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NEW YORK

February 2006 | No. 46

Your FREE Monthly Guide to the New York Jazz Scene

newyork.allaboutjazz.com

BARRY
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Gerald Wilson Kahil ElZabar Greenleaf Music ABC No Rio Event Calendar

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W O R L D S F I N E S T J A Z Z C L U B & R E S TA U R A N T 1 3 1 W 3 R D S T N Y C 2 1 2 4 7 5 - 8 5 9 2 W W W. B L U E N O T E J A Z Z . C O M

MONDAY NIGHTS 8 & 10:30PM

JAY COLLINS BAND


NEW SOUND OF SOUL JAZZ SERIES: SOMI
CD RELEASE PARTY ALLAN HARRIS
& THE CROSS THAT RIVER BAND
MORDY FERBER
N

SUNDAY VOCAL BRUNCH 12:30&2:30PM

LATE NIGHT GROOVE SERIES 12:30AM

Feb 6
Feb 13
Feb 20

SHARRIF SIMMONS

Fri Feb 3

BILL WARE'S VIBES

Fri Feb 17

NYU JAZZ FACULTY BRUNCH BRIAN LYNCH

ERIC ROBERSON

Sat Feb 4

SHAYNA STEELE

Sat Feb 18

MARTA GOMEZ

Feb 12

DUB TRIO

Fri Feb 10

POOGIE BELL

Fri Feb 24

ELLEN O'BRIEN

Feb 19

Feb 27

TY CAUSEY

Sat Feb 11

CHRIS BERRY & PANJEA Sat Feb 25

GRETCHEN PARLATO

Feb 26

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Feb 5

NEW YORK
4
6
7
8

G oing over our records for the past several months has revealed a fascinating

New York@Night

fact: our last three cover story subjects were either born, grew up or made their
name in Detroit, Michigan. This month, Barry Harris (pg. 9) makes four in a row!
Perhaps we should change our name to AllAboutJazz-Detroit or at least set up a
satellite publication there to honor one of Americas great jazz cities.
But another thing we can take from this trend is that New York is still the
destination of choice for jazz people from Detroit to Delhi, Michigan to Mexico.
Even after the more-full-than-usual holiday jazz season and a successful
International Association of Jazz Educators Conference (where for a moment you
almost felt like jazz had more than a 3% market share), the bitter winds of
February in New York cant keep good jazz down. Besides a week with Barry
Harris, Los Angelino Gerald Wilson (Interview, pg. 6), who also grew up in
Detroit, comes into town for three nights at Jazz at Lincoln Center. From another
great city - Chicago - we get a rare appearance by percussionist Kahil ElZabar
(Artist Feature, pg. 7). Joe Wilder, a jazz veteran since the 40s, shows you can
teach an old dog new tricks when he makes his first ever New York appearance
as a leader and at Village Vanguard no less!
On a sad note, we ask that you remember the legacy of one of the great
international musicians - one who certainly opened up the boundaries of jazz over
the years - guitarist Derek Bailey, who passed away Christmas Day 2005 (In
Memoriam, pg. 13).
Filling out this months coverage are profiles on two segments of the do-ityourself school of jazz: Dave Douglas artist-run record label Greenleaf and the
low-tech but high quality performance venue ABC No Rio (both on pg. 8).
So we know its February and it should be freezing. Until it becomes so or
even after it does, take some time to listen to a new CD (weve got plenty of
recommendations starting pg. 14) or see a show (browse our Event Calendar
beginning on pg. 32). Well be happy to join you...

Interview: Gerald Wilson


by Rex Butters

Artist Feature: Kahil ElZabar


by Kurt Gottschalk

Label Spotlight: Greenleaf Music


by Brian Lonergan

Club Profile: ABC No Rio


by Kurt Gottschalk

9
10
11

On The Cover: Barry Harris


by Andrew Velz

Megaphone

VOX News

by Matt Lavelle

by Tessa Souter

Encore: Joe Wilder


by Greg Thomas

Lest We Forget: Jeanne Lee


by Donald Elfman

12
13
14
32
37
39

Listen Up!

Jacob Garchik & Jordan Perlson

In Memoriam: Derek Bailey

Laurence Donohue-Greene, Managing Editor

by Kurt Gottschalk

CD Reviews: Marc Johnson, Mark Murphy, Miles Davis,

Andrey Henkin, Editorial Director

On the cover: Barry Harris, photo by Alan Nahigian

Ben Wolfe, Michael Attias, Cedar Walton, Billy Bang & more

Event Calendar

Correction: In last months CD reviews, Bigger was mistakenly called Slavic Soul
Partys debut album; it is their second release.

Club Directory

Submit Letters to the Editor at newyork.allaboutjazz.com

Miscellany

U.S. Subscription rates: 12 issues, $25. (International: 12 issues, $35)


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

In Memoriam Birthdays On This Day

AllAboutJazz-New York

A Publication of AllAboutJazz.com

Managing Editor
Editorial Director & Production
Publisher

Staff Writers

Contributing Writers

Laurence Donohue-Greene
Andrey Henkin
Michael Ricci

David R. Adler, Clifford Allen, Ty Cumbie,


Donald Elfman, Sean Fitzell, Ken Franckling,
Kurt Gottschalk, Thomas Greenland,
Marcia Hillman, Terrell Holmes, Francis Lo Kee,
Brian Lonergan, Russ Musto, Brandt Reiter,
Joel Roberts, Andrew Rowan, Elliott Simon,
Tessa Souter, Jeff Stockton, Celeste Sunderland,
Andrew Velz, Florence Wetzel
Ernest Barteldes, Rex Butters, George Kanzler,
Matt Lavelle, Joel Levin, Suzanne Lorge,
Marc Medwin, Greg Thomas

Mailing Address AllAboutJazz-New York


116 Pinehurst Avenue, ste. J41
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ALLABOUTJAZZ-NEW YORK | February 2006

NEW YORK @ NIGHT

With the albums Lay Up and Bigmouth (both on Fresh Despite


Feb. 2-5: DR. LONNIE SMITH
Feb. 8, 15, 22: MAHAVISHNU PROJECT
Feb. 9-12: JIMMY SCOTT
Feb. 16-19: MARK MURPHY
Feb. 23-26: CARMEN LUNDY AND THE
NEW SONGBOOK ARTISTS
Mar. 2-5: 4 GENERATIONS OF MILES
Mike Stern, George Coleman
Buster Williams, Jimmy Cobb
Mar. 8-12: JAMES CARTER ORGAN TRIO
EVERY WEDNESDAY:
ED PALERMO BIG BAND
THE MUSIC OF FRANK ZAPPA

a particularly raucous East Village Friday


night crowd at Detour (Jan. 6th), the premier of the
quartet of guitarist John Abercrombie (always nice to
hear in small venues), saxophonist Adam Kolker,
bassist John Hebert and drummer Bob Meyer was a
successful one. The set contained two Abercrombie
originals, one each by Hebert and Kolker and an
opening volley of Green Chimneys by Monk.
If we can assign a thread to the program after the
fact, the quartet presented the material in somewhat
stylistically chronological order, the Monk tune
leading into an untitled waltz and then some
advanced Kolker postbop. The final tunes were the
sets abstractions: Heberts Billy No Mates, an edgy
contemporary piece set up by a melancholy slow
eighth note melody and the very loose feel of
Abercrombies Stop and Go.
The instrumentation gave the evening a feel akin
to Wayne Shorters later Blue Note works, particularly
Super Nova and especially on Green Chimneys when
Kolker played his only soprano sax of the evening.
Apart from the wide open Stop and Go (which
closed with a gritty blues segment where Abercrombie
turned into Eric Clapton), the tunes followed strict
structures but became particularly inventive during
the group improvs after the theme restatements.
Rarely did the music become quiet and introspective
but that was no surprise given the short attention span
of the audience.
- Andrey Henkin

Chris Lightcap Quintet, Cornelia Street Caf, Jan. 6th

John Abercrombie, Adam Kolker, Detour, Jan. 6th

Photo by Craig Kaufman

Photo by Scott Friedlander

EVERY SUNDAY JAZZ BRUNCH BUFFET

Sound), bassist Chris Lightcap has articulated a


powerful two-tenor concept with the aid of Tony
Malaby, Bill McHenry and drummer Gerald Cleaver.
In recent months hes added pianist Craig Taborn to
this volatile mix. At Cornelia Street Caf (Jan. 6th), the
group did its spacious funky thing, with Mark Turner
taking McHenrys place. Lightcap called several tunes
from his two discs, giving Taborn the chance to color
music that was previously piano-less, including the
upbeat Neptune 66, the African-inspired Guinbri,
the deceptively simple groover Lay-Up, the nonbluesy Blues for Carlos and the obscure Ornette
Coleman piece I Heard It on the Radio. Taborns
lines were brisk and detailed, his chording precise but
never stifling. Just as impressive was his instinct for
silence, which allowed the tenors to stretch. Aside
from the opening Port-Au-Prince, the first set was
devoted to newer pieces like Silvertone, with a
rock-like 6/8 drawl; Two Face, syncopated and
swinging but with an increasingly abstract beat; and
Deluxe Version, a triple-meter affair informed by
Cleavers sticks-on-rims vivacity.
Malaby and Turner voiced Lightcaps heads in
appealingly sour harmony. Solo-wise, Turner was
more the gradualist, building rich and multilayered
statements note by note. Malaby charged ahead and
drew on harsher timbres, often coaxing a similar
aggressiveness from Cleaver.
-David R. Adler

R udresh

Mahanthappas Indo-Pak project used to


include guitarist Fareed Haque and tabla master Samir
Chatterjee. The revived group, which now features
Rez Abbasi on guitar and Dan Weiss (a brilliant
trap-set drummer) on tabla, had its premiere at Joes
Pub (Jan. 12th). These three have made their marks on
the New York scene, approaching jazz and South
Asian music from different angles. As a unit they are
formidable - as one would expect - although their
relationship is new and in process. Mahanthappas
hard-as-steel alto saxophone tone and brisk line
playing brought jazz vocabulary and Indian doublereed timbres into scintillating contact. Abbasi began
and ended the set on a sitar guitar, displaying
rhythmic command on blistering single-note flights
and making use of the instruments sympathetic
strings. But for the most part, he played a Guild
acoustic guitar with a rounder and softer sound,
well suited to the lydian pastoralism of the traditional
Hymn to Ganesha. His splashes of Western
harmony lent another dimension to the music, which
was predominantly pentatonic and minor in mood.
The trios full potential was clearest during
Adana. Beginning with a lyrical melody,
Mahanthappa then steered the group through a series
of rhythmic pivots, while Weiss, whose tabla study
increasingly informs his jazz drumming, was poised
atop a platform in Lotus position, tapping away with
acuity and blinding speed.
(DA)

4 February 2006 | ALLABOUTJAZZ-NEW YORK

Another quartet that had its premier last month was

that of bassist Ben Allison at 55Bar (Jan. 16th). For the


ensemble, he brought together the not-often used front
line of guitar (Steve Cardenas) and trumpet (the
under-noticed Ron Horton), drummer Mike Sarin
joining him in the rhythm section. Though the format
might have been uncommon, it fit Allisons
compositional ideas perfectly, the textures and tones
of the guitar and trumpet able to vary widely and
adapt themselves readily to the wide stylistic range
inherent in Allisons writing. The material was some
older tunes mixed with newer pieces, most likely to
appear on the this quartets upcoming album for
Palmetto. Tricky Dick was redolent of reggae while
Weazy was a cheerfully hokey modern rag.
Emergency, perhaps inspired by the album by Tony
Williams Lifetime, was a bruising 70s arena rock
workout with clunking rhythms. This was followed up
by the sole cover of the evening - the theme to
Midnight Cowboy by John Barry, a loping Western
ballad that included a lovely trumpet/guitar duet
interlude. Hey Man was inspired not only by
Charlie Hadens West Coast greeting but also his
signature motif of lilting melody over minimal quiet
groove. The final selection was a new arrangement of
Blabbermouth (from Allisons 1998 album with his
Medicine Wheel Band with Horton), which found the
band moving from the cinematic intro to a funk
segment into spacy dissonance.
(AH)

The E.J. Strickland Project arrived at BAM Caf (Jan. R avi Coltrane got this years IAJE Conference off to a

strong start with a rousing concert (Jan. 11th). The


saxophonist came out blowing hard on Ralph Alessis
One Wheeler Will, wielding his tenor with
characteristic uncompromising strength, driven by
E. J. Stricklands powerful drumming. Luis Perdomo
followed with a thoughtful piano solo that first
contrasted and then reignited the groups energy
level. The band segued seamlessly into the leaders
For Zo, a modal piece reminiscent of John
Coltranes Wise One, featuring the impeccable
intonation of Drew Gress arco bass and Stricklands
malleted toms laying down a soft bottom, on top of
which Coltrane and Perdomo played masterful solos.
Coltrane switched to soprano for his original
Coincide, which began as a duet with Strickland,
who used his cowbell to set up the Latin groove.
Perdomo joined in, beginning with Jarrett-ish
introspection over Gress prominent bassline before
forging straight ahead. Coltrane dug in, after a Gress
solo, weaving long intricate lines out of the pretty
melody, displaying a bell-like tone on the straight
horn. He switched back to tenor for Gress Away,
snapping off a brisk ballad tempo that gradually built
in intensity. Perdomo laid out for most of the
saxophonists intense solo, saving his energy for his
own impressive outing, following which Coltrane
introduced the trio to the appreciative crowd, before
blowing a warm flowing out chorus.
- Russ Musto

Myron Walden, E.J. Strickland, BAMCaf, Jan. 17th

Drew Gress, Ravi Coltrane, IAJE, Jan. 11th

Photo by Brian Lonergan

Photograph 2006 Jack Vartoogian/FrontRowPhotos

7th) for an excellent set that balanced energy with


control, intelligence with soul. Along with E.J. on
drums, the Project featured his twin brother Marcus
(tenor and soprano saxes), Myron Walden (alto sax),
Lage Lund (guitar) and Ugonna Okegwo (bass), while
joining them on vocals was the young singer Charenee
Wade. E.J.s contemporary-flavored Praise Song for
Marcus inspired a soulful soprano solo from Marcus
over the pieces ever-upward chord progression. On
the groups cover of the Ellington-Strayhorn tune
Daydream, Wade introduced the packed audience
to her powerful and beautiful voice, which was strong
when plunging deep and smooth when reaching high.
E.J. prefaced his composition Lydian Fantasies by
proposing that ones compositional flaws - the
tendency to depend on something too much - was a
sign that the flaw was actually integral to ones voice.
The pieces angular and quirky melody was fitting
given its title, with E.J. at his most animated as he
propelled Marcus searching tenor solo. The nights
second cover was Stevie Wonders Ribbon in the
Sky, where E.J. showed great sensitivity on the
drums, picking up on the emotional crescendo of
Waldens alto solo, spurring him on while anticipating
(but not announcing) the solos denouement, which
gave way to a flirtatious exchange between Wades
vocals and Waldens alto.
- Brian Lonergan

Later in the month, in front of a cramped audience at


55Bar, guitarist Lage Lund moved from background to
foreground to front his own quartet, featuring
Geoffrey Keezer on Fender Rhodes, Matt Clohesy on
bass and Ari Hoenig on drums (Jan. 17th). Contrary to
the
ponderousness
(albeit
tongue-in-cheek)
announced by a tune titled Incredibly Profound
Song, each member of the quartet seemed to be
having fun with Lunds composition and its
constantly changing chords and heavily accented offbeats. Lunds good dose of reverb and Keezers
quavering keyboard tones created a spacey feel at
times, but the group always returned at a moments
notice to hit the accented kicks and Lunds solo
progressed from hesitant, short phrases to long
cascading lines. Thelonious Monks Eronel swung
well but didnt take off until Hoenigs extended drum
solo elicited laughs of astonishment from audience
and band members alike.
Lund seemed most at home during an original
ballad in 4/4, with a three-note theme sequenced
upward and shimmering harmonies taken at
measured pace. His solo relaxed into a series of
assured and assertive statements, while also finding
the most flowing groove of the set, too. The guitarists
original Vonnegut closed the set, a two-part
composition moving from anxious to serene and
featuring a heated solo by Will Vinson sitting in on
soprano sax.
(BL)

Young

brassmen Maurice Brown and Sean Jones


went toe-to-toe in an old fashioned after hours Night
of the Cookers session at Sweet Rhythm (Jan. 12th),
that was an exciting testament to the enduring vitality
of the hardbop idiom. Joining an allstar ensemble
featuring Donald Harrison, Mulgrew Miller, Nat
Reeves and Louis Hayes, with special guest Steve
Nelson, the two trumpeters traded incendiary solos in
an electrifying set, the likes of which has not been
heard since the days when Art Blakey regularly held
court in the room. Harrison stomped off
Confirmation to start the second show and after the
altoist and Nelson set the blistering pace, Jones
weighed in with a mature articulate solo, followed by
Brown, who played with his typical exuberance.
Throughout the number Miller, Reeves and Hayes
relentlessly prodded the soloists to extreme heights.
After a short conference, Miller and Nelson
played the opening call-and-response melody of
Moanin and Harrison was off to the races again,
with Hayes playing the classic Blakey shuffle rhythm.
The horns riffed hotly behind Nelsons solo, before
Jones stepped out front blowing sweet and low. Brown
followed, screaming and growling on his horn. On the
sets ballad, Misty, he showed that he was also
capable of tastefully restrained emotion. The set ended
just after 3 am with an uptempo rendition of Oleo
on which everyone burned through the changes on top
of Hayes Blues March-ing rhythm.
(RM)

We buy collections of Jazz, Modern


Classical, Avant-Garde - CDs &LPs !!!

ALLABOUTJAZZ-NEW YORK | February 2006

INT ER VI EW

photo courtesy of Mack Avenue

Gerald
Wilson
by Rex Butters
A t 87, Gerald Wilson casts a long shadow over the history

of jazz. His new collection In My Time sizzles with power


and joy, as a New York allstar ensemble ignites his
dazzling arrangements. His musical associations and
friendships catalogue some of the best musicians of the last
60 years: Duke Ellington, Count Basie, Ella Fitzgerald,
Jimmie Lunceford, Cab Calloway, Benny Carter, Dizzy
Gillespie, Dinah Washington, Ray Charles, Oliver Nelson,
Zubin Mehta, the list is endless. He is also a writer,
arranger, composer, trumpet player and a popular teacher
at UCLA.
AllAboutJazz-New York: Hows the new record?
Gerald Wilson: Its doing good.
AAJ-NY: I see saxist Kamasi Washingtons on there.
GW: I took him with me. He didnt make the first
record with us (New York, New Sound), because he was
in school here. He just graduated this year. Hes only
22 years old. But I took him to New York when we
played Birdland. I had this big thing at Birdland, so I
took Kamasi with us ... We also took him to Detroit
with us this year. We played the Detroit festival the
last two years. They had a helluva band in Detroit.
Rodney Whitaker, bass player, he was the contractor.
He knew all the musicians to have. He had four or five
guys in the band that played with the Lincoln Center
Jazz Orchestra. Thats who Ill be conducting when I
go to New York. Ill be at Lincoln Center for three
days, which is an honor. You want to play in places
like that, if you can. Id like to thank the people
responsible for that. Im sure Wynton Marsalis would
be one who knows whats going on there, so Im sure
he would have helped me, because were good friends.
His father [Ellis] and I are good friends, in fact I knew
his father before he was born. It pays to have friends.
I met his father when he was in the marines. They
were here doing work here in Hollywood. We all did a
broadcast for a jazz show they had on ABC. I had him
over to my home, my wife fixed breakfast for him and
we became friends. I met all of his boys, very nice
young men. The twilight of my career is offering me
the same kind of feelings I got in my early days.
AAJ-NY: Youve witnessed a lot of changes on both
sides of the bandstand.
GW: Jazz should get more credit for what it did for
black people. It was because of people like Duke and
Ella and Nat King Cole that got the door cracked for us
to go in here and play in these places. Duke, Ella, Nat,
Count Basie all played the Flamingo Hotel. Im
the one who played the first night a black could walk
in the front door. My band was the first black band
that could go into the casino, that could eat in the
coffee shop. The NAACP had been working on that for
years. In Las Vegas, I played the Dunes, the Flamingo,

but at that time you couldnt go in the front door. You


couldnt go in the casino at all. Dinah Washington at
the Sahara couldnt get dressed in the hotel, they put a
trailer outside. Then, in 1955, I played with Benny
Carters band. We opened up the first interracial hotel
in Las Vegas, called the Moulin Rouge. Beautiful,
brand new hotel, over in the black neighborhood.
Everybody wondered what was going to happen,
because Las Vegas was one prejudiced place. First
time I went there a black couldnt do anything or go
anywhere. They didnt have a big black neighborhood,
very small. I went into Las Vegas with Benny, we
opened up, nothing happened. I stayed there three
months, we played three months there. Finally, the
hotel did close. I played the Dunes with Cab Calloway
with his quartet after the thing was over at the Moulin
Rouge. There was no need to be segregated anymore.
The Flamingo made that deal with the NAACP and
that was 1960. Before Martin Luther King, before Rosa
Parks, things were changing already. Theyd been
working on it, not to belittle anything, because they
still had a long way to go. It wasnt just Las Vegas.
I played for Martin Luther King. This is after I
inaugurated integration at the Flamingo. They had one
of the biggest rallies they ever had at the Los Angeles
Sports Arena and they asked my band to play. I had
the most popular black band in Los Angeles. I had
Harold Land. I had Charles Lloyd. I had Elmo Hope. A
helluva musician, Lester Robinson. I had the cream of
the crop. They had Herb Jeffries, Jackie Cooper, Robert
Culp, Mahalia Jackson. Things were really moving. I
was a member of the NAACP as a kid in Mississippi.
AAJ-NY: Werent you involved with integrating the
Los Angeles musicians union?
GW: I went to a lawyer friend of mine whos still here,
hes right downtown. I said, weve been trying to
amalgamate these unions. We didnt like the way
things were going. The agents were very mean to the
players, money problems, we didnt know what was
going on with the union. He said slip in on a general
meeting. Dont tell anyone youre coming. Take your
group down there and when they say, New
Business, raise up your hand. Make a motion, I move
that local 767 will have a special meeting for the
specific purpose of discussing the amalgamation of
local 767 to local 47. I had a guy right there to second,
Percey Mack David, fine musician. After that, things
began to change. We took the union over. The next
election day, we were there. We voted one of our guys
in as vice president. Fired the guy who was giving the
musicians hell, fired him on the spot. Then we brought
Benny Carter in with his stature and reputation,
brought him in with us. We got everything moving
and it moved.
...I gotta give Detroit credit. Coming from the
south, when I went to Detroit this was the way things
were supposed to be. All the schools were integrated

6 February 2006 | ALLABOUTJAZZ-NEW YORK

in Detroit, Michigan. The union was integrated, the


union I belonged to, local 5. They made us join. I
played with a young band and we were so good we
played in parks and in big ballrooms, they made us
join the union. $5 and you start. Detroit gave me all I
needed to carry me on. Because I always felt
something was wrong here. What was it? I had a great
life, my mother was a school teacher. She taught
music, she played music for the schools, she played for
the church. She was a college graduate. She started all
of her children on piano. The day I played my first
song on piano, my mother had taught me. I can go into
the piano here and get going and keep going. Detroit
brought back to me what it was supposed to be. I
stayed in Detroit five years, there was no riot or
nothing in my school. All of my teachers were white
and they taught me well. So thats the way I thought it
was supposed to be. K
For more information, visit www.mackaverecords.com.
Wilson is at Rose Hall Feb. 23rd-25th as part of Jazz at
Lincoln Centers Los Angeles: Central Avenue
Breakdown and gives a master class at Jazz at Lincoln
Center Feb. 25th. See calendar.
Recommended Listening:
Gerald Wilson Orchestra - The Complete Pacific Jazz
Recordings (Pacific Jazz-Mosaic, 1961-69)
Gerald Wilson Orchestra - Moment of Truth
(Pacific Jazz, 1962)
Gerald Wilson Orchestra - Portraits
(Pacific Jazz-Capitol, 1963)
Gerald Wilson Orchestra - The Golden Sword
(Pacific Jazz-Discovery, 1966)
Gerald Wilson - Theme For Monterey (MAMA, 1997)
Gerald Wilson - In My Time (Mack Avenue, 2005)

THE JAZZ MUSEUM IN HARLEM PRESENTS

Harlem
Speaks

A SPECIAL SERIES HONORING HARLEM HEROES

Thurs., Feb. 9: Howard Johnson


Multi -instrumentalist/ Educator

Thurs., Feb. 23: Paul Robeson, Jr.


Educator/ Author

T IME : 6:30 --- 8:00 pm

P RICE : Free

L OCATION : Offices of The Jazz Museum in Harlem,


104 East 126th Street Between Park and Lexington Aves.
For reservations: 212-348-8300
H A R L E M S P E A K S i s c o-produced by Loren Schoenberg and Greg Thomas Associates

w w w . j a z z m u s e u m i n h a r l e m .o r g

AR T IST FEAT UR E
Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET

Kahil
ElZabar
by Kurt Gottschalk
W hen Chicago percussionist Kahil ElZabar rolls into

town this month - a nicely more common occurrence in


recent years - it will be with one of his longest
standing bands. And it will occur at an unusual, but
highly appropriate, venue. Rather than the usual jazz
club date he ordinarily plays, ElZabar will appear at
S.O.Bs, the citys largest and best known club for
so-called world music.
Its a ridiculous name for a genre, but an
apt one for ElZabars blend of African rhythms and
jazz freedom. His stage wear, the bells on his ankles
and his big drums all create the appearance of - to
borrow a phrase from the Art Ensemble of Chicago, a
band with whom his career has long been interlaced the urban bushman. And the simple melodies, built
from a few tones suggested by the drums, of his Ethnic
Heritage Ensemble not only represent some of his
strongest work, but his commitment to maintaining
relationships and moving forward. The band has
carried on for three decades, an anniversary theyre
marking this year with a 30th anniversary CD to be
released in May on Delmark Records.
Today its difficult to have bands that stay
together, ElZabar said in an interview last summer,
when he appeared at the Lincoln Center Out of Doors
festival with one of his newer bands, Tri-Factor, with
Billy Bang and Hamiet Bluiett. When you think about
Coltranes quartet or Miles groups, relationships are
an important part of warmth in music. Theres a
quality in the music that you can feel.
Ethnic Heritage Ensemble dates back to 1976,
when ElZabar was fresh out of his education with
Chicagos Association for the Advancement of
Creative Musicians. By that time, he had already spent
time apprenticing with the greats, having played with
Dizzy Gillespie, Gene Ammons, Eddie Harris and
Cannonball Adderley, among others. I paid my dues
in what people call the straight ahead music way
before Wynton and all of that, he said. Still, the group
- a quartet then, with saxophonists Ed Wilkerson and
Light Henry Huff and Yosef ben Israel on bass opened to mixed reviews on a European tour where
they opened for Joanne Brackeen. Although the Art
Ensemble (at bassist Malachi Favors suggestion) had
already been playing in African clothing and face
paint, overt Afro-centrism was still new in jazz. And
Ethnic Heritage - even further from what most people
thought of as jazz than the Art Ensembles sound were seen by some as pushing an agenda too far. But
they carried on. When ben Israel left the band, they
continued as two horns and percussion, solidifying
their sound as well, perhaps, as the ritualistic
perception.
That instrumentation - now filled out by Ernest
Dawkins (leader of the New Horizons Ensemble) on
saxophone and Corey Wilkes (trumpeter in the most
recent Art Ensemble lineup) - lasts through to today,
although the S.O.B.s appearance will include guest
guitarist Fareed Haque, who played on their 1999

release Freedom Jazz Dance (Delmark).


