JULY 2014 - ISSUE 147

YOUR FREE GUIDE TO THE NYC JAZZ SCENE

NYCJAZZRECORD.COM

BILL CHARLAP

PI
IS AN
SU O
E

MUSICAL DESTINY

HENRY
BUTLER

MATT
MITCHELL

ART
LANDE

INTL
EVENT
PHONOGRAPH CALENDAR

 2014 SMOKE SESSIONS RECORDS 2751 BROADWAY, NEW YORK, NEW YORK 10025
WARNING ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF
APPLICABLE LAWS. PRINTED IN THE USA. WWW.SMOKESESSIONSRECORDS.COM
Miles Davis

U.M.M.G. 8:02

8.

I Wanted to Say 7:43

3.

To Be Determined 5:10

9.

Giant Steps 8:45

4.

Bags Groove 6:23

10. Medley 17:04

5.

Hey, Its Me Youre Talking To 8:30

6.

Chelsea Bridge 9:12

11. The Theme 3:34

xxxxxxx

CYRUS CHESTNUT

Th
ies
im. One day, I was upstairs
p and said, Hey, you think
and it was Gene Ammons.
honist. So, I did get better
, but there was a lot going
you got the opportunity to
nd at a fairly young age?

JULY NEW RELEASE

cember of 86. I was about

the time I was about 15 to
nding Berklee and studying
rmer Jazz Messenger. I also
e, and was spending a lot
with Art then. Donald was
the opportunity to sit in with
n terms of that opportunity.

Wed, July 9

to sit in on that last set, Art asked me to come back the

next night but all I had were clothes on my back, a pair
slacks, a shirt, and a sweater. I had taken a plane down
there and I didnt even have anywhere to stay so I stayed
with James Williams. When I came back the next night,
he said, Wheres your sport coat and your tie? and I
said, Im sorry. I dont have it. Are you a professional
musician? Well, I thought I was but he kind of let me have
it. All my clothes were in Boston, but I was definitely not
going to try to explain all that. So, that was the first thing
he said to me that night that you have to look a certain
way when you are going on stage and that is something
Ive never forgotten.

Youve also said before that Art was instrumental in teaching you to be a professional, a jazz artist on the highest level.
Absolutely. Remember, I was 21 at that time, so I kind of
grew up in his band. I learned a lot of things traveling and
touring all over the world, experiencing things through
him and the other musicians in the group. You cant pay
for anything like that. If I got one thing from him, I got
fifty. Again, hes the reason why were talking right now.

and a brilliant mind. He was just a very in-depth individual,

a very brilliant man.

whove been playing with me for a little time now but not
all that music. Anyway, the energy was great and, I felt
everything really came together quickly.

So, in just a few years, youve worked with two of the

greatest drummers of all time. Where do you go from there?

So, Think on Me was written by my good friend George

Cables. I have a lot of respect and admiration for him
and I just love this composition. I also really enjoyed
the guys interpretation. Mr. Taylor is a piece of music
that I wrote for a great friend of mine and I have always
enjoyed Where is the Love and the rendition performed
by Roberta Flack and Donny Hathaway.

CHAMPIAN FULTON

And then you worked with Elvin Jones. Was that immediately after your time with Art?

Cyrus Chestnut Midnight Melodies

SMOKE

WWW.SMOKESESSIONSRECORDS.COM

AVAILABLE ON COMPACT DISC & AS DIGITAL DOWNLOAD

Midnight Melodies
CURTIS LUNDY / VICTOR LEWIS

Sweet Hour of Prayer William W. Walford

For All We Know J. Fred Coots / Sam M. Lewis
Naimas Love Song John Hicks
John Coltrane
Victor Lewis

Billy Strayhorn

featuring Gary Bartz & Eric Reed

Gary Bartz (as) Eric Reed (p)
Gerald Cannon (b) Joe Farnsworth (d)

It really sounds like a band, too. Lets talk a little about

the music on Expression. You open with Wayne Shorters
One by One, which you probably listened to a lot over the
years, and Steve Wonders Dont You Worry bout a Thing.

Well, then I started working with Freddie Hubbard, which

was again through Art. I met Freddie because a lot of
artists would do special guest opportunities with the
band, and he came in a couple of different times as a
former Messenger. I would call him and stay in touch and
finally got the chance to play with him. That was another
incredible, demanding opportunity. Demanding in the
sense that he played so very well and in such an organic
kind of way. He had the ability to really get his emotions
out to the audience. That is not always something that is
easily done. He was able to get to his audience, express
himself with his playing, in a manner that I havent heard
many that can. He played the trumpet at times, well, I
actually got this from a conversation with McCoy, but
he said that Freddie played the trumpet like it was a toy.

Right, One by One is a piece of music that originally was

recorded by Art Blakey and the Jazz Messengers, Live
at Birdland. It was one of my favorites with the sextet
that Art had in the 1960s with Freddie, Curtis, Wayne,
Cedar, and Reggie Workman. I feel very close to it and on
occasion we would perform it when I was with Art. As for
Stevie, he is one of my favorite composers and Im just
a real fan. Ive actually recorded Dont You Worry bout
a Thing before. We do more of a modal introduction into
the melody here and I felt really good about Orrin and his
involvement and his freshness at the beginning.

It is definitely a hip arrangement. Next is your original T.J.

Youve worked with so many people over the years. Who

are some of the people youd like to work with in the future?

T.J., I wrote for my father. As I mentioned earlier, I really

am fortunate to have him and my mother who really took
me out and supported me in my interest in the music. They
supported me all the way through. So, after all these years,
I finally wanted to write something for him as a dedication.

Well, there are obviously many, many artists out there

that I would love to collaborate with, that would help
me grow differently. Im kind of strange, thoughI mean
maybe not strange in general, but I would love to play
with Aretha Franklin, Id love to play with Bob Dylan, Id
love to play with B.B. KingId love to do something with
Prince. I guess just listening to all this different music,
youd love to try to embrace it on a deeper level in terms
of performing with these other giants and, for me, I feel
that these different experiences would enhance my music,
my musical perspective.

What can you add about When I Fall in Love?

Well. I am very much in love with this piece of music, When

I Fall in Love, and Im in awe of the Miles Davis and Nat
Cole recordings. Ive always liked those performances
and I just love the melody.

Right, so, now by the middle of the album, the band sound,
the band feeling, is very strong. These middle three tunes,
they werent recorded in this order, of course, but they
definitely establish a band identity. The first, Think on Me,
is followed by Mr. Taylor and then the great 70s classic,
Where is the Love.

Maybe its kind of like playing with a new band.

Right, this was the first time in my life I had ever played
with Orrin. I really enjoyed his playing. He was very fast
in his ability to assimilate with Corcoran and McClenty

Next is your beautiful ballad. How do you pronounce it?

Its Lelia (PRONOUNCED LEE-Lee-Ah.) It was written for

my first cousin who we lost to cancer recently. My family
loved her very much and this is a tribute to her and the
kind of individual that she was.

It is beautiful. Finally, what can you add about the last two,
your originals Richards R.A.P. and 88 Strong.

Richards R.A.P is for Richard Davis. He has an organization at the University of Wisconsin in Madison where he
teaches that explores race issues. Weve done several
concerts together, so I wrote something for Richard and
that particular organization that he helped to spearhead.
88 Strong is written for McCoy Tyner. Its written to show
my appreciation for McCoy and his genius as a musician.
When you hear him play, everything has such meaning,
such depth and integrity.

Thank you, Javon, for sharing that insight and some of your
personal history. Hopefully, it will help to connect listeners
in a different way to this well-balanced record, not that
its difficult to connect to music that is so unaffected and
enjoyable. Expression proves again that great music can
be relaxed and natural but also full of depth, integrity and
meaning. Its an important artistic message from one of
the defining artists of our time, Javon Jackson.
- DAMON SMITH

Facebook f Logo

After Art passed, I started working on two or three different

things at once. I started working with Charlie Hadens
Liberation Music Orchestra which was a very great experience, and then from there I began to work with Elvin
Jones. Id met Elvin during my time with Art Blakey when
he made a couple of guest appearances, so I had known
Elvin and his wife Keiko. When I got my first recording as
a leader, James Williams encouraged me to reach out to
him about playing on it. I was kind of nervous about calling
him but I get the chance to have him on the recording;
the chance to know him a little bit; then, I was offered the
opportunity to play in his band. So, that was obviously
life changing; another musical highlight. He was without
question a genius, in my opinion, a genius of the drums

Sonny Clark
John Hicks

Two Heartbeats 4:58

Wed, July 2

CMYK / .eps

they came through town, to

of us anywayfrom Berklee
te obviously impressed with
eet Mulgrew Miller so it was
ence Blanchard and Donald
me. Then, a couple of years
ined Art, I got the chance to
ular number with Art. This
York City, which isnt there
d of the night, there would
s rhythm changes. (NOTE:
wins I Got Rhythm) I had
hythm changes through my
ays, I probably could sound
an I really was because Id
ay, after I got an opportunity

Victor Lewis

Milt Jackson

Cyrus Chestnut

BRIANNA THOMAS
2.

CYNTHIA HOLIDAY
Wed, July 23

CYNTHIA HOLIDAY
VICTOR LEWIS drums

Fri & Sat, July 4 & 5

JOE FARNSWORTH QUARTET

SSR-1408

Music 7 Nights a Week + Sunday Brunch

No Music Charge (Sunday to Thursday)
Visit www.smokejazz.com
For Complete Music Schedule
Billy Strayhorn

7.

6:14

Wed, July
30
Pocketful of Blues
1.

SONNY FORTUNE QUARTET

Wed, July 16

ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm

Cyrus Chestnut Midnight Melodies

JAVON JACKSON QUARTET

Executive Producers: Frank Christopher & Paul Stache

SSR-1408

212-864-6662 2751 Broadway NYC (Between 105th & 106th streets) www.smokejazz.com
Javon Jackson (ts) Jeremy Manasia (p)
David Williams (b) Willie Jones III (d)

Fri & Sat, July 25 & 26

Photography by Jimmy Katz

Product Management & Design by Damon Smith
Piano provided by Steinway & Sons

& Produced by Paul Stache

Cyrus Chestnut (p) Production AssistanceRecorded
by Roman Klun & Frank Christopher
Klun & Paul Stache
Curtis Lundy (b) Victor Lewis Mixing
(d)by Roman
Mastering by Roman Klun

CYRUS CHESTNUT

Recorded Live November 22 & 23, 2014

at Smoke Jazz Club, New York City

RECORD RELEASE WEEKEND

Fri & Sat, July 18 & 19

Sonny Fortune (as) Michael Cochrane (p)

David Williams (b) Steve Johns (d)

Fri & Sat, July 11 & 12

CURTIS LUNDY bass

CYRUS CHESTNUT piano

MARK WHITFIELD EXTENDED

FEATURED ARTISTS / 7:00, 9:00 & 10:30pm

SMOKE JAZZ & SUPPER CLUB HARLEM, NEW YORK CITY

BEST JAZZ CLUBS OF THE YEAR 2012

@bluenotenyc

TERMS, CONDITIONS AND RESTRICTIONS APPLY

131 WEST THIRD STREET NEW YORK CITY 212.475.8595 WWW.BLUENOTE JAZZ.COM
TWO SHOWS NIGHTLY
FRIDAY & SATURDAY
SUNDAY BRUNCH
8PM & 10:30PM
LATE NIGHTS: 12:30AM
11:30AM & 1:30PM

bluenotenyc
Facebook f Logo

TELECHARGE.COM

CMYK / .eps

SHILPA ANANTH JULY 4 MELANIE CHARLES / RAT HABITAT JULY 5 TOMAS DONCKER JULY 11 COULON JULY 12
BRASIL LIVE JULY 18 AMANDA RUZZA JULY 19 MAURICIO ZOTTARELLI JULY 25 DAVI VIEIRA JULY 26

LATE NIGHT GROOVE SERIES

ALEX BROWN JULY 6 MIHO HAZAMA & M_UNIT JULY 13 HENDRIK MEURKENS JULY 20 JO-YU CHEN JULY 27

SUNDAY BRUNCH
YOUNGJOO SONG JULY 7 JOE GRANSDEN BIG BAND JULY 14 BABY DO BRASIL (8PM) & WAYNA (10PM) JULY 21
THE HEATH BROTHERS QUINTET
JULY 1 - 3

NICOLE HENRY
JULY 4 - 6

PONCHO SANCHEZ
JULY 17 - 20

PAT MARTINO ORGAN TRIO

JULY 22 - 23

WALLACE RONEY QUARTET

+ SPECIAL GUEST
JULY 24 - 27

HARVEY MASON CHAMELEON

JULY 28 - 30

DIZZY GILLESPIE
ALL STAR BIG BAND
JULY 8 - 13

DIRTY DOZEN BRASS BAND

JULY 15 - 16

JULY 2014

4
6
7
9
10

New York@Night
Interview: Henry Butler
by Alex Henderson

Artist Feature:Matt Mitchell

by Ken Waxman

On The Cover:Bill Charlap

by Ken Dryden

Encore:
Art Lande
by Suzanne Lorge

11
12

by Russ Musto

Megaphone VOXNews
by Jon Weber

by Katie Bull

Label Spotlight:
Intl Phonograph

Listen Up!:

by Marc Medwin

13
14
34
41
43

Lest We Forget:
Jaki Byard

Christian Sands
& Carolina Calvache

Festival Reports: FIMAV Moers Musketer

CD Reviews: Orrin Evans, Fred Hersch, Dick Hyman, Ahmad Jamal,
Alexander von Schlippenbach, Art Tatum, Stefano Bollani and more
Event Calendar

A year ago we had our first Piano Issue. But lets be honest, folks, given the
history of jazz and its myriad pianists, every issue could be a piano issue. Whether
it be the cerebral intimacy of Bill Evans, abstract melodicism of Thelonious Monk,
minimalism of Paul Bley, percussivism of Cecil Taylor or pastoralism of Abdullah
Ibrahim, the fabric of jazz has been woven behind the eighty-eight keys (and three
pedals). So, with a run up the entire keyboard, we present you with another issue
devoted to that most dynamic of instruments.

Bill Charlap (On The Cover) has continued the sterling romanticism of Bill
Evans, celebrating the Great American Songbook in his trio of long standing and
duo with his wife and fellow pianist Renee Rosnes. He is also celebrating 10 years
as Artistic Director of the 92nd Street Ys annual Jazz in July concert series and will
perform throughout during the festivities. Henry Butler (Interview) has kept the
flame of New Orleans piano jazz alive for many years and he adds a new chapter
to its history with a band co-led with trumpeter Steven Bernstein and a new album
on the recently relaunched Impulse Records, which will be celebrated this month
at The Cutting Room. Matt Mitchell (Artist Feature) has made significant
contributions to the bands of Tim Berne and Dave Douglas as well as his own
projects, which include a piano-drum duo. This month he presents the wide array
of his music at a three-night residency at Ibeam Brooklyn. Art Lande (Encore) has
been a sideman to many jazz greats over the years as well as a leader for ECM and
Windham Hill. He makes a rare East Coast appearance this month at Jazz at
Kitano. And few pianists single-handedly encompassed the full piano tradition
like the late Jaki Byard (Lest We Forget). To complete our piano theme, our CD
Reviews are front-loaded with a number of compelling piano-led albums from the
earliest days of jazz right up until five minutes ago. So no matter your tastes
inside/outside; Steinway/Bosendorfertheres something here for you.

Well see you out there...
Laurence Donohue-Greene, Managing Editor

Andrey Henkin, Editorial Director

On The Cover: Bill Charlap (photo by Richard Termine)

Club Directory

In Correction: In last months Norma Winstone Encore, the song Bein Green is
from Sesame Street.

Miscellany: In Memoriam Birthdays On This Day

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

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,
Marc Medwin, Robert Milburn, Russ Musto, Sean J. OConnell, Joel Roberts,
JohnSharpe, Elliott Simon, Jeff Stockton, Andrew Vlez, Ken Waxman
Contributing Writers
Brad Cohan, Irwin Block, Brian Charette, George Kanzler,
Ken Micallef, Michael Steinman, Jon Weber
Contributing Photographers
Laurence Donohue-Greene, Patrick and Elisa Essex, Scott Friedlander,
Peter Gannushkin, Martin Morissette, Ryan Muir, Alan Nahigian,
Dino Perrucci, Robert I. Sutherland-Cohen, Richard Termine

To Contact:
The New York City Jazz Record
116 Pinehurst Avenue, Ste. J41
New York, NY 10033
United States

Laurence Donohue-Greene: ldgreene@nycjazzrecord.com

Andrey Henkin: ahenkin@nycjazzrecord.com
General Inquiries: info@nycjazzrecord.com
Advertising: advertising@nycjazzrecord.com
Editorial: editorial@nycjazzrecord.com
Calendar: calendar@nycjazzrecord.com
VOXNews: voxnews@nycjazzrecord.com

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

THE NEW YORK CITY JAZZ RECORD | JULY 2014

N EW YOR K @N I G HT

Merely printing a list of names of musicians from the

worlds of jazz and rock who played at the Celebrate
Ornette concert at the Prospect Park Bandshell (Jun.
12th) would be enough to put into the record the
sphere of influence of the man of the hour. But simply
listing names might suggest that this was your typical
walk-on, walk-off tribute. Many who took the stage
stuck around for the unhurried concert, not the least of
whom being the honoree himself. And so the audience
witnessed Coleman sharing the stage with Flea, David
Murray and Henry Threadgill backed by Denardo
Colemans Vibe, listening with a broad grin more often
than playing. They watched Patti Smith dedicate a
poem to Coleman as he sat at her side, cradling his
white plastic sax. They heard Bachir Achtar, Nels Cline,
Ravi Coltrane, Savion Glover, Bruce Hornsby, Joe
Lovano, Branford Marsalis, Thurston Moore and James
Blood Ulmer all take on familiar Coleman tunes.
They witnessed two renditions of Lonely Woman.
For the first, Bill Laswell carried the familiar theme on
electric bass while John Zorn surrounded him with
saxophone textures and Laurie Anderson played
glistening arpeggios against soft waves of controlled
feedback emanating from a row of guitars belonging to
the late Lou Reed. The second was initiated by Geri
Allen at the piano, soon joined by a quartet of
saxophones and then, like a slow parade, most of the
rest of the cast whod crossed the stage.

- Kurt Gottschalk

WEDNESDAY, JULY 2ND

SMALLS JAZZ CLUB

183 W. 10TH STREET AT SEVENTH AVENUE

TWO SHOWS STARTING AT 9:30 PM

Theres only one person doing what Bobby McFerrin

does, flying nightly by the seat of his pants onstage

with only his voice and body percussion for support,
engaging audiences so completely in the creative
process that they leave with beaming faces. McFerrin
worked his improvisational alchemy on Town Hall fans
(Jun. 13th), accompanied by The Roots drummer/DJ
Questlove (aka Ahmir-Khalib Thompson), who, after
warming up the pre-show crowd with funky beats,
humbly introduced himself as McFerrins sidekick:
random-guy. Not quite trueit was McFerrins show,
yes, but Questlove proved more than an apt match for
the singers musical hijinks. McFerrin wisely drew on
popular repertoire, referencing tunes well familiar to
many listeners: Bob Marleys I Shot the Sheriff;
Buddy Miles Them Changes; Cole Porters I Love
Paris;
the
Gershwins
Summertime;
Paul
McCartneys Blackbird and Rocky Raccoon;
Princes Kiss; Led Zeppelins Rock & Roll;
Supercalifragilisticexpialidocious from Mary Poppins;
Elton Johns Bennie & the Jets; Bacharach-Davids
Close to You; The Isley Brothers Its Your Thing;
James Browns Make It Funky; Whitfield-Strongs I
Heard It Through the Grapevine, even Twinkle,
Twinkle, Little Star and The Star-Spangled Banner.
McFerrin didnt just reinterpret these tunes, he played
with them. Do you always have this much fun on your
gigs? wondered Questlove, asking for all of us.

- Tom Greenland

Jeff Williams is one of the great jazz drummers

working today. Although he is a veteran, I think
he is Talent Deserving Wider Recognition.
- GEORGE COLLIGAN, JAZZTRUTH
LATEST WHIRLWIND RECORDINGS/
WILLFUL ARCHIVES ALBUMS

JEFF ALSO APPEARS ON THESE NEW

WHIRLWIND RECORDINGS CDS:

WILLFULMUSIC.COM
WHIRLWINDRECORDINGS.COM

Photo by Dino Perrucci

DUANE EUBANKS
JOHN OGALLAGHER
JOHN HBERT
SPECIAL GUESTS:
LEO GENOVESE & PHIL ROBSON

Photo by Alan Nahigian

JEFF WILLIAMS
QUARTET +2

Questlove & Bobby McFerrin @ Town Hall

Ornette Coleman & Henry Threadgill

The student and professional musicians who convened PRISM

at The New School over the first weekend in June for
the annual International Society for Improvised Music
Festival Conference spent much of their time
according to Jin Hi Kim, who introduced the culminating
concert at the Alvin Johnson/J.M. Kaplan Hall
auditorium (Jun. 7th)talking about the use of time
and space in performance. Complex notions of time
were on clear display from the outset, with drummers
Samir Chatterjee and Bobby Previte meshing counterrhythms, then adding studentstrombone, flute,
clarineteach entering in a slow circle, each given
generous space. A trio of drummer Bobby Previte,
saxophonist Dave Liebman and trumpeter Wadada Leo
Smith was unsurprisingly on point from the get go.
Previtewho announced before their piece that playing
with the two was a dream of hisseemed to revel in
shifting settings every few minutes, steering a series of
concise, blistering solos. A sextet played John Coltranes
India, led off by Chatterjee with Liebman setting the
theme on a small, straight flute before switching to
soprano saxophone. But it was when Michael Jefry
Stevens came in on piano, playing full two-hand chords,
that they found not just the Indian but the Coltrane
vibe. A final improvisation brought nine players to the
stage, including Kim on komungo and drum, and
seemed a continuation of the Coltrane feeling, reaching
back through time perhaps to the early days of free
improvisation.
(KG)

4 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Quartet presented the third and final

installment of its Heritage/Evolution series at
Symphony Space Leonard Nimoy Thalia (Jun. 12th),
this one featuring the compositions and performances
of saxophonists David Liebman (soprano) and Greg
Osby (alto). Setting the mood for a two-part evening,
the quartet opened alone with four movements from
Jennifer Higdons Short Series. The sheer beauty of the
saxophones collective sound, sweet and virtually
without vibrato, is incredible, demonstrating an
aesthetic in many ways closer to that of a classical
string quartet than that of a jazz sax section. After
navigating the complex harmonies, counterpoint and
hypnotic chorales of Higdons opus, Liebman and Osby
came onstage for director/tenor saxophonist Matthew
Levys Serial Mood: Reflection, Liebman loosing
breathy flurries over lush chords, Osby later dueting
with baritone saxophonist Taimur Sullivan in a
Phrygian mode. The first set concluded with the world
premiere of Osbys Covenant of Voices, written for
PRISM and inspired by the Bulgarian Womens Choir.
Demonstrating admirable control over his dynamic
range, Osby began with a low-pitched motif, soon
joined by soprano saxophonist Timothy McAllister
whose beautiful high register rivaled that of a coloratura
vocalistleading the quartet through a gorgeous
chorale, which also showcased alto saxophonist
Zachary Shemons dulcet tone and Liebmans ever
boisterous soprano.
(TG)

Adam

Vision Festival 19, Celebrating Charles Gayle Lifetime

Rudolph has been playing the band, to

paraphrase the Ellington-ian ideal, as conductor of
various iterations of his Go:Organic Orchestra for well
over a decade. But he never had the band he did at
Roulette (Jun. 4th), the premiere of his Go:Organic
Guitars, comprised of Rez Abbasi, Damon Banks,
Marco Cappelli, Nels Cline, Tomas Doncker, Liberty
Ellman, David Gilmore, Joel Harrison, Jerome Harris,
Michael Gregory Jackson, Miles Okazaki, Brandon
Ross, Marvin Sewell and Kenny Wessel, a convincing
cross-section of trendsetters. But it was to Rudolphs
credit (and experience with various instrumentation)
that the resulting music was far more washas
opposed to wallof sound. The currency was simple
melodic fragments in the opening 18-minute
conduction, fleshed out by eerie slides and wails,
fusion leavened by avant garde filigrees. Harrisons
acoustic opened the second eight-minute piece, joined
by Wessels banjo and Abbasi twittering in the
background, oozing forward slowly, with an emphasis
on pick attack. The third 12-minute piece featured the
most aggressive guitary opening and more tremolo
picking than you could shake a Vibrolux at, rising in
intensity on a variation of the opening pieces funk
groove as Rudolph pulled out soloists. The final
10-minue exposition functioned as Green Sleeves, a
spacey, pastoral foundation for exploring string
harmonics. This kind of non-ego-driven guitar expo
couldnt have happened 30 years ago. - Andrey Henkin

of Achievement, kicked off at Roulette (Jun. 11th) with

a night of music showcasing the versatile artistry of this
years honoree in three different settings. The evening
began with Gayle, costumed as his alter ego Streets,
playing bass on a series of duets with drummer Michael
T. A. Thompson, then moving to piano, soon to be
joined by Daniel Carter, first on muted trumpet, then
various reeds, blowing atmospherically as Miriam and
Patricia Nicholson Parker danced expressionistically to
the music. The concerts middle set featured Gayle
playing tenor saxophone, the instrument on which he is
best known, leading a commanding quartet featuring
pianist Dave Burrell, bassist William Parker and
drummer Michael Wimberly. Wasting no time, the
foursome jumped right into a collective improvisation,
which found Gayle blowing gritty speechlike cries that
at times recalled both Sonny Rollins and Albert Ayler,
but remained steadfastly in his own distinctive voice.
As Burrell hammered out percussive Monk-ish chords
over Parkers whirlwind bass and Wimberlys
sprawling rhythms the music moved from raging free
jazz through boppish and bluesy intervals and then
back. A short encore began with a drum solo leading
into a breakneck unison line before ending abruptly.
The night ended with Gayle at the piano with the Vision
Artist Orchestra in an Ascension-like piece, which
featured individual solos between group motifs.

- Russ Musto

Pianist Jason Moran has had his contract as

the Kennedy Centers Artistic Director for Jazz
extended for three years. Moran replaced the
late Dr. Billy Taylor in 2010. For more
information, visit kennedy-center.org.
Drummer Billy Cobham has launched his Art
of the Rhythm Section Retreat, an intensive
workshop program, taking place Aug. 4th-10th
in the Czech Republic, for experienced
instrumentalists. Participants will work with
Cobham and notable faculty on teamwork
and collaboration within ensembles. For more
information, visit billycobhamsretreat.com.
The 2014 Echo Jazz Awards, given by the
German Recording Academy have been
announced. Notable winners include Heinz
Sauer/Michael
Wollny,
Rudresh
Mahanthappa, Gregory Porter, Joachim
Khn, Enrico Pieranunzi, Joshua Redman
and Dusko Goykovich. For the complete list,
visit echojazz.de/jazz-preistraeger-2014.
Roy Hargrove was recently arrested and
made a court appearance stemming from a
drug possession charge in April. The multiple
Grammy Award-winning trumpeter was
sentenced in New York City court to two days
of community service in exchange for a guilty
plea that will not appear on his record.

R. I. Sutherland-Cohen / www.jazzexpressions.org

Photo by Scott Friedlander

WHATS NEWS

The widow of bassist Ben Tucker, who died

in a golf cart accident last June at the age of
82, is suing the city of Savannah, Georgia,
county of Chatham and the hotel, part of the
Starwoods chain, for damages in relation to
her husbands death.

Adam Rudolph GO: Go:Organic Guitars @ ShapeShifter Lab

Charles Gayle @ Vision Festival

Anyone coming to The Stone (Jun. 15th) for the duo of

saxophonist Briggan Krauss and drummer Kenny
Wollesen expecting something remotely Sex Mob-like
would have been quite confused for the duration of the
48-minute set. And the other obvious demographic
the Interstellar Space crowdgot only about 5 minutes
of a typical energy sax-drum pairing 15 minutes in.
The rest of the time the audience was actually
witnessing a trio, the third member a preprogrammed
electronics track. The set began with that track, two
minutes of loud, harsh buzzing, which just reached the
point of being overwhelming when it dropped into
muffled spacey noise. Krauss alto sax lines when he
entered were the merest puffed flecks, enabled by
Wollesen and a spring attached to his snare drum.
When the electronics moved into a bit-like pattern,
Krauss baritone answered with trills and Wollesen
added his own apiary-like electronics and radio static.
After the aforementioned Coltrane-Ali tribute, the
electronics track reasserted itself and Krauss switched
to electric guitar, playing it through processing and
with a whisk, which resulted in a surprisingly pretty
section. A brief flurry of alto gusts yielded to guitar
once more, this time heavily overdriven and manic in
pacing, then back to yowling sax, punctuated by
Wollesen. Insectile weirdness on guitar gave way to
circular-breathed baritone/brushed drums/droning
electronics before Krauss closed on alto, accompanying
the return of the opening buzz.
(AH)

Elio Villafranca and the Jass Syncopators celebrated

the release of their latest album Caribbean Tinge: Live at
Dizzys Club Coca-Cola (Motma) with a return
engagement at the Jazz at Lincoln Center club. The
group featured the leader at the piano heading a
hardbopping sextet with a frontline of alto saxophonist
Vincent Herring, tenor saxophonist Greg Tardy,
trombonist Steve Turre and the rhythm team of bassist
Carlos Henriquez and drummer Lewis Nash, plus
percussionists Jonathan Troncoso and Nelson Mateo
Gonzales. They kicked off their Saturday night (Jun.
14th) second set playing the discs title track, an
uptempo flagwaver by Villafranca in the tradition of
Gillespies Things To Come, which featured burning
solos from the horn players and pianist with rousing
drum and percussion interludes alternating between
fiery swing and AfroCuban rhythms. The leader s
Blues For Paula proved the Cuban pianist to be a
fine purveyor of the distinctively AfroAmerican song
form, as he slowly built an engaging melodic line that
recalled Monks Misterioso. Tardy was especially
engaging, blowing old school tenor on Pat Martinos
El Hombre. The group swung ferociously on
Villafrancas Sunday Stomp at Congo Square, a
reminder of the Crescent Citys AfroCaribbean
heritage, while the closing Comparsa paid tribute to
the leader s Cuban roots. Throughout the evening the
sounds of the music were offered a compelling visual
element in the dancing of Julia Gutierrez-Rivera. (RM)

Actor Don Cheadle, who we previously

reported is producing a biopic on trumpeter
Miles Davis, has begun a crowdfunding
campaign to assist in its completion. Interested
parties may contribute until Jul. 10th at
indiegogo.com/projects/join-miles-ahead-adon-cheadle-film.
C Major Music and vocalist Janet Lawson are
offering two-week jazz music classes for
children ages 5-10, consisting of ten four-hour
workshops. Participants are not required to
have previously played an instrument. The
program has three sessions in July and August.
For more information, visit jazzclassesnyc.
com/registration-jazz-journey.php
Last month, E. 112th Street at Park Avenue
was renamed Charlie Palmieri Way in honor
of the salsa big band leader (and older brother
of pianist Eddie), who passed away in 1988.
Submit news to info@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014

INT ER V I EW

Photo by Ryan Muir / Courtesy of Impulse Records

Henry
Butler

knowledgeable than he could show on any record he

did. He had the gift of gab. Of course, he was pimping
you had to have the gift of gab to do that. Jelly Roll was
a hustler. Black people in those days, especially in the
South, thought they needed to hustle to survive. So as
much of a pianist as Jelly Roll was, he was doing a lot
of stuff on the side to make money. Understand that
Jelly Roll didnt get any money from ASCAP because
ASCAP, at that time, wasnt paying black people.
Eventually, they were forced to start paying black
people royalties, but by that time, Jelly Roll was dead.
TNYCJR: On Buddy Boldens Blues, youre singing

(CONTINUED ON PAGE 33)

by Alex Henderson
Pianist/singer Henry Butler has not been an easy artist to

categorize. Often compared to McCoy Tyner in the 80s, the

New Orleans native (who left that city after flooding from
Hurricane Katrina destroyed his home in 2005 and now lives
in Brooklyn) emphasized modal postbop on his first two
albums: 1986s Fivin Around and 1987s The Village,
both released by Impulse Records. But Butler moved in many
different directions after the 80s and Vipers Drag, his new
album with New York City-based trumpeter/arranger Steven
Bernstein, is heavily influenced by the New Orleans jazz of
20s-30s yet also draws on blues, funk and soul. During a
recent interview, the 64-year-old Butler (who has been blind
since infancy) had a lot to say about his past and his present.
The New York City Jazz Record: You started out your
recording career on Impulse Records 28 years ago
when the label was reactivated by MCA Records and
now that Impulse is being reactivated again, youre
back on the label.

listening to this album, but theres also the influence of

the funk, soul and blues that were so important to New
Orleans. And you also acknowledge some artists who
werent from New Orleans such as Fats Waller on the
title track and Bessie Smith with Gimme a Pigfoot
(And a Bottle of Beer).
HB: If we were going to have a subtitle, we would call
it New Orleans and Beyond because all of the guys on
this album have done a lot of different things and can
play a lot of different styles. Theyve played all over
the place. Some have played with Wynton Marsalis,
some have played with Levon Helm, some have played
with Lou Reedwho just diedand theyre having a
lot of fun with this New Orleans-ish repertoire.
TNYCJR: Vipers Drag is credited to Henry Butler/
Steven Bernstein and the Hot 9. How did you end up
calling the group on this album the Hot 9?

Henry Butler: Yes, its the second time around for me

on Impulse and were hoping they will do some good
things on the business side. Weve done as much as we
can do musically. So the next thing to see is what they
do on the business side.

HB: (laughs) Well, theres actually ten people in the

group. But I think the producer, Joshua Feigenbaum,
was caught up in Louis Armstrongs Hot 5 and Hot 7
and he thought this would be a great name for the
group.

TNYCJR: Vipers Drag is the first release from the new

incarnation of Impulse, which has an interesting
setup. This time, Impulse has distribution via Blue
Note Records in the United States but is being
reactivated by Universal Music Group France. Thats
an intriguing combination.

TNYCJR: The name Hot 9 certainly has a strong 20s,

Prohibition-era connotation.

HB: Its a little different from the last time I was on

Impulse. Of course, in those days, both my records
Fivin Around and The Villagewere on CD, vinyl and
cassette. And I think those were the last records I did
that came out on cassette.
TNYCJR: You have a wide variety of influences on the
new Vipers Drag album.
HB: We have Fats Waller. We have Jelly Roll Morton.
We have a little bit of a New Orleans street parade
thingnot totally catering to the New Orleans style,
but theres enough of it so you know that theres some
New Orleans stuff going on there.
TNYCJR: Steven Bernstein is a fixture in New York
City and really brings out the New York element.
HB: Definitely in his horn arrangements. We have
different things in our repertoire. Some of them come
from New Orleans, some of them come from just the
blues style. But we always take it somewhere else. We
believe that everything we do has to have our creative
stamp on it.
TNYCJR: One can learn a lot about New Orleans jazz

HB: Yeah, and I think thats what Joshua was thinking.

TNYCJR: One thing you and Steven Bernstein have in
common is your very eclectic tastes.
HB: This is a dream for me. Ive always wanted an
album with an arranger who was as eclectic as Steven
Bernstein. I was a student of Alvin Batiste, who was
sort of like that. Steven is sort of like Alvin in that
sense and Im having fun working with him.
Sometimes, its a blessing to play in so many different
styles and sometimes, its a curseand when you
collaborate with a guy who has great arranging skills,
thats a beautiful thing. But when you play it live, it
still goes to a different place every time you play it.
TNYCJR: You have three songs from Jelly Roll Morton
on Vipers Drag.
HB: Oh, boy, thats right. We have Wolverine Blues,
King Porter Stomp and Buddy Boldens Blues. I
suggested all three. And its fun because Steven
Bernstein, with his arranging style, takes them to
different places.
TNYCJR: Jelly Roll Morton died in 1941 and the fact
that youre performing three of his songs on a 2014
release really underscores the longevity of his work.
HB:

Jelly

6 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Roll

Morton

was

probably

more

Lenore Raphael
Love Notes -

A Tribute to Oscar Peterson

Like Peterson, Raphael is a
swinger with impressive chops
and aspects of Petersons genius
are evident in these tracks
-Joe Lang,
New Jersey Jazz Magazine

swinginfox@swinginfox.com
www.lenoreraphael.com

AR TIST F EA T U RE

Peter Gannushkin/DOWNTOWNMUSIC.NET

Matt
Mitchell

For more information, visit mattmitchell.us. Mitchell is at

Cornelia Street Caf Jul. 2nd with Michal Attias Spun
Tree, Ibeam Brooklyn Jul. 18th-20th as a leader and The
Stone Jul. 30th with Tyshawn Sorey. See Calendar.
Recommended Listening:
Darius Jones Quartet - Book of Maebul
(Another Kind of Sunrise) (AUM Fidelity, 2011)
Claudia Quintet + 1 - What is the Beautiful?
(Cuneiform, 2011)
Michal Attias - Spun Tree (Clean Feed, 2012)
Dave Douglas Quintet - Time Travel (Greenleaf, 2012)
Matt Mitchell/Ches Smith - Fiction (Pi, 2012)
Tim Berne Snakeoil - Shadow Man (ECM, 2013)

by Ken Waxman
After a year s unhappy experience in the late 90s
trying to establish himself in New York City, pianist
Matt Mitchell, 38, escaped, as he terms it, to his
hometown of Philadelphia and got a day job at the
University of the Arts library. I swore Id never again
play one music gig I didnt want to play and I havent.

Hes certainly lived up to that pledge. Mitchell is
still in Philly but he now divides his time working in
such high-profile ensembles as Dave Douglas Quintet,
Rudresh Mahanthappas Bird Project, Tim Bernes
Snakeoil, Darius Jones Quartet, John Hollenbecks
Large Ensemble, Rez Abbasis Invocation, plus his own
band with bassist Chris Tordini, drummer Dan Weiss
and tenor saxophonist/clarinetist Chris Speed.
Mitchell has also been widely praised for Fiction, his Pi
Recordings debut, which is a series of duets with
Snakeoil drummer Ches Smith.

At the turn of the century Mitchell wanted to free
himself from having to play jobs that were devoted to
what he calls utilitarian rather than creative music,
since he had spent the previous few years dedicated to
studying his craft. Growing up in Exton, PA, he started
playing the familiar so-called classical repertoire at
five (although I remember improvising at the piano
before taking lessons, he says), but wasnt exposed to
jazz until his early teens when his father brought home
two tapes: The Best of Thelonious Monk and Wynton
Marsalis J Mood. I was attracted to the music because
it sounded crazy and new to me, he recalls. Also I
was looking to get into playing other things. The
other things soon escalated into playing house sessions
with the likes of bassist Reid Anderson and drummer
Ari Hoenig and eventually an undergraduate degree in
music from Indiana University (IU) and a masters from
The Eastman School of Music (ESM). With one of the
oldest university jazz departments, IU was an easy
choice while Eastman initially came about because I
frankly had no idea what to do after IU and I was also
interested in other things such as the music history and
composition and orchestration classes. Serendipitously
trumpeter Ralph Alessi was one of his teachers and the
trumpeter subsequently became a friend and vital
figure with whom Mitchell continues to play regularly.
The pianist also teaches for a week each year at Alessis
Brooklyn-based School for Improvisational Music
(SIM), his busy schedule permitting.

Mitchell admits that another reason for attending
ESM was not feeling ready to plunge into any scene at
the time. Im not sure I ever felt ready in a way. Maybe
I sort of gradually materialized into the scene instead
once it finally happened. So after his disappointing
NYC experience, he continued to hone his skills in
Philadelphia, where in the late 90s, he and a group of
friends started Scrapple Records to document their
playing in various configurations. Vapor Squint,
Antique Chromatic is an electro-acoustic CD released in
2007 on which he played, then processed, edited and
reassembled the tracks. Im definitely proud of that
disc and I have continued working on similar types of

approaches, he explains. But I keep getting hired to

play piano so its hard to find enough time to do
everything justice.

Hiring Mitchell to play piano may cut into his own
musical explorations, but its proven to be a boon to
others bands. Most of his gigs, he explains, come about
in the typical jazz way. One leader sees me play with
someone and hires me, or I got recommended by
someone for something else. John Hollenbeck, Rez
Abbasi, Rudresh Mahanthappa...that was a chain that
happened for me one year, which was nice to experience.
I think Dave [Douglas] was tracking me for a little
while from afar before hitting me up for his group.

The affiliation with Berne actually has a longer
genesis. I corresponded with Tim in 1996 when I was
at Eastman; I wrote him and asked him for some scores.
But I didnt start playing with him until 2008 when we
both taught at SIM one summer. We had a rehearsal
with just the two of us. He hired me at the end of it and
weve played together ever since.

By coincidence, the origins of Fiction grew out of
his gigs with Snakeoil. The concept began as a series
of tudes intended to maximally stretch my abilities as
a pianist and improviser and also to focus my thoughts
as a composer. I wanted to compose free of any
concerns involving practice time for anyone other than
myself, he recalls. Ches became involved as a result
of his playfully joining in with me on Snakeoil tours
while Id practice the pieces during soundchecks. We
played once or twice prior to Snakeoil but Snakeoil is
where it really took off.

The Smith-Mitchell duo is one focus of the pianists
three-day residency this month at Ibeam Brooklyn.
Featured will be three duo sets with Smith plus three
sets by an extended ensemble called Normal
Remarkable Persons. Performing all Mitchell
compositions, the other bandmembers are Berne,
trumpeter Shane Endsley, tenor saxophonist Travis
Laplante, Tyshawn Sorey on drums, trombone and
melodica plus Smith on drums, vibes and percussion.
The sextet was a quintet until I decided to add Ches
as a member, Mitchell elucidates. Weve done a
couple of gigs before, but this will be the first
concentrated run weve done. Ill be writing a new
piece for it, since with that band I like to explore longer,
more sprawling forms. Mitchell would also like to
find time to record Normal Remarkable Persons.
However he expects that his next CD release will
feature the quartet with Speed, Weiss and Tordini, all
of whom, with the exception of Mitchell, live in
Brooklyn.

