Eri Yamamoto, Max Johnson, Juan Pablo Carletti; Adam Lane/Vijay Anderson The Firehouse Space 8, 9:30 pm $10 • Alexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $5 • Scott Tixier Quartet with Tony Tixier, Chris Smith, Andrew Atkinson Cornelia Street Café 9, 10:30 pm $10 • Sonic Calligraphy: Peggy Chew/Adrian Frey Ibeam Brooklyn 8 pm $10 • Antonio Ciacca Measure 8 pm • Eileen Howard and Friends with Daniel Bennett, Nat Janoff, Kevin Hailey, Matt Feick Somethin’ Jazz Club 7 pm $15 • Allegra Levy Duo Tomi Jazz 9 pm $10 • Lonnie Gasperini Organ Trio Cleopatra’s Needle 8 pm • Adam Rongo Trio; Kevin Dorn and the BIG 72 The Garage 6, 10:30 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $40 • Apollo Club Harlem: Maurice Hines, Margot Bingham, Kevin Mahogany, The Wondertwins, The Manzari Brothers, David Berger Apollo Theater 8 pm $55-165 êReflections of Monk: Tom Harrell, Greg Osby, Melissa Aldana, Aaron Goldberg, Ben Allison, Matt Wilson Birdland 8:30, 11 pm $40 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with David Gilmore, Scott Colley, Nate Smith Jazz Standard 7:30, 9:30, 11:30 pm $30 • Nellie McKay The Carlyle 8:45, 10:45 pm $60-80 • Sheryl Bailey 3 with Ron Oswanski, Ian Froman 55Bar 6 pm • Tyrone Birkett’s Emancipation Shrine 6 pm • The Stachel Quartet Silvana 6 pm
Saturday, February 22 êCreating Silence!: John Medeski, Tisziji Muñoz, Don Pate, Tony Falco The Stone 8, 10 pm $15 • Josh Roseman Line of Swords with Ben Monder, Rudy Royston; Josh Roseman Water Surgeons with Jacob Garchik, Curtis Hasselbring, Barney McAll; Sean Noonan Pavees Dance with Malcolm Mooney, Alex Marcelo and guests ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Steve Cardenas Trio with Steve LaSpina, Anthony Pinciotti Jazz at Kitano 8, 10 pm $30 êMonk in Motion - The Next Face of Jazz: Tivon Pennicott Tribeca Performing Arts Center 7:30 pm $25 • Billy Harper and Voices with Jack Glottman, Panagiotis Kostopoulos, Kevin Smith, Eri Isaka, Caroline Santoro, Amber Reynolds, Jazzmeia Horn, Emma Larsson, Dana Hanchard, Elizabeth Tomboulian, Charenee Wade, Dace Dubrova, Ruby Greenberg, Michele Smith, Emi Makabe, John McMahon, Paul Tafoya, Lee Tomboulian, Dylan Pramuk, Klaus Mueller, Adrian Condis Zeb’s 8 pm $25 • Misha Piatigorsky Trio with Danton Boller, Rudy Royston Zinc Bar 7:30 pm • Jorge Sylvester/Nora McCarthy Michiko Studios 8 pm $15 • Linda Oh Quartet with Dayna Stephens, Sam Harris, Rudy Royston The Jazz Gallery 9, 10:30 pm $20 • Reggie Woods Sistas’ Place 9, 10:30 pm $20 • Jeff Barone Trio with Ron Oswanski, Mike Clark Bar Next Door 7:30, 9:30, 11:30 pm $12 • Tesla Coils: Blaise Siwula, Gian Luigi Diana, Harvey Valdes with guest K. Page Stuart The Firehouse Space 8 pm $10 • Satchmo Mannan Band with Alvin Ellington Flythe, Brian McKenzie, Satchee, Yayoi Ikawa, Vinnie Ruggiere, Richard Clemens, Ralph Hamperian, Teri Davis, Yurie Fukayawa, Miguel Sevilla, Darrell Smith, David Gilmore, Makiko 449 La Jazz Café 8 pm $10 • Dennis Day Metropolitan Room 7 pm $20 • Nico Soffiato’s OST Quartet Goodbye Blue Monday 8 pm • Bob Bennett Quintet with Eric Burns, Erica Seguine, Charlie Dougherty, Gusten Rudolph; Larry Bluth Trio with Dylan LaGamma, Bill Chattim and guest Dana Holness; Terry Vakirtzoglou Trio with Glafkos Kontemeniotis, George Kostopoulos; Brett Sandler Trio with Peter Longofono, Adam Pin Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Chieko Honda; Yusuke Seki Tomi Jazz 8, 11 pm $10 • Ray Blue Quartet Cleopatra’s Needle 8 pm êKenny Garrett and The Music of Mulgrew Miller with Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120 • The New Drum Battle: Joe Farnsworth vs. Kenny Washington with Jim Rotondi, Eric Alexander, Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38 êNeal Smith Group; Philip Harper Smalls 10:30 pm 1:30 am $20 • Patricia Barber Blue Note 8, 10:30 pm $30 • Alexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $5 • Antonio Ciacca Measure 8 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $45 • Apollo Club Harlem: Maurice Hines, Margot Bingham, Kevin Mahogany, The Wondertwins, The Manzari Brothers, David Berger Apollo Theater 3, 8 pm $55-165 êReflections of Monk: Tom Harrell, Greg Osby, Melissa Aldana, Aaron Goldberg, Ben Allison, Matt Wilson Birdland 8:30, 11 pm $40 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with Ralph Alessi, Robert Hurst, Kush Abadey Jazz Standard 7:30, 9:30, 11:30 pm $30 • Nellie McKay The Carlyle 8:45, 10:45 pm $60-80 • Marsha Heydt and the Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet The Garage 12, 6, 10:30 pm
• Davy Mooney Quartet; Gerry Gibbs Group; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 • Ava Mendoza Trio; Chris Pitsiokos, Max Johnson, Kevin Shea JACK 8, 9:30 pm $10 • Rafael Schilt Trio with Eivind Opsvik, Jeff Davis Ibeam Brooklyn 8:30 pm $10 • Jeremy Wilms’ Diamond People with Loren Stillman, Matt Hilgenberg, Danton Boller, Tomas Fujiwara ShapeShifter Lab 9:30 pm $10 • Dorian Devins Trio with Lou Raione, Tom Hubbard Bar Next Door 8:30, 10:30 pm $12 • Joshua Shneider Love Speaks Orchestra Tea Lounge 8, 9:30 pm • Antonio Ciacca Measure 8 pm • Hiroko Kanna Duo Tomi Jazz 8 pm $10 • New York Youth Symphony Jazz Band The Garage 7 pm • Eric Plaks Trio; Justin Rothberg Trio Silvana 6, 8 pm
Tuesday, February 25 êRoy Haynes Fountain of Youth with Ron Carter Blue Note 8, 10:30 pm $45 êQuest: Dave Liebman, Richie Beirach, Ron McClure, Billy Hart Birdland 8:30, 11 pm $40 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 • Kendrick Scott Oracle with Seamus Blake, Mike Moreno, Taylor Eigsti, Joe Sanders Jazz Standard 7:30, 9:30 pm $20 • T. Oliver Reid: Drop Me Off In Harlem Dizzy’s Club 7:30, 9:30 pm $30 êBen Goldberg solo; Ben Goldberg, Sheldon Brown, Vijay Anderson The Stone 8, 10 pm $15 • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Josh Evans Big Band with Ned Goold, Stacy Dillard, David Gibson, Bruce Williams, Theo Hill, Freddie Hendrix, Ameen Saleem, Max Seigel, Chris Beck, Stafford Hunter, Vitaly Golovnev, Frank Lacy, Yunie Mojica, Lauren Sevian; Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • James Carney Trio with Chris Lightcap, Mark Ferber Korzo 9 pm • Russ Lossing; Brian Drye Birthday Trio with Matt Pavolka, Jeff Davis Ibeam Brooklyn 8:30 pm $10 • HAG: Brad Henkel, Sean Ali, Dave Grollman with guest Dan Peck; Ryan Jewell solo; Michael Foster, Michael Evans, Pascal Niggenkemper JACK 8 pm $10 • Benny Benack Trio with Yasushi Nakamura, Ulysses Owens Bar Next Door 8:30, 10:30 pm $12 • Jake Marmer’s Hermeneutic Stomp with Greg Wall, Frank London, Uri Sharlin, Eyal Maoz Stephen Wise Free Synagogue 7:30 pm $15 • David Lackner with Derek Vockins, Dominic Cipolla, Aaron Dugan; Randy Gibson The Backroom 8:30, 10 pm $10 • Matthew Briere solo Jazz at Kitano 8 pm • Bilal Karaman Trio with Harvie S, Jarrod Cagwin Somethin’ Jazz Club 9 pm $12 • Jonathan Saraga The Garage 7 pm • Tom Blatt Project; Justin Rothberg Trio Shrine 6, 8 pm • Antonio Ciacca Measure 8 pm