The band released its first record in 1981, the now
out-of-print Three Gentlemen from Chicago, on the
German label Moers-Music, and put out discs on two
other European labels, Leo and Silkheart (as well as
one for the American imprint CIMP), before ElZabar
established what has proven to be a fruitful
relationship with the Chicago label Delmark. At the
same time he was leading the Ritual Trio and some
less documented groups, such as Orchestra Infinity,
and playing regularly with saxophonist David
Murray. Throughout his various projects, the drum
patterns - often built from the cadence of a name or
short phrase - have propelled the projects and some
three dozen records as leader or co-leader.
Life has a way of cycling around, especially when
bands continue for decades. Ritual Trio - which
ElZabar has led for more than 20 years - has survived
the loss of Favors, with Yosef ben Israel now on bass.
Yosef goes with me all the way to the beginnings
of our development and now it goes full circle,
ElZabar said. His approach from a solo perspective
is different than Malachis, but the earthy tone is a
complement to the whole sound.
Israel appeared on the groups most recent record
Live at the River East Art Center. The trio is rounded out
by the vastly underrated saxophonist Ari Brown and
for the date included violinist Billy Bang, another
longtime ElZabar collaborator. It marks a new sound
for ElZabar, at once softer with the addition of ben
Israels more melodious playing, and rawer;
seemingly untouched, the disc comes off like a bootleg
audience recording. Like his 2004 We Is: Live at the Bop
Shop (recorded live at a record store in Rochester, NY)
it doesnt have the best sound quality in ElZabars
discography but it does carry an exciting immediacy.
I like the atmosphere of the last records, its like
an old Blue Note, he said. You hear the audience.
There is a feeling that connects with people.
The River East show was released by Delmark as
a CD and DVD and the latter is an important part of
documenting ElZabars recent approach to producing
his concerts. The setting features sculpture, projected
video art and a painter creating a mural of the late
comedian Richard Pryor. Young people are more
accustomed to dance clubs and not chemical
relativity with live music, he said. I didnt want
people to sit and listen like at a concert. I told people
to interact with the music, interact with the art, be
social.
We have to take responsibility and reinvent
presenting, he added. No ones really questioning
presenting. Its just like Why are there less and less
people? [We need to] really address presenting and
look at it in a tolerant, nonbiased way, all lend
ourselves collectively and deal with radio and deal
with webcasting and deal with TV. Theres a need for
opening, theres a need for connecting. Thats how
well connect people and thats what Trane was

talking about, thats what Ayler was talking about. All


these various transcendental gifts that go beyond the
notes to get to this, I mean, cmon!
But if at age 52 ElZabar is focusing on building a
younger audience, hes also suffering losses. Besides
the deaths of bandmates Favors and Huff, hes seen
the passing of some other great Chicago players. One
of his strongest records, Sacred Love (Sound Aspects,
1985) featured the late Art Ensemble trumpeter Lester
Bowie. In 2002, Delmark released Love Outside of
Dreams, a trio with Murray and bassist Fred Hopkins,
who died in 1999.
Were just the last people of our generation, he
said. Its been so difficult to sustain and survive.
Lester Bowie was one of my best friends. Malachi
Favors was like a father. Fred Hopkins I grew up with.
Were the in-between cats. We were too old to be
marketed as the young lions and we were too young to
be marketed as the masters. Our time has come
because weve survived. K
For more information, visit www.kahilelzabar.com.
ElZabar is at S.O.B.s Feb. 23rd. See calendar.
Recommended Listening:
Kahil ElZabar - Sacred Love (Sound Aspects, 1985)
Kahil ElZabar/David Murray -

Golden Sea (Sound Aspects, 1989)


Kahil ElZabars Ritual Trio -

Renaissance of the Resistance (Delmark, 1993)


Kahil ElZabar/Ethnic Heritage Ensemble -

Dance with The Ancestors (Chameleon-Elektra, 1993)


Kahil ElZabar/Bright Moments -

Return of the Lost Tribe (Delmark, 1997)


Kahil ElZabar - Live at the River East Art Center

(Delmark, 2004)

ALLABOUTJAZZ-NEW YORK | February 2006

LAB EL SPOT LI GHT

by Brian Lonergan
W hen Dave Douglas and Michael Friedman first met

(CONTINUED ON PAGE 38)

Kneebody
Kneebody

Mountain Passages
Dave Douglas

at a recording session in New York in the mid 80s, the


young trumpeter made an indelible impression on the
young drummer. When Dave started playing, he
galvanized the band and he had a certain presence and
a freshness that is unforgettable, said Friedman, who
would go on to head Premonition Records in Chicago.
Still, at the time it would have been hard for either to
imagine that two decades later theyd be partners
running their own independent, creative-music record
label.
Nevertheless, fast-forward to 2006 and Douglas
and Friedman are doing just that with Greenleaf
Music. Launched just a year ago, Greenleaf has
already had an auspicious start: Douglas Keystone,
one of four records to date in the Greenleaf catalog, is
up for a Grammy this month in the category of Best
Contemporary Jazz Album.
One of the things thats most exciting to me
about Greenleaf Music is being with Dave Douglas
and talking with him about the business, said
Friedman. Hes as creative in his business thinking as
he is in his music.
Well, Friedman paused, maybe not quite as
creative.
The name Greenleaf comes from Douglas
ancestry on his fathers side, dating back centuries
through the American colonies to the Old World,

Keystone
Dave Douglas

Greenleaf Music

according to the trumpeter. I also picked it because it


was kind of positive, said Douglas. I feel like what
were trying to do is grow something new in the
creative-music world.
The duo started Greenleaf at an opportune time
for each of them - for Douglas, it was the end of his
association with Bluebird/RCA, for which he recorded
seven albums, and for Friedman, the end of
Premonitions term as an imprint of Blue Note. It has
also been a time of upheaval in the record industry,
with the decline of CD sales and the ascendancy of the
Internet as a means of file-sharing and independent
distribution.
Were now in a revolutionary period of what the
record business is and what its going to be, said
Friedman. The brick-and-mortar thing is really kind
of undoable in many ways. Its really a tough equation
for labels such as ours that are doing creative music
outside the mainstream.
Greenleaf began its life more traditionally, with a
distributor and a shelf presence in brick-and-mortar
music stores for its first two records, including
Douglas Mountain Passages with his Nomad ensemble.
But as 2005 progressed, Friedman sensed that online
retail - the right to which he reserved in Greenleafs
contract with its distributor - was increasingly the way
most effectively to reach Greenleafs audience. The
strange result is that the Grammy-nominated Keystone
became available in stores only subsequent to its
nomination.
Besides Mountain Passages and Keystone, the other
two records in the Greenleaf catalog are Kneebodys
self-titled debut and the Douglas quintets Live at the

C LUB PR OFI LE

ABC No Rio
by Kurt Gottschalk
The

first time saxophonist Blaise Siwula played at


ABC No Rio - the vaguely anarchistic quasi-legal
Lower East Side building where hes run a Sunday
night improv series for the last eight years - was in
1990. At the time, he recalled, it was a run-down
building in a questionable neighborhood.
They didnt really have walls then, he said.
There was a hole in the floor and leaks everywhere,
but people would show up. It was pretty tough in
those days. Dealers would stand outside the door and
shout names of drugs. Nowadays theres restaurants
and French boutiques.
Back then, few would have predicted the changes
the neighborhood has seen in the last few years. And if
renovations in the building itself have been
comparatively modest, even fewer might have
predicted the changes the building will undergo by
next year.
Under a deal with the city, ABC No Rio - an
official nonprofit organization - is expecting to buy the
building at 156 Rivington for $1 at the end of this
month. This fall, they will close their doors for an
estimated nine months to undergo a $600,000
restoration, according to ABC Director Steven
Englander, the sole paid staff member of the

organization.
It will be the first time in close to a decade that
Silwula has had more than the occasional Sunday
night off. He has organized the open music series
C.O.M.A. for eight years, hosting two or three acts a
night for a mere $3 donation. All the money goes to the
musicians (Siwula pointed out that his only payment
has been a few cold feet and some sniffles) and the
only real requirement to play there is to ask.
Its not really meant for the indie rock scene or
the folk singer scene, but I dont tell them no, he
said. I usually let that sort itself out. I dont want to
be the guy that says No, that wont work. I just say
think about it. Some people dont like what I do, they

8 February 2006 | ALLABOUTJAZZ-NEW YORK

(CONTINUED ON PAGE 38)

O N T HE C OVER
yourself completely from your beginnings.
When Harris wanted to learn soloing, it was Bud
Powell and the recording Web City with Sonny Stitt,
Fats Navarro and Max Roach on drums that he
listened to. I slowed that record down...It ended up
where I started listening to him. He was the best one of
all of them as far as this music was concerned. ...Cootie
Williams must have been a helluva nice leader because
he let him, Bud Powell, solo all the way through some
of his records.

I feel the syncopation. For his part, Williams


remembers when he first heard Harris playing with
Paul Chambers over 40 years ago, before even meeting
him, and thinking of Harris music, ...Thats it! Of
Harris himself he says simply, Barry goes deep you
know. A lot of piano players are good. But Barry,
because of his love of music, he goes deep like the
great ones. ...Hes a music man, Barry. A thousand
percent all the way.
Music history comes to life as Harris recalls
Coleman Hawkins, with whom he played for several
years in the 60s: Oh, that was beautiful. That was a
good experience. ...Coleman Hawkins
made Bird come down off of the pedestal I
had put him on. Because I could see the
playing was not limited to Bird. Bird is the
great influence when it comes to rhythm.
He
changed
drums.
He
changed
everything. But Coleman could play. Pres
[Lester Young] could play.
By
contrast,
Harris
observes
unhappily that too often musicians today
just like sitting around playing patterns,
as if learning patterns is going to make
them learn to play. He bemoans many of
them sounding alike and that quality went
out the window and was replaced by
quantity. They play a lot of notes,
but...just imagine someone who talked
incessantly. Then they take a big gulping
breath and they come right back in and
start talking again. And that would be
sickening to listen to!
See what it is, he continues. Were
talking. Were pausing. These pauses arent
necessarily silence. These pauses are for
emphasis. These cats dont even pause.
They think the more notes you play, they
think the longer you play, not only do they
want to play more notes, they want to play
forever. They cant even write a short story, how [are]
they going to write a novel? When they cant even
make a poem. A little short poem.
Being a peripatetic traveling teacher, Harris has
been known to land in New York after a lengthy tour
of Japan, look at his watch and remark, I have time to
go teach my class. Its being with people all over the
world as a teacher that Harris feels keeps him centered
in his life. Theyre like one big family. I have homes
all over the world...
What would he like listeners to get out of his own
music? I wish I could give them the feeling that Bird
gave me when I first heard him. Oh Lord!... When I
heard Bird with strings for the first time in person... I
think he was really a spoiler, because when I go to
hear somebody, I expect to get that feeling. Its a
drag.
As a final bit of sage thought he adds, Well this
is my conclusion, that you have to give that feeling to
yourself. And then maybe you can pass it on to
someone else. So some kind of way, you have to make
yourself feel this thing. K
Photo by Alan Nahigian

During a recent conversation, Barry Harris (75) was


asked about his plans for the future. It evoked an
instantaneous explosion of laughter from him before
he replied, Dont ask me that! The life I lead is the life
I lead. The recipient of an Honorary Doctorate from
Northwestern University, in person Dr. Harris is a
physically unprepossessing 5 6. Yah, put da half
in there, he remarks, punctuating it with one of his
frequent chuckles. Talking with this warm, diminutive
giant, legendary pianist, composer and educator is
akin to being treated to a one-on-one master class.
Hes devoted his life to the advancement of jazz and is
a seminal living link to the origins of bebop
and the music of Charlie Parker,
Thelonious Monk and Bud Powell.
Harris career, which has extended
over more than six decades, began in his
hometown, Detroit, Michigan, where he
began playing piano at age four. He credits
the school system there with having been
an especially nurturing force. Out of it
emerged many first-rank musicians and
lifelong friends such as Kenny Burrell,
Tommy Flanagan and Hank, Thad and
Elvin Jones.
Warming to the subject of musical
education, which has for decades been a
major part of his life in settings such as
weekly classes at the New York City Jazz
Workshop, he considers whats most
demanding in teaching. Hmmm. ...Really,
how to improvise. Thats the biggest
challenge. I want [students] to be proficient
on their instruments. ...You have to find a
way to teach all this kind of stuff. Its hard.
...They have to have the means and the
means is the technique. You have to have
that. [Im not] really teaching bebop or
something like that. Im just trying to teach
how to improvise.
An unexpected example of improvisation which
Harris refers to is Johann Sebastian Bach. ...You gotta
think, if Bach was alive and all those cats were alive,
where would they be playing? They would be playing
in a bar. Because symphony halls play dead peoples
music. You gotta be almost dead to be played there.
Clearly touching on a favorite theme he
continues, Bach had gone to see this great organist, a
great cat. And it really messed him up a little. Bach
came back and he was doing stuff and the singers were
having a fit. He ended up having to go to a saloon to
play because he was doing too much in the church.
Here Harris takes on a hilariously strangled tone in his
voice. The people said, Bach, youre doing too much.
Bach! Dont do so much!
From Harris point of view, hes bringing to
Europe what Americans have added to music. ...We
[in the US] were a conglomerate of people. ....See,
these other nations, France and England and all them
places are just now feeling the things we went
through. (Chuckling) Theyre just getting used to
people from all over the world getting in their house.
Along with Johann Sebastian Bach, among Harris
great mentors have been Charlie Parker, Bud Powell
and Thelonious Monk. Of Monk he says, Well, you
know that Monk was an individual. Monk was a
creature who must have said one day, Im not going
to play like anyone else. And so he commenced to do
it and his solos werent like anybody else and his
songs werent like anybody else. Now Bird and them,
they incorporated some of his music into their music.
...We think of bebop, we include Monk, but Monk
wasnt so much a bebop man. Monk was an
individual. I tell people there are very few of those
who wake up and say, Im going to be entirely
different. [He quickly adds, there] aint nothing wrong
with sounding like someone else until you find
yourself. Youre not supposed to end up divorcing

I000 PERCENT
MUSIC MAN
by Andrew Velz

As he recalls listening to Powells Iz Or Iz You


Aint My Baby for the first time, Harris enthusiasm is
as ebullient as it must have been a half century ago.
...Suddenly! in the background, and here Harris
voice grows hushed as he remembers that moment. I
could hear this piano player playing all these minor
things and I said, WHO IS THAT, SO!... So you see,
thats how you get turned on. You hear these cats play
and you say ummmm. Every one of us was trying to
learn how to solo and play and it looked like we were
devout...devoted or whatever to the bebop. You know,
Fats Navarro, Bird, Diz and the bebop was a lot of
people. Pres, Coleman Hawkins, all of them, they were
like at the beginning of it. But then Bird came in and
he changed the rhythm of it. ...Its the rhythm mostly
that Bird did... ...Bird was the leader.
Asked to define bebop, Harris replies simply. I
think bebop was mostly syncopation. You have
to...uhhh, its hard. Now I am beginning to feel you
have to feel six against four. And you have to feel the
ands of the beats as much as you continue with the
1,2,3,4. Thats the beats, but the other half of the 1,2,3,4
is one and two and three and four. The drums lost it.
They dont play 4/4. They cut the time most of them.
You have to make them aware of it. They dont even
think four.
Among those with whom Harris has had a
longtime working partnership is drummer Leroy
Williams, with whom he will be appearing at the
Village Vanguard this month. About Williams, he
says, In some kind of way, I feel the ands with him.

For more information, visit www.BarryHarris.com. Harris


is at Village Vanguard Feb. 7th-12th and is honored Feb.
27th at The Pierre Hotel as part of the New School 2006
Beacons Award Gala. See calendar.
Recommended Listening:
Barry Harris - At the Jazz Workshop

(Riverside-OJC, 1960)
Yusef Lateef - Eastern Sounds (Prestige-OJC, 1961)
Lee Morgan - The Sidewinder (Blue Note, 1963)
Barry Harris - Live in Tokyo (Xanadu, 1976)
(Various) - Interpretations of Monk:
Live From Soundscape Series (DIW, 1981)
Barry Harris - Live at Maybeck Recital Hall, Vol. 12
(Concord, 1990)

ALLABOUTJAZZ-NEW YORK | February 2006

MEG APHONE
Musicians in their own words...

The Courage to Really Play...


by Matt Lavelle
People have dedicated their lives, suffered and died

in pursuit of becoming one with a music that, at its


core, is a music that makes being a human being
really mean something.
This music can save lives. People hold on to
moments in this music when there is nothing left to
hold on to. These moments are something that you can
hold right in your hand, right in your heart and once
heard, they can never be taken away. Tranes Live at
the Village Vanguard has helped me get through
difficult periods in my life and although I wasnt
there, Ive sat on the stage with Trane many times.
Everyone deeply involved in this music has these
moments. A great musician once said that when youre
about to play, you should feel like youre about to
change someones life. Maybe you can open their heart
and get them to ask themselves questions they have
always been afraid to ask. Maybe even better, you can
help them through their fear. Could be any kind of
fear: fear of being themselves, fear of loving or fear of
being loved.
How many of us today are playing music to uplift
others? So many of us are afraid to really play, mostly
afraid of ourselves and what we might find inside.
Many of us have no story to tell so we try to tell
someones elses story - its safer that way. When the
people that are afraid to listen believe in the people
afraid to play, we get a kind of mass denial no

different than someone thinking that Britney Spears


might really be on to something.
Theres so much intellectual music and past
recreation going on because its safe for the players
and the listeners. Some are at least being honest. If the
feeling aint there then its just not there. It has never
been more difficult to have your own sound and be
yourself than in todays jazz world. To stay on that
path and never give up - though it may take years - is
an honorable quest indeed. Whats out is when people
without their own thing are celebrated at large.
Another helping of adversity for todays jazz player.
One thing that the musicians can count on is that
the real history and the real experience of this music
belongs to us. Listeners and writers will never know
whats its like to have your sound filling up a room
and going right into the hearts of those present
through their ears. Listeners and writers will never
understand the countless hours of dedication to our
craft and the eventual musical and spiritual dividends
that follow. Ours is a perspective they see, but never
really feel. The real history of this music belongs to the
people making it and the people who gave their lives
in pursuit of being a branch on the great tree. Listeners
and writers can look at the tree and talk about whether
they like the tree or not but they are not, or ever will
be, a part of the tree. Trees like to grow.
What we need now, more than ever is the courage
to REALLY play. K
For more information, visit interjazz.com/mattlavelle.
Lavelle is at Caf Grumpy Feb. 4th. See calendar. His new
album is Embracing the Tide on Utech Records.

VO X NEW S

by Tessa Souter
J anuary was an interesting month - one of the
highlights being fellow Brit Christine Tobin, who Id
never seen before, at Joes Pub. She was fantastic, with
a wonderful smoky Bonny Raitt-like voice, interesting
arrangements and superb originals with amazing
lyrics. Also interesting is a beautiful new CD, A Glance
(LoNote Records) by Maryanne De Prophetis, which
she recorded with her husband pianist Frank
Kimbrough and Ron Horton on flugelhorn. It features
very simple and beautiful songs - all composed and
arranged by her - which perfectly suit her rather
delicate, fragile voice. Pyeng Threadgills alloriginals, kind of quirky (in a good way) CD Of the Air
(Random Chance) is also perfectly suited to her vocal
instrument, which makes sense since she wrote most
of the songs. And speaking of interesting, I really want
to check out cabaret queen Barb Jungr - often called a
British Piaf - who will be singing the songs of Elvis at
Joes Pub (Feb. 5th).
This month promises to be just what we need to
cheer up wintry February with three amazing vocal
jazz legends - Jimmy Scott, Mark Murphy and Andy
Bey - performing within days of each other. Iridium
presents Billie Holidays favorite singer Scott (Feb.
9th-12th) followed by a favorite of Ella Fitzgerald,
Verve recording artist and six-time Grammy nominee
Murphy (Feb. 16th-19th). Recent Grammy nominee
Bey (who shared the stage with Sarah Vaughan and
Dinah Washington before he was even 18) will be part
of the Tuesday night series at Sweet Rhythm to
celebrate Valentines Day (Feb. 14th). I will definitely
be there to worship all three of them. I also want to go
hear Carmen Lundy, vocalist and composer, at
Iridium (Feb. 23rd-26th), in support of her wonderful
new double CD of original songs recorded live (the
best way to experience this singer) in Los Angeles, Jazz
and the New Songbook: Live at the Madrid Theater
(Afrasia). See you there.

JAZZPresents
SPRING 2006

Tuesday, FEBRUARY 28, 8:00 p.m.


Joe Chambers and the Outlaw Band
JOE CHAMBERS
DRUMS AND VIBRAPHONE
WITH
MISHA TSYGANOFF PIANO
DWAYNE BURNO BASS
JAVON JACKSON
TENOR SAXOPHONE
LOGAN RICHARDSON
ALTO SAXOPHONE
WOODY SHAW III DRUMS

The New School Jazz Performance Space


55 West 13th Street (btw. 5th & 6th Aves.)
$10; Free for students and seniors

In Celebration of
SHORT CUTS performing in the Sweet Rhythm
vocal series this month, dont miss Gloria Cooper
(Feb. 7th), Andy Bey (Feb. 14th), vocal group Monday
Off (Feb. 21st) and Christiana Drapkin (Feb. 28th),
who will be introducing little-known compositions by
Ellington and Strayhorn as well as words by William
Shakespeare set to Sir John Dankworth songs Jazz
Standards Voices and Songs series continues every
Monday in February with Joan Crowe (Feb. 6th), Ilona
Knopfler (Feb. 13th), Jay Collins (Feb. 20th) and Erin
Bode (Feb. 27th) ... At Blue Note, Afro-jazz soul singer
Somi will be bringing in Valentines Day (Feb. 13th),
followed by saxophonist/singer Curtis Stigers (Feb.
14th-19th) and Allan Harris (Feb. 20th) with his Cross
That River Band Manhattan Transfer-ite Cheryl
Bentyne appears at Birdland (Feb. 1st-4th) Verve
Records has reissued all seven of Nina Simones
recordings for Philips - Broadway - Blues - Ballads, In
Concert, I Put A Spell On You, High Priestess Of Soul, Let
It All Out, Pastel Blues and Wild Is The Wind - as a
commemorative boxset while Legacy Recordings has
begun issuing Simone compilations Judi Silvanos
Womens Work Quartet will be Enzos Jazz (Feb. 3rd)
with an all-woman trio: Janice Friedman (piano),
Jennifer Vincent (bass) and Bernice Brooks (drums)
So will one of my favorite live performers, guitaristsinger KJ Denhert (Feb. 8th). In fact, Enzos is awash
with singers this month, including Kendra Shank
(Feb. 10th), Giacomo Gates (Feb. 15th), a new (to me)
young singer DeeAnne Gorman and her Trio (Feb.
22nd) and Barbara Sfraga & Center Search Quest (Feb.
24th). California-based singer, Daria, has a new CD,
Feel the Rhythm (Jazz M Up Records). K
Tessa Souter is a vocalist, journalist and author and
produces the weekly Tuesday vocal series at Sweet Rhythm.
Souter is at 55Bar Feb. 10th. Her debut CD, Listen Love
(Nara Music), is available at CDBaby.com and at Tower
Records, Lincoln Center. For more information visit
www.tessasouter.com.

10 February 2006 | ALLABOUTJAZZ-NEW YORK

Black History
Panel Discussion
How Collective Black Artists, Inc.
managed the business of music
in 1970s New York.
With Reggie Workman, Cobi Nartia, Jimmy
Owens, Don Moore and others.
Free and Open to the Public
February 22, 8:00 p.m.
The New School Jazz Performance Space
55 West 13th Street, Fifth Floor

February at Sweet Rhythm


From Charlie Parker to Herbie Hancock
a look at the cultural contributions
of African-American musicians
6 Music of Charlie Parker
directed by Dave Glasser
13 An Evening of the Blues directed by
Junior Mance, featuring readings by
students from The New School for Drama
20 Music of Herbie Hancock
directed by Peter Zak
27 Art Blakey & the Jazz Messengers
Repertory directed by Charles Tolliver
SWEET RHYTHM, 88 Seventh Avenue
(between Bleecker and Grove)
Sets at 8:00 p.m. and 10:00 p.m.

Please visit www.jazz.newschool.edu or call


212.229.5896 x4591 for more information.

E NC OR E
Back in the spotlight...

Joe Wilder
by Greg Thomas
J oe Wilder, a true
living legend of the
trumpet, is at long last
getting what fellow
brass
great
Roy
Eldridge used to call
50s
90s
his screen credits.
After 60+ years of superlative support work in big
bands, Broadway pit orchestras and commercials,
Wilder is finally headlining his own quartet at the
Village Vanguard.
He says in fact that its the first time hes ever led
a group in New York City under his own name. A
long-time Harlem resident, Wilder is no stranger to
playing in town however. I used to jam at Mintons in
the 50s. And there was a club on 110th and 8th
Avenue, I think called The Flame where Big Nick
Nicholas led a group. Everyone loved him. Hot Lips
Page and other great musicians from across the
country would come in and jam.
Wilder was born in Colwyn, Penn. on February
22nd, 1922 into a musical family including his father
Curtis, a bassist and bandleader in Philadelphia.
Curtis Jr., Wilders older brother, also played bass. On
July 1st, 2004, as the guest of the Jazz Museum in
Harlems Harlem Speaks series, Wilder explained that
although he was initially attracted to the trombone, his
father bought a cornet for him and began to take him
to some of his dance jobs. Wilder recalled overhearing
the orchestras first trumpeter, Fred Beckett, grumble,
Oh my God, here comes Wilder with that damn kid
again!
His fast progress led to a regular feature on a
weekly childrens radio program in Philadelphia
called the Parisian Tailors Colored Kiddies of the Air. The
youngsters were backed by bands appearing at the
Lincoln Theater, including Duke Ellington and Cab
Calloway. I would be playing the first trumpet part of
some popular tune - just reading it note for note. And
these bands would be playing backgrounds for us!
Wilder had an early encounter with Louis Armstrong
on one of these occasions. He was awfully nice to me.
He gave me a pass and said, You come and see Louis
every day. Pops remembered the young trumpeter
from the broadcast in later years: He always
encouraged me and I think he was proud of the fact
that I made it in the studios, Wilder recalls.
He studied at the Mastbaum School of Music in
Philadelphia. Early on he was drawn to classical music
but soon realized that a career in the symphony was

not a realistic goal for a black musician coming of age


in the late 30s. So Wilder began playing in big bands,
leaving home in 1941 at 19 to join Les Hites band.
I remember my mother standing there at the side
of the bus all loaded with strangers and saying: Now,
you behave yourself and dont you do anything to
disgrace the family! She had nothing to worry about
because Wilder is known as one of the most dignified
gentleman in the business. In fact, when he was with
the Lionel Hampton band in the early 40s, fellow
bandmembers would offer him ten bucks if he would
simply say one profane word. He politely refused.
Wilder was one of the first thousand blacks to
serve in the Marines during World War II, working
first in Special Weapons then gaining an assignment to
the headquarters band for which he became the
Assistant Bandmaster. He played in the orchestras of
Jimmie Lunceford, Herbie Fields, Sam Donahue,
Lucky Millinder, Dizzy Gillespie, and Noble Sissle
during the 40s to the early 50s.
His last big band gig was with the Count Basie
Orchestra in 1953, after which his career remained
close to home - hes a devoted husband, father of three
daughters and a grandfather too. He started playing in
hit productions such as Guys and Dolls and Cole
Porters Silk Stockings, the touring company of which
he joined in late 1953. They went first to Mr. Porter
and asked if he had any objection to a black musician
playing first trumpet, Joe recalls. All he asked was,
Can he play my music? When they told him I could,
he answered, Well, thats all that matters.
He earned a secure place in the studio scene as a
first call musician and served on staff at ABC from
1957 to 1974. A lot of times you just went in and were
completely surprised, he recalled. We took pride in
being able to sight-read anything that was put before
us and in playing any type of music as well as the
people who specialized in that particular style.
Ed Berger, staffer at the Institute of Jazz Studies at
Rutgers University currently working on a biography
of Wilder, says that in addition to his busy studio
schedule, Joe continued to build a reputation as a
highly original jazz soloist through his own albums
for Savoy and Columbia and countless sessions as a
sideman with Hank Jones, Gil Evans, Tadd Dameron,
Michel Legrand, Benny Goodman and many others.
He also became a favorite of vocalists, such as Billie
Holiday, Lena Horne, Carmen McRae, Harry
Belafonte, Johnny Mathis, Tony Bennett, Helen Humes
and Johnny Hartman, who found their own work to be
greatly enhanced by Wilders sympathetic obligati.
He went back to school in the 60s, earning a
bachelors degree at the Manhattan School of Music.
Wilder played on several occasions with the New York
Philharmonic and in 1968 he became principal trumpet

for the Symphony of the New World, which he


characterized as the first fully integrated symphony
orchestra in the United States. He also recorded his
own album of classical trumpet pieces, fulfilling his
original dream.
Hes the only surviving member of the Count
Basie All-Star Orchestra seen in the classic 1959 film
The Sound of Jazz, soloing on the tune Fast and Happy
Blues. Then as now, Joe Wilders trumpet and
flugelhorn playing are as elegant and sophisticated as
the man, his approach unique and soulful like the
veritable sound of jazz. His rare appearance at the
Vanguard is not to be missed. K

two made the now legendary album The Newest Sound


Around for RCA in 1961 and toured Europe in 1963.
Jeanne moved to the West Coast in 1964 and then went
back to Europe in 1967 where she met, married and
collaborated with vibraphonist and composer Gunter
Hampel, a mainstay of the European avant garde.
They did many albums for his Birth label in the 60s70s as she came to be celebrated by new musicians
everywhere. A partial list of players she worked
and/or recorded with includes Lester Bowie, Charlie
Haden, Carla Bley, Sheila Jordan, Rahsaan Roland
Kirk, Archie Shepp, Mal Waldron and Gary Bartz.
In 1989 she reunited with Ran Blake for You
Stepped out of a Cloud on the Owl label and continued
to join forces with the giants of modern music. From
1976-1978 and again in 1992 she toured with the John
Cage Bicentennial Concerts and performed with the

New York Philharmonic and with the Boston,


Cleveland and Chicago Symphony Orchestras. In
recent years she concentrated on writing pieces that
combined dance, poetry and song. The woman quite
simply had a breadth of expression and an astonishing
vocal instrument.
The best place to start to explore the wonder of
Jeanne Lee is with the Ran Blake collaboration that put
her (and him) on the map. She is heard to great
advantage on Marion Browns noted ECM outing
Afternoon of a Georgia Faun and on Carla Bleys
monumental Escalator Over the Hill. Her 1994 Owl
record of standards with Mal Waldron - After Hours is stunning as is her beautiful 1979 Black Saint session
Nuba 79, with Andrew Cyrille and Jimmy Lyons.
Jeanne Lee died after an illness on October 25th,
2000. K

Wilder is at Village Vanguard through Feb. 5th. See


calendar.
Recommended Listening:
Joe Wilder - Wilder N Wilder (Savoy, 1956)
Joe Wilder - The Pretty Sound (Columbia, 1958)
Joe Wilder - Jazz From Peter Gunn
(Columbia, 1959)
Helen Humes - Helen (Muse, 1980)
Joe Newman/Joe Wilder - Hangin Out
(Concord, 1984)
Joe Wilder - Along With Just My Dreams
(Evening Star, 1991)

LEST W E FOR GET


Gone but not forgotten...

Jeanne Lee

(1939-2000)
by Donald Elfman
The

inventive and innovative vocals of Jeanne Lee


were described as the first new approach to jazz
singing since Sarah Vaughan. She emerged from the
new music scene of the 60s and stayed true to her
aesthetic for her entire career. She made use of the
natural qualities of breath to create a style that could
go from atonal wordlessness to the bluesiest blues and
never fail to tell a story.
Jeanne Lee was born in New York in 1939. She
studied dance as a teenager as well as singing. In the
early 60s she met Ran Blake who had come out of the
third stream in New England to create a sort of
minimalist poetry of the keyboard and together the

ALLABOUTJAZZ-NEW YORK | February 2006

11

LISTEN UP!