As for his overall concept for the future, the pianist
states: I definitely will continue exploring the areas of
music that I documented on Fiction as I feel theres a lot
more to be discovered. But by no means will it be my
only focus. Basically I like to try and follow ideas to
what seems like some sort of logical fruition and how
this happens usually depends on the groups I play
with. v

LOUIS MOHOLO-MOHOLO UNIT

For the Blue Notes
OGCD 042

Electrifying live performance from the 2012 Aperitivo

in concerto series in Milan, with pianist Alexander
Hawkins, saxophonists Jason Yarde & Ntshuks Bonga,
trumpeter Henry Lowther, trombonist Alan Tomlinson,
bassist John Edwards, and singer Francine Luce.

CHRIS McGREGORS
BROTHERHOOD OF BREATH
Procession - Live at Toulouse
OGCD 040

Anglo/South African big band in explosive form.

Painstakingly remastered and with an extra 23
minutes of music. Voted one of the best reissues of
2013 by The New York City Jazz Record.

2014 MARKS 40 YEARS OF OGUN MUSIC

JSnycjr0714

6/10/14

12:59 PM

Page 1

Best Jazz Venue of the Year NYC JAZZ RECORDBest Jazz Club NY MAGAZINE+CITYSEARCH

TUE JULY 1

JACK WILKINS
70TH BDAY CELEBRATION
ANDY MCKEE (7:30PM) - HARVIE S (9:30PM) - BILLY DRUMMOND
WITH SPECIAL
GUEST JOHN ABERCROMBIE - HOWARD ALDEN - GENE BERTONCINI
GUITARISTS JIMMY BRUNO - LARRY CORYELL - JOE DIORIO - VIC JURIS

WED-SUN JULY 2-6H7:30PM & 9:30PMHCLOSED FRI JULY 4

JAMES COTTON BLUES BAND

TUE JULY 8

SECRET
DARCY JAMES ARGUES SOCIETY
WED JULY 9
NIR
FELDER
SHAI MAESTRO - MATT PENMAN - NATE SMITH
THU-SUN JULY 10-13

CHARLES McPHERSON QUINTET

BRIAN LYNCH - JEB PATTON - KIYOSHI KITAGAWA - JUSTIN BROWN
TUE-WED JULY 15-16

JULIAN LAGE TRIO

SCOTT COLLEY - KENNY WOLLESEN

THU-SUN JULY 17-20

SEAN JONES QUARTET

ORRIN EVANS - LUQUES CURTIS - OBED CALVAIRE
TUE JULY 22

LENNY PICKETT

TUFFUS ZIMBABWE - JAMES GENUS - WAYNE KRANTZ - STEVEN WOLF

WED JULY 23
MIGUEL ZENN
FEATURING
DONNY MCCASLIN
PASCAL LE BOEUF - CHARLES ALTURA - LINDA OH - JUSTIN BROWN
THU-SUN JULY 24-27

PASCALS TRIANGLE

DONALD HARRISON QUINTET

ZACCAI CURTIS - MAX MORAN - JOE DYSON
TUE-WED JULY 29-30

WITH
SPECIAL
GUEST

STEVE
TURRE

CHRIS BERGSON BAND

ELLIS HOOKS - STEVEN BERNSTEIN - DAVID LUTHER - IAN HENDRICKSON-SMITH

CRAIG DREYER - MATT CLOHESY - ETHAN EUBANKS
THU-SUN JULY 31-AUG 3

KENNY BARRON QUARTET

FEATURING STEFON HARRIS - KIYOSHI KITIGAWA - JOHNATHAN BLAKE

HHHMINGUS MONDAYSHMINGUS MONDAYSHHH
MON JUNE 7, 14, 21 & 28

MINGUS BIG BAND

THE NEW YORK CITY JAZZ RECORD | JULY 2014

Chucho Valds invites you to visit Cuba for the

Havana International
Jazz Festival Tour
December 14-22, 2014. Legal Cuba travel.

JazzCuba.com + 1-888-965-5647 toll free

O N T HE CO VER
Photo by Richard Termine

BILL CHARLAP
MUSICAL DESTINY
by Ken Dryden

Its hard for Bill Charlap to imagine becoming anything

other than a jazz pianist. The son of the late Broadway
composer Moose Charlap and vocalist Sandy Stewart
is recognized as one of the top interpreters of the Great
American Songbook. Charlap credits his parents with
giving him strong musical roots, explaining, I dont
ever remember a time when I didnt play piano. I tried
to imitate what my father was doing; he had great
energy and was very dynamic. He wasnt a pianist or
singer, he was a songwriter and a great theater writer.
His playing was so infectious that other composers
asked him to do backer auditions of their songs for
them. The pianist is influenced by his mother, too.
Sandy is a great singer. Ive always heard her turn a
phrase in my inner ear; I hear certain things that she
does musically. She sang with Benny Goodman in the
60s. Weve made records for Ghostlight and Blue Note.
We performed together for years at the Algonquin and
Feinsteins; shell join us at the Y. A child hears his
mother s voice and it must do something psychically.
But neither parent was a jazz musician, so a kid has to
find his own way.

His early musical education included studies with
Dick Hyman, who has remained an important mentor.
Dick is a distant cousin on my father s side. My
mother sent me to his home when I was in my early
teens. He knew my mom when she was very young
and accompanied her at her high school graduation.
Dick and I just played together in Chicago. We shared
the bill. Dick played solo and I joined him, then my trio
played and Dick joined me on one piano with the trio.

The Jazz in July series at the 92nd Street Y has been
a high point of the pianists schedule for the past
decade. It was hosted and curated by Dick Hyman for
20 years. When he decided to give it up, he recommended
me. I love the venue. It was Gerry [Mulligan]s favorite
concert hall in New York and the first place I played
with him. This years series includes tributes to Hoagy
Carmichael, Leonard Bernstein, Miles Davis, Sarah
Vaughan and Fred Astaire, plus a three piano concert
with Dick Hyman and Christian Sands, in honor of
Marian McPartland.

Charlaps introduction to Gerry Mulligan led to
his first appearance on a recording, the saxophonists
Lonesome Boulevard. I had admired Bill Mays for some
time. We became friends when I was in my 20s. Id
gone to hear him a lot and hed heard me play. He was
leaving Gerry Mulligan and recommended me. I
played with Gerry and he hired me. I was so young; I
wish I could play with him now. There were so many
things going on that were musically over my head, but
it was seeping in, too. The way that Gerry would play
a melody, just sing the song like a singer. Brubeck said
something fantastic about Gerry: He sounds like hes
playing the past, the present and the future, all at the
same time. Gerry had a very unique melodic gift. His
improvisations were informed by Lester Young, some
Charlie Parker harmony and plenty of Gerrys own
stamp on it, too. The baritone sax never sounded like
that. Two things that caught my ear was Gerrys
arrangement of Godchild for Miles, followed by

Gerrys Ontet, featuring his tentet with Gerry playing

the shout figure from Godchild at the piano, but
slower, so you could hear the inner voicings. I knew
then I was really hearing a different kind of pianist.
When I played with Gerry, I asked him to show me
some of the things that he was doing and he even wrote
out Godchild for me. That was a great break for me.

Charlap was friends with saxophonist Jon Gordon
in high school. He recalled, We both idolized Phil
Woods, because he was such a virtuoso when he
played. Wed go hear him. Not long after leaving
Mulligan, Charlap joined Phil Woods quintet and
stayed 15 years. I was younger than the other guys in
Phils group, so it was a trial by fire. Phil would just eat
up the music; I didnt know what he was going to call
from night to night. You need different sets of tools to
play that music, we werent getting a second chance.
With Phil in the studio, its one take; he has the highest
work ethic. The guys in the band [Brian Lynch, Steve
Gilmore and Bill Goodwin] were so unpretentious
they were serious about the music but having some
laughs when we werent playing.

Charlap has enjoyed the opportunity to play a few
solo concerts. Yet he has almost as much freedom
playing in his longtime trio with the unrelated
Washingtons. Weve been together for 18 years and
have so much music that the sets change from what we
planned. Its nice to have that chemistry. He had
recorded several CDs for Criss Cross Jazz, but wanted
to make a change. I wanted to get a rhythm section
that felt the way that Peter Washington and Kenny
Washington sounded together, because I already knew
their playing individually and together. I loved the
way they sounded on their many records as a rhythm
section. I thought, Why not get them? They were
available and there was chemistry right away. It was
one of those magical moments when youre listening to
and playing with someone that we looked at each other
and thought, This is really nice. I asked them a few
days later if they would like to do some gigs. I wasnt
playing at the Vanguard or the 92nd St. Y then. I was
playing places that werent on the same tier. Peter and
Kenny were already working with Dizzy, Milt Jackson
and Tommy Flanagan. One thing led to another after
we started working together. We got some good notices
and ended up recording quite a few more.
In recent years, Bill has played numerous duo
concerts with his wife Renee Rosnes. Recently they
played in Phoenix, San Diego and at the Healdsburg
Festival, where Bobby Hutcherson guested with them.
Their duo CD Double Portrait (Blue Note) drew critical
acclaim and a followup will eventually take place.
Charlap explained that piano duos take some work,
noting, Two pianos can be difficult if you dont have
simpatico. The idea to me is not to be competitive, its
about making the whole greater than its parts. Whether
its a pianist, horn player, bass and drums, it should be
something that you communicate together. It doesnt
have to be one persons concept that everyone else
comes along with. It should be a combination. Theres
always been a natural chemistry with me and Renee;

you cant make it happen, it does or doesnt. Its the

ability to listen and not clutter the palette. You
naturally orchestrate with each other. Renee has
exquisite taste, style and command, but her ear is
unlike anyones Ive ever encountered. If you drop the
needle on any record, she instantaneously knows every
note shes hearing. It sounds impossible, but its not.
Shes almost incapable of playing something thats
going to clash. We have ways of continuing each
other s thoughts.

When asked about which jazz musicians influenced
him, Charlap immediately joked, This is going to be a
very long list and not comprehensive: Dick Hyman,
Hank Jones, Tommy Flanagan, Cedar Walton, Sonny
Clark, Bill Evans, Oscar Peterson, George Shearing,
Wynton Kelly and Red Garland. Its our peers too, the
people we grow up hearing play also influence us. Not
just pianists. Ive learned a lot from Kenny
Washington and Peter Washington over the years, also
from Renee, naturally. Everything from Armstrong to
Bird to Coltrane, Wayne Shorter, Dizzy, Roy Eldridge,
Miles, Monk, the arranging of Johnny Mandel, Gil
Evans and Duke Ellington. Jimmie Lunceford, Earl
Hines and James P. Johnson. I listen to classical music,
too. The biggest challenge for me was getting good.
My first gig was in my teens, playing at The First
Amendment Improvisation Company in New York. It
was a comedy troupe that would take suggestions
from the audience and invent skits on them. I would
play solo piano as people filed in and out. I could play
anything I wanted, from Scott Joplin to Cecil Taylor.
Working with the troupe was like being a pianist in a
silent movie. I would underscore whatever was going
on onstage.

Charlap had other ways to expand his knowledge.
I would take any gig and do it as well as I could. If I
was working with a singer who had many tunes I didnt
know, I tried to find original sheet music and listen to
as many recordings as possible to be over-prepared for
anything. Now I dont have time to do anything but
prepare just enough. I know how to get where I need to
quickly just from experience. I wondered what records
of Body and Soul Coleman Hawkins and Benny
Goodman heard and try to find out their reference
points. I think its a key in deepening your craft. You
see the branches of the tree. v
For more information, visit billcharlap.com. Charlap is at
92nd Street Y Jul. 22nd-24th and 29th-31st as part of Jazz
in July. See Calendar.
Recommended Listening:
Gerry Mulligan - Lonesome Boulevard
(A&M-Verve, 1989)
Bill Charlap Trio - Souvenir (Criss Cross, 1995)
Phil Woods - Chasin The Bird (Venus, 1997)
New York Trio - Blues in the Night (Venus, 2001)
Bill Charlap Trio - Live at the Village Vanguard
(Blue Note, 2003)
Bill Charlap/Renee Rosnes - Double Portrait
(Blue Note, 2009)

THE NEW YORK CITY JAZZ RECORD | JULY 2014

E NC OR E

Art Lande
by Suzanne Lorge
Soft-spoken

pianist
Art Landes approach
to
just
about
everythingmusic,
cooking,
teaching,
coaching ball gamesis
to improvise with the
sounds, words, ideas and actions in the moment. I
like creating environments where things can happen
that are unpredictable, that involve everybodys real
energy, he explains.

To the jazz world, inspired playing and expansive
compositions are Landes tour de force. But to Lande
himself, music is just one of the many mediums that he
uses to interact with others. Music is more of a
language for me, he explains. Im not so intrigued
with music on its own, but as a means of sharing,
communicating, [and] creating energy. Even so,
Landes music credentials are impressive: Hes got
more than 45 albums to his name as a soloist, ensemble
player, composer, producer, or any combination of
these. Hes worked with a multitude of allstar
instrumentalists and headlining singers. And in 1987
he received a Grammy nomination for his solo album,
Hardball (Great American Music Hall Records).

The same year he received the Grammy nomination,
Lande settled in Boulder, Colorado, after almost 20
years of playing and teaching. Musicians dont
gravitate to Boulder the way they do to Los Angeles or
New York but Lande isnt looking for the mainstream.
He knew early on that he wasnt the performer type.
Im not out touring all the time with strangers for
money and recognition, he reveals. Thats not the
way my life works. What does work is trusting
himself, the musicians and the audiencewherever he
isto create the music that needs to be played in that
time and that space on that day. This kind of musicmaking requires more than just spontaneity and solid
chops; Lande says that over time hes learned to

become less imposing, more relaxed and more receptive

physically and emotionally, so that the audience and
musicians responses are more authentic. Deeper.
More spacious. Everybody has their say and contributes
to the whole. Because the music arises organically out
of an immediate collective need, every performance is
a success, whether its in a living room or a studio or a
concert space. Every time I playI say that was the
best music I ever played in my life, Lande avows.

Landes approach to performance is not without
process. He writes structured pieces for specific
performances and he typically performs with highly
skilled players whose styles he knows well. To prepare
for a gig the band will rehearse, but not too much. We
need to know enough to be able to create something,
but not so much that we become glib, he says. Its
about knowing just enough to get into trouble. And if
one of the players shows up with a new idea or
something happens in real time to change the course of
the gig, thats fine, too. Lande cant predict what he
himself might do. He will carry a book of poems with
him on stage and open to a random page during a
performance, for instance, and by magic hell find a
poem to read that exactly matches the aesthetic of the
music. Or perhaps the band will pause in the middle of
a tune and waitone, two, three minutesbefore
resuming the performance. Lande doesnt leave the
audience out of the musical collaboration, however.
From the stage hell actively invite them to participate
in creating the shared experience. Its okay, he says, if
the resultant sounds are weird or boring. The point is
to leave space for the exceptional to happen. People
yearn for this kind of interaction, Lande asserts.
Theyre ready to meet something fresh and authentic.
Landes ability to create safe spaces for
collaboration factors prominently in his work with
students. He first began teaching almost 40 years ago
and since then hes been affiliated with several learning
institutions such as the Cornish Institute in Seattle,
Jazz School of Migros Klubschule in St. Gallen,
Switzerland, Naropa Institute in Boulder and
presently the University of Colorado, Boulder, to name
only a few. Aside from coaching students in the
technical aspects of jazz, Lande sponsor[s] the energy

of the young ones to help them bring clarity,

receptiveness and honesty to their musical expression.
In young musicians today he sees similarities to
himself as an up-and-coming instrumentalist in the
60s. Theyre communalthey want to participate,
he observes. Lande does, too. When he plays, it feels
like were all doing something together, he says. And
no matter what happens, its as it should be. Theres a
beauty to that. v

Ellis. In 1962 he began his tenure with Charles Mingus,

where his wide-ranging pianistic style flourished.
Byards own recordings as a leader, beginning
with 1961s Heres Jaki, revealed him to be a more than
capable frontman and composer, heading a trio of
bassist Ron Carter and drummer Roy Haynes on a
program of five diverse originals and reinventions of
Coltranes Giant Steps and the Gershwins It Aint
Necessarily So. Subsequent dates as a sideman with
Rivers, Rahsaan Roland Kirk and Booker Ervin showed
that his eclectic stylings could enhance the music in a
variety of settingsfrom Texas tenor blues to modal
freebop. His own series of recordings as a bandleader
and multi-instrumentalist (doubling on saxophones,
vibes and drums), featuring the likes of Kirk, Joe
Farrell and Elvin Jones, received broad critical acclaim,
but did little to gain him bookings for the groups.

Beginning in the 70s Byard worked primarily as a
soloist, either alone or with bassist Major Holley, with
whom he regularly held forth every Sunday at
Bradleys for most of 1974-75. The recently released
three volumes of solo piano dates on High Note,
recorded at the Keystone Korner during the decade,
show off the pianists far reaching style to great effect,
as does the superb 1982 duo date with Tommy
Flanagan, The Magic of 2: Live at Keystone Korner
(Resonance). During the 80s, the pianist also led his
own big band, The Apollo Stompers, basically a pair of
rehearsal groups comprised of first-call journeymen

players in New York and students from his New

England Conservatory classes in Boston.
Byards legacy as an educator is perhaps as
important as his work as a pianist, having nurtured a
large number of todays finest players. Flutist Jamie
Baum, who leads the group Yard Byard, a Byard
repertory group made up of the pianists former
students notes, Jaki never put different styles of music
into categorical boxes. He had a deep understanding of
the jazz tradition as well as of classical music (and any
other style that he found interesting) and could
incorporate them into his solos and compositions in a
way that was personal, convincing and authentic.
Byards work as a composer continues to gain attention,
having been recorded by Jason Moran, Fred Hersch,
Matt Wilson and Ethan Iverson. Byard died Feb. 11th,
1999 in an unsolved homicide. v

For more information, visit artlande.com. Lande is at Jazz

at Kitano Jul. 30th. See Calendar.
Recommended Listening:
Ted Curson - Jazz Meeting (Four Leaf Clover, 1973)
Art Lande - Rubisa Control (ECM, 1976)
Gary Peacock - Shift in the Wind (ECM, 1980)
Fred Hess - You Know I Care (Capri, 1994)
Paul McCandless/Art Lande/ Peter Barshay/
Alan Hall - Shapeshifter (Synergy, 2003)
Gebhard Ullmann/Chris Dahlgren/Art Lande Die Blaue Nixe (Between The Lines, 2003-04)

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 - Billys solo piano CD:
Connoisseur jazz...at an ever higher level
of daring and mastery.
-Howard Mandel, President,
Jazz Journalists Association
You wont 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

LE ST WE F OR GE T

Jaki Byard (1922-1999)

by Russ Musto
In a music that values, but doesnt always reward,
individualism, Jaki Byard stood out as one of a kinda
singular, yet relatively unheralded artist. Arguably the
most versatile pianist of his or any generation, Byards
playing embodied the full history of jazzoften within
one performance. Born in Worcester, Massachusetts on
Jun. 15th, 1922, he came up in the Swing Era and began
his professional career playing locally before going on
the road with Earl Bostic. Embracing the new music
bebop, he formed a quintet with trumpeter Joe Gordon
and tenor saxophonist Sam Rivers. Later he worked in
and around Boston in a quartet with alto saxophonist
Charlie Mariano and as a member of Herb Pomeroys
legendary big band, before leaving for a three-year
stint with trumpeter Maynard Fergusons aggregation.

Upon moving to New York in 1960 Byard garnered
national attention recording with Eric Dolphy on the
saxophonists landmark Outward Bound album.
Unfortunately, his own debut date, Blues For Smoke,
produced by Nat Hentoff for Candid Records that
same year, remained unreleased for nearly three
decades, although his already fully formed style
gained considerable exposure on a series of forwardlooking recordings by both Dolphy and trumpeter Don

10 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Recommended Listening:
Eric Dolphy Quintet - Outward Bound (New Jazz, 1960)
Charles Mingus - Town Hall Concert (OJC)
(Jazz Workshop, 1964)
Rahsaan Roland Kirk - Rip, Rig and Panic
(Limelight, 1965)
Jaki Byard - Sunshine of My Soul (OJC) (Prestige, 1967)
Jaki Byard - The Late Show (An Evening with Jaki Byard):
Live at the Keystone Korner, Vol. 3 (HighNote, 1979)
Jaki Byard - Live at Maybeck Recital Hall, Vol. 17
(Concord, 1991)

ME GA PHON E

The Make Believe Rag

by Jon Weber
So, Im playing The Maple Leaf Rag on this ancient

piano at a Minsk, Belarus coffee house, valiantly

focusing upon every note, every riveting pulse
deserving my laser-like concentration. I revere The
Maple Leaf Rag and consider it the most important
American composition of all time because it paved the
way for so much music that I love. Scott Joplins twominute masterpiece was the first instrumental
composition to sell one million copies of sheet music.
An older Belorussian guy recognizes it, smiles and
barks out, The Make Believe Rag! Close enough.
Seriously, how many 1899 compositions survive that
fickle journey from the year 1899 all the way into our
collective musical consciousness in the year 2014?
Quoting Stephen Sondheim, Damn few.

If you consider what American popular music
sounded like at the turn of the 20th Century, The
Maple Leaf Rag truly represented a new era, artistically
and socially. American original music sounded a lot
like Scottish and German folk songsEurope Jr. until
Scott Joplins great American wake-up call blindsided
the music industry of its day. In 1899, this ever-soslightly Africanized treatment of familiar European
folk music lured millions of consumers to sheet music
stores, where people of modest means forked over their
hard-earned cash in exchange for a chance to navigate
Joplins ragged, syncopated creations.

I am astonished that any piece as technically
challenging as The Maple Leaf Rag, and the thousands
that would follow, would become blockbuster sellers.
Conventional wisdom would suggest that simpler is
more sellable, yet pianists at all skill levels sought out
the more intricate rags, apparently having outgrown
the ordinary. They mustve been so eager to raise the
bar and perform the new, magical parlor trickover
and over. The ragtime craze achieved the early 1900s
equivalent of viral. American creativity began taking a
more respected place on the world stage. Even Claude
Debussy started composing Joplin-esque works.

Europeans were beginning to imitate us.

Where did this enormously popular and extremely
radical sound come from? By 1899, Africans had lived
on this continent for three centuries. Why did it take so
long for their music to surface? Simple answer: they
were slaves, deprived of freedom and any chance to
express themselves artistically and/or actively
participate in mainstream American culture. In 1899
few white Americans had any clue what AfricanAmerican music sounded like. There was simply no
exposure to it and no commercial mechanism in place
to provide it for mass consumption. The Maple Leaf
Rag launched us into the uncharted artistic waters of
genuine American music.
Occasional glimpses of African-American music
awareness would emerge for a white audience but
would quickly disappear. In 1842, Charles Dickens
attended a performance by Juba at the Bowery
Amphitheatre. Juba is generally regarded as the
pioneering figure for American tap dance and his
accompanying trio consisted of a trumpeter, violinist
and drummer. One reviewer wrote: The drummer
sweats profusely and plays contrary to all laws of
rhythm. Wow! I want to hear that. The corpulent
trumpeter plays red-hot needles of sound. I definitely
want to hear that! Eight decades later, Louis Armstrong
would lead his groundbreaking jazz ensembles the Hot
Five and Hot Seven. Perhaps he read Jubas reviews.
Clearly, in 1842, white mainstream Americans still
considered African-American music threatening and
indecipherable but, by 1899, African influence finally
found a welcome entry via ragtime. Maybe a general
optimism drove everyday Americans toward reaching
for something better, smarter, more enlightenedat the
dawn of the 20th Century.
Joplins millions-selling compositions probably
attracted a lot of folks into the music business who may
not have otherwise paid attention to the fledgling
industry. Enormous amounts of cash quickly seduced
cold, steely business sharks who didnt care as much
about the art as they did about the profitability of the
hot sellers. Theres a joker in every deck, isnt there?
For better or worse, thanks to alliances holy and unholy,
the money flowed, the floodgates rushed open and

creativity for creativitys sake often ruled the day over

the past 11 decades. Whom do I specifically thank? I am
grateful to the millions of people who found Africanized
European music irresistible 115 years ago and even
more grateful to the adventurous geniuses who created
something seemingly out of nowhere. Their impact
upon American culture is incalculable, I couldnt repay
them in 100 lifetimes and even in Belarus, their staying
power is anything but make-believe. v

Middleton. These live recordings defy the phenomenon

that separates us from the departed, bringing the mid
20th century into your 21st century living room. Youre
there.

If you love Louis, you may already know about the
younger pioneer bebop master, trumpet player Howard
McGhee. Thanks to McGhees work with singers, the
unearthed gem Howard McGhee West Coast 1945-47
(Uptown), though mostly instrumental, includes
several entirely sublime vocal tracks by the solidly
hearty Monette Moore and crooning drummer Dan
Grissom, McGhees sideman. Their voices, re-etched
into the present air, are priceless.
German vocalist Inge Brandenburg has also
returned via ten unreleased, restored and remastered
concert recordings and two live recording sessions on
Dont Blame Me (Sonorama). Voted Europes best
female jazz singer at the festival of Juan-Le-Pins in
1960, Brandenburgs uninhibited and velvety alto
voice on jazz standards reveals masterful instrumental
phrasing, effortless melodic invention and rhythmically
daring scat. The vibrant mix is in perfect balance with
a buzzing crowd ambiance as backdrop.

Present day gems playing homage to greats of the
past can be heard at the 92nd Street Ys Jazz in July and
include Grammy-nominated, First Place winner of the
Thelonious Monk competition Ccile McLorin Salvant,
a shatteringly beautiful singer. The 25-year-old wiseold-soul will offer a Sarah Vaughan tribute with pianist

Bill Charlap (Jul. 30th). Also at Jazz in July (and to add

to this months piano theme) dont miss veteran elder
Sandy Stewart commanding consummate synergy with
Charlap, who is also her son. The two will join for a
Hoagy Carmichael tribute (Jul. 22nd). The critically
acclaimed Sachal Vasandani will top the series off with
his relaxed simplicity and ease to honor Fred Astaire,
again with Charlap and also with pianist Renee Rosnes
in a tribute titled I Wont Dance (Jul. 31st).

And dig two new albums containing music from
a new ground of fusion between jazz vocal genres. On
the French-born singer/composer Christine Pythons
organic album Meme Si (Unit), her trio weaves tradition
roots, driving electric guitar lines and electronics. Like
a flock of birds, Pythons band swoops and gathers as
the singer intones the mellifluous French words of poet
Jol Bastard. Meme Sis rigorous contrasts of melodic,
gritty, bluesy and raucous sounds require listeners to
release expectation and go for the flight. And speaking
of sonic aviation, the self-produced Paper Birds, by the
Brooklyn-based group RalliadeAngela Morris on
voice and tenor, Scott Colberg on acoustic bass and
vocalist Alex Samarasis exciting and should be a
breakthrough album for this exquisite collective.
Morris original poems (and one by Johanna Skibsrud)
manifest in a high-caliber alchemical exchange between
the threesome.

Unearthed from the past, living in the present and
flying into the future, jazz is herefor the record. v

For more information, visit jonwebermusic.com. Webers

Joplin to Jarrett is at Metropolitan Room Jul. 2nd and
8th. See Calendar.
Jazz pianist Jon Weber has recorded and toured all over the
world, winning numerous honors for performance and
compositionscoring extensively for television since 1987.
Gary Burton, Roy Hargrove, Niels-Henning rsted
Pedersen and Avishai Cohen have all recorded his music and
his newest release, Simple Complex, rose to #1. Weber
hosts NPRs Piano Jazz with Jon Weber after frequently
serving as guest host for Marian McPartland.

NEW RELEASES:
ProtestMusic
Yoni Kretzmer - Tenor Sax
Pascal Niggenkemper - Double Bass
Weasel Walter - Drums
Gordon Beeferman Trio
OUT IN HERE
Gordon Beeferman - Piano
James Ilgenfritz - Double Bass
Michael Evans - Drums
www.outnowrecordings.com

VO X NEW S

What on Unearthed?!
by Katie Bull
W ith

a new archival release Mosaic Records has

created a sonic time machine and you have just entered
the jazz past through your listening ears. Its May 17th,
1947. Sitting on the edge of a front-row seat in New
York Citys Town Hall, you are part of the expectant
crowds electric energy. What you are about to hear on
Disc 1/Track 1 will go down in jazz history as the birth
of Louis Armstrongs All Stars. The elegantly buoyant
and adoring announcer s voice of radio host Fred
Robbins fades in: We give you the greatest singer in
American jazz! It is a sizzling turning point night in
Armstrongs career. Bow down to Mosaic for The
Columbia and RCA Victor Live Recordings of Louis
Armstrongs All Stars, a stunning boxed set of 8 discs
spanning 12 years of time travel to the roots of the
tradition. Culled from archival vaults and other
sources, including the famed George Avakians
basement,
the
unedited,
full-length
restored
performances on this boxed set are a windfall. From
Town Hall to Accra (go to Ghana on Disc IV!),
Armstrong throws down his signature sound, shifting
between trumpet and his sweet and gritty voice on
nearly every cut! Armstrong also welcomes the rich
and meaty singing of his regular vocalist, Velma

THE NEW YORK CITY JAZZ RECORD | JULY 2014

11

LA BE L SPO T LIG HT

International Phonograph
by Marc Medwin
Would you please call me on my landline? I hate the
sound of the voice on cell phones! Jonathan Horwich,
the man behind International Phonograph Inc. (IPI),
makes no bones about his likes or dislikes. Directness
seems integral to his character and the strength of his
opinions serves as a foil for the boundless enthusiasm
with which he approaches every aspect of his lifes
passion, which is music. Upon reconsideration, music
is only a part of what motivates Horwich to such
heights of excitement. The way the music sounds is
absolutely paramount in his vision of how it should be
understood and the sonic fidelity of his reissues is just
as much a part of the whole experience as the visual
presentation; the combination sets IPI apart from the
countless labels of varying repute, devoted to
reintroducing neglected or long-unavailable items into
the catalogue and, hopefully, to a larger public.

It was very simple, Horwich smiles when asked
about the name of his label. I started it back in 1981, in
the days when we were issuing everything on vinyl.
The label released one title at that time, Rendezvous by
pianist Richie Beirach and bassist George Mraz, but the
story leading to that pivotal moment is as rich with
discovery as is the music the label preserves. I
remember listening to lots of Elvis and rhythm and
blues on the radio in the 50s, just after my family
moved to Chicago, muses Horwich. But it wasnt

until I was just about to go to college that the epiphany

came. His sister brought him a copy of Herbie Manns
now-ubiquitous At The Village Gate album and he was
thunderstruck. Whats this, what have I been
missing! His voice rises, the words quickening with
anticipation, as he describes hearing Charles Mingus
Tijuana Moods and then Jeremy Steigs Flute Fever,
released on Columbia in 1963 and which Horwich has
just reissued. Then I really started to get it; what an
absolutely burnin record!

One of those lucky situations that can determine
lifes entire aftercourse occurred for Horwich at
Occidental College, where, pursuing an English
Literature degree, he met John William Hardy,
ornithologist, DownBeat columnist and, Horwich
maintains, one of the finest liner notes writers the
music has ever had. He started mentoring me. Id go
to his house and hed be showing me how to listen to
this music. Listen to that moment, how that group is
interacting, how the rhythm section is playing as a
single unit; hear how theyre avoiding clichs? After
a year or so, the two founded Revelation Records to
record underserved musicians in the L.A. area. Their
most readily available work constitutes the Bobby
Bradford and John Carter collaborations reissued by
Mosaic in their Select series, but the catalogue became
fairly large, reaching to about 50 records. Piano studies
with Clare Fischer and alto lessons with Gary Foster
augmented Horwichs knowledge and experience with
the music and he learned the fundamentals of recording
and mastering on the job.

While Revelation is still under Horwichs control,

Dogon A.D.
Julius Hemphill

Intents and Purposes

Bill Dixon

Extension
Clare Fischer Orchestra

he began IPI in 1981 with engineering maverick Dean

Roumanis. As both Hardy and Roumanis are deceased,
Horwich has kept the home fires burning. When I
came back to Chicago after 40 years out in California
and Michael Cuscuna asked me to mix, master and
produce the Bradford/Carter set, I started looking
around for other music that I felt should be given a
second chance. Thats why I reactivated IPI. It seemed
to be a way for me to get back into the music.

He began with Bill Dixons 1967 album Intents and
Purposes, which had never been available on CD, and
was in production at the time of Dixons 2010 passing.
I told him that I was going to reissue the album just as
it was, complete with original artwork and liners, but
with improved sound, Horwich reminisces, and he
was thrilled! That was just how he wanted it. Even for
those of us who had long treasured the excellently
recorded RCA LP, IPIs transfer proved revelatory,
boasting what might be described as a fuller, more
open but incredibly detailed and still highly visceral
sound. Julius Hemphills Dogon A.D., IPIs second
project, garnered similar praise and its popularity
necessitated multiple printings. We go back to the
masters, Horwich explains, and we transfer direct to
digital, nothing in between. Weve also developed a
proprietary method of making the digital copy sound
as full as possible. The level of reproduction is readily
apparent on Clare Fischer s Extension, an album for
which Horwich clearly maintains a special affection.
Its his masterpiece, he states emphatically. Listen
to the disc with no distractions and youll hear things

(CONTINUED ON PAGE 33)

Flight for Four

John Carter & Bobby Bradford

Flute Fever
Jeremy Steig

LISTENUP!

CHRISTIAN SANDS is a multi-nominated Grammy

jazz and Steinway artist whose mission is to expand

and teach the music of jazz through performances and
teachings. He says, My music is about teaching the
way of jazz and keeping it alive. Its unfortunate that
the older styles, like stride, are starting to drift away.
True to his word, Sands develops the past while
providing unusual and stimulating vehicles for the
present...and for the future. Musicality, sensitivity, taste
and swinghallmarks for as long as he has been
playing.

Dream Band: Charles Mingus, Art Blakey and John

Coltrane.

Teachers: Stefan Karlsson, Ed Soph, Dan Harle,

Manfred Gerhardt.

Did you know? I can play piano backward and upside

down.

Influences: Bach, Beethoven, Brahms, Wynton Kelly, Bill

Evans, Keith Jarrett, Fred Hersch, Mulgrew Miller, Chick
Corea, Dave Kikoski, Maria Schneider, Bob Brookmeyer.

For more information, visit christiansandsjazz.com. Sands is

at 92nd Street Y Jul. 29th as part of Jazz in Julys Three
Generations of Piano Jazz. See Calendar.

Teachers: Dr. Billy Taylor, Jason Moran, Phillip Kawin,

Vijay Iyer, Sonny Bravo, Rex Cadwallader, Dave
Brubeck, Bobby Sanabria and Dave Liebman.

By Day: Practicing, teaching, listening, writing.

Influences: Jason Moran, Art Tatum, Oscar Peterson,

Sun Ra, Salvador Dal, Pablo Picasso, Dr. Billy Taylor,
Herbie Hancock, Maurice Ravel and Erik Satie.
Current Projects: Jazz Mobile 50th Anniversary at
Marcus Garvey Park; APA Cole Porter Fellowship
finalist; GRAMMY nomination for Christian McBride
Trio album Out Here; Music Producer for international
artists; producing and writing for my new recording.
By Day: Philanthropy and educator for jazz music.
I knew I wanted to be a musician when... I saw
trumpeter Clark Terry perform at age seven. I thought
he was phenomenal. He inspired me.

Current Projects: Last April I released my debut album

Sotareo on Sunnyside, songs and original compositions
representing a mix of traditional rhythms from
Colombia and contemporary jazz. I am currently in the
process of musicalizing some of the writings by the
great Gabriel Garcia Marquez, who just passed away.

Christian Sands

Carolina Calvache

Pianist CAROLINA CALVACHE was born in 1985 in

Colombia. She obtained her Bachelors degree from the
Universidad del Valle and in 2007 started a Masters
degree in Jazz Performance and Composition at the
University of North Texas. In 2011, Calvache moved to
New York and was part of the Mary Lou Williams Jazz
Festival at the Kennedy Center. She has worked with
Antonio Sanchez, Jaleel Shaw, Michael Rodriguez,
Samuel Torres, Ludwig Afonso, John Ellis and Hans
Glawischnig, among others.

12 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

I knew I wanted to be a musician when... I always

knew I wanted to play piano, but I reaffirmed my
passion for composition and creativity when I was 13
and played my first composition for flute, piano and
cello. That same year I heard a recording of Chick
Coreas electric band. After that I knew I wanted to
play, improvise and create music for the rest of my life.
Dream Band: Jeff Tain Watts and Hans Glawischnig
Did you know? I love dancing salsa and profoundly
admire artistic roller-skating.
For more information, visit carolinacalvache.com. Calvache
is at Somethin Jazz Club Jul. 23rd. See Calendar.

F ES TIVA L R EPOR T

Moers

Musketer

by Irwin Block

by Andrey Henkin

by Laurence Donohue-Greene

FIMAV 2014 Martin Morissette

Photo by Patrick Essex/Elisa Essex

Photo by Laurence Donohue-Greene

FIMAV

Evan Parker & Fred Frith

N estled

among the hills and dairy farms of central

Quebec, the good news is that the off-the-beaten-track
town of Victoriaville remains a prime showcase for a
broad selection of improvised and experimental music.
It once produced furniture and hockey sticks, but once
again fans gathered for the 30th edition of the Festival
International de Musique Actuelle de Victoriaville
(FIMAV). The 20 concerts (May 15th-18th) constituted
a cross-section, with nothing terribly extreme or
outlandish, of what makes this a happening scene. It
reflects the scope and ambiguity of the French word
actuellecoined at the first group of concerts, held
in an automobile showroom in 1983, to mean new,
immediate and spontaneous. With almost 5,000 tickets
sold over four days and an estimated 10,000 visitors to
eight free outdoor musical installations, Artistic
Director Michel Levasseur said he was satisfied with
matching last year s gate, especially lacking the star
power of that editions Zorn @ 60 marathon.

This year s lineup amounted to something of a
retrospective in that its highest profile performers,
saxophonist Evan Parker and electric guitarist Fred
Frith, have had everything to do with opening new
vistas for improvised music over the past 30 years.
Parker, 70 and Frith, 65, playing together as a duo for
only the third time, did what great improvisers do so
wellthey created something from nothing but their
instinct, experience and the vibe from an expectant
crowd sitting around tables in the town Coliseum, its
walls draped in black and decorated by new abstract
art. Parker roamed and explored mainly on tenor sax,
crafting long complex lines, enabled by his remarkable
circular breathing and curiosity. Frith sounded more
adventurous and dramatic, using his guitar as a
rhythmic and percussive device, with his instrument
sitting on his knees as often as on his hip.

Parker and Frith reappeared Sunday, each leading
larger ensembles. The former s electro-acoustic septet
Peter Evans (trumpet), Okkyung Lee (cello), Ned
Rothenberg (clarinets) and Ikue Mori, Sam Pluta,
George Lewis (electronics)kicked off the 50-minute
opener with jungle-like sounds and silences, building
into a big orchestral creation. Lee in particular
impressed with her passionate and idea-rich bursts, at
times injecting drama and passion when it was needed.
Friths 11-member Gravity Banda mix of former
students such as crackerjack guitarist Ava Mendoza
and Bay area musicians Aaron Novik (clarinet) and
William Winant (percussion)reprised Friths 1980
dance album, with its joyful Celtic, Slavic and Dancing
in the Streets sections, an antidote to the thendominant disco craze. What emerged was a passionate
and swinging avant packagea blast from the past
laced with fresh and original elements.

(CONTINUED ON PAGE 42)

Ideal Bread

Famoudou Don Moye

The tent is dead. Long live the tent! For the first time While New York was enjoying the Vision Festival last
since 1987, the Moers Festival, held in the bucolic city 40
kilometers north of Dsseldorf, did not take place in
what had been claimed to be the largest circus tent in all
of Europe. A long-term investment in the festival was
made in the form of repurposing an old tennis hall and
if some of the sense of spectacle was missing, the sound
and sightlines were better and actual bathroom facilities
must have been a welcome change from years past.
What didnt change was an eclectic program of 20
concerts plus late-night performers across the festivals
four days (Jun. 6th-9th), full of ambitious projects of
varying degrees of success and full audiences whose
attention spans were remarkable across widely disparate
ensembles. One surprisingly enjoyable portion were the
morning sessions, taking place at the Musikschule
Moers. Improvising groups, with personnel drawn from
festival acts and some musicians brought in specifically
for the sessions, played thoughtful and committed short
sets to eager audiences, the antithesis of the typically
dreaded late-night jams put on by most festivals.

Guitarist Marc Ribots solo acoustic set on Friday,
dubbed Protest Songs was less folksy sit-in and more
lo-fi punk show. The songs were pithy, mostly originals,
about topics like security in airports, the physical
breakdown of aging, a diatribe against Santa Claus,
minor-key reworking of the traditional song The Dying
Cowboy and a pairing of Dylans Masters of War
and Ribots original Masters of the Internet. Ribots
charm and intellect, subsumed in larger groups, was on
full display. Another highlight of the evening was the
March-November Dutch pairing of pianist Oscar Jan
Hoogland and drummer Han Bennink. The latter has
lots of experience in this format and could have easily
dominated the proceedings with his signature
histrionics. But Hoogland countered with both strong
unfettered playing and his own hijinks, which included
toy megaphones placed on Benninks various drumtops
and a homemade electrified clavichord. At 72 one can
marvel at Benninks energy but the focus should instead
be that no matter what he is doing, even dropping
sticks, he does so with perfect swing.