Sunday, February 23 • Dark Wave: John Medeski, Adam Deitch, Skerik The Stone 8, 10 pm $15 êMilton Suggs Quartet; Johnny O’Neal with Charles Goold, Paul Sikivie Smalls 7:30, 10 pm $20 êRay Anderson/Sarah Weaver; Slideride: Ray Anderson, Craig Harris, Art Baron, Earl McIntyre Roulette 8 pm $20 • John Daversa Big Band ShapeShifter Lab 8, 9 pm $10 • Broc Hempel, Sam Trapchak, Christian Coleman with guest David Binney Dominie’s Astoria 9 pm • Jon Davis Measure 8 pm • Matt Malanowski Trio with Jonathan Toscano, David Jimenez and guest Kalena Nash; Matteo Sabattini Somethin’ Jazz Club 5, 7 pm $10-12 • Patricia Barber Blue Note 8, 10:30 pm $30 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $35 • Fred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 8:30, 10:30 pm $25 • Ravi Coltrane Quartet with Ralph Alessi, Robert Hurst, Kush Abadey Jazz Standard 7:30, 9:30 pm $25 • Nellie McKay The Carlyle 8:45 pm $50-70 • Jerry Devore Trio Indian Road Café 6:30 pm êTom Blancarte solo 61 Local 6 pm $10 • Dissipated Face: Daniel Carter, Kurt Ralske, Stephen Popkin, Robert Musso, Will Dahl Downtown Music Gallery 6 pm • Apollo Club Harlem: Maurice Hines, Margot Bingham, Kevin Mahogany, The Wondertwins, The Manzari Brothers, David Berger Apollo Theater 5 pm $55-165 • TK Blue and A Warm Embrace Saint Peter’s 5 pm êBarry Harris Trio with Ray Drummond, Leroy Williams Emmanuel Baptist Church 3 pm $20 êDavid Krakauer’s The Big Picture with Rob Schwimmer, Sara Caswell, Mark Helias, Sheryl Bailey, John Hadfield Museum of Jewish Heritage 2 pm $35 • Amy Cervini and Jazz Kids! 55Bar 2 pm $5 • Anita Wardell Perez Jazz 2 pm $20 • High & Mighty Brass Band Blue Note 11:30 am 1:30 pm $29.50 • Roz Corral Trio with Gilad Hekselman, Edward Perez North Square Lounge 12:30, 2 pm • Oran Etkin Band City Winery 11 am • Iris Ornig Quartet; David Coss Quartet The Garage 11:30 am 7 pm
Monday, February 24 êCatherine Russell
• Keiko Matsui
Dizzy’s Club 7:30, 9:30 pm $42.50 BB King’s Blues Bar 8 pm $35
êJason Robinson’s Janus Ensemble with JD Parran, Marty Ehrlich, Marcus Rojas,
Bill Lowe, Liberty Ellman, Drew Gress, George Schuller, Ches Smith Roulette 8 pm $20 êPyramid Trio: William Parker/Michael Wimberly; Bern Nix Quartet with Matt Lavelle, Francois Grillot, Reggie Nicholson Legion Bar 8, 9:30 pm $10-14 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Catherine Sikora/Brian Chase; Nu-Band: Thomas Heberer, Mark Whitecage, Joe Fonda, Lou Grassi; Jason Kao Hwang Ensemble with Ken Filiano, Andrew Drury Clemente Soto Velez Cult. Ctr. 7:30, 8:45, 10 pm $11-22
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
39
Wednesday, February 26 • Ben Goldberg, Stomu Takeishi, Rudy Royston
The Stone 8, 10 pm $15 • Jack Wilkins Trio with Andy McKee, Mike Clark Jazz at Kitano 8, 10 pm $15 êTom Rainey/Ingrid Laubrock Barbès 8 pm $10 • Leni Stern Shrine 8 pm êHot Club of Detroit Iridium 8, 10 pm $25 • Carolyn Leonhart Smoke 7, 9, 10:30 pm • Taylor Eigsti Trio Smalls 9:30 pm $20 • Bruce Cox Quintet with Aruán Ortiz, David Gilmore, Gianluca Renzi, Mark Shim Zinc Bar 9, 10:30 pm 12 am • Max Johnson’s Silver Quartet with Susan Alcorn, Kris Davis, Mike Pride Greenwich House Music School 8 pm $15 • Tyler Blanton Trio with Sam Minaie, Ari Hoenig; Michael Blanco Quartet with Donny McCaslin, Adam Birnbaum, Clarence Penn Cornelia Street Café 8:30, 10 pm $10 • Adam O’Farrill Quartet with Albert Marques, Walter Stinson, Zack O’Farrill; The Delegation: Gabriel Zucker, Artemisz Polonyi, Tiff Ortiz, Adam O’Farrill, Jacob Teichroew, Bryan Qu, Eric Trudel, Mark Chung, Emily Bookwalter, Bam Bam Rodriguez, Gabriel Globus-Hoenich; Throw Vision ShapeShifter Lab 7:15, 8:30, 9:45 pm $10 • Juilliard Jazz Orchestra Juilliard School Peter Jay Sharp Theater 8 pm • Marko Churnchetz Somethin’ Jazz Club 10 pm $10 • Kristen Lee Sergeant Trio Tomi Jazz 8 pm $10 • Sam Taylor Group The Garage 7 pm • Leni Stern Silvana 8 pm êRoy Haynes Fountain of Youth with Ron Carter Blue Note 8, 10:30 pm $45 êQuest: Dave Liebman, Richie Beirach, Ron McClure, Billy Hart Birdland 8:30, 11 pm $40 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 • Kendrick Scott Oracle with Seamus Blake, Mike Moreno, Gerald Clayton, Joe Sanders Jazz Standard 7:30, 9:30 pm $20 • T. Oliver Reid: Drop Me Off In Harlem Dizzy’s Club 7:30, 9:30 pm $30 • Antonio Ciacca Measure 8 pm • Eugene Marlow’s Heritage Ensemble Saint Peter’s 1 pm $10 • Osmany Paredes/Jennifer Vincent Winter Garden 12:30 pm
• Devin Bing and The Secret Service Metropolitan Room 7 pm $20 • Bob Arthurs with Dave Frank, Jon Easton, Joe Solomon; Una Stade/Tuomo Uusitalo; Lluis Capdevila Trio Somethin’ Jazz Club 7, 9, 11 pm $12 • Luiz Ebert Trio Tomi Jazz 9 pm $10 • Mamiko Watanabe Trio Cleopatra’s Needle 8 pm • Guy Mintus Trio; Peter Valera and the Jump Blues Band The Garage 6, 10:30 pm • Yongmun Lee Group; Joaquin Pozo Silvana 6, 8 pm êDexter Gordon Legacy Ensemble: George Cables, Jerry Weldon, Rufus Reid, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40 êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Chip White Jazz Standard 7:30, 9:30, 11:30 pm $30 • Bill Evans Soulgrass with John Medeski, Ryan Cavanaugh, Etienne Mbappe, Mitch Stein, Josh Dion Blue Note 8, 10:30 pm $35 êMara Rosenbloom solo and Quartet with Darius Jones, Sean Conly, Tomas Fujiwara Ibeam Brooklyn 8:30 pm $15 êQuest: Dave Liebman, Richie Beirach, Ron McClure, Billy Hart Birdland 8:30, 11 pm $40 • Antonio Ciacca Measure 8 pm