Jacob Garchik

Jordan Perlson

trombone

O riginally from San Francisco,


trombonist and composer Jacob
Garchik has been a busy
freelancer in NYC for over 10
years,
becoming
equally
comfortable in a wide variety of
styles and genres. His newly
released CD Abstracts, with Dan Weiss (drums) and
Jacob Sacks (piano), gives three of the busiest and most
versatile young players in New York plenty of space to
explore their creative imaginations through his
intricate original compositions which are used as
springboards for improvisation and group interplay.
TEACHERS: In San Francisco my first trombone
teacher was Doug Thorley, whom I studied with every
week for 7 years. At Manhattan School of Music, I had
4 intense months with Steve Turre, then a year with
David Finlayson of the NY Philharmonic, then 2
years with Dave Taylor, who illuminated the physical
aspects of trombone playing.
INFLUENCES: I enjoy listening to a wide variety of
music from all over. I actually own too much music
and I havent listened to it all. Id have to say my own
playing and group leadership is influenced by Miles
Davis, John Coltrane and Joe Maneri.
CURRENT PROJECTS: I lead my own bass-less trio
with Jacob Sacks (piano) and Dan Weiss (drums). I also
contribute arrangements and compositions to the
collectively-run bands 4inObjects, the Four Bags and
Slavic Soul Party. And I fulfill sideman duties in about
a dozen other bands including the Lee Konitz New
Nonet (which recently recorded live at Jazz Standard),
the Steve Swallow/Ohad Talmor sextet, the John
Hollenbeck Large Ensemble, the Ben Gerstein
Collective, Judith Berksons East River Orchestra and
Frank Londons Klezmer Brass All-Stars. I also play
gigs on accordion, bass trombone, trumpet, tuba,
computer and piano.
BY DAY: In addition to a desk job in a small record
company, I accompany preschool music classes as a
pianist, teach beginning piano classes at an adult
college, teach a few trombone students, do occasional
Finale engraving jobs and build and maintain websites
for friends.
I KNEW I WANTED TO BE A MUSICIAN WHEN...
I saw my brothers middle school jazz band play and
daydreamed about playing a purple saxophone with
them.
DREAM BAND: I dont like to fetishize the past too
much. Therefore my dream band consists entirely of
musicians not yet born. You cant imagine what kinds
of things they would play!
DID YOU KNOW?
I envision a future in which all living creatures
generate electricity by powering portable generators.
Theyll pull them around all day and then swap out
the freshly charged batteries for empty ones.

drums, percussion

P erlson

was born and raised in


the suburbs of Philadelphia. He
started taking drum lessons at 10
and played in school bands,
garage bands and ensembles
taught at other music schools
around the city. He always played
along to whatever CDs and tapes he could get his
hands on (he remembers playing along to Ice-Cube,
then Peter Gabriel one afternoon). Then, when he was
15, he attended Berklee College of Musics summer
program. He was already quite interested in Berklee,
but the experience there only solidified his desire to
study there when finished with high school. Around
this time, he began playing with the cult progressive
rock band Echolyn. He was very fortunate to learn all
about writing and make a record with them because
they were all very, very experienced and talented
musicians. After graduating high school, while
attending Berklee, Perlson had many more wonderful
oppurtunities. He performed many styles and with
incredible musicians from all around the world, as
well as with visiting artists. As a student, he had the
honor of performing with Pat Metheny, Michel
Camilo, Abe Laboriel, Sr. and many others. Since
moving to New York about a year and half ago, he has
had many more wonderful experiences and has grown
so much as a musician since arriving in the city.
TEACHERS: Adam Issadore, Joe Morello, Ian Froman,
Jon Hazilla, John Ramsay, Jamey Haddad, Hal Crook.
INFLUENCES: Jack DeJohnette, Tony Williams, Paul
Motian, John Bonham, Abe Laboriel, Jr.
CURRENT PROJECTS: Daniel Kelly Group, Gian
Tornatore Group, Matthias Lupri, East-West Quintet,
Tiger Okoshi Group, Lalo, Talat, Janek Gwizdala and
others.
BY DAY: Practicing, putting up shelves (I just moved),
rehearsing, playing sessions, trying to survive just like
everyone else! I teach a little, but it isnt something Ive
been able to pursue in an ongoing/consistent way.
I KNEW I WANTED TO BE A MUSICIAN WHEN...
I heard the opening drum fill in Cult of Personality
by Living Colour.
DREAM BAND: Bill Carrothers, Loren Stillman, Nate
Radley, Matt Pavolka and me.
DID YOU KNOW? Even though we share the exact
same last name, ex-Knitting Factory executive Mark
Perlson and I are not at all related.
FOLLOW UP WITH:
info@jordanperlson.com
www.jordanperlson.com
Perlson is Redds Feb. 2nd with East-West Quintet; Jazz
Gallery Feb. 16th with Janex Gwizdala; The Stone Feb. 18th
with Talat; and 55Bar Feb. 21st with Bobby Avey. See
calendar.

FOLLOW UP WITH:
www.jacobgarchik.com
Garchik is at 5C Cafe Feb. 3rd, Crossroads Caf Feb. 11th,
Barbs Feb 12th with Gondwanaland, Feb. 26th with the
Four Bags and Tuesdays with Slavic Soul Party; and at The
Kitchen Feb. 17th-18th with John Hollenbeck. See calendar.
Each month, AAJ-NY spotlights two musicians that we think you ought to know about.
To suggest someone who deserves a listen, email some information to ldgreene@allaboutjazz.com

12 February 2006 | ALLABOUTJAZZ-NEW YORK

G. MORATTI
ARTIST MANAGEMENT

Personal Management for:


Don Friedman - Piano
Sayuri Goto - Piano
Daniela Schaechter - Piano/Vocals
Mamiko Watanabe - Piano
Harvie S - Bass
Mike DiRubbo - Alto Sax
Karolina Strassmayer - Alto Sax
Randy Johnston - Guitar
Susana D - Vocals
Benny Powell - Trombone
Steve Swell - Trombone
Drori Mondlak - Drums
(Straight Circle)
For bookings of any of the above
musicians contact:
Gino Moratti
86-2
20 Park Lane South
Woodhaven, N.Y. 11421
Phone 718 805-11078
e-m
mail ginom@worldnet.att.net
www.ginomoratti.com

IN MEMORIAM

Arguably one of the most significant developments in

music in the 20th century was the breaking down of


the idea of musicianship; expressiveness surpassed
finesse as the reason for playing an instrument. And,
arguably again, it was Derek Bailey who was a
primary instigator of this evening of playing fields.
Which in a sense is to damn the British guitar
phenom - who died on Christmas Day, 2005 - with
high praise. Bailey was a remarkable talent, a
dexterous player who could maintain several linear
threads of pure abstraction at a time and build a
coherent, deeply personal statement. He created a
language that seemed inclusive, even inviting, as if to
say, Come along, pour your soul out on the strings
like me, you can do it. Of course, you couldnt, not
really, but thats a different story. For what Bailey
peddled during a career that spanned six decades was
not technique - not the ability to play Villa-Lobos or to
compose great somethings - but to be completely in
the moment, to pull notes from his heart and the ether
and to make the listener intimately there, with him.
The genre of music that most embraces that
freedom in most peoples eyes is jazz - a form Bailey
started in and, even while playing at various times
with the likes of Steve Lacy, Paul Motian, Tony
Williams and Pat Metheny, spent much of his career
trying to disassociate himself from. With his typical,
understated grace, Bailey authored a book in 1980
called simply Improvisation, for which he interviewed
classical, rock and other musicians about the role of
improvising in their music. The point - never overtly
stated - was that improvising doesnt make one a jazz
musician and that Baileys music was not jazz.
I dont think its done any good for free
improvisation, generally speaking, to be coupled with
jazz, Bailey told Nick Cain in 2000, in an interview
published in Cains online magazine Opprobrium. But
my view of jazz is that it died about 1956. It staggered
on in some quite interesting ways into the early 60s,
and then it was resurrected in a rather ghoulish
manner in the 1980s. But this is also a personal thing.
It was partly to do with my own dissatisfaction with it
and my decision, around the age of 23, that I was never
going to be Charlie Christian.
Bailey was born in Sheffield, Yorkshire, on
January 29th, 1930. His uncle played guitar and, along
with those Charlie Christian records, was an early
influence to his picking up the instrument. By 1950, he
was working jazz club circuits in England, moving
from town to town for extended pub gigs. His talent as
a jazz guitarist led to bigger gigs and eventually to
meeting drummer Tony Oxley and bassist Gavin
Bryars. In 1963, they formed the Joseph Holbrooke
Trio, named by Bryars for an obscure British
composer who died in 1958. Though they earned little
notice, together they began exploring non-idiomatic
improvisation.

Derek Bailey - 1930-2005


by Kurt Gottschalk

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET

We were aiming for the opposite of driving


because everything was like that - this was the Oscar
Peterson time - it was all about getting it on, as Tony
used to say, Bailey told his biographer Ben Watson.
Thats one thing we had in common. An impatience
with the gruesomely predictable. Another thing we
were interested in [] was that we liked silences.
If not the very foundation, the trio was clearly one
of the bases for the free improvisation movement that
began to gain a commercial foothold in the 70s. But
Bailey was never one to take credit for starting a
movement. Prior to Holbrooke, he had the occasional
encounter with open improvisation and speaking to
Watson remembered an earlier experience in Glasgow:
Laurie [Steel], me and another guy individually
retuned our guitars and played. The results? Cant
remember. We didnt try it again. But that kind of
exploratory episode, while uncommon, happened now
and then, and my guess is that it has always happened.
Nobody invented Free Improvisation.
During the explosion of music, jazz, rock and
beyond, in the late 60s and early 70s - when corporate
record labels had no idea what might sell - a
surprising breadth of records were being released. At
that time, Bailey participated in a few major label
sessions - notably Oxleys The Baptised Traveller (CBS,
1969) and 4 Compositions for Sextet (CBS, 1970). The
new movement was getting noticed. Drummer John
Stevens Spontaneous Music Ensemble (with Bailey,
saxophonist Evan Parker and bassist Dave Holland)
recorded for Island in 1968 and Marmalade in 1969. In
1970, the fledgling German label ECM released a
record by the Music Improvisation Company, with
Bailey, Parker, Hugh Davies (electronics), Jamie Muir
(percussion) and Christine Jeffrey (vocals). But that
same year, CBS dropped Oxleys third record and he
approached Bailey to start a label together. They
secured financial backing and invited Parker to be a
third partner. In a split that created a rift in the British
improv scene and has been the source of rumors and
speculation ever since, Oxley and Parker left the label
within a few years. Bailey kept the business running
for the rest of his life and while he was featured on
many of the releases - more than 50 in all - Incus is
more than a vanity label. With his wife Karen
Brookman, Bailey built one of the most important
labels documenting free music in Britain.
But more than his place in history as an innovator
and label head, what was of course important about
Bailey was his playing. He was a remarkable solo
performer, challenging the listener the way that few perhaps only Cecil Taylor and Roscoe Mitchell - can,

with overlaid systems of logic and trains of thought.


His playing cant be analyzed, only absorbed. And yet,
Bailey didnt like giving solo concerts. From Cains
interview:
To me, the way I play is the musical equipment I
bring to the event. The way I play is what Im going to
work with. But the music, for me, is brought by the
other people. There isnt any point in playing with
somebody unless theyre going to bring music. Im
sometimes accused of ignoring people I play with,
which has always struck me as strange, because I find
other people very necessary. I dont, for instance, like
playing solo, and Im not that interested in playing
solo - doing it or listening to it, or anything. Although
most of the gigs I get are solo. I kind of feel that what
I do is not complete unless Im playing with somebody
else. They do more than complete it, they provide the
basis for whatever were doing. It starts with the other
people.
While it would be a mistake to think Bailey
ignored the people he played with, its an
understandable one to make. He didnt set out to
complement his fellow players, not in the usual sense.
He circled them, questioned them and sometimes
stabbed at them, and made the listener hear them in a
very different light. In his Derek Bailey and the Story of
Free Improvisation from 2004, Watson wrote, Like a
truly interesting conversationalist, Baileys guitarplaying does not flatter the musicians he plays with, or
attempt to make them sound good in a facile way: he
attempts to understand what they are playing by
contradicting them. The source of his spikiness is
this interest in reparte; his negations are productive
because they are grounded in musical comprehension
of his interlocutors logic.
Bailey continued to perform and record solo up
until motor neuron disease robbed him of the ability to
play. His final release, Carpal Tunnel - issued by
Tzadik just five months before his death - featured him
boldly exploring his debilitating illness. The first
10-minute track features Bailey speaking about losing
muscular control in his hands as he plays. The five
following tracks were recorded at three-week
intervals, the suggestion being to document his
deteriorating ability. Close listening does reveal a loss
of finesse, but thats easily overshadowed by the
emotive quality. As ever, Baileys playing is arresting.
Its not so simple as to be melancholy or celebratory. It
resonates at a much deeper level, transcending
lyricism and suspended in time.
In 1976, the magazine Musics asked 30 musicians
to respond to the question What happens to timeawareness during improvisation? While some
answers stretched to more than a page of text, Bailey
responded simply The ticks turn into tocks and the
tocks turn into ticks. Like his playing, Bailey lives on,
existing outside of time. K

Pete Zimmer Quintet


Featuring:
Michael Rodriguez Trumpet Joel Frahm Saxophone
Toru Dodo Piano David Wong Bass
Pete Zimmer Drums

Performing and Recording LIVE @:


Jazz Standard
(***LIVE RECORDING for Tippin Records***)
Tuesday, February 7th
Sets at 7:30pm and 9:30pm Tickets $20
116 E 27th Street (b/w Park and Lex)
(212) 576-2232 www.jazzstandard.net

www.petezimmer.com
www.tippinrecords.com
Pete Zimmer is endorsed by
SABIAN Cymbals www.sabian.com

ALLABOUTJAZZ-NEW YORK | February 2006

13

CD REVIEWS

Shades of Jade
Back Stabbers Ball
Marc Johnson
Neal Caine
(ECM)
(Smalls)
by Elliott Simon

Although

both these CDs from top bassists contain


primarily newly composed material and feature strong
tenor men, Shades of Jade immerses one in a remarkably
warm and pensive musical world while Back Stabbers
Ball is a coolly swingin twin tenor treat.
Marc Johnson is that rarefied musician who can
pull together a band to portray perfectly his
compositional vision. With Shades of Jade he has chosen
exceedingly well and each of these works fit together
like an elegant puzzle. There is a gentle grace as
Johnsons bass and Joey Barons brush and cymbal
work instill a thoughtful atmosphere. The mood is
then just ripe for Joe Lovanos tenor, John Scofields
guitar or the brilliant touch of pianist Eliane Elias to
engage in group discourse or soft soliloquy. Elias is
thrilling, whether discreetly adding just a touch of
Asian air to the title cut, laying back a bit for Lovanos
heartfelt interpretations of her own melodic In 30
Hours or giving an emotional rendition of lovely
self-composed ballads like Snow or All Yours.
Blue Nefertiti is a bluesy take on the Queen begun
by Scofield that all others join while Dont Ask of
Me is a soulful arco version of an Armenian song
with organist Alain Mallet providing the backdrop.
Neal Caine and tenorist Ned Goold are integral
parts of Harry Connick Jr.s Orchestra but this is a far
cry from that. Instead, drummer Jason Marsalis and
reedman Stephen Riley have joined with this duo to
present a timely take on everything from Corporate
Jazz, complete with semi-plodding beat and airy
tenor, to free formish interludes of WMD and an
intriguingly mysterious portrait of DEA, the chord
progression not the agency. Caine is so good and so in
synch with Marsalis that they draw you into the mood
of most of these pieces with but a few introductory
plucks and taps. The two horns can sweetly
double, as on the initial tenor/alto clarinet round of
WMD, or strike out on their own modern solo
adventures. Caine is a powerful bassist and he is up in
the mix but the tenors are equal to the challenge.
Bassists always set the pace but on each of these
releases by two of the best, their distinctive musical
personas are thankfully allowed to shine.
For more information, visit www.ecmrecords.com and
www.smallsrecords.com. Johnson is at Dizzys Club
through Feb. 5th. See calendar.

Silva
Vinicius Cantuaria (Hannibal-Ryko)
by Ernest Barteldes

Back in the 80s, Vinicius Cantuaria wrote the lullabylike Leaozinho, which became a major hit for
Caetano Veloso and prompted him to embark on a solo

career as a sophisticated pop musician. Although the


gamble didnt quite work in Brazil, here he found an
audience for his bossa-nova inflected tunes. Today,
like many other of his fellow expatriate musicians
(Bebel Gilberto, Flora Purim are some that come to
mind), his talents are more recognized abroad than in
his native land.
On Silva, which is the most common surname in
Brazil and also part of his own name, he collaborates
with legendary percussionist Arto Lindsay, who
co-wrote several of the original tunes on the album,
venturing even further into his bossa roots and
emerging with a very personal view of the genre,
looking back whilst managing to move forward at the
same time. In The Bridge, he claims that Everyone
says that bossa nova is this/bossa nova is that/it just
is what you want to be and he backs that by adding
elements of Northeastern Brazilian and electronic
sounds into it. In Pena de Mim(Pity on Me), he begs
an estranged lover to feel for him, for he cannot
suffer like this anymore. The instrumentation is
sparse, with a string quartet and subtle percussion
backing Cantuarias guitar.
The only cover on the album is A Felicidade
(Happiness), a Jobim/Moraes composition originally
featured in the movie Black Orpheus. Pay close
attention to the English-language Reentry, a semipsychedelic tune about a love affair that is over but
neither part wants to call it quits. Also very interesting
is Saudades de Voc (Longing For You), in which
Cantuaria reverts to the simplicity of the early days of
bossa nova, a time when almost every lyric spoke of
nothing but love, smiles and the blossoms of spring.

while not copying Mangelsdorff, brings that amazing


sonority he had; Hebert often sounds like Gnter Lenz
from Mangelsdorffs early groups; and Ferber recalls
both Mangelsdorffs postbop and postfusion periods.
Of course there is the solo trombone piece and
demonstrations of Mangelsdorffs multiphonics. But
this album is not a technical exercise. It ftes what
made Mangelsdorff such an enduring presence: his
composing. These are timeless, sparkling themes that
deserve more than one more go around.
For more information, visit www.cleanfeed-records.com.
Fiedler plays Mangelsdorff at Barbs Feb. 15th. See
calendar.

For more information, visit www.rykodisc.com. Cantuaria


is at Jazz Standard through Feb. 4th. See calendar.

Recommended
New Releases
Plays the Music of Albert Mangelsdorff
Joe Fiedler (Clean Feed)
by Andrey Henkin

If ever there was evidence of a prejudice against


European jazz players, it is the fact that trombonist
Albert Mangelsdorff (1928-2005) never before had a
tribute album done in his honor. Even more damning
is research showing that his compositions - over a
hundred - have never been played without him.
Trombonist Joe Fiedler has ended this sorry streak
with a wonderful homage to an under-appreciated-inthis-country musician. The only bittersweet thing
about the disc is its recording date: November 2003.
Released now it serves as reminder of a great loss for
jazz rather than as an accolade to the living.
The only explanation for the dearth of
Mangelsdorff in standard jazz repertoire is that he was
too much of a unique voice. To play his tunes requires
mastery of full-bodied, warm lyrical playing and a
harmonic sense exceeded by no other trombonist. So to
do a tribute would be to scale an insurmountable
mountain. But Fiedler is not here to recreate
Mangelsdorff. He is his own player with his own
abilities who is paying a long-owed debt by
anyone who plays the instrument.
Fiedler
chooses
the
trio
format
from
Mangelsdorffs two most known albums (The Wide
Point with Elvin Jones and Trilogue with Jaco
Pastorius) with bassist John Hebert and drummer
Mark Ferber. The material is drawn from the 60s
quintet to the 80s duo with Wolfgang Dauner. Fiedler,

14 February 2006 | ALLABOUTJAZZ-NEW YORK

Omer Avital - Asking No Permission: The Smalls


Years Vol. One (Smalls)
Bill Frisell - Further East/Further West
(billfrisell.com)
Sam Rivers/Ben Street/Kresten Osgood Violet Violets (Stunt)
Gregory Tardy - The Truth (SteepleChase)
Assif Tsahar/Cooper-Moore/Hamid Drake Lost Brother (Hopscotch)
Mary Lou Williams Collective Zodiac Suite Revisited (Mary Records)
-David Adler
NY@Night Columnist, AllAboutJazz.com
Omer Avital - Asking No Permission: The Smalls
Years Vol. One (Smalls)
Ab Baars - Kinda Dukish (Wig)
Miles Davis - The Cellar Door Sessions 1970
(Columbia-Legacy)
Ras Deshen Abatte/Yitzhak Yedid From Ethiopian Music to Contemporary Jazz (AB)
John McNeil - East Coast Cool (OmniTone)
Stephen Riley - Inside Out (Steeplechase)
-Laurence Donohue-Greene
Managing Editor, AllAboutJazz-New York
Jeff Arnal/Nate Wooley/
Reuben Radding/Seth Misterka Transit (Clean Feed)
Eddie Gale - Vision Festival X, NYC (s/r)
Vinny Golia - Sfumato (Clean Feed)
Manuel Mengis Gruppe 6 Into the Barn (Hatology)
Tisziji Munoz - Love At First Sound
(Anami Music)
Ray Russell - Goodbye Svengali (Cuneiform)
-Bruce Gallanter
Proprietor, Downtown Music Gallery

T hese

Song for Someone Kenny Wheeler (Psi)


Where Do We Go From Here?
Kenny Wheeler/John Taylor (Camjazz)
What Now? Kenny Wheeler (Camjazz)
by Francis Lo Kee

three CDs by trumpeter Kenny Wheeler


provide a glimpse of one of this planets greatest
musicians; all also feature the under-appreciated
pianist John Taylor.
Certainly Song for Someone will be an exciting find
for Wheeler enthusiasts. A big band record that has a
unique sound from the opening moments (with
Norma Winstones wordless vocals in front) only
becomes more intriguing as it progresses. Recorded in
73, its fascinating to consider that Tony Oxley and
guests Derek Bailey and Evan Parker would go on to
become European free improvising icons. Wheelers
composition work is astonishing as it effortlessly
bridges the sounds and styles of modern jazz to free
improvisation in a way that does not sound either
forced or nave. Wheeler states in the brief liners: The
idea behind this band was to try and get special
musicians from and into different areas of jazz to play
together and to try to write music especially for them.
The Good Doctor is an excellent example,
starting off with Parker and Bailey improvising in the
style for which they have been known post-1973.
Following soft brass chords with a spacious and gentle
bass rhythm, they stop, then re-enter with a
conversation between free guys and the developing
written music. This conversation might be compared
to Ives The Unanswered Question more than a
modern jazz big band piece, even though the
composition does eventually move back to a modern
big band sound. The bridge back to the avant garde is
Parkers tenor solo, starting in jazz, then moving into
an explosive duet with Oxley (who, up until this point,
has sounded more like Mel Lewis).
More big band jazz, an explosive trio of
Oxley/Bailey/Parker, then superimposed horn chords
over the trio. Coming on this tunes heels is the closer
Nothing Changes, a short piece featuring the only
lyrics Winstone sings on the record, serving as a good
musical summary of the CDs journey. Song for
Someone is not only a revealing snapshot of a
prodigious composer-band leader and his interaction
with other important musicians at a momentous time
in the musics history, it is simply vital music.
Where Do We Go From Here? is a wonderful duet
record, revealing an attractive telepathy and serence
confidence between Wheeler and Taylor. I would
hazard a guess that most listeners are not very
familiar with John Taylor, the self-taught jazz pianist
that first gained attention with fellow Brits Alan
Skidmore and John Surman, the husband and wife
team of Cleo Laine and John Dankworth and as
one-third of Azimuth (with Wheeler and Winstone).
When you hear his touch on Summer Night there
can be no doubt that he has deep roots in the
traditional vocabulary and when you listen to Canter
N.1 you hear an example of more modern
language. Dance is a very interesting track for its
use of syncopation inside the triple meter, its
somewhat exotic melodic material and its very sparse,
unique and subtle use of overdubbing.
What Now? is also an attractive release, rich in

details and content. Wheeler makes it all seem so


simple: beautiful melodies, rich harmonies and a great
band without a drummer to rein in the rhythms. So
many of the performances are memorable ones.
Swinging and melodic, Chris Potter (tenor) starts the
soloing on the opener Iowa City and enjoys the ride
over its chord changes. However, when Taylor solos
the creative sparks start to fly even further. His
rhythmic imagination and security at the piano puts
him in the same league with some of todays best. For
Tracy starts with an eloquent melody for piano and
flugelhorn followed by the tenor melodic statement
and Dave Hollands bass, giving grounding to this
solemn ballad. Once again, Taylors solo is captivating
for its dynamic touch and detailed voicings.
Though What Now? might receive the most
amount of attention because of its inclusion of Chris
Potter and Dave Holland and all three of these CDs
contain a lot of wonderful music, dont sleep on Song
For Someone.

LIVE PERFORMANCES
AT

For more information, visit www.emanemdisc.com/psi.html


and www.camjazz.com. Wheeler is at Blue Note through
Feb. 5th with Kenny Werner. See calendar.

Some of our performances this month include:

Jazz is Love: Timeless Songs for Lovers


Various Artists (Empire Musicwerks-Universal)
by Andrew Velz

Thu Feb 2

CARLO DEROSA QUARTET 8:30PM


Mark Shim, Luis Perdomo, Derrek Phillips

Fri Feb 3

LOGAN RICHARDSON GROUP 9 & 10:30PM


George Garzone, Matt Brewer, Tommy Crane

Sat Feb 4

SKYE STEELE GROUP 9PM


Christopher Hoffman, Mike Effenberger, Mike Savino, John Hadfield

Wed Feb 8

NYNDK JAZZ COLLECTIVE 8:30PM


Chris Washburne, Ole Mathisen, Soren Moller,
Tony Moreno, Francois Moutin

Thu Feb 9

GNU VOX VOCAL SERIES: TWO CD RELEASE PARTIES


BEAT KAESTLI 8:30PM
Joel Frahm, Uli Ceissendorfer, Marcus McLaurine, Sunny Jain
MONIKA HEIDEMANN 10PM
Matt Moran, Khabu Doug Young, Derek Layes, Take Toriyama

Fri Feb 10

JEREMY STEIG QUARTET 9 & 10:30PM


Vic Juris, Cameron Brown, Anthony Pinciotti

Mon Feb 13

COMPOSERSCOLLABORATIVE INC. 8:30PM

Tue Feb 14

GNU VOX VALENTINES DAY SPECIAL:


JAY CLAYTON/JACK WILKINS 8:30 & 10 PM
Fabulous five-course Valentines Diner $50

Thu Feb 16

PO JAZZ Golda Solomon, host 6PM


KRESTEN OSGOOD GROUP 8:30PM
Michael Blake, Steven Bernstein, Ben Allison

Fri Feb 17

ANAT FORT TRIO 9 & 10:30PM


Gary Wang, Roland Schneider

Sat Feb 18

MALABY/SANCHEZ/RAINEY 9 & 10:30PM

Sun, Feb 19

SEBASTIAN NOELLE GROUP 8:30PM


Dave Smith, Dave Ambrosio, Take Toriyama

Mon Feb 20

BIG BANG 8:30PM hosted by Katie Downs


Jane Rigle, Clyde Forth, Iain Machell;
David Rothenberg/Jaanika Peerna

Tue Feb 21

SEAN DRISCOLLS TRIO GRANDE 8:30PM


Brad Mason, Matt Pavolka, Marko Djordjevic

Thu Feb 23

GNU VOX PRESENTS: JD WALTER 8:30PM

Sat Feb 25

MARC MOMMAAS GLOBAL MOTION 9 & 10:30PM


Nikolaj Hess, John Hebert, Tony Moreno

Sun Feb 26

KRACKEDLENZ PROJECT CD RELEASE PARTY 8:30PM


Stephan Kammerer, Steve Elliot, Matt Clohesy, Brian Wolfe

Tue Feb 28

DAVE ALLEN 8:30PM


Loren Stillman, Drew Gress, Mark Ferber

This mix of 15 sides from the 50s and 60s is studded


with gems, mostly from our greatest songwriters - the
likes of the Gershwins, Cole Porter, Rodgers and Hart,
each offering an enduringly upbeat report from the
trenches of love. Most of the artists are now gone, but
very much worth remembering or becoming newly
acquainted with.
Among these, the only one that was actually a pop
hit was Gloria Lynnes creamily chiseled, fiercely
tender 1965 version of I Wish You Love. Blues For
Beverly, with that famously schmaltzy Gordon
Jenkins sound, features a beauty of an alto sax solo by
Basie alumnus Marshall Royal. Guitar virtuoso Charlie
Byrd manages to remain intimate on Love Song
Ballad, even amidst the awesome big band sound of
Woody Hermans orchestra.
If its love youre after, take the Jo Jones Trio and
Youre Getting To Be A Habit With Me; Jones
drumming is something only someone without a pulse
could resist. On It All Depends On You Pee Wee
Russell (clarinet) and Ruby Braff (trumpet) are two of
the spellbinders who make irresistible happy heart
sounds. Showcasing the superb recording techniques
of the late 50s on Embraceable You is an allstar
orchestra that includes Doc Severinsen, Urbie Green,
Jimmy Chambers and an especially caressing
performance by Pee Wee Irwin on trumpet.
The few vocals are exceptional. Joe Williams is in
peak form with In The Evening. Even when singing,
....when your babys not around, Williams just
couldnt keep good cheer out of the sweet thunder of
his voice. And the great, great Maxine Sullivan sings
her one pop hit, Loch Lomond, a swing
interpretation of a folk song which made her a star in
the 30s. This 1955 version still swings mightily and, as
with Django Reinhardts Nuages which closes the
set, is likely to leave you craving more.
For more information, visit www.empiremusicwerks.com.
Feb. 14th is Valentines Day.

For our full schedule check out our website

www.corneliastreetcafe.com

CORNELIA STREET CAFE


29 Cornelia Street
New York, NY 10014
(212) 989-9319
Between West 4th and Bleecker
West of 6th Avenue

ALLABOUTJAZZ-NEW YORK | February 2006

15

Intersections
Reuben Radding (Pine Ear Music)
by Jeff Stockton

Reuben Radding has had to take initiative to get his

music heard before. Luminescence, a recording of duets


performed with multi-reedist Daniel Carter was
shopped around and ultimately released by Aum
Fidelity in 2002 and gave off a do-it-himself scent that
carries over to Intersections, the first release on the
bassists own Pine Ear Music label. Radding is plenty
busy, performing and recording in combinations of
various size and styles (including wicked work with
Seattles Wally Shoup Trio), but Pine Ear is an example
of what jazz musicians must do these days in order to
get their music heard, rather than have sessions
languish in the can. Raddings trio on this CD offers
chamber-style interaction, musical delicacy and
whispered intimacies.
Radding has one of the thickest tones on the
double bass to be heard in jazz today and his playing
relies on notes that carry on and linger horizontally,
while his compositions run the scale vertically. This
bidirectionality infuses the music with a favorable
creative tension, particularly on the hypnotic Making
Certain it Goes On. Oscar Noriegas snake charmer
clarinet seduces on Siren, a tone poem that features
Raddings evocative arco attack and enables Matt
Moran to put the vibe in vibraphone with his
resonating sustained notes. Canal and Lafayette
picks up the tempo a bit from Brush, but continues
the same mathematically precise playing by Noriega
and Moran, while on Bellevue, Bellevue and
Bellevue, Morans single-note strikes jump from left
to center to right, orienting you to the composition
even as its repetitiveness locks your attention.
Marginal Way mixes Raddings arco and pizzicato
and alternately pairs him up with his bandmates:
mirrored by Morans metallic vibes, in dialogue with
Noriega, then back to Moran for a concluding
conversation. Drum fans need not fear. Noriega,
Moran and Radding create a world of melody and
rhythm all their own.