The indefatigable Paal Nilssen-Love opened the
second day with his Large Unit. It was fascinating to see
the drummer both as one of the oldest members of his
ensemble and as de facto conductor of the zealous hourlong set. The 11-piece band, which had a five-man horn
line (including the tuba of Brre Mlstad), electronics
courtesy of Lasse Marhaug and two basses and a second
drummer played three pieces, which were themselves
made up of several compositions. Like a mathematician,
Nilssen-Love charted almost every musical subcombination possible, interspersing them with moments
of full-band clatter for the wildest ride of the festival.

(CONTINUED ON PAGE 42)

month, the Danish capital of Copenhagen was having a

memorable improvisational music extravaganza of its
own. The annual Musketer Festival (Jun. 12th-14th)
the independent, DIY counterpart to the grandiose
Copenhagen Jazz Festivalcouldnt wait to celebrate
its first decade since its 2005 inception. This years
edition was unquestionably the festivals most ambitious
to date. Spearheaded by Danish drummer/sometimes
pocket trumpeter/organist/MC Kresten Osgood, the
festivals unique concept is threefold: to present as
many improvisers as possible; have first-time ensembles
create 15-minute mini-sets; and, perhaps most
significantly, invite and feature at least one overseas
guest. This years had noticeably more non-Danish
instrumentalists present, including a plethora of
American percussionists in Famoudou Don Moye,
Jerome Cooper, Cooper-Moore and Adam Rudolph plus
pianist Aaron Parks, trumpeter Herb Robertson and
bassist Alex Blake performing with an impressive array
of local talent. Its an entirely unique music marathon:
eight+-hour nights for three days (the exception being
the final day, which got off to an early afternoon start,
making the festival finale a 14+-hour event) with only a
few minutes break/set-up time between groups of
musicians being shuttled on and off Husets first floor
stage. This reviewer caught nearly 100 sets of music,
missing only a handful!
The most memorable were the cross-cultural
exchanges, starting with festival opener Pierre Drge
(five-string South Indian mandolin), his longtime New
Jungle Orchestra keyboardist Irene Becker (playing
piano inside and out) and Aaron Parks (Wurlitzer
keyboard). The latter is enjoying a JazzDanmark DIVA
(Danish International Visiting Artists Programme)
residency in Copenhagen and one could sense his
playing has grown exponentially with new
collaborations. His piano trio featured one of the festival
revelations, and perhaps the youngest: 20-something
drummer Matias Wolf Andreasen, who seamlessly
shifted jazz and rock tempos. Though straightahead
piano trios were in the minority, Thomas Clausen, one
of Denmarks most valued in the Bill Evans tradition,
made up for it with an exquisite rendition of Bye Bye
Blackbird with Osgood (who played in 19 groups total)
and a rarely subdued, highly melodic Blake. Elsewhere
the bassist literally shook the stage with his inimitable
rhythmic force and synced wordless vocals. He
performed solo; fronted a group with five Danish
bassists and played in trumpeter Herb Robertsons
stirring first-time ensemble with Danish percussionist
Marilyn Mazur, Moye and Rudolph. This latter group
effectively splintered off into a pair of comfortable and
complementary percussive duos, the lines and colorful

(CONTINUED ON PAGE 42)

THE NEW YORK CITY JAZZ RECORD | JULY 2014

13

CD R EVI EW S

Mothers Touch
Orrin Evans Captain Black Big Band (Posi-Tone)
by Robert Milburn

Pianist

Orrin Evans has an attitude in his playing,

whether hammering dense two-fisted chords or
stroking a delicate ballad. It seems fitting, therefore,
that he would choose to record with a 20-something
piece big band when almost no one else can afford to
do it. In 2010, Evans Captain Black Big Band (CBBB),
named after his father s choice of tobacco, recorded a
series of live tracks selected from the tail end of a tour
at Chris Jazz Cafe in Philadelphia and New York
Citys The Jazz Gallery, released as a self-titled album.
Though the audio fidelity was a bit underwhelming, it
captured Evans visionseesawing intensity between
peaks of aggression and valleys of soulfulness.

On their first studio recording, CBBB picks up
right where it left off, recruiting New York City staples
like saxophonists Marcus Strickland and Stacy Dillard
along with trombonist David Gibson and trumpeter
Tatum Greenblatt, and the leader penning six of the
nine songs, with arrangement credits to other artists.
The album opens with the aptly titled In My Soul,
never straying far from its rhapsodic melody, which
swells and twists between brass and wind sections,
reminiscent of a great Thad Jones/Mel Lewis Jazz

Orchestra piece. Strickland is effusively lyrical and

soars over stabbing horns. On Dita (For Karyn
Warren), bass clarinets, muted brass and flutes color
the edges of alto saxophonist Todd Bashores tearful
meandering and Evans exceedingly delicate twinkling.

Two choice covers add to the albums dynamism.
The elusive, wriggling lines of drummer Donald
Edwards Tickle seems playful at first, until riled up
by Dillard and Evans steely riffing, turning into a
show of blazing brass. Bassist Eric Revis Maestra
gets a nice workout too, the band building around a
hip bass ostinato while horns inject swelling question
marks. Evans closing Prayer For Columbine is a
tough tune to pin down. Its power is largely derived
from drummer Anwar Marshall, whose subtle
dynamism controls the purposeful shift between dense
confusion, hopefulness and assuring authority.
For more information, visit posi-tone.com. This group is at
Smoke Jul. 7th and 21st. See Calendar.

Midnight Melodies
Cyrus Chestnut (Smoke Sessions)
by Terrell Holmes

Ever since Revelation, his 1993 debut as a leader, Cyrus

Chestnut has been recognized as an elite pianist.

Gospel is his anchor but one can hear the echoes of

Monk to Waller to Wonder. He can play at a rocking
chair tempo or with an agility and invention that make
you feel like youre on the back of a Harley, clutching
his waist for dear life. Joining him on Midnight Melodies
are fellow Betty Carter U. grad Curtis Lundy on bass
and the vivacious drummer Victor Lewis.
Things get started with the light-stepping,
elemental swing of Two Heartbeats and dazzling
Bud Powell-inflected Pocket Full of Blues. And
Chestnut knows the blues thoroughly; he plays them
on Bags Groove like he owns them. He brings a
similar lived-it emotion to ballads, imbuing To Be
Determined and I Wanted to Say with compassion
and lyricism. The feelings deepen on a scintillating
version of Chelsea Bridge. Chestnut immediately
doubles down on Strayhorn with U.M.M.G., which
begins as a lullaby and accelerates into one of his
typically joyous and nimble romps. This sets up the
albums defining moment, a blistering version of
Giant Steps, which segues ingeniously, with
orchestral flourishes and drama, into another Coltrane
classic, Central Park West. Lewis is a rhythmic
whirlwind on uptempo tunes and wistfully soft-voiced
on ballads. Lundy, who likely absorbed some of the
same enduring lessons (and tongue lashings) from
Carter that Chestnut did, keeps a steady pulse.

In paraphrasing one of the many valuable lessons
Betty Carter taught him, Chestnut once said If Im
gonna win people over, I gotta do it with skill. Her
advice has served him well. Hes currently on a 20+year winning streak that shows no signs of ending.
For more information, visit smokesessionsrecords.com. Chestnut
is at Blue Note Jul. 8th-13th with Dizzy Gillespie All Star Big
Band and Smoke Jul. 18th-19th with this trio. See Calendar.

Get the
Truth!

The debut recording of

Joel Forrester and The Truth

Rio, Choro, Jazz...

Joel Forrester: piano

Claire Daly: baritone saxophone
Vito Dieterle: tenor saxophone
David Hofstra: bass
Matt Garrity: drums

CD Release Celebration
July 2nd - 7 pm $25
Michiko Studios
149 W. 46th Street 2nd Fl.
Antonio Adolfo Quartet
with
Laura Dreyer (fl, ss, ts)
Paul Nowinski (b)
Rafael Barata (d)

11 new Forrester originals!

July

August

Sundays July 6, 13, 20

Joel Forrester plays service
Grace Gospel Church
589 E.164th St.
11 am 1 pm

Wednesdays July 9, 16
Joel Forester, solo piano
Manhattan Inn
632 Manhattan Ave.
7 to 10. No cover.

Sundays August 17, 24, 31

Joel Forrester plays service
Grace Gospel Church
589 E.164th St.
11 am 1 pm

Wednesdays August 13, 20, 27

Joel Forester, solo piano
Manhattan Inn
632 Manhattan Ave.
7 to 10. No cover.

Mondays July 7, 14, 21

Joel Forrester, solo piano
Brandy Library
25 N.Moore St.
8 midnight. No cover.

Wednesdays July 9, 16
Joel Forester, solo piano
accompanies silent films
Manhattan Inn
632 Manhattan Ave.
8pm. No cover

Mondays August 11, 18, 25

Joel Forrester, solo piano
Brandy Library
25 N.Moore St.
8 midnight. No cover.

Wednesdays August 13, 27

Joel Forester, solo piano
accompanies silent films
Manhattan Inn
632 Manhattan Ave.
8pm. No cover

www.joelforrester.com

14 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Antonio Adolfo
Brazilian Music Workshops

Michiko Studios - 149 W. 46th Street, 2nd Floor

June 30th - July 12th
Piano Guitar Bass Drums Bass Percussion Vocals
Ensemble Brazilian Phrasing Harmony Songwriting

Rafael Barata Master Class:

Brazilian Jazz Conceptions July 2nd, 5 pm

Antonio Adolfo Master Class:

Phrasing in Brazilian Music July 12th, 11:30 am

More information at www.antonioadolfo.net or by phone: 786-566-1527

Floating
Fred Hersch Trio (Palmetto)
by Ken Micallef

F red Hersch is a jazz pianist. But to qualify him as a

jazz pianist is to reduce his large and profound skill

set. More than simply a musician, Hersch uses his life
as material for his music, thus giving his albums and
concerts the feeling of some great project. Hes a special
musician. In a totally unselfish way, Hersch lives life as
a theater piece, as an act of performance art. So even as
his music can be categorized as jazzhe covers
standards and uses swing and AfroCuban rhythms in
original material with the occasional balladhe bares
himself so generously in his music (typically composing
for multiple idioms and formats beyond jazz) that its
sophisticated, orchestral, emotional and ultimately,
pristine. Hersch plays with a beautiful touch and a rare
broad-ranging gift for melody, but also a unique
forward motion. Herschs 2011 theater piece, My Coma
Dreams, documented his months lost to a coma
(wherein, among other things, he dreamt of being in a
contest with a laughing Thelonious Monk), swung like
mad and featured the pianist and his trio onstage as
the action occurred around them. Floating is pure
music, but the sense of theater is just as deep.

Opening with You and the Night and the Music,
Hersch improvises on the standard in an incredible,
practically through-composed solo touching on Monk,
Brahms and perhaps a little James P. Johnson. He
continually changes focus, finding new ways to express
the melody. Drummer Eric McPherson has never
sounded so creative and bassist John Hbert remains
the pianists long-standing anchor. The title track
begins as a nocturnal, almost nightmarish vision then,
as depicted in the CD artwork, darts as lightly as
fireflies over a star-lit lake. There is a song written for
Esperanza Spalding (Arcata), for Hbert (Home
Fries), for pianist Kevin Hays (Autumn Waltz), a
teasing cover of Monks Lets Cool One and a stately
cover of If Ever I Would Leave You from Camelot.
Each bar of that last song is a jewel, filled with light.
Floating is a gift.
For more information, visit palmetto-records.com. This
project is at Village Vanguard Jul. 15th-20th. See Calendar.

Present Joys
Dave Douglas/Uri Caine (Greenleaf Music)
by Stuart Broomer

Trumpeter Dave Douglas has always had a gift for

clarity, his ideas thoughtfully and directly expressed
without fuss and extra notes. That clarity achieves new
dimension here, in part because its a duo with a longtime collaborator, pianist Uri Caine, the two forming a
bare-bones ensemble of very precise musicians. Further
though, its an exploration of the shape-note singing
tradition embodied in various collections of American
hymns. Shape-note notation is a reductive system in

which note shapes take the place of information

usually found in key signatures, simplifying sightreading and harmony for congregational singing. Five
of the pieces heard here are drawn from shape-note
songbooks, like The Sacred Harp, Ye Olde New-England
Psalm-Tunes and The Southern Harmony and Musical
Companion collections still in use today; the other five
are compositions by Douglas in the same spirit.

Along with the frequent simplicity of the diatonic
melodies and triadic harmonies, there comes a clear
evocation of mood, from the determination evident in
A. M. Cagles Soar Away or Floyd M. Fredericks
Supplication. The former s Present Joys is
absolutely celebratory, its declarative major scale
melody taking on suggestions of Albert Ayler s
Ghosts in Douglas and Caines handling of it. Oliver
Holdens Confidence is more pensive while Douglas
own compositions extend the materials further: Seven
Seas takes an exploratory bent; End to End is a
comic series of climaxes; and Old Putt, played solo
by Caine, develops a special floating beauty through
subtle harmonies. Its all played beautifully, Douglas
and Caine improvising with a hand-in-glove familiarity.

Reminiscent of earlier forays into folk music by
musicians like Jimmy Giuffre, John Benson Brooks and
Bill Smith, Present Joys is also akin to the recent Shakers
n Bakers band and their exploration of Shaker hymns.
Like those projects, Douglas and Caine create vital
music in part by constructing jazz on alternative
foundations.
For more information, visit greenleafmusic.com. Caine is at
Smalls Jul. 21st. See Calendar.

and the production is Commands usual high standard

of cleanliness combined with plenty of punch and
dynamics. The balance that Hyman maintains with a
full orchestra behind him is outstanding. The cover art,
fantastic
original
mid-century
deconstructions
capturing a hip jazz ethos, are maintained as are certain
liner notes. The omission of Hymans original
descriptions and a lack of any updating or behind-thescenes information on these sessions is, however,
disappointing. That aside, Provocative Piano Volumes I
& II is a pleasing early portrait of this prolific pianist.
For more information, visit sepiarecords.com. Hyman is at
DMoNYCJR12thPageAd0614_Layout 1 6/18/14 12:57 PM Page 1
92nd Street Y Jul. 29th as part of Jazz in July. See Calendar.

New from Planet Arts Recordings

Music for The

Last Flower
Featuring:
Diane Moserpiano/composer
Mark Dresserbass
Gerry Hemingwaydrums
Marty Ehrlichalto sax/clarinet
Ben Williamstrombone

This music is powerful, uncompromising, and brilliantly conceived.

Robert Bush, All About Jazz
...Highly recommend[ed]; it will warm your soul as easily as it will
break your heart. Steve Dalachinsky, The Brooklyn Rail
Available at Downtown Music Gallery NYC and at CDBaby.com
More info at planetarts.org and dianemosermusic.com

The Diane Moser Quintet performs Music for The Last Flower
July 25th, 6PM as part of the New Music in Bryant Park Series,
40th & 42nd St, 5th & 6th Ave, NYC

Provocative Piano I & II

Dick Hyman And His Orchestra (Sepia)
by Elliott Simon

Sepia

records has remastered the great Command

Records catalogue and begun to release them on CD
for the first time. With producer Enoch Light at the
helm, Command Records set the audiophile standard
during the earliest days of stereophonic sound. His
LPs took advantage of 35mm film recording techniques
to produce the best sounding music of the 50s and
early 60s. Alliterative titles like Persuasive Percussion
(1959) and Tempestuous Trumpet (1960-61) featured
Light and his stable of musicians, arrangers, engineers
and art director Charles Murphy. These releases were
the quintessential upscale mid-century modern
listening experienceartistic covers, clean production
and a mix of jazz and pop that was light on
improvisation and heavy on creative arrangements.

Pianist Dick Hymans uncanny ability to play any
genre in any format and sound great was a flawless fit
for Command. Provocative Piano Volumes I & II is a
picture-perfect pianistic production of orchestrations,
artwork, engineering, arrangements and musicality.
Originally released as two separate LPs in 1960 and
1961, Hyman and a full orchestra take the listener
through thrilling and fun renditions of an encyclopedia
of piano chestnuts from the worlds of pop and light
classical music. Hyman flies across the keys on opener
Cumana, which features stereophonically highlighted
Latin rhythms, while the string section gives one chills
on powerful versions of Chopins Polonaise and
Tchaikovskys Piano Concerto No. 1.
The percussion, string, brass and woodwind
sections of the orchestra are isolated exceptionally well

THE NEW YORK CITY JAZZ RECORD | JULY 2014

15

Music for the Last Flower (A Suite for Jazz Quintet)

Diane Moser Quintet (Planet Arts)
by Ken Waxman

Music for the Last Flower is program music, composed

in 2003, which receives its long overdue documentation.
An eight-part suite inspired by James Thurber s 1939
book, the nuanced performance highlights the writing
and playing of pianist Diane Moser.

Structuring her anti-war musical fable so that the
brutal noises of combat and bucolic intimations of
love, peace and flowers are present, Moser never
overplays the programmatic concept, ensuring that the
suite makes its point through hearty helpings of
advanced yet swinging jazz. Following a cacophonous
free-for-all introduction, the dynamic theme is first
exposed, reappearing in diverse guises throughout the
suite. The invigorating work of fleet trombonist Ben
Williams is impressive; on the moving love is
reborn, for instance, when a polyphonic theme
variation arrives, his balanced tongue flutters incite a
staccato response, which soon includes sharp boppish
lines from Marty Ehrlichs alto saxophone while
rhythmic connections bubble underneath via Moser,
bassist Mark Dresser and drummer Gerry Hemingway.
Strummed bass percussiveness and measured
drum clip-clops are put to good use when the writing

calls for bellicose emphasis. Moser s sophisticated

composing includes space to reflect violence with
sequences of tremolo emphasis but tranquility is
expressed with the same facility. Tracks such as
when love is no longer and she finds a
flower are the most moving, Moser s richly textured
syncopation almost making one feel the child-like
despondency with the first and subsequent joy in
germinating floral discovery in the second.

a hope for peace connects earlier narrative
variations with harmonized horn parts, presaging
Moser s cunning note placement and Dresser s
moderated plucks to create a sense of normalcy. This
cheerful concept is reinforced with a subtle coda of
interlocking string voicings. Music for the Last Flower
begs the question why its composer s talent isnt better
recognized.
For more information, visit planetarts.org. This project is at
Bryant Park Jul. 25th. See Calendar.

Saturday Morning
Ahmad Jamal (Jazz Village)
by Marcia Hillman

As the title suggests, Ahmad Jamals latest release is a

laid-back affair. The CD exults in a relaxed feeling for

11 pieces, 7 of which are Jamal originals, the pianist

joined by bassist Reginald Veal, drummer Herlin Riley
and percussionist Manolo Badrena.

Opening track Back To The Future was mostly
written by Jamal in the studio. With a strong uptempo
rhythm, the spare melody is expressed by lots of block
chords and fleet bass against both drummers. The title
track (another original) features Riley imitating the
ticking of a clock with sticks against the drum rim and
a simple melody conjuring the feeling of its titular time
of the week. Jamals Silver, a tribute to the fellow
piano legend Horace, is bluesy, with Badrenas conga
prominent, while his Firefly features a call-andresponse section and dialogues between piano and
bass and piano and percussion. Ediths Cake
written for the lady who faithfully brings Jamal a cake
every time she comes to his concerts in Francehas a
lazy kind of feel and a bass figure against which Jamal
carries on a whimsical piano conversation. One of the
longer originals, The Line, also has a dominant bass
figure introduced by Veal and passed on to Jamal. The
pianist covers all the registers on this one with block
chords and dazzling runs, both drummers showing off
their expertise. A shorter version of the title track
closes out the album.
A few standards are included (as well as a
rendition of bassist Welton Gites One): Dorothy
Fields-Jimmy McHughs Im In The Mood For Love
is a showcase for Jamals mastery of his instrument
and Duke Ellington-Francis Webster s I Got It Bad
And That Aint Good is a straight reading with quotes
from other Ellington tunes.

There is much to savor on this album as Jamal
continues his nearly 60-year journey of music-making.
For more information, visit jazzvillagemusic.com

Cyrus Chestnut t rio

CCile MClorin s alvant

Mike s tern B and
t he G ospel aCCordinG to Jazz
with k irk w haluM
t he litChfield Jazz f estival orChestra
d JanGo r einhardt p roJeCt
Jane B unnett and Maqueque
JiMMy G reene quartet
Mario p avone oCtet
aCCordion p roJeCt
anthony s tronG
Claudio r oditi B razilian Jazz s extet
CarMen s taaf s extet
and Many More!
*line-up subject to change

Just

2 Hours from NYC! AN EAsY DAY trip

or WEEkEND GEtAWAY!

tent & Lawn seats

food, Wine & Beer, Arts & Crafts
Artist talks, kids Activities & more...

16 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Galactic Alignment
Burns Longer
Shih-Yang Lee/
Fred Van Hove/Damon
Fred Van Hove
Smith/Peter Jacquemyn
(Jazzhus Disk-Kandala) (Balance Point Acoustics)
by Clifford Allen

Payan
With Alexander von
Alexander
Schlippenbach
von Schlippenbach
Kitchen Orchestra
(Enja)
(Whats Cooking)
by Kurt Gottschalk

I Remember Bessie
Art Hodes
(Euphonic-Delmark)

The Art Tatum Solo

Masterpieces, Vol. 1 (OJC)
Art Tatum (Pablo-Concord)

by Stuart Broomer

music is often described as music of

communication and interaction, rather than a study in
contrasts and combativeness. That being said, some of
the most engaging improvised music has presented
images of the latter approaches. For instance, the Peter
Brtzmann Trio with drummer Han Bennink and
pianist Fred Van Hove. Through cultivating a language
of discursive, layered introspection and elemental
concision, Van Hove occupied a space opposite both
the brusque expressionism of Brtzmann and the
subversive aggression of Bennink. Spanning 45 years
and numerous albums as a soloist and collaborator,
Van Hoves work is not discussed nearly as much as
those of his fellow European architects.

Perhaps it is the kinship of geographical obscurity
that unites Van Hove and Taiwanese pianist Shih-Yang
Lee, one of Taiwans most celebrated instrumentalists,
on the CD/DVD set Galactic Alignment, recorded at
Zhongshan Hall in Taipei City in December 2012. After
all, neither Belgium nor Taiwan are discussed as
hotbeds of creative music. The set features two solos,
each of about 15 minutes and whetting the appetite for
nearly 40 minutes of duo improvisation. Lids off, the
pianists begin arranging their implements, itself a
musical act, for the terse and snaky game of ping-pong
Games Inside Wooden Frames. Sonically they blend
massive latticework, yet on film the piece is clearly an
inspired balancing act of co-creation. At times the pair
reflect one another, spinning pointillist rivulets against
a gutsy, metallic pulse or fabricating a resonant field of
color and sinew. The romanticism and chunky
boppishness Lee exhibits in his soli are subsumed to a
degree in the duets, though in Counterpoint a bit of
gradually-paced off minor rhythm emerges and Van
Hove offers Monk-ish gymnopedies in return. While
the number of improvised piano duos isnt exactly
huge, Galactic Alignment is a beautiful edition to the
pantheon.

Burns Longer is an altogether different and rougher
beast. Recorded in 2008 at LArchiduc in Brussels, the
three improvisations feature Van Hove on piano and
accordion in a trio with Belgian bassist Peter Jacquemyn
and American bassist Damon Smith, on whose Balance
Point Acoustics label this digital album was released. A
rush of bullish arco fiddling, bridge grinding and spiky
pizzicato begins the first lengthy piece and its as
though Van Hove is the harmonic referee, responding
to and guiding their rosined force with glassine
arpeggios and a bony minefield of chords. Its odd to
think about, but apart from the heady early years of
European free music, the pianist hasnt worked with
that many bassists. In this sense, Burns Longer looks to
Van Hoves early outfits, albeit the way this music
coagulates and refracts is certainly not only a reflection
of the 60s and its lean and hungry trademarks. The
closing Archiduc 3, beginning with manhandled
accordion and a bulwark of churning glissandi and
ropy staccato, is controlled enough not to be bogged by
absurdity and once Van Hove switches to piano the
trio engenders a sprightly sense of forward motion.

remarkable that solo performancewhich has

become such a significant part of Alexander von
Schlippenbachs work over the last decadehad barely
been a part of his repertoire for decades before. In 1972,
having released two large ensemble albums, the pianist
recorded the tracks that would be released by Enja as
Payan later that year. Five years later he issued the
simply-titled Piano Solo on FMP. Neither album
garnered the attention paid to his powerful Global
Unity Orchestra (GUO) and both fell to the wayside.
The latter did see a reissue on FMP in 2009, after hed
begun releasing solo recordings again, and now the
former itself is seeing itself on CD by its original label.

Payan is something of a tour de force, recorded
when the pianist was 33 years old. The ten tracks on
the album (some of which would later be arranged for
GUO) read a bit like a CV. Opening with a brief track
that isnt only in name a fugue, the program goes on to
include some fantastically full stride playing, some allout free exploration, bits of double-tracked drums and
some wonderfully lyrical passages. It almost tries too
hard, but only almost. It ends up a bit disjointed but is
saved by the sheer excellence of the performance.

It may be von Schlippenbachs work with GUO
that brought him to the attention of Norways 15-piece
Kitchen Orchestra. The freewheeling orchestra has
worked with Lotte Anker, Steve Beresford, Evan
Parker, Keith Tippett and Franz Hautzinger as well as
presenting a live soundtrack for the classic silent
vampire
film
Nosferatu,
providing
musical
accompaniment to volleyball games and giving annual
Christmas concerts. The ensemble is neither inflexible
nor humorless. The orchestra has been working under
von Schlippenbachs baton on and off since 2010, a
relationship that has resulted in the orchestras first
release. And, in fact, the second track on Kitchen
Orchestra with Alexander von Schlippenbach is titled
Globe Unity 40, so theres no confusion about where
theyre coming from, but that hardly sums it up. With
electric guitar, electronics, a Fender Rhodes and the
talented vocalist Stine Janvin Motland, the disc covers
an awful lot of ground. The disc opens with a bit of
ceremony but quickly launches headlong into the GUO
tribute, which swings between free energy and
composed sections sounding a bit like a Swingle Singer
lost in the forest.

They reshape that formula in any number of ways
across the nine tracks, jiggering between and
overlaying structure and spontaneity in surprising
ways, with plenty of Schlippenbachs piano, both
muscular and sublime. A Rhodes solo by yvind Dale
seems broken and laid over a nonmatching horns and
drums. Other sections sound like film scores or brassy
funk, but generally get the rug pulled out from under
them before too long. And if thats not enough, the disc
ramps up with a fairly massive take on Eric Dolphys
Hat and Beard and quickly morphing rendition of
Monks Lets Cool One. With this enjoyable set of
German/Norwegian unity, von Schlippenbach shows
thatat 74hes still not beholden to any borders.

Arts Hodes and Tatum were both born in the first

decade of the 20th century. Though Hodes was born in
the Ukraine and Tatum in Toledo, Ohio, both came of
age in the Midwest in the 20s. Despite those
similarities, these two solo reissues might represent
the poles of jazz piano, from Hodes deceptively simple
approach focused on emotional depth to Tatums
flamboyant invention and jaw-dropping technique.

Growing up in Chicago, Art Hodes was saturated
in blues and New Orleans jazz and soon became a vital
part of the swiftly evolving Chicago school. Despite
Hodes prominence as a spokesperson for traditional
jazz in the 40s, his playing is vigorous and artful in a
way that will confuse anybody expecting a primitive.
Hes an inventive, two-handed improviser, but his
technique has a special focus, using a legato phrasing
that can blur one note into the next, creating an almost
vocal effect, akin to the best blues pianists. On
I Remember Bessie, recorded in 1976, he pays tribute to
Bessie Smith, the greatest of the 20s blues singers and
one whose repertoire and influence extended beyond
blues to include popular tunes, ragtime and jazz
novelties. Divested of their lyrics, in Hodes hands
these pieces achieve a kind of timelessness, whether
its W.C. Handys St. Louis Blues (a blues with a
tango in the middle) or Irving Berlins Alexander s
Ragtime Band, here heard as ragtime restored with
pristine clarity. Though it lacks Smiths own moving
account of a flood, her own Back Water Blues retains
its force through Hodes consistent rhythmic drive,
changing dynamics and percussive accents while
Clarence Williams Cake Walkin Babies from Home
has all its original strutting energy.

In his notes to the Hodes disc, Bill Mitchell lists
Hodes favorite artists (Smith, Ma Rainey and Louis
Armstrong), mentions Art Tatum as someone Hodes
listened to, then quotes Hodes remark, Sometimes
[Tatum] goes into a few bars of swinging Fats Waller
stuff, but then he suddenly goes into his act. That
act is precisely what distinguishes the two: where
Hodes clarifies and embellishes a tune, Tatum tickles,
dissects, reharmonizes, interrupts and overwhelms it.
The Solo Masterpieces, which run to eight CDs, were
recorded in four sessions between 1953 and 1955, a
year before Tatums death, with Volume 1 drawn from
all four sessions. Its immediately apparent why Tatum
has always been treated as a titan of the keyboard,
awing jazz and classical pianists alike. He combined
the Harlem stride style of James P. Johnson and Waller
and the trumpet-like leads of Earl Hines with an
unbridled technical brilliance and insouciant creativity,
which extended to cascading runs, sudden digressions
and counterpoint, all of it delivered with a carefree lilt.
He influenced both the best and worst pianists in jazz
and his harmonic and rhythmic imagination were
central to the development of bop, with Charlie Parker
profoundly inspired by his chordal extensions. Any of
the 16 tunes here will reveal Tatums genius, but Cole
Porter s usually poignant Love for Sale might stand
out for its welter of mood shifts, sudden eruptions of
stride, pin-wheeling runs and playful dissonance.

For more information, visit downtownmusicgallery.com

and balancepointacoustics.com

For more information, visit jazzrecords.com/enja and

kitchenorchestra.com

For
more
information,
concordmusicgroup.com

F ree

Its

visit

delmark.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014

and

17

For more information, visit ecmrecords.com

LESLIE PINTCHIK PIANO

STEVE WILSON SAX
RON HORTON TRUMPET
SCOTT HARDY BASS
MICHAEL SARIN DRUMS
SATOSHI TAKEISHI PERCUSSION

AVAILABLE NOW AT AMAZON

AND ITUNES
WWW.LESLIEPINTCHIK.COM

....one of the more captivating recordings to come out so

THE NEW YORKER
far this year...
...achingly beautiful.

JAZZWAX.COM

...a gorgeous display of the trio...

WBGO

&
d

do

nL
oA

For more information, visit concordmusicgroup.com

Jacob Anderskov has

done the aestheticschallenged world of
so-called chamber
jazz a huge favor with
his latest album. His
role as composer and
ensemble architect is
paramount here.
The results are
impressive and gently
groundbreaking.

Procession (Live at Toulouse)

Chris McGregors Brotherhood of Breath (Ogun)
by Ken Waxman

The best jazz is often created through the synthesis of

JACOB ANDERSKOV
_STringS, PercuSSion & PiAno
u

oA
nL

W
d

W
!

18 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Josef Woodard,
DOWN BEAT, April 2014.

do

conflicting, sometime clashing musical impulses. So it

was with the work of South African pianist Chris
McGregor (1936-90), whose allstar Blue Notes band of
the 60s combined hardbop and (South) African musical
influences. McGregors references multiplied during
his European expatriate years when he created the
Brotherhood of Breath (BOB) big band. On these
reissued late 70s performances, sinuous kwela
melodies and bops breakneck speed are part of the
bands disciplined Basie-like swing, yet sound
extensions introduced by the European free players
have become more apparent in the writing and playing.

McGregors final Andromeda includes enough
reed bites and shrilling peeps to express the
disconnections and deconstructions that characterized
period free music. Sunrise on the Suns title and
jerky, slip-sliding exposition, featuring chicken cackling
vamps from the four saxes and jujitsu tongue fluttering
from the brass section spurred on by Louis MoholoMoholos straightforward drumming, lacks only
electronically processed wiggles to conjure up Sun Ra.

Still, with avant garde avatars such as saxophonist
Evan Parker and trombonist Radu Malfatti keeping
their freer impulses in check, its alto saxophonists

HHHH

&

Too often portrayed as the brooding, romantic pianist,

his talents for swing and incisive, sharply creative,
acutely lyrical playing have been overshadowed by the
memory of the tragic junkie who, according to Gene
Lees, committed the longest suicide in history. It
hasnt helped that his discography is littered with
mainly posthumously released live dates, many made
during times when his addictions produced self-

LESLIE PINTCHIK
IN THE NATURE OF THINGS

Bill Evans has been the victim of his own mystique.

NEW CD RELEASE from PINTCH HARD RECORDS

LP

How My Heart Sings (OJC)

Bill Evans Trio (Riverside-Concord)
by George Kanzler

For more information, contact ogunrecords@googlemail.com

LP
,c

and passionate international virtuosi

around 40, Italian pianist Stefano Bollani and Brazilian
bandolinist Hamilton de Holanda were fated to meet:
they did at Bolzano (South Tyrol, Italy, 2009), one of
many small festivals now sprouting seasonally in
Northern Europe like brilliant alpine flowers. And once
they met and fell in musical love, they were bound to
record: Bollanis lyrically majestic Italian piano begs to
entwine itself in quasi-unisons with de Holandas
spine-tingling altissimo picking of his enhanced
(10-string) mandolin. This scintillating setrecorded at
another such festival, Jazz Middleheim (Antwerp,
Belgium, 2012)is devoted with singular focus to
sumptuous melodies from Brazil, with an original or
two. They open with a dreamy Chico Buarque ballad
named for a woman (Beatriz) and gaze back upon
meltingly gorgeous homages to female beauty twice
more: Tom Jobims Luiza and Pixinguinhas Rosa.

But mostly they forge full-steam ahead with goodhumored fellowship and reckless dovetailing of
thought and line. Merrily chasing but rarely tripping
over each others overlapping arpeggios, rococo
filigrees and titillating tremolos, Bollani and de
Holanda wheel and soar to giddy heights and dont let
chops-happy glee deflect them from their purposeful
course of collective melodizing and stylistic crosspollination. Occasionally vocalizing, Bollani limns
single-note solos on the title track and Piazzollas
Oblivion with lyric passion and mimics with buffo
jocularity and affection on Guarda che Luna (Look At
That Moon!) by pseudo-Mafioso 50s crooner Fred
Buscaglione. Sprinklings of technical wizardry may
bedew the audience, as is the wont of improvising
virtuosi, yet (this is, after all, a crystalline ECM date)
dont inundate the music or damp listeners spirits.
Indeed, the duos percussive street-beat chorus
climaxing Baden Powells classic jam anthem Canto de
Ossanha elicits a clap-along from happy attendees.
These comrades are well on their way to ringing rafters
in arenas worldwide.

Exuberant

Mike Osborne and Dudu Pukwanas freebop stylings

that predominate. Their pliant yet mercurial attack
makes tracks like You Aint Gonna Know Me Cos You
Think You Know Me and Kwhalo sway relentlessly.
The latter is a particular standout as pianist, drummer
and bassists Johnny Dyani and Harry MillerSouth
Africans alleffortlessly induce and maintain the
captivating beat.

This fissureless melding of Africa, Europe and the
cosmos is probably the key to what made BOB such a
breath-taking experience in its day and why Procession
(Live at Toulouse) is such a valuable document now.

O Que Sera
Stefano Bollani/Hamilton de Holanda (ECM)
by Fred Bouchard

indulgent sentimental playing. Many of them probably

wouldnt have been released if Evans had had a say.

This album, from the first recording sessions (mid1962) by the new trio Evans formed after the death of
bassist Scott LaFaro, again featured drummer Paul
Motian (on brushes throughout) from that seminal
earlier trio, along with bassist Chuck Israels, whose
playing brought new emphasis on a swinging pulse to
the band. The two Riverside sessions alternated ballads
and faster tempos, but the two LPs it produced divided
them into a ballads album, Moonbeams, and How My
Heart Sings, featuring faster tempos of what Evans calls,
in his original liner notes: a more moving kind, though
there is in the trios approach to all material a desire to
present a singing sound.

Those who cherish the Evans of George Russells
All About Rosie or his work on Oliver Nelsons Blues
and the Abstract Truth will thoroughly enjoy this album,
which abounds in keen, penetrating, even humorously
clever, creative moments, from a Summertime
abandoning its lullaby roots for a buoyant shuffle; an I
Should Care displaying the impressionistic harmonies
Evans pioneered, at a more scintillating than usual
tempo; a title tune that sings in alternating 3/4 and
4/4; and an original, Show-Type Tune, gently
tweaking and parodying the histrionic conventions of
Broadway musicals. Evans seemed to like Earl Zindars
title track so much that one of his originals, 34 Skidoo,
although more of a riff-swing piece, also features 3/4
time with a 4/4 bridge. That tune and two others are
heard twice with the inclusion of previously unreleased
alternate takes. The best one (both versions) is Dave
Brubecks In Your Own Sweet Way, played with
percussive yet singing verve at a fast heartbeat tempo,
Evans adding his own acerbic, dissonant touches to the
bridge to make it the most distinctive tune on this
superlative set.

Simon Toldam
one of the most
exciting musicians
and individual voices
of his generation.
Marek Lubner,
SoundsGreen.

Simon Toldam
a musician who
deserves to be heard
on the European stage

STORK
Bells of Sunday

Stuart Nicholson,
Jazzwise.

NEW ALBUM RELEASE (LP)

Simon ToLdAm orkeSTer
STORK BeLLS of SundAy
JacobAnderskov.dk
SimonToldam.com

No Sad Songs For Me

Carol Fredette (Soundbrush)
by Alex Henderson

Dark or melancholy songs have played a prominent

role in vocal jazz, exciting everyone from Billie Holiday

to Jimmy Scott. Carol Fredette, a veteran whose first
album was released in 1984, has performed her share
over the years. But on No Sad Songs For Me, the Bronx
native goes out of her way to avoid unhappy lyrics and
maintain an optimistic mood. And she does so with a
heavy emphasis on Tin Pan Alley, bringing her warm,
subtle phrasing to familiar standards such as Jerome
Kerns Long Ago and Far Away, Irving Berlins The
Best Thing for You and Harry Warrens This Is
Always. Whether she is turning her attention to Hugh
Martin-Timothy Grays Youd Better Love Me or
Sammy Cahn-Jimmy Van Heusens To Love and Be
Loved, Fredette is careful to avoid anything that
would detract from her stated theme.

Brazilian music has long been a part of Fredettes
repertoire and she moves away from the albums Great
American Songbook orientation with Antonio Carlos
Jobims Double Rainbow, aka Chovendo na
Roseira, which finds her singing in Portuguese. The
Howard Dietz-Arthur Schwartz standard Dancing in
the Dark works well with a bossa nova beat. Fredette
is joined by a supportive team of musicians who help
her deliver a consistent album that is relaxed but still
swings (including, among others, bassist David Finck,
saxophonist David Mann, pianist Andy Ezrin,
trumpeter Tony Kadleck, trombonist Michael Davis
and drummer Kevin Winard). Finck, who also
produced the album, has been working with Fredette
since appearing on her debut 30 years ago.

Although Fredette is a fixture on the New York
City jazz scene, she has a relatively small discography
so its good to see her adding to her catalogue. She is in
fine form on the thoughtful No Sad Songs For Me.
For more information, visit soundbrush.com. Fredette is at
Iridium Jul. 1st. See Calendar.

Zrich Concert
Ingrid Laubrock Octet (Intakt)
by David R. Adler

This is an expanded ensemble effort from saxophonist

Ingrid Laubrock, but the players from her Sleepthief
trio (pianist Liam Noble and drummer Tom Rainey)
are tucked away inside the octet. The date starts on a
high ethereal plane with the brief Glasses but then
forges ahead with a set of longer and far more detailed
pieces, alive with the timbral possibilities provided by
guitarist Mary Halvorson, trumpeter Tom Arthurs,
accordionist Ted Reichman, cellist Ben Davis and
bassist Drew Gress.
Laubrock aims to balance complex written
material with flowing and volatile improvisation and
the result is impeccable. Reichman is prominent on

Novemberdoodle, his lonely melodic lines assuming

new shapes as the band fills out the unraveling
harmony and subtle counterpoint. Rainey doubles on
xylophoneat times it sounds more like marimba
and adds still more textural elements. Halvorsons solo
feature comes at the beginning of Chant, which goes
on to highlight Gress and Davis in startling bowed
unison passages. The abstract lyrical interplay of piano
and cello toward the end is a highlight of the set.
Its on Chant that Laubrock steps forward
decisively on tenor sax and she remains very present
on Matrix, inviting spirited dialogue with Arthurs
breathy and unsettled trumpet. Reichman and
Halvorson have their own deep duo moment as well
toward the conclusion. But if theres a centerpiece of
Zrich Concert its the nearly 20-minute-long
Nightbus. It starts with solo piano, rubato Mingusian discords from the band, a brief taste of the
fascinating
Laubrock-Rainey
duo,
beautifully
conceived sectional counterpoint emerging in layer
after layer and then a tightly grooving Rainey solo that
opens another new section. Soon Noble is off with a
fiercely burning trio interlude with Gress and Rainey.
Laubrocks unison writing in this section is astonishing:
Tim Berne-like in its difficulty and angular motion but
distinctively hers, down to the last lightning chamber
figure that surges up to end the piece.

tracks, like Turrentines Minor Chant, have a more

modern jazz feel while others, such as Ivory Joe
Hunter s I Almost Lost My Mind, are firmly rooted
in traditional New Orleans jazz. The Smith-meetssecond-line vibe reaches into the stratosphere on
Organ Grinder Swing, with Handy, Koehler and
Chertkoff all turning in blazing solos, while a rowdy
reworking of Muddy Waters Mojo Workin may
sum up the albums spirit the best, mixing together
modern jazz, down-home blues and even a touch of
Zydeco into a tasty roux.
For more information, visit okeh-records.com. This project
is at Dizzys Club Jul. 2nd-3rd. See Calendar.