Thursday, February 27 êDexter Gordon Legacy Ensemble: George Cables, Jerry Weldon, Rufus Reid, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40 êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Chip White Jazz Standard 7:30, 9:30 pm $25 • Bill Evans Soulgrass with Tim Carbone, Neal Evans, Ryan Cavanaugh, Etienne Mbappe, Mitch Stein, Josh Dion Blue Note 8, 10:30 pm $35 êBen Goldberg, Greg Cohen, Ben Perowsky; Ben Goldberg School The Stone 8, 10 pm $15 • Bob DeVos Quartet with Ralph Bowen, Dan Kostelnik, Steve Johns Jazz at Kitano 8, 10 pm $15 • Jovino Santos Neto Trio with Itaiguara Brandão, Rogério Boccato Symphony Space Leonard Nimoy Thalia 7:30 pm $32 • Diane Moser Quintet with Marty Ehrlich, Ben Williams, Ken Filiano, Michael Sarin Cornelia Street Café 8:30 pm $10 êMara Rosenbloom solo and Quartet with Darius Jones, Sean Conly, Tomas Fujiwara Ibeam Brooklyn 8:30 pm $15 • Daisuke Abe Trio with Kuriko Tsugawa, Anthony Lee Bar Next Door 8:30, 10:30 pm $12 • Truculently Audacious: Marieke Wiening, Renato Diz, Matt DiGIovanni, Holly Cordero; Renato Diz Trio ShapeShifter Lab 9:30 pm $10 • Brother Blake and the Jump Kings: Blake Brocksmith, Emily Fellner Zeig, Lowell Marin, Jim Wacker, Jack Maorino, Jeff Garfin; Matt Garrison; Negroni’s Trio Somethin’ Jazz Club 7, 9, 11 pm $10 • Senri Oe Tomi Jazz 9 pm $10 • 13 Moons Terraza 7 10:30 pm • Dan Furman Trio Cleopatra’s Needle 7 pm • Dre Barnes Project The Garage 7 pm • The Latitude Quartet; The Smooth Operators Silvana 6, 8 pm • Taylor Eigsti Trio; Carlos Abadie Quintet Smalls 9:30 pm 12:30 am $20 êQuest: Dave Liebman, Richie Beirach, Ron McClure, Billy Hart Birdland 8:30, 11 pm $40 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 • Antonio Ciacca Measure 8 pm • Stan Killian Trio with Tom Guarna, Bryan Copeland Strand Bistro 6 pm • Sunfree Shrine 6 pm
Friday, February 28 êThe Spring Quartet: Jack DeJohnette, Joe Lovano, Esperanza Spalding, Leo Genovese;
Cécile McLorin Salvant Rose Hall 8 pm $30-120 êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner Village Vanguard 8:30, 10:30 pm $25 êBucky Pizzarelli/Ed Laub Duo Jazz at Kitano 8, 10 pm $30 • Dumpstaphunk; Kermit Ruffins and The BBQ Swingers BB King’s Blues Bar 8 pm $50 • Ralph Lalama and Bop-Juice; Rick Germanson Quartet with Eddie Henderson; Lawrence Leathers Smalls 7:30, 10:30 pm 1:30 am $20 • David Berkman Quartet with Dayna Stephens, Ugonna Okegwo, Rudy Royston Smoke 7, 9, 10:30 pm $38 êBen Goldberg, Kris Davis, Ches Smith; Ben Goldberg, Ellery Eskelin, Devin Hoff, Ches Smith The Stone 8, 10 pm $15 • Ben Monder Trio with Joe Martin, Adam Cruz Bar Next Door 7:30, 9:30, 11:30 pm $12 • Kavita Shah/Lionel Loueke Rubin Museum 7 pm $20 • Bohemian Trio: Yosvany Terry, Orlando Alonso, Yves Dharamraj The Jazz Gallery 9, 10:30 pm $20 êRichard Tabnik/Connie Crothers Michiko Studios 8 pm $15 • Michael Moss/Billy Stein Duo with guest Ratzo Harris ShapeShifter Lab 8:15 pm $10 • The Music of Robert Dick: Sarah Carrier, Melissa Keeling, Bonnie McAlvin, Roberta Michel The Firehouse Space 8 pm $10 • Nicky Parrot/Jill McCarron Knickerbocker Bar and Grill 9:45 pm $5 • 13 Moons: GrayHawk Perkins and the Mezcal Jazz Unit Flushing Town Hall 8 pm $12 • Manhattan School of Music Jazz Orchestra Borden Auditorium 7:30 pm $12 • Howard Fishman Quartet SubCulture 7:30 pm $15-20 • The Hot Sardines Joe’s Pub 9:30 pm $15
40 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
R E G U L A R
E N G A G E M E N T S
MONDAYS • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) • 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 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Grove Street Stompers Arthur’s Tavern 7 pm • Minton’s House Band Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT) • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm • Swingadelic Swing 46 8:30 pm • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • Diego Voglino Jam Session The Village Lantern 9:30 pm • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) TUESDAYS • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • 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 $12 • 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 • Martin Kelley, Diallo House, Christian Coleman Cranky’s 7 pm (ALSO FRI) • Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm • Mona’s Hot Four Jam Session Mona’s 11 pm • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Annie Ross The Metropolitan Room 9:30 pm $25 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am • Slavic Soul Party Barbès 9 pm $10 • Diego Voglino Jam Session The Fifth Estate 10 pm • Bill Wurtzel/Jay Leonhart Loi 7 pm WEDNESDAYS • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • 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 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Stan Rubin Orchestra Swing 46 8:30 pm • Eve Silber Arthur’s Tavern 7 pm • Brianna Thomas Quartet Smoke 11:30 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm THURSDAYS • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Gregory Generet Smoke 7, 9, 10:30 pm • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Jazz Jam Session American Legion Post 7:30 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 • Bill Wurtzel Trio Domain 9 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) FRIDAYS • Scot Albertson Parnell’s 8 pm (ALSO SAT) • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Lisa DeSpain solo Machiavelli’s 8 pm • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Richard Russo Quartet Capital Grille 6:30 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) SATURDAYS • Avalon Jazz Quartet Matisse 8 pm • The Candy Shop Boys Duane Park 8, 10:30 pm • Barbara Carroll/Jay Leonhart Duo Birdland 6 pm $35 • Michika Fukumori Trio Cleopatra’s Needle 9 pm • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Johnny O’Neal Smoke 11:45 pm • Skye Jazz Trio Jack 8:30 pm SUNDAYS • Avalon Jazz Quartet The Lambs Club 11 am • Birdland Jazz Party with Cyrille Aimée Birdland 6 pm $25 • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Isaac Darch Group Basik Bar 7 pm • Marc Devine Trio TGIFriday’s 6 pm • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm • Joel Forrester solo Grace Gospel Church 11 am • Nancy Goudinaki Trio Kellari Taverna 12 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 • Peter Leitch Duo Walker’s 8 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Rob Mosci solo; David Buday Trio Bemelmans Bar 5:30, 9 pm • Lu Reid Jam Session Shrine 4 pm • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm • Sara Serpa/André Matos Pão Restaurant 2 pm • Milton Suggs Cávo 7 pm • Terry Waldo; Brandon Lewis/Renee Cruz Fat Cat 6 pm 12:30 am • Brian Woodruff Jam Blackbird’s 9 pm