A jazz trio, featuring another New York import, the


superb Mark Helias on bass, is spliced together with a
first-rate string quartet drawn from Torontos pool of
young classical talent.
Remove the jazz trio and youd have a tasty little
suite of string pieces, but not only has Nachoff
brought in drums, hes apparently instructed Black to
go more for Sonic Youth than Billy Higgins, a stark
constrast against the delicate strings. Nachoffs own
sax work adds further textural and stylistic
counterpoint. What we have in the end is not quite
gumbo, but a distinctive sound that cant yet be
categorized (although, add it to the body of work John
Hollenbeck and a few others are busy creating and
soon enough were sure to begin hearing some new
appelation - Fourth Stream? Classical Groove?).
Nachoffs writing is, harmonically, quite
sophisticated and he sets up lovely chord
progressions, articulated by the strings, over which he
blows with inspired technique. His idea here is much
clearer than that of pianist Chris Gestrin, who has
paired Vancouvers Dylan van der Schyff on drums
with another New Yorker, guitarist Ben Monder, on a
recording of mostly open improv with a couple
original tunes: The Distance.
The lack of bass leaves Gestrin and Monder to
parcel out the melodic and harmonic duties. Though
they occasionally seem to trip over each other, the
combination mostly works. Monders playing seems
most inspired and original on the improv pieces.
Gestrins fine piano work is given distinction by a few
prepared strings that appear unexpectedly, lending
pleasantly mystifying moments. Van der Schyffs
drumming is subtly superb - exhilarating cascades of
brushed snare, toms and cymbals blend with
microtonal piano and guitar outbursts or fall into
breathtaking silences. All three have a keen sense of
how to build and resolve dramatic tension, though the
mood is exclusively murky.
For more information, visit www.songlines.com. Nachoff is
at Tonic Feb. 23rd. See calendar.

with their north-of-the-border counterparts.


Toronto-based reed player Quinsin Nachoff has
one foot in jazz performance and the other in classical
composition. While this combination can sometimes
lead to a musical no-mans land, Nachoff manages to
avoid stylistic malaise, largely by dint of the
decidedly rockin drum work of New Yorks Jim Black.

SE

EW

Monday-Saturday, 10:00-6:00

(June, July, August-closed Saturdays)


Rev-elation
I Cant Give You...
Joe Locke
Calvin Hill
(Sharp Nine)
(Arichi Music)
by Russ Musto

F ew tribute albums released these days do justice to

A new pair of releases teams New York edge-cutters

For more information, visit www.sharpnine.com and


www.calvinhillmusic.com. Locke is at The Kitano Feb. 3rd4th with Ben Wolfe and Feb. 24th-25th as a leader. See
calendar.

236 West 26 Street, Room 804


New York, NY 10001

For more information, visit www.reubenradding.com.


Radding is at Caf Grumpy Feb. 18th. See calendar.

Magic Numbers
The Distance
Quinsin Nachoff
Gestrin/Monder/Schyff
(Songlines)
(Songlines)
by Ty Cumbie

arrangement shines the solo spotlight on each of the


four band members. The date continues with a couple
of original arrangements by Jackson alumni - Cedar
Waltons relaxed medium tempo take on Young and
Foolish and Ray Browns sensitive reworking of The
Look and Love. The program proceeds with the
aforementioned title tune, featuring LeDonnes
tastefully swinging Fender Rhodes, followed by
Opus de Funk, Horace Silvers early hardbopping
Jackson feature and the beautiful ballad Close
Enough For Love. Locke digs in deep on his soulful
Big Town and shows off his chops on the closer, Ray
Browns Used To Be Jackson. Rev-elation is full of
subtle nuance and unselfconscious attention to detail
that takes the music to the highest level and truly
honors the man who inspired it all.
Locke figures prominently on bassist Calvin Hills
fine endeavor I Cant Give You Anything But Love. The
quartet date, which also features Michael Cochrane at
the piano and Yoron Israel on drums, is another sort of
tribute date - this one in praise of love. Yet, despite the
fact that almost all of the discs titles include the L
word, this is anything but a schmaltzy ballad record.
The exceptional arrangements pleasingly vary tempo
and meter, from the waltzing I Fall In Love Too
Easily to the latinish Beautiful Love to the straight
ahead swinging I Cant Give You Anything But
Love, imparting an agreeable variety to the program,
which is uniformly excellent. Hill reveals himself to be
a lyrical soloist, while judiciously sharing the spotlight
with his stellar bandmates on the nine odes to
romance. A superb Valentines Day soundtrack.

the music of the honoree, or the artistry of the player


acknowledging the influence of the venerated figure,
on the high level that Joe Locke reaches on Rev-elation,
easily one of the hardest swinging records released
recently. Together with the trio of Mike LeDonne, Bob
Cranshaw and Mickey Roker that regularly
accompanied vibist Milt Jackson in his final years,
Locke wows an ecstatic audience at Londons Ronnie
Scotts with a set of bebop, ballads and blues out of the
Bags book, along with two new dedicatory compositions: LeDonnes soulful title track, a reference to one
of Jacksons other nicknames, Rev(erend) and the
leaders Big Town, a clever play on Rokers
baptismal name, Granville.
Right from the start of the opening track,
Jacksons The Prophet Speaks, Locke shows that he
has what it takes to walk the great vibraphonists
walk, without trying too hard to fill his shoes. The
rhythm section supplies the same easy going groove
that endeared it to its late leader and the hip

16 February 2006 | ALLABOUTJAZZ-NEW YORK

Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LPs, CD, Videos (DVD/VHS),
Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Fresh Sound, Criss Cross,
Ayler, Silkheart, AUM Fidelity,
Nagel Heyer, Eremite, Venus,
Clean Feed, Enja and many more

Once to Every Heart


Mark Murphy (Verve)
by Andrew Rowan

Mark

Murphy just gets better and better, to steal a


phrase, like an elegant wine. And he is fearless; in his
distinguished career, hes covered it all: blues, Latin,
contemporary pop, songbooks (most notably, Cole
Porter, Joe Williams, Cy Coleman and Dorothy Fields).
And he still remains one of the foremost interpreters of
the Great American Songbook. Once to Every Heart, his
first offering on Verve Records, finds him at the top of
his art as he illuminates this ballads-only session.
He revives the wonderful Im Through with
Love in a reflective performance laced with sadness,
restraining his impulse to use his formidable musical
prowess just for show. In the opening chorus of the
When I Fall in Love/My One and Only Love medley
Murphy calls on this abundant technique as he isolates
and caresses each word, while never sacrificing the
story.
At this stage of his career all the hallmarks of his
style are on display, even in this low-key setting. He
remains one of the most surefooted singers in the jazz
pantheon: his rhythmic sense is impeccable, allowing
him to sing lines and phrases that are unattainable by
most other singers; his intonation is precise yet not
clinical; his melodic sensibility allows him to use a
songs harmonies to reimagine and transform
melodies; and he is fearless emotionally, unafraid to
dig deeply into a songs story to mine its essence.
Murphy even provides his own piano accompaniment
on Do Nothing Till You Here from Me and is
responsible for the piano and horn arrangements.
The lesser-known songs - Our Game, Paul
Westons seldom-heard gem Once to Every Heart
and Murphys own I Know You from Somewhere fit this brooding session perfectly. He also resurrects
Bein Green, a song already given stellar
performances by Ray Charles and Shirley Horn.
Murphy has chosen a strong supporting cast. Nan
Schwartz string arrangements set the songs off
beautifully. Producer Till Bronners trumpet and
flugelhorn work in low-key counterpoint with the
singer; they both work hand-in-hand with pianist
Frank Chastenier and bassist Christian von
Kaphengst, the sturdy, sensitive rhythm team.
Once to Every Heart, a masterful ballad recording
replete with great songs, unfolds with grace and
passion. The only question remaining is what will
Mark Murphy turn to for his next session?
For more information, visit www.vervemusicgroup.com.
Murphy is at Iridium Feb. 16th-19th. See calendar.

Scenes from an Exit Row


Alan Ferber (Fresh Sound-New Talent)
by George Kanzler

Trombonist Alan Ferber, a Californian now living in

Brooklyn, creates a rich sonic palette for this little big


band. While some nonets, i.e., Lee Konitz, Miles
Davis Birth of the Cool band, increased sonorities with
low brass (French horn, tuba), Ferbers strategy is to
employ a bass clarinet along with alto and tenor saxes
and a horn-like guitar as well as trumpet. He also
avoids unisons and close harmonies in favor of
multiple lines from horns and guitar in tandem or
counterpoint. Along with a kaleidoscope of shifting or
sprung rhythms, stop times, fanfares and rubato
passages, it all makes for a dense, sometimes rococo
ensemble sound.
Typical of Ferbers elaborating approach is his
introductory choruses to the only jazz standard (six of
the eight tracks are his own originals) on the CD, Gigi
Gryces Reunion, a bop take on the changes of Ill
Remember April. Before we get to Gryces line theres
a vamp opening with solo trombone musings and a
long ensemble line by Ferber before the piece resolves
into Gryces melody; then its a straightforward string
of solos before the out melody and a brief coda. He can
also overwrite his own pieces; after beginning with a
promising bass clarinet (Douglas Yates) solo line with
rhythm, Jigsaw expands into a through-composed,
multi-strain tune with brief solos seemingly struggling
up for air through the ensembles.
But at his best Ferber balances writing and solo
voices with dramatic flair. Get Sassy conjures up
images of a Mingus Workshop band playing for a
striptease dancer, as the sultry backbeat anchors a
fugue of solos from guitar (Bruce Saunders) joined by
trombone and then bass clarinet. That bass clarinet
also carries a fetching ostinato line on Filin, a Don
Byron-inspired piece with distinctive ensembles and a
trumpet (David Smith) solo sailing over the closing
theme.
For more information, visit www.freshsoundrecords.com.
Ferber is at Barbs Feb. 2nd, Club Europa Feb. 12th with
Andrew Rathbun, The Garage Feb. 21st with Russ Spiegel
and Jazz Gallery Feb. 22nd with Andy Middleton. See
calendar.

languidly enough, building slowly, through composed


intricacies, until a dance-like section, stereotypically
Latin-tinged in Jelly Roll Morton style, brings delicate
frenzy to the proceedings. The same is definitely true
of the title track, an energetically driven contrast to
Ballooning, which is as lovely a piece of Romantic
music as one will ever hear. Nabatov is playing a
beautiful and well-recorded instrument and each of
Balloonings opening notes hangs suspended over a
dreamy void, complemented beautifully by Wograms
breathily vocal utterances. It is to Wograms credit
that he can blow over the changes that eventually
ensue and Nabatovs pianism is impeccable here as it
is throughout.
Another longstanding partnership is celebrated in
this new Kurt Heyl/Ben Wright disc and anybody
familiar with Paul Rutherfords Gentle Harm of the
Bourgeoisie will know what it means when it is said
that moment-to-moment disunity is the duos modus
operandi. The comparison is especially apt concerning
the sections in which Heyl vocalizes, Meredith Monk
or Joan La Barbara fashion, such as GMM6 and the
results are quite effective. This monster 12-part
composition might be considered a magnification or
expansion of Rutherfords 70s improv. Where he
might tap a mike or play inside the bell of the horn,
something in GMM10 sounds like a huge stapler
ready to destroy the world and while it most likely is
Mr. Heyl, who really knows? Braps, squeaks, rustles,
groans and slides abound, not to mention long
meditative peaks and slopes, but the recorded sound is
always dry enough so that detail does not get
overabsorbed. The environs throughout the disc are
quite different, as it was laid down in several studio
settings, but the playing is consistently inventive;
where such microtonal musings can often become
routine in these days of Been there, done that, Heyl
and Wright keep things moving with a huge sonic
vocabulary and many humorous moments.
One cant help but relish the thought of a union of
these two duos, because between them, a large and
vibrant cross-section of jazz history would be covered
in fine style. Failing that, these are great additions to
the respective artists catalogues.
For more information, visit www.betweenthelines.de. Heyl
is at Downtown Music Gallery and ABC No Rio, both on
Feb. 5th. See calendar.

JGARCHIK??ADSPDF!-

The Move
Gross Motor Music
Wogram/Nabatov
Heyl/Wright
(Between The Lines)
(GMM)
by Marc Medwin

Superficially, these two trombone dates couldnt be


more different, but both exhibit a startling and
refreshing attention to microdetail and prodigious
technique from all involved. Both also attest to the
perpetually tasty fruits born of long-term
collaboration.
Trombonist Nils Wogram and pianist Simon
Nabatov have a long history of playing in each others
groups and this is their third duet disc. They have
fashioned a prime example of the multifarious
subtlety, inflection and rhetoricized history that has
come to typify certain types of free jazz. While much
of the material is composed, classical models - through
composition in particular - are invoked as much as the
improvisational gestalts usually associated with that
increasingly problematic term jazz. What is without
question here is the energy, commitment and precision
with which both players attack the material and yes,
the results can be wonderfully violent. Nothing
exemplifies this better than Fall, a study in
multilayered counterpoint and juxtaposition. It begins

!NEWALBUMBY
.EW9ORKTROMBONISTAND
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ALLABOUTJAZZ-NEW YORK | February 2006

17

The Complete Concert...


Other Valentines
Miles Davis
Fred Lonberg Holm
(Columbia Legacy)
(Atavistic)
by Florence Wetzel

O n February 12th, 1964, Miles Davis played a benefit

concert at Lincoln Center to help register black voters


in Louisiana and Mississippi. Davis and his luminous
sidemen - George Coleman on tenor sax, Ron Carter on
bass, Herbie Hancock on piano and 18-year-old Tony
Williams on drums - launched into 11 standards and,
according to Davis, We just blew the top off that
place that night. It was a motherf*cker the way
everybody played. The concert was released as two
albums, My Funny Valentine and Four and More,
which have finally been joined to form an essential
two-CD set - The Complete Concert 1964.
The CDs are comprised of tunes from Davis
repertoire, songs he had been inhabiting and exploring
for many years, including his classics All Blues, So
What and Four. Theres also Stella by Starlight,
Walkin, Seven Steps to Heaven, All of You, I
Thought About You, Joshua, There is No Greater
Love and of course the title track, a Davis favorite.
The music is uniformly sublime; at this point in his
career Davis was already a master, plus hes clearly
invigorated by his sidemens energy. Even after 42
years the songs are completely fresh and
unpredictable, with the archetypal sound of Davis
lonely trumpet weaving its way throughout.
The combination of first-rate musicians, the
urgency of the Civil Rights movement, plus a
backstage dispute about Davis decision to waive the
bands fee combusted into a night of intense, achingly
beautiful music. Davis work was soon to make
another mercurial shift, making this concert all the
more special for documenting the fruition of one of
jazz most important small groups.
Speaking of Valentines, Fred Lonberg-Holms
new trio album Other Valentines is a rich feast of music,
an eclectic mix of songs including compositions by
Sun Ra, Gil Scott-Heron, Wilco and Cat Power. The
trio - Lonberg-Holm on cello, Jason Roebke on bass
and Frank Rosaly on drums - plays with style and
verve, their graceful energy opening up the songs in
unexpected ways.
The cello is a rich instrument, blessed with a
deep-bodied, sonorous voice as well as a capacity for
flight. Lonberg-Holm has a wonderful feel for the
instrument, bringing its natural poignancy to bloom
while also working its playful side. On Sun Ras East
of Uz Lonberg-Holm has a light, swinging touch
reminiscent of Stephane Grappelli and he also dives
into some delightfully fractured improv. Another gem
is Fool, where Lonberg-Holm digs into the bluesy,
self-mocking melody line. Lonberg-Holm is also a
gifted composer and the CD features three tunes by
him, including Almost Mid-day, a heartbreaking
meditation featuring his open-hearted cello.
Part of the CDs success certainly lies with Roebke
and Rosaly. Roebkes strings weave seamlessly into
Lonberg-Holms, grounding the songs in a deep
groove. Rosaly does a terrific job as well, with his
cymbal work in particular adding dimension to the
music. Altogether Other Valentines is a memorable CD,
with rich layers that merit repeated listening.
For more information, visit www.legacyrecordings.com and
www.atavistic.com. Feb. 14th is Valentines Day.

In A Word
Nicole Pasternak (Garagista Music)
by Suzanne Lorge

On

her fifth album, In A Word, Nicole Pasternak


explores the importance of lyrics in vocal music.
Curiously, what stand out most are Pasternaks
confident, straightforward scat solos - especially on
Four, where the dialogue with her band of
accomplished jazz instrumentalists is a purely musical
one. But when it comes to words, Pasternak has chosen
some of the best.
A veteran of the Great American Songbook,
Pasternak draws on material from both inside and
outside the traditional jazz repertoire to support the
theme of the record. In one moment she moves
playfully through Frank Loessers Inchworm
(originally from the movie Hans Christian Andersen but
immortalized by John Coltrane as an instrumental);
later she delves sensitively into Bob Merrill/Jule
Stynes People, Barbra Streisands pop hit from
Funny Girl. And Pasternaks clever medley of Johnny
Mercers Dream with Antonio Carlos Jobims
Dreamer demonstrates how a single word can
provide the impetus for a musical idea.
Behind the words is solid musicianship. On piano,
Don Friedman solos or comps with equal dexterity
and bassist Dennis Irwin wastes not a note nor a
groove. Vanguard Jazz Orchestra member Ralph
Lalama appears as a special guest on the recording; his
tenor sax solo composition Me follows Pasternaks
version of the Harold Adamson/Walter Donaldson
tune You, in keeping with the back-and-forth,
conversational tone of the record.
In the liner notes Pasternak discusses her
relationship with her partner, Ralph Lalama, who
performs with saxophonist/composer Joe Lovanos
Grammy-winning nonet. Pasternak and Lalama
acknowledge the influence each has had on the others
musical development; in their innovative duet on
Inchworm, Pasternaks reedy voice and Lalamas
clear horn evoke a comfortable familiarity.
The musical family represented on the disc
extends to include Pasternaks brother, Vincent, whose
gentle composition Wonderful describes the joy of
time shared with a loved one. After spending an hour
with them, its easy to imagine that Pasternak simply
gathered her talented friends and family for some
quality time and the result was In A Word.
For more information, visit www.garagistamusic.com.
Pasternak is at The Garage Feb. 1st. See calendar.

into the Masada story is that new life has been


breathed into the project. Following Book Two
releases by Jamie Saft and the Masada String Trio,
Malphas is a set of 11 of those compositions
interpreted by pianist Sylvie Courvoisier and violinist
Mark Feldman, a duo which has been one of the most
exciting of the many performers of Masada music.
Where other groups focus on the jazz or the
upbeat groove of the songbook, Courvoisier and
Feldman bring a classicism to the project, closer to the
String Trio (Feldman with bassist Greg Cohen and
cellist Erik Friedlander). Their delicate playing is
gorgeous, even moreso than on their Masada Recital
from 2004. Its an airy yet poignant record, catching
the best of what Zorn creates in the compositions.
The packaging, likewise, is simple and attractive:
a maroon digipack with a stylized Star of David cut
from the front. Occasionally the pieces are referential,
quoting Mozart or the six-note ballpark charge
theme, an approach Zorn has long worked into his
compositions. He quoted Fr Elise in his pivotal
1993 work Kristallnacht and used cartoon sounds in the
string-quartet-with-turntable piece Cat o Nine
Tails. There, however, the quotations referred to
something about the context of the piece. Here they
just seem to refer to Zorns use of reference and serve
as a distraction. Those moments, however, are few in a
warm and beautifully recorded album.
For more information, visit www.tzadik.com. Feldman is at
The Stone Feb. 1st with Masada String Trio and Feb. 2nd
with Courvoisier. See calendar.

Wo r l d C l a s s J a z z
A t Af fo rd a ble Pri ce s !
Jazz Tuesdays In The John Birks
Gillespie Auditorium

Feb. 28th
Vibraphonist Mark
Sherman Quintet
Feb. 7th Jeff Siegal group

Feb 14th Angela


DeNiro with Ron
Aprea group
Feb 21st
pianist/composer
Cecilia Coleman

Malphas: Book of Angels, Vol. 3


Mark Feldman/Syvlie Courvoisier (Tzadik)
by Kurt Gottschalk

The second book of Masada tunes - 300 compositions


Zorn penned in 2004 - is only revelatory for the most
diehard of fans. Whats more exciting over a decade

18 February 2006 | ALLABOUTJAZZ-NEW YORK

The NYC Bahai Center


53 E. 11 St (between University Pl.
and Bway)
Shows: 8:00 & 9:30
Gen. Adm. $15.00
Students $10.00

212 222 5159


http://bahainyc.org/jazz.html

Ladybird
Dexter Gordon (SteepleChase)
by Joel Levin

40

years after this session was recorded for Danish


radio, the never-distributed, never-expected record
pops up ghostlike with 64-bit remastered sound.
Is this time capsule an outstanding session? No,
but thats okay. Its only 48 minutes of history, live
Dexter plus Donald Byrd on an on date, but a
worthy listen for both neophyte fans and collectors. As
laid-back as this CD is, its goal-oriented jazz. You can
feel the quintet heading somewhere, but oddly enough
it never gets there because the last cut falls off a cliff at
the four-minute mark during the development of a
Gordon solo. Who knows what secrets the broken tape
held? So much for history.
Ladybird offers a sense of time and place, the time
being midbop and the place being a small club miked
with extraordinary presence with the listener plunked
square in front of the bandstand. That seat shows
Gordon towering over you, dominating your aural
field. That dominance is clear from the beginning of
the first and title number, with Gordon jumping right
into a six-minute solo. That also prepares the listener
for some unconventional arrangements for the
two-man front line and subordinated rhythm section.
Miles So What begins with a neat little reverie
from bassist Niels-Henning rsted Pedersen as a
setup for the many voices of Gordons tenor and his
little game of quoting from Fascinatin Rhythm,
Rhapsody in Blue, Blue Skies and Take Five
just for starters. There are many more, so listeners
can play their own little game to see how many tunes
they can identify from snippets. Gordon ultimately
gives over the stage to Byrd who plays a deliberate
solo with notes distinct and unblended, albeit a bit
sloppy. His own quoting game includes I Wish I
Were in Love Again. And speaking of sloppy, the
bass and drums are way in front of Byrd in this
production. It couldnt have sounded like that in
person unless Byrd had been blowing in another room.
Not to be ungrateful for having this resurrection to
listen to, but couldnt the 21st-century engineer have
adjusted the imbalance so the production wouldnt
step on its own toes?
Who Can I Turn To is best when it strays from
the overdone theme, but Gordon employs his clear
tone to beautify that theme, showing mastery with
how much can be done with minimal embellishment.
He also slows the tempo to good effect when speeding
it up would be the default choice to improvise on what
originated as a slow waltz. Another Miles classic,
Blues by Five, opens with Kenny Drews pretty
pianism, some early Byrd and some very together
ensemble work. This is the only piece that allows
Drew to shine and get in some kicks. Otherwise, he,
Pedersen and drummer Axel Riel are there as
supporting players, never missing a beat but never
showboating.
Ladybird is a too-compact compact disc, leaving
the listener thirsting to hear what the group can do
when it lets loose over the course of a long set.
Recorded in 1965, 25 years into Gordons career, it still
shows the tenorman to be ahead of his time.
For more information, visit www.steeplechase.dk. A Dexter
Gordon Birthday Tribute led by Javon Jackson is at
Birdland Feb. 22nd-25th. See calendar.

for example is jaunty and playful but digs into a


groove that keeps the tune in the pulse. Steckler
squawks on alto and Fowlkes bellows and brays - all
over rich sounds from Cain and a powerful akLaff but the tune keeps you snapping your fingers even as
you cant quite figure out where its going to go.
Later the group does a nutty take on a Latin
groove - Episodio pa Osmany - and spins it out into
some other world, one where the digging is down and
deep but also into new territory. All the tunes are of a
feel that weve come to know from listening to jazz
records but none of them feels tired or rehashed.

Dedicated to You
Gloria Cooper (Origin)
by Marcia Hillman

This is a very pleasing offering that came as a result

of Gloria Coopers editing of the Second Floor Music


publication Sing Jazz. Many of the songs covered in the
publication she was not familiar with, prompting her
to record a new CD featuring some of this material.
A large number these songs started out their lives
as instrumentals with lyrics added much later.
Because of this, it seems quite appropriate that
Coopers voice is treated as an instrument, rather than
with an out-in-front-of-the-band vocal approach. Since
her voice has a soft quality, this is a successful
formula, Rudy Van Gelders engineering talents
capturing it to perfection.
Instrumentally, the personnel consists of Cooper
(piano), Don Sickler (trumpet/flugelhorn), Wayne
Escoffery (tenor and soprano saxophones), Freddie
Bryant (guitar), Tim Givens (bass) and Vince Cherico
(drums). Sickler handled all the arrangements with the
exception of Dedicated To You and Come Rain Or
Come Shine which were done by Cooper. Coopers
one original is Reveling In The Beat with lyrics by
jazz journalist Ira Gitler. This is a track on which
Bryants guitar work shines.
The tunes all have a fine ensemble feel with good
solos. Coopers piano work is of the less is more
school and is very tasty throughout but it is her voice
that makes the chosen material.

For more information, visit innova.mu. Steckler and


Persiflage is at Sweet Rhythm Feb. 15th. See calendar.

vocalist
pianist

vocalistSun Choi
Yoon
Jacob Sacks

present:
THE

RESTLESS SPIRIT

SERIES

the first Friday of every month w/ special guests:


Feb. 3
Mar. 3

Jacob Garchik
Mike McGinnis

trombone
reeds

5C Cultural Center & Caf


68 Avenue C (at SE corner of 5th street)
7 pm-9 pm

$8 admission

www.yoonsunchoi.com www.jacobsacks.com www.5CCC.com

NEW
FROM
PACIFIC COAST JAZZ

For more information, visit www.origin-records.com.


Cooper is at Sweet Rhythm Feb. 7th and Enzos Jazz Feb.
15th with Giacomo Gates. See calendar.

BRADLEY LEIGHTON
Back to the Funk
Jazz/pop flute stylist, recording
artist and clinician Bradley
Leightons third solo release
combines groove with soul that
will take you back to the funk.

In Stores January 17

Pacific Coast Jazz

Persiflage
Matt Steckler (Innova)
by Donald Elfman

T he

dictionary describes persiflage as light


bantering talk or a frivolous style of treating a
subject. Composer and saxophonist/flutist Matt
Steckler demonstrates that his compositional style can
seem slangy and almost casual, but repeated listens
reveal a depth of color, a true sense of shape and a
brilliant mix of the improvisational and the written.
For Persiflage Steckler has found players who
know how to stretch the tradition as well as go beyond
it. Jazz Passengers trombonist Curtis Fowlkes heads
the front line with Steckler and their sinewy and
twisting lines never seem showy for noveltys sake.
Instead, with the solid-yet-ever-adventurous rhythmic
pulse of more-than-rhythm players Michael Cain,
Lonnie Plaxico and Pheeroan akLaff, the band plays
themes that are both logical and completely
surprising. The tunes - all by Steckler - have the feel of
the best George Russell ensembles and take the
modern jazz vocabulary and context for a muchneeded ride. The opening track March Noreaster

SHERRI ROBERTS
The Sky Could Send You
Her latest recording produced
and arranged by Harvie S with
special guests, legendary
saxophonist Phil Woods and
trumpet virtuoso Lew Soloff.

In Stores February 7
DISTRUBUTED
EXCLUSIVELY BY

AVAILABLE AT

Blue House Recordings/


Pacific Coast Jazz

For more information on the artists of


Pacific Coast Jazz visit us online at

pacificcoastjazz.com

www.

ALLABOUTJAZZ-NEW YORK | February 2006

19

My Kinda Beautiful
Ben Wolfe (Planet Arts)
by Brian Lonergan

The liner notes to bassist/composer Ben Wolfes My

Kinda Beautiful refer to the records cinematic scape


and the handiness of describing its music in images.
Many of the 19 tracks do sound remarkably like they
could accompany scenes from films, though theyre
not linked by a reference to a single dramatic arc. The
result is a suite of less-than-satisfying filmic vignettes,
each evoking the world that it will for an individual
listener, but not connected and supporting each other
in an integral whole. The album occupies the strange
space of being incidental music without a drama to be
incidental to.
My Kinda Beautiful is full of skilled arrangements
for horns and strings, much as a film scorer makes use
of a full orchestral palette to vary mood and
atmosphere. Some of the conjured moods are
fast-paced and urban, as in Americano. Through
and Through evokes in this reviewers mind an
anxious nocturnal chase while The Doctor in
December, the strongest piece on the album, is
reflective and perhaps nostalgic.
Wolfes full ensemble is 16 pieces - eight jazz and
eight classical players - and he is adept at arranging
for the entire group or smaller units. String Quartet
is just that, with a very 20th-century feel, searching,
dark and jagged. Trombonist Jeff Uusitalo stands out
among the soloists for his effort on the otherwise
indistinct Wild West.
For more information, visit www.planetarts.org. Wolfe is at
The Kitano Feb. 3rd-4th. See calendar.

cultural backgrounds, the album contains a potent


concoction of ingredients and ideas. One pervading
element stands out - an aura of daydream kitsch that
envelops each tune. Lyrics evoking images of
mysterious elegance conjure scenes from a David
Lynch film. Black is the night/Black as my heart,
sings Robert Taylor on Veronique. His own long,
sad, gorgeous trumpet solos follow.
Several songs don an added allure nuzzled in the
mystique of a foreign tongue. Forbes sings the epic U
Plavu Zoru in Croatian. Pansy Chang opens the track
with her deeply emotive cello. Her long, ethereal
swipes of the bow plunge into earthy minimalist
patterns that mingle with celebratory percussion and
dangerous trumpet by Gavin Bondy. The lush swells
of the Harvey Rosencrantz Orchestra overwhelm,
giving way to Dan Faehnles brisk guitars. Kikuchiyo
To Mohshimasu, with its haunting melody and lyrics
translated into English in the CD booklet, is sung by
Timothy Nishimoto in Japanese. The poetically
charming Una Notte A Napoli combines tender
sadness with the overwhelming power of seduction.
Italian star Alba Clemente narrates huskily, while
Forbes loses herself to the swirls of percussion, harp,
strings and horns.
Spanish and French vocals also find their places
among the enchanting lexis on this album. And mixed
with an amalgam of Latin, Cuban, European and
African rhythms, Hang On Little Tomato resonates with
a deliciously international flavor.
For more information, visit www.pinkmartini.com. Pink
Martini is at Town Hall Feb. 15th. See calendar.