For more information, visit intaktrec.ch. Laubrock is at Barbs

Jul. 2nd, 23rd with Max Johnson and 30th, WhyNot Jazz Room
Jul. 6th with Andrew Drury, The Jazz Gallery Jul. 25th and
Clemente Soto Velez Cultural Center Jul. 28th. See Calendar.

RECOMMENDED
NEW RELEASES
Eponymous
Craig Handy & 2nd Line Smith (OKeh)
by Joel Roberts

V eteran

postbop tenor saxophonist Craig Handys

career has included stints in the bands of Herbie
Hancock and Wynton Marsalis, as well as in one of the
last editions of Art Blakey and the Jazz Messengers. He
also played the role of Coleman Hawkins in Robert
Altmans jazz-themed 1996 film Kansas City and
performed music on The Cosby Show. But he hasnt had
an album as a leader in 14 years, until this, his new
release on the revived OKeh label.

The name of the band states Handys intentions
quite clearly. The Smith referred to is organ master
Jimmy and the second line is the traditional brass-band
parade music of New Orleans. Having observed that
some of Smiths most well-known tunes used updated
second-line rhythms, Handy decided to explore the
idea of setting Smiths music to a Crescent City beat,
albeit one with a decidedly modern twist.
Along with Handys poised, but hard-hitting
tenor saxophone (hes also heard on soprano and alto),
his stellar group includes Kyle Koehler on Hammond
B-3 and Matt Chertkoff on guitar, who together hold
down the soul-jazz side of the proceedings, while
Clark Gaytons sousaphone and a trio of New Orleans
drummers (Herlin Riley, Jason Marsalis and Ali
Jackson) provide the second-line element. Vocalist Dee
Dee Bridgewater, blues guitarist Clarence Spady and
trumpeter Wynton Marsalis also make guest
appearances.

The result is a rollicking, boisterous set of 10 tunes
written by or associated with Smith (High Heel
Sneakers, Mellow Mood), as well as contemporaries
like Stanley Turrentine and Wes Montgomery. Some

20 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Oran Etkin - Gathering Light (Motma)

Rob Garcia 4 - The Passion of Color (BJU)
Frank Lacy & The Smalls Legacy Band Live at Smalls (smallsLIVE)
Mark Alban Lotz - Solo Flutes (LopLop)
Ulf Wakenius - Momento Magico (ACT)
Mark Weinstein - Latin Jazz Underground
(ZoHo)
David R. Adler, New York@Night Columnist
Patrick Bebelaar/Herbert Joos/Gnter Lenz
- Book of Family Affairs (HGBS)
Jacques Coursil (with Alan Silva) FreeJazzArt (Sessions for Bill Dixon)
(Rogue Art)
Azar Lawrence - The Seeker (Sunnyside)
Saxophone Summit - Visitation (ArtistShare)
Signal Problems - Eponymous (pfMentum)
Jessica Williams - With Love (Origin)
Laurence Donohue-Greene
Managing Editor, The New York City Jazz Record
Rodrigo Amado Motion Trio/Peter Evans Live in Lisbon (NoBusiness)
Jean Louis - Uranus (Coax Records)
Azar Lawrence - The Seeker (Sunnyside)
Period - 2 (Publc Eyesore)
Bob Stewart Connections - Mind the Gap
(Sunnyside)
Various Artists - Creative Music Studio:
Archive Selections Vol. 1 (Innova)
Andrey Henkin
Editorial Director, The New York City Jazz Record

Book of Three: Continuum (2012)

Taylor Ho Bynum/John Hbert/Gerald Cleaver
(Relative Pitch)
by John Sharpe

Trios figure large in the output of the New York Citybased imprint Relative Pitch, but few can be both as
enthralling yet, on the face of it, unassuming as Book
of Three. Comprising a triumvirate of seasoned
improvisers in cornet player Taylor Ho Bynum, bassist
John Hbert and drummer Gerald Cleaver, the bands
sophomore outing matches well up to the standard set
by their eponymous 2011 disc on RogueArt. While the
first featured a wholly original program, this time out
they offer a mix of covers, group improvisations and
one original in a 56-minute studio session.
However, its easy to miss the compositional
elements as they cunningly blend charts and
extemporization until it becomes impossible to
separate them and it is so gloriously done that it
doesnt matter anyway. While Bynum usually carries
the melody, imbued with a seen-it-all-before-but-stillhopeful lyricism, they remain nonetheless an
egalitarian collective at heart. Hbert moves astutely
between vamp and nuanced commentary, as evidenced
on Jim Hobbs eastern flavored Aware of Vacuity
while Cleaver confirms himself a master in the art of
carving out a place for rhythmic detail amid open
settings yet not shutting down options for exploration.

Close attention reveals Bynum reveling in liquid
flutters and whistles atop the loose-limbed swing of
fellow cornet player Bobby Bradfords Comin On,
then later echoing erstwhile employer Bill Dixons
painterly smears in a breathy high register during the
choppy group effort Journal Square Complications.
Cohesion is a given, demonstrated nowhere better than
in the jostling interplay between bass and drums
introducing Cleaver s Henry, a melancholy ballad
line, reprised in a low key exposition after the
atmospheric sustain of closer Precoda. Like their
debut, this excellent set demands repeated listening,
divulging more understated treasures on each pass.
For more information, visit relativepitchrecords.com. Hbert is
at Smalls Jul. 2nd with Jeff Williams, Village Vanguard Jul.
15th-20th with Fred Hersch and Clemente Soto Velez Cultural
Jul. 30th. Bynum is at The Stone Jul. 12th. Cleaver is at Cornelia
Street Caf Jul. 10th-12th with Mario Pavone. See Calendar.

Standard Deviation
Ralph Bowen (Posi-Tone)
by Ken Dryden

Ralph Bowen was drawn to music early, studying

piano, clarinet and finally tenor saxophone in his
youth and already playing professionally by the age of
13. He began to make his mark in the late 80s with Out
of the Blue, an all-star group of young lions, which
made several recordings for Blue Note. After the group
disbanded, he appeared on CDs by various bandmates

like Ralph Peterson, Renee Rosnes and Kenny Garrett.

Since then he has worked with Benny Carter, Hank
Jones, Kenny Barron, Jon Faddis and the Maria
Schneider Jazz Orchestra, to name just a few.

Standard Deviation is Bowens tenth CD as a leader
and fifth for Posi-tone. The saxophonist interprets
eight timeless standards, each with a fresh approach,
ably supported by pianist Bill OConnell, bassist Kenny
Davis and drummer Donald Edwards.

His expressive detour from the usual paths makes
up the centerpiece to his setting of Isnt It Romantic
while OConnells strident, intricate solo marks a
veteran soloist also worthy of greater recognition. Stan
Getz may have set the standard for tenor players who
tackle Yesterdays, but Bowen gets points for
originality with his choppy rendition (arranged by
OConnell), which begins in the midst of the famous
theme. You Dont Know What Love Is has always
been an emotional ballad and everything comes
together perfectly in this brilliant scoring by the
pianist: Bowens almost vocal-like solo; OConnells
thoughtful backing; and superb work by Davis and
Edwards in the background. Spring is Here is full of
surprising moments, opening with a tense vamp, a
brief partial theme statement by the leader, then a
sudden shift to feature both OConnell and Davis at
length. No calculations are needed to determine that
Standard Deviation is a rewarding record date.
For more information, visit posi-tone.com. Bowen is at
Smalls Jul. 3rd as a leader and 18th with Bob DeVos. See
Calendar.

Sisters Where
Jolle Landre/Nicole Mitchell (RogueArt)
by Clifford Allen

While

one might initially think the duet pairing of

contrabass and flute an odd one, sounds find a natural
balance between contrasts of wood and metal or breath
and body. The instrumentation on Sisters Where does
have a historyin 20th century performance the work
of bassist Bertram Turetzky and his wife, flutist Nancy
Turetzky, looms large. There are also the weighty
improvised pairings of Polish bassist Jacek Bednarek
and flutist Krzysztof Zgraja. While contemporary
literature might be a good place to start with this
captivating program of duets between French bassist
Jolle Landre and California-via-Chicago flutist
Nicole Mitchell, theres a lot more to this set than
categories. A formidable improviser, in addition to her
bow and forearms, Landres palette is abetted by her
voice in alto cries and expressionist laments that grant
harmonic minefields a poetically human quality.

She and Mitchell first worked together in 2009 in a
trio with Canadian drummer Dylan van der Schyff, the
fruits of which were released as Before After (RogueArt).
However, no additional motor is needed on these six
improvisations,
wherein
Mitchells
expanded
technique of hummed and blown, often circularbreathed, multiphonics sidestep and are intertwined
with Landres flitting masses. By the time Sisters on
Mercury emerges at around 15 minutes, what was
initially a fascinating study in dialogue becomes a
clearly shared language and, while stemming from
planetary fire, the pair tinder a slow shared burn before
popping and snapping with pizzicato thwacks and
percussive, non-lyric vocal spatter. The following
Sisters on Mars enters with cracking lumber, Landre

worrying the neck as bedrock to Mitchells eliding

flights before erupting in bluesy arco surges and
hymnal vocal exhortations, supporting transverse
purrs and polyhedral accents. Sisters on Saturn is
unified through the beguiling color of complementary
harmonics, but it is the throaty, droning pulse that
Landre metes out in graduated viciousness that
moves their improvisation towards the stratosphere.
Recorded in a small, salon-like environment before a
live audience, Sisters Where is a raw and honest
document of six extraordinary conversations.
For more information, visit web.roguart.com. Mitchell is at
The Stone Jul. 3rd with Geri Allen. See Calendar.

UNEARTHED GEM

Toronto 1947
Illinois Jacquet/Leo Parker (Uptown)
by Ken Dryden

Illinois Jacquet became known for his rousing tenor

saxophone solo in Lionel Hamptons signature
version of Flyin Home, considered to be one of
the earliest R&B sax solos, though he made many
equally valuable records under his own name.
Jacquet, who died a decade ago this month, remained
a potent soloist throughout his career, serving a stint
with Count Basie and becoming a part of the Jazz at
the Philharmonic touring allstars. His early years as
a leader havent been widely documented on
recordings, so the discovery of this previously
unissued concert of a 1947 show adds to his legacy.
His band at the time included his older brother
Russell and Joe Newman on trumpets (the latter
taking most of the solos), baritone saxophonist Leo
Parker (in his only known live recording), pianist Sir
Charles Thompson, bassist Al Lucas and drummer
Shadow Wilson. The music is a blend of swing, bop
and a foreshadowing of rhythm and blues.

An enthusiastic crowd is audible throughout
this concert and it seems likely that there was
dancing in the aisles as well. The sound is more than
acceptable for a vintage live recording and Bob
Porters extensive liner notes provide plenty of
background. Jacquet wows the crowd from the very
start with a spirited take on his theme song, Bottoms
Up. The saxophonists jump tune Music Hall Beat
features the leader, Newmans swing-flavored
trumpet, a rousing effort by Parker (in a rare
opportunity to hear him in an extended solo in front
of an audience) and then the very underrated (and
still active) Thompson. Jacquet has no problem
making Body and Soul his own with a rhapsodic,
hard-blowing interpretation, complete with an
extended coda. The Jacquet brothers penned the
whimsical blues Throw It Out of Your Mind Baby,
showcasing a rare vocal by Russell, with Newmans
sassy muted trumpet backing him. Jacquet and
Thompsons Robbins Nest would become a jazz
standard; this foot-patting version has the rhythmic
pacing of Basie while Thompsons intricate solo is
frequently interrupted by screaming. This CD is a
valuable addition to Jacquets discography.
For more information, visit uptownrecords.net. A Jacquet
tribute is at Damrosch Park Jul. 12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JULY 2014

21

GLOBE UNITY:CZECH REPUBLIC

The Chase
David White Jazz Orchestra (Mister Shepherd)
by Donald Elfman
European Jazz Trio
Jiri Stivin/Gerd Dudek/Ali Haurand (Konnex)
Through the Mirror
Lubo Soukup Ensemble (Animal Music)
Reina De La Pileta
Wanderlust Meets Simon Milman
(Queen of the Swimming Pool)
by Tom Greenland

The Czech Republic has been fecund ground for the

mixing and melding of folk and classical musical
traditions, yielding a steady crop of highly trained
and creative musicians.

Jiri Stivin, born and still based in Prague, is
astonishingly adept at a whole range of recorders,
flutes, clarinets, saxophones and even folk whistles.
In the European Jazz Trio, an offshoot of German
bassist Ali Haurands long-standing European Jazz
Ensemble (EJE), he joins Haurand and German
saxophonist Gerd Dudek, like Haurand an EJE
charter member. Cohesive interplay seems to be
second nature to these three veterans. Their
eponymous
debut
relies
on
the
elegant
improvisational architecture of its frontline. Most of
the tunes are Stivinsfolksy melodies over
standard changes. A consummate craftsman, his
delivery is never forced while Dudek displays an
equally tough but romantic aesthetic and Haurand
lopes along in a parallel time zone.

Lubo Soukup is a Czech saxophonist and
composer whos been living in Copenhagen,
Denmark since 2010. Through the Mirror presents an
expanded version of his quartet with German
pianist Christian Pabst, Swedish bassist Joel Illerhag
and Danish drummer Morten Hsum, now
augmented by four brass, two woodwinds and a
string quartet. Soukups tenor or soprano sax and
Pabsts piano provide most of the improvisational
interest, the extra players serving primarily to
thicken the texture, achieving Gil Evans-like effects
through widely spaced voicings and unusual
percussion. The mood shifts between rhythm-andbluesy backbeats (some in odd meters), symphonic
episodes, Afrobeats in 6/8 time and even an intimate
canon performed by the strings.

Trumpeter Miroslav Bukovsky, though born in
Czechoslovakia, fled his country following the
Soviet invasion to arrive in Australia in 1968.
Wanderlust, the Sydney-based band he founded,
has maintained an active and influential presence
since 1991. On Reina De La Pileta they team up with
bassist/composer Simon Milman (who also records
hiphop under the alter ego Coolio Desgracias) for a
set of what might be called high-concept party
music. Youve heard the groovesreggae, bossa,
AfroCuban, swing, flamenco palmas (clapping)
but here theyre filtered through the twin trumpet
frontline of Bukovsky and James Greening (mainly
heard on trombone), backed by Jeremy Sawkins
not-so-predictable guitar, Alister Spences prepared
piano and Fabian Hevias pliant percussion.
For more information, visit konnex-records.de,
animalmusic.cz and welargeproductions.bandcamp.com

O rchestral color and the unexpected are the key notes

of trombonist/bandleader David Whites new album.
The band bursts forth immediately with Mister
Shepherds Misadventures, saxophones wailing a
theme over the brass section. Saxophonist Sam Dillon
digs in for a hot solo accompanied by the pointed jabs
of the rhythm section and sings on through several
choruses, soon complemented by smart accents from
the band. Those accents continue over a fiery solo by
trumpeter Miki Hirose. The end of the tune comes as a
true surprise, the band disappearing and the rhythm
section left to riff the basic rhythm to a simple but
satisfying end. In one five-minute track, White has
utilized the power of the full band, the textures of the
sections and that approach that never quite lets on
exactly where its going.

White gives himself only one solo feature, but its
a beauty. Persistence, is, the composer has noted,
inspired by Steve Reichs Music for 18 Musicians. Its a
repeated, rhythmic groove over which darkly pitched
saxophones and then the whole band play apposite
figures. Whites playing is forceful and insistent and as
it moves forward the orchestra comes back with more
of that rich palette just before and then during the
impassioned wailing of alto saxophonist Andrew
Gould, who is also featured on The Shakedown, a
funky, danceable 24-bar composition with a perpetuum
mobile feeling. Hes joined by trombonist Dan Reitz
for another potent and to-the-point solo. Theres a
beautiful ode in Whites Sally Draper Blues, a moody,
12-bar blues, dedicated to a character on the popular
TV show Mad Men, Whites favorite. The melody is
attractively sinuous and insinuating, with Rick Parker,
yet another trombonist, taking the first solo. Its burly
and raucous but perfectly in keeping with the color of
this piece as a whole. Omar Daniels, on alto, follows
suit and takes us for a ride that leaves us breathless
and longing for more. There are two other White
originals here, both of which add to the sterling
repertoire that White has created with a vital big
orchestra.
For more information, visit davidwhitejazz.com. This project is
at Saint Peters Jul. 9th and Tea Lounge Jul. 28th. See Calendar.

engagement with the Jazz Messengers, which ended

prematurely with the drummer s death in 1990. That
gave Davis his start and he has since backed up other
luminaries like Freddie Hubbard and Benny Golson.
The trombonist picks up a number of McLeans
protgs on his latest album, among them pianist Larry
Willis, bassist Nat Reeves and tenor saxophonist
Abraham Burton. Young drummer Billy Williams
rounds out the group and adds much stylistic flare.

Davis is a standard-bearer of jazz history, a willful
student whose compositions swing unequivocally. For
Real presents eight such compositions by Davis and
one by Willis. The trombonist manages to cover a wide
range of the jazz lexicon, from the melodious subtlety
of the ballad Days Gone By to Tactics, a breakneck
barnburner in which Williams serves as chief
provocateur and a fiery soloist. Here improvisation is
key and the blues-based vamping on the title track
provides a nice canvas on which Burton and Willis
stroke impassioned layers of color.

As for compositions, Davis manages to extract
every ounce of harmonic richness from the trombone/
tenor saxophone dynamic. On I Found You, Davis
and Burton beautifully weave in and out of one
another s lines, before joining in warm swells.
Midtempo numbers like Angies Groove are
particularly pleasing. Blues On Blues finds the group
settling into a dulcet simmering, Reeves providing
deep tonal coziness, coloring the edges while Burton
and Davis again contribute powerful solos. Davis slick
compositions have a cool, lingering quality and with a
group of this caliber For Real is an excellent listen.
For more information, visit posi-tone.com. Davis is at Blue Note
Jul. 8th-13th with Dizzy Gillespie All Star Big Band and Dizzys
Club Jul. 31st-Aug. 3rd with Willie Jones III. See Calendar.

July 1st
Gary Morgan & Panamericana
July 15th
Mike Longo Trio honors
Miles Davis
July 22nd
Rosemary George and Group
July 29th
Warren Smith and the
Composers Workshop
Orchestra

For Real
Steve Davis (Posi-Tone)
by Robert Milburn

Trombonist

Steve Davis continues to bear the torch

left by bop saxophonist Jackie McLean. Davis is a
faculty member at The Hartt School of the University
of Hartford, where McLean taught for many years and
helped foster the careers of Davis and many other
up-and-coming jazz musicians. It was McLean who
introduced Davis to Art Blakey, beginning a one-year

22 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

New York Bahai 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

Heart of the Sun

William Hooker (Engine)
by Brad Cohan

Drummer William Hooker and dearly departed

trumpeter/flutist Roy Campbell skirt the fringes of
out jazz by fusing it with the staunch ethos of
underground rock. Radiation, Hooker s transcendental
record from 1994, was released via Homestead Records,
an independent label that featured primarily rock acts.
Meanwhile, Campbell was a crucial presence in the
early days of AUM Fidelity Records, where owner
Steven Joerg took the sensibilities of Homestead (he
put out Radiation while working there) and made his
passion for jazz and its outliers AUMs focus.

Years later, the paths of these two ever-prolific and
unfettered forces have crossed yet again, this time with
David Soldier and his trove of instruments (violin,
banjo and guitar) in tow for the stunningly eclectic
Heart of the Sun, recorded at Brooklyns Roulette. Alas,
this recording would be Campbells last before his
untimely death earlier this year.

Longtime cohorts and kindred spirits, Hooker and
Campbell are magical conversationalists of a singular
hybrid of post-jazz, Americana and improvisational
technique. Campbells soaring trumpet is the first epic
salvo heard on opener Reflector of Truth, presenting

a player in possession of a bevy of trailblazing sounds.

The near ten-minute tour de force is simultaneously
combustible in its swiftness as rapid-fire and
polyrhythmic beats converge with spastic bebop
gyrations yet poignant in its calmer moments when
subtle violin slows down the pace, bringing it to
exhilarating levels with striking, expressive tones.

While Hooker is the groups leader, piloting the
trio with his trademark stockpile of ecstatic beat
intricacies and death-blow punctures, cymbal bangs,
delicate strokes and rubs, majestic sweeps and brushes,
Heart of the Sun is an anomalous jazz beast accentuated
by the unique instrumentation of Campbell and
Soldier. The array exudes colorful flavors of bluegrass,
folk, blues and country, not the normal sounds of a
Hooker release but one he organically delves into
without a hitch. Standouts include the aforementioned
Reflector of Truth and Snowflakes, where banjo
strumming and finger picking converge with gorgeous
flute-driven musings, conjuring images of a back
porch-styled improv session. As Campbell and Soldier
bring star-worthy performances to eight marathon
tunes, Hooker steers the ship with fierce invention.
For more information, visit engine-studios.com. Hooker is
at The Stone Jul. 10th. See Calendar.

Street Songs
Mario Pavone (Playscape)
by Robert Iannapollo

Bassist Mario Pavone got his start as a member of Paul

Bleys late 60s trio and Bill Dixons groups of the 70s80s, both very particular about the caliber of their bass
players so that should give an indication of Pavones
abilities. But its his own material, recorded for Alacra,
Knitting Factory and Playscape, where one really gets
to hear an exceptional bassist, forward-looking group
leader and composer of great skill.

Street Songs continues that tradition. Pavone has
always gravitated toward unusual ensembles,
preferring sextets and septets, which gives his music a
greater expanse. But the big difference here is the
accordion player Adam Matlock. The impetus was
Pavones memories of growing up in Connecticut
among Italian and Portuguese neighbors where that
instrument was king. But the music here is anything
but nostalgic. Its bristling, intelligent modern jazz in
the tradition of Pavones previous albums.

Pavone is ably assisted by frequent collaborators
familiar with his aesthetic: trumpeter Dave Ballou
(who also arranged two tracks), pianist Peter Madsen,
who adds his characteristic mainstream/modern
approach, and drummer Steve Johns, deftly
maneuvering his way through the complex rhythms.
Pavone also adds second bassist Carl Testa to give the
music even more texture in the lower end.

The program consists of old and new. Mythos is
repurposed for this ensemble, a slightly slower tempo
and the presence of accordion giving the piece a
completely different flavor. The newer material
contains Pavones characteristic skewed rhythms, taut,
lean lines and complex group interplay. One could
pick up virtually any Pavone disc and be assured of an
excellent listening experience. But this is one of the
finest and most unique in his discography.
For more information, visit playscape-recordings.com.
Pavone is at Cornelia Street Caf Jul. 10th-12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JULY 2014

23

Outside The Line

Peter Brendler (Posi-Tone)
by Tom Conrad

Outside the Line is Peter Brendler s debut as a leader. It

reveals him to be an authoritative bassist and a
promising composer. But there is bigger news here.
Brendler has assembled a most improbable quartet.
The frontline is trumpeter Peter Evans and tenor
saxophonist Rich Perry. The former is an eclectic avant
garde extremist known for lunacy and chops, the latter
a modern mainstream tenor player, given to
minimalism and subtlety. It works. This juxtaposition
of two intriguing dissimilar sensibilities benefits both.
In the presence of Evans, Perry floats free, his ideas
gliding across new open terrain, his sense of form
graceful as always but less symmetrical. In the presence
of Perry, Evans is driven toward jagged, cathartic
lyricism.

On Pharmacology, Perry comes out of Brendler s
twisting melody with a glancing solo. Like all Perry
solos, it dances on air, but it also sweeps and veers.
When Evans enters, his response to Perry sounds
rational but quickly derails and plunges off the edge of
the song. Some pieces start slow as dirges but develop
inner turmoil, like The Darkness and Indelible
Mark. Within both, Evans spatters rarefied designs.
Even on tunes that stay quiet and rapt, like Blackout
Reunion, there is an underlying tension. It comes
from the listener s awareness that Evans might blow
the song to hell at any moment.

The common ground where these four minds meet
is wit. Walk on the Wild Side is deadpan. It is high
entertainment to hear Evans and Perry have their way
with Lou Reeds obsessive little shuffle-step, busting it
all up while Brendler and drummer Vinnie Sperrazza
hold the line. Like everything on the album, it is funny
and serious. The full potential of this ensemble emerges
on Una Muy Bonita. Over Brendler s dark, widely
spaced prompts, Perry takes perhaps his most farflung solo on record. Evans, lashed into double time by
Brendler, fires wildly, volley after volley. It is like a
new millennium sequel to the song, encompassing
over a half-century of difficult human experience since
Ornette Coleman wrote it.
For more information, visit posi-tone.com. This project is at
ShapeShifter Lab Jul. 15th. See Calendar.

im.pro.vise = never before seen

Sean Jones (MACK Avenue)
by Terrell Holmes

Sean Jones is celebrating a decade with Mack Avenue

Records, a milestone defined by talent, consistency

and commitment. His new release displays a
challenging approach to harmony and a burgeoning
sophistication as a trumpeter and composer. His highenergy quartet has pianist Orrin Evans, bassist Luques
Curtis and drummer Obed Calvaire.

Moving on is an element of maturation that Jones
acknowledges with 60th & Broadway, a fond
remembrance of his days as a member of the Lincoln
Center Jazz Orchestra. This song is representative of
the other supple workouts on the album like the
mercurial Interior Motive, New Journey and
Evans Dont Fall Off the L.E.J.. I Dont Give A
Damn Blues swaggers with an attitude that smirks at
its circumstances and shoves them aside. As a balladeer
Jones is peerless, putting his honey smooth tonality
and poignant phrasing on Morning After, smoky
and sensual Well Meet Under the Stars and lovely
trumpet/piano duet Not While Im Around.

The standard How High the Moon is given a
non-standard reading. Playing muted, Jones and the
quartet deconstruct the song by using a minor key and
stretching it beyond its usual chordal and melodic
boundaries. Jones version of Jackie McLeans Dr.
Jekyll is a perfect structural and stylistic tribute to
mid-to-late 60s Miles Davis, who played the tune on
his album Milestones. Jones comes in about a third of
the way through, delivers jagged flurries of notes in
fits and starts and doesnt state the theme until the
end.
Dark Times is a masterpiece, a passionate
Sunday morning sermon. The rhythm section provides
the sound of a congregations anticipatory murmuring
before Jones testifies with anguished blasts of shrieking
high notes tempered/alternated with penitent low
moaning. Evans picks up his thoughts and confirms
their truth with exclamatory block chords, leading to
some good old call-and-response between trumpet and
piano.

Jones excellence speaks for itself but its the
rhythm section that takes this album to the next level.
Evans, Curtis and Calvaire dont merely comp behind
Jones to mark time before their own solos. They play
with considerable freedom, making their own
statements, which frequently stimulate Jones thinking
and open up new harmonic avenues for him to explore.
Groupthink is usually a negative term but not where
this group is concerned, which is why this album will
find its way onto many best of the year lists.
For more information, visit mackavenue.com. This project is
at Jazz Standard Jul. 17th-20th. See Calendar.

The Invention of Animals

John Lurie National Orchestra (Amulet)
by Kurt Gottschalk

J ohn Luries three-piece National Orchestra wasnt

even intended to happen. The alto/soprano
saxophonist and two percussionists from the 90s
edition of his Lounge Lizards (Billy Martin and Calvin
Weston) got together to work on new material and in
short order discovered that they had a viable, unusual
band on their hands.

What might have been most exciting about that
new bandevidenced at the time by their sole release,
1993s Men With Stickswas that it made undeniable
what a great saxophonist Lurie (who has since retired
from music and now dedicates himself to painting)
really was. The Lounge Lizards was a cool band. Way
cool. They dressed sharp and played danceably
eccentric music. In the bands later years, their
following grew as a result of Lurie being cast in movies.
Cool movies. But enough attention was given to their
image while lumping them in with No Wave or labeling

24 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

them punk jazz (two shoes that never really fit them)
that how actually sophisticated the music was seemed
often to be overlooked. And even more often
overlooked was the fact that the bands leader had an
unusual and very articulate saxophone style. Lurie
maintained a cool in his playing, too. In jazz lingo that
means West Coast but his playing was very New
York in its wide and exploratory reach. It was just
never frenzied. It was, well, cool.

The Invention of Animals (released on vinyl in
January and now available on CD and digital
download) pairs a track from the long out-of-print Men
With Sticks and four recordings the trio did for Luries
TV series Fishing With John (also available on a 1998
soundtrack album) with two previously unreleased
tracks: I Came to Visit for a While was recorded at
Thread Waxing Space in New York City in 1993 while
the nearly 20-minute title track was recorded the
following year in Greece.

The live tracks arent merely tacked on; they
represent nearly two thirds of the playing time and the
fidelity makes them worthy of issue beyond mere
archival purposes. And the music itself is not quite like
anything else. It seems ritualistic, animalistic, maybe
slightly savage but not exactly dangerous. It is certainly
evocative of something. Beyond Luries talents as a
saxophonist, composer and painter, the man has a way
with words. The titles he gives his tracks do a good job
of abstractly evoking the unusual music. Included
here, for example, are both Ignore the Beast and
Ignore the Giant, titles that seem like detached
fantasies, like calm in the face of strangeness. Like,
cool.
For more information, visit amuletrecords.com. Billy Martin
and Calvin Weston are at The Stone Jul. 22nd. See Calendar.

N e w

J e r s e y

P e r f o r m i n g

A r t s

C e n t e r
_____________________________

Jazz and Soul with

Fantasia, Philip Bailey,

Jos James and
the Christian
McBride Big Band
Thursday, November 13 at 8pm

Chris Botti

Emanuel, When I Fall in

Love and more!
Friday, November 14 at 8pm

Dorthaans Place
Jazz Brunches
at NICO Kitchen + Bar
Brick City Jazz Orchestra
with special guest Stefon Harris
Sun, Nov 9 at 11am & 1pm
Vanessa Rubin & Her Trio
Sun, Nov 16 at 11am & 1pm
_____________________________
NJMEA All-State Jazz Ensemble
Fri, Nov 14 at 7pm
Michael Franks
with special guest Raul Midn
Sat, Nov 15 at 5pm & 8pm
Sarah Vaughan International Jazz
Vocal Competition
SASSY Awards
Sun, Nov 16 at 3pm

Visit sarahvaughancompetition.com for details

TD Moody Jazz Encores!

Bla Fleck

November 916

Pat Metheny Unity Group

Bruce Hornsby
with Sonny Emory
Campfire Tour 2014

Christian McBride
Keith Jarrett, Gary Peacock
with Bla Fleck & Brooklyn Rider & Jack DeJohnette
Sat, Nov 22 at 8pm
Sun, Nov 30 at 8pm

Fri, Aug 8 at 8pm

For tickets and full schedule visit njpac.org or call 1-888-GO-NJPAC

9.5x6_jazzrecordad_july.indd 1

One Center Street, Newark, NJ

5/29/14 9:31 AM

SUMMER 2014

SPECIAL SELECTIONS
from

NAXOS OF AMERICA

JAZZ
&

NEW MUSIC PARTNERS

Red Mitchell | What I Am
Red Mitchell is one of the most
innovative bassists on the jazz scene.
The discovery of his artistic versatility
may come as a surprise, especially
for those that already think they know
him. On this album, done in Reds
very own personal way, he introduces
himself as not just a bass virtuoso but
also a pianist, composer, lyric-writer
and singer. What I am is one of Reds
most personal albums, recorded 1978
and now available for the first time in
digital formats.
CAPRICE

CD: CAP21833 7391782218336

New Better Spring Band

The New Better Spring Band is a
dynamic septet of young musicians
from Helsinki, Finland. This all-acoustic
bands sound is big and full, they utilize
rather adventurous backing vocals and
play bright, catchy melodies underneath touching lyrics. On this, their debut album, all the songs were penned
by the bands leader, Aili Jrvel.

SIBA

CD: SRCD-1013 6430037170157

Sibelius-Akatemian Folk Big Band | FBB

Sibelius Academy Folk Big Band is a
40-plus member big band of Finnish
folk musicians. Every member of this
unique band is a composer, arranger,
multi-instrumentalist and soloist, not
to mention an integral part of the
band. The band performs without a
director or sheet music, communicating
dynamically with one another in
each musical situation, with rhythm,
interpretation and improvisation. They
perform traditional folk songs as well
as original compositions, including
many of their own.
SIBA

CD: SRCD-1012 6430037170133

The Prisoner
Max Johnson (NoBusiness)
by Ken Waxman

This CD has a lot more going for it than appeal to 60s

cult TV fans. Inspired by the British TV show starring
Patrick McGoohan, the drama expressed by bassist
Max Johnson, saxophonist Ingrid Laubrock, violist Mat
Maneri and drummer Tomas Fujiwara relates to
musical not visual challengestheres no reason to
know that McGoohans character was called No. 6, or
his nemesis No. 2, to appreciate the interpretations.

Johnsons scope in working out his musical ideas
is demonstrated on tracks named for less prominent
characters. No. 12 Schizoid Man/Gemini is
particularly commanding, its mercurial structure as
unpredictable as a schizophrenics moods. Beginning
and ending with scrapping string abrasiveness and
Laubrocks shrills in dog-whistle register, the middle
section is pastorally unthreatening as a violin, cello
and flute chamber piece with measured drumbeats.
The concluding viola/saxophone call-and-response
fittingly arranges the stiletto sharpness of the two into
proper context. No. 48 Living in Harmony relies on a
walking bassline to regularize what is initially a
contrapuntal face-off between harsh viola spiccato and
altissimo sax squeals. With the bass part strengthened
by confident drum thumps, Maneris multi-string
emphasis and Laubrocks shaking vibrations eventually
join the others for a satisfying finale.

With a good director s pacing, Johnson allows the
closing No. 2 Once Upon a Time / No. 1 Fallout to
recapture some of the suites previous highlights
before building up to a climactic finale. After Laubrock
and Maneri outline the theme in different tempos,
Fujiwara, like a character actor hitherto content to
remain in the background, moves to center stage with
a solo thats swinging without being flashy. His martial
percussion climax is the scene changer, leading to a
near Appalachian fiddle feature from Maneri and some
strained reed textures from Laubrock. The entire
bands multiphonic crescendo then subsides into a
proper conclusion.

Johnson has created a fitting salute with this disc.
More importantly, hes put the emphasis on first-rate
music rather than the concept.
For more information, visit nobusinessrecords.com. This
project is at Barbs Jul. 23rd. See Calendar.

Girma Yifrashewa | Love and Peace

Unseen Worlds is proud to present
critically lauded Ethiopian composer
and torchbearer of African pianism
Girma Yifrashewas international debut
release, Love and Peace. Yifrashewas highly personalized approach
to the piano likens him to Ethiopian
composer Emahoy Tsege Mariam (b.
1923), while his use of Ethiopian pentatonic scale within the Western Art
Music format places his compositions
in conversation with more academically
minded work. Traditionally Ethiopian in
melody, cinematic in vision, and deep
in beauty, his compositions occupy a
lyrical middle ground between classical
and jazz that is supremely listenable
yet defies easy classification.
DISTRIBUTED BY

UNSEEN WORLDS

CD: UW13CD 728028332360 lp: UW13LP 728028332377

available at : fasdlfkjdaflshalsdkhfldaksnvl

roughly a year apart, when he was 81 and 82,

respectively (he is now 86). While he cherishes the
freedom of the moment, Konitz confines his playing
largely to standards and self-penned and appropriated
contrafacts of standards hes been playing since the
middle of the last century. His intimate familiarity
with those tunes makes his improvisations less of a
tightrope act than they appear to be and yet mightily
impressive in that he rarely repeats himself.

Standards Live, true to its title, consists of six Great
American Songbook tunes while First Meeting mixes in
jazz standards like Billies Bounce and Giant Steps
as well as Subconscious Lee, Konitz intricate,
boppish contrafact of What Is This Thing Called
Love?. The only overlap is Stella By Starlight. Not
only is the repertoire more expansive on First Meeting,
it also finds Konitz on soprano sax on three of eight
tracks and the trio of pianist Dan Tepfer, bassist
Michael Janisch and drummer Jeff Williams is more
unpredictable than the trio Minsarah (German pianist
Florian Weber, American bassist Jeff Denson and Israeli
drummer Ziv Ravitz) on Standards Live.

While Konitz tone and timbre sometimes falter on
the Vanguard date, his ideas remain creative, if at times
a bit maundering. Minsarah is a subtle and empathetic
trio, interacting fluidly with Konitz. But he at times
sounds frail, some notes bleating away and, except for
a Just Friends surprisingly referencing Charlie
Parker, the standards here can all be found in more
fulfilling versions on other Konitz recordings.

The first thing that hits you on Billies Bounce,
the opening track of First Meeting, is the provocative
nature of the trio, challenging Konitz with a fusillade
of rhythmic and chordal textures and clangor. Williams
stirs up whirlwinds on his kit, coaxing Konitz into
Ornette-like ravenous bluesy lines. Stella by
Starlight, begun as an alto and bass duet on Standards
Live, begins here with unaccompanied piano, alto
entering with a piercing tone at the bridge, developing
a solo over busy piano and agitated, quasi-suspended
rhythms, which morph into rolling drums before a
ruminative alto slows things down and is joined by
bowed bass and tinkling piano in a rubato coda.
Konitz lush-toned soprano work is a highlight of the
album, featured on a suave All the Things You Are
with just bass and drums, an interactive duet with
Tepfer s piano on Body and Soul and a long Alone
Together fluidly unfolding from opening bass cadenza
through piano and sax to a supple coda from Konitz
and Williams brushes. Compared to Standards Live,
Konitz seems more energized and engaged on First
Meeting and the ensemble more adventurous.
For more information, visit jazzrecords.com/enja/ and
whirlwindrecordings.com. Konitz is at The Jazz Gallery Jul.
31st. See Calendar.

Molly Ryan

Swing Era
Songbird

UPCOMING NYC Schedule

Standards Live
First Meeting
(At The Village Vanguard) Lee Konitz/Dan Tepfer/
Lee Konitz
Michael Janisch/Jeff
(Enja)
Williams (Whirlwind)
by George Kanzler

Lee Konitz believes in spontaneity, preferring to

perform improvised sets with little or no rehearsal.
Thats how the octogenarian alto saxophonist is heard
on these two albums, recorded live at jazz clubs

26 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

July 4th Liberty Belle Spectacular Empire Hotel

www.libertybelleextravaganza.com
July 5th Midsummer Night Swing Lincoln Center
www.midsummernightswing.org
July 29th The Iridium
live web broadcast & prize drawing
www.iridium.com

for Performances, Bookings

& Recordings, visit mollyryan.com

Broadway Bongos and Mr. B/ Dont Worry Bout Me

Billy Eckstine (Sepia)
by Marcia Hillman

F or the 100th anniversary of Billy Eckstines birthday

(Jul. 8th), Sepia Records has reissued Broadway, Bongos
and Mr. B, an album recorded in March 1961, and a
collection of songs under the title of Dont Worry Bout
Me, recorded as 45rpm singles in 1961-62.

Eckstine, with dozens of hit singles to his credit,
had one of the most distinctive sounds of his time: a
bass-baritone vocal range, perfect diction and
innovative phrasing; Eckstine was also proficient on
trumpet and valve trombone. He started as the leader
of his own band in 1944, which at different times had
personnel such as Dizzy Gillespie, Charlie Parker,
Miles Davis, Dexter Gordon, Art Blakey, Fats Navarro
and Sarah Vaughan. But it is his solo career as a vocalist
for which he is most remembered.

Broadway Bongos and Mr. B features Eckstine
accompanied by Hal Mooney and his Orchestra in a
12-track collection of familiar songs from Broadway
musicals. Things start off with a rousing interpretation
of From This Moment On, in an arrangement that
has Eckstines sonorous tones sailing over a big band
sound with blaring trumpets. The high energy does not
diminish as he goes through his paces with songs in all
different kinds of Latin rhythms, bongos prominent.

Dont Worry Bout Me contains Great American
Songbook goodies. Because of the focus on producing
45rpm singles in that era of the recording industry,
none of the tracks are longer than three minutes and
twenty-four seconds with most of them below the
three-minute range. These include It Isnt Fair,
which was a big Eckstine single hit, a sensitive reading
of Mel Torms original Stranger In Town and
Eckstines composition I Want To Talk About You.
Bobby Tucker and His Orchestra accompany him and
the arrangements sometimes contain a string section
and background singers. Two bonus tracks complete
this package: I Apologize and My Foolish Heart,
both million sellers for Mr. B.

Grab this CD if you want some of the best from the
Great American Songbook played by swinging big
bands and sung by a legend whose voice still causes
visceral meltdown after all of these decades.
For more information, visit sepiarecords.com

Keeper of the Flame

George Lewis (Storyville)
by Stuart Broomer

N ot to be confused with George Lewis the eminent

avant garde trombonist and composer, George Lewis

the clarinetist is nestled at the opposite end of jazz
history, its New Orleans beginnings. Born 114 years
ago this month, Lewis first achieved some measure of
attention in the early 40s. Enthusiasts seeking the
origins of jazz discovered trumpeter Bunk Johnson,

purportedly born in 1879, just two years after Buddy

Bolden, the legendary founder of jazz with whom he
may have played. Johnson was touted as an exemplar
of the true jazz, becoming a point of contention
between modernists and moldy figs in the first of the
jazz wars. The younger and more vigorous George
Lewis was at Johnsons side.