CLUB DIRECTORY • 449 La Jazz Café 449 Lenox Avenue Subway: 2, 3 to 135th Street • 55Bar 55 Christopher Street (212-929-9883) Subway: 1 to Christopher Street www.55bar.com • 61 Local 61 Bergen Street (347-763-6624) Subway: F, G to Bergen Street www.61local.com • ABC Chinese Restaurant 34 Pell Street (212-346-9890) Subway: J to Chambers Street • ABC No-Rio 156 Rivington Street (212-254-3697) Subway: J,M,Z to Delancey Street www.abcnorio.org • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: E to 53rd Street www.folkartmuseum.org • American Legion Post 248 West 132nd Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street www.LindasJazzNights.com • Apollo Theater & Music Café 253 W. 125th Street (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to Christopher Street www.arthurstavernnyc.com • Arturo’s 106 W. Houston Street (at Thompson Street) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • BAMCafé 30 Lafayette Ave at Ashland Place (718-636-4139) 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 485 Dean Street (718-622-7035) Subway: 1, 2 to Bergen Street www.myspace.com/freddysonthewayout • Bar Chord 1008 Cortelyou Road (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.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 • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com • Baruch Performing Arts Center 17 Lexington Avenue at 23rd Street (646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu/bpac • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-281-0777) Subway: 2, 3 to 125th Street • Birdland 315 W. 44th Street (212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue www.facebook.com/bizarrebushwick • 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 388 Atlantic Avenue (212-242-4201) Subway: A, C, G to Hoyt/Schermerhorn Streets www.brechtforum.org • Broadway Thai 241 West 51st Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square www.caffevivaldi.com • Capital Grille 120 Broadway (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • The Carlyle 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.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 • Cávo 42-18 31st Avenue, Astoria (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.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 • City Winery 155 Varick Street (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: F, J, M, Z to Delancey Street www.csvcenter.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.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 • Cranky’s 48-19 Vernon Boulevard (347-738-4921) Subway: 7 to Vernon Boulevard-Jackson Avenue www.crankyscafe.com • David Rubenstein Atrium Broadway at 60th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.new.lincolncenter.org/live/index.php/atrium • 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 • Domain NYC 2869 Broadway (212-678-8585) Subway: 1 to 110th Street www.domainrestaurant.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • 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 • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Drom 85 Avenue A (212-777-1157) Subway: F to Second Avenue www.dromnyc.com • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street www.earinn.com • Emmanuel Baptist Church 279 Lafayette Avenue (718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• The Fifth Estate 506 5th Avenue, Brooklyn (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Fontana’s NYC 105 Eldridge Street (212-334-6740) Subway: B, D to Grand Street www.fontanasnyc.com • 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 • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • Grace Gospel Church 589 E. 164th Street (718-328-0166) Subway: 2, 5 to Prospect Avenue • Grace R. Rogers Auditorium 1000 Fifth Avenue at 82nd Street (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org • 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 • Highline Ballroom 431 W 16th Street (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues Subway: F to 4th Avenue www.ibeambrooklyn.com • Iguana 240 West 54th Street (212-765-5454) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • 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 • Issue Project Room 22 Boerum Place (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • JACK 505 Waverly Avenue (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Jalopy 315 Columbia Street, Brooklyn (718-395-3214) Subway: F to Smith Street www.jalopy.biz • Jazz 966 966 Fulton Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com • 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 1160 Broadway, 5th floor (212-242-1063) Subway: N, R to 28th Street www.jazzgallery.org • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Joe G’s 244 W. 56th Street (212-765-3160) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com • John Wesley United Methodist Church 260 Quincy Street (718-783-5761) Subway: G to Bedford-Nostrand Avenues www.johnwesleychurch.org • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu • Kellari Taverna 19 W. 44th Street (212-221-0144) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us • Klavierhaus 211 West 58th Street (212-245-4535) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com • Knickerbocker Bar and Grill 33 University Place at 9th Street (212-228-8490) Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: R to Prospect Avenue www.konceptionsmusicseries.wordpress.com • LIC Bar 45-58 Vernon Boulevard (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard • The Lambs Club 132 W. 44th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Launch Pad Gallery 721 Franklin Avenue, Brooklyn (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • Legion Bar 790 Metropolitan Avenue (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com • Lehman Center 250 Bedford Park Boulevard West, Bronx (718-960-8833) Subway: 4, D train to Bedford Park Blvd. • Loi 208 West 70th Street (212-875-8600) Subway: 1, 2, 3 to 72nd Street www.loirestaurant.com • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Machiavelli’s 519 Columbus Avenue (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com • Manhattan School of Music 120 Claremont Avenue (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • Matisse 924 Second Avenue (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street www.langhamplacehotels.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 W. 22nd Street (212-206-0440) Subway: N, R to 23rd Street www.metropolitanroom.com • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com • Middle Collegiate Church 50 E. 7th Street (212-477-0666) Subway: 6 to Astor Place www.middlechurch.org • Minton’s Playhouse 206 West 118th Street (between St. Nicholas Avenue and Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com • MIST - My Image Studios 40 West 116th Street Subway: 2, 3 to 116th Street • Mona’s 224 Avenue B Subway: L to First Avenue • Morris Jumel Mansion 65 Jumel Terrace, between 160th & 162nd Streets, St Nicholas & Edgecombe Avenues Subway: C to 163 Street • Museum of Jewish Heritage 36 Battery Place (212-968-1800) Subway: 4, 5 to Bowling Green; N, R to Whitehall Street; J, M, Z to Broad Street www.mjhnyc.