Handy, Thelonious Monk and Bjrk. But in spite of the


discs promise, the end result is mixed.
Singsong, starts off with Ben Allisons
gradually building bass line, then Goldings joins in
with a Jarrett-like moodiness on piano. John Sneider
adds his plaintive wail on trumpet as Matt Wilson
drives the proceedings on drums. Goldings piano solo
on Valsinha is full-bodied and rich with ideas. The
Wedding is so somber that the tune almost could
have been entitled The Funeral. Goldings B3 solo, at
once bluesy and reverent, saves the day.
Madeleine Peyroux lends her Holiday-inflected
vocals to the bands take on Handys Hesitation
Blues. Goldings swings on harmonium and organ
and Sneiders light tone on the trumpet fits the tune
like a glove. Dario and Bario is a waltz that sounds
like it was lifted directly from a Fellini film. Goldings,
ever the keyboard sojourner, doubles again, this time
on harmonium and accordion. A Dream About Jaki
Byard features Sneiders best moment on the disc, a
plungered and unfettered cornet solo.
But one wishes that Sneiders tone throughout the
disc were stronger. He sounds like he runs out of
breath during Bjrks Cocoon, a tune that, even with
compelling keyboard effects by Goldings, is
somnolent. Hidalgo seems like a sketch of a song
more than a fully realized composition. Denouement,
with Goldings on organ, is another short work, this
one resonanting with Ornette Colemans Pretty
Woman, but which also sounds more like note-taking
than songwriting. So while Quartet has an interesting
beginning, it loses steam considerably at the end.
For more information, visit cdbaby.com/cd/billstewarttrio and
www.palmetto-records.com. Stewart is at Jazz Gallery Feb.
18th; Goldings is at Zankel Hall Feb. 8th with Matt Wilson
and Jazz Standard Feb. 9th-12th as a leader. See calendar.

Keynote Speakers
Quartet
Bill Stewart
Larry Goldings
(Bill Stewart Music)
(Palmetto)
by Terrell Holmes

The

Hang on Little Tomato


Pink Martini (Heinz)
by Celeste Sunderland

The words scattered throughout Pink Martinis album

Hang On Little Tomato conjure the most delectable


delicacies in their quaintest forms. The groups name
alone is incredibly precious. Take that most classic of
all cocktails, with all it represents and add pink, with
all it represents and every single one of us becomes an
irretrievably tipsy, candy-lipped starlet, woozy in a
world rife with nostalgic aura, where stars fall away
like diamonds.
Sentiments gain or lose magnitude in life, but
emotions exist at heart-swelling peaks throughout all
14 tracks on this disc. Loves eternal quality, the
contagious characteristics of happiness and the
enormity of a crushed heart are woven through each of
Thomas Lauderdales piano promenades and each
inflection of China Forbes sophisticated vocals, both
of whom wrote most of the music. But the album is
never overbearingly serious, or cheesy, ever.
With a personnel list comprising 15 individuals
and one orchestra, from a variety of musical and

trio of instruments on Keynote Speakers is quite


unconventional, with keyboardists Larry Goldings
and Kevin Hays bookending Bill Stewarts drums. On
the opening tune, Good Goat, Goldings sprints on
the Hammond and Hays grooves on the electric piano
without stepping on each others notes. Goldings
paints with soulful colors on the bluesy How Long Is
Jazz? with Hays comping admirably on piano and
Stewart keeping pace on drums. Stewarts cymbal
flourishes frame Hays haunting intro on Chorale,
and when Goldings falls in he and Hays complement
each other beautifully. Divines Intervention is
another solid blues, with Goldings organ taking on
the role of the bass in a conventional jazz trio as Hays
solos. Stewarts faux military march solo opens
Squid, leading into Hays hot groove on
electric and acoustic pianos. On Ballad of Kae Hays
plays with a tenderness that evokes Bill Evans and
Goldings spare organ augments the aura of mystery.
Goldings electric piano recalls Joe Zawinul on
Wayne Cooler, a tune which references Weather
Report. The song moves between fusion cooking and
straight ahead cuisine, with Hays laying down a solid
groove around the voice samplings. Florgan
features both men on organ and the overall effect is of
the carousel at the devils playground.
Keyboard master Larry Goldings leads his quartet
through various musical avenues on the simply titled
Quartet. In addition to a few originals, the group
explores the works of composers as diverse as W.C.

20 February 2006 | ALLABOUTJAZZ-NEW YORK

CDM 1006

WATCH OUT! ITS COMING!!


MARCH 2006!
CDM Records Double Disc Set

THE VAMPIRES REVENGE


featuring...
Dom Minasi-guitars,
Ken Filiano-bass/electronics,
Jackson Krall-drums

With Guest Artists:


Perry Robinson-clarinet Joe Giardullo-soprano sax
Jason Kao Hwang-violin Tomas Ulrich-cello
Joe McPhee- tenor sax
Sabir Mateen- tenor sax
John Gunther-reeds
Ras Moshe-reeds
Blaise Siwula-alto sax
Mark Whitecage-alto sax
Paul Smoker- flugelhorn Herb Robertson-trumpet
Steve Swell-trombone
Francois Grillot-bass 2
Borah Bergman-piano
Matthew Shipp-piano
Carol Mennie-voice
Peter Ratray- recitative
Byron Olson-conductor
A landmark recording... Minasis Music is
compelling, intelligent, exciting... - Russ Musto
Distribution: North Country
Label contact: jazzpromo@earthlink.net

www.domminasi.com

Years ago, they pioneered the art of jazz /


But many signed unfair contracts and got taken
for everything they were worth / They are our
elderly jazz musicians / Today, many of them live
in shelters or are homeless because they cant afford
to pay rent / We help these talented people find
affordable housing, and work to help pay for it /

Photography donated by Brian Wilder. Musician photos: photography by Bradley Smith.

But we need you to help us do it / After all theyve


given us, its time to give them something back:
their dignity / To learn more or to make a donation,
call 1-800-JFA-JAMS or visit www.jazzfoundation.org

Shawangunk
String Theory
Rolf Sturm
Ken Hatfield
(Water Street Music)
(Arthur Circle Music)
by Elliott Simon

C rystal-clear

guitar is center stage on these two


releases that feature experienced craftsmen artfully
exposing the country and classical feel inherent in
nylon strings. Ken Hatfields String Theory is a
classical gas dosed with sweet Appalachian honey
while Rolf Sturms Shawangunk is a deft chordal/
melodic encounter that reveals its spirit like a brilliant
Hudson Valley morn.
Whether it is the Deads Ripple, played at a
relaxed leisurely pace, an intriguingly swinging
version of Herbie Hancocks classic Watermelon
Man or personal compositions that speak of people,
places and events, Sturm strums and picks with just
the right touch. Comfortable in multiple milieus, in
addition to fronting his own modern country group,
Sturm has played with the Knitting Factory/Tzadik
crew and been part of klezmer, tango and bluegrass
projects. For Shawangunk, he has hopped on the
thruway and headed north to the Catskills for some
country re-inspiration to present a varied hour of
new takes on wellknown tunes and sweet fresh
material, all featuring the pure as mountain snow
sound of his nylon strings. Egberto pays tribute to
Brazilian instrumentalist Egberto Gismonti with a
pretty melody and the Latin-tinged O Galo does the
same for pianist Michel Camilo while guitarist Jim
Halls Down From Antigua is recast as Down From
the Hallway with a breezy picked melody. Sturms
personal reflections like the haltingly beautiful Kant
Strasse, innocently lovely Green Arches and
touchingly composed Oh Father, Margie,
Alexander and Earl Jean are standouts as his
crystalline chord voicings intermesh with enchanting
melodies.
While Sturm may have gone North for his muse,
Hatfield reaches down South to Appalachia to gather
his. All four pieces that comprise String Theory feature
an immaculate, beautifully captured, acoustically
resonant sound. Hatfield accompanies himself on
dobro to give the introductory Gospel According to
Sam its down-home character. The folksy expressions
of the guitarists father gave rise to this three-part
opener whose initial section, The Word, begins with
a decidedly country edge as dobro and guitar sweetly
duet. Redemption is more soulfully Spanish and this
selections closer has the Prodigal Son returning
home but with a decidedly classical bent. Snowhill
Variations, inspired by the 18th century harmonic
theory of Pennsylvania clergyman Johann Beissel,
presents 12 solo variations on an initial theme. Each
variation successively reworks the classical melody by
varying ornamentation, harmony and rhythm, ending
up with a softly swinging samba. Borges and I is an
effecive presentation of seven musical miniatures,
each inspired by a separate short story penned by
Argentinian author Jorge Luis Borges while the title
cut dovetails mandolin and guitar for a whimsical look
at science and art. Hatfield effortlessly make his
Buscarino guitar ring like a bell as he conveys the
fascinating stories behind these multi-part selections.
For more information, visit www.waterstreetmusic.org and
www.kenhatfield.com. Sturm is at Barbs Feb. 15th.
Hatfield is at Fetch Tuesdays. See calendar.

Red Balloon
Denominators (Denominators)
by Ernest Barteldes

Denominators is a new band formed by three highly


competent musicians who try to look outside the box
in their approach to jazz, allowing classical, funky and
tropical elements into their sound without being too
eclectic. On Red Balloon they work exclusively through
original compositions (mostly by flutist Michel
Gentile), taking advantage of the quantity of open
spaces that their setup provides.
On the opening track Bari there are a lot of
polyrhythms with a clear Latin influence, the kind of
stuff that makes bass players crazy - which might be
one of the reasons why they dont have one in the first
place. The song, which is played in 6/8 time, is
dominated mostly by the percussion, with cleverly
placed guitar insertions. The flute gives the tune a
certain bossa nova undertone without sounding
necessarily Brazilian. On Vulnerable, they take a
more avant garde direction, where guitarist Nate
Radley plays odd chords throughout while drummer
Roland Schneider fills in with percussive effects,
giving it a certain mystic feel. Radleys talents are
showcased on his When The World Was Ruled By
Fishes, a highlight at their Jan. 14th appearance at
The Brooklyn Conservatory of Music.
At the concert, the band played songs from the
album and some new material. One of the new tunes
was the Debussy-esque Empty Sky, which had a
chord progression remiscent of The Beatles
Because. Radley showed a lot of creativity on it,
using each moment to insert something new.
Decomposition took the band in a more funky
direction, the guitar serving as a bass most of the time,
resulting in little wiggle room either for Radley or
Schneider to be too creative, leaving most of the hard
work for Gentile. On stage, the group seemed to be
extremely structured, neither Radley nor Gentile took
their eyes off the sheet music during the entire gig and
the feel was more of a classical music event than of a
jazz concert. There were a lot of empty spaces to fill
and live they were a bit unable to do that. Asked why
they dont have a bass player, Schneider just said that
they began playing together and felt comfortable with
the sound - this is the band, he told us.
Denominators is a very talented group which
could certainly benefit with the contribution of a bass
player who would elevate a very good band into even
greater heights.

album full of modern Jewish intellectual reflection as


practiced by such diverse artists as Saul Bellow and
Woody Allen, but couched in terms owing more of a
debt to Frank Zappas Joes Garage.
But given those two foundations, this album is
neither Radical Jewish culture la Tzadik or
progressive rock. It is instead another fine entry into
the seemingly endless pool of releases by young
New York composers/conceptualists.
Bardfeld plays the Central Scrutinizer role here,
narrating the tale of main character Saul as he pursues
his dream to play medieval krummhorn (a curved
wooden horn which does not make an appearance on
the album). The quirky narrations (seven in total)
introduce songs and suites of songs (all but one
originals by Bardfeld) and should be appreciated for
their literary merit rather than read as linear
explanatory notes.
A concept album though is only as strong as the
music that it rests on. Bardfeld, along with a quintet
that includes trumpet (Ron Horton), vibes and slide
whistle (Tom Beckham), bass (Sean Conly) and drums
(Satoshi Takeishi), has written music that exists
simultaneously in the realms of the accessible and
postmodern. There is a romantic quality to the pieces,
not surprising given the sonorities and textures
Bardfeld as a violinist is used to working with, but
there is also a dramatic flair and unity that is
absolutely crucial if the disc is to hold together as
more than a collection of tunes by a guy played with a
band. At the end of the disc, a listener still might not
know who Saul is or what he represents but he can be
thanked for his inspiration to Bardfeld.
For more information, visit www.freshsoundrecords.com.
Bardfeld and this group are at Tonic Feb. 8th. See calendar.

Thu, Feb 2

MISHA PIATIGORSKY
Fri & Sat, Feb 3 & 4

EDDIE HENDERSON
QUARTET
Larry Willis (p), Ed Howard (b),
Billy Drummond (dr)
Thu, Feb 9

JIM ROTONDI QUINTET


Fri & Sat, Feb 10 & 11

MASTERS
OF GROOVE

Bernard Pretty Purdie (ds)


Grant Green Jr. (g)
Reuben Wilson (org)
Thu, Feb 16

DAVID GIBSON QUARTET


Fri & Sat, Feb 17 & 18

For more information, visit www.cdbaby.com/cd/denominators

JIMMY COBBS MOB


Peter Bernstein (g)
Richard Wyands (p)
John Webber (b)
Thu, Feb 23

MIKE LEDONNE TRIO


WITH RON CARTER
Fri & Sat, Feb 24 & 25

DAVID HA ZELTINE QUINTET


WITH ERIC ALEX ANDER

Periodic Trespasses (The Saul Cycle)


Sam Bardfeld (Fresh Sound-New Talent)
by Andrey Henkin

W ith

his second release as a leader (and first for


Fresh Sound), violinist Sam Bardfeld presents an

22 February 2006 | ALLABOUTJAZZ-NEW YORK

Sundays: Latin Jazz w/ Syotos Band


Mondays: Jam Session w/
John Farnsworth Quintet
Tuesdays: B3 Organ Grooves w/
Eric Alexander, Mike LeDonne,
Peter Bernstein
Wednesdays: B3 Organ Grooves w/ Jerry Weldon

Tuesday & Wednesdays: Vocalist Series 6:30- 9 pm


Thursdays: Early Jam 6:30- 9 pm

Saxophonist Michael Attias has played a bunch of


gigs as a sideman with some well known musicians
over the years, but recently he has started to release
his music as a leader. Credo - recorded in 1999 and only
coming out now - is finally seeing the light of day and
is a singular effort.
The music has a joyous positive energy to it from
the beginning of the CD and its title track. The written
material is intelligent and sophisticated without being
bloated and pretentious. Mark Taylor (French horn)
solos first and leads it back perfectly to more written
material and a tempo change. Attias solo on alto sax is
burning from note one with Igal Foni (drums) and
Chris Lightcap (bass) urging him on, leading into
some skillful yet gutsy call and response writing. Reut
Regev (trombone) also turns in a great solo (where is
this great musician now?). Yet another tempo and
groove change leads into Sam Bardfelds violin solo, a
good one though perhaps riddled with a few too many
hot licks (clichs) but still on the same page with the
other soloists and written material. The title track is
concise, an element which adds to its overall power;
how many people know how to balance writing and
improvisation? Not many. Attias is one of them.
Dream That Darn starts out like some twisted
football fight song, then moves quickly to a slow,
sultry swing - then double-time. Intelligent but not
clever to the point of annoyance, the written material
leads into another first-rate trombone solo by Ms.
Regev and another wonderful solo by the leader, again
on alto. On the short-ish Labat, Attias switches from
alto to baritone. Its a welcome change in orchestration
and he certainly uses the full range of the instrument.
Its interesting that though this is an Attias-led
CD, he has the confidence to share the musics solo
space. Its the total sound and collective focus that is
the greatest strength of the music on Credo, one of
Clean Feeds strong, original releases which goes to
show you its not always the big names that make the
best music. Credo. Amen.
For more information, visit www.cleanfeed-records.com.
Attias is at Issue Project Room Feb. 16th solo and with
Renku and Feb. 19th with Jim Pugliese; and at Kavehaz Feb.
23rd. See calendar.

Lost Brother
Tsahar/Cooper-Moore/Drake (Hopscotch)
by Jeff Stockton

F or a saxophone trio to get itself noticed these days, it


needs a gimmick, a hook, something special to set its
sound apart. The trio on Lost Brother has three.
Saxophonist Assif Tsahar improves with every outing
and wisely varies his attack by playing as much bass
clarinet on this disc as tenor. Drummer par excellence

For more information, visit www.hopscotchrecords.com.


Tsahar and Cooper-Moore are at Vision Club Feb. 5th,
Zebulon Feb. 19th and Tea Lounge Feb. 23rd. Drake is at
Whitney Museum Feb. 24th. See calendar.

Reflections of the City


Christian Pincock (s/r)
by Ty Cumbie

T asty melodies, strong arrangements and capable


blowing are the main traits to be found on this
recording of Christian Pincocks quintet. Pincock leads
a young but seasoned-sounding group with solid
valve trombone work and a book of pleasant modern
jazz tunes that range from gently crooning ballads to
slow boiling jams.
Pincock is known by many as a sonically
wise-cracking synth player in various improv settings,
so it was a pleasant surprise to learn of his prowess in
the traditional jazz arena. He blows a mean trombone,
handling tricky melodic lines without a hitch and
delivering sometimes fiery, liberated solos. Theres
only one cover - Monks ubiquitous Round
Midnight, arranged quite uniquely - though none are
needed, as Pincocks compositions stand up just fine
on their own. The music is mostly sedate and straight,
but goes out enough to stay interesting.
Hopefully this self-published disc is just the first
of many to come from Pincock. He clearly shows all
the signs of being a seeker of those elusive, ineffable
things that keep some of us coming back again and
again to that good old place we call jazz.
For more information, visit www.christianpincock.net.
Pincock is at Stain Bar Feb. 4th and Caf Grumpy Feb.
11th. See calendar.

Underground Memoirs
Cedar Walton (HighNote)
by Russ Musto

Widely acknowledged as one of the most important

and influential pianist/composers in jazz today, Cedar


Waltons Underground Memoirs is only this masters
fourth solitary outing (the first since 1992s memorable
Live At Maybeck Recital Hall). A singular stylist, with an
exuberantly bluesy, yet harmonically advanced
approach, Waltons sound is instantly recognizable in
the context of a group, but here, alone at the piano, he
plays in an exceptionally introspective manner, one in
which his identity is not as quickly revealed.
Walton combines his uniquely personal
phraseology, with surprising variations in tempo and
dynamics, to offer new perspectives on the familiar
compositions hes chosen - selections from the Miles,
Duke, Nat King Cole and Great American songbooks,
as well as the beautiful original title track. The pianist
approaches the material with subtlety, sophistication
and sensitivity, leaning more towards Ellingtonian
elegance than Tatum-esque ornamentation, making
this his most romantic disc to date. There is an honest
intimacy to the music, the feeling of one man at home
with his piano or, at times, more specifically, Walton
himself, sitting in Bradleys, playing Paul Desmonds
old Baldwin, into the wee hours.
On the opening Milestones (the first version,
not the later, more popular title track of the classic
Miles record), Walton approaches the music
(particularly the bridge) with reflective cautiousness.
On Lost Paradise, hes settled in. His overture to
Someday My Prince Will Come is a superb
introduction to the waltzing melody and his rhythmic
interpretation of Con Alma is delightfully original.
Renditions of the standards Skylark, Every Time
We Say Goodbye, Green Dolphin Street and I
Want To Talk About You demonstrate a clear mastery
of the idiom, just as his reading of Sophisticated
Lady displays an analogous ability as an interpreter
of Ellingtonia. The lyrical melancholic Underground
Memoirs proves Walton to be a composer of melodies
worthy of sharing company with the other classics on
this truly excellent effort.
For more information, visit www.jazzdepot.com. The Music
of Walton is at Dizzys Club Feb. 21st-26th. See calendar.

exploding customer
live at tampere
jazz happening
(aylcd-031)

Credo
Michael Attias (Clean Feed)
by Francis Lo Kee

Hamid Drake is as fluent as ever on the drum kit,


Indian tabla and African frame drum. And
Cooper-Moore, best known for the piano, confines
himself to his usual array of unusual instruments twanger, diddley-bow and ashimba (an African
marimba) - to startling effect.
Cooper-Moore dominates Breaking the Water
with the amplified rumblings of his twanger, which
sounds like an otherworldly combination of a fretless
bass and a Theremin, or like a Harley engine, as
Tsahar blows into and around the vibrations. When
Cooper-Moore switches to the ashimba, Tsahar
changes to bass clarinet and Drakes accompaniment
on tabla or frame drum contributes to the heavy
Saharan vibe and warm, natural, woody sound. On
diddley-bow, Cooper-Moores tone is deep to the
point of distraction, but its a bracing instrument,
particularly on Departure, where Drake locks into
funky rock groove. On Seeking the Punto Fijo,
Drakes rhythm suggests his work with Ken
Vandermarks Sun Ra/Funkadelic tribute band
Spaceways Inc.
A few years ago, Drake cut a duet session with his
usual compadre bassist William Parker called Piercing
the Veil, Vol. 1 (Aum Fidelity). Volume Two has yet to
materialize, but the rhythmically enchanting music
Cooper-Moore makes here with Drake is close. And
give Tsahar credit. Hes like the golfer who isnt
interested in playing with inferior opponents or even
players of equal skill. Hes only interested in playing
with his betters, in order to better himself. On Lost
Brother, these three musicians are in top form.

martin kchen (as,ts) - tomas hallonsten (tp)


benjamin quigley (b), kjell nordeson (dr)

www.ayler.com
live music with spirit
Distribution: Verge (CA), NorthCountry(US)

ALLABOUTJAZZ-NEW YORK | February 2006

23

Jai Deux Amours


Dee Dee Bridgewater (Sovereign Artists)
by George Kanzler

This

album, the singers paean to the France shes


spent much of her adult life in, is one of the three
nominated for a jazz vocal Grammy that could be
chapters in a jazz version of Remembrance of Things Past
- the others are Dianne Reeves dreamy version of the
jazz/pop 50s Good Night and Good Luck and Nnenna
Freelons Blueprint of a Lady - Sketches of Billie Holiday.
This is an evocation of the sophisticated caf jazz of
pre-discotheque Paris and of such chanteuses as
Josephine Baker, Edith Piaf and Eartha Kitt. Its also
the first jazz vocal Grammy nomination sung
predominantly in French.
Bridgewater - who also produced the album - has
created a sonic environment redolent of Parisian cafes
and bistros where jazz and tango and Gypsy music
waft through the air like thick Gitanes smoke.
Percussionist Minino Garay from Argentina spices up
his rhythms with tango and Afro-Latin accents;
accordionist Marc Berthuomieux could be channeling
his haunting tones from a Piaf record; guitarist Louis
Winsberg, when not plugged in, is firmly in the
Django tradition and bassist Ira Coleman anchors the
music with deep jazz panache. Presiding over it all is
the vocal artistry of Bridgewater, with her nuanced
command of tone, dynamics and dramatic colors. She
may be singing in French, but the emotional meaning
and resonance is never lost, even without translation.
Bridgewater does do English choruses, after the
French, on four of the 11 tracks, bringing added
dimensions to the narratives of La Mer (Beyond the
Sea), Mon Homme (My Man) and Dansez Sur Moi
(Girl Talk). Most indelible is the CDs longest track,
the 10 minute-plus La Belle Vie (The Good Life),
begun in French at a tempo slow enough to please
Shirley Horn fans, Bridgewater stretching out the
phrases with longing melancholy, then returning in
English, after an instrumental interlude, to carry the
song magnificently upward in a slow, smoldering arc
to an emotional climax.
For more information, visit www.sovereignartists.com.
Bridgewater is at Rose Hall Feb. 14th. See calendar.

All My Men
Sandy Sasso (Charlie Boy)
by Suzanne Lorge

Sandy Sassos voice is as rich as the brown eyes


smiling on the cover of her new CD All My Men. The
CDs title and photo suggest a mere flirtation, but
Sasso delivers serious music with her smiles. In her
liner notes she dedicates the album and her original
composition, the title cut, to the musicians with whom
she works. On this CD it is a venerable bunch, with the
likes of Grady Tate on guest vocals and Onaje Allan
Gumbs on piano. Marcus McLaurine (bass), Harry

Allen (tenor sax), Bob DeVos (guitar), Desi Norman


(vibes) and Joe Ascione (drums) complete Sassos
complement of top-notch session players.
Sasso, a hands-on singer, doesnt rest on the
considerable talents of her cohorts; She contributes
arrangements, additional lyrics and two originals to
the disc. Aside from the originals - the aforementioned
All My Men and a whimsical, moderate swing tune
Just Whistlin Along - Sasso prefers an inventive
take on standards. She includes Love For Sale as a
bossa, a traditional bluesy Black Coffee and a
snappy Saturday Night Fish Fry. One surprise:
Sassos luscious version of Tin Man, the 1974 pop hit
by the band America, which lends itself effortlessly to
the jazz ballad idiom.
A regular performer at the 55Bar, Sasso enjoys an
active performance schedule, touring the Northeastern
US primarily and fronting all types of bands, from
small combos to jazz orchestras. In her decades-long
career Sasso has worked with several iconic
bandleaders like Benny Goodman, Jimmy Dorsey and
Nelson Riddle (under the direction of Riddles son,
Christopher, the Nelson Riddle Orchestra played on
her first CD, Mixed Grill). She also counts heads of
state among her esteemed listeners (Sasso performed
for the late President Reagan at his second
inauguration). Despite such stellar credentials, Sassos
appeal is to the everyman (and everywoman). The
album closes with Sasso whistling into a fade,
justdigging lifes tune, as her lyrics go. With her
latest offering, Sasso urges us to do the same.
For more information, visit www.sandysasso.com. Sasso is
at 55Bar Feb. 18th. See calendar.

Asking No Permission
Omer Avital (Smalls)
by Brian Lonergan

The Omer Avital Group was a mainstay at Smalls in

the mid 90s. An unfortunate turn of events with


record companies suppressed the bassist/composers
major-label debut and in recent years Avital has spent
more time working and studying in his native Israel.
But with the release of Asking No Permission: The Smalls
Years, Volume One and a recent series of Greenwich
Village gigs, including a near-magical set at the Fat
Cat in mid January, New Yorks jazz scene is once
again abuzz with Avitals name.
The first of four planned releases of recordings
from the Smalls years, Asking No Permission contains
ample evidence of why the group was so well
regarded. Avitals compositions, such as Devil Head
and Kentucky Girl, at once contain instantly
attractive
melodies,
wide-open
spaces
for
improvisation and boisterous group interplay. The
performances are unrushed, extending to 12, 14 and 15
minutes, perhaps a reflection of the environment
Smalls provides for experimentation and the
maturation of ideas.
Avitals classic sextet featured a lineup of three
tenor saxophonists - Charles Owens, Gregory Tardy
and Mark Turner, with Turner doubling on flute - plus
Myron Walden on alto and Ali Jackson on drums. The
four-reed front line is showcased on Ballad, a
gorgeous, brief piece full of colorful and subtly
shifting harmonies among the horns and bass.
At Fat Cat on January 14th, Avitals new allstar
group - Jason Lindner (piano), Joel Frahm (tenor and

24 February 2006 | ALLABOUTJAZZ-NEW YORK

soprano sax), Avishai Cohen (trumpet) and Eric


McPherson (drums) - was on fire, crackling with
energy. Though the set started nearly an hour past the
advertised time, Lindner, Frahm and Cohen (sitting in
on drums) warmed up the audience with a light,
playful Moonlight Sonata jam.
Avitals Song for Amos led off the set proper,
with Cohen delivering the first of many blistering
solos, spilling out long ideas one after another and the
group blowing full force at the end. Among the other
tunes were a rapid bebop number and a down-tempo
dark blues waltz, but the standout of the set was
Avitals Song of Praise. An overwhelmingly joyous
song with an affirming melody over basic, descending
chords, it had Avital swaying, bouncing and grinning
ear-to-ear as things unfolded.
For more information, visit www.smallsrecords.com. Avital
is at Smalls Feb. 2nd with Gilad Hekselman and Jazz
Gallery Feb. 3rd-4th with Avishai Cohen. See calendar.

Late August
Gregg August (Iacuessa)
by Terrell Holmes

Bassist Gregg Augusts pedigree is hardbop and his


trademark compositions whose heads examine every
harmonic and melodic possibility and are almost
stories unto themselves. His sextet recently played a
lively set in the rec room that is the jazz space at Fat
Cat and a few of the tunes they played are featured on
Augusts new album, the somewhat self-titled Late
August.
Sweet Maladie opens with a hardbop head,
then shifts into a robust Latin groove. Donny McCaslin
takes a strong solo on tenor, as does the leader on
plucked bass. Guest stars Wilson Chembo Corniel
on shekere and the peerless conguero Ray Barretto
supply the percussive drive. The arrangement of
Four Two K takes a tad long to get to the point, but
McCaslins soul-searching, crisp tenor solo and John
Bailey soaring trumpet make it worth the wait. On
Ms Blues pianist Alon Yavnai plays with a clarity
and melodic style that owes a lot to McCoy Tyner. Alto
sax man Myron Walden stole the show at Fat Cat with
an extended a capella passage where he squeezed the
guts out of each note. On this tune hes not nearly as
strident but still plays with inventiveness and
muscularity.
On Melody in Black and Grey, another Latininfluenced tune with a Trane-ish tension in the head.
Walden and Yavnai have a nice dialogue, then
McCaslin and Bailey pick up the conversation.
Augusts amplified yet dolorous solo arco on the
luminous Eulogy feels as though it belongs in a
medieval church. August reduces the group from a
sextet to a quartet for Deceptions, featuring John
Hart on guitar, Quincy Davis on drums and the
fabulous Frank Wess on tenor sax. Wess solo is
playful and joyous and Hart displays blistering chops
on the ax. The core group returns to end this rock solid
disc with Work In Progress, a tune in an Ellingtonmeets-Blakey vein.
For more information, visit www.greggaugust.com. August
is at The Bacchus Room Feb. 15th and 22nd. See calendar.