When Johnson retired in 1948, Lewis assumed
leadership of the veteran band, becoming the
figurehead of the New Orleans revival and eventually
touring the world. Today his memory is kept largely by
a cult of musicians and fans devoted so exclusively to
the minutiae of early jazz that they resemble Civil War
reenactors. Insofar as it keeps Lewis from a larger
audience, thats a shame, as anyone listening to him
will soon notice. Beyond Lewis richly grained, woody
sound, his flowing runs and soaring wail, his clarinet
sounds like a pure conduit for spirit and emotion, for
joy, sorrow and devotion. His associate, trombonist Jim
Robinson, has an expressive power and nuanced
mastery of tone and pitch that is just as compelling.

It is jazz as it first grew out of the wedding of
blues, gospel, ragtime and brass bands, music that in
the 40s-50s must have sounded much like it had 30
years before, though it had acquired new pop tunes
and was itself influenced by early jazz records. Jazz
had changed by the time King Oliver, Louis Armstrong
and Jelly Roll Morton first recorded, the music evolving
rapidly as it moved to the Northern metropolises and
found the new venues that made them stars. Lewis
music is closer to the original community spiritless
virtuosic and less solo-oriented. His band picks up a
hymn or a rag and it becomes a pulsing contrapuntal
wail within moments, a kind of jazz ideal that resonates
to this day.

This eight-CD set, collecting all of the Lewis
recordings issued on the Danish Storyville label, is
focused intensely on a brief period in his career, with
seven of the CDs recorded between October
1953-December 1954. With just an occasional
substitution, the band is usually the one Lewis
inherited from Johnson, with Robinson and other
masters of the mature New Orleans idiom: pianist
Alton Purnell, banjo player Lawrence Marrero, bassist
Alcide Slow Drag Pavageau and drummer Joe
Watkins. Avery Kid Howard usually plays trumpet.

The set is a window on Lewis expanding world,
as he took his music to very different audiences. The
first two CDs present a complete concert at Ohio State
University, with the band including the colleges
anthem and an instructive funeral medley compressing
the journey to and from the cemetery. Discs 4, 7 and 8
are all radio broadcasts from a long-running
engagement at San Franciscos Club Hangover,
exuberant performances with guest appearances by
blues singer Lizzie Miles, propelled by an enthusiastic
announcer and a boisterous crowd. The hymns and
blues are less apparent in this repertoire and there are
plenty of hoary pop tunes like Alexander s Ragtime
Band and Darktown Strutters Ball mixed with the
masterpieces of early jazz composed by Oliver,
Armstrong, Morton and Kid Ory.

The best performances, though, come from shorter
recording sessions, whether with or without an
audience. CD 3 is divided between recordings from
Bakersfield and New Orleans made just three weeks
apart in Spring 1954. At the Bakersfield performance,
Tin Roof Blues moves at a perfect medium-slow
tempo, with Howards trumpet alive with a burred and
raucous insinuation while Lewis brings a kind of droll
pleading and Robinsons trombone slide seems to bend
pitch towards dreamtime; as the blues get deeper,
Lawrence Marreros banjo tremolo becomes the lead
voice, almost suggesting a zither. The New Orleans
session is particularly serene, with Lewis and Robinson
playing with a different band of Crescent City
musicians that includes trumpeter Percy Humphrey,
drummer Paul Barbarin and guitarist Johnny St. Cyr (a

veteran of the early Oliver and Armstrong bands). CD

5, another New Orleans session with the regular band,
minus Robinson, has Lewis in a particularly effusive
mood, peppering tunes with elegant, florid runs.

The one recording that falls outside the sets
otherwise narrow time frame is CD 6. Lewis is heard in
Copenhagen in 1959 with Papa Bues Viking Jazzmen,
demonstrating the remarkable spread of the New
Orleans revival. Led by trombonist Arne Bue Jensen,
the Danish musicians play the style with skill and
excitement, tempering their enthusiasm with the same
sense of reverence that marks Lewis own performance.
For more information, visit storyvillerecords.com

THE QUIET FIGHT

CD RELEASE CONCERT
Tuesday, July 1st
Cornelia St. Cafe
8:30 PM
www.laurenfallsmusic.com
www.corneliastreetcafe.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014

27

Manhattan Moonrise
Microscopic Septet (Cuneiform)
by Tom Greenland

AZAR LAWRENCE
THE SEEKER
Featuring

NICHOLAS PAYTON trumpet

BENITO GONZALEZ piano
ESSIET OKON ESSIET bass
JEFF TAIN WATTS drums

SSC 1392 / in stores July 8

Azar Lawrence stands apart from his peers with

his searing, passionate saxophone sound and
brilliant compositional style. His new live
recording, THE SEEKER, will stand as an important milestone in the ever-fascinating musical
journey that Lawrence has taken to create healing music for the world.

DENNY ZEITLIN
STAIRWAY TO THE STARS
Featuring

BUSTER WILLIAMS bass

MATT WILSON drums

SSC 1380 / in stores July 8

If you were first exposed to The Microscopic Septet via

NPRs Fresh Air with Terry Gross radio theme song, you
may have been equally struck by the commercial
potential of so-called serious music. On Manhattan
Moonrise, the groups seventh recording in their 35-year
career, third since a 2008 relaunch after an eight-year
hiatus, this same ability to deliver deep-content art
music with a strong sense of humor and swing has not
abated. Composers and co-leaders soprano saxophonist
Phillip Johnston and pianist Joel Forrester unearthed
previously unrecorded charts like Hang It on a Line
and No Time, as well as freshly penned or rearranged
material like Occupy Your Life and Obeying the
Chemicals. Retaining five of the original crew,
including baritone saxophonist David Sewelson,
bassist David Hofstra, drummer Richard Dworkin,
along with two other well-seasoned members, alto
saxophonist Don Davis and tenor saxophonist Mike
Hashim, the group plays with the familiarity and
familiality once common to the heavily-touring big
bands of the Swing Era. Indeed, it is amazing how this
four-saxophone section compiled of markedly
idiosyncratic soloists can blend together so seamlessly.
Drawing on various roots styles, the program veers
from the bouncy minor swing of When You Get in
Over Your Head, cowboy lope of the title track, hardfunking Obeying the Chemicals and Hang It On a
Line and gospel-inflected Star Turn to the coolschool You Got That Right. But the album is more
than a retrospective of jazzified Americana: it is a
revitalization of these roots in the spirit of discovery.

Last month, the Micros hosted a two-set record
release party at Smalls during which they played every
chart on the CD, plus four arrangements of Thelonious
Monk tunes (We See, Pannonica, Brilliant
Corners and Off Minor) from their previous album
Friday the 13th. Live, the group is even zanier and more
rambunctious than their records might suggest,
sparked by acting emcee Johnstons waggish repartee,
Forrester s outlandish comping and a friendly rivalry
among the horn players to impress each other with
outrageous musical behavior. Johnston and Forrester
made lively dialogue on A Snapshot of the Soul,
everyone seemed inspired, but Davis seemed to be
having a particularly great night, soloing with aplomb
on Star Turn and Lets Coolerate One, which also
featured a fine turn by Sewelson.
For more information, visit cuneiformrecords.com

STAIRWAY TO THE STARS is a fantastic example of the melding of three talented individuals
into an astoundingly effective ensemble. Denny
Zeitlin, Buster Williams and Matt Wilson compose a true musical powerhouse, though their
music presents its strength with subtlety and
taste rather than bombast.

iTunes.com/AzarLawrence
iTunes.com/DennyZeitlin
sunnysiderecords.com

Inch by Inch
Yard Byard: The Jaki Byard Project (GM)
by Fred Bouchard

J aki Byard, pianist in bands as diverse as those of

Charles Mingus (1960-65) and Maynard Ferguson

28 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

(1959-62), became a Boston legend for his work

teaching at New England Conservatory (NEC). Yard
Byard, active participants in New Yorks jazz scene,
were steeped in Byards neo-Conservatorial glow:
flutist Jamie Baum, guitarist Jerome Harris and
drummer George Schuller studied and/or worked
with Byard at NEC and schoolmate/multi-reed player
Adam Kolker worked with Byard-anointed pianist
Fred Hersch. They playfully gloss through Byards
neglected pantheon of pieces, teasing out elements of
dry humor, free-wheeling eclecticism and startling
lines. These congenial, intimate settings encompass the
Byard model of combining good-natured wrangling
with meticulous craftsmanshipthe add-a-bar jostle
of Twelve, the jabbing staggered entries of
Dolphyall accomplished with lan and fresh
voicings in a cozy chamber ambiance.

In genial waltzes to Byards daughter Toni, wife
Louise (Gaeta) and mom (Garr), Yard Byard
reaches for the composer s romantic expansiveness
without sentimentality, eliciting rich solos for flute,
bass clarinet and Ugonna Okegwos bass. Strong
statements from tenor saxophone and drums, on the
title track and passim, remind us that its a team effort:
as Byard once remarked prefacing a Blindfold Test,
Heck! Were all stars! Baum pens charts capturing
Jaki-esque dazzle (St. Marks Place Among the
Sewers) and Kolker double-takes classics, going sassy
Latin on Aluminum Baby (spotlighting first the bass,
then insinuating alto flute) and nailing a hot clarinet
spot on Strolling Along before inserting a stop-time
showstopper. Yard Byard explores sensuous currents
of counterpoint and fugal teapot-tempests that would
have set Byards eyes a-bug and hair-tufts aflutter.
For more information, visit gmrecordings.com

Explorations in Sound and Time

Jamey Haddad/Lenny White/Mark Sherman (Chesky)
by Ken Micallef

Theres something of the Saturday night high school

band concert in these 11 tracks performed by

percussionist Jamey Haddad, drummer Lenny White
and percussionist/vibraphonist Mark Sherman.
Recorded to Chesky Records typically high standards
at the Hirsch Center for the Performing Arts (formerly
St. Elias Church) in Brooklyn, the music resonates with
a bold presence and immediacy not often heard on live
recordings. Perhaps its that you are there quality that
summons dormant memories of childhood concerts
that fostered an early fascination of all things musical,
and hence, magical.

Performing completely improvised music, these
three masters flow with an organized sense of space,
rhythm and melody that is spectacular. Along with
Whites drums and cymbals, Haddad and Sherman
perform on djembe, Balinese nipple gongs, hadjira and
kanjira, Arabic riq, three tympani, wind gong, tamtam, Cooperman tar drums and a vacuum hose. But
you never once during the proceedings think, Oh my,
listen to the dust flowing off that Moroccan Broom.
The sound of the collective instruments is so integrated,
so in-sync and so naturally melodic, its more like the
atmosphere one senses when sitting alone in a jungle
or a forest, surrounded by the symphony of nature.
And thats no exaggeration. Theres a serene sense of
pacing, of ebb and flow, of dynamic continuity as
natural listening to a river.

Stank opens the CD with a dancing second-line
groove from White, over which Sherman bends melodic
pitches on tympani and Haddad elicits a rhythmic call
from some ratchet-producing instrument. Its groove
city. Wood and Metal retreats into the rain forest,
gentle tapping, a yawning vocal sound and clicks and
clacks creating a virtual nature panorama. The Wind
floats gently from small bells, cooing crescendos and
icebell-like harmonics. The trio creates fiery sounds on
Rhythm, the assorted banging, clanging and driving
beats creating a windswept gallop reminiscent of
Santanas Abraxas as if performed by Gary Burton and
a band of miniature Kodo drummers.
For more information, visit chesky.com

A Boy Named Charlie Brown

Vince Guaraldi Trio (Fantasy-Concord)
by Suzanne Lorge

F antasy Records released the soundtrack album for

the TV documentary A Boy Named Charlie Brown 50
years ago this year. The documentarya profile of
artist Charles Schultznever aired, but its soundtrack,
Jazz Impressions of A Boy Named Charlie Brown,
established pianist Vince Guaraldi as a contemporary
jazz composer with enormous popular appeal. The
following year Guaraldi used some tracks from that

recording for A Charlie Brown Christmas, the perennial

hit cartoon that has introduced many new generations
to the cool, clean, happy lines of West Coast jazz. This
year Concord released the first digitally mastered
version of Guaraldis 1964 album, renamed simply A
Boy Named Charlie Brown and its as happy as ever
(despite its namesakes proclivities).

The rerelease contains all of the tunes from the
original, the most recognizable being the bouncy,
danceable Linus and Lucy (sometimes mistakenly
called The Peanuts Theme). What you hear on this
newly mastered tune and what you might miss if you
hear it only as background music for the Peanuts
characters antics, is the relentless bassline in Guaraldis
left hand against the block harmonies in his right.
(Monty Budwig, bassist for the recording, doesnt seem
to play on this track.) You might also miss Guaraldis
delightfully concise improvisations, the driving tempo
of the shaker and the well-timed strike on the cowbell
at the end (courtesy of drummer Colin Bailey). Its
sophisticated stuff for a childrens cartoon and therein
lies its brilliance.

The disc also contains two tunes not on the
original. An impressionistic version of Fly Me To The
Moon shows off Guaraldis chops as an interpreter of
both lyrical romantic melodies and bebop. And the
alternate take of Baseball Theme is lighter, breezier
and almost a full minute and a half shorter than the
version that made it onto the original recording.
Listening to these bonus tracks its hard for those of us
who first heard Guaraldis music in the Peanuts
cartoons to accept that he might have experimented
with his compositions. The Peanuts charactersand
Guaraldis musicexist in that fantastical childhood
world where at the flick of a switch dogs fly planes,
adults dont speak and the cheerful melodies never
change. Its a nice place to revisit every once in awhile.

impassioned poetry on religious and secular matters

gels nicely within the scope of Lewis concept.

The albums centerpiece is Wading Child in the
Motherless Water, an 11- minute tour de force that
melds two classic spirituals, Wade in the Water and
Sometimes I Feel Like a Motherless Child into a
powerful, original statement. Lewis makes less explicit
references to church music and melodies throughout
the album, but the power of his gospel roots is always
evident. His joining together of the sacred and the
cutting-edge is unique and compelling.
For more information, visit okeh-records.com. This project
is at Birdland Jul. 31st. See Calendar.
Available at CD Baby and iTunes

Anna Elizabeth Kendrick

Debut Album: In Out of The Rain

annaelizabethkendrick.com

For more information, visit concordmusicgroup.com

Divine Travels
James Brandon Lewis (OKeh)
by Joel Roberts

Rising star tenor saxophonist James Brandon Lewis

comes to the jazz avant garde via a different path than
most, having pursued a career in gospel music before
settling in New York, where hes since performed with
the likes of Charles Gayle, Marilyn Crispell and Jason
Kao Hwang. His music, as the title of his new CD
suggests, has a decidedly spiritual component while
also drawing on free jazz and postbop.

Divine Travels is Lewis second album as a leader
and it has the feel of a major release. Its a trio outing
placing Lewis in the deep end of the avant garde pool
with bassist William Parker and the drummer Gerald
Cleaver, two of the musics most formidable
improvisers (and over 30 and 20 years older,
respectively, than the leader). But Lewis is undaunted
by his heavyweight company and immediately
establishes that hes in firm control of the proceedings
on the opening Divine, a meditative modal tune that
recalls spiritually oriented late-Coltrane. While much
of the album has a contemplative quality, Lewis proves
that he can hold his own on more frantic numbers like
A Gathering of Souls. Tradition dials back some of
the free-jazz flourishes, moving closer to the sound of
Sonny Rollins and the bebop tradition. Two tracks
feature the spoken word of Thomas Sayers Ellis, whose
THE NEW YORK CITY JAZZ RECORD | JULY 2014

29

Chasing Tales
Stephen Gauci/Kirk Knuffke/Ken Filiano
(Relative Pitch)
by John Sharpe

Although the unusual instrumentation on Chasing

Tales arose almost by accident, it proved such a fertile
combination that an album was inevitable. Saxophonist
Stephen Gauci and bassist Ken Filiano share a
productive history but the addition of busy cornetplayer-about-town Kirk Knuffke completes a trio of
quick-witted
improvisers,
who
demonstrate
throughout five originals and eight collective pieces
that you dont need to go beyond conventional registers
to uncover untapped seams of invention.
By way of introduction, Gauci parades his
easygoing burly tenor saxophone, blending emphatic
motifs amid roller coaster lines in a limber double act
with Filianos nimble-fingered stylings, which fuse
melody with rhythmic attack on the opening Epee.
Thats followed by a similarly involved pairing of
cornet and bass at the outset of Ghosting, before
Gauci joins to inaugurate a spirited three-way
interaction. Its immediately obvious that as a group
they are fully formed, missing nothing, a feeling
confirmed by charts extracting maximum impact from
the resources at hand. Gaucis jauntily contrapuntal
Boogaloo constitutes one of the early highlights with
its vibrant interlocking parts.

But even within the tight arrangements there
exists ample space for individual expression. Knuffke
and Filiano enjoy a special rapport, as evinced by both
their mercurial exchange of half-valve splutters and
plosives and creaky bow work on Probing For Places
and subsequent reflective dialogue to close Speaking
Of You Gently. However, Filianos title track is the
standout piece, even among a consistently engaging
set, and he excels throughout, whether in the dramatic
contrast between his startling arco unisons with
Gaucis tenor and his full-toned pizzicato or his
concluding solo, which splices gravitas, and urgency.
For more information, visit relativepitchrecords.com. Gauci
is at Silvana Jul. 30th. Knuffke is at Cornelia Street Caf
Jul. 8th. Filiano is at The Commons Jul. 3rd, The Stone Jul.
9th with Ehran Elisha, 11th with BBMQ and WhyNot Jazz
Room Jul. 13th with Fay Victor. See Calendar.

too long. The most effective performance is easily the

stunning interpretation of Joe Zawinuls In a Silent
Way, with Liebmans exotic wood flute soaring over
the sitar cloud created by Delville, backed by Biancos
intriguing polyrhythms. Vocalist Saba Tewelde is added
for The Secret Place, which has an exotic air but is
hampered by its weak lyric. Inti is an intense affair that
bombards the listener throughout most of the session;
its clear that Liebman enjoyed himself but it wont
have as wide an appeal as the other two releases.
Blue Rose
John Stowell/Dave Liebman (Origin)
Ungrund
Gbor Gad Quartet (with Dave Liebman)
(Budapest Music Center)
Inti
Machine Mass (feat. Dave Liebman) (Moonjune)
by Ken Dryden

In 2013 Dave Liebman became the youngest individual

ever to be honored as an NEA Jazz Master. There are
several reasons: his brilliant work on soprano and
tenor saxophones and wood flute; formidable skills as
a composer and arranger; plus an incredible drive and
diverse musical interests.

Blue Rose is a reunion with nylon string guitarist
John Stowell, with whom he made a guest appearance
on the 2003 Origin CD The Banff Sessions. The chemistry
is perfect, as they intuitively interact like they were old
friends playing together on a regular basis. The title
track is a forgotten gem penned by Duke Ellington for
his album with vocalist Rosemary Clooney and the
two men soar in their modern setting with Liebman on
soprano. Stowells compelling solo introduction to
Billy Strayhorns Isfahan is well-disguised,
Liebmans rich tenor saxophone inviting comparison
to earlier masters like Ben Webster. Liebman throws in
a surprise by playing piano on Bill Evans haunting
ballad Time Remembered, capturing the essence of
its emotion, accompanied by spacious guitar. Liebman
returns to soprano for a sauntering, cheerful take of
Antonio Carlos Jobims Until Paisagem, the perfect
complement to Stowells inspired guitar. Effective use
of wood flute and tenor saxophone in Wayne Shorter s
Black Eyes, together with poignant guitar, make it a
memorable interpretation. The breadth of music
explored by Stowell and Liebman is only exceeded by
their fresh takes of these mostly well-known works.

Hungarian guitarist Gbor Gad added Liebman
as a guest with only a single afternoon of rehearsal
prior to recording Ungrund, full of the leaders tricky
compositions. This live session is more avant garde in
nature with numerous twists, Liebman playing both
soprano and tenor saxophone, along with tenor
saxophonist Matthieu Donarier, bassist Sbastien
Boisseau and drummer Joe Quitzke. Liebman dominates
the opening track, Friends Play, with his furious,
darting soprano, though Donarier does his best to keep
pace with his hard-charging tenor. Gads reworking of
impressionist composer Maurice Ravels Pavane pour
une infante dfunte (Pavane For a Dead Princess)
opens with his extended, abstract solo before Liebman
joins on soprano with Donariers superb harmonic
backing. Sanctus has an ominous air with angular
interaction between guitar and saxophones. Weltraum
has the flavor of a Baroque piece transformed into 21st
Century jazz, though Gad soon incorporates flamenco
and postbop into his modern vision of this centuriesold style in his dazzling solo.

Machine Mass consists of guitarist Michel Delville
(who also plays Roland GR09 and incorporates
electronics) and drummer/percussionist Tony Bianco,
who makes extensive use of loops. Liebman was game
to join the duo and had previously recorded with
Bianco. The challenge of listening to this session after
hearing the other releases is that the music sometimes
gets stuck in a rut, particularly when Liebman fades
from the foreground and the loops are held in place for

30 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

For more information, visit originarts.com, info.bmc.hu and

moonjune.com. Liebman is at Smalls Jul. 6th with Michael
Stephans and Birdland Jul. 29th-Aug. 2nd. See Calendar.

IN PRINT

Softly, with Feeling: Joe Wilder and

the Breaking of Barriers in American Music
Edward Berger (Temple University Press)
by Michael Steinman

Trumpeter Joe Wilder (Feb. 22, 1922-May 9, 2014)

was admired and loved as musician and man. The

new and aptly titled biography by Edward Berger
embodies Wilders deep gentle spirit, unlike many
new biographies that document and magnify their
subjects flaws. Berger and Wilder met in 1981 and
they worked on this book for nearly a decade.

The biography has three intertwining stories.
One is Wilders growth as a musician, from his
childhood in Pennsylvania to being one of the most
respected trumpet players in the world, working
with Lionel Hampton, Gunther Schuller, Louis
Armstrong, Count Basie, Duke Ellington, Billie
Holiday, Benny Goodman, Alec Wilder, Benny
Carter, Ernie Kovacs and a hundred more. In his
recollections of six decades as a professional
musician, we observe jazz changing from a popular
dance music played everywhere to a rarefied
phenomenon in clubs, parties and festivals.

The second strand is Wilders unheralded part
in the long struggle to have racial equality in the
United States. His stories (and Bergers careful
research) of discrimination and legalized abuse
personal and institutionalare painful. When we
reach 1980 in the book and it is evident that the
struggle is coming to a close, it is a relief.

And the third is a sweet chronicle of Wilder
himself, a delightful man: genuine, humble, witty,
compassionate, Mr. Social, as one of his daughters
calls him. He emerges as a remarkable person, who
would have been so if he had never played a note:
sensitive to injustice and ready to act against it, a
gracious and kind individual.

Bergers writing is worthy of his subject. The
biography makes one feel as if Wilder is close at
hand, fully realized. Bergers research is superb but
never obtrusive; his prose is understated yet
effective. The book offers rare photographs (Wilder
was also a fine photographer, seen in later decades
with at least two cameras when not playing) and a
discography full of surprises. Joe Wilder has been
wonderfully captured in these pages, a loving,
accurate portrait.
For more information, visit temple.edu/tempress

Heads Up!
Steve Fidyk (Posi-Tone)
by Terrell Holmes

Heads Up! is a robust mix of originals and popular

tunes honed to a fine point by drummer and composer
Steve Fidyk, whose first-call quintet is comprised of
tenor saxophonist Tim Warfield, trumpeter Terell
Stafford, guitarist Shawn Purcell and bassist Regan
Brough. Fidyk evinces a high reverence for the classic
style of jazz throughout this album, but what makes it
invigorating is that he does so without the slavish
fidelity to its structures that sometimes leads to empty
parroting.

The quintet soars on tunes like the pulsating bop
blueprint Untimely and strutting Last Nerve,
which Purcell peppers with flurries of single notes
accented with octaves; he later throws down some
bluesy, distorted rock-oriented lines on The FlipFlopper. Fidyk strips the band down to the essentials
of a drums/guitar/bass rhythm section on Might
This Be-Bop. And although the setup is reduced, the
music loses none of its vigor. Broughs propulsive bass
is more evident; he doesnt pluck as much as he
vocalizes, talks as he walks. Purcell, who wrote the
song, supplies some understated but elegant guitar
while Fidyks soft playing with his hands and brushes

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

underscores the minimalist mood.

The approach to ballads here is interesting for the
choice of songs used. In addition to Fidyks own lovely
T.T.J., he gives the upbeat and optimistic tunes
Make Someone Happy and I Can See Clearly Now
more measured, almost somber readings. Stafford is
the central voice here and he plays his muted trumpet
and flugelhorn with a flawless tonality, thoughtfulness
and expert phrasing that gives each song poignancy
without descending into sadness.
In the end, however, its the archetypes that guide
this album and its crown jewel is The Bender, a
burner whose richness and precision sounds like a
treasure snatched from the Blue Note vaults. The
quintets perfect execution on this tune gives it an
immediate feeling of timelessness. Fidyk reimagines
Love For Sale, Cole Porter s anthem to the
demimonde, as an edgy hybrid of hardbop and funk.
The band really stretches out on what is essentially a
jam session and has a blast picking it apart all the way
up to the last fading drumbeats.

Fidyk has appeared on many recordings but this
stellar Posi-Tone debut should solidify his spot as a
top-tier jazzman.

and turnarounds on the Gershwins Our Love Is Here

to Stay. The TV show audio tantalizingly suggests the
stage business and skits that we only hear, but vocally
features a full panoply of Staffords gifts in settings
ranging from duets with Weston and English singer
Tommy Johnson to the orchestral extravaganzawith
vocal chorusversion of St. Louis Blues. Highlights
include an insouciant Old Devil Moon, fast, perky
Tomorrow Mountain (a Duke Ellington tune), a
multi-tempo Ill Remember April and closing Ill Be
Seeing You, which is meltingly sentimental in the best
sense.
For more information, visit sepiarecords.com

ON SCREEN

For more information, visit posi-tone.com. Fidyk is at

Smalls Jul. 27th. See Calendar.
Live at Montreux 1972
Stan Getz Quartet (Eagle Eye)
by Alex Henderson

Live in London, 1959

Jo Stafford (Sepia)
by George Kanzler

F or much of her career, Jo Stafford, who died 6 years

ago this month at age 90, was a disembodied voice. By
1955 shed sold more recordings than any other female
singer, yet she rarely appeared in person, preferring
recording, radio and TV studios to live performances
almost all of them on theater stages, as she disliked
nightclubs.

And most of her live performances were for the
troops at USO canteen shows, during and immediately
after World War IIso much so that she earned the
sobriquet G.I. Jo. So this CD, the majority of it culled
from the audio portion of a British TV show, Val
Parnells Saturday Spectacular: The Jo Stafford Show, is a
rare opportunity to hear Stafford performing in fullblown stage shows.
Although she was THE most popular female
vocalist of the war years and following decade, Stafford
was also what today would be called a singers singer
or musicians musician. Like Frank Sinatra, her
closest male peer during her heyday and with whom
she shared a lifelong love of the Great American
Songbook, she was a consummate purveyor of ballads,
singing with perfect intonation, fluid legato ease and
an exquisite sense of melody and empathy for the,
often sentimental, message of the songs. Her influence
was vast, spanning jazz-pop singers from Rosemary
Clooney to Jane Monheit, as well as countrys Patsy
Cline and folk-pops Judy Collins. But her vocal
fluidity extended to swing and Latin tempos too, as
can be heard here.

The first four songs come from a Palladium concert
with The Skyrockets Orchestra and demonstrate her
command of varying tempos and moods. Husband
Paul Westons arrangements, especially of Anyplace I
Hang My Hat Is Home, are the equal of Nelson
Riddles charts for Sinatra and Staffords ability to
suggest little jazz liberties is evident on her melismas

The term fusion is seldom used in connection

with tenor saxophonist Stan Getz, best remembered
for his contributions to cool jazz and ethereal, Lester
Young-influenced lyricism. But in the early 70s,
Getz did, in fact, experiment with jazz-rock with
help from members of two of the top fusion bands of
the 70s. Filmed at the 1972 Montreux Jazz Festival
in Switzerland, this excellent DVD finds Getz
leading a fusion/postbop quartet that boasts Chick
Corea (electric keyboards and acoustic piano),
Stanley Clarke (acoustic bass) and Tony Williams
(drums), all of whom were on Getz 1972 Columbia
album Captain Marvel (recorded three months before
this concert and providing five of the tunes played
here). Corea, Clarke and Williams were all vital
contributors to fusionCorea, both with Miles
Davis and later with Clarke in Return to Forever;
Williams with his own group Lifetimeand they
bring plenty of rock muscle to Captain Marvel,
La Fiesta, Times Lie and Day Waves (all
Corea songs) while the approach is more
straightahead on inspired performances of Coreas
Windows, Billy Strayhorns Lush Life and
Benny Golsons I Remember Clifford. And even
though Clarke doesnt play any electric bass at
Montreux, his appreciation of rock and funk comes
through.

All that rock and funk energy brings out a more
aggressive side of Getz at times. Throughout much
of his career, Getz was the essence of subtlety and
understatement but on the flamenco-influenced La
Fiesta, his playing takes on a harder edge. Latin
influences, from Spanish to Brazilian to AfroCuban,
are plentiful on this DVD and that mutual
appreciation of Latin music is one of the reasons
why Getz and Corea got along so well musically
(Getz, of course, was one of the leaders of the early
60s bossa nova explosion).

Live at Montreux 1972 is a gem not only because
of the performances, but also because of the quality
of the sound and the picture. Eagle Rock
Entertainment obviously had a well-preserved print
to work with and this DVD is a fine document of
Getz brief but satisfying exploration of fusion.
For more information, visit eagle-rock.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014

31

BOXED SET

The Original Mono Recordings

Miles Davis (Columbia-Legacy)
by Brian Charette

Miles Davis had been lying low and without a

working band in 1955 when he made a surprise
appearance with Thelonious Monk and Zoot Sims at
the Newport Jazz Festival. In the audience that night
was George Avakian, the head of jazz at Columbia
Records. Blown away by Davis performance of
Round Midnight, Avakian immediately wanted to
sign Davis but was hesitant because of the
trumpeter s reputation for drugs and missing gigs.
After the two met again in New York, Avakian voiced
his concerns and Miles agreed to get a steady band
together and stay clean. The deal was sealed and so
began one of the greatest marriages of label and
artist in jazz history.

The first thing you will notice about this great
boxed set, which has the first nine albums Miles did
for Columbia, is the sexiness of the packaging. The
disc sleeves are made to look like small LPs with the
original liner notes on the back, albeit in smaller

type. The set is also remastered in the original mono.

Stereo recordings were not in fashion until the mid
60s, so this is how a listener would have originally
heard the music back when it first came out (without
the vinyl scratches, of course).

In comparing these remasters with the stereo
versions, the music has a more dry and direct sound.
The trumpet comes right out at you as if you were
standing right there. The castanets of Concierto De
Aranjuez on Sketches of Spain have a gentler, woody,
sound and drop away very dramatically to let the
solo trumpet cry. The larger ensemble albums with
Gil EvansMiles Ahead and Porgy and Bessalso
sound much different from their younger stereo
brothers. The horns are more homogenized because
nothing is panned left or right; low brass sounds
darker and the high reeds more shrill. Because most
of the compression used on the stereo versions has
been removed, dynamics are more dramatic. The
crescendos start from nothing, then explode.

The set begins with Round Midnight, the album
that codified Miles sound in the mid-late 50s:
clipped, muted, lyrical lines replacing the bebop he
played with Charlie Parker the decade before. The
tunes also have a dark, introspective vibe that seem
to be the personification of Miles quiet intensity. On
the title track, Harmon mute is used to state the
melody with a breathy tone and off-the-cuff riffs
before surprise full trumpet blasts cue John
Coltranes soulful entrance.

One of the best albums in the set is Milestones.
Tony Williams is rumored to have said that this is
the only album you need to listen to if you want to
play jazz drums. Philly Joe Jones is killing for sure.
The relentless swing feel he perpetuates creates an

edgy urgency that really locks the rhythm section

with the soloists. Also check out Davis piano playing
on the track Sids Ahead. There are a lot of rumors
swirling around what happened at the session that
day, but it seems there was some sort of beef between
Davis and Red Garland, which prompted the latter
to sit the tune out and let the former play an
unaccompanied trumpet solo and unusual piano
comping behind saxophonists Cannonball Adderley
and John Coltrane. Give a special listen to the single
tonic note Davis keeps playing in the beginning of
his chord comping. It sounds like hes trying to
figure out what key the tune is in.

A fast stomp off begins the album Miles and
Monk at Newport. This session is a little unusual in
the fact that the titular leaders dont actually play
together. Its basically a side of each of their groups
live (Miles portion comes from 1958). On Ah-LeuCha, the rhythm section sounds a little ragged at
the top but is soon swinging hard. You can really
hear Davis count off the tunes, get mad when he
blows a riff and snap his fingers during the drumless
bass solo on Straight No Chaser. We also get to
hear a young Bill Evans, still coming heavily from
Bud Powell at this point, turning in a beautifully
crafted bop solo.

The great packaging and sound of this collection
make it a must have for jazz aficionados. The
individual CDs have a great retro look and the nifty
program booklet has lots of great photos and little
anecdotes about the sessions. Miles Lives!
For more information, visit legacyrecordings.com. Miles
tributes are at NYC Bahai Center Jul. 15th and 92nd
Street Y Jul. 24th as part of Jazz in July. See Calendar.

Cobi Narita Presents

JUL 1

JUL 21

bucky pizzarelli quartet

string fever

marion cowings
vocal master class

with Ed Laub, Bernard Purdie, and

Jay Leonhart

J U L 2 2 2 3

marcus belgrave quintet

featuring joan belgrave

JUL 23

craig handy 2nd line slim

with Kyle Khoeler, Matt Chertkoff,

Clark Gayton, and Jerome Jennings

with Marion Hayden, Gayelynn

Mckinney, Ian Finkelstein, and
Marcus Elliott

J U L 4 1 0

J U L 2 4 2 7

club closed for maintenance

jon faddis quartet

J U L 1 1 1 2

JUL 28

russell malone

yotam silberstein

J U L 1 3 1 6

JUL 2930

igor butman and the moscow

jazz orchestra

tia fuller quartet

J U L 1 72 0

willie jones iii sextet

joe locke featuring

kenny washington

with Jim Ridl, Clarence Penn, and

Lorin Cohen

swing by tonight

set times
7:30pm & 9:30pm

J U L 3 1 AU G 3

with Eddie Henderson, Eric Reed,

Stacy Dillard, Steve Davis, and
Dezron Douglas

jalc.org / dizzys

Jazz at Lincoln Centers Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

32 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

EVERY FRIDAY
7:30 TO 10:30 PM
OPEN MIC/JAM SESSION
Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists,
Poets - hosted by Frank Owens, one of the most gifted pianists
you will ever hear!
Our Open Mic is one of the best of the Open Mics happening in
New York & elsewhere, with the incomparable Frank Owens
playing for you. An unmatchable moment in your life!
As a participant, or as an audience member, you will always have
an amazing time, one you will never forget!
Dont miss! Admission: $10

Coming in August!...
August 30th at Zebs - 8pm $20
Karen Taborn and Baano
223 W 28 St (bet 7th & 8th Aves), 2nd Fl. Walk-Up

Pearl Studios, 519 8th Ave, 12th Floor, Studio A

cobinarita.com

(INTERVIEW CONTINUED FROM PAGE 6)

in Katrina.

about one of the earliest figures in New Orleans jazz.

When Morton wrote it, he had first-hand knowledge of
what cornetist Buddy Bolden sounded like.

TNYCJR: When Fivin Around and The Village came

out, you were often described as postbop and compared
to McCoy Tyner or Cedar Walton. But when Windham
Hill released your Orleans Inspiration album in 1990,
people heard a different side of you and saw what you
could do with blues and soul. And you havent become
any less diverse since then.

HB: Not only that, but Jelly Roll was one of the first
people in jazz to actually commit a lot of this stuff to
paper. There were other pianists in that time who
didnt. Some of them were supposedly a little more
creative, a little more spontaneous than he was. But
they didnt commit anything to paper.
TNYCJR: Now that you are recording for Impulse
again, does Impulse plan to reissue either Fivin Around
or The Village?
HB: You know, I havent asked them about that.
TNYCJR: Theres still an enthusiastic audience for
your 80s recordings. A copy of Fivin Around was
recently selling on Amazon.com for $78.85.
HB: Several times, Ive seen people selling The Village
on vinyl for 80 or 90 bucks.
TNYCJR: Fivin Around and The Village were full of
horn players, but when you were living in Los Angeles
back then, you performed a lot of gigs with small piano
trios. And it was interesting to hear what Swing It or
My Coloring Book sounded like without horns. Is
there any chance that some recordings of those trio
gigs in L.A. will ever become commercially available?
HB: I had a lot of that stuff, but a lot of it I lost in
Hurricane Katrina. Im realizing how much stuff I lost

HB: Everybody I knew back in the 80s, the 90s, the

70s was eclectic. I knew there were some people who
were maybe a little narrower in their approaches, but
most of the people I met were buying a little bit of
everything.
TNYCJR: Youve lived in many different places other
than New Orleans over the yearsL.A., New York,
Illinois. Now youre living in Brooklyn. But wherever
you are, the New Orleans influence in your music
remains.
HB: Every time I reflect on New Orleans history, I
come away realizing how unique that town is. Its
probably one of the two or three most unique cities in
this country. In some ways, its probably the most
unique because it still has the flavors it started with
the Caribbean influences, the African influences. And
the music of New Orleans will always be with me. v
For more information, visit henrybutler.com. Henry ButlerSteven Bernstein and the Hot 9 are at The Cutting Room
Jul. 16th. See Calendar.
Recommended Listening:
Henry Butler - Fivin Around (Impulse-MCA, 1986)
Henry Butler - The Village (Impulse-MCA, 1987)
Henry Butler - For All Seasons (Atlantic, 1995)
Claude Fiddler Williams - Swingin The Blues
(Bullseye Blues/New Rounder, 1999)
Henry Butler - PiaNOLA Live
(Basin Street, mid 80s-2007)
Henry Butler/Steven Bernstein and The Hot 9 Vipers Drag (Impulse, 2013)

JA Z Z

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
OPEN JAM SESSION MONDAY NIGHTS $15 MINIMUM
8:00 PM - 11:30 PM HOSTED BY IRIS ORNIG
SOLO TUESDAYS IN JULY
8:00 PM - 11:00 PM $15 MINIMUM
YOUNG PIANIST SHOWCASE
JULY 1, 8, 15 & 22 - KEVIN HARRIS
JULY 29 - KYOKO OYOBE

WED. JULY 2

SABRINA SILVER QUARTET

SABRINA SILVER, BILLY TEST
YOSHI WAKI, CHARLES GOOLD
$15 COVER + $15 MINIMUM

THURS. JULY 3

JOE ALTERMAN TRIO

JOE ALTERMAN, JAMES CAMMACK, MATT WILSON

$15 COVER + $15 MINIMUM

FRI. JULY 4

HARRY ALLEN QUARTET

HARRY ALLEN, ROSSANO SPORTIELLO
JOEL FORBES, ALVIN ATKINSON
$30 COVER + $15 MINIMUM

SAT. JULY 5

DEE DANIELS QUARTET

DEE DANIELS, CARLTON HOLMES

PAUL BEAUDRY, DWAYNE COOK BROADNAX
$30 COVER + $15 MINIMUM

WED. JULY 9

JASON YEAGER QUARTET

JASON YEAGER, DANNY WELLER

MATT ROUSSEAU, SP. GUEST - AUBREY JOHNSON
$15 COVER + $15 MINIMUM

THURS. JULY 10

BRANDON WRIGHT QUARTET

BRANDON WRIGHT, DAVE KIKOSKI
ED HOWARD, OTIS BROWN III
$15 COVER + $15 MINIMUM

FRI. JULY 11

RONI BEN-HUR TRIO

BIRTHDAY BASH

RONI BEN-HUR, RAY DRUMMOND, LEROY WILLIAMS

$30 COVER + $15 MINIMUM

SAT. JULY 12

RONI BEN-HUR TRIO

BIRTHDAY BASH

RONI BEN-HUR, SANTI DEBRIANO, DUDUKA DA FONSECA

$30 COVER + $15 MINIMUM

WED. JULY 16

L YNETTE WASHINGTON &

DENNIS BELL JAZZ NY QUARTET

LYNETTE WASHINGTON, DENNIS BELL
DEZRON DOUGLAS, VICTOR JONES
$15 COVER + $15 MINIMUM

THURS. JULY 17

(LABEL CONTINUED FROM PAGE 12)

ROB RODRIGUEZ QUARTET

that nobody else was doing. As Fischer and Gary

Foster swap lines in the big band context and as Fischer
deftly weaves Rite of Spring references into Igors
myriad complexities, the clarity of detail and depth of
texture that define each IPI transfer allow each gesture
its own presence.

Up next is Horace Tapscotts 1969 offering, The
Giant is Awakened, in production as of this writing.
Horwich is unwilling to speculate on future projects,
but he has plenty to keep him busy. As welcome as his
justly lauded album facsimiles have been, they
constitute only a fraction of his contribution. Horwich
also records, masters and sells high-end audio
equipment, as well as having written some enlightening
articles on his Hyde Park Jazz site, which explain,
accessibly and with relevant examples, the musical
fundamentals of what makes a top-drawer jazz group
sound the way it does.