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 • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • North Square Lounge 103 Waverly Place (212-254-1200) Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Pão Restaurant 322 Spring Street (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • Pearl Studios 500 8th Avenue (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Prime and Beyond Restaurant 90 East 10th Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: F, V 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 W. 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 • San Martin Restaurant 143 E. 49 Street between Lexington and Park Avenues (212-832-0888) Subway: 6 to 51st Street • Sapphire NYC 333 E. 60th Street (212-421-3600) Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html • ShapeShifter Lab 18 Whitwell Place (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Shell’s Bistro 2150 5th Avenue (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Silvana 300 West 116th Street (646-692-4935) Subway: B, C, to 116th Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com • Smithfield 215 West 28th Street (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com • Smoke 2751 Broadway between 105th and 106th Streets (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • 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 • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street www.spectrumnyc.com • Stephen Wise Free Synagogue 30 W. 68th Street (212-877-4050) Subway: 1 to 66th Street www.swfs.org • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org • The Stone Avenue C and 2nd Street Subway: F to Second Avenue www.thestonenyc.com • Strand Bistro 33 West 37th Street (212-584-4000) Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.thestrandbistro.com • SubCulture 45 Bleecker Street (212-533-5470) Subway: 6 to Bleecker Street www.subculturenewyork.com • Swing 46 349 W. 46th Street (646-322-4051) Subway: A, C, E to 42nd Street www.swing46.com • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Tagine 537 9th Ave. between 39th and 40th Streets (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: M, R to Union Street • Terraza 7 40-19 Gleane Street (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Town Hall 123 W. 43rd Street (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org • Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org • Turnmill NYC 119 East 27th Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • University of the Streets 130 E. 7th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • The Village Lantern 167 Bleecker Street (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • Village Vanguard 178 Seventh Avenue South at 11th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • 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 • Way Station 683 Washington Avenue (917-279-5412) Subway: A to Clinton-Washington Avenues; 2, 3, 4 to Brooklyn Museum; Q to Seventh Avenue www.waystationbk.blogspot.com • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org • 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 • Zeb’s 223 W. 28th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
41
JA Z Z
(INTERVIEW CONTINUED FROM PAGE 6)
at
K I TA N O
Music • Restaurant • Bar
“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD
L I V E J A Z Z E V E RY W E D N E S D AY - S AT U R D AY
$ 15 W E D . / T H U R + $ 15 M i n i m u m / S e t . $ 3 0 F R I . / S AT. + $ 15 M i n i m u m / S e t 2 S E T S 8 : 0 0 P M & 10 : 0 0 P M JAZZ BRUNCH EVERY SUNDAY TONY MIDDLETON TRIO 11 AM - 2 PM • GREAT BUFFET - $35
Hutcherson is the same way. Every time he plays, it’s like he’s being born again. We all get the treasures of hearing that. It leaves me with the sense of how far I have to go and how there’s no end to learning this music and what I can accomplish. TNYCJR: You had a good relationship with Marian McPartland, appearing on her Piano Jazz several times.
THURS. FEBRUARY 6
RR: I loved Marian and she was always very supportive. She was such a delight and had the perfect personality to host her show. She was so adaptable and knew so much music. She was able to dive into any style of playing and amaze me with her knowledge. I recall interviewing her when we taped Piano Jazz at Tanglewood in 2007. The tables were turned a little bit, since I was able to interview her about her life. She was so charming, telling stories about Duke Ellington, Billy Strayhorn and Alec Wilder. She knew how to shock the audience with certain statements and be herself. She was so quick and witty. Playing duo with her was wonderful, too. She was a great listener.
FEATURING KENNY WERNER
TNYCJR: What’s the compositional process like for you?
OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG SOLO TUESDAYS IN FEB. • 8:00 PM - 11:00 PM • $15 MINIMUM PIANO - FEB. 4, & 11, - CHRIS ZIEMBA SOLO GUITAR - FEB. 18 - DAISUKE ABE • FEB. 25 - MATTHEW BRIERE
SAT. FEBRUARY 1
KAREN OBERLIN/ SEAN HARKNESS DUO
CD RELEASE EVENT “ A WISH” $30 COVER + $15 MINIMUM
WED. FEBRUARY 5
MAURICIO DE SOUZA QUARTET
CD RELEASE EVENT “DIFFERENT DIRECTIONS” MAURICIO DE SOUZA, SHAREL CASSITY BEN WINKELMAN, GARY MAZZAROPPI $15 COVER + $15 MINIMUM
TIMO VOLLBRECHT QUARTET TIMO VOLLBRECHT, KENNY WERNER SAM ANNING, JASON BURGER $15 COVER + $15 MINIMUM
FRI. & SAT. FEBRUARY 7 & 8
HELIO ALVES QUARTET HELIO ALVES, BEN ALLISON ALEX KAUTZ, ROGERIO BOCCATO $30 COVER + $15 MINIMUM
WED. FEBRUARY 12
STEVEN FEIFKE QUARTET STEVEN FEIFKE, ANDREW GOULD RAVIV MARKOVITZ, JIMMY MACBRIDE $15 COVER + $15 MINIMUM
THURS. FEBRUARY 13
MICHELLE WALKER QUINTET MICHELLE WALKER, TORU DODO MICHAEL O'BRIEN, WILLARD DYSON RON AFFIF (SPECIAL GUEST) $15 COVER + $15 MINIMUM
FRI. FEBRUARY 14
“SONGEVITY”
PATIENCE HIGGINS, JUSTIN KAUFLIN ROB DUGUAY, NADAV SNIR-ZELNIKER SPECIAL GUEST – VOCALS $30 COVER + $15 MINIMUM
SAT. FEBRUARY 15
ALEXIS COLE QUARTET VALENTINE DAY SHOW
ALEXIS COLE, JOHN DI MARTINO DAVID FINCK, MARCUS BAYLOR $30 COVER + $15 MINIMUM
WED. FEBRUARY 19
ERIC DIVITO TRIO ERIC DIVITO, CORCORAN HOLT, NADAV SNIR-ZELNIKER SPECIAL GUEST - MAVIS SWAN POOLE $15 COVER + $15 MINIMUM
THURS. FEBRUARY 20
“THE I.O.-5”