Civil War Diaries Bill Carrothers (Illusions)


Light on Water Robert Silverman (Pudding Bench)
Full Moon Fantasy Yitzhak Yedid (Musa)
by Elliott Simon

Three

solo piano discs showcase the instruments


versatility through the unique concepts of its players.
Bill Carrothers has become known for his
restyling of songs closely linked with American
historical periods. Civil War Diaries, recorded before a
live audience, takes wellknown tunes such as Tenting
on the Old Campground, The Yellow Rose of
Texas, 7th Calvary March and even Dixie and
explores them anew from a deep jazzmans awareness.
The endeavor magically maintains the time periods
feeling while opening up melodies in a new way that
reveals their original strength. For Tenting,
Carrothers expands on the pieces ethereal mood and
slowly intersperses melodic variations that lay bare
the image of dying on the old campground.
Followed by an equally haunting version of Henry
Tuckers 1862 ode from a soldier to his lover,
Weeping Sad and Lonely, things relax a bit, with a
very bluesy Yellow Rose of Texas and the Celtic
underpinnings of the fife and drum classic 7th
Cavalry March used as a springboard to a jazzy look
backward. Likewise the inherent balladry of Carry
Me Back to Old Virginia is beautifully exposed as are
the many faces of Dixie that seem to include rag,
blues, swing and a nod to Art Tatum.
Beginning and ending with two lusciously blue
takes on Summer Theatre, Robert Silvermans Light
on Water, with the exception of a rousing version of
Professor Longhairs Mardi Gras Blues, is all
original music. The selections are compositionally
strong with a heavy dose of the blues. Fragments of
the Self and From A Dream are artfully touching
ballads, while the two improvisations Light on
Water and Contemplation each commence in
delicate unhurried fashion before the former builds
through several tension filled exercises and the latter
introspectively reflects on its inner soul. Summer
Theme In Blue has Silverman playing the pauses as
well as the notes, an approach that makes his program
a clinic in the beauty of phrasing, tempo and mood.
Israeli-born Yitzhak Yedids Full Moon Fantasy is
an emotive blend of Middle Eastern modes within a
classically inspired jazz framework. The six pieces are
movements of a greater symphony that draws on
Yedids heritage and influences. A heartrending
kaddish for those Remembering Yitzhak Rabin has
Yedids right hand crying tears for the assassinated
leader while his left hand consoles. North Indian
composer Nashad Alis Mohe Bhool Gaye
Sanwariya finds the piano improvising over
murmuring chords that trail out before the Pessimist
Optimist gorgeously tries to look forward with hope.
The title cut resonates with lyricism and lovely tonal
color in celebration of its subject before the enveloping
bleakness of From Imagination to Reality gives way
to the identity reaffirming Leemor. No pyrotechnics
here but sounds straight from the heart.
For more information, visit www.carrothers.com,
www.robertsilverman.net and www.yitzhakyedid.com.
Silverman is at Interchurch Center Feb. 1st. Yedid is at a
Lincoln Center Katrina Benefit Feb. 11th. See calendar.

26 February 2006 | ALLABOUTJAZZ-NEW YORK

Higher Ground: Hurricane Relief Benefit Concert


Various Artists (Blue Note)
by Ernest Barteldes

On

September 17th, 2005 Jazz at Lincoln Center


brought together an ensemble of musicians
responding to Wynton Marsalis call to stage a benefit
for victims of the Hurricane Katrina disaster. The
document of that event is this CD, in which wellknown mainstream stars shared the stage with more
obscure names, performing modern and traditional
jazz, folk, gospel, zydeco and other genres - a mix that
pretty much embodies the spirit of the city that
Marsalis calls the true American melting pot on the
insert, a reprint of a piece he wrote for Time Magazine.
The album opens with This Joy of Mine, a
traditional spiritual performed with amazing soul by
Shirley Caesar and Eric Reed and followed by some
amazing performances: Diana Kralls on-the-money
rendition of Spencer Williams Basin Street Blues
and James Taylors own Never Die Young
accompanied solely by his acoustic guitar. The lyrics,
which speak of seeking a higher ground, suited the
occasion, as did Norah Jones heartfelt piano-andvocals take on Randy Newmans I Think Its Going
To Rain Today.
Another highlight is Jelly Roll Mortons New
Orleans Blues played by the Marcus Roberts trio,
who gave the tune a boogie-like treatment. Also
memorable is Aaron and Art Nevilles playful take on
Go To The Mardi Gras (a track that marks Wynton
Marsalis first appearance on the disc), inviting
everyone to go down south and enjoy the decadence of
The Big Easy in the four days of madness that precede
Lent.
For some reason, every time this country is hit by
tragedy, someone performs The House That I Live
In. Although I heard no fault in Dianne Reeves take
on the song, it gave me an uneasy feeling to hear it, for
it praises democracy and freedom at a time when those
in power are doing so much to curb those rights.
Another odd moment was Leiber/Stollers Is That All
There Is, a tune in which the Lincoln Center Jazz
Orchestra backs Bette Midler, who delivers a jaded
vocal which sounded as if she wasnt too happy to be
there. But maybe she was just translating the
ambiguous feelings that the lyrics speak about.
One of the greatest moments in the album is the
Jordan Familys rendition of Heres To Life, a # 1 hit
for the late Shirley Horn. The meaning of the song has
an added poignancy by the fact that Marlon Jordan
was rescued from the flood after a three-day rooftop
trial. Also pay attention to Dippermouth Blues, a rag
performed by The Wynton Marsalis Hot Seven. The
tune immediately makes you move just as the
spiritual Just A Closer Walk With Thee by Irvin
Mayfield almost brings you to tears.
The album closes with Duke Ellingtons Come
Sunday, which features the husky-voiced Cassandra
Wilson (backed by The Lincoln Center Jazz Orchestra),
who delivers it it with a sincerity that makes it sound
as if it were her own composition.
Higher Ground is an album that deserves a
special place in anyones collection. Also, the proceeds
from the sale of the CD will go to the Higher Ground
Hurricane Relief Fund, which benefits individuals
impacted by Hurricane Katrina.
For more information, visit www.bluenote.com

big cast of musicians. In the liner notes she says, We


decided it [the tune, Seductive Grace] should be
used on the soundtrack to a horror flick and indeed,
all the pieces could be good for soundtracksfor
rolling credits, for various product commercials, etc.
As of right now, Lalo probably wouldnt be mentioned
alongside Norvo, Milt Jackson or Hutcherson, but
thats not to say Half Moon doesnt have worth.
Black Awareness
Half Moon
Khan Jamal
Lalo
(CIMP)
(Kadooga Music)
by Francis Lo Kee

For more information, visit www.cadencebuilding.com and


www.lalovibe.com

T he

vibraphone is a relatively new instrument,


introduced to the US in 1916 as the steel marimba.
Red Norvo, one of the very first musicians to play it,
came to the vibes after playing a lot of xylophone and
marimba. Vibraphonists Lionel Hampton, Milt
Jackson, Bobby Hutcherson and Gary Burton all made
important contributions to the development and
musical vocabulary of jazz besides being recognized as
virtuoso players. Khan Jamals Black Awareness and
Lalos Half Moon present two more approaches to the
instrument; different from their formidable
predecessors and very different from one another.
One Comes First is the opening tune on Black
Awareness and its an attractive melody. The solos are
fine, if a little low on energy, especially considering
what follows. Trombonist Grachan Moncur IIIs Riff
Raff is also a swinger but his composition Believe,
which sounds like a cross between the standard
When I Fall in Love and a spiritual, is gorgeous,
Moncur and Byard Lancaster (alto) weaving singing
lines in between one another. Black Awareness is a
soaring performance from start to finish and should
have been the CDs first track. Lancasters solo sure
has energy to spare, but also has an awareness (no pun
intended) of melody, harmony and pacing that is
missing from a lot of the music on this label. Moncurs
solo follows and again its a pleasure to hear someone
really play musical trombone. Jamals solo is very
interesting; not like a Milt Jackson or Hutcherson solo
which would have had a more linear, bebop quality.
Here (and in other places on this recording) Jamal
plays the vibraphone more like its predecessor, the
African balaphone. In fact the next track, Nubian
Queen, uses that approach to full effect on a striking,
totally solo vibraphone performance, displaying
Jamals truly unique approach to the instrument. On
Bloom (which is listed as Blown in the producers
notes, indeed, a Freudian slip if ever there was one),
again the melody is original but accessible. Moncur
solos first and is swinging, melodic and thoughtful.
Lancasters solo follows and is very dynamic going
from a whisper to a scream and back. Next Jamal solos
and after hearing Nubian Queen (as well as his
albums on SteepleChase) you really wish this CD had
been recorded differently. The energy of the drums
(Dwight James) drives the piece, but the volume of the
fills almost buries the sound of the vibes. Then, if that
wasnt enough to make you scream, Sonnys Back
Pt.1 & Pt.2, a blues in C, features Moncur reciting
something in the beginning of the piece, which, for all
intents and purposes, is inaudible. The engineer says
that this was an intentional part of the music and not
a defect of the recording process. Weapons of mass
destruction anybody? Though I have strong
reservations about the way its recorded - and then
explained in the liner notes and manifesto, which
could be changed to Semper (Low) Fi, Do or Die - the
session is well worth your ears.
Lalos Half Moon suffers from the opposite
problem. Instead of a barely produced session of
rooted jazz, Lalos session is slickly produced,
sonically pristine and devoid of much jazz content.
The compositions (all by vibist Lalo) are skillfully
orchestrated and there is some very good playing by a

Live at Tampere Jazz...


The Society of the...
Exploding Customer
Badland
(Ayler)
(Emanem)
by Jeff Stockton

There was a reason Dolphy, Ayler, et al gravitated to

Scandinavia to practice their art; Norwegians, Finns


and Swedes seem to love our music. Exploding
Customer, a pianoless quartet from Sweden recorded
live at a gig in Finland, is reminiscent of the Eric
Dolphy/Booker Little partnership at the Five Spot,
without being derivative. And when composer and
leader Martin Kchen switches from alto to tenor, he
and trumpeter Tomas Hallonsten approach the
brotherly communication of Albert and Donald Ayler.
This jazz is joyful, brimming with life. Mr. BP (D)
gets things off to a rousing start, like a sabre dance, as
if guys were throwing knives across the stage to each
other. Kchens tone is raggedly intense and contrasts
nicely with drummer Kjell Nordeson, who swings
with the loose rhythm of the late Ed Blackwell. All of
the tools come together on the discs centerpiece The
Crying Whip, as the drums come in waves,
Hallonsten plays with a Latin flourish and bassist
Benjamin Quigley drives the tune behind Kchen: its
a visceral thrill.
Badland, a trio comprised of Simon Rose on alto
saxophone, Simon H. Fell on double bass and Steve
Noble on percussion, has been conceived in a way that
Rose lays out in his impressionistic liner notes. Rose
offers a dead serious manifesto that defines the bands
mission: to subvert tradition; to develop and extend
the language of collective improvisation; to examine
the limitations of their instruments. If the musicians
happen to touch on some of the qualities a listener
may expect from jazz music, so be it. But since File
under: Free Improvisation is printed on the tray card,
Badland is going after a niche market. All of this may
sound more militant than the music actually is.
Badland often tends toward silence, in the style of
early Wadada Leo Smith, as in the relatively brief and
low-key Kittiwake and Elka. However, in the two
part improv that gives the disc its title and in the
combustible MIA, Badland burns.
For more information,
www.emanemdisc.com

visit

www.ayler.com

and

ALLABOUTJAZZ-NEW YORK | February 2006

27

Tribute to Paradise
Ellen Christi/Gary Hassay (Drimala)
by Ty Cumbie

J azz artists who adhere strictly to a free improvising


agenda are generally doomed to sacrifice wider
recognition. Here are two perfect examples: Ellen
Christi is among the finest jazz vocalists in New York.
Shes made a lovely, intimate duo recording with Gary
Hassay, a saxophonist who has all the technique of his
best contemporaries, plus a creative sensibility that
sets him apart as an artist worth noting.
On these improvised pieces at times the
connection between the two is so tight as to imply
pre-arrangement, horn and voice moving together in
unison and harmony. The recording is unadorned and
Christis voice is served up close and raw. It takes
enormous confidence and skill for a singer to do what
Christi has done here. Save for an occasional wild
burst of exotic, spine-tingling ululation - apparently
incited by Hassays more kinetic passages - Christi
sings with gentle grace and deep-reaching creativity.
Hassay puts his instrument down occasionally
and vocalizes himself and these are the discs most
eerily hypnotic pieces. His playing is dexterous and
expert, but it is his highly refined sensitivity and
clearly heard sympathy with his partner that lifts this
performance beyond the ordinary.
The time will hopefully come when improvisers
of this stature will receive the recognition they
deserve. Until then, be among the relative few in on
the secret and give an ear to these exemplary artists.
For more information, visit www.drimala.com. Christi is at
Vision Collaboration Feb. 24th. See calendar.

Sweet Space/Untitled Gift


Billy Bang (8th Harmonic Breakdown)
by Terrell Holmes

V iolinist

Billy Bang has reissued two of his earlier


albums on CD for the first time - Sweet Space, a live
album from 1979 and Untitled Gift, a 1982 studio set.
Both discs have lineups including luminaries such as
Frank Lowe and Don Cherry. The free structure and
embrace of atonality give this music its kick.
The tune that opens Sweet Space, A Pebble is a
Small Rock, has a structure reminiscent of India or
Africa, starting with the plucked bass intro by
Wilber Morris. Drummer Steve McCall and pianist
Curtis Clark add their voices, then Bang, Luther
Thomas and Frank Lowe fall in to state the frenetic,
spiraling theme on violin, alto sax and tenor sax. The
title tune, classical in its conception and execution, is a
playful landscape that sounds like insects buzzing.
Wilbers younger brother Butch Morris adds his cornet
to the mix and he joins Bang for a quaint pas de deux
until the other horns state the carnival-like theme.
McCall takes the lead on Loweski for Frank
(T.F.R) with a strong drum solo. Music For the Love

28 February 2006 | ALLABOUTJAZZ-NEW YORK

Of It moves on a four-note holding pattern repeated


by the band as Bang introduces the members to the
audience. The alternate takes on Sweet Space consist of
a second set with the same songs, played in a slightly
different style and pace.
Untitled Gift features Bang leading a quartet
featuring the late Don Cherry on trumpet and flute.
Echovamp opens with a typically atonal overture by
Bang and Cherry, then drummer Denis Charles and
bassist Morris engage in a spirited African-tongued
dialogue. On Night Sequence Bang spirals around
Morris brisk plucking, then Cherry and Bang chase
each other around the melody like rabbits.
Bang plays some nimble pizzicato as well as
straight ahead arco on The Kora Song. Cherry mutes
his trumpet on this tune, which might lead some
listeners to wonder how Miles wouldve fared in the
free jazz milieu. Charles rhythmically challenging
statement opens Maat before it moves into an
uptempo blues. Levitation for Santana is a definitive
free-form throwdown and Focus On Sanity is a page
torn gleefully from the Ornette songbook.
Now that the audience has (almost) caught up to
the artists, the reissue of these inventive recordings
will enhance Bangs stature as one of the most vital
and original voices on the scene today.
Bang is at Vision Collaboration Feb. 26th. See calendar.

Speaking of Stan
Mark Colby (Hallway)
by Elliott Simon

Almost 15 years after the death of tenor saxophonist

Stanley Gayetzky, aka Stan Getz, the sheer breadth of


his musical accomplishments still boggles the mind.
Thus it was with some skepticism to listen to Speaking
of Stan, tenorman Mark Colbys tribute to the man
about whom Trane said, Lets face it. We would all
play like him, if we could. Colby however succeeds
masterfully in capturing a good bit of the essence of
Getz, due in no small part to his own superb tone,
providing an intimate take on his friend and mentor.
Over 20 other musicians aid Colby in
presenting his paean. He has chosen well and
although a sax/guitar pairing akin to Getz famous
collaborations is lacking, much else is here. Blue Getz
Blues is an awesomely cooking big band reprise of a
swinger from Getz early days with Woody Herman
(Early Autumn, Capitol, 1949) and the string
arrangements of Focus (Verve, 1961) are tenderly
reminisced through the newly penned compositions
When It Matters and Give and Take. Former Getz
pianist Jim McNeely appears on four cuts, soulfully
dueting with Colby on a stunningly sincere rendering
of a tender Goodbye, coolly swinging on How
Deep is the Ocean and Sometime Ago and, yes,
adding to the bop festivities of Colbys own What is a
Buddha?. Vibist Dick Sisto aids Colby in bringing
bossa/samba to the fore with a breezy interpretation
of Benny Carters Only Trust Your Heart and a hot
construction of Chick Coreas Sea Journey by way of
the Eric Hochbergs bass and Bob Rummages drums
while Gary Burtons Out of Focus inserts a more
modern edge to the proceedings. Colbys spoken outro
adds a finishing touch to this highly personal portrait.
For more information, visit www.hallwayrecords.com. Getz
would have been 79 years old Feb. 2nd.

Discover

String Theory
The New Solo Release
from Ken Hatfield
The nylon string guitar has no more
powerful advocate on the current jazz
scene than Ken Hatfield...
Rick Anderson, All Music.com

Acoustic Jazz Tuesdays in


February with Ken Hatfield
Third Avenue, NYC
Live at Fetch: 1649
212-289-2700
February 7, 8:30 pm - Midnight
Ken Hatfield and Hans Glawischnig, guitar and bass duo

February 14, 8:30 pm - Midnight


Ken Hatfield and Hans Glawischnig, guitar and bass duo

February 21, 8:30 pm - Midnight


Ken Hatfield and Hans Glawischnig, guitar and bass duo

February 28, 8:30 pm - Midnight


Ken Hatfield and Gene Torres, guitar and bass duo

For Information on Kens Music Visit www.KenHatfield.com

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Musical
Artists!!
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specializing in U.S.
Immigration Law.

Kaivalya Volume I
Live at the Bottle Fest...
Flaherty/Edwards
Brtzmann/Waits
(Cadence Jazz)
(Eremite)
by Francis Lo Kee

J ohn

Coltrane and Elvin Jones are probably the


unknowing progenitors of these two CDs (and many
more like them). At a certain point in performances of
the Coltrane quartet, McCoy Tyner and Jimmy
Garrison dropped out - avoiding superfluousness because Trane and Elvin had so much to say. A few
years later (1967) Coltrane recorded the pivotal
sax/drum duo Interstellar Space with drummer
Rashied Ali and following that recording, the
percussion/sax duo has become an almost standard
instrumental combination.
In fact, both of these CDs start with intense
sax/drum duets (Peter Brtzmann on alto, with a
sound so thick it almost sounds like it was a tenor), as
if they were consciously channeling those versions of
Impressions or Leo. Marc Edwards is known as a
free drummer whos worked with Cecil Taylor, but
Nasheet Waits is known more for his gigs with
Andrew Hill, Jason Moran and Antonio Hart, so its
interesting to hear this drummer play in this freer
context (with one of the icons of European free
improvisation, no less).
On Kaivalya Volume 1 saxophonist Paul Flaherty
and drummer Edwards continue in the spirit of
Interstellar Space but add a few twists and turns of their
own. Dark Desert starts off with intense energy,
both musicians with impressive control not only in
their physical approach on their respective
instruments but also in their sonic focus. Ideas are
followed through on, as these musicians are definitely
on the same page. On Amrita (Soma), Edwards sets
up a kind of bolero/rhumba feel and Flaherty changes
his approach. So many times when a drummer sets up
a groove and a musician (say a saxophonist) plays
over the groove in such a way, you get the impression
that he (or she) is doing the exact same thing he would
do without the groove - in other words not really
listening to the drummer. Its clear that Flaherty
respects Edwards and they are musically
communicating to bring the listener on a journey; the
resultant sound is to the point, not just ego-tripping or
physically exercising, but great spontaneous
composition.
The Brtzmann/Waits duo was recorded live at
Chicagos Empty Bottle in front of what sounds like a
very appreciative audience. Like Kaivalya, this duo
starts with intense energy. Nr. 2 however starts off
very soft with Brtzmann on clarinet and
paradoxically these moments dramatically stand out.
Its a risk to play really soft when you are known for
being an energetic fireball. The risk pays off. Waits is
surprising in the intensity and commitment of his free
playing, but when he does hit a groove Brtzmann is a
little less capable of playing ball in Waits court. Its a
small criticism; Brtzmann does give space to Waits
and his use of clarinet and tarogato make this CD
sonically rich in texture.
Both recordings are excellent, but I favor the
underdogs, Flaherty and Edwards because of
recording quality and conceptual focus.
For more information, visit www.cadencebuilding.com and
www.eremite.com

30 February 2006 | ALLABOUTJAZZ-NEW YORK

Olivier Messiaen: Quartet for the End of Time


Spooky Actions (Muse Eek)
by Ty Cumbie

The young Olivier Messiaen famously composed and

premiered Quartet for the End of Time in 1940-41 as


a prisoner of the Nazis during World War II. One can
apply just about as much meaningful drama to this
story as one wants. It has even been suggested that
Messiaen defeated the Nazis, in spirit at least, with
this work of art before the physical act could be
accomplished by the Allied Powers. In any case, the
work is widely worshipped. Alex Ross, in The New
Yorker, recently called it, The most ethereally
beautiful music of the twentieth century and it would
be difficult to find a significant critical voice that
would deny its status as a major modern
masterpiece and a milestone in the history of music,
indeed of art.
And so its natural that the composer and his
works - especially this work - have had many admirers
and no shortage of musicians eager to take on the
challenge of playing it. A band called Spooky Actions
has issued their take, arranged for jazz quintet.
This attempt lacks everything but heart. No
noticeable traits of jazz are heard, save the
instrumentation (soprano saxophone, guitar, piano,
bass and drums). While the piece is executed more or
less as it was written, the altered instrumentation robs
it of its intended effect and the unimaginative
interpretation doesnt compensate for this loss with
any fresh ideas. Although John Gunthers soprano sax
almost suitably substitutes for clarinet, he falls far
short of the subtle expressivity of violin. David Philips
quixotically attempts to stand in for cello with bowed
bass. And so forth.
By approaching the music straightforwardly,
Spooky Actions sets itself up for comparison with the
better classical recordings of the piece and by this
standard comes off poorly to say the least. If a jazz
band wants to play classical music, itd better be good
at it and then it wouldnt be likely to be a very good
jazz band, would it? Its too bad Spooky Actions
didnt realize this and either try to make Messiaen
swing or simply try another idea.
For more information, visit www.muse-eek.com

Visit Vince on the web at

www.Vincentector.com
for current performances in the area.
cD is aVailable at all major retailers.

NT

IN PRI

With Billie
By Julia Blackburn
(Pantheon)
by Joel Roberts

T he

story behind this portrait of Billie Holiday is a


compelling and tragic one. More than 30 years ago, a
woman named Linda Kuehl set out to write a biography of
Holiday. She conducted over 150 interviews with friends
and acquaintances of the singer, but despite years of toil and
frustration, she was unable to complete a publishable book.
In 1979, after leaving a Count Basie concert in Washington,
DC, Kuehl committed suicide by jumping out a hotel window.
Years later, author Julia Blackburn was given access to Kuehls tapes and
notes and used them as the main source for this intriguing new look at Billie
Holiday. The result is more than a simple retelling of what is already one of the
best known and most bittersweet lives in jazz.
Its a literary documentary that artfully weaves together reminiscences by
dozens of those who knew her to provide an intimate picture of Holiday the
artist as well as Holiday the person.
Whats most refreshing and revealing here is that alongside anecdotes from
musicians like Jimmy Rowles, Bobby Tucker and Melba Liston are
remembrances by a motley collection of people outside the jazz world childhood friends from Baltimore, neighbors from New York, fellow junkies,
even a police officer who arrested Holiday on a narcotics rap in 1947.
Its their recollections of this brave and determined, if deeply troubled,
woman that make this book such a valuable contribution to the Billie Holiday
literature. Its a shame that Linda Kuehl is not around to see that all her hard
work finally paid off.
For more information, visit www.randomhouse.com/pantheon

ON DV

Kinetic Hues
Ari Hoenig (Smalls)
by Ernest Barteldes

W ith

the advent of easily available digital technology, it


has become easier for anyone to make semi-professional
videos. Nowadays, practically anyone with a digital camera
and a computer can produce and release, say, a music DVD
- even if the quality of the images isnt exactly that great.
Recorded live at Greenwich Villages Fat Cat, the music is
unquestionably fine, but the video is sometimes hard to
watch. The cameras do close-ups at the wrong times during a hot piano solo by Jean-Michel Pilc, the camera zeroes in on Hoenig
and during one scene saxophonist Jaques Schwarz-Bart is seen fumbling with
what appears to be a cellphone while a cameraman crawls around the stage.
As far as the set itself goes, the video is quite enjoyable. The group takes
George Gershwins Summertime to a very personal place - Hoenig plays his
drums subtly during most of the song, surprising us with some tom-tom work
and, as you can see on the video, he seems like he can feel the music he is
playing in every part of his body. On Coltranes Giant Steps, they surprise
the audience with a false ending, when Pilc takes the song to a different beat
for a moment, quickly returning to the original groove and finally coming to
the real ending.
The piano becomes a percussive instrument on Invitation - during Matt
Penmans bass solo, Pilc reaches inside the piano and blocks one of the keys
hammers while pushing it with his right hand, effectively transforming the
instrument. Later on the set they take on Dizzys Con Alma and pay tribute
to Monk by making his I Mean You sound as if it were their own song.
This DVD is for music fans who want to experience a set as real as it gets.
There are no clever visual effects or special editing - just four musicians on a
sparsely decorated stage doing what they do best on a New York night.
For more information, visit www.smallsrecords.com. Hoenig is at Fat Cat Feb. 14th,
21st and 28th and at Smalls Mondays. See calendar.

ALLABOUTJAZZ-NEW YORK | February 2006

31

CALENDAR
To be listed, please contact Andrey Henkin at ahenkin@allaboutjazz.com no later than
the third Saturday of the preceding month.
ALL LISTINGS SUBJECT TO CHANGE.

= Recommended shows

February
Wednesday, February 1

Masada

String Trio: Mark Feldman, Erik Friedlander, Greg Cohen


The Stone 8, 10 pm $20
Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez,
Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30
Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash
Village Vanguard 9, 11 pm $30
Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias,
Joey Baron
Dizzys Club 7:30, 9:30 pm $30
Nathalied and Family with Marc Cary, Antonio Dangerfield,
Matt Rybicki, Sean Kelly Dizzys Club 11 pm $10
Vinicius Cantuaria with Michael Leonhart, Paul Socolow,
Paulo Braga
Jazz Standard 7:30, 9:30 pm $20
Cheryl Bentyne with Corey Allen, Christian Fabian,
Klaus Suonsaari
Birdland 9, 11 pm $30
Savion Glover
B.B. Kings 8 pm $45
Gabriel Alegria Sextet
Tonic 8 pm
Bobby Previte, Zeena Parkins, Jamie Saft
Tonic 10 pm
Mike DiRubbo Quartet with Harold Mabern, Dwayne Burno,
Tony Reedus
The Kitano 8, 9:45 pm
Night of the Ravished Limbs: Dee Pop; Sam Newsomes
Black Gypsy with Carlo DeRosa, Bruce Cox
Barbs 8, 10 pm $8
Grant Stewart Quartet
Enzos Jazz 8:30, 10:30 pm $15
Harry Allen/Joe Cohn Quartet
Bacchus Room 8, 9:30, 11 pm $5
Matana Roberts Solo In Sacred Space
Blue Stockings 7 pm
Elizabeth Dotson-Westphalen with the Hot and Silver with
Dan Schlessinger, Apostolos Sideris, Adam Sorensen
55Bar 7 pm
Mike Stern
55Bar 10 pm
Clif Jacksons with Eric Biondo, Tony Barba, Vinnie Loccisano,
Kevin Raczka
Kavehaz 6 pm
Adam Niewoods Rabble Rousers with Jesse Lewis, Matt Brewer,
Rohin Khemani
Kavehaz 9:30 pm
Sedric Choukroun Trio with Keith Ganz, Paul Beaudry
Chez Oskar 8 pm
Fat Little Bastard: Andrew Stern, Noah Jarrett, Eric Platz
Tea Lounge 9, 10:30 pm
Nick Lyons; Adam Caine The Pourhouse 9, 10:30 pm $5
Jair Cohelo
Puppets Jazz Bar 8 pm
Leonardo Cioglia Band Zinc Bar 9, 11 pm 12:30 am $5
Nicole Pasternak with Ralph Lalama, Don Friedman,
Dennis Irwin
The Garage 8 pm
Ellen Starr, Paul Beaudry, Alvester Garnett
Saint Peters 1 pm $5
Robert Silverman
Interchurch Center 12:05 pm

Thursday, February 2
Dr. Lonnie Smith Trio
Iridium 8, 10
David Krakauers Klezmer Madness!

pm $25

Allen Room 8 pm
Mark Feldman/Sylvie Courvoisier; Astaroth: Jamie Saft,
Greg Cohen, Ben Perowsky
The Stone 8, 10 pm $10
Dion Parson
Sweet Rhythm 8, 10 pm $15
Briggan Krauss Quartet with Brandon Seabrook, John Hebert,
Andrew Drury
Tea Lounge 9, 10:30 pm
Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez,
Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30
Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash
Village Vanguard 9, 11 pm $30
Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias,
Joey Baron
Dizzys Club 7:30, 9:30 pm $30
Nathalied and Family with Marc Cary, Antonio Dangerfield,
Matt Rybicki, Sean Kelly Dizzys Club 11 pm $10
Vinicius Cantuaria with Michael Leonhart, Paul Socolow,
Paulo Braga
Jazz Standard 7:30, 9:30 pm $20
Cheryl Bentyne with Corey Allen, Christian Fabian,
Klaus Suonsaari
Birdland 9, 11 pm $30
Alan Ferber Nonet with Russ Johnson, Douglas Yates,
Will Vinson, Dan Pratt, Bruce Saunders, Bryn Roberts,
Alexis Cuadrado, Mark Ferber
Barbs 8 pm
Dana Leong
Jazz Gallery 9, 10:30 pm $12
Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Mike DiRubbo Quartet with Harold Mabern, Dwayne Burno,
Tony Reedus
The Kitano 8, 9:45 pm
Misha Piatigorsky Trio
Smoke 9, 11 pm 12:30 am
Carlo DeRosa Quartet with Mark Shim, Luis Perdomo,
Derrek Phillips
Cornelia Street Caf 8:30 pm
Andrew Barker
Tonic 8 pm
MSM Jazz Orchestra
Manhattan School of Music 8 pm
Elisabeth Lohninger
55Bar 7 pm
Francois Moutin Quartet with Jim Ridl, Joel Frahm, Ari Hoenig
55Bar 10 pm
Gilad Hekselman Trio with Omer Avital, Jonathan Blake
Smalls 10 pm $10
Leslie Pintchik Trio with Scott Hardy, Mark Dodge
Kavehaz 6 pm
Sean Wayland Quartet with Matt Penman, Jochen Rueckert,
Kris Bauman
Kavehaz 9:30 pm
Leonardo Cioglia Band Zinc Bar 9, 11 pm 12:30 am $5
Nate Radley, Tyler Wood, Ziv Ravitz
Bar 4 8:30 pm
Trudy Silver
5C Caf 5 pm
East West Quintet: Dylan Heaney, Simon Kafka, Mike Cassedy,
Ben Campbell, Jordan Perlson
Redds 9 pm
Gil Gutierrez, Pedro Cartas, Tuey Connell, Stefan Schatz
Night and Day 9 pm
Todd Herbert Trio
Cleopatras Needle 8 pm
Bill Ware
Puppets Jazz Bar 8 pm
John Chin
The Garage 8 pm
Malphas:

Friday, February 3
Andrea Centazzo
Rubin Museum 7 pm $25
Monty Alexander Trio
Rose Center 6, 7:30 pm
Dr. Lonnie Smith Trio
Iridium 8, 10, 11:30 pm $25
Eddie Henderson Quartet with Larry Willis, Ed Howard,
Billy Drummond
Smoke 9, 11 pm 12:30 am $25
TK Blue with Benny Powell, Onaje Allen Gumbs, Gavin Fallow,
Kevin Jones
Lenox Lounge 8, 10, 11:30 pm $20

Oscar

Noriega, Chris Speed, Anthony Burr


Barbs 7 pm
Mark Dresser with Rudresh Mahanthappa, Gerry Hemingway
Barbs 8 pm $10
Ben Wolfe Quartet with Joe Locke, Renee Rosnes, Carl Allen
The Kitano 8, 9:45 pm $20
Avishai Cohen with Mark Turner, Jason Lindner, Omer Avital,
Greg Hutchinson
Jazz Gallery 9, 10:30 pm $15
Logan Richardson Group with George Garzone, Matt Brewer,
Tommy Crane
Cornelia Street Caf 9, 10:30 pm
Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez,
Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30
Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash
Village Vanguard 9, 11 pm $35
Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias,
Joey Baron
Dizzys Club 7:30, 9:30, 1:30 pm $30
Nathalied and Family with Marc Cary, Antonio Dangerfield,
Matt Rybicki, Sean Kelly Dizzys Club 1 am $10
Vinicius Cantuaria with Michael Leonhart, Paul Socolow,
Paulo Braga
Jazz Standard 7:30, 9:30, 11:30 pm $25
Cheryl Bentyne with Corey Allen, Christian Fabian,
Klaus Suonsaari
Birdland 9, 11 pm $30
Judi Silvano Womens Work Quartet with Janice Friedman,
Jennifer Vincent, Bernice Brooks
Enzos Jazz 8:30, 10:30 pm $15
Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5
Victor Lin Trio
Flushing Town Hall 10 pm $35
Greta Gertler and the Extroverts with Matt Moran, Ron Caswell,
Pete Galub, Michael Gomez; Marie McAuliffe
The Stone 8, 10 pm $10
Bryn Roberts Trio
Bar Next Door 9 pm
Yoon Sun Choi/Jacob Sacks and guest Jacob Garchik
5C Caf 7 pm
Gretchen Parlato with Lionel Loueke, Alan Hampton
55Bar 6 pm
James Silberstein Quartet with Harvie S, Jill McCarron,
Vince Cherico
Kavehaz 6 pm
Derrek Phillips Translation with Liberty Ellman, Ben Stivers,
Seamus Blake
Kavehaz 9:30 pm
The Pattons play Big John Patton
The West End 10 pm $5
Black Orchid; Jon De Lucia Group with Nir Felder,
Garth Stevenson, Steve Lyman
Vox Pop Coffee Shop 8 pm
Joe Giglio/Ron McClure 107West 10 pm
Gilad Hekselman Trio with Dave Robaire, Alex Wyatt
Tea Lounge 9, 10:30 pm
Kristjan Randalu with Sebastian Noelle, Pascal Niggenkemper,
Bodek Janke
Estonian House 9 pm
Irini Res Quartet
Cleopatras Needle 8 pm
Jay Collins Trio
Bistro Jules 9:30, 11 pm
Jaime Aff Trio
Puppets Jazz Bar 9 pm
Mark Capon Trio
The Garage 5:45 pm

Saturday, February 4
Dr. Lonnie Smith Trio
Eddie Henderson Quartet

Iridium 8, 10, 11:30 pm $27.50


with Larry Willis, Ed Howard,
Billy Drummond
Smoke 9, 11 pm 12:30 am $25
TK Blue with Benny Powell, Onaje Allen Gumbs, Gavin Fallow,
Kevin Jones
Lenox Lounge 8, 10, 11:30 pm $20
Ben Wolfe Quartet with Joe Locke, Renee Rosnes, Carl Allen
The Kitano 8, 9:45 pm $20
Avishai Cohen with Mark Turner, Jason Lindner, Omer Avital,
Greg Hutchinson
Jazz Gallery 9, 10:30 pm $15
Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez,
Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30
Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash
Village Vanguard 9, 11 pm 12:30 am $35
Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias,
Joey Baron
Dizzys Club 7:30, 9:30, 11:30 pm $30
Nathalied and Family with Marc Cary, Antonio Dangerfield,
Matt Rybicki, Sean Kelly Dizzys Club 1 am $10
Vinicius Cantuaria with Michael Leonhart, Paul Socolow,
Paulo Braga
Jazz Standard 7:30, 9:30, 11:30 pm $25
Cheryl Bentyne with Corey Allen, Christian Fabian,
Klaus Suonsaari
Birdland 9, 11 pm $30
Will Holshouser Trio with Ron Horton, David Phillips
BAMCaf 9 pm
Michael Camacho and Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
William Hooker/Roger Miller
Pianos 10:30 pm
Julliard Jazz Ensemble York College 7 pm
Free Zone: Eye Contact: Matt Lavelle, Matt Heyner, Ryan Sawyer;
Kali Z. Fasteau with Abdoulaye Alhassane, Ron McBee
Caf Grumpy 9, 10 pm $5
Theremin Summit: Dalit Warshaw, Pamelia Kursten,
Dorit Chrysler, Michael Evans, Anthony Ptak, David Simons,
Armen Ra
Issue Project Room 8 pm $10
Synergy: Amir Bey, Saco Yasuma, Sabir Mateen, Ras Moshe,
Jackson Krall, Francois Grillot
Bowery Poetry Club 6 pm $12
Skye Steele Group with Christopher Hoffman, Mike Effenberger,
Mike Savino, John Hadfield
Cornelia Street Caf 9 pm $10
Yale Strom and Hot Pstromi Norbert Stachel, Peter Stan,
Sprocket, Elizabeth Schwartz and guest David Licht
Barbs 8 pm $10
Atiba Kwabena
Sistas Place 9, 10:30 pm $20
Joe Martin Trio
Bar Next Door 9 pm $8
Laura Cromwell and Friends; Elysian Fields: Jennifer Charles,
Oren Bloedow, Thomas Bartlet
The Stone 8, 10 pm $10
David Bond Group with Sumi Toonoka, Ed and George Schuller
Kavehaz 6 pm
Tom Beckham with Henry Hey, John Hebert, Diego Voglino and
guest Chris Cheek
Kavehaz 9:30 pm
Nikhil Yerawadekar
5C Caf 7 pm
Ayana Lowe, Bob Cunningham, Michael Howell,
Michael TA Thompson
55Bar 6 pm
Nate Birkey Quartet with Mark Soskin, Steve Varner,
Marko Marcinko
The Triad 9:30 pm
Christian Pincock Quintet with Jesse Stacken, Jeremey Noller,
Moppa Elliott, Ed Renz Stain Bar 8 pm
Doug Munroe Quartet
Cleopatras Needle 8 pm
Bill Ware
Puppets Jazz Bar 9 pm
Ray Mantilla with Edy Martinez, Cucho Martinez, Bill Elder,
Willie Williams, Guido Gonzales, Enrique Fernandez
Tower Records Lincoln Center 1 pm
Larry Newcomb Trio
The Garage 12 pm
Bruce McKinnon
The Garage 5:45 pm

Sunday, February 5
Daphna

Mor/Nina Stern;
Sylvie Courvoisier
Mike DiRubbo Quartet
Dr. Lonnie Smith Trio

32 February 2006 | ALLABOUTJAZZ-NEW YORK

Miya Masaoka, Okkyung Lee,


The Stone 8, 10 pm $10
Europa Club 7:30 pm $10
Iridium 8, 10 pm $27.50

Kenny

Werner Cosmocentric with Kenny Wheeler, David Sanchez,


Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30
Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash
Village Vanguard 9, 11 pm $30
Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias,
Joey Baron
Dizzys Club 7:30, 9:30 pm $30
Steve Cardenas Group with Ben Allison, Matt Wilson
55Bar 9:30 pm
Jason Marshall and Overt Negritude
Sweet Rhythm 8, 10 pm
Jim Rotondi Quartet
Bacchus Room 8, 9:30, 11 pm $5
James Carney Group with Chris Lightcap, Mark Ferber
Bar 4 8 pm $5
Francina Connors Group Saint Peters 5 pm
James Phillips Memorial Saint Peters 7 pm
Kurt Heyl/Ravi Padmanabha
Downtown Music Gallery 6 pm
Julianne Carney/Adam Matta; Jed Shahar/John Clair; Kurt Heyl/
Ravi Padmanabha
ABC No Rio 8 pm $3
Cooper-Moore, Nioka Workman, Matt Motel; Cooper-Moore,
Assif Tsahar, Chad Taylor Vision Club 1:30, 3 pm $10
Mike Pride StandDards Duo with Charlie Looker
City Crab 1 pm
African Drumming and Percussion Ensemble
The Jazz Spot 3 pm $10
Hayes Greenfields Jazz-A-Ma-Tazz
Bowery Poetry Club 12 pm $8
Jan Findlay
The Garage 12 pm
Kate McGarry with Keith Ganz
North Square Lounge 12:30, 2 pm
Brian Lynch with Alex Hoffman, Heath Walton, Micah Burgess,
Alex Minasian, Rick Bugel, Jeff Neuberber
Blue Note 12:30, 2:30 pm $19.50

Monday, February 6
Bucky and Martin Pizzarelli
Birdland 7 pm $30
Hendrik Meurkens/Helio Alves Duo
AC Pianocraft Workshop 8 pm $20
Jay Collins with Dred Scott, Chris Tarry, Diego Voglino,
Moses Patrou
Blue Note 8, 10:30 pm $10
Bill Mobley Big Band
Smiths Bar 8 pm
Upstarts!: Julliard Jazz Ensemble
Dizzys Club 7:30, 9:30 pm $15
New School Presents: Dave Glasser Charlie Parker Ensemble
Sweet Rhythm 8, 10 pm $10
Mike Stern
55Bar 10 pm
Steve Coleman Presents Jazz Gallery 9 pm $15
James Chirillo Trio
Bacchus Room 8, 9:30, 11 pm $5
Voices and Songs: Joan Crowe with Dave Epstein, Kelly Friesen,
Quintin Gallemore, James Shipp
Jazz Standard 7:30, 9:30 pm $15
Mike Prides Ixtlan with Chris Welcome, Shayna Dulberger;
Gato Loco: Mike Gamble, Stefan Zeniuk, Joe Exley, Grego Stare
Bar 4 8 pm
Sachal Vasandani Trio
Bar Next Door 8 pm $5
Skitch Henderson Memorial by the New York Pops
Isaac Stern Auditorium 4 pm

Tuesday, February 7
Barry

Harris Trio with Earl May, Leroy Williams


Village Vanguard 9, 11 pm $30
Cecil Taylor +2 with Jackson Krall, Albey Balgochian
Blue Note 8, 10:30 pm $35
The Music of Joe Henderson: Renee Rosnes Quintet with
Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash
Dizzys Club 7:30, 9:30 pm $30
Alex Cuadrado Quartet with Brad Shepik, Loren Stillman,
Mark Ferber
Dizzys Club 11 pm $10
Pete Zimmer Quintet with Joel Frahm, Michael Rodriguez,
Toru Dodo, David Wong Jazz Standard 7:30, 9:30 pm $20
Gloria Cooper with Jay Brandford, Ben Cassorla, Vince Cherico,
Tim Givens, Don Sickler Sweet Rhythm 8, 10 pm $15
Barbara Sfraga & Center Search Quest with
Christopher Dean Sullivan, Michael TA Thompson
55Bar 7 pm
David Binneys Balance with Craig Taborn, Thomas Morgan,
Dan Weiss
55Bar 10 pm
Jeff Siegal Group
NYC Bahai Center 8, 10 pm $15
Burnt Sugar
Zebulon 10 pm
Tim Ragusis Trio
Bacchus Room 8, 9:30, 11 pm $5
Ken Hatfield/Hans Glawischnig
Fetch 8:30 pm
Rebecca Moore; Basya Schechter Ensemble
The Stone 8, 10 pm $10
Deanna Witkowski Quartet with Peter Brainin, Dave Ambrosio,
Scott Latzky
Makor 9:30 pm $12
Maine Relocated; Ryan Blotnick Quartet; Robert Stillmans
Horses
Bowery Poetry Club 10 pm $8
Evans Thompson
5C Caf 5 pm
Manny Duran
Lucilles at B.B. Kings 8 pm
Jaime Aff Trio
Puppets Jazz Bar 8 pm
Russ Spiegel Big Band The Garage 8 pm

c omposed by bill mccormick performed by jon damian ken hatfield

pete smith craig wagner special guest percussionist steven kroon

music for guitar

To order: See us at cdbaby.com or send check or money order for $15.00 to mPub-AJ
P.O. Box 1234 Stamford, CT 06904-1234 USA - All checks/money orders in U.S. dollars
CT residents add 6% sales tax - Foreign orders add $5.00 shipping/handling
CD distributed by North Country Distributors - northcountry@cadencebuilding.com

Wednesday, February 8
Matt

Wilsons Arts and Crafts with Terell Stafford, Larry Goldings,


Dennis Irwin
Zankel Hall 8:30 pm $42
Night of the Ravished Limbs: Mark Helias Open Loose with
Tony Malaby, Tom Rainey Barbs 8, 10 pm $8
Sam Bardfeld with Ron Horton, Tom Beckham, Sean Conly,
Satoshi Takeishi
Tonic 8 pm
Tremolo of Joy: Kato Hideki, Marco Cappelli, Briggan Krauss,
Anton Fier
Tonic 10 pm
TYFT: Andrew DAngelo, Jim Black, Hilmar Jensson
Tea Lounge 9, 10:30 pm
Adam Makowicz Trio with George Mraz, Al Foster
Birdland 9, 11 pm $30
Barry Harris Trio with Earl May, Leroy Williams
Village Vanguard 9, 11 pm $30
Cecil Taylor +2 with Jackson Krall, Albey Balgochian
Blue Note 8, 10:30 pm $35
The Music of Joe Henderson: Renee Rosnes Quintet with
Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash
Dizzys Club 7:30, 9:30 pm $30
Alex Cuadrado Quartet with Brad Shepik, Loren Stillman,
Mark Ferber
Dizzys Club 11 pm $10
The Mahavishnu Project: Glenn Alexander, Adam Holzman,
Rob Thomas, David Johnsen, Gregg Bendian
Iridium 8, 10 pm $25
Jeb Patton Trio with David Wong, Pete Van Nostrand
The Kitano 8, 9:45 pm
Glauco Sagebin
Sweet Rhythm 8, 10 pm $15
Lucian Ban with Jorge Sylvester, Brad Jones, Derrek Phillips;
Alex Harding with Lucian Ban, Brad Jones, Nasheet Waits,
Andrew Daniels
Jazz Standard 7:30, 9:30 pm $20
Harry Allen/Joe Cohn Quartet
Bacchus Room 8, 9:30, 11 pm $5
NYNDK Jazz Collective: Chris Washburne, Ole Mathisen,
Soren Moller, Tony Moreno, Francois Moutin
Cornelia Street Caf 8:30 pm $7
Dave Soldiers The Spinozas; Smadar Levi, Uri Sharlin,
Harel Shachal, Seido Salifosky, Hagar, Megan Weeder
The Stone 8, 10 pm $10
Ellen Starr with Joel Frahm, Paul Beaudry, Alvester Garnett
55Bar 7 pm
Mike Stern
55Bar 10 pm
Martin Urbach Group with James Westfall, Phil Rowan and guest
Kavehaz 6 pm
Julien Augier, Dimitri Mikelis, Alexandre Terrier, Lionel Loueke,
Nathan Peck
Kavehaz 9:30 pm
Sedric Choukroun Trio with Keith Ganz, Paul Beaudry
Chez Oskar 8 pm
Nora McCarthy Collective Night and Day 9 pm
Top Dror Jazz Band
Makor 9:30 pm $12
Lezlie Harrison
ParlorJazz 9, 10:30 pm $20
Aaron Ali Shaik Group
The Pourhouse 9, 10:30 pm $5
Christiana Drapkin/Stephanie Greig
The Backroom 9:30 pm
Jair Cohelo
Puppets Jazz Bar 8 pm
Manhattan Vibes
The Garage 8 pm
Warren Chiasson
Saint Peters 1 pm $5

Thursday, February 9
Highlights

in Jazz 33rd Anniversary Concert: Bill Charlap Trio


with Kenny Washington, Peter Washington; Slide Hampton,
Jimmy Heath, Frank WessTribeca Perf. Arts Ctr. 8 pm $30
Cotangent: Marc Mommaas, Bill Gerhardt, Mike Holstein,
Tim Horner
Sweet Rhythm 8, 10 pm $15
Jimmy Scott
Iridium 8, 10 pm $30
Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason
Blue Note 8, 10:30 pm $55
Larry Goldings Quartet with Ben Allison, John Sneider,
Matt Wilson
Jazz Standard 7:30, 9:30 pm $20
Mark Helias Open Loose with Tony Malaby, Tom Rainey
Tea Lounge 9, 10:30 pm
Adam Makowicz Trio with George Mraz, Al Foster
Birdland 9, 11 pm $30
Barry Harris Trio with Earl May, Leroy Williams
Village Vanguard 9, 11 pm $30
The Music of Joe Henderson: Renee Rosnes Quintet with
Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash
Dizzys Club 7:30, 9:30 pm $30
Alex Cuadrado Quartet with Brad Shepik, Loren Stillman,
Mark Ferber
Dizzys Club 11 pm $10
Lage Lund with Seamus Blake, Aaron Parks, Orlando Le Fleming,
Kendrick Scott
Jazz Gallery 9, 10:30 pm $12
Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Matt Pavolka Quartet with Ben Monder, Pete Rende, Ted Poor
Barbs 8 pm
Harlem Speaks: Howard Johnson
Jazz Museum in Harlem 6:30 pm
Ralph Alessi, Tim Berne, Shane Endsley; Sonic Liberation Front
Jimmys Restaurant 8, 10 pm
In the Country and guest Marc Ribot
Tonic 8 pm
Gnu Vox: Beat Kaestli with Joel Frahm, Uli Ceissendorfer,
Marcus McLaurine, Sunny Jain; Monika Heidemann with
Matt Moran, Khabu Doug Young, Derek Layes, Take Toriyama
Cornelia Street Caf 8:30, 10 pm $10
Ayako Shirasaki Trio with Marco Panascia, Gregory Hutchinson
The Kitano 8, 9:45 pm
Michal Cohen, Amy Cervini, Oded Lev-Ari, Ben Zwerin;
Shelley Hirsch
The Stone 8, 10 pm $10
Nobuki Takamen Group with Hitoshi Kanda, Toshiyuki Tanahashi,
Makoto Kikuchi
Kavehaz 6 pm
Erik Torrente Quartet with Mike Moreno, Vincente Archer,
Jamier Williams
Kavehaz 9:30 pm
Avi Rothbard Organ Trio Jesses Place 8 pm
Liz Childs with Tim Harrison, Tom Hubbard, Todd Isler
55Bar 7 pm
Garth Stevenson/Ziv Ravitz
Bar 4 8:30 pm
Geoff Clapp Trio
Cleopatras Needle 8 pm
Bill Ware
Puppets Jazz Bar 8 pm
Yardena
The Garage 8 pm

Friday, February 10
Houston Person Quartet
Tom Harrell Quartet with

Lenox Lounge 8, 10, 11:30 pm $20


Michael Cochrane, Dwayne Burno,
Jonathan Blake
The Kitano 8, 9:45 pm $20
Brooklyn Big Band: Craig Bailey, Mark Gross, Tim Armacost,
Keith Loftis, Charlie Evans, Jason Jackson, Dion Tucker,
Tim Albright, Johannes Pfannkuch, Jamal Monteilh, James Zollar,
Matt Shulman, Kelvin Shollar, Phil Palombi, Lieven Venken
Sweet Rhythm 8, 10 pm 12 am $20
Rosa Passos
Zankel Hall 8:30 pm $30-42
Meg Okuras PanAsian Ensemble with Jennifer Vincent, Yukari
Megumi Yonezawa, Satoshi Takeishi and guest Suzanne Shu;
Cardamon Quartet: Uri Sharlin, Harel Shachal, Jennifer Vincent,
Dan Aron
The Stone 8, 10 pm $10

Jeremy

Steig Quartet with Vic Juris, Cameron Brown,


Anthony Pinciotti
Cornelia Street Caf 9, 10:30 pm $12
Jimmy Scott
Iridium 8, 10, 11:30 pm $32.50
Masters of Groove: Bernard Pretty Purdie, Grant Green Jr.,
Rueben Wilson
Smoke 9, 11 pm 12:30 am $30
Dr. John
B.B. Kings 8, 10:30 pm $35
Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason
Blue Note 8, 10:30 pm $55
Larry Goldings Quartet with Ben Allison, John Sneider,
Matt Wilson
Jazz Standard 7:30, 9:30, 11:30 pm $25
Adam Makowicz Trio with George Mraz, Al Foster
Birdland 9, 11 pm $30
Barry Harris Trio with Earl May, Leroy Williams
Village Vanguard 9, 11 pm $35
The Music of Joe Henderson: Renee Rosnes Quintet with
Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash
Dizzys Club 7:30, 9:30, 11:30 pm $30
Alex Cuadrado Quartet with Brad Shepik, Loren Stillman,
Mark Ferber
Dizzys Club 1 am $10
Paloma Recio: Tony Malaby, Michael Rodriguez, Ben Monder,
Eivind Opsvik, Nasheet Waits
Barbs 8, 10 pm $8
Music For A Winters Evening: Aimua Eghobamien;
Elizabeth Thorne; Monk for President Trio:
Glafkos Kontemeniotis, Edward Kollar, Vince Kazi McCoy;
guests Priscilla Owens, Sylvester Scott, Daniel Olivo
Hunter College 7 pm $10
Adam Rogers Group with Scott Colley, Antonio Sanchez
Jazz Gallery 9, 10:30 pm $15
Kendra Shank Quartet with Frank Kimbrough, Francois Moutin,
Tony Moreno
Enzos Jazz 8:30, 10:30 pm $15
Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5
Joe Giglio/Carl Barry
107West 10 pm
Brooks Qawwali Party: Tony Barba, John Savage, Jesse Neuman,
Ryan Keberle, Noah Jarrett, Mike Gamble, Kris Davis,
Shawn Trail, Robert DiPietro, Brook Martinez, Jen Timmer
Tea Lounge 9, 10:30 pm
Tessa Souter/John Hart
55Bar 6 pm
Ballin the Jack
55Bar 10 pm
David White with Matt Garrison, Michael Jake, Dylan Johnson,
Ryan Cavan
Kavehaz 6 pm
Lumination: Curtis Fowlkes, Alex Harding, Lucian Ban,
Jeff Carney, Derrek Phillips
Kavehaz 9:30 pm
Alex Blake
Puppets Jazz Bar 9 pm
Jerome Sabbagh Trio
Bar Next Door 9 pm $8
Gilad Hekselman Trio with Joe Martin, Ari Hoenig
Fat Cat 10 pm $10
Clint Smith
5C Caf 7 pm
Kristjan Randalu with Thomas Morgan
Estonian House 9 pm
Craig Magmano Quartet Cleopatras Needle 8 pm
Jay Collins Trio
Bistro Jules 9:30, 11 pm
Vinson Valega Trio
The Garage 5:45 pm
Daniel Kelly
The Garage 10:15 pm

Saturday, February 11
Warren

Smiths Composers Workshop Ensemble


Brecht Forum 9, 10 pm $10
Lenox Lounge 8, 10, 11:30 pm $20
Michael Cochrane, Dwayne Burno,
Jonathan Blake
The Kitano 8, 9:45 pm $20
Brooklyn Big Band: Craig Bailey, Mark Gross, Tim Armacost,
Keith Loftis, Charlie Evans, Jason Jackson, Dion Tucker,
Tim Albright, Johannes Pfannkuch, Jamal Monteilh, James Zollar,
Matt Shulman, Kelvin Shollar, Phil Palombi, Lieven Venken
Sweet Rhythm 8, 10 pm 12 am $20
Jimmy Scott
Iridium 8, 10, 11:30 pm $35
Masters of Groove: Bernard Pretty Purdie, Grant Green Jr.,
Rueben Wilson
Smoke 9, 11 pm 12:30 am $30
Dr. John
B.B. Kings 8, 10:30 pm $35
Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason
Blue Note 8, 10:30 pm $55
Larry Goldings Quartet with Ben Allison, John Sneider,
Matt Wilson
Jazz Standard 7:30, 9:30, 11:30 pm $25
Adam Makowicz Trio with George Mraz, Al Foster
Birdland 9, 11 pm $30
Barry Harris Trio with Earl May, Leroy Williams
Village Vanguard 9, 11 pm 12:30 am $35
The Music of Joe Henderson: Renee Rosnes Quintet with
Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash
Dizzys Club 7:30, 9:30, 11:30 pm $30
Alex Cuadrado Quartet with Brad Shepik, Loren Stillman,
Mark Ferber
Dizzys Club 1 am $10
Black History Month Concert 2006 Charity Concert for Katrina
Alice Tully Hall 8 pm $40-100
Adam Rogers Group with Scott Colley, Antonio Sanchez
Jazz Gallery 9, 10:30 pm $15
Billy Martin, Ikue Mori, DJ Olive, Okkyung Lee
Tonic 10 pm $15
Michael Camacho and Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
The Beat Circus: Brian Carpenter, Alec K Redfearn,
Kathe Hostetter, Ron Caswell, Jim Hobbs, Brandon Seabrook,
Matt McLaren
BAMCaf 9 pm
Harel Shachals Anistar with Skye Steele, Christopher Hoffman,
Harvey Valdez, Uri Sharlin, Alon Carmelly, Tomer Tzur, E.J. Fry
The Stone 8, 10 pm $10
Hazmat Modine
Joes Pub 7:30 pm $12
Kate McGarry
55Bar 6 pm
Yoon Sun Choi, Jacob Garchik, Thomas Morgan, Jacob Sacks
Crossroads Caf 8 pm
Bruce Harris with Mark Nikirk, Drew Pierson, Yasushi Nakumara,
Pete Polinski
Kavehaz 6 pm
Bruce Williams Quartet with Don Palmer, Vince Ector
Kavehaz 9:30 pm
Alex Blake
Puppets Jazz Bar 9 pm
Free Zone: Christian Pincock Group; Brian Moran, Justin Simon,
Matt Hannafin
Caf Grumpy 9, 10 pm $5
Eric Frazier Group
Sistas Place 9, 10:30 pm $20
Ben Monder Trio
Bar Next Door 9 pm $8
Gilad Hekselman Trio with Joe Martin, Ari Hoenig
Fat Cat 10 pm $10
TJ Usiyan
5C Caf 7 pm
Roland Barber Quartet with Jennifer Vincent, Gordon Webster,
Lee Pearsons
Cleopatras Needle 8 pm
Onaje Allen Gumbs
Tower Records Lincoln Center 1 pm
Nick Moran
The Garage 12 pm
Hide Tanaka
The Garage 5:45 pm
Jonathan Batiste
The Garage 10:15 pm
Houston Person Quartet
Tom Harrell Quartet with

Jimmy Scott
Iridium 8, 10 pm $32.50
Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason
Blue Note 8, 10:30 pm $55
Larry Goldings Quartet with Ben Allison, John Sneider,
Matt Wilson
Jazz Standard 7:30, 9:30 pm $20
Barry Harris Trio with Earl May, Leroy Williams
Village Vanguard 9, 11 pm $30
Enrico Granafei Group Saint Peters 5 pm
Steve Marcus Tribute with Buddy Rich Alumni Band; Steve Smith
and Buddys Buddies
Saint Peters 8 pm
Erik Charleston, Christopher Lamb, Mark Soskin, Harvie S with
guest Duo Ello
Manhattan School of Music 7:30 pm
Valery Ponomarev and the VIP Jazz Band with Hilary Gardner
Birdland 6 pm $10
Jason Marshall and Overt Negritude
Sweet Rhythm 8, 10 pm
Jim Rotondi Quartet
Bacchus Room 8, 9:30, 11 pm $5
Jim Campilongos Electric Band with Tim Luntzel, Dan Rieser
55Bar 9:30 pm
Gondwanaland: Nicholas Cudahy, Jacob Garchik, Ben Holmes,
Brandon Seabrook, Karen Waltuch, Michael Winograd,
Timothy Quigley
Barbs 8 pm
Jerome Jones and Mo Beasley
5C Caf 7 pm
Todd Merrell, Lou Rossi, Casey Block; Travis Just,
Matt Richelson, Quentin Tolimieri
ABC No Rio 8 pm $3
Improvised and Otherwise experimental Jazz Benefit
The Backroom 2 pm
Youth Improv Orchestra Bowery Poetry Club 3 pm
Ayana Lowe, James Weidman, Michael TA Thompson
Bowne Street Church 3 pm
Joni Paladin
The Garage 12 pm
Michelle Walker with Sheryl Bailey
North Square Lounge 12:30, 2 pm
Marta Gomez
Blue Note 12:30, 2:30 pm $19.50

Monday, February 13
Upstarts!: Duquesne University Jazz Ensemble with Sean Jones
Dizzys Club 7:30, 9:30 $15
New School Presents: Junior Mance Blues Ensemble
Sweet Rhythm 8, 10 pm $10
Mike Stern
55Bar 10 pm
Steve Coleman Presents Jazz Gallery 9 pm $15
James Chirillo Trio
Bacchus Room 8, 9:30, 11 pm $5
Voices and Songs: Ilona Knopfler with Jay Ashby, Allan Mallet,
Francois Moutin, Marko Marcinko
Jazz Standard 7:30, 9:30 pm $15
Composers Collaborative Inc.
Cornelia Street Caf 8 pm $20
Fay Victor Ensemble
The Backroom 9:30 pm
Vinny Valentino
Smiths Bar 8 pm
Todd Neufeld Trio with Thomas Morgan, Dan Weiss; Smolter:
Mike Gamble, Pete Robbins, Dan Weiss
Bar 4 8 pm
Carolyn Leonhart Trio
Bar Next Door 8 pm $5

Tuesday, February 14
Dee Dee Bridgewater
Rose Hall 8 pm $30-130
Andy Bey/Paul Meyers
Sweet Rhythm 8, 10 pm $20
Gnu Vox: Jay Clayton with Jack Wilkins