He has his hand in every aspect of the business,
guiding the music that has been so important to him
for over 50 years, fostering that excitement that imbues
every moment he spends discussing it. Oh yeah, this
is what keeps me going, makes me want to get out of
bed in the morning. I want everything I reissue to be of
the highest quality possible. His listeners are the
richer for his convictions. v
For more information, visit internationalphonographinc.com

ROB RODRIGUEZ, CHAD LEFKOWITZ-BROWN

JORGE ROEDER, LUDWIG AFONSO
$15 COVER + $15 MINIMUM

FRI. & SAT. JULY 18 & 19

PHIL GRENADIER QUARTET

PHIL GRENADIER, BILL MCHENRY
LARRY GRENADIER, BILL STEWART
$30 COVER + $15 MINIMUM

WED. JULY 23

LAINIE COOKE QUARTET

BIRTHDAY BASH

LAINIE COOKE, TEDD FIRTH

LUQUES CURTIS, RALPH PETERSON
$15 COVER + $15 MINIMUM

THURS. JULY 24

DANIELA
SCHAECHTER QUARTET
DANIELA SCHAECHTER, JOEL FRAHM
RUFUS REID, DONALD EDWARDS
$15 COVER + $15 MINIMUM

FRI. JULY 25

PAUL MEYERS/HELIO ALVES

BRAZILIAN PROJECT
PAUL MEYERS, HELIO ALVES
LEO TRAVERSA, VANDERLEI PEREIRA
$30 COVER + $15 MINIMUM

SAT. JULY 26

ALEXIS COLE QUARTET

ALEXIS COLE, JOHN DI MARTINO ,
DAVID FINCK, KENNY HASSLER
$30 COVER + $15 MINIMUM

WED. JULY 30

ART LANDE QUARTET

ART LANDE, BRUCE WILLIAMSON
DEAN JOHNSON, TONY MORENO
$15 COVER + $15 MINIMUM

THURS. JULY 31

PEGGY KING & THE ALL-STAR TRIO

PEGGY KING, ANDY KAHN
BRUCE KAMINSKY, BRUCE KLAUBER
$15 COVER + $15 MINIMUM

RESERVATIONS - 212-885-7119

VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork

www.kitano.com email: jazz@kitano.com 66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | JULY 2014

33

CALENDAR

Tuesday, July 1

A Benefit For Dave Valentin: Eddie Palmieri, Nicky Marrero and guests

Hostos Center 7:30 pm $25-175
Bucky Pizzarelli Quartet with Ed Laub, Jay Leonhart, Bernard Purdie

Dizzys Club 7:30, 9:30 pm $40
Jack Wilkins 70th Birthday Celebration with Andy McKee, Harvie S, Billy Drummond
and guests John Abercrombie, Howard Alden, Gene Bertoncini, Jimmy Bruno,
Larry Coryell, Joe Diorio, Vic Juris Jazz Standard 7:30, 9:30 pm $30
The Heath Brothers Quintet
Blue Note 8, 10:30 pm $35
Terri Lyne Carrington/Geri Allen The Stone 8, 10 pm $15
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Arturo OFarrill Auction Project with David Bixler, Victor Prieto

Birdland 8:30, 11 pm $40
Carol Fredette and Trio
Iridium 8, 10 pm $25
Gary Morgan and Panamericana NYC Bahai Center 8, 9:30 pm $15
Jack Jeffers and the New York Classics

Zinc Bar 8, 10 pm
New Dimensions in Latin Jazz: Francisco Mora-Catlett and AfroHORN

Mintons Playhouse 7 pm $10
Ari Hoenig with Tivon Pennicott, Eden Ladin, Noam Wiesenburg

Terraza 7 8 pm $7
Jon Irabagon Trio with Mark Anderson, Andreas Benito

Bar Next Door 8:30, 10:30 pm $12
Lauren Falls with Seamus Blake, Nir Felder, Can Olgun, Jon Challoner, Caleigh Drane,
Trevor Falls
Cornelia Street Caf 8:30 pm $10
Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti;
Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Theo Hill, Ameen Saleem,
Kush Abadey; Kyle Poole and Friends

Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am
Antonio Ciacca
Measure 8 pm
FUGU and Downtown Avengers ShapeShifter Lab 7, 8:15 pm
Ben Winkelman Trio with Sam Anning, Eric Doob

WhyNot Jazz Room 8 pm
Ed Rosenbergs Glue Gun Optimism with Justin Carroll, Simon Jermyn, Alex Wyatt and
guest Curtis Fowlkes; Hiroya Tsukamoto solo

Spectrum 7, 8:15 pm
People: Mary Halvorson, Kyle Forester, Kevin Shea; Child Abuse: Oran Canfield,
Luke Calzonetti, Tim Dahl; Weasel Walters Cellular Chaos; Angel of Retribution

Death By Audio 8 pm
Macha Gharibian
Rockwood Music Hall Stage 2 7 pm
Kevin Harris solo
Jazz at Kitano 8 pm
Alignment: Andrew Pereira, George Maher, James Collins, Jeff Dingler, Kevin Daly

Somethin Jazz Club 9 pm $12
Peter LaMalfa Trio
Tomi Jazz 8 pm
Steve Tarshis Trio; Outer Bodies Silvana 6, 8 pm
Gray Maps
Shrine 8 pm
Kyle Moffat Sextet; Afro Mantra The Garage 6, 10:30 pm
Nightingale Jazz Band
Caffe Vivaldi 9 pm
Junior Mance solo
Bryant Park 12:30 pm

Wednesday, July 2
Jon Weber

Metropolitan Room 7 pm $20

Romero Lubambo/Geri Allen

The Stone 8, 10 pm $15
Craig Handy 2nd Line Smith with Kyle Khoeler, Matt Chertkoff, Clark Gayton,

Jerome Jennings
Dizzys Club 7:30, 9:30 pm $35
Jamie Baum Septet with Russ Johnson, Douglas Yates, Chris Komer, Brad Shepik,
John Escreet, Francois Moutin, Jeff Hirshfield; Leni Stern African Trio with
Mamadou Ba, Alioune Faye
SubCulture 8 pm $20
Jeff Williams Sextet with Duane Eubanks, John OGallagher, Phil Robson,
Leo Genovese, John Hbert; Bob DeMeo Trio

Smalls 9:30 pm 12:30 am $20
Tardo Hammer Trio; Groover Trio; Ned Goold Jam

Fat Cat 7, 9 pm 12:30 am
Michal Attias Spun Tree with Ralph Alessi, Matt Mitchell, Sean Conly, Tom Rainey

Cornelia Street Caf 8:30 pm $10
David Chamberlains Band of Bones with Sam Burtis, Charley Gordon, Nate Mayland,
Matt McDonald, Chris Rinaman, Max Seigel, Dale Turk, Kenny Ascher, Jerry DeVore,
Mike Campenni, Eddie Montalvo, Kat Gang

Zinc Bar 9:30, 11:30 pm 12:30 am
Antonio Adolfo Quartet with Laura Dreyer, Paul Nowinski, Rafael Barata

Michiko Studios 7 pm $25
Wayne Wilentz and Rio/DC with David Jernigan, Roberto Berimbau and guests
Nanny Assis, Lyle Link, Thomaz de Castro

Iridium 8, 10 pm $25
James Cotton Blues Band
Jazz Standard 7:30, 9:30 pm $35
Champian Fulton Quintet
Smoke 7, 9, 10:30 pm
Sabrina Silver Quartet with Billy Test, Yoshi Waki, Charles Goold

Jazz at Kitano 8, 10 pm $15
Jason Lindners Super Future Griot with Panagiotis Andreou, Justin Tyson

Rockwood Music Hall Stage 2 10 pm
Christof Knoche, Thomas Heberer, Edward Johnson; Ingrid Laubrock,
Thomas Heberer, Max Johnson Barbs 7, 8 pm $10
Queens Jazz OverGround Jazz Jam

Flushing Town Hall 7 pm $10
Bastille Brioche: Nicolas Letman-Burtinovic, Christof Knoche, Carter Bales

Bar Chord 9 pm
Nu DLux
Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm
Alec Goldfarb Group with Vuyo Sotashe, James Collins, Jeffrey Dingler,
Gusten Rudolph; Elijah Jamal Balbed Quintet with Samir Moulay, Alex Brown,
Zach Brown, Mark Whitfield Jr.; Nicholas Biello 4 with Tim Basom, Leo Sherman,
John Suntken
Somethin Jazz Club 7, 9, 11 pm $10
Yako Izumi Trio; Hiroshi Uenohara Tomi Jazz 8 pm
Nick Videen
Shrine 8 pm
Yvonnick Prene Quartet; Joe Pino Quartet

The Garage 6, 10:30 pm
Secret Architecture: Fraser Campbell, Wade Ridenhour, Zach Mangan, Julian Smith;
Euan Burton and Occurrences with Adam Jackson, Tom Gibbs, Ari Hoenig

Caffe Vivaldi 9 pm
The Heath Brothers Quintet
Blue Note 8, 10:30 pm $35

Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Arturo OFarrill Auction Project with David Bixler, Victor Prieto

Birdland 8:30, 11 pm $40
Antonio Ciacca
Measure 8 pm
Eric Plaks Trio
Silvana 6 pm
Stephanie Nakasian, Hod OBrien, Veronica Swift OBrien

Saint Peters 1 pm $10
Junior Mance solo
Bryant Park 12:30 pm

Thursday, July 3
Charlie Hunter solo
Nicole Mitchell/Geri Allen
Sheila Jordan/Cameron Brown

Rockwood Music Hall Stage 3 9 pm $15

The Stone 8, 10 pm $15
Cornelia Street Caf 8:30 pm $15
Mentoring Series: Miguel Zenn and Mario Castro with Ricky Rodriguez, Henry Cole

The Jazz Gallery 9, 11 pm $15
Ralph Bowen with Jim Ridl, Kenny Davis, Donald Edwards; Carlos Abadie Quintet with
Joe Sucato, Peter Zak, Clovis Nicolas, Luca Santaniello

Smalls 9:30 pm 12:30 am $20
Asaf Yuria Grow Ahead Sextet; Saul Rubin Zebtet

Fat Cat 7, 10 pm
Richard Padron Quartet
Iridium 8, 10:30 pm $25
Marvin Sewell Group
David Rubenstein Atrium 7:30 pm
Joe Alterman Trio with James Cammack, Matt Wilson

Jazz at Kitano 8, 10 pm $15
Clovis Nicholas
Ginnys Supper Club 8:30 pm $15
Gregorio Uribe Big Band
Zinc Bar 9, 10:30 pm
Alex Brown Quartet
Terraza 7 8 pm $7
Ehud Ettun Trio with Donny McCaslin, Yoni Halevy

Bar Next Door 8:30, 10:30 pm $12
John OGallagher, Nicolas Letman-Burtonovic, Travis Reuter, Cody Brown;
John OGallagher, Johannes Weidenmueller, Mark Ferber

Spectrum 7:30 pm
Amy Cervini with Anat Cohen, Gary Versace, Matt Wilson

55Bar 7 pm
Chembo Corniel
Nuyorican Poets Caf 9:30 pm $10
Macha Gharibian Quartet
Ibeam Brooklyn 8:30 pm $10
Stringency: Ben Sutin, Nathan Kamal, Marta Bagratuni; Antonello Parisi Quartet with
Joe Porcelli, Livio Almeida, Jeremy Heuler, Piotr Pawlak

Somethin Jazz Club 7, 9 pm $10
Marco Di Gennaro Trio
Cleopatras Needle 7 pm
Ben Patterson Organ Trio; Dave Baron Trio

The Garage 6, 10:30 pm
Craig Handy 2nd Line Smith with Kyle Khoeler, Matt Chertkoff, Clark Gayton,
Jerome Jennings
Dizzys Club 7:30, 9:30 pm $35
James Cotton Blues Band
Jazz Standard 7:30, 9:30 pm $35
The Heath Brothers Quintet
Blue Note 8, 10:30 pm $35
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Arturo OFarrill Auction Project with David Bixler, Victor Prieto

Birdland 8:30, 11 pm $40
Antonio Ciacca
Measure 8 pm
Yukari Watanabe, Shoko Nagai, Pascal Niggenkemper; Ras Moshe, Dafna Naphtali,
Andrew Drury; TranceFormation: Connie Crothers, Andrea Wolper, Ken Filiano

The Commons 6 pm $11
Ben Drazen
Silvana 6 pm
Junior Mance solo
Bryant Park 12:30 pm

Friday, July 4
Geri Allen and Friends with Marcus Belgrave

The Stone 8, 10 pm $15
Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Alvin Atkinson

Jazz at Kitano 8, 10 pm $30
Cameron Brown and Dannies Calypso with Russ Johnson, Lisa Parrott, Jason Rigby,
Tony Jefferson
Cornelia Street Caf 9, 10:30 pm $15
Joe Farnsworth Quartet with Gary Bartz, Eric Reed, Gerald Cannon

Smoke 7, 9, 10:30 pm $38
Nicole Henry
Blue Note 8, 10:30 pm $25
Dezron Douglas Black Lion Quintet with Lummie Spann, Josh Evans, David Bryant,
Chris Beck
Smalls 10:30 pm $20
Jared Gold/Dave Gibson Band Fat Cat 10:30 pm
Torben Waldorff Trio with Zach Lober, Greg Ritchie

Bar Next Door 7:30, 9:30, 11:30 pm $12
Masami Ishikawa Organ Trio
Cleopatras Needle 8 pm
Fukushi Tainaka Trio; Dre Barnes Project

The Garage 6:15, 10:45 pm
Lucky Chops Brass Band
Radegast Hall 9 pm
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Arturo OFarrill Auction Project with David Bixler, Victor Prieto

Birdland 8:30, 11 pm $40
Antonio Ciacca
Measure 8 pm
Kathleen Potton
Silvana 6 pm
Satchmos Birthday Celebration: Emily Ashers Garden Party

Louis Armstrong House 2 pm $18
Junior Mance solo
Bryant Park 12:30 pm

Saturday, July 5
Celebrate Brooklyn: Robert Glasper Experiment with Talib Kweli; Glenn Kotche;
Aja Monet Free
Prospect Park Bandshell 7 pm
Tia Fuller/Geri Allen
The Stone 8, 10 pm $15
Midsummer Night Swing: Clarinet La King - Tribute to Benny Goodman:
James Langtons New York All-Star Big Band with Dan Levinson, Molly Ryan

Damrosch Park 7:30 pm $17
Dee Daniels Quartet with Carlton Holmes, Paul Beaudry, Dwayne Cook Broadnax

Jazz at Kitano 8, 10 pm $30
Misha Piatigorsky Trio
Zinc Bar 8 pm
Rome Neals Banana Puddin Jazz Nuyorican Poets Caf 9:30 pm $15
Bria Skonberg Late Night Lowdown

Drom 11:30 pm $10

34 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Camille Thurman Quartet

Ginnys Supper Club 7:30, 9:30 pm $15
Quentin Angus Trio
Bar Next Door 7:30, 9:30, 11:30 pm $12
Ray Parker Quartet; Raphael Dlugoff Quintet

Fat Cat 7, 10 pm
Chad Lefkowitz-Brown Band Rockwood Music Hall Stage 1 1 am
Krom: Adam Kromelow, Raviv Markovitz, Jason Burger

Spectrum 7:30 pm
Yuko Ito Trio; Spencer Jones Trio Tomi Jazz 8, 11 pm $10
Darrell Smith Trio
Cleopatras Needle 8 pm
Mike Yaw Quartet; Alan Leatherman

Silvana 6, 8 pm
Jon De Lucia, Greg Ruggiero, Chris Tordini, Tommy Crane

Caffe Vivaldi 7 pm
Cameron Brown and The Hear and Now with Sheila Jordan, Don Byron, Tony Jefferson

Cornelia Street Caf 9, 10:30 pm $15
Joe Farnsworth Quartet with Gary Bartz, Eric Reed, Gerald Cannon

Smoke 7, 9, 10:30 pm $38
Nicole Henry
Blue Note 8, 10:30 pm $25
Joel Press Quartet; Neal Kirkwood Octet; Dezron Douglas Black Lion Quintet with
Lummie Spann, Josh Evans, David Bryant, Chris Beck

Smalls 4:30, 7:30, 10:30 pm $20
James Cotton Blues Band
Jazz Standard 7:30, 9:30 pm $35
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Arturo OFarrill Auction Project with David Bixler, Victor Prieto

Birdland 8:30, 11 pm $40
Antonio Ciacca
Measure 8 pm
Larry Newcomb Quartet; Evgeny Sivtsov Trio; Akiko Tsuruga Trio

The Garage 12, 6:15, 10:45 pm

Sunday, July 6
Geri Allen/Laurie Anderson
The Stone 8, 10 pm $15
Jon Cowherd with Marvin Sewell, Tim Luntzel, Tony Mason

Rockwood Music Hall Stage 2 8:15 pm $10
Andrew Drurys ContenTrio with Briggan Krauss, Ingrid Laubrock

WhyNot Jazz Room 7:30, 9 pm $10
David Lopato Trio with Ratzo Harris, Harvey Sorgen

Cornelia Street Caf 8:30 pm $10
Michael Stephans Quartet with Dave Liebman, Uri Caine, Tony Marino;
Johnny ONeal with Paul Sikivie, Charles Goold; Joe Magnarelli Quartet with
Anthony Wonsey, Mike Karn, Joe Farnsworth

Smalls 4:30, 10 pm 12 am $20
Terry Waldos Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam

Fat Cat 6, 8:30 pm 12:30 am
Peter Leitch/Jed Levy
Walkers 8 pm
Marco Di Gennaro
Measure 8 pm
Broc Hempel, Sam Trapchak, Christian Coleman with guest Matt Vashlishan

Dominies Astoria 9 pm
Patrick Derivaz/Cornelius Dufallo with guest Ken Butler

Spectrum 7 pm
Mika Samba Jazz Trio with Eduardo Belo, Rafael Barata; Emy Tseng with Q Morrow,
Vanderlei Pereira
Somethin Jazz Club 5, 7 pm $12
Coyote Anderson Quartet; Shawn Patric Ferguson Band

Silvana 6, 9 pm
Shrine Big Band
Shrine 8 pm
Nicole Henry
Blue Note 8, 10:30 pm $25
James Cotton Blues Band
Jazz Standard 7:30, 9:30 pm $35
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart

Village Vanguard 8:30, 10:30 pm $25
Marc Copland/Ike Sturm
Saint Peters 5 pm
Alex Brown
Blue Note 11:30 am 1:30 pm $29.50
Fay Victor Trio with Kenney Wessel, Ratzo Harris

North Square Lounge 12:30, 2 pm
Mayu Saeki Trio; David Coss Quartet; Tsutomu Naki Trio

The Garage 11:30 am 6:30, 11 pm

Monday, July 7
Bill Coles Untempered Ensemble with Warren Smith, Joe Daley, Ras Moshe,
Lisette Santiago, Gerald Veasley; Joe Rigby/Andrew Bemkey;
Ascension For Roy Campbell and Henry Warner: Will Connell, Andrew Lamb,
Daniel Carter, Ras Moshe, Charles Downs

Clemente Soto Velez Cultural Center 7:30 pm $11-22
Adam Rudolphs Go: Organic Orchestra

ShapeShifter Lab 8, 9:30 pm $15
Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25
Captain Black Big Band
Smoke 7, 9 pm
Youngjoo Song Trio with Yasushi Nakamura, John Davis and guest

Blue Note 8, 10:30 pm $25
Jamie Reynolds Trio; Ari Hoenig Trio; Spencer Murphy

Smalls 7:30, 10 pm 12:30 am $20
Davis Whitfield Quintet; Billy Kaye Jam

Fat Cat 9 pm 12:30 am
Alberto Pibiri
Measure 8 pm
Jon Irabagon
Goodbye Blue Monday 8 pm
Satoshi Takeishis Brooklyn with Jonathan Goldberger and guest;
Brian Adlers Helium Music Project with Joe Ancowitz, Nick Kadajski, Sasha Brown,
Mariel Berger, Mark Lau
LIC Bar 9, 10 pm
John Malino Trio with Jim West, Melissa Slocum

Bar Next Door 8:30, 10:30 pm $12
Laura Brunner
Zinc Bar 7 pm
Cecilia Coleman Big Band
Tea Lounge 8:30, 10 pm
Swingadelic
Swing 46 8:30 pm
Alex Clough Trio with Lars Ekman, Felix Lecaros

Somethin Jazz Club 7 pm $10
Joe Alterman
Le Cirque Caf 7:30 pm
Sam Torres; Paul Jones
Silvana 6, 10 pm
Howard Williams Jazz Orchestra; Justin Lees Trio

The Garage 7, 10:30 pm
Russ Kassoff solo
Bryant Park 12:30 pm

Tuesday, July 8
Jon Weber
Metropolitan Room 7 pm $20
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,

Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35
Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
Loston Harris
Birdland 8:30, 11 pm $40
Darcy James Argues Secret Society with Erica von Kleist, Sharel Cassity,
Sam Sadigursky, John Ellis, Cark Maraghi, Seneca Black, Tom Goehring, Matt Holman,
David Smith, Jason Palmer, Mike Fahie, Marshall Gilkes, Jacob Garchik,
Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan

Jazz Standard 7:30, 9:30 pm $20
Midsummer Night Swing: Boardwalk Empire - Vince Giordano and the Nighthawks with
guests Margot B., Stephen DeRosa

Damrosch Park 7:30 pm $17
A Tribute to Roy Campbell: Tazz Trio: Andy Bemkey, Chris Sullivan, Mike Thompson;
Daniel Carter and Friends with Matt Lavelle, Andrew Lamb, Ras Moshe, William Parker,
Charles Downs
The Stone 8, 10 pm $15
Sifter: Kirk Knuffke, Matt Wilson, Mary Halvorson

Cornelia Street Caf 8:30 pm $10
Ryan Keberle and Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob

Barbs 7 pm $10
New Dimensions in Latin Jazz: Emilio Valdes Quartet with guest Mark Whitfield

Mintons Playhouse 7 pm $10
Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti;
Lucas Pino No Net Nonet with Alex Wintz, Matt Jodrell, Nick Finzer, Alex LoRe,
Andrew Gutauskas, Glenn Zaleski, Desmond White, Colin Stranahan;
Kyle Poole and Friends
Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam

Fat Cat 7, 9 pm 12:30 am
Rale Micic Trio with Joe Magnarelli, Steve LaSpina

Bar Next Door 8:30, 10:30 pm $12
Kevin Harris solo
Jazz at Kitano 8 pm
Michael Eckroths Piano Con Mona Quartet; Andy Winter/Walter Fischbacher Quartet
with Donny McCaslin, Marco Panascia; Will Mac Quartet with John Petrucelli,
Tucker Flythe, Victor Lewis
Somethin Jazz Club 7, 9, 11 pm $10-12
Tom Papadatos Trio
Tomi Jazz 8 pm
Joe Breidenstine Quintet; Luke Schwartz Trio

Silvana 6, 10 pm
Recessionals Jazz Band; Paul Francis Trio

The Garage 6, 10:30 pm
Alberto Pibiri
Measure 8 pm
Paul Connors
Shrine 6 pm
Russ Kassoff solo
Bryant Park 12:30 pm

Wednesday, July 9

Thursday, July 10

The Cosmosamatics: Sonny Simmons and Michael Marcus

Zinc Bar 9:30, 11:30 pm
Orlando Marin Ensemble
Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm
Mark Whitfield-Extended with Xavier Davis, Yasushi Nakamura, Mark Whitfield Jr.

Smoke 7, 9, 10:30 pm
Nir Felder with Shai Maestro, Matt Penman, Nate Smith

Jazz Standard 7:30, 9:30 pm $20
Will Vinson with Lage Lund, Glenn Zaleski, Jochen Rueckert, Rick Rosato;
Jeb Patton Trio
Smalls 9:30 pm 12:30 am $20
Raphael Dlugoff; Harold Mabern Trio; Ned Goold Jam

Fat Cat 7, 9 pm 12:30 am
A Tribute to Roy Campbell: Ehran Elishas Kinetic Music with David Bindman,
Sam Bardfeld, Bill Lowe, Haim Elisha, Ken Filiano; Elegy for Roy: Will Connell,
Steve Swell, Max Johnson, Jeremy Carlstedt

The Stone 8, 10 pm $15
Pedro Giraudo Sextet with Alejandro Aviles, Jonathan Powell, Mike Fahie,
Jess Jurkovic, Franco Pinna
Terraza 7 8 pm $7
Jason Yeager Quartet with Danny Weller, Matt Rousseau and guest Aubrey Johnson

Jazz at Kitano 8, 10 pm $15
Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis

Barbs 7 pm $10
Rebekah Ruiz
Metropolitan Room 7 pm $20
Keir Neuringer
JACK 8 pm
Quentin Angus New 4Tet with Camila Meza, Alon Tayar, Sam Anning, Kenneth Salters

Cornelia Street Caf 8:30 pm $10
Troy Roberts Quartet
Somethin Jazz Club 9 pm $12
Yayoi Filipski Trio; The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman,
Adam Kahan, Tommy Mattioli
Tomi Jazz 8 pm
Anderson Brothers; Nicholas Brust Quartet

The Garage 6, 10:30 pm
Jason Prover Sneak Thievery Orchestra

Radegast Hall 9 pm
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,
Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35
Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
Loston Harris
Birdland 8:30, 11 pm $40
Alberto Pibiri
Measure 8 pm
Nue Jazz Project
Shrine 6 pm
David White Jazz Orchestra
Saint Peters 1 pm $10
Russ Kassoff solo
Bryant Park 12:30 pm
Laila Biali Band with Chris Cheek, Alan Ferber

Citigroup Center Plaza 12:30 pm

Charles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa,
Justin Brown
Jazz Standard 7:30, 9:30 pm $25
Mario Pavone Arc Quartet with Dave Ballou, Ellery Eskelin, Gerald Cleaver

Cornelia Street Caf 8:30 pm $10
Christian Scott
Robert F. Wagner Jr. Park 7 pm
IN: Tim Armacost, Harvie S, Christian Finger

Somethin Jazz Club 7 pm $15
Alan Palmer Trio; Emmet Cohen Trio with Russell Hall, Evan Sherman

Smalls 7, 10 pm 12:30 am $20
Greg Glassman Quintet
Fat Cat 10 pm
A Tribute to Roy Campbell: Rob Brown 4tet with Kenny Warren, Peter Bitenc,
Juan P. Carletti; William Hooker/Ted Daniel

The Stone 8, 10 pm $15
Brandon Wright Quartet with Dave Kikoski, Ed Howard, Otis Brown III

Jazz at Kitano 8, 10 pm $15
Brian Charette with Yotam Silberstein, Jochen Rueckert

Classon Social Club 8 pm
Shai Maestro Trio with Jorge Roeder, Ziv Ravitz

The Jazz Gallery 9, 11 pm $15
Perry Smith Trio with Sam Minaie, Ross Pederson

Bar Next Door 8:30, 10:30 pm $12
Natalia Bernal Quintet
Terraza 7 8 pm $7
Bern Nix/Giacomo Merega
Prospect Range 9 pm $10
KenYa Kawaguchi, Carole Leibowitz, Michiru Inoue, Andrea Wolper; Gene Ess Quintet
with Thana Alexa, David Berkman, Thomson Kneeland, Satoshi Takeishi; Virg Dzurinko/
Adam Lane
Ibeam Brooklyn 8, 9, 10 pm $15
Jesse Fischer Soul Cycle
Ginnys Supper Club 8:30 pm $15
DODO Orchestra
Drom 10 pm $15
Scot Albertson Duo
Tomi Jazz 9 pm $10
Soils Puoane Trio
Cleopatras Needle 7 pm
Marc Devine; Gabe Valle Quartet The Garage 6, 10:30 pm
Albert Marques, Walter Stinson, Zack OFarrill

Caffe Vivaldi 9 pm
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,
Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35
Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
David DeJesus Quintet
Birdland 6 pm $25
Loston Harris
Birdland 8:30, 11 pm $40
Alberto Pibiri
Measure 8 pm
Mark Patterson
Silvana 6 pm
Sam Torres
Shrine 6 pm
Russ Kassoff solo
Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | JULY 2014

35

Friday, July 11
Sonny Fortune Quartet with Michael Cochrane, David Williams, Steve Johns

Smoke 7, 9, 10:30 pm $38
Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Seamus Blake with
Lage Lund, Dave Kikoski, Matt Penman, Bill Stewart

Smalls 7:30, 10:30 pm $20
Brian Charette with Brandon Lewis, Avi Rothbard

Fat Cat 10:30 pm
Russell Malone
Dizzys Club 7:30, 9:30 pm $40
Roni Ben-Hur Trio Birthday Bash with Ray Drummond, Leroy Williams

Jazz at Kitano 8, 10 pm $30
A Tribute to Roy Campbell: BBMQ: Connie Crothers, Louie Belogenis, Ken Filiano,
Michael Wimberly
The Stone 8, 10 pm $15
Edward Johnson Quintet with Mark Helias, Devin Gray, Josh Sinton, Willow McKeon;
Michael Bates Northern Spy
Douglass Street Music Collective 8 pm $10
Bohemian Trio: Yosvany Terry, Yves Dharamraj, Orlando Alonso

Bargemusic 7 pm $35
Mike Moreno Quartet with Jon Cowherd, Matt Brewer

The Jazz Gallery 9, 11 pm $22
Jerome Sabbagh Trio with Joe Martin, EJ Strickland

Bar Next Door 7:30, 9:30, 11:30 pm $12
The Core Trio with guest Matthew Shipp; Jonah Rosenberg Trio with James Ilgenfritz,
Kevin Shea
ShapeShifter Lab 7, 8:15 pm $15
Judith Berkson
Barbs 8 pm $10
Ark Ovrutski Quartet with Michael Thomas, Theo Hill, Jason Brown

WhyNot Jazz Room 11 pm
Tessa Souter/Dana Leong
55Bar 6:15, 8 pm
Nanny Assis Band
Lucilles at BB Kings Blues Bar 7, 9 pm $18
Ted Perry Trio with Gustavo Amarante, Vanderlei Pereira; Kathleen Potton;
Linda Briceno with Antonio Mazzei Somethin Jazz Club 7, 9, 11 pm $12
Ben Wood Trio
Tomi Jazz 9 pm $10
Emily Ashers Garden Party
Radegast Hall 9 pm
Marina Makarova Trio
Cleopatras Needle 8 pm
Nick Brust Quintet; Danny Jonokuchi

Silvana 6, 8 pm
Nick Di Maria; Greg Banks
Shrine 6, 10 pm
Masami Ishikawa Trio; Peter Valera Jump Blues Band

The Garage 6:15, 10:45 pm
Pocket Band
Inkwell Caf 7 pm
Charles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa,
Justin Brown
Jazz Standard 7:30, 9:30, 11:30 pm $30
Jua
Cornelia Street Caf 6 pm $10
Mario Pavones Street Songs with Adam Matlock, Julian Shore, Carl Testa,
Gerald Cleaver, Dave Ballou, Leise Ballou, Peter McEachern, Gary Buttery

Cornelia Street Caf 9, 10:30 pm $15
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,
Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35
Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
Loston Harris
Birdland 8:30, 11 pm $40
Alberto Pibiri
Measure 8 pm
World Time Zone; Sybarite5
Bryant Park 6 pm
Russ Kassoff solo
Bryant Park 12:30 pm

Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
Loston Harris
Birdland 8:30, 11 pm $40
Alberto Pibiri
Measure 8 pm
Nick Grinder Group
Silvana 6 pm
Jerry Costanzo and Trio; Avi Rothbard Trio; Virginia Mayhew Quartet

The Garage 12, 6:15, 10:45 pm

Sunday, July 13
John Zorn Improv Night
The Stone 8 pm $25
Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky,

Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin,
Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova,
Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak

Dizzys Club 7:30, 9:30 pm $35
Gene Bertoncini
The Drawing Room 7 pm $20
Tomas Fujiwara Trio with Ralph Alessi, Brandon Seabrook

Barbs 7 pm $10
Jonathan Ragonese Ensemble with Alex LoRe, Kyra Sims, Jay Rattman, Russell Hall,
Mark Whitfield, Jr., Dan Mitra
MoMA Sculpture Garden 8 pm
Manuel Valera/Samuel Torres Cornelia Street Caf 8:30 pm $10
Johnny ONeal with Paul Sikivie, Charles Goold

Smalls 10 pm $20
Terry Waldos Gotham City Band; Brandon Lewis/Renee Cruz Jam

Fat Cat 6 pm 12:30 am
Fay Victor Ensemble with Anders Nilsson, Ken Filiano

WhyNot Jazz Room 7:30, 9 pm $10
Water Esc: Tal Gur, Haruka Yabuno, Ehud Ettun, Nathan Blankett

ShapeShifter Lab 7, 8:15 pm
Peter Leitch/Ray Drummond
Walkers 8 pm
Marco Di Gennaro
Measure 8 pm
Stone Arabia: Robyn Siwula, Mike Irwin, Dmitry Ishenko

ABC No-Rio 7 pm $5
Lea Bertucci/Bhob Rainey
JACK 8 pm
Kaz Araki Group with Anthony Pocetti, John Lenis, Jarrett Walser;
Josh Levinson Sextet
Somethin Jazz Club 5, 7 pm $10-12
Charles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa,
Justin Brown
Jazz Standard 7:30, 9:30 pm $25
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,
Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35
Peter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb

Village Vanguard 8:30, 10:30 pm $25
The Core Trio: Thomas Helton, Seth Paynter, Joe Hertenstein and guest Steve Swell

Downtown Music Gallery 6 pm
Thomas Bergeron
Silvana 6 pm
Ken Simon Quartet with Carlton Holmes, Greg Maker, Warren Smith

Saint Peters 5 pm
Miho Hazama and m_unit
Blue Note 11:30 am 1:30 pm $29.50
Roz Corral Trio with David Berkman, Cameron Brown

North Square Lounge 12:30, 2 pm
Kyoko Oyobe Trio; David Coss Quartet; Dave Kain Group

The Garage 11:30 am 6:30, 11 pm

Monday, July 14

Saturday, July 12
Midsummer Night Swing: Tribute to Illinois Jacquet - Harlem Renaissance Orchestra
with guest James Carter
Damrosch Park 7:30 pm $17
Natives in Jazz - Bertha Hope And Jazzberry Jam with Keisha St. Joan, Chuk Fowler,
Coby Knight, Jack Rainmaker, Candese Tarpley, Sadanyah

Saint Peters 7 pm $20
A Tribute to Roy Campbell: Taylor Ho Bynum/Tomas Fujiwara;
Nu Band: Taylor Ho Bynum, Mark Whitecage, Joe Fonda, Lou Grassi

The Stone 8, 10 pm $15
Charli Persip
Ginnys Supper Club 7:30, 9:30 pm $25
F33MS4: Fima Ephron, Adam Rogers, Kevin Hays, Ziv Ravitz

The Jazz Gallery 9, 11 pm $22
Alan Palmer Trio; Stacy Dillard Sextet

Fat Cat 7, 10 pm
Rotem Sivan Trio with Haggai Cohen-Milo, Mark McLean

Bar Next Door 7:30, 9:30, 11:30 pm $12
Misha Piatigorsky Trio
Zinc Bar 8 pm
Kneebody: Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood

SubCulture 8 pm $20
Cynthia Holiday
Lucilles at BB Kings Blues Bar 8 pm $15
Rema Hasumi Trio with Todd Neufeld, Billy Mintz

Ibeam Brooklyn 8:30 pm $10
Matt Malanowski Trio with Cole Davis, Ashwin Prasanna; Russ Wilcox Group with
Josh McDonald, Kevin Scollins, Jon Chapman, Russell Holzmann; Charles Sibirsky
with Ken Bogan, Chuck Bentz, John DeCesare

Somethin Jazz Club 5, 7, 9 pm $10-12
Emilio Teubal Trio; Tak Iwasaki Tomi Jazz 8, 11 pm $10
Ruslan Khain Trio
Cleopatras Needle 8 pm
Sonny Fortune Quartet with Michael Cochrane, David Williams, Steve Johns

Smoke 7, 9, 10:30 pm $38
Joel Press Quartet; Jim Ridl Trio; Seamus Blake with Lage Lund, Dave Kikoski,
Matt Penman, Bill Stewart; Stacy Dillard, Diallo House, Ismail Lawal

Smalls 4:30, 7:30, 10:30 pm 1 am $20
Russell Malone
Dizzys Club 7:30, 9:30 pm $45
Roni Ben-Hur Trio Birthday Bash with Santi Debriano, Duduka Da Fonseca

Jazz at Kitano 8, 10 pm $30
Charles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa,
Justin Brown
Jazz Standard 7:30, 9:30, 11:30 pm $30
Mario Pavone Pulse Quartet with Michael Pavone, Ellery Eskelin, Gerald Cleaver

Cornelia Street Caf 9, 10:30 pm $15
Dizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky,
Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert,
Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini

Blue Note 8, 10:30 pm $35

Music Now - Spring Changes: Ras Moshe, Tim Stocker, Kyoko Kitamura,

Anders Nilsson, John Pietaro, Lester St. Louis; Katie Bull Group Project with
Landon Knoblock, Ratzo Harris, George Schuller, Jeff Lederer; Matt Lavelles 12 Houses
with Francois Grillot, Laura Ortman, Ryan Sawyer, John Pietaro, Anais Maivel,
Lee Odom, Claire de Brunner, Mary Cherney, Charles Waters, Ras Moshe,
Anders Nilsson, Chris Forbes
Clemente Soto Velez Cultural Center 7:30 pm $11-22
Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25
Jason Marshall Big Band
Smoke 7, 9 pm
Joe Gransden Big Band
Blue Note 8, 10:30 pm $15
Mike Karn
Measure 8 pm
John Chin Trio; Curtis Lundy Trio; Spencer Murphy

Smalls 7:30, 10 pm 12:30 am $20
Ned Goold Quartet; Billy Kaye Fat Cat 9 pm 12:30 am
Surface to Air Trio: Jonathan Goldberger, Jonti Siman, Rohin Khemani;
Brian Adlers Helium Music Project with Ben Holmes, Petr Cancura, Sean Moran,
Vitor Goncalves, Rene Hart
LIC Bar 9, 10 pm
Deborah Latz Trio with Zach Brock, Ray Parker

Bar Next Door 8:30, 10:30 pm $12
Perez/Allison Wedding; Ark Ovrutski Quartet with Chad Lefkowitz-Brown, Theo Hill,
Jason Brown
Zinc Bar 7, 9, 11 pm
Kyle Saulniers The Awakening Orchestra

Tea Lounge 8:30, 10 pm
Swingadelic
Swing 46 8:30 pm
Takenori Nishiuchi
Tomi Jazz 8 pm
Matt Baker and Trio
Le Cirque Caf 7:30 pm
Cecilia Coleman Big Band; Dmitry Baevsky Trio

The Garage 7, 10:30 pm
Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky,
Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin,
Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova,
Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak

Dizzys Club 7:30, 9:30 pm $35
Luiz Simas solo
Bryant Park 12:30 pm

Tuesday, July 15
Ben Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston

Birdland 8:30, 11 pm $40
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Dirty Dozen Brass Band
Blue Note 8, 10:30 pm $35
Julian Lage Trio with Scott Colley, Kenny Wollesen

Jazz Standard 7:30, 9:30 pm $25

36 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Mike Longo Trio honors Miles Davis

NYC Bahai Center 8, 9:30 pm $15
Winard Harper and Jeli Posse Zrcher Studio 7 pm $10
New Dimensions in Latin Jazz: Roman Diaz and El Gallo Mistico

Mintons Playhouse 7 pm $10
Ark Ovrutski Quartet with Michael Thomas, Theo Hill, Jason Brown;
Peter Brendler Quartet with Rich Perry, Peter Evans, Mark Ferber

ShapeShifter Lab 7, 8:15 pm $10
Eyal Maoz The X with Esther Noh, Melissa Tong, Stephanie Griffin, Jeremy Herman,
Brian Marsella; Eyal Maoz Crazy Slavic Band with Jay Rozen, Chris Stromquist,
Frank London, Rob Henke, Briggan Krauss

The Stone 8, 10 pm $15
Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti;
Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Theo Hill, Ameen Saleem,
Kush Abadey; Kyle Poole and Friends

Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am
David Bryant Quartet with Mark Shim, Dezron Douglas, Jonathan Barber;
Curtis Macdonald
Korzo 9, 10:30 pm
Pete McCann Trio with Thomson Kneeland, Jordan Perlson

Bar Next Door 8:30, 10:30 pm $12
Xibalba
Terraza 7 8 pm $7
Audrey Silver
Metropolitan Room 7 pm $20
Marcel Camargo with Gretchen Parlato

Rockwood Music Hall Stage 2 7 pm
1IN2: Blanca Cecilia Gonzlez/Jesse Elder; Jesse Elder Trio with Chris Smith,
Andrew Atkinson
Cornelia Street Caf 8:30, 10 pm $10
Sam Torres Quartet; The Tweedy Birds: Jacob Sunshine, Gabriel Zucker,
David Halpern, David Su; Joel Forrester solo

Spectrum 7, 9 pm
Kevin Harris solo
Jazz at Kitano 8 pm
Hear the Beauty 5: Songyi Jeon, Sarpay Ozcagatay, Bo Ram Park, HyoYoung Kim,
Ekah Kim; Ian OBeirne with Dave Bozenhard, Kurt Kotheimer, Matt Scarano;
Joe Pino Quartet with Tuomo Uusitalo, Alex Ayla, Harutaka Sakita

Somethin Jazz Club 7, 9, 11 pm $10
Michael Gallant Trio
Tomi Jazz 8 pm
Carbon Mirage
Shrine 8 pm
Mauricio de Souza Trio with Ben Winkelman, Joonsam Lee; Austin Walker Trio

The Garage 6, 10:30 pm
Mike Karn
Measure 8 pm
Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky,
Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin,
Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova,
Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak

Dizzys Club 7:30, 9:30 pm $35
Gene Ess
Silvana 6 pm
Luiz Simas solo
Bryant Park 12:30 pm

Wednesday, July 16
Henry Butler-Steven Bernstein and the Hot 9

The Cutting Room 7 pm $20
Jacky Terrasson Quartet
Madison Square Park 7 pm
Harold Mabern Trio with Essiet Essiet, Joe Farnsworth; Nick Finzer Quintet