IRIS ORNIG, BRANDON WRIGHT DAVE SMITH, NIR FELDER, RONEN ITZIK $15 COVER + $15 MINIMUM
FRI. FEBRUARY 21
LEW TABACKIN TRIO
LEW TABACKIN, BORIS KOZLOV, MARK TAYLOR $30 COVER + $15 MINIMUM
SAT. FEBRUARY 22
STEVE CARDENAS TRIO
STEVE CARDENAS, STEVE LASPINA, ANTHONY PINCIOTTI $30 COVER + $15 MINIMUM
WED. FEBRUARY 26
JACK WILKINS TRIO JACK WILKINS, ANDY MCKEE, MIKE CLARK $15 COVER + $15 MINIMUM
THURS. FEBRUARY 27
BOB DEVOS QUARTET
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RR: That’s really hard to answer. A year ago at the Detroit Jazz Festival I had the honor of interviewing Wayne Shorter and I asked him that question. He dodged it, he didn’t want to answer it. I don’t restrict myself to one mode of composing. It can be while I’m playing the piano or away from it, on an airplane. I’ll use the piano, in a hotel room with my computer, sometimes on a sketchpad. I’ll hear a musical idea that inspires me, a chord progression, bassline or a snippet of a melody. I’ve learned not to be too judgmental about my work. I find that just to get it out helps. I can always revise or change it. It’s not about quantity but quality. I don’t have the luxury to wait for inspiration - I’m a mom and wife and have a career, it’s busy. In those moments when I have solitude when I could work the way I’d like to, they aren’t always planned or as often as I’d like. Whenever I have the opportunity, I’ll take it and get to work. I feel that composing is like doing a crossword puzzle, because once you’ve got your riddle, your subconscious mind will naturally begin to unravel it without you having to think about it. If I’m writing a piece and have eight to nine bars written and feel stuck or unsure of which direction to go, many times it’s the next morning and something has happened during the process of sleep where my subconscious mind has worked it out. It’s like returning to the crossword puzzle the next day and finding out you can fill out ten more answers and wondering why you didn’t know them the day before. TNYCJR: What projects do you have planned? RR: I’ve been steadily working with my band for the last few years, my quartet with Lewis Nash, Peter Washington and Steve Nelson. We just did three nights at Smoke in December and we’ll be performing [this month] at Dizzy’s Club Coca-Cola. I’m looking forward to recording again, which I hope to do in the first half of this year and get out before year ’s end. It helps when I take a working band into the studio, because the music has had a chance to breathe, develop and become personal for each member of the band. These guys are so wonderful to play with and I just love how they interpret the music that I write. I believe the next album I do will be all originals. I’ve been working on a whole album’s worth of material that has been inspired by Charles Darwin. v For more information, visit reneerosnes.com. Rosnes is at Blue Note Feb. 4th-9th with Ron Carter and Dizzy’s Club Feb. 20th-23rd with her quartet. See Calendar.
42 FEBRUARY 2014 THE NEW YORK CITY JAZZ RECORD
Recommended Listening: • Renee Rosnes - Eponymous (Blue Note, 1988-89) • Renee Rosnes - For the Moment (Blue Note, 1990) • Niels-Henning Ørsted Pedersen Trio (feat. Renee Rosnes) - Friends Forever (In Memory of Kenny Drew) (Milestone, 1995) • Renee Rosnes - Renee Rosnes with the Danish Radio Big Band (Blue Note, 2001) • Bobby Hutcherson - For Sentimental Reasons (Kind of Blue, 2006) • Bill Charlap/Renee Rosnes - Double Portrait (Blue Note, 2009)
(LABEL CONTINUED FROM PAGE 12) Notes Shurdut: “Writers have approached the music on JaZt Tapes and are giving the label some deserved attention. At least I know someone is listening. As for the possibilities of going to larger labels, I’m not sure what that means,” he adds sardonically. “If you think ‘bigger is better ’, go to McDonald’s.” JaZt Tapes has just released a disc with pianist Eric Zinman, drummer Syd Smart and cellist Glynis Lomon collaborating with trumpeter Ted Daniel. Shurdut has more releases planned, as does Bennani, including one featuring bassist Alan Silva. Half-joking and half-serious Ström maintains: “The project is my hobby. Some guys play golf. I prefer to play jazz records.” v For more information, visit janstrom.se. Artists performing this month include Jeffrey Shurdut at Downtown Music Gallery Feb. 9th. See Calendar.
IN MEMORIAM by Andrey Henkin TRIGGER ALPERT - Before giving up music for photography, the bassist, who released one album as a leader, worked with Glenn Miller in the ‘40s and recorded with Roy Eldridge, Coleman Hawkins, Gene Krupa, Muggsy Spanier and Ella Fitzgerald during the ‘50s. Alpert died Dec. 22nd at 97. JIMMY AMADIE - The Philadelphia pianist’s early career, which included stints with Woody Herman, Red Rodney, Charlie Ventura and Coleman Hawkins, ended prematurely due to severe tendinitis, necessitating a switch to music education before he was able, after surgery, to return to performing in the mid ‘90s after decades offstage. Amadie died Dec. 10th at 76. GEORGE BUCK - The businessman, entrepreneur and music lover founded the Jazzology family of labels, which included his own titular label and acquired imprints like American Music Records, Audiophile Records, Circle Records and Progressive Records, among others, covering the gamut from Chicago and New Orleans traditional to vocal, blues and modern jazz. Buck died Dec. 11th at 84. DWAYNE BURNO - The Philadelphia bassist, after attending Berklee College of Music, became a first-call sideman for many jazz stars, from Betty Carter and Donald Harrison early on to Freddie Hubbard, Herbie Hancock, Joe Henderson, Roy Haynes, Bobby Hutcherson, Harold Mabern and numerous others before succumbing to a long struggle with kidney disease, dying just two days after playing at Smalls. Burno died Dec. 28th at 43. BOYD LEE DUNLOP - The older pianist brother to drummer Frankie had a more fitful musical career, playing and touring in the ‘50s, with one Big Jay McNeely album credit, and then decades of factory work before releasing his trio debut and solo followup in 2011-2012. Dunlop died Dec. 27th at 87. HERB GELLER - The Los Angelino alto saxophonist worked with Maynard Ferguson, Chet Baker, Clifford Brown and Dinah Washington, among others, during the ‘50s and then relocated to Germany in the early ‘60s, recording for various European labels (after earlier leader sessions for EmArcy) and working as an arranger/player for the NDR Big Band in Hamburg. Geller died Dec. 19th at 85.