Cornelia Street Caf 8:30 pm $10


Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30 pm $30
Pete Malinverni Trio
Dizzys Club 11 pm $10
Freddy Cole Quartet with Jerry Byrd, Curtis Boyd, Zachary Pride
Jazz Standard 7:30, 9:30 pm $25
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm $30
Curtis Stigers
Blue Note 8, 10:30 pm $25
Rachelle Garniez Experimental Valentines Show
The Stone 8, 10 pm $10
Katie Bull with Dave Phelps, Ben Allison, Harvey Sorgen
55Bar 7 pm
Leni Stern
55Bar 10 pm
Tim Ragusis Trio
Bacchus Room 8, 9:30, 11 pm $5
Ari Hoenig Group
Fat Cat 10 pm $10
Jenny Scheinman
Barbs 7 pm
Mercedes Hall
Dannys Skylight Room 9:15 pm $20
Angela DeNiro and Ron Aprea Group
NYC Bahai Center 8, 10 pm $15
Ken Hatfield/Hans Glawischnig
Fetch 8:30 pm
Khabu and Friends; OK/OK: Kyoko Kitamura, Mike McGinnis,
Khabu + 12 Angry Men Bowery Poetry Club 10 pm $8
Leif Arntzen Quartet; Marjorie Eliot Quintet with
Sedric Choukroun
Symphony Space 8 pm
The Lascivious Biddies
Makor 7:30 pm $15
Sabor Brasil
Lucilles at B.B. Kings 8 pm
Kenneth Kamal Scott with Richard Harper
Miles Bistro 9 pm $10
Jaime Aff Trio
Puppets Jazz Bar 8 pm
David Coss Trio
The Garage 8 pm

Sunday, February 12
Oliver

Lake/Kresten Osgood
Downtown Music Gallery 6 pm
Uri Caine; Ben Perowskys Camp Songs with Uri Caine
The Stone 8, 10 pm $10
Andrew Rathbun BigBand Europa Club 7:30 pm $10

ALLABOUTJAZZ-NEW YORK | February 2006

33

Wednesday, February 15
George

Coleman Quartet with Anthony Wonsey, Jerome Derro,


Joe Farnsworth
Birdland 9, 11 pm $30

Pink Martini and guests Town Hall 8 pm $25-35


Cyro Baptistas Anthropo-Fagia with Tim Keiper,

Shanir Blumenkranz, Brian Marsella and guest Adam Weinberg


Tonic 8, 10 pm
Night of the Ravished Limbs: Rolf Sturm solo; Joe Fiedler Trio
with John Hebert, Mike Sarin
Barbs 8, 10 pm $8
Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30 pm $30
Pete Malinverni Trio
Dizzys Club 11 pm $10
Freddy Cole Quartet with Jerry Byrd, Curtis Boyd, Zachary Pride
Jazz Standard 7:30, 9:30 pm $25
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm $30
Curtis Stigers
Blue Note 8, 10:30 pm $25
The Mahavishnu Project: Glenn Alexander, Adam Holzman,
Rob Thomas, David Johnsen, Gregg Bendian
Iridium 8, 10 pm $25
Giacomo Gates with Gloria Cooper, Cameron Brown, Tim Horner
Enzos Jazz 8:30, 10:30 pm $15
Gregg August Sextet
Bacchus Room 8, 9:30, 11 pm $5
Matt Stecklers Persiflage Sweet Rhythm 8, 10 pm $15
Turtle Island String Quartet
Baruch College 6 pm
Toru Dodo Trio with Joseph Lepore, Rodney Green
The Kitano 8, 9:45 pm
Zev Feldman; Peter Rushefsky
The Stone 8, 10 pm $10
Brenda Earle with Joel Frahm, Joe Martin, Bill Campbell
55Bar 7 pm
Mike Stern
55Bar 10 pm
Russell Branca Quartet with Tom Beckham, Heather Bennett,
Anthony Pinciotti
Kavehaz 6 pm
Noah Haidu Quartet with Marcus McClaurine, Steve Johns,
Peter Brainin
Kavehaz 9:30 pm
Old School Freight Train; Margot Leverett and the
Klezmer Mountain Boys Makor 8 pm $15
Masahiro Yamamoto Quartet with Mike Effenberger,
Chris Tordini, Alex Wyatt Tea Lounge 9, 10:30 pm
Brian Prunka and the Near East River Ensemble;
The Howling Makams
Galapagos 7 pm
Lily Maases Hall of Mirrors with Rob Mosher, Evan Smith,
Matt Wigton, Fred Kennedy; UBUNTU: Evan Mazunik, Alex Foote,
Rick Stone, J. Frederick, Jay Foote
Lucky Cat Lounge 8 pm
Violet; Ben Lee Group
The Pourhouse 9, 10:30 pm $5
Jair Cohelo
Puppets Jazz Bar 8 pm
Steve Husted Quartet
The Garage 8 pm
Carol Fredette, Andy Ezrin, David Finck
Saint Peters 1 pm $5

Thursday, February 16
Pittsburgh:

From the Heart of Steeltown: Lincoln Center Jazz


Orchestra with Wynton Marsalis and guests Jeff Tain Watts,
Steve Nelson
Rose Hall 8 pm $30-130
Music of the Masters - Stanley Turrentine: Eric Alexander,
Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker
Allen Room 7:30 pm $40-130
Mark Murphy
Iridium 8, 10 pm $27.50
Jackalope: John Abercrombie, Loren Stillman, Bob Meyer
Jimmys Restaurant 8, 10 pm
PoJazz hosted by Golda Solomon with Rosemary George,
Robert DeGaetano
Cornelia Street Caf 6 pm $20
Kresten Osgood Group with Michael Blake, Steven Bernstein,
Ben Allison
Cornelia Street Caf 8:30 pm $10
Michael Attias solo; Renku: Michael Attias, John Hebert,
Satoshi Takeishi
Issue Project Room 8 pm $10
Anat Cohen Quartet with Jason Lindner, Joe Martin,
Jonathan Blake
Jazz Standard 7:30, 9:30 pm $20
AfroCuban Jazz Orchestra directed by Bobby Sanabria
Manhattan School of Music 8 pm
George Coleman Quartet with Anthony Wonsey, Jerome Derro,
Joe Farnsworth
Birdland 9, 11 pm $30
Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30 pm $30
Pete Malinverni Trio
Dizzys Club 11 pm $10
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm $30
Curtis Stigers
Blue Note 8, 10:30 pm $25
Good Morning Scelsi: Marc Ribot and Ensemble Dissonanzen
with Marco Cappelli, Ciro Longobardi, Claudio Lugo,
Tommaso Rossi
Tonic 8 pm $12
Metropolis Ensemble; Daniel Neer; Marty Ehrlich, Mark Helias,
Mike Sarin
Angel Orensanz Center 8 pm $15-25
Ikue Moris Bhima Swarga; Sylvie Courvoisier/Ben Perowsky Duo
The Stone 8, 10 pm $10
Janek Gwizdala Project with Tim Miller, Elliot Mason,
Jordan Perlson
Jazz Gallery 9, 10:30 pm $12
Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Dave Gibson Quartet
Smoke 9, 11 pm 12:30 am
Max Wild Band with Jesse Lewis, Soren Moller, Fraser Hollins,
Obed Calvaire
Kavehaz 6 pm
Dave Allen with Seamus Blake, Carlo DeRosa, Take Toriyama
Kavehaz 9:30 pm
Kris Davis Group with Chris Speed, Eivind Opsvik, Jeff Davis
Tea Lounge 9, 10:30 pm
Leslie Pintchik Trio with Scott Hardy, Mark Dodge
The Kitano 8, 9:45 pm
Judith Berkson
Barbs 8 pm
Sean Nowell Group with Travis Sullivan, Art Hirahara,
Danny Zanker, Joe Abbatantuono
55Bar 7 pm
Shift: Bryan Baker, Bryan Ladd, Ziv Ravitz
Bar 4 8:30 pm
Bill Ware
Puppets Jazz Bar 8 pm
Dan Furman Trio
Cleopatras Needle 8 pm
John Chin Trio
The Garage 8 pm

Friday, February 17
Sonny Fortune Quartet
Jimmy Cobbs Mob with

Sweet Rhythm 8, 10 pm 12 am $20


Peter Bernstein, Richard Wyands,
John Webber
Smoke 9, 11 pm 12:30 am $25
John Hollenbecks Large Ensemble with Ben Kono, Chris Speed,
Charles Pillow, Dan Willis, Bohdan, Rob Hudson, Kurtis Pivert,
Jacob Garchik, Mike Christianson, Tony Kadleck,
James De La Garza, Dave Ballou, Shane Endsley, Kermit Driscoll,
Kris Davis, Matt Moran, Theo Bleckmann, JC Sanford
The Kitchen 8 pm $10
Cecil Payne Sextet with Harold Mabern, Jim Rotondi, Steve Davis,
Todd Coolman
The Kitano 8, 9:45 pm $20
Charlie Hunter Trio with John Ellis, Derrek Phillips
Jazz Standard 7:30, 9:30 pm $25
John Ellis Quartet
Jazz Standard 11:30 pm $20

Danny Mixon Trio


Lenox Lounge 8, 10, 11:30 pm $20
Anat Fort Trio with Gary Wang, Roland Schneider
Cornelia Street Caf 9, 10:30 pm
Pittsburgh: From the Heart of Steeltown: Lincoln Center Jazz
Orchestra with Wynton Marsalis and guests Jeff Tain Watts,
Steve Nelson
Rose Hall 8 pm $30-130
Music of the Masters - Stanley Turrentine: Eric Alexander,
Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker
Allen Room 7:30 pm $40-130
George Coleman Quartet with Anthony Wonsey, Jerome Derro,
Joe Farnsworth
Birdland 9, 11 pm $30
Mark Murphy
Iridium 8, 10, 11:30 pm $30
Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30, 11:30 pm $30
Pete Malinverni Trio
Dizzys Club 1 am $10
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm $35
Curtis Stigers
Blue Note 8, 10:30 pm $25
Bill Wares Vibes
Blue Note 12:30 am $8
Marcus Gilmore Quintet with Gregoire Maret, Dayna Stephens,
David Bryant
Jazz Gallery 9, 10:30 pm $15
Larry Newcomb Trio with Mike Camoia, David Shaich
Enzos Jazz 8:30, 10:30 pm $15
Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5
Eric Plaks Quintet with Justin Rothberg, David Walker,
Ariel de la Portilla, Jon Panikkar
Kavehaz 6 pm
Loren Stillman Quartet with Nate Radley, Carlo Derosa,
Take Toriyama
Kavehaz 9:30 pm
Raz Mesinai Project; Halle Gafori
The Stone 8, 10 pm $10
Avi Rothbard Quartet
Fat Cat 10 pm
Chris Parello Trio
Bar Next Door 9 pm $8
Don Peretz Group with Loren Stillman, Oz Noy, Chris Lightcap
55Bar 7 pm
Sten Hosfalt solo
The Backroom 9:30 pm
Jon De Lucia Group with Nir Felder, Mike Oien, Ziv Ravitz
Vox Pop Coffee Shop 8 pm
Joe Giglio/Jonny Johannsen
107West 10 pm
Debbie Deane Band
Tea Lounge 9, 10:30 pm
Joni Paladin Quartet
Cleopatras Needle 8 pm
Jay Collins Trio
Bistro Jules 9:30, 11 pm
Bill Ware
Puppets Jazz Bar 9 pm
Champion Fulton
The Garage 5:45 pm
Virginia Mayhew Quartet The Garage 10:15 pm

Saturday, February 18
Dave

Douglas Keystone with Marcus Strickland, Adam Benjamin,


Brad Jones, Gene Lake, DJ Olive
Zankel Hall 8:30 pm $42
Spanish Fly: Steven Bernstein, David Tronzo, Marcus Rojas,
Ben Perowsky
Bowery Poetry Club 8 pm
Bill Stewart Group
Jazz Gallery 9, 10:30 pm $15
Susie Ibarra/Roberto Rodriguez
Joes Pub 9:30 pm $15
Sonny Fortune Quartet
Sweet Rhythm 8, 10 pm 12 am $20
Jimmy Cobbs Mob with Peter Bernstein, Richard Wyands,
John Webber
Smoke 9, 11 pm 12:30 am $25
John Hollenbecks Large Ensemble with Ben Kono, Chris Speed,
Charles Pillow, Dan Willis, Bohdan, Rob Hudson, Kurtis Pivert,
Jacob Garchik, Mike Christianson, Tony Kadleck,
James De La Garza, Dave Ballou, Shane Endsley, Kermit Driscoll,
Kris Davis, Matt Moran, Theo Bleckmann, JC Sanford
The Kitchen 8 pm $10
Cecil Payne Sextet with Harold Mabern, Jim Rotondi, Steve Davis,
Todd Coolman
The Kitano 8, 9:45 pm $20
Charlie Hunter Trio with John Ellis, Derrek Phillips
Jazz Standard 7:30, 9:30 pm $25
John Ellis Quartet
Jazz Standard 11:30 pm $20
Danny Mixon Trio
Lenox Lounge 8, 10, 11:30 pm $20
Tony Malaby, Angelica Sanchez, Tom Rainey
Cornelia Street Caf 9, 10:30 pm $10
Pittsburgh: From the Heart of Steeltown: Lincoln Center Jazz
Orchestra with Wynton Marsalis and guests Jeff Tain Watts,
Steve Nelson
Rose Hall 8 pm $30-130
Music of the Masters - Stanley Turrentine: Eric Alexander,
Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker
Allen Room 7:30 pm $40-130
Mark Murphy
Iridium 8, 10, 11:30 pm $32.50
George Coleman Quartet with Anthony Wonsey, Jerome Derro,
Joe Farnsworth
Birdland 9, 11 pm $30
Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30, 11:30 pm $30
Pete Malinverni Trio
Dizzys Club 1 am $10
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm 12:30 am $35
Curtis Stigers
Blue Note 8, 10:30 pm $25
Ayelet Rose Gottlieb Ensemble; Alon Nechushtans Talat
Ensemble with Marc Mommaas, Matt Pavolka, Jordan Perlson
The Stone 8, 10 pm $10
Jim Puglieses Phase III with Christine Bard, Michael Attias,
Kato Hideki, Marco Cappelli and guests Marc Ribot,
Kusun Ensemble: Nii Tettey Tetteh, Samuel Otu Kodjo,
Emmanuel A. Anang, Robert Obuobi Ashong,
Nelson Glover Yao, Addotei Bruice, Enest Borketey, Odai Moses
Issue Project Room 8 pm
Michael Camacho and Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Avi Rothbard Quartet
Fat Cat 10 pm
Chris Carroll Quartet with Art Hirahara, Nate Radley,
Thomson Kneeland
Kavehaz 6 pm
Russ Nolan Quartet with John Cowherd, Sean Conly,
Vinnie Sperrazza
Kavehaz 9:30 pm
Sandy Sasso with Gladstone Trott, Desi Norman, Rick Crane
55Bar 7 pm
Free Zone: Robert Dick, Reuben Radding, Lukas Ligeti;
Jim Kost Group
Caf Grumpy 9, 10 pm $5
Andy Statman
Barbs 8 pm $8
Brian Smith Group
Sistas Place 9, 10:30 pm $20
Grant Stewart Trio
Bar Next Door 9 pm $8
Dan Dechellis
5C Caf 7 pm
Dynamite Club: Mike Pride, Kentaro Saito, Jesse Krakow
BPM 11 pm
Hiroshi Yamazaki Quartet Cleopatras Needle 8 pm
Jaime Aff Trio
Puppets Jazz Bar 9 pm
Roy Campbell and TAZZ Tower Records Lincoln Center 1 pm
JazzSabrosan Quartet
Dizzys Club 1 pm
Larry Newcomb Trio
The Garage 12 pm
Hide Tanaka Trio
The Garage 5:45 pm
Chris Bergson
The Garage 10:15 pm

Sunday, February 19
Marcus

Rojas solo; David Tronzo solo; FlyMob: Steven Bernstein,


David Tronzo, Marcus Rojas, Briggan Kraus, Kenny Wollesen and
Tony Scherr
Bowery Poetry Club 9 pm

34 February 2006 | ALLABOUTJAZZ-NEW YORK

Assif

Tsahar, Cooper-Moore, Chad Taylor


Zebulon 10 pm
Harding/Walt Szymanski Ensemble
Europa Club 7:30 pm $10
Charlie Hunter Trio with John Ellis, Derrek Phillips
Jazz Standard 7:30, 9:30 pm $20
Mark Murphy
Iridium 8, 10 pm $30
Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III
Dizzys Club 7:30, 9:30 pm $30
Curtis Stigers
Blue Note 8, 10:30 pm $25
Bill McHenry Quartet with Ben Monder, Reid Anderson,
Paul Motian
Village Vanguard 9, 11 pm $30
Ben Perowsky Quartet with Chris Speed, Ted Reichman,
Drew Gress
Barbs 7 pm
Sebastian Noelle Group with Dave Smith, Dave Ambrosio,
Take Toriyama
Cornelia Street Caf 8:30 pm
Sway Machinery: Jeremiah Lockwood, Tomer Tzur;
Amanda Monaco 4 with Jason Gillenwater, Michael Bates,
Jeff Davis
The Stone 8, 10 pm $10
Valery Ponomarev and the VIP Jazz Band with Hilary Gardner
Birdland 6 pm $10
Jim Rotondi Quartet
Bacchus Room 8, 9:30, 11 pm $5
John Batiste
Sweet Rhythm 8, 10 pm $15
Gabriela Anders
55Bar 7 pm
Will Vinson Group with Lage Lund, Mike Moreno,
Johannes Weidenmueller, Ari Hoenig
55Bar 9:30 pm
Louie Belogenis/Shanir Blumenkranz
Downtown Music Gallery 6 pm
Blaise Siwula Birthday Celebration with Dom Minasi,
Chris Welcome, Shayna Dulberger, Robyn Siwula, Ray Sage,
Bonnie Kane, Adam Lane, Frank Keeley and others
ABC No Rio 8 pm $3
Robbi Kumalo and Friends
Saint Peters 5 pm
Dan Loomis Quartet with Jared Schonig, Brian VanArsdale,
Nathan Heleine
Village Bistro 7:30 pm
Mari Toussaint
The Jazz Spot 3 pm $10
Joni Paladin
The Garage 12 pm
Roz Corral/Gene Bertoncini Duo
North Square Lounge 12:30, 2 pm
Ellen OBrien with Dave Rosengard, Conrad Korsh
Blue Note 12:30, 2:30 pm $19.50
Alex

Monday, February 20
Allan Harris Cross That River Band
Blue Note 8, 10:30 pm $10
Upstarts!: Juilliard Jazz Ensemble; Weseda University
High Society Jazz Band Dizzys Club 7:30, 9:30 pm $15
New School Presents: Peter Zak Herbie Hancock Ensemble
Sweet Rhythm 8, 10 pm $10
Jon Lundbom/Bryan Murray Quartet with Moppa Elliott,
Danny Fischer
55Bar 7 pm
Mike Stern
55Bar 10 pm
Steve Coleman Presents Jazz Gallery 9 pm $15
James Chirillo Trio
Bacchus Room 8, 9:30, 11 pm $5
Voices and Songs: Jay Collins with Dred Scott, Chris Tarry,
Diego Voglino, Moses Patrou
Jazz Standard 7:30, 9:30 pm $15
Big Bang: Jane Rigle, Clyde Forth, Iain Machell;
David Rothenberg/Jaanika Peerna
Cornelia Street Caf 8:30, 9:45 pm $10
Natasha Drootin
Dannys Skylight Room 9:15 pm $15
Heather Bennett Quintet Smiths Bar 8 pm
Todd Neufeld Trio with Geoff Kraly, Vinnie Sperrazza;
The Inbetweens: Mike Gamble, Noah Jarrett, Conor Elmes
Bar 4 8 pm
Sanni Orasmaa Trio
Bar Next Door 8 pm $5

Tuesday, February 21
Music

Of Cedar Walton: Eric Reed Quartet with Terell Stafford,


Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30 pm $30
Dan Nimmer Trio with David Wong, Peter Van Nostrand
Dizzys Club 11 pm $10
Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,
Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Joey Calderazzo Trio
Jazz Standard 7:30, 9:30 pm $20
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm $30
Kneebody: Adam Benjamin, Shane Endsley, Kaveh Rastegar,
Ben Wendel, Nate Wood Zebulon 10 pm
Tim Ragusis Trio
Bacchus Room 8, 9:30, 11 pm $5
Ari Hoenig Group with Jean-Michel Pilc, Francois Moutin
Fat Cat 10 pm $10
SUNY Jazz: Bobby Avey Quartet with Pana Andreou,
Donny McCaslin, Jordan Perlson
55Bar 7 pm
David Binneys Balance with Craig Taborn, Thomas Morgan,
Dan Weiss
55Bar 10 pm
Cecilia Coleman
NYC Bahai Center 8, 10 pm $15
Monday Off: Raymond Sage, Hilary Gardner, Amy Cervini,
Richard Roland
Sweet Rhythm 8, 10 pm $15
Ken Hatfield/Hans Glawischnig
Fetch 8:30 pm
Christina Courtins Running Kicks with Mathias Kunzli,
Kyle Sanna; Michelle Casillas Ursa Minor with Robert DiPietro,
Rob Jost
The Stone 8, 10 pm $10
Joris Teepe
Lucilles at B.B. Kings 8 pm
Pete Robbins Centric
Bowery Poetry Club 10 pm $8
Jessica Lurie
Barbs 7 pm
Sean Driscolls Trio Grande with Brad Mason, Matt Pavolka,
Marko Djordjevic
Cornelia Street Caf 8:30 pm $8
Evans Thompson
5C Caf 5 pm
Jaime Aff Trio
Puppets Jazz Bar 8 pm
Benson-Scott Big Band The Garage 8 pm

Wednesday, February 22
Dexter

Gordon Birthday Celebration: Javon Jackson Quartet with


George Cables, Rufus Reid, Jimmy Cobb
Birdland 9, 11 pm $30
Night of the Ravished Limbs: The Pavones: Jessica Pavone,
Matt Bauder, Amy Cimini, Peter Evans, Matana Roberts,
Aaron Siegel; Taylor Ho Bynum Sextet with Matt Bauder,
Mary Halvorson, Evan OReilly, Jessica Pavone, Tomas Fujiwara
Barbs 8, 10 pm $12
Anthony Coleman; Yoel Ben-Simhon Sultana Ensemble with
Bassam Saba, Hicham Chami, Emmanuel Mann, Tomer Tzur,
Osama Faruk, Dorit Konig, Jay Rodriguez, Rachid Halihal,
Yousif Sheronick, Smadar Levi, Leanne Darling, Harel Shachal,
Daphna Mor, Liron Peled, Ramzi Edlibi, Carlos Revollar
The Stone 8, 10 pm $10
Chip White
Sweet Rhythm 8, 10 pm $15
Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford,
Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30 pm $30
Dan Nimmer Trio with David Wong, Peter Van Nostrand
Dizzys Club 11 pm $10
Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,
Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Joey Calderazzo Trio
Jazz Standard 7:30, 9:30 pm $20
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm $30
The Mahavishnu Project: Glenn Alexander, Adam Holzman,
Rob Thomas, David Johnsen, Gregg Bendian
Iridium 8, 10 pm $25
Andy Middleton with Sheila Cooper, Jim OConnor, Alan Ferber,
Darcy Hepner, Henry Hey, John Hebert, Owen Howard
Jazz Gallery 9, 10:30 pm $12
Yuri Bashmet, Igor Butman
Rose Hall 8 pm
DeeAnne Gorman and Trio with Jack Glottman, Paul Beaudry,
Adam Jackson
Enzos Jazz 8:30, 10:30 pm $15
Gregg August Sextet
Bacchus Room 8, 9:30, 11 pm $5
Gil Pritchett; Sam Ben-Meir
Cobis Place 7, 10 pm
Floriculture: Chris Mannigan, Carl Maguire, Trevor Dunn,
Dan Weiss
Tonic 8 pm
Adam Birnbaum Trio with Ben Wolfe, Rodney Green
The Kitano 8, 9:45 pm
MSM Concert Jazz Band Manhattan School of Music 8 pm
Joel Frahm Trio
Arthurs I/P 6 pm
George Dulins Disband with Sal Rosselli, Danny Zanker,
Take Toriyama
55Bar 7 pm
Mike Stern
55Bar 10 pm
Actual Trio: Pete Smith, Dave Ambrosio, Matt Garrity
Kavehaz 6 pm
Jon Notar Group
The Pourhouse 9, 10:30 pm $5
Jair Cohelo
Puppets Jazz Bar 8 pm
Manhattan Vibes
The Garage 8 pm
Art Lillard, Steve Blum, Nick Cudhay
Saint Peters 1 pm $5
LaGuardia High School Jazz Orchestra
Saint Peters 7:30 pm

Thursday, February 23
Kahil

ElZabars Ethnic Heritage Ensemble with Ernest Dawkins,


Corey Wilkes and guest Fareed Haque
S.O.B.s 8 pm
Vision Collaboration: Marlies Yearby/Nioka Workman;
Felicia Norton with Leroy Jenkins; Nancy Zendora with
Daniel Carter, Marilyn Sontag; Gus Solomons, Jr. with
Todd Nicholson, Kidd Jordan/William Parker
Vision Club 8 pm $20
Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz
Orchestra with Wynton Marsalis and guests Gerald Wilson,
Plas Johnson
Rose Hall 8 pm $30-130
Mike LeDonne Trio with Ron Carter
Smoke 9, 11 pm 12:30 am $25
Carmen Lundy
Iridium 8, 10 pm $27.50
Tim Bernes Paraphrase with Drew Gress, Tom Rainey
Jimmys Restaurant 8, 10 pm
Assif Tsahar, Cooper-Moore, Chad Taylor
Tea Lounge 9, 10:30 pm
Quinsin Nachoff, Mark Helias, Jim Black
Tonic 8 pm
George Garzone, Garth Stevenson, Ziv Ravitz
Bar 4 8:30 pm

Eyal Maoz; Rashanim: Jon Madof, Shanir Blumenkranz,


Mathias Kunzli
The Stone 8, 10 pm $10
Dexter Gordon Birthday Celebration: Javon Jackson Quartet with
George Cables, Rufus Reid, Jimmy Cobb
Birdland 9, 11 pm $30
Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford,
Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30 pm $30
Dan Nimmer Trio with David Wong, Peter Van Nostrand
Dizzys Club 11 pm $10
Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,
Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Joey Calderazzo Trio
Jazz Standard 7:30, 9:30 pm $20
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm $30
Action Trio: Michael Attias, Sean Conly, Take Toriyama
Kavehaz 9:30 pm
Ben Monder
Barbs 10 pm $5
Lenore Raphael Trio with Hill Greene, Montez Coleman
The Kitano 8, 9:45 pm
Virginia Mayhew
Sweet Rhythm 8, 10 pm $15
Patrick Cornelius Quartet with Aaron Parks, Alan Hampton,
Kendrick Scott and guests Nick Vagenas, Gretchen Parlato
Jazz Gallery 9, 10:30 pm $12
Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Interpretations: Wandelweiser Composers Ensemble;
Gamelan Son of Lion
Merkin Hall 8 pm $10
Harlem Speaks: Paul Robeson Jr.
Jazz Museum in Harlem 6:30 pm
Havana Carbo with Dario Eskenazi, Nilson Matta
55Bar 7 pm
Marcus Persian Trio
Cleopatras Needle 8 pm
Bill Ware
Puppets Jazz Bar 8 pm
Yardena
The Garage 8 pm

Friday, February 24
Whitney

Live: Hamid Drake/Michael Zerang


Whitney Museum 7 pm
11:30 pm $20
Stephan Crump,
Marcus Gilmore
Jazz Standard 7:30, 9:30, 11:30 pm $25
Joe Locke Quartet with Phil Markowitz, Ed Howard, Terreon Gully
The Kitano 8, 9:45 pm $20
Ben Goldberg Ensemble The Stone 8, 10 pm $10
Vision Collaboration: Gloria McLean with Ellen Christi,
Kazuko Miyamoto; Maria Mitchell; Marlies Yearby with
Nioka Workman; Elaine Shippman, Gabriel Zaragosa;
Kidd Jordan, Joe McPhee, Nioka Workman, Jackson Krall
Vision Club 8 pm $20
Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz
Orchestra with Wynton Marsalis and guests Gerald Wilson,
Plas Johnson
Rose Hall 8 pm $30-130
David Hazeltine Quintet with Eric Alexander
Smoke 9, 11 pm 12:30 am $25
Jaleel Shaw Quartet with Danny Grissett, Derrick Hodge,
Johnathan Blake
Jazz Gallery 9, 10:30 pm $15
Barbara Sfraga and Center Search Quest with
Christopher Dean Sullivan, Michael TA Thompson, Eri Yamamoto
Enzos Jazz 8:30, 10:30 pm $15
Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5
Neal Haiduck with Alex Bellegarde, Nathan Bloom, Rob Garcia
Detour 9 pm
Joe Giglio/Paul Bollenback
107West 10 pm
Carmen Lundy
Iridium 8, 10, 11:30 pm $30
Dexter Gordon Birthday Celebration: Javon Jackson Quartet with
George Cables, Rufus Reid, Jimmy Cobb
Birdland 9, 11 pm $30
Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford,
Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30, 11;30 pm $30
Dan Nimmer Trio with David Wong, Peter Van Nostrand
Dizzys Club 1 am $10
Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,
Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm $35
Kendra Shank with Ben Monder, Tony Moreno
55Bar 7 pm
Poul Weis Sextet
Kavehaz 6 pm
Ace Collective: Jorge Sylvester, Nora McCarthy, Donald Nicks,
Dafnis Prieto
Kavehaz 9:30 pm
Jeremy Udden Quartet Tea Lounge 9, 10:30 pm
John Chin Trio
Bar Next Door 9 pm $8
Disassembled Quintet: Sam Kulik, Diana Wayburn, Eric Eigner
Franois Grillot
5C Caf 7 pm
Kristjan Randalu Quartet Estonian House 9 pm
Simona Premazzi Quartet Cleopatras Needle 8 pm
Jay Collins Trio
Bistro Jules 9:30, 11 pm
Jaime Aff Trio
Puppets Jazz Bar 9 pm
Nick Moran Trio
The Garage 5:45 pm
Gerald Hayes
The Garage 10:15 pm
Carlos Garnett Quartet
Lenox Lounge 8, 10,
Vijay Iyer Quartet with Rudresh Mahanthappa,

Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,


Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm 12:30 am $35
Marc Mommaas Global Motion with Nikolaj Hess, John Hebert,
Tony Moreno
Cornelia Street Caf 9, 10:30 pm $10
David Gibson Quartet with Jeremy Manasia, Barak Mori,
Willard Dyson
Kavehaz 6 pm
Lucian Bans Assymetry with Jorge Sylvester, Brad Jones
Kavehaz 9:30 pm
Free Zone: The Color Now: Daniel Carter, Ty Cumbie, Adam Lane,
Lukas Ligeti
Caf Grumpy 9