Smalls 9:30 pm 12:30 am $20
Raphael Dlugoff; Don Hahn; Ned Goold Jam

Fat Cat 7, 9 pm 12:30 am
Elliott Sharps SyndaKit
Spectrum 7, 9 pm
Lynette Washington/Dennis Bell Jazz NY Quartet with Alex Blake, Victor Jones

Jazz at Kitano 8, 10 pm $15
Queen Esther and the Hot 5
Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm
Cynthia Holiday
Smoke 7, 9, 10:30 pm
Eyal Maoz Dimyon with Tanya Kalmanovich, Shanir Blumenkranz, Mathias Kunzli,
Satoshi Takeishi
The Stone 8, 10 pm $15
Ditmas Quartet: Michal Attias, Eva Novoa, Max Johnson, Jeff Davis

Barbs 7 pm $10
Edward Perez
Terraza 7 8 pm $7
Yoosun Nam with Michael Rodriguez, Kevin Harris, Brad Shepik, Jesse Simpson

ShapeShifter Lab 7:30 pm
The Yabuno Ettun Project: Haruka Yabuno/Ehud Ettun

Cornelia Street Caf 8:30 pm $10
Devin Bing
Metropolitan Room 7 pm $20
The Hood Cats: Nicolas Letman-Burtinovic, Akira Ishiguro, Nick Anderson

Bar Chord 9 pm
Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron,
Dan Silverstone
Caffe Vivaldi 8:30 pm
Anna Elizabeth Kendrick
Flute Midtown 7 pm
Dave Smith; Tomoyasu Ikuta; Karen Kunkel; Patrick Bower

Goodbye Blue Monday 8 pm
Nick Saia, Cole Davis, Corey Garcia; Victor Baker Band with Mitch Marcus,
Trifon Dimitrov, Brian Fishler
Somethin Jazz Club 7, 9 pm $12
Kaz Araki Trio
Tomi Jazz 8 pm
Eric DiVito Trio; Will Terrill Trio The Garage 6, 10:30 pm
Ben Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston

Birdland 8:30, 11 pm $40
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Dirty Dozen Brass Band
Blue Note 8, 10:30 pm $35
Julian Lage Trio with Scott Colley, Kenny Wollesen

Jazz Standard 7:30, 9:30 pm $25
Mike Karn
Measure 8 pm
Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky,
Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin,
Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova,
Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak

Dizzys Club 7:30, 9:30 pm $35
David Shenton/Erin Shields
Saint Peters 1 pm $10
Luiz Simas solo
Bryant Park 12:30 pm

Thursday, July 17
Smooth Cruise: David Sanborn Pier 40 6:30, 9:30 pm $45-65

Poncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz,
Ron Blake, Javier Vergara, Joey De Leon

Blue Note 8, 10:30 pm $35
Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest
Kenny Washington
Dizzys Club 7:30, 9:30 pm $35
Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire

Jazz Standard 7:30, 9:30 pm $25
Jamie Baum Trio with Brad Shepik, Hans Glawischnig

Bar Next Door 8:30, 10:30 pm $12
The Collapse Guitar Quartet: Yoshie Fruchter, Ty Citerman, Jonathan Goldberger,
Eyal Maoz; 9 Volt: Rick Parker, Eyal Maoz, Yoni Halevi and guest Tim Berne

The Stone 8, 10 pm $15
Mentoring Series: Miguel Zenn and Mario Castro with Ricky Rodriguez, Henry Cole

The Jazz Gallery 9, 11 pm $15
Rob Rodriguez Quartet with Chad Lefkowitz-Brown, Jorge Roeder, Ludwig Afonso

Jazz at Kitano 8, 10 pm $15
Paul Carlons La Rumba is a Lovesome Thing with Justin Flynn, Alex Norris,
Ryan Keberle, Mike Fahie, John Stenger, Alex Ayala, William Beaver Bausch,
Wilson Chembo Corniel, Benjamin Lapidus, Christelle Durandy

Zinc Bar 9, 10:30 pm
Victor Prieto Trio
Terraza 7 8 pm $7
Scott Feiner Pandeiro Jazz with Mike Moreno, Sam Yahel; Carlos Abadie Quintet with
Joe Sucato, Peter Zak, Clovis Nicolas, Luca Santaniello

Smalls 9:30 pm 12:30 am $20
Josh Evans Septet
Fat Cat 10 pm
Walking Distance: Caleb Curtis, Kenny Pexton, Adam Cote, Shawn Baltazor

Cornelia Street Caf 8:30 pm $10
The Wiyos
Robert F. Wagner Jr. Park 7 pm
Erika Matsuo with Helio Alves, Leo Traversa, Keita Ogawa, Jorge Continentino;
Emilie Weibel ooMo
ShapeShifter Lab 7:15, 8:30 pm $8-15
Rocco John Iacovone/Christopher Forbes; Maryanne de Prophetis Trio with
Ron Horton, Frank Kimbrough; Will Jhun/Connie Crothers

Ibeam Brooklyn 8 pm $15
Andy Statman
Barbs 8 pm $10
Alexander Claffy and Victor Gould Ginnys Supper Club 8:30 pm $15
Myk Freedman Band with Jeremiah Lockwood, Adam Hopkins, Mariel Berger,
Carlo Costa
Douglass Street Music Collective 8 pm
Gabrielle Stravelli
Metropolitan Room 7 pm $20
Project Grand Slam: Nathan Cepelinski, Ben Sher, Marcello Casagrande, Robert Miller,
Gandhi Gonzalez; Darren Litzie Trio with Phil Palombi, Jeff Siege Siegel; Brothers of
Contrapuntal Swing: Jimmy Halperin, Larry Meyer, Dave Frank, Bill McCrossen,
George Hooks
Somethin Jazz Club 7, 9, 11 pm $12
CJ Everett Trio
Cleopatras Needle 7 pm
Adam Moezinia Trio; Adam Larson Trio

The Garage 6, 10:30 pm
Howard Fishman and The Biting Fish Brass Band

Radegast Hall 9 pm
Rolando Morales-Matos Septet Birdland 6 pm $25
Ben Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston

Birdland 8:30, 11 pm $40
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Mike Karn
Measure 8 pm
Brian Pareschi
Silvana 6 pm
Luiz Simas solo
Bryant Park 12:30 pm
Eric Person and Meta Four
Citigroup Center Plaza 12:30 pm

Friday, July 18
Matt Mitchell/Ches Smith

Ibeam Brooklyn 8:30 pm $10

Brooklyn Bowl 9 pm $15
Cyrus Chestnut Trio with Curtis Lundy, Victor Lewis

Smoke 7, 9, 10:30 pm $38
Phil Grenadier Quartet with Bill McHenry, Larry Grenadier, Bill Stewart

Jazz at Kitano 8, 10 pm $30
Roman Filiu with Ralph Alessi, Dayna Stephens, David Virelles, Matt Brewer,
Craig Weinrib, Yusnier Sanchez The Jazz Gallery 9, 11 pm $22
Tom Rainey Trio with Ingrid Laubrock, Mary Halvorson

Cornelia Street Caf 9, 10:30 pm $15
Louie Belogenis, Roberta Piket, Billy Mintz

Rubin Museum 7 pm $20
David Basse Quartet; Bob DeVos Band with Ralph Bowen, Dan Kostelnik, Steve Johns;
Winard Harper Group
Smalls 4:30, 7:30, 10:30 pm $20
Point of Departure
Fat Cat 10:30 pm
Eyal Maoz Edom with Brian Marsella, Shanir Blumenkranz, Yuval Lion

The Stone 8, 10 pm $15
Greg Skaff Trio with Pat Bianchi, Carmen Intorre

Bar Next Door 7:30, 9:30, 11:30 pm $12
Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan; Laura Angyal with
Taulant Mehmeti, Billy Ruegger; John Morrison Quartet with Mike Bernabe,
Ross Garlow, Dan Silverstein
Somethin Jazz Club 7, 9, 11 pm $10-12
Racha Fora Trio
Tomi Jazz 9 pm $10
Dan Furman Trio
Cleopatras Needle 8 pm
Out To Lunch Motown Project Shrine 8 pm
Alex Layne Trio; Kevin Dorn and the BIG 72

The Garage 6:15, 10:45 pm
Rob Silverman
Indian Road Caf 8 pm
Poncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz,
Ron Blake, Javier Vergara, Joey De Leon

Blue Note 8, 10:30 pm $35
Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest
Kenny Washington
Dizzys Club 7:30, 9:30 pm $40
Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire

Jazz Standard 7:30, 9:30, 11:30 pm $30
Ben Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston

Birdland 8:30, 11 pm $40
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Mike Karn
Measure 8 pm
Red Baarat

Cassatt Quartet; Greg Osby Group

Bryant Park 6 pm
Spoke
Silvana 6 pm
Luiz Simas solo
Bryant Park 12:30 pm

IN BATTERY PARK CITY'S PARKS

Saturday, July 19
Jeff Tain Watts and Friends with Troy Roberts, James Francies, James Genus

Iridium 8, 10 pm $25
Joel Press Quartet; Tommy Campbells Vocal-Eyes with Miles Griffith, Lisa Gary,
Helio Alves, Ben Sher, Kenny Davis; Winard Harper Group; Philip Harper

Smalls 4:30, 7:30, 10:30 pm 1 am $20
Pete Rodriguez Quartet
Ginnys Supper Club 7:30, 9:30 pm $25
1895: Kermit Driscoll, Shawn Baltazor, Eyal Maoz; Abraxas: Shanir Ezra Blumenkranz,
Yoshie Fruchter, Kenny Grohowski, Eyal Maoz

The Stone 8, 10 pm $15
Theo Hill; Myron Walden Countryfied

Fat Cat 7, 10 pm
Joe Giglio Trio with Ratzo Harris, Eric Peters

Bar Next Door 7:30, 9:30, 11:30 pm $12
VINX
ShapeShifter Lab 7 pm $20
Scot Albertson Trio with John Wilmeth, Gregory Maker

Klavierhaus 8 pm
Ben Rosenblum Group with Ben Ruben-Schnirman, Ben Zweig;
Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor

Somethin Jazz Club 7, 9 pm $10-12
Annie Chen Trio
Tomi Jazz 11 pm $10
Alan Rosenthal Trio
Cleopatras Needle 8 pm
Passero
Shrine 8 pm
Matt Mitchell/Ches Smith; Normal Remarkable Persons: Matt Mitchell, Tim Berne,
Shane Endsley, Travis Laplante, Tyshawn Sorey, Ches Smith

Ibeam Brooklyn 8:30, 10 pm $10
Cyrus Chestnut Trio with Curtis Lundy, Victor Lewis

Smoke 7, 9, 10:30 pm $38
Phil Grenadier Quartet with Bill McHenry, Larry Grenadier, Bill Stewart

Jazz at Kitano 8, 10 pm $30
Roman Filiu with Ralph Alessi, Dayna Stephens, David Virelles, Matt Brewer,
Craig Weinrib, Yusnier Sanchez The Jazz Gallery 9, 11 pm $22
Poncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz,
Ron Blake, Javier Vergara, Joey De Leon

Blue Note 8, 10:30 pm $35
Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest
Kenny Washington
Dizzys Club 7:30, 9:30 pm $45
Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire

Jazz Standard 7:30, 9:30, 11:30 pm $30
Ben Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston

Birdland 8:30, 11 pm $40
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Mike Karn
Measure 8 pm
Eileen Howard with Daniel Bennett, Ron Jackson, Eddy Khaimovich, Darrell Smith

The West End Lounge 4 pm
Bria Skonberg Quartet
Louis Armstrong House 2 pm $18
Larry Newcomb Quartet; Al Marino Quintet

The Garage 12, 6:15 pm

Enjoy listening to great Blues music while the

sun sets over the Hudson River. Bring family
and friends to these free concerts on the lawn.

Thursdays, 7-8:30 pm, FREE!

Robert F. Wagner, Jr. Park

July 10, Christian Scott Quintet

July 17, The Wiyos

Sunday, July 20
Shoko Nagai, Lukas Ligeti, Eyal Maoz; Hypercolor: Lukas Ligeti, James Ilgenfritz,
Eyal Maoz
The Stone 8, 10 pm $15
Jason Kao Hwangs Amygdala with Rami Seo, KenYa Yamaguchi

WhyNot Jazz Room 7:30, 9 pm $10
Rubens Salles with John Clark, Leco Reis, Kenny Grohowski; Edsel Gomez

Cornelia Street Caf 8:30, 10 pm $10
Johnny ONeal with Paul Sikivie, Charles Goold; Bruce Harris Quintet

Smalls 10 pm 12 am $20
Terry Waldos Gotham City Band; Brandon Lewis/Renee Cruz Jam

Fat Cat 6 pm 12:30 am
Peter Leitch/Harvie S
Walkers 8 pm
Marco Di Gennaro
Measure 8 pm
Broc Hempel, Sam Trapchak, Christian Coleman with guest Loren Stillman

Dominies Astoria 9 pm
Shoko Amano
Somethin Jazz Club 7 pm $20
John Wriggle Orchestra
Shrine 8 pm
Jeff Tain Watts and Friends with Troy Roberts, James Francies, James Genus

Iridium 8, 10 pm $25
Normal Remarkable Persons: Matt Mitchell, Tim Berne, Shane Endsley, Travis Laplante,
Tyshawn Sorey, Ches Smith
Ibeam Brooklyn 8:30, 10 pm $10
Poncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz,
Ron Blake, Javier Vergara, Joey De Leon

Blue Note 8, 10:30 pm $35
Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest
Kenny Washington
Dizzys Club 7:30, 9:30 pm $35
Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire

Jazz Standard 7:30, 9:30 pm $25
Fred Hersch Trio with John Hbert, Eric McPherson

Village Vanguard 8:30, 10:30 pm $25
Devin Brahja Waldman, Daniel Carter, Russell Baker, Will Glass

Downtown Music Gallery 6 pm
Sabrina Silver
Silvana 6 pm
Melissa Stylianou Trio with Jamie Reynolds, Orlando le Fleming

Saint Peters 5 pm
Summerstage - Queens Family Day: Jazz at Lincoln Center Orchestra;
Rashida Bumbray; Michael Mossman and Copland Jazz

Queensbridge Park 4 pm
Jane Irving
Perez Jazz 2 pm $20
Hendrik Meurkens
Blue Note 11:30 am 1:30 pm $29.50
Roz Corral Trio with Yotam Silberstein, Paul Gill

North Square Lounge 12:30, 2 pm
Lou Caputo Quartet; David Coss Quartet; Abe Ovadia

The Garage 11:30 am 6:30, 11 pm

July 24, Heritage Blues Quintet

July 31, Bettye LaVette

Aug 7, Sun Ra Arkestra

Battery Park City Parks Conservancy
212-267-9700
www.bpcparks.org
www.facebook.com/batteryparkcityparks

THE NEW YORK CITY JAZZ RECORD | JULY 2014

37

Monday, July 21
Uri Caine Trio with Mark Helias, Clarence Penn; Sharel Cassity Group; Spencer Murphy

Smalls 7:30, 10 pm 12:30 am $20
George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am
Chris Forbes Trio with Hill Greene, Michael TA Thompson; PERIOD: Charlie Looker,
Chuck Bettis, Mike Pride; Dave Ballou, Petr Cancura, Harris Eisenstadt,
Christopher Hoffman
Clemente Soto Velez Cultural Center 7:30 pm $11-22
Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25
Captain Black Big Band
Smoke 7, 9 pm
Mike LeDonne
Measure 8 pm
Marion Cowings Vocal Master Class

Dizzys Club 7:30, 9:30 pm $25
Daniel Carter, Ava Mendoza, Max Johnson, Chad Taylor

Manderley Bar at the McKittrick Hotel 11 pm
Nate Birkey Quartet with Jim Ridl, Bill Moring, Marko Marcinko

55Bar 7 pm
Christian Alpiar
ShapeShifter Lab 7 pm
Rogrio Boccatos Percussion Trio with Magos Herrera, Vitor Gonalves;
Brian Adlers Helium Music Project with Matt Holman, Sam Sadigursky, Mark Cocheo,
Danny Fox, Rob Jost
LIC Bar 9, 10 pm
Melissa Stylianou Trio with Jamie Reynolds, Orlando le Fleming

Bar Next Door 8:30, 10:30 pm $12
Mary Foster Conklin
Zinc Bar 7 pm
Neal Kirkwood Big Band
Tea Lounge 8:30, 10 pm
Swingadelic
Swing 46 8:30 pm
Howard Williams Jazz Orchestra; Kenny Shanker Quartet

The Garage 7, 10:30 pm
Sam Torres Quartet
Silvana 6 pm
Dona Carter solo
Bryant Park 12:30 pm

Tuesday, July 22
Jazz in July - Hoagy Carmichael Stardust: Jon-Eric Kellso, Harry Allen, James Chirillo,

Bill Charlap, Ted Rosenthal, Sandy Stewart, Todd Coolman, Dennis Mackrel

92nd Street Y 8 pm $59
Marcus Belgrave Quintet with Marion Hayden, Gayelynn McKinney, Ian Finkelstein,
Marcus Elliott and guest Joan Belgrave

Dizzys Club 7:30, 9:30 pm $35
Pat Martino Organ Trio
Blue Note 8, 10:30 pm $35
John Pizzarelli and The Swing Seven

Birdland 8:30, 11 pm $45
Lenny Pickett with Tuffus Zimbabwe, Wayne Krantz, James Genus, Steve Wolf

Jazz Standard 7:30, 9:30 pm $25
Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder,
Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25
Rosemary George and Group NYC Bahai Center 8, 9:30 pm $15
Arto Lindsay with Paul Wilson, Melvin Gibbs, Kassa Overall

Le Poisson Rouge 8 pm $15
New Dimensions in Latin Jazz: Brian Lynch and Spheres of Influence

Mintons Playhouse 7 pm $10
Calvin Weston/Billy Martin; Chris Cochrane, Calvin Weston, Billy Martin

The Stone 8, 10 pm $15
Kaleidoscope Trio: Freddie Bryant, Patrice Blanchard, Willard Dyson

Bar Next Door 8:30, 10:30 pm $12
Ohad Talmor, Thomas Morgan, Eric McPherson; Brian Drye Birthday Trio with
Matt Pavolka, Ben Perowsky
Korzo 9, 10:30 pm
Ted Poor Quartet with Bill McHenry, Josh Roseman, Ben Street

The Jazz Gallery 9, 11 pm $15
Sam Trapchak Quartet with Fraser Campbell, Seth Trachy, Nick Anderson;
Arthur Vint and Associates with Rich Perry, Tony Scherr, Jon Cowherd, Ian Stapp

Cornelia Street Caf 8:30, 10 pm $10
Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti;
Josh Evans Big Band with Stacy Dillard, David Gibson, Josh Evans, Bruce Williams,
Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, Yunie Mojica,
Lauren Sevian; Kyle Poole and Friends

Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin; Nu DLux; Greg Glassman Jam

Fat Cat 7, 9 pm 12:30 am
Akiko Pavolka and House of Illusion with Loren Stillman, Nate Radley, Matt Pavolka,
Bill Campbell
Barbs 7 pm $10
On The Way Out: Matt Lavelle 6 Houses with Ras Moshe, Mary Cherney, Nick Gianni,
Claire De Brunner, Lee Odom, Anders Nilsson, Francois Grillot, Anais Maviel

Freddys Backroom 8:30, 10 pm $10
Ajama: Itamar Shatz, Eran Sabo, Haggai Cohen-Milo, Rajiv Jayaweera

ShapeShifter Lab 8 pm $10
Gabrielle Stravelli
Metropolitan Room 7 pm $20
Kevin Harris solo
Jazz at Kitano 8 pm
Bob Rodriguez Group
Somethin Jazz Club 7 pm $12
Eva Lawitts Trio; Tal Blumstein Trio

Tomi Jazz 8 pm
Scott Kulick Group; Klezmer Jazz Band

Silvana 6, 8 pm
Michael Veal Aqua Ife
Shrine 10 pm
Carl Bartlett Jr. Trio; Chris Carroll Trio

The Garage 6, 10:30 pm
Mike LeDonne
Measure 8 pm
Dona Carter solo
Bryant Park 12:30 pm

Wednesday, July 23
Jazz in July - Leonard Bernsteins New York: Brian Lynch, Jimmy Greene, Jon Gordon,
Bill Charlap, Peter Washington, Kenny Washington, Daniel Sadownick

92nd Street Y 8 pm $59
Pascals Triangle: Pascal Le Boeuf, Miguel Zenn, Donny McCaslin, Charles Altura,
Linda Oh, Justin Brown
Jazz Standard 7:30, 9:30 pm $25
Fang Percussionists: David Freeman, Steve Honoshowsky, Ronald Stockwell,
Billy Martin, Phaedra Martin
The Stone 8, 10 pm $15
Max Johnsons The Prisoner with Ingrid Laubrock, Mat Maneri, Tomas Fujiwara

Barbs 7 pm $10
Lage Lund 4 with Glenn Zaleski, Matt Brewer, Tyshawn Sorey; John Saraga Quintet

Smalls 9:30 pm 12:30 am $20
Raphael Dlugoff; Michael Louis-Smith Quintet; Ned Goold Jam

Fat Cat 7, 9 pm 12:30 am

Lainie Cooke Quartet Birthday Bash with Tedd Firth, Luques Curtis, Ralph Peterson

Jazz at Kitano 8, 10 pm $15
Oscar Peas with Leo Genovese, Moto Fukushima, Richie Barshay

WhyNot Jazz Room 10 pm
Cynthia Holiday
Smoke 7, 9, 10:30 pm
Follow The Stick: Sam Sadigursky, Bobby Avey, Jordan Perlson

Cornelia Street Caf 8:30 pm $10
Ben Winkelman Trio with Sam Anning, Eric Doob

Terraza 7 8 pm $7
David Bertrand Quartet; Carolina Calvache Quartet

Somethin Jazz Club 7, 9 pm $10-12
Kazue Patton Trio; Richard Thai Duo

Tomi Jazz 8 pm
Remy Labbe; Alison Shearer Quintet

Silvana 6, 10 pm
Stacy Dillard Quartet; Greg Diamond Trio

The Garage 6, 10:30 pm
Marcus Belgrave Quintet with Marion Hayden, Gayelynn McKinney, Ian Finkelstein,
Marcus Elliott and guest Joan Belgrave

Dizzys Club 7:30, 9:30 pm $35
Pat Martino Organ Trio
Blue Note 8, 10:30 pm $35
John Pizzarelli and The Swing Seven

Birdland 8:30, 11 pm $45
Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder,
Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25
Mike LeDonne
Measure 8 pm
Mauricio de Souza and Bossa Brasil with Alan Chaubert, Joonsam Lee

Saint Peters 1 pm $10
Dona Carter solo
Bryant Park 12:30 pm

Thursday, July 24
Jazz in July - The Music of Miles Davis: Jeremy Pelt, Ralph Moore, Steve Wilson,
Renee Rosnes, Bill Charlap, Peter Washington, Lewis Nash

92nd Street Y 8 pm $60
Jon Faddis Quartet
Dizzys Club 7:30, 9:30 pm $40
Wicked Knee: Steven Bernstein, Curtis Fowlkes, Marcus Rojas, Billy Martin

The Stone 8, 10 pm $15
Gabriel Alegra Afro-Peruvian Big Band

Zinc Bar 8:30, 10:30 pm
Miles Okazaki Quartet with Donny McCaslin, Francois Moutin, Dan Weiss

The Jazz Gallery 9, 11 pm $22
Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest
Steve Turre
Jazz Standard 7:30, 9:30 pm $25
Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35
Diasporic Dialogues: Miguel Zenn and Yosvany Terry

David Rubenstein Atrium 7:30 pm
Daniela Schaechter Quartet with Joel Frahm, Rufus Reid, Donald Edwards

Jazz at Kitano 8, 10 pm $15
Point of Departure
Fat Cat 10 pm
David Kain Trio with Thomson Kneeland, Joe Abba

Bar Next Door 8:30, 10:30 pm $12
Lindsey Wilson & The Big Guns with Reggie Sylvester, Ted Simmons, Michael Trotman
and guest Marcela R. Penalva
ShapeShifter Lab 7 pm $10
David Cook Quintet
Cornelia Street Caf 8:30 pm $10
Eric Kurimski with Edward Perez, Josh Deutsch, Arturo Stable

Terraza 7 8 pm $7
Smooth Cruise: Will Downing Pier 40 6:30, 9:30 pm $45-65
Telma Viale Group with David Cordeiro

Somethin Jazz Club 9 pm $10
Walter Williams Trio
Cleopatras Needle 7 pm
Johnny Butler Duo
Shrine 9 pm
Rick Stone Trio; Jason Yeager Trio The Garage 6, 10:30 pm
Albert Marques, Walter Stinson, Zack OFarrill

Caffe Vivaldi 9 pm
Emily Ashers Garden Party
Radegast Hall 9 pm
Lage Lund 4 with Glenn Zaleski, Matt Brewer, Tyshawn Sorey; Nick Hempton Band with
Tadataka Unno, Barak Mori, Dan Aran

Smalls 9:30 pm 12:30 am $20
John Pizzarelli and The Swing Seven

Birdland 8:30, 11 pm $45
Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder,
Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25
Mike LeDonne
Measure 8 pm
The Red Microphone: John Pietaro, Rocco John Iacovone, Ras Moshe, Philip Sirois

The Commons 6 pm $11
JC4: JC Sanford, Mike Baggetta, Dave Ambrosio, Russ Meissner

Silvana 6 pm
Dona Carter solo
Bryant Park 12:30 pm
Billy Hart Ensemble
Citigroup Center Plaza 12:30 pm

Friday, July 25
Omnispheres: Billy Martin solo and with Paul Ward

The Stone 8, 10 pm $15
Tony Malaby Tamarindo with William Parker, Nasheet Waits

Cornelia Street Caf 9, 10:30 pm $15
Ingrid Laubrock Quintet with Tim Berne, Ben Gerstein, Dan Peck, Tom Rainey

The Jazz Gallery 9, 11 pm $22
Paul Meyers/Helio Alves Brazilian Project with Leo Traversa, Vanderlei Pereira

Jazz at Kitano 8, 10 pm $30
Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III

Smoke 7, 9, 10:30 pm $38
Scott Neumann Trio with Michael Blake, Mark Helias; Mike Rodriguez Quintet

Smalls 7:30, 10:30 pm $20
Diallo House
Fat Cat 10:30 pm
Oscar Peas Trio with Moto Fukushima, Rogrio Boccato

Bar Next Door 7:30, 9:30, 11:30 pm $12
Billy Mintz Quintet with John OGallagher, Adam Kolker, Cameron Brown, Roberta Piket

ShapeShifter Lab 8:15 pm $10
The Hot Sardines
Joes Pub 7 pm $20
Nathan Hooks Mobiustrip with Travis Reuter, Paolo Cantarella; Grex: Karl Evangelista,
Rei Scampavia, Robert Lopez
Spectrum 7:30, 9 pm
Laila and Smitty: Kenny Warren, Jeremiah Lockwood, Myk Freedman, Adam Hopkins,
Carlo Costa
Barbs 10 pm $10

38 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

Carol Liebowitz Trio with Will Jhun, Adam Mellville; FIDO::qrtet: Shoko Nagai,
Ron Horton, Satoshi Takeishi, Maryanne de Prophetis

Scholes Street Studio 7:30, 9 pm
Ms. Blu and Trio with Glenn Zaleski, Julian Smith, Chris Benham; Paula Jaakkola;
Luz Pinos with Luis Miguel Gil, Antonio Mazzei

Somethin Jazz Club 7, 9, 11 pm $10-12
Luiz Ebert Trio
Tomi Jazz 9 pm $10
Ben Paterson Trio
Cleopatras Needle 8 pm
Michika Fukumori Trio; Peter Valera Jump Blues Band

The Garage 6:15, 10:45 pm
Jon Faddis Quartet
Dizzys Club 7:30, 9:30 pm $40
Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest
Steve Turre
Jazz Standard 7:30, 9:30, 11:30 pm $30
Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35
Mauricio Zottarelli with Oriente Lopez, Klaus Mueller, Itaiguara Brando,
Gustavo Assis Brasil
Blue Note 12:30 am $10
John Pizzarelli and The Swing Seven

Birdland 8:30, 11 pm $45
Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder,
Yasushi Nakamura
Village Vanguard 8:30, 10:30 pm $25
Mike LeDonne
Measure 8 pm
Diane Moser Quintet, Guidonian Hand

Bryant Park 6 pm
Elad Cohen
Silvana 6 pm
Jocelyn Shannon Quartet
Shrine 6 pm
Dona Carter solo
Bryant Park 12:30 pm

Saturday, July 26
Matana Roberts Quartet with Liberty Ellman, Kevin Tkacz, Ches Smith

The Jazz Gallery 9, 11 pm $22
Rez Abbasi Trio with Thomson Kneeland, Russell Carter

Bar Next Door 7:30, 9:30, 11:30 pm $12
Takuya Kurodas Rising Son
Glasslands 8 pm $10
Joel Press Quartet; Grant Stewart Quartet with Tardo Hammer, Joel Forbes,
Phil Stewart; Mike Rodriguez Quintet; Eric Wyatt with Benito Gonzalez, Eric Wheeler,
Shinnosuke Takahashi
Smalls 4:30, 7:30, 10:30 pm 1 am $20
Doug Hammond with Anthony Tidd, Roman Filiu, Jonathan Finlayson

SEEDS 8 pm
Sirius Quartet: Ronald Lawrence, Fung Chern Hwei, Jeremy Harman, Billy Martin;
Drop the Needle: Billy Martin
The Stone 8, 10 pm $15
Alexis Cole Quartet with John di Martino, David Finck, Kenny Hassler

Jazz at Kitano 8, 10 pm $30
Misha Piatigorsky Trio
Zinc Bar 8 pm
Philip Harper; David Weiss
Fat Cat 10 pm 1:30 am
Jon De Lucia Group with Greg Ruggiero, Chris Tordini, Tommy Crane

Ibeam Brooklyn 8:30 pm $10
Allison Adams Tucker with Romain Collin, Luques Curtis, Mauricio Zottarelli,
Steve Wilson
SubCulture 8 pm $17
Isaiah Barrs Onyx Quintet with Keefe Martin, Joshua Benitez, Malik Mclaurine,
Austin Williamson; Dave Pollack Quartet; Paul Tafoya Group with Matt Chalk,
Alex Silver, Quincy Chimich, Devon Gillingham, Connor Parks

Somethin Jazz Club 7, 9, 11 pm $10
Yusuke Seki
Tomi Jazz 11 pm $10
Denton Darien
Cleopatras Needle 8 pm
Tony Malaby Tamarindo with William Parker, Nasheet Waits

Cornelia Street Caf 9, 10:30 pm $15
Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III

Smoke 7, 9, 10:30 pm $38
Jon Faddis Quartet
Dizzys Club 7:30, 9:30 pm $45
Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest
Steve Turre
Jazz Standard 7:30, 9:30, 11:30 pm $30
Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35
John Pizzarelli and The Swing Seven

Birdland 8:30, 11 pm $45
Rudy Royston 303 Sextet with Donny McCaslin, Nadje Noordhuis, Sam Harris,
Nir Felder, Yasushi Nakamura
Village Vanguard 8:30, 10:30 pm $25
Mike LeDonne
Measure 8 pm
Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet

The Garage 12, 6:15, 10:45 pm

Sunday, July 27
Drummingbirds: Rakalam Bob Moses, Cyro Baptista, Billy Martin

The Stone 8, 10 pm $15
Helen Sung Quintet with Seamus Blake, Chern Hwei Fung, Harish Raghavan,
Donald Edwards
MoMA Sculpture Garden 8 pm
Steve Fidyk Group; Aaron Diehl; Johnny ONeal with Paul Sikivie, Charles Goold;
Ned Goold with Sacha Perry, Reid Taylor

Smalls 4:30, 7:30, 10 pm 12 am $20
Terry Waldos Gotham City Band; Alex David; Brandon Lewis/Renee Cruz Jam

Fat Cat 6, 8:30 pm 12:30 am
Beyond Duo: Cheryl Pyle/Francois Grillot; Manna For Thought: Nora McCarthy,
Dom Minasi, Ras Moshe
WhyNot Jazz Room 7:30, 9 pm $10
Quentin Angus Quartet with Youngjoo Song, Sam Anning, Ari Hoenig

Metropolitan Room 9:30 pm $20
Peter Leitch/Sean Smith
Walkers 8 pm
Marco Di Gennaro
Measure 8 pm
Bright Noise; Ayal Tsubery
Silvana 6, 8 pm
John Lander Trio
Caffe Vivaldi 9 pm
Jon Faddis Quartet
Dizzys Club 7:30, 9:30 pm $40
Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest
Steve Turre
Jazz Standard 7:30, 9:30 pm $25
Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35
Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder,
Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25
Godwin Louis Quartet
Saint Peters 5 pm
NY Jazz Flutet: Dotti Anita Taylor, Jan Leder, Elise Wood, Chip Shelton, Art Lillard

Somethin Jazz Club 5 pm $12
Jo-Yu Chen Trio with Christopher Tordini, Tommy Crane

Blue Note 11:30 am 1:30 pm $29.50
Melissa Hamilton Trio with Chris Bergson, Dan Loomis

North Square Lounge 12:30, 2 pm
Iris Ornig Quartet; David Coss Quartet; Nobuki Takamen Trio

The Garage 11:30 am 6:30, 11 pm

LIVE MUSIC 7 NIGHTS

BROADWAY AND 51ST RESERVATIONS: 212-582-2121 BUY TICKETS AT: WWW.THEIRIDIUM.COM

JULY 2014
JULY 1 / 8:30PM & 10:30PM

JULY 6-7 / 8:00PM & 10:00PM

CAROL FREDETTE

ANDY TIMMONS

LIKE US
JULY 8-9 / 8:00PM & 10:00PM

JULY 11-12 / 8:00PM & 10:00PM

JULY 14 / 8:00PM & 10:00PM

MICHAEL LANDAU

TOM WOPAT

MARTY SCHWARTZ

GROUP FEATURING
SPECIAL EVENT

JULY 15 / 8:00PM & 10:00PM

JULY 17-18 / 8:30PM & 10:30PM

JULY 25 / 8:00PM & 10:00PM

JAMES HUNTER SIX

VIRGIL DONATI

ALEXIS P. SUTER

JULY 1 - CAROL FREDETTE

JULY 2 - WAYNE WILENTZ
JULY 3 - RICHARD PADRON QUARTET
JULY 5 - SEAN RICKMAN TRIO
JULY 10 - ARIELLE VERINIS
LIVE MUSIC 7 NIGHTS

FOLLOW US

JULY 16 - BEN WATERS

JULY 19-20 - JEFF TAIN WATTS
JULY 21 - JIMMY THACKERY BAND
JULY 24 - C.J. CHENIER
JULY 27 - ELIANE ST. GEORGE

SWINGS THE RAT PACK

JULY 26 & 30 / 7:30PM & 10:30PM

JULY 20 / 8:00PM & 10:00PM

MIKE PETERS

MOLLY RYAN

OF THE ALARM

AUG 6 - RACHEL Z
AUG 9 - MIKE PETERS
AUG 10 - JEREMY DAVIS & THE
FABULOUS EQUINOX ORCHESTRA

AUG 11 - GARY PUCKET & THE UNION

GAP BAND
AUG 16 - CATHERINE RUSSELL
AUG 17 - JOHN HAMMOND
AUG 18 - NELS CLINE

1650 Broadway (51st) New York, NY 10019 Reservations: (212) 582.2121 www.theiridium.com

Monday, July 28
Harvey Mason Chameleon
Blue Note 8, 10:30 pm $35
John Hbert; Juan Pablo Carletti Trio with Tony Malaby, Christopher Hoffman;

Nate Wooley, Ingrid Laubrock, Chris Corsano

Clemente Soto Velez Cultural Center 7:30 pm $11-22
Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25
Jason Marshall Big Band
Smoke 7, 9 pm
Yotam Silberstein
Dizzys Club 7:30, 9:30 pm $30
Carol Morgan and Retroactive with Joe Cohn, Corin Stiggall, E J Strickland;
Ari Hoenig Trio; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20
Jill McCarron
Measure 8 pm
Firey Strings Company with Ayodele Maakeru

Ibeam Brooklyn 8:30 pm $10
Franco Pinnas CHUO with Sofia Tosello; Brian Adlers Helium Music Project with
Jesse Neuman, Nick Videen, Bob Lanzetti, Dov Manski, Simon Jermyn

LIC Bar 9, 10 pm
Eliane Amherd Trio with Gustavo Amarante, Willard Dyson

Bar Next Door 8:30, 10:30 pm $12
David White Jazz Orchestra
Tea Lounge 8:30, 10 pm
Swingadelic
Swing 46 8:30 pm
Talking Strings; Jose Andres Cid de Leon Marquez

Silvana 6, 8 pm
Lou Caputo and the Not So Big Band; Ryan Meagher Trio

The Garage 7, 10:30 pm
Isaac ben Ayala solo
Bryant Park 12:30 pm

Tuesday, July 29
Jazz in July - Three Generations of Piano Jazz: Dick Hyman, Bill Charlap,
Christian Sands, Sean Smith, Willie Jones III

92nd Street Y 8 pm $55
Henry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila,
Stomu Takeishi, Elliot Humberto Kavee

Village Vanguard 8:30, 10:30 pm $25
Jazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart

Birdland 8:30, 11 pm $40
Tia Fuller Quartet
Dizzys Club 7:30, 9:30 pm $30
Molly Ryan
Iridium 8, 10 pm $25
Chris Bergson Band with Ellis Hooks, Steven Bernstein, David Luther,
Ian HendricksonSmith, Craig Dreyer, Matt Clohesy, Ethan Eubanks

Jazz Standard 7:30, 9:30 pm $20
Warren Smith Composers Workshop Orchestra with Jon Carlson, Cecil Bridgewater,
Vincent Chancey, Peter Lin, Jack Jeffers, Craig Rivers, Douglas Yates, Patience Higgins,
James Stewart, Howard Johnson, Yoham Chiqui Ortiz, Ratso Harris, Malik Washington

NYC Bahai Center 8, 9:30 pm $15
Tsyhawn Sorey
The Stone 8, 10 pm $15
Peter Epstein Quartet with Stephanie Richards, Sam Minaie, Mark Ferber;
James Carney Quartet with Peter Epstein, Chris Lightcap, Mark Ferber

Korzo 9, 10:30 pm
Lage Lund Trio with Matt Brewer, Clarence Penn

Bar Next Door 8:30, 10:30 pm $12
New Dimensions in Latin Jazz: Melvis Santa

Mintons Playhouse 7 pm $10
Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti;
NYJazz 9: John Eckert, David Smith, Nick Grinder, Rick Parker, Bobby Porcelli,
Terry Goss, Tim Harrison, Paul Gill, Andy Watson; Kyle Poole and Friends

Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin; Itai Kriss Gato Gordo; Greg Glassman Jam

Fat Cat 7, 9 pm 12:30 am
Kyoko Oyobe solo
Jazz at Kitano 8 pm
Tony Jefferson and Friends; Stacy Dillard Birthday Bash

The Garage 6, 10:30 pm
Nightingale Jazz Band
Caffe Vivaldi 8 pm
Harvey Mason Chameleon
Blue Note 8, 10:30 pm $35
Jill McCarron
Measure 8 pm
Sam Taylor
Silvana 6 pm
Isaac ben Ayala solo
Bryant Park 12:30 pm

Baby Soda Jazz Band

Radegast Hall 9 pm

Henry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila,

Stomu Takeishi, Elliot Humberto Kavee

Village Vanguard 8:30, 10:30 pm $25
Jazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart

Birdland 8:30, 11 pm $40
Tia Fuller Quartet
Dizzys Club 7:30, 9:30 pm $30
Chris Bergson Band with Ellis Hooks, Steven Bernstein, David Luther,
Ian HendricksonSmith, Craig Dreyer, Matt Clohesy, Ethan Eubanks

Jazz Standard 7:30, 9:30 pm $20
Harvey Mason Chameleon
Blue Note 8, 10:30 pm $35
Jill McCarron
Measure 8 pm
Forro in the Dark: Mauro Refosco, Davi Vieira, Guilherme Monteiro, Jorge Continentino;
Debo Band: Bruck Tesfaye, Danny Mekonnen, Gabriel Birnbaum, Danilo Henriquez,
Jonah Rapino, Kaethe Hostetter, Mari Abe, Brendon Wood, Arik Grier, PJ Goodwin,
Adam Clark
Madison Square Park 6 pm
Thunk Stephen Gauci, Kenny Wessel, Mike Bisio, Jeremy Carlstedt

Silvana 6 pm
Liz Childs/Ed MacEachen
Saint Peters 1 pm $10
Isaac ben Ayala solo
Bryant Park 12:30 pm

Thursday, July 31
Jazz in July - The Fred Astaire Songbook: Sachal Vasandani, Ken Peplowski,
Michael Dease, Bucky Pizzarelli, Renee Rosnes, Bill Charlap, George Mraz, Carl Allen

92nd Street Y 8 pm $63
Lee Konitz Quartet with Dan Tepfer, Jeremy Stratton, George Schuller

The Jazz Gallery 9, 11 pm $25
Kenny Barron Quartet with Stefon Harris, Kiyoshi Kitagawa, Johnathan Blake

Jazz Standard 7:30, 9:30 pm $30
Karen Mantler Trio with Kato Hideki, Doug Wieselman

SubCulture 8 pm $20
Willie Jones III Sextet with Eddie Henderson, Stacy Dillard, Steve Davis, Eric Reed,
Dezron Douglas
Dizzys Club 7:30, 9:30 pm $35
Peggy King and The All-Star Trio with Andy Kahn, Bruce Kaminsky, Bruce Klauber