JIM HALL - The guitarist had a remarkable career for seven decades, both as a leader, with albums for Blue Note, Pacific Jazz, MPS, Verve, Concord, CTI, Musicmasters, Telarc and most recently ArtistShare, and in legendary groups led by Chico Hamilton, Bob Brookmeyer, Art Farmer, Jimmy Giuffre and Sonny Rollins, influencing generations of guitarists who followed the 2004 NEA Jazz Master’s beautiful spidery lines. Hall died Dec. 10th at 83. CHICO HAMILTON - The West Coast drummer, after establishing himself with Gerry Mulligan, released over 60 albums as a leader in a seven-decade career spanning all genres of jazz and may be thanked for ushering in the talents of Buddy Collette, Fred Katz, Jim Hall, Eric Dolphy and Larry Coryell. Hamilton died Nov. 25th at 92. YUSEF LATEEF - The saxophonist and 2010 NEA Jazz Master was one of the most interesting figures in jazz history, progressing from his early Detroit blues roots to spearheading the inclusion of African and Eastern elements and instruments into jazz on an extensive discography for Savoy, Prestige, Impulse, Atlantic and later his own YAL label. Lateef died Dec. 23rd at 93. RICKY LAWSON - While the drummer was best ‘known’ for a single bass kick in a Whitney Houston song, he also founded the jazz fusion group The Yellowjackets in the late ‘70s and worked with Quincy Jones, George Benson and George Duke. Lawson died Dec. 23rd at 59. KALAPARUSHA MAURICE MCINTYRE - The saxophonist was part of the nascent avant garde scene of ‘60s Chicago, working with the AACM and releasing albums on Delmark, before moving to New York where his performing and recording became intermittent until a strong stretch for Cadence/CIMP in the early Aughts concurrent with regular busking in various city subway stations. McIntyre died Nov. 9th at 77. KERMIT MOORE - The cellist was a major figure in the classical world but also had voluminous credits in jazz, starting in 1962 with Ornette Coleman’s Town Hall concert and continuing with Wes Montgomery, Nina Simone, Phil Woods, Herbie Mann, Yusef Lateef, McCoy Tyner, Ron Carter and many others. Moore died Nov. 2nd at 84.
NATE MORGAN - The Los Angelino pianist had, among later pop and hiphop credits, appearances with John Carter, Gary Bartz in the ‘70s and Phil Ranelin and Azar Lawrence in the last decade. Morgan died Nov. 21st at 60. RUNE ÖFWERMAN - The Swedish pianist/bandleader worked with countrymen like Lars Gullin, Arne Domnérus and Georg Riedel during the golden age of Swedish jazz, as well as visiting Americans such as Zoot Sims, Stan Getz and Tony Scott. Öfwerman died Dec. 13th at 80. AL PORCINO - The trumpeter was a mainstay in numerous classic big bands from the ‘40s onwards, from Count Basie, Woody Herman, Stan Kenton, Buddy Rich and later Thad Jones-Mel Lewis to his own large ensembles in Europe as well as being a busy studio session musician on both coasts. Porcino died Dec. 31st at 88. JERRY STEINHOLTZ - The percussionist worked for decades in the rock and pop worlds but his extensive credits also included jazz work with Lee Ritenour, Joe Pass, Joe Farrell, Conte Condoli and a host of fellow drummer/ percussionists like Buddy Rich, Mel Lewis, Peter Erskine and Ralph Humphrey. Steinholtz died Dec. 7th at 76. STAN TRACEY - The British pianist was in the house band at Ronnie Scott’s in London, backing up visiting Americans like Ben Webster during the ‘60s, played with a wide-cross-section of his English peers - either in his own trios, quartets and big bands or as collaborative duos with Mike Osborne, Keith Tippett, Evan Parker and others - and was one of his country’s most ambitious long-form jazz composers. Tracey died Dec. 6th at 86. RICKY “SUGARFOOT” WELLMAN - His early work was in the DC soul world but he later went on to be Miles Davis’ last drummer and also worked with Kenny Garrett and Michel Legrand. Wellman died Nov. 23rd at 58. DAVID WERTMAN - Before becoming a fixture on the southern Massachusetts jazz scene, the bassist worked in ‘70s New York City with leaders like Charles Tyler, Billy Bang, Arthur Blythe, Marion Brown, Steve Reid and Dave Pike. Wertman died Dec. 14th at 61.
BIRTHDAYS February 1 †James P Johnson 1894-1955 †Tricky Sam Nanton 1904-46 Sadao Watanabe b.1933 Tyrone Brown b.1940 Bugge Wesseltoft b.1964 Joshua Redman b.1969 February 2 †Sonny Stitt 1924-82 †Mimi Perrin 1926-2010 †Stan Getz 1927-91 James Blood Ulmer b.1942 Louis Sclavis b.1953 February 3 †Lil Hardin Armstrong 1898-1971 †Dolly Dawn 1919-2002 †Snooky Young 1919-2011 †Chico Alvarez 1920-92 John Handy b.1933 Leroy Williams b.1937 Bob Stewart b.1945 Greg Tardy b.1966 Rob Garcia b.1969 February 4 †Manny Klein 1908-96 †Artie Bernstein 1909-64 †Harold “Duke” DeJean 1909-2002 †Jutta Hipp 1925-2003 †Wally Cirillo 1927-77 †Tony Fruscella 1927-69 †John Stubblefield 1945-2005 February 5 †Roxelle Claxton 1913-95 †Gene Schroeder 1915-75 Rick Laird b.1941 Bill Mays b.1944
February 6 †Ernie Royal 1921-83 Sammy Nestico b.1924 †Bernie Glow 1926-82 Tom McIntosh b.1927 †Nelson Boyd 1928-1985 Oleg Kiryev b.1964 Michael Griener b.1968 Scott Amendola b.1969 February 7 †Eubie Blake 1887-1983 †Ray Crawford 1924-97 †Ray Alexander 1925-2002 †King Curtis 1934-71 Sam Trapchak b.1984 February 8 †Lonnie Johnson 1889-1970 †Buddy Morrow 1919-2010 †Pony Poindexter 1926-88 †Eddie Locke 1930-2009 Renee Manning b.1955 February 9 †Walter Page 1900-57 †Peanuts Holland 1910-79 †Joe Dodge 1922-2004 †Joe Maneri 1927-2009 Steve Wilson b.1961 Daniela Schaechter b.1972 Behn Gillece b.1982 February 10 †Chick Webb 1909-39 †Sir Roland Hanna 1932-2002 †Walter Perkins 1932-2004 †Rahn Burton 1934-2013 Rufus Reid b.1944 †“Butch” Morris 1947-2013 Michael Weiss b.1958 Paolo Fresu b.1961
February 11 †Claude Jones 1901-62 †Matt Dennis 1914-2002 †Martin Drew 1944-2010 Raoul Björkenheim b.1956 Didier Lockwood b.1956 Jaleel Shaw b.1978 February 12 †Paul Bascomb 1912-86 †Tex Beneke 1914-2000 †Hans Koller 1921-2003 †Art Mardigan 1923-77 †Mel Powell 1923-98 Juini Booth b.1948 Bill Laswell b.1955 Ron Horton b.1960 Szilard Mezei b.1974 February 13 †Wingy Manone 1900-82 †Les Hite 1903-62 †Wardell Gray 1921-55 †Ron Jefferson 1926-2003 Keith Nichols b.1945 February 14 †Perry Bradford 1893-1970 †Jack Lesberg 1920-2005 Elliot Lawrence b.1925 Phillip Greenlief b.1959 Jason Palmer b.1979 February 15 †Harold Arlen 1905-86 †Walter Fuller 1910-2003 Nathan Davis b.1937 Kirk Lightsey b.1937 Henry Threadgill b.1944 †Edward Vesala 1945-99 Herlin Riley b.1957 Dena DeRose b.1966
February 16 †Bill Doggett 1916-96 †Charlie Fowlkes 1916-80 Howard Riley b.1943 Jeff Clayton b.1954
February 21 †Tadd Dameron 1917-65 †Eddie Higgins 1932-2009 †Nina Simone 1933-2003 †Graham Collier 1937-2011 Akira Sakata b.1945 Herb Robertson b.1951 Warren Vaché b.1951 Matt Darriau b.1960 Christian Howes b.1972
February 17 †Wallace Bishop 1906-86 †Charlie Spivak 1906-82 †Harry Dial 1907-1987 †Alec Wilder 1907-80 Buddy DeFranco b.1923 †Buddy Jones 1924-2000 Fred Frith b.1949 Nicole Mitchell b.1967 February 18 †Hazy Osterwald 1922-2012 †Frank Butler 1928-84 †Billy Butler 1928-91 Jeanfrancois Prins b.1967 Gordon Grdina b.1977 February 19 †Johnny Dunn 1897-1937 Fred Van Hove b.1937 Ron Mathewson b.1944 Blaise Siwula b.1950 David Murray b.1955
February 22 †James Reese Europe 1881-1919 †Rex Stewart 1907-67 †Claude “Fiddler” Williams 1908-2004 †Buddy Tate 1914-2001 Joe Wilder b.1922 Dave Bailey b.1926 George Haslam b.1939 Marc Charig b.1944 Harvey Mason b.1947 Joe La Barbera b.1948 February 23 †Hall Overton 1920-72 †Johnny Carisi 1922-92 †Richard Boone 1930-99 †Les Condon 1930-2008 Wayne Escoffery b.1975
February 25 †Tiny Parham 1900-43 †Ray Perry 1915-50 †Fred Katz 1919-2013 †Rene Thomas 1927-75 †Sandy Brown 1929-75 †Tommy Newsom b.1929-2007 †Ake Persson 1932-75 Brian Drye b.1975 February 26 Dave Pell b.1925 †Chris Anderson 1926-2008 †Hagood Hardy 1937-97 Trevor Watts b.1939 Yosuke Yamashita b.1942 Guy Klucevsek b.1948 February 27 †Leo Watson 1898-1950 †Mildred Bailey 1907-51 †Abe Most 1920-2002 †Dexter Gordon 1923-90 †Chuck Wayne 1923-97 Rob Brown b.1962 Joey Calderazzo b.1965
February 28 †Louis Metcalf 1905-81 Svend Asmussen b.1916 †Bill Douglass 1923-94 February 24 †Donald Garrett 1932-89 †Eddie Chamblee 1920-99 †Willie Bobo 1934-83 †Ralph Pena 1927-69 Charles Gayle b.1939 †Andrzej Kurylewicz 1932-2007 Pierre Dørge b.1946 Michel Legrand b.1932 Hilliard Greene b.1958 †David “Fathead” Newman Mikko Innanen b.1978 1933-2009 Steve Berrios b.1945 February 29 Vladimir Chekasin b.1947 †Jimmy Dorsey 1904-56 Bob Magnusson b.1947 †Paul Rutherford 1940-2007 Maggie Nicols b.1948 Richie Cole b.1948
February 20 †Jimmy Yancey 1894-1951 †Fred Robinson 1901-84 †Oscar Aleman 1909-80 †Frank Isola 1925-2004 †Bobby Jaspar 1926-63 Nancy Wilson b.1937 Lew Soloff b.1944 Anthony Davis b.1951 Leroy Jones b.1958 Darek Oles b.1963 Iain Ballamy b.1964
AKIRA SAKATA February 21st, 1945
The diminutive Japanese alto saxophonist/clarinetist/ vocalist is one of the most powerful and expressive players to work in the international avant garde jazz scene. After studying Marine Biology at Hiroshima University, he formed his first group in Tokyo in 1969. He then rose to prominence as part of pianist Yosuke Yamashita’s ‘70s trio and then began leading his own groups, releasing his debut album in 1975 for the Frasco label. He led a Japanese big band at the 1981 Berlin Jazz Festival and made records steadily through the ‘90s00s. Currently he has groups in Japan and also in the States, specifically with bassist Darin Gray and drummer Chris Corsano (Chikamorachi), which has released albums as a trio and with Jim O’Rourke. -AH
ON THIS DAY by Andrey Henkin
Olio The Prestige All Stars (Prestige) February 16th, 1957
At the time of this recording, the band contained merely some of the best musicians recording for Prestige at the time; now they are all jazz legends: Thad Jones (trumpet), Frank Wess (tenor saxophone, flute), Teddy Charles (vibraphone), Mal Waldron (piano), Doug Watkins, (bass) and Elvin Jones (drums), sadly all departed. Only Waldron (“Potpourri” and “Touché”) and Charles (“Blues Without Woe”, “Dakar” and “Hello Frisco”) contribute material to this ‘jam session’-type disc, complemented by the Gershwins’ “Embraceable You”.
Stitt Meets Brother Jack Sonny Stitt (Prestige) February 16th, 1962
Recorded
just three days before the better-known session Soul Summit co-led with Gene Ammons, here saxophonist Sonny Stitt (appearing on tenor) works with organ player Jack McDuff (who appears on the later session) for the first time, in an interesting quintet with Eddie Diehl (guitar), Art Taylor (drums) and Ray Barretto (congas). Apart from four Stitt originals and the Stitt/McDuff collaborative effort “When Sonny Gets Blue”, two covers are included: MarksSimon’s “All of Me” and Cahn-Styne’s “Time After Time”.
Solo Plus Albert Mangelsdorff John Tchicai (SAJ) February 16th, 1977
John Tchicai - of Ethiopian-Danish extraction - recorded only two solo albums in a lengthy career that began in 1963 and ended with his passing in October 2012. On both, he played alto sax instead of the tenor he employed later on. This album, recorded live at the Townhall of Charlottenburg in Germany, also features Tchicai on soprano saxophone and flute, two rare instruments in his arsenal. Tchicai plays three originals, 6, 16 and 11 minutes long, before being joined by older German trombonist Albert Mangelsdorff for an improvisation.
Return to Alto Acres Richie Cole (Palo Alto Jazz) February 16th, 1982
Richie
Cole played alto for Buddy Rich’s big band on the 1969 album Buddy & Soul. The alto player for Rich’s previous recording was Art Pepper. Some 13 years later, Cole joined up with Pepper, nearly 20 years his senior, for their only recorded meeting. Joining Cole (who also plays baritone) and Pepper (also on clarinet) is the rhythm section of Roger Kellaway (piano), Bob Magnusson (bass) and Billy Higgins (drums). The program is a mix of Cole and Pepper originals plus the standards “The Things We Did Last Summer” and “Broadway”.
At Maybeck Jessica Williams (Concord) February 16th, 1992
Pianist Jessica Williams has had a successful career on both coasts and long discography for numerous labels since her 1976 debut. Many of those discs have been solo affairs like this album, recorded live at Maybeck Recital Hall in Berkeley, CA and the 21st of 42 volumes of Concord Records’ Live at Maybeck series. For her 10-tune program, Williams plays a few of her originals, filling out the performance with selections by Hammerstein-Kern, Carmichael-Washington, RodgersHart and the Gershwins, plus Dave Brubeck’s “Summer Song”.
THE NEW YORK CITY JAZZ RECORD FEBRUARY 2014
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