Jazz at Kitano 8, 10 pm $15
Tyshawn Sorey Piano Trio
The Stone 8, 10 pm $15
Ricky Rodriguez Quintet with Manuel Valera, Tom Guarna, Andrew Gould, Pablo Bencid

Terraza 7 8 pm $7
New Cuban Express; Ray Parker Quartet

Fat Cat 10 pm 1:30 am
Smooth Cruise: Love & Soul Tour: Jonathan Butler, Norman Brown, Alex Bugnon

Pier 40 6:30, 9:30 pm $45-65
Willie Martinez y La Familia Sextet Nuyorican Poets Caf 9:30 pm $10
Dave Acker Trio with Leco Reis, Dan Pugach

Bar Next Door 8:30, 10:30 pm $12
The Rhythm Future Quartet: Jason Anick, Olli Soikkeli, Vinny Raniolo, Greg Loughman

ShapeShifter Lab 8:15 pm $15
Anna Elizabeth Kendrick
Tagine 8:30 pm
Gabrielle Stravelli
Metropolitan Room 7 pm $20
Michael Eaton Quintet with Brad Whiteley, Daniel Ori, Shareef Taher

Somethin Jazz Club 9 pm $10
Senri Oe
Tomi Jazz 9 pm $10
Steve Elmer Trio
Cleopatras Needle 7 pm
Denver Jazz Club Youth Allstars; Adam Rongo Trio

The Garage 6, 10:30 pm
Compactor; Pulcinella
Spectrum 6:30 pm
Dave Kikoski Trio
Smalls 9:30 pm $20
Henry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila,
Stomu Takeishi, Elliot Humberto Kavee

Village Vanguard 8:30, 10:30 pm $25
James Brandon Lewis Divine Travels with William Parker, Dominic Fragman

Birdland 6 pm $25
Jazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart

Birdland 8:30, 11 pm $40
Jill McCarron
Measure 8 pm
Isaac ben Ayala solo
Bryant Park 12:30 pm
Susan Pereira and Sabor Brazil Citigroup Center Plaza 12:30 pm

Wednesday, July 30
Jazz in July - Celebrate Sarah Vaughan: Ccile McLorin Salvant, Jesse Davis,
Bill Charlap Trio with Peter Washington, Kenny Washington

92nd Street Y 8 pm $52
Art Lande Quartet with Bruce Williamson, Dean Johnson, Tony Moreno

Jazz at Kitano 8, 10 pm $15
Jon Hendricks
The Jazz Gallery 9 pm $30
Dave Kikoski Trio; Sean Nowell Quartet

Smalls 9:30 pm 12:30 am $20
Raphael Dlugoff; Ryan Berg Quintet; Ned Goold Jam

Fat Cat 7, 9 pm 12:30 am
Brass Quintet: Dave Ballou, Ben Gerstein, Tyshawn Sorey;
Matt Mitchell/Tyshawn Sorey
The Stone 8, 10 pm $15
Nate Wooley, Ingrid Laubrock, Tom Rainey

Barbs 8 pm $10
Brianna Thomas
Smoke 7, 9, 10:30 pm
Ricky Rodriguez Quintet
Cornelia Street Caf 8:30 pm $10
Harlem Blues and Jazz Ensemble Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm
Oriente Lopez Quintet with Alejandro Florez, Roman Filiu, Itaiguara Brandao,
Mauricio Zottarelli
Terraza 7 8 pm $7
Carmen Staaf Sextet with Nicole Zuraitis, Dave Ballou, Kris Allen, Jonathan Michel,
George Schuller; Jarrett Cherner; Alex Snydmans Fortunate Action

ShapeShifter Lab 7, 8, 9:30 pm $15
David Bertrand Quartet
Somethin Jazz Club 7 pm $10
Kristen Lee Sergeant Trio
Tomi Jazz 8 pm
Alex Foster Band
Shrine 10 pm
Rob Edwards Quartet; Chris Beck Trio

The Garage 6, 10:30 pm

40 JULY 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
RonAffif Trio

Zinc Bar 9, 11pm, 12:30, 2 am
Woody Allen/Eddy Davis New Orleans Jazz Band Caf Carlyle 8:45 pm $145
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 Franks Cocktail Lounge 9 pm
Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)
John Farnsworth Quintet Smoke 11:30 pm
Joel Forrester solo
Brandy Library 8 pm
Vince Giordanos Nighthawks Iguana 8 pm (ALSOTUE)
Grove Street Stompers Arthurs Tavern 7 pm
Jazz Foundation of American Jam Session Local 802 7 pm
Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
Stan Rubin All-Stars
Charley Os 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
Lybane 9:30 pm (ALSO FRI)
Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
Irving Fields
Ninos Tuscany 7 pm (ALSO WED-SUN)
George Gee Swing Orchestra Swing 46 8:30 pm $12
Chris Gillespie; David Budway Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
Loston Harris
Caf Carlyle 9:30 pm $20 (ALSO WED-SAT)
Art Hirahara Trio
Arturos 8 pm
Yuichi Hirakawa Trio
Arthurs Tavern 7, 8:30 pm
Mike LeDonne Quartet; Charles Turner III Smoke 7, 9, 10:30, 11:30 pm
Ilya Lushtak Quartet
Shells Bistro 7:30 pm
Monas Hot Four Jam Session Monas 11 pm
Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm
Annie Ross
The Metropolitan Room 9:30 pm $25
Slavic Soul Party
Barbs 9 pm $10
Diego Voglino Jam Session The Fifth Estate 10 pm
WEDNESDAYS
Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
Sedric Choukroun and the Eccentrics Chez Oskar 7 pm
Rob Duguays Low Key Trio Turnmill NYC 11 pm
Bruce Edwards/Leviticus Gory Fairway Market Caf 7 pm
Joel Forrester
Manhattan Inn 7, 8 pm
Jeanne Gies with Howard Alden and Friends Joe Gs 6:30 pm
Les Kurtz Trio; Joonsam Lee Trio Cleopatras 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 (ALSOFRI)
Ron McClure solo piano McDonalds 12 pm (ALSO SAT)
David Ostwalds Louis Armstrong Centennial Band Birdland 5:30 pm $20
Saul Rubin Vocalist Series Zebs 8 pm $10
Stan Rubin Orchestra
Swing 46 8:30 pm
Eve Silber
Arthurs Tavern 7 pm
Camille Thurman 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 (ALSOFRI, SAT)
Lucy Galliher Singers Session Zinc Bar 6 pm $5
Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
Bertha Hope Band
Mintons Playhouse 7 pm (THRU SAT)
Jazz Jam Session
American Legion Post 7:30 pm
Kazu Trio
Cleopatras Needle 11:30 pm
Lapis Luna Quintet
The Plaza Hotel Rose Club 8:30 pm
Curtis Lundy Jam Session Shells Bistro 9 pm
Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10
Nickel and Dime OPS
Smoke 7, 9, 10:30 pm
Eri Yamamoto Trio
Arthurs Tavern 7 pm (ALSOFRI-SAT)
FRIDAYS
Scot Albertson
Parnells 8 pm (ALSO SAT)
The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbs 5 pm
Day One Trio
Prime and Beyond Restaurant 9 pm (ALSO SAT)
Lisa DeSpain solo
Machiavellis 8 pm
Gerry Eastman Quartet Williamsburg Music Center 10 pm
Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
Grant Goldstein Trio
809 Bar & Grill 8:30 pm
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 Bills Place 9, 11 pm $15 (ALSO SAT)
Joanna Sternberg Trio Cleopatras 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
Alvin Flythe Trio
Fairway Market Caf 7 pm
Michika Fukumori Trio Cleopatras Needle 9 pm
Joonsam Lee; Diego Voglino Jules Bistro 12, 8:30 pm
Curtis Lundy Trio with guests Shells Bistro 9 pm
Johnny ONeal
Smoke 11:45 pm
Skye Jazz Trio
Jack 8:30 pm
SUNDAYS
Avalon Jazz Quartet
The Lambs Club 11 am
Satish Robertson; Renaud Penant Jules Bistro 12, 8:30 pm
The Candy Shop Boys
The Rum House 9:30 pm
Creole Cooking Jazz Band; Stew Cutler and Friends Arthurs Tavern 7, 10 pm
Isaac Darch Group
Basik Bar 7 pm
Marc Devine Trio
TGIFridays 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 Dominies Astoria 9 pm
Bob Kindred Group; Junior Mance Trio Caf Loup 12:30, 6:30 pm
Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10
Peter Leitch Duo
Walkers 8 pm
Peter Mazza Trio
Bar Next Door 8, 10 pm $12
Tony Middleton Trio
Jazz at Kitano 11:30 am $35
Jane Monheits Jazz Party Birdland 6 pm $30
Arturo OFarrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
Earl Rose solo; Eric Yves Garcia Trio Bemelmans Bar 5:30, 9 pm
Lu Reid Jam Session
Shrine 4 pm
Annette St. John; Willerm Delisfort Quartet Smoke 11:30 am 11:30 pm
Ryo Sasaki Trio
Analogue 7 pm
Sara Serpa/Andr Matos Po Restaurant 2 pm
Corin Stiggall and Associates Speedy Romeo 12 pm
Milton Suggs
Cvo 7 pm

CLUB DIRECTORY
55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
809 Bar & Grill 112 Dyckman Street
(212-304-3800) Subway: 1 to Dyckman Street www.809restaurant.com
92nd Street Y Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
ABC No-Rio 156 Rivington Street (212-254-3697)
Subway: J,M,Z to Delancey Street www.abcnorio.org
American Folk Art Museum 45 W 53rd Street (212-265-1040)
Subway: E to 53rd Street www.folkartmuseum.org
American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
Antibes Bistro 112 Suffolk Street
(212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com
The Appel Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
Arthurs Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
Arturos 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
BB Kings 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 FranklinStreets
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
Barbs 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
Bargemusic Fulton Ferry Landing
(718-624-4061) Subway: F to York Street, A, C to High Street
www.bargemusic.org
Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Bills 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
Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
Brooklyn Bowl 61 Wythe Avenue
(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com
Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org
Caf Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Caf Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
Caf du Soleil 2723 Broadway at 104 Streets
(212-316-5000) Subway: 1 to 103rd Street
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
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
Cvo 42-18 31st Avenue, Astoria
(718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com
Charley Os 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484)
Subway: C to Clinton-Washington Avenues www.bistrolola.com
Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)
Subway: C to Lafayette Avenue www.chezoskar.com
Citigroup Center Plaza 53rd Street and Lexington Avenue
Subway: 6 to 51st Street
Classon Social Club 807 Classon Avenue
(718-484-4475) Subway: 2, 3 to Eastern Parkway www.theclasson.com
Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street www.csvcenter.com
Cleopatras Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
The Commons 388 Atlantic Avenue
Subway: A, C, G to Hoyt/Schermerhorn Streets
Cornelia Street Caf 29 Cornelia Street
(212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street
www.corneliastreetcaf.com
The Counting Room 44 Berry Street (718-599-1860)
Subway: L to Bedford Avenue www.thecountingroombk.com
The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
Damrosch Park at Lincoln Center Broadway and 62nd Street
Subway: 1 to 66th Street
David Rubenstein Atrium Broadway at 60th Street
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.new.lincolncenter.org/live/index.php/atrium
Death By Audio 49 S. 2nd St between Wythe and Kent
Subway: L to Bedford www.myspace.com/deathbyaudioshows
Dizzys 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
Dominies 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
Dweck Center at Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
Fairway Market Caf 2127 Broadway
(212-595-1888) Subway: 1, 2, 3 to 72nd Street www.fairwaymarket.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 Flatiron Room 37 West 26th Street
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
Flute Midtown 205 W. 54th St.between 7th and Broadway
(212-265-5169) Subway: B, D, E to 7th Avenue
Franks Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn
(718-625-9339) Subway: G to Fulton Street
Freddys Backroom 627 5th Avenue, Brooklyn (718-768-0131)
Subway: R to Prospect Avenue www.freddysbar.com/events
The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
Ginnys Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
Glasslands 289 Kent Avenue
Subway: L to Bedford Avenue theglasslands.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
Hostos Center 450 Grand Concourse
(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu
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 Caf 600 West 218th Street @ Indian Road
(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com
Inkwell Caf 408 Rogers Avenue between Lefferts and Sterling
Subway: 5 to Sterling Street www.plgarts.org
Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
JACK 505 Waverly Avenue (718-388-2251)
Subway: C to Clinton-Washington Avenue www.jackny.org
Jack 80 University Place Subway:4, 5, 6, N, R to 14th Street
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 Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway:6 to 28th Street www.jazzstandard.net
Joe Gs 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
Joes Pub 425 Lafayette Street (212-539-8770)
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com
Jules Bistro 60 St Marks Place
(212-477-5560) Subway: 6 to Astor Place www.julesbistro.com
Kellari Taverna 19 W. 44th Street (212-221-0144)
Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us
Klavierhaus 549 W. 52nd Street, 7th Floor (212-245-4535)
Subway: C, E to 50th Street www.klavierhaus.com
Korzo 667 5th Avenue (between 19th and 20th streets), 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
Le Cirque Caf 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
Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
Louis Armstrong House 34-56 107th Street, Queens
(718-478-8274) Subway: 7 to 11th Street www.satchmo.net
Lybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
MoMA Sculpture Garden 11 West 53rd Street
(212-708-9400) Subway: E, V train to Fifth Avenue/53rd Street
www.moma.org
McDonalds 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
Machiavellis 519 Columbus Avenue
(212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com
Madison Square Park 5th Avenue and 23rd Street
Subway: R, W to 23rd Street
Manderley Bar at the McKittrick Hotel 530 W 27th Street
(212-904-1883) Subway: C, E to 23rd Street www.sleepnomorenyc.com
Manhattan Inn 632 Manhattan Avenue (718-383-0885)
Subway: G to Nassau Avenue www.themanhattaninn.com
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
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
Mintons Playhouse 206 West 118th Street (212-243-2222)
Subway: B, C to 116th Street www.mintonsharlem.com
MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street
Monas 224 Avenue B Subway: L to First Avenue
NYC Bahai Center 53 E. 11th Street (212-222-5159)
Subway:4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
Ninos Tuscany 117 W. 58th Street (212-757-8630)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com

North Square Lounge 103 Waverly Place (212-254-1200)

Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
Nuyorican Poets Caf 236 E. 3rd Street between Avenues B and C
(212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org
Po Restaurant 322 Spring Street
(212-334-5464) Subway: C, E to Spring Street www.paonewyork.com
Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595)
Subway: C to 155th Street www.parlorentertainment.com
Parnells 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
Pier 40 353 West Street (212-627-2020) Subway: 1 to Houston Street
The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
Prospect Park Bandshell Subway: F to Prospect Park
Prospect Range 1226 Prospect Avenue
Subway: F to Fort Hamilton Parkway www.prospectrange.com
Queensbridge Park 21st St., Bridge Plaza, Vernon Blvd. and East River
Subway: 7 to Vernon/Jackson Blvds.
Radegast Hall 113 North 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
Robert F. Wagner Park at Battery Park Subway: 4 or 5 to Bowling Green
Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
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
The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
Saint Peters 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
Scholes Street Studio 375 Lorimer Street (718-964-8763)
Subway: L to Lorimer Street; G to Broadway www.scholesstreetstudio.com
SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza
www.seedsbrooklyn.org
ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
Shells Bistro 2150 5th Avenue
(212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com
Showmans 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
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: E to Lexington Avenue-53rd Street www.somethinjazz.com/ny
Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street
www.spectrumnyc.com
Speedy Romeo 376 Classon Ave (718-230-0061)
Subway: G to Bedford-Nostrand Avenues www.speedyromeo.com
The Stone Avenue C and 2nd Street
Subway:F to Second Avenue www.thestonenyc.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
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
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
Walkers 16 North Moore Street (212-941-0142)
Subway: A, C, E to Canal Street
Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com
The West End Lounge 955 West End Avenue at West 107th Street
(212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com
WhyNot Jazz Room 14 Christopher Street
(646-756-4145) Subway: 1 to Christopher Street
Williamsburg Music Center 367 Bedford Avenue
(718-384-1654) Subway: L to Bedford Avenue
Zebs 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
Zrcher Studio 33 Bleecker Street
(212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette
www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014

41

(FIMAV CONTINUED FROM PAGE 13)

Four other larger ensembles spanned a wide
stylistic spectrum. To mark the 100th anniversary of
Sun Ras birth (May 22nd), Montreals 18-piece Ratchet
Orchestra led by bassist Nicolas Caloia invited alto
saxophonist Marshall Allen to join a commemorative
celebration. After a first part based on Caloias charts,
with some serious sounding improv and spoken word,
Allen leapt to center stage to take over the direction.
With his unique sliding sax phrasing, Allen injected a
sense of immediacy and enthusiasm to the ensemble as
he summoned individual and group improvs based on
a 50s Sun Ra composition. It was challenging and fun.

GGRIL was supposed to be 12 but 15 young
musicians from the even more remote Quebec town of
Rimouski, 333 miles northeast of Montreal, performed
classic free jazz. What was missing in terms of an
ensemble sound was compensated by palpable
enthusiasm: at one point both bassist ric Normand
and violinist Raphal Arsenault took to directing the
same section of musicians simultaneously.

Haram, Arabic for forbidden, was anything but in
an uplifting display of classical-sounding Arabic music
by an 11-member group led by Vancouver guitarist/
oud player Gordon Grdina. Combining traditional and
western instrumentation, it was a joyous experience
no mournful laments herewith some improvisations
from strings, violins and brass, but more a folk outing
than a free-jazz experience.
Chicagos ever-productive saxophonist Ken
Vandermark brought his Audio One tentet for an
engaging set of originals. The songs were well crafted
for his multi-talented group, including the energetic
and inventive frontline of saxophonists Mars Williams,
Dave Rempis, Nick Mazzarella and trombonist Jeb
Bishop. Occasional duos featuring violist Jen Paulson
and vibraphonist Jason Adasiewicz contrasted nicely
with the dominant brassy sound. It was a blowout,
though Vandermark can be encouraged to be more
adventurous.

Other highlights and near the top at many fans
best of lists was the opening concert by vocal acrobat
and singer Meredith Monk, who, with her dramatic
hand gestures and honey-tinged clarity, presented a
collection of songs that recall the native music of the
U.S. Southwest, spacey Americana. She clicked,
hummed and ululated and accompanied herself on
Jews harp and piano. Call-and-response duets with
mezzo-soprano Katie Geissinger were so tight you
couldnt tell the two apart. And Norwegian singer
Maja Ratkje delighted with her expressive solo vocal
contortions, chants and electronic effects as she busily
worked a table of devices.

Noise as a genre was offered in two concerts
featuring the death-rock musical attack of guitarist/
vocalist Keiji Haino. With his mane of silvery hair
hanging below his armpits and dressed in black, he cut
a dramatic figure as he screamed and pitched highvolume riffs from his electric guitar in a gig with
French electric guitarist Richard Pinhas, everpropulsive drummer Tatsuya Yoshida and the wall-ofsound electronics of Masami Akita, known as Merzbow.
The Prince of Darkness was a keystone of the dronelike sound produced with Australian drummer Oren
Ambarchi and American electric bassist Stephen
OMalley, collectively known as Nazoranai. v
For more information, visit fimav.qc.ca
(MOERS CONTINUED FROM PAGE 13)
The discovery for this reporter was French-BelgianItalian trumpet-bass-drum trio Jean Louis later that
evening. Despite their instrumentation, the groups
foundation was drawn from progressive rock bands
like King Crimson or Meddle-era Pink Floyd. Upright

bassist Joachim Florent was especially impressive,

thickening the industrial stew, songs taken from their
latest album including a dedication to Kim Jong Il and
whose cover is a picture of the group attacked by one
of Ray Harryhausens claymation monsters. Perhaps
not for the purists but it is refreshing to hear a young
group bringing new aesthetic influences to jazz.
Another Francophone ensemble, Orchestra National
de Jazz Olivier Benoit, followed with a 48-minute suite
that recalled some of the full symphonic outings of the
Mahavishnu Orchestra, guitarist and leader Benoits
compositions jumping off the stage with rockish
energy, instead of the mawkish and fluffy arrangements
one usually associates with any large ensemble that
calls itself an orchestra. The compositions were farranging and compelling, the set nearing rock-opera
status by its conclusion.

Sunday featured a German legend in drummer
Jaki Liebezeit. Perhaps best known as a founding
member of Can, there may have been some attendees
of the festival old enough to remember him playing
decades earlier in nearby Kln with Manfred Schoofs
Quintet. His duo set with laptopper Marcus Schmickler
was far closer to his later work, Shmickler setting up a
series of slowly morphing electronic soundscapes
underneath which Liebezeit played insistent,
industrial-style rhythms without respite. Some people
zoned out, others danced, still others got caught up in
the club-like lightshow that accompanied the music.
Local boys (well, local to us) Ideal Bread played a
magnificent set drawn from their latest album fting
the compositions of late soprano saxophonist Steve
Lacy. Leader/baritone saxophonist Josh Sinton told a
touching story of first getting into progressive jazz and
hearing albums recorded at early Moers festivals. That
he was now playing at one was a dream come true.
The band, who has been together for a decade,
translated their unique take on Lacys music from the
usual tens of people in Brooklyn to 2,500 enthusiastic
Moers-ites, Sinton and cornet player Kirk Knuffke
forming a cogent frontline buoyed by drummer Tomas
Fujiwara and new bassist Adam Hopkins. Speaking of
Brooklyn, the reworking of Fred Friths seminal 1980
album Gravity performed at Roulette last fall fit the
Moers aesthetic perfectly, art-rock flourishes mixing
with circus music and a tongue-in-cheek version of
Dancing in the Streets. This mammoth interpretation
featured guitarist Ava Mendoza (more on her later) in
its most incendiary moments as well as William
Winants kitchen-sink percussion and the leader on
both guitar and electric bass. The last set of the evening
was another welcome surprise. Letieres Leites
Orkestra Rumpilez was billed as a Brazilian big band
but exceeded that label with avant garde flourishes in
the saxophone solos, complex rhythms from a thicket
of percussionists centerstage and the leader s buoyant
flute. That the band wore matching cabana gear and
sat on deckstools just added to the fun.

The festival closed on Monday with a one-two
punch. Guitarist Ava Mendozas Wayside Wayfarer
with electric bassist Tim Dahl and drummer Nick
Podgurski was stunning in its brutality. Like Jean
Louis two days earlier, Mendozas group didnt draw
on typical jazz guitar tropes but instead recalled the
classic mid 80s Corrosion of Conformity trio lineup
(Podgurski even looks like Reed Mullin) and the East
Bay Ray-Klaus Fluoride-D.H. Peligro version of the
Dead Kennedys. Mendoza takes the cheerfulness out
of surf-rock guitar and Dahl is like an alien punching
through your chest. Mendozas anguished vocals on
Dogsbodies and Feral Twin added to the postapocalyptic vibe. The closing set was a typically
raucous one from Mostly Other People Do the Killing,
appearing as a sextet and a festival favorite. Peter
Evans has been replaced by Steven Bernstein, bass
trombone legend Dave Taylor has been added to the
mix but it was two other new members, pianist Ron
Stabinsky and banjo player Brandon Seabrook, mind-

42 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

twistingly catholic in their tastes, that brought a new

dimension to bassist/leader Moppa Elliotts slapdash
tunes named after Pennsylvania towns. During one of
Stabinskys solos, he quoted Bruce Hornsby and Elton
John; this was matched by drummer Kevin Shea
quoting U2 later in the set. Jazz Nazis have a special
concentration camp just for bands like MOPDtK but
youd be hard-pressed to find a better act to finish up a
festival of multi-faceted music that is just another four
days at the office for the Moers Festival. v
For more information, visit moers-festival.de
(MUSKETER CONTINUED FROM PAGE 13)
splatters of Robertson cutting through and flying
above the Mazur-Moye connection and Blake with
Rudolph on congas and three-string Moroccan doson
ngoni. Rudolph, like Parks a DIVA Award recipient,
hooked up with Blake and/or Moye on other occasions
as well, most memorably with the latter on three
congas between them, injecting a surge of adrenaline
into a improv set with vocalists Elena Setien (from
Spain, now residing in Copenhagen) and Rully Shabara
(from the Indonesian band Senyawa), whose vast vocal
techniques were a cross between Inuit vocalist Tanya
Tagaq and Mike Patton.

Moye, best known for his work with Art Ensemble
of Chicago, played frequently with German Hartmut
Geerken. On the final day the two improvised as a duo,
Geerken on kalimba, keyboard, wood flute and vocals
along with Moyes chants and hand- and stick-played
gongs and drums. Their history goes back decades and
their set reflected two well-acquainted souls. Moye
also graced ensembles with local boisterous trombonist
Hakan Strangberg and also bolstered the co-led group
of Mauritz Tchicai (baritone horn) and Otto Andreasen
(one of many stylistically distinct, envelope-pushing
Danish alto playing Musketers such as Laura Toxvrd,
Jesper Zeuthen and Christian Khyl).

Jerome Cooper, sole surviving member of The
Revolutionary Ensemble, gave the most indelible
American/Danish collaborative effort in duo with
experimental vocalist Marie Laurette Friis. Head and
body motionless, Cooper s wrists rolled mesmerizing
tom mallet figures, slowly developing intensity while
Friiscrouched at the foot of Cooper s bass drum
subtly threw colorful and dynamic sounds into her mic
through an effects box in a 15-minute masterpiece.
Earlier in the festival, Cooper and Cooper-Moore
wowed the Danish crowd in their solo sets, the former
on drums, balafon and keyboard, the latter on his
homemade, lap-played single-string diddley-bow.

Of the various large-scale works of spontaneous
group improvisations, the festivals finale set was the
most rewarding, beginning around 1:30 am and lasting
well over an hour and a half. Starting out as a vast
ensemble, including all the musicians still in
attendance, soloists were signaled in by Osgood: from
Shabara, American expatriate Bob Rockwell (tenor), TS
Hawk (dance/spoken word), Lars-Gran Ulander
(veteran Swedish alto saxophonist) and Jesper Lvdal
(stritch) to a collective choral section. Something
intriguing then happenedmusicians randomly
started leaving the stage, some returning, some not, all
while the music continued, thus altering the course
with each new instrumental variation. It followed the
same rule of thumb as the rest of the festivals minisets, the main difference that there wasnt any pause
between the new groupings: with at least one musician
remaining a constant, the flow was always maintained.
This jam session-like atmosphere was a perfect sendoff for those music warriors (players and listeners
alike) who remained to the end of what was an
exhausting but certainly rewarding festival. v
For more information, visit locomusic.dk

IN MEMORIAM
by Andrey Henkin
HERB JEFFRIES - The vocalist, after working with Earl Hines and then becoming a movie star in Black westerns during the late 30s, scored a massive hit in 1941 with Duke Ellington and the song Flamingo
and went on to intermittent recording over the subsequent decades as well as numerous television appearances. Jeffries died May 25th at 100.
MILJENKO PROHASKA - The bassist with the Zagreb Jazz Quartet featured on the 1962 John Lewis album Animal Dance was also a stalwart of Croatian symphonies, initially as a player and then as a
conductor, and later was noted as a composer in various genres, including film work. Prohaska died May 29th at 88.
FRANK STRAZZERI - The pianist, though born in Rochester, NY, settled in Los Angeles in 1960 and made his mark both as a session musician and in the bands of Charlie Ventura, Les Brown and as part of
The Lighthouse All-Stars, on albums by Herb Ellis, Harold Land, Kai Winding, Don Menza and Louis Bellson and his own nearly 20 sessions as a leader from 1969-2004. Strazzeri died May 9th at 84.
JOE WILDER - The trumpeter was a mainstay in the big bands of Count Basie, Benny Goodman, Lionel Hampton and Jimmie Lunceford as well as recording with Neal Hefti, Hank Jones, Mundell Lowe,
Jimmy Giuffre, Dinah Washington, Quincy Jones, Herbie Mann and dozens of others during an over-60-year career (but with just a handful of albums as a leader) and is also notable for being among the first
to desegregate Broadway pit orchestras in the 50s. Wilder died May 9th at 92.
GEORGE YOSHIDA - The author of Reminiscing in Swingtime: Japanese Americans in American Popular Music, 1920-1965, who suffered under the US Governments internment of Japanese-Americans during
World War II, went on to become a respected music educator in the Berkeley, California school system. Yoshida died May 13th at 92.

BIRTHDAYS
July 1
Earle Warren 1914-95
Rashied Ali 1935-2009
Ndugu (Chancler) b.1952
Erik Friedlander b.1960
Sameer Gupta b.1976
Brandee Younger b.1983
July 2
Charlie Kennedy 1927-2009
Richard Wyands b.1928
Ahmad Jamal b.1930
William Fielder 1938-2009
Mike Abene b.1942
Gary Dial b.1954
July 3
Johnny Coles 1926-96
Ronnell Bright b.1930
Ron Collier 1930-2003
Pete Fountain b.1930
Rhoda Scott b.1938
Dr. Lonnie Smith b.1942
John Klemmer b.1946
July 4
Aaron Sachs b.1923
Conrad Bauer b.1943
Butch Miles b.1944
Fred Wesley b.1943
Matt Steckler b.1974
July 5
Ray Biondi 1905-81
Bruce Turner 1922-93
Sha b.1983
July 6
Betty Smith 1929-2011
Chris White b.1936
Klaus Kugel b.1959
Torben Waldorff b.1963

July 7
Tiny Grimes 1916-89
Frank Rehak 1926-87
Doc Severinsen b.1927
Hank Mobley 1930-86
Joe Zawinul 1932-2007
Sue Evans b.1951
Michael Henderson b.1951
JA Granelli b.1966
Orlando Le Fleming b.1976
July 8
Bill Challis 1904-94
Louis Jordan 1908-75
Johnny Mince 1912-97
Billy Eckstine 1914-93
Ken Hanna 1921-82
Roy Babbington b.1940
Sakari Kukko b.1953
Russ Johnson b.1965
Kendrick Scott b.1980
Tyshawn Sorey b.1980
Matt Wigton b.1980
July 9
Joe Darensbourg 1906-85
June Richmond 1915-62
Duke Burrell 1920-93
Alex Welsh 1929-82
Frank Wright 1935-90
July 10
Noble Sissle 1889-1975
Ivie Anderson 1905-49
Cootie Williams 1910-85
Milt Buckner 1915-77
Dick Cary 1916-94
Major Holley 1924-90
Buddy Clark 1929-99
Arnie Lawrence 1938-2005
Lee Morgan 1938-72
Brian Priestley b.1940

July 11
Henry Lowther b.1941
Tomasz Stanko b.1942
Travis Sullivan b.1971
Will Vinson b.1977
July 12
Sam The Man Taylor
1916-90
Paul Gonsalves 1920-74
Conte Condoli 1927-2001
Big John Patton 1935-2002
Jean-Francois Jenny-Clark
1944-98
Mark Soskin b.1953
Ken Thompson b.1976
Ron Caswell b.1977
July 13
George Lewis (cl) 1900-68
Bengt-Arne Wallin b.1926
Leroy Vinnegar 1928-99
Albert Ayler 1936-70
Earl Grubbs 1942-89
George Lewis (tb) b.1952

July 22
Paul Moer 1916-2010
Al Haig 1924-82
Bill Perkins 1924-2003
Keter Betts 1928-2005
Junior Cook 1934-92
Johannes Bauer b.1954
Al DiMeola b.1954

July 18
Charlie LaVere 1910-83
Ray McKinley 1910-95
Joe Comfort 1917-88
Don Bagley 1927-2012
Carl Fontana 1928-2003
Buschi Niebergall 1938-80s
Dudu Pukwana 1938-90
William Hooker b.1946
Theo Croker b.1985

July 23
Emmett Berry 1915-93
Johnny Hartman 1923-83
Claude Luter 1923-2006
Bill Lee b.1928
Richie Kamuca 1930-77
Steve Lacy 1934-2004
Daoud-David Williams b.1943
Khan Jamal b.1946
Loren Schoenberg b.1958
Achille Succi b.1971

July 19
Buster Bailey 1902-67
Cliff Jackson 1902-70
Charlie Teagarden 1913-84
Bobby Bradford b.1934
Carmell Jones 1936-96
Didier Levallet b.1944

July 14
Billy Kyle 1914-66
Alan Dawson 1929-96
Lauren Sevian b.1979
July 15
Philly Joe Jones 1923-85
Joe Harriott 1928-73
Henry P. Warner 1940-2014
Rodrigo Amado b.1964
Petros Klampanis b.1981
July 16
Teddy Buckner 1909-94
Cal Tjader 1925-82
Bobby Previte b.1957

July 17
Mary Osborne 1921-92
Ray Copeland 1926-84
Vince Guaraldi 1928-76
Joe Morello 1928-2011
Ben Riley b.1933
Nick Brignola 1936-2002
Chico Freeman b.1949

July 20
Bill Dillard 1911-95
Joachim Ernst Berendt
1922-2000
Ernie Wilkins 1922-99
Peter Ind b.1928
Charles Tyler 1941-82
Samuel Blaser b.1981
July 21
Helen Merrill b.1930
Sonny Clark 1931-63
Plas Johnson b.1931
Scott Wendholt b.1965

July 24
Joe Thomas 1909-84
Billy Taylor 1921-2010
Ronnie Lang b.1927
Rudy Collins 1934-88
Mike Mainieri b.1938
Charles McPherson b.1939
Jon Faddis b.1953
Barry Romberg b.1959
James Zollar b.1959
Etienne Charles b.1983
July 25
Darnell Howard 1895-1966
Johnny Wiggs 1899-1977
Johnny Hodges 1907-70
Jef Gilson 1926-2012
Don Ellis 1934-78
Gnter Lenz b.1938
Brian Blade b.1970
Mike DiRubbo b.1970

July 26
Gus Aiken 1902-1973
Erskine Hawkins 1914-93
Louie Bellson 1924-2009
Charli Persip b.1929
JoAnne Brackeen b.1938
Natsuki Tamura b.1951
July 27
Charlie Queener 1923-97
Charlie Shoemake b.1937
Carl Grubbs b.1944
Joel Harrison b.1957
Jean Toussaint b.1960
July 28
Corky Corcoran 1924-79
Jim Galloway b.1936
Nnenna Freelon b.1954
Delfeayo Marsalis b.1965
July 29
Don Redman 1900-64
Charlie Christian 1916-42
Joe Beck 1945-2008
July 30
Hilton Jefferson 1903-68
Roy Porter 1923-98
Frank Smith 1927-74
Vernell Fournier 1928-2000
James Spaulding b.1937
Hal Smith b.1953
Kevin Mahogany b.1958
July 31
Hank Jones 1918-2010
Ahmet Ertegun 1923-2006
Bjarne Nerem 1923-91
Kenny Burrell b.1931
Michael Wolff b.1952
Stanley Jordan b.1959

MICHAEL WOLFF
July 31st, 1952
The pianist was born in New
Orleans but grew up in
Memphis and Berkeley. His
first major work was with
vibraphonist Cal Tjader in
the 70s and he then went on
to work and record with
Cannonball Adderley. His
other sideman recording
credits
include
Nancy
Wilson, Sonny Rollins, Tom
Harrell and Dave Samuels.
He began recording as a
leader in 1993 and has over
15 albums to his credit,
including his latest project,
the Wolff & Clark Expedition
(Random Act) with fusion
drum legend Mike Clark.
Wolff was Musical Director
for the Arsenio Hall Show and
has also done soundtrack
work as well as produced
the music for The Naked
Brothers Band, a Nickelodeon
series starring his two sons
Nat and Alex.
-AH

ONTHISDAY
by Andrey Henkin

And The Metronome All Stars

Billy Eckstine (MGM)
July 9th, 1953

Billy

Eckstine, who was among the

first black big band vocalists, working
first with Earl Hines and then as leader
of his own big band, fronts the
Metronome All Stars for this two-tune
EP. The backing band were musicians
voted in by the readers of Metronome
magazine (various lineups recorded 15
albums between 1939-56) and here was
comprised of Kai Winding, John
LaPorta, Warne Marsh, Lester Young,
Terry Gibbs, Teddy Wilson, Billy Bauer,
Eddie Safranski and Max Roach for
How High The Moon and St. Louis
Blues.

On The Riviera
Wilbur De Paris (Atlantic)
July 9th, 1960

Trombonist

Wilbur De Paris was a

tireless worker on behalf of New
Orleans-style jazz from the mid 20s
through the early 70s. This live
recording from the French Antibes Jazz
Festival was one of his last, coming
near the end of a ten-year stint for
Atlantic Records. The bandbrother
Sidney De Paris and Doc Cheatham
(trumpets), Garvin Bushell (clarinet),
Sonny White (piano), John Smith
(guitar), Hayes Alvis bass) and Wilbert
Kirk (drums)plays eight Crescent
City standards like St. Louis Blues
and Muskrat Ramble.

Frictions
Free Jazz Group Wiesbaden (s/r)
July 9th, 1971

Wiesbaden

is a small German city

about 40 kilometers west of Frankfurt.
Far from Berlin, it still managed to
have musicians swept up by the free
music raging over the continent at the
time. The limited-edition, self-released
LP is the only album by this quartet
multi-reed player Dieter Scherf,
guitarist/flutist
Gerhard
Knig,
trumpeter Michael Sell and drummer
Wolfgang Schlick, the two-part title
track split across the two sides of the
disc. Only Sells discography would
grow much past this release in the
subsequent decades.

Blues for Coltrane

McCoy Tyner (Impulse)
July 9th, 1987

Outside In
Paul Bley/Sonny Greenwich (Justin Time)
July 9th, 1994

This tribute to John Coltrane, recorded

A fascinating duo album by two quite

different sons of Canada on one of its
homegrown labels. Pianist Paul Bley
came up in the New Thing of New
York City and went on to a prolific
career in avant garde jazz while
guitarist Sonny Greenwich had a more
traditional arc with Hank Mobley, John
Handy and his own albums. The
12-tune program is closer to
Greenwichs aesthetic than Bleys,
with songs like Steeplechase, These
Foolish Things and Pent-Up House,
a nice opportunity to hear the pianist
in a less cerebral setting than usual.

almost 20 years after his tragic

premature death, is ostensibly led by
one of his former employees (pianist
McCoy Tyner), features another
(saxophonist Pharoah Sanders) and an
infrequent partner (drummer Roy
Haynes) plus a bassist with whom
Coltrane never recorded (Cecil McBee)
and a stylistic heir (saxophonist David
Murray). Apart from Tyners Bluesin
For John C., Murrays Last of the
Hipmen and Billy Eckstines I Want
to Talk About You, the other three
tunes are Coltrane originals.

NEW YORKS ONLY HOMEGROWN JAZZ GAZETTE!

EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY
COMPETITIVE & EFFECTIVE ADVERTISING: ADVERTISING@NYCJAZZRECORD.COM
SUBSCRIPTIONS AND GENERAL INFO: INFO@NYCJAZZRECORD.COM
FOLLOW US: TWITTER: @NYCJAZZRECORD & FACEBOOK.COM/NYCJAZZRECORD

WWW.NYCJAZZRECORD.COM

THE NEW YORK CITY JAZZ RECORD | JULY 2014

43

INTERNATIONAL TENNIS HALL OF FAME AT THE NEWPORT CASINO

ALEX AND ANI STAGE / FRI, AUG 1 / Jazz at Lincoln Center Orchestra w. Wynton Marsalis

Dee Dee Bridgewater fea. Theo Croker - To Billie With Love

FORT ADAMS STATE PARK

FRI, AUG 1 / Jon Batiste 8 John Zorns Masada 8 Miguel Zenn 8 Snarky Puppy

Darcy James Argue 8 Ccile McLorin Salvant 8 Rudresh Mahanthappa 8 Amir ElSaffar
Vince Giordano & the Nighthawks 8 Mostly Other People Do The Killing 8 Berklee Global Jazz
SAT, AUG 2/ Jazz at Lincoln Center Orchestra w. Wynton Marsalis 8 Trombone Shorty
Dave Holland 8 Gregory Porter 8 Robert Glasper 8 SFJAZZ Collective w. Miguel Zenn,
Avishai Cohen, David Sanchez, Robin Eubanks, Warren Wolf, Edward Simon, Matt Penman & Obed Calvaire

Pedrito Martinez 8 Brian Blade 8 Kurt Rosenwinkel 8 Ccile McLorin Salvant

Dick Hyman, Howard Alden & Jay Leonhart 8 Newport Now 60 w.
Anat Cohen, Karrin Allyson, Randy Brecker, Mark Whitfield,
Peter Martin, Larry Grenadier & Clarence Penn

Stefano Bollani & Hamilton de Holanda

SUN, AUG 3 / David Sanborn & Joey DeFrancesco

Bobby McFerrin 8 Dr. John 8 Gary Burton

Vijay Iyer 8 Ravi Coltrane 8 Danilo Prez
Ron Carter 8 The Cookers 8 Mingus Big Band
Django Festival All-Stars 8 The Brubeck Bros
Lee Konitz w. Grace Kelly
George Wein & the Newport All-Stars w.
Anat Cohen, Howard Alden, Randy Brecker,
Lew Tabackin, Jay Leonhart & Clarence Penn

Dont miss out on...

$40 GA Tickets for Friday at the Fort &
$20 Student Tickets for all days at the Fort
Need a ride?
Take a Day-trip w. WBGO! Express buses from
Jazz at Lincoln Center (Manhattan), BRIC House (Brooklyn),
& New Jersey Performing Arts Center (Newark, NJ)

Photos, left-right: Bobby McFerrin, Trombone Shorty, Dee Dee Bridgewater, John Zorn, Wynton Marsalis.
Artists not in play order, and are subject to change. Original works to debut at the festival are made possible in
part by the Doris Duke Charitable Foundation. The Friday afternoon program is made possible in part by
The Rhode Island Foundation. The Newport Jazz Festival is a production of Newport Festivals Foundation, Inc.,
a 501(c)(3) non-profit corporation, duly licensed. All rights reserved.

9.5x12_3.indd 1

6/13/14 4:28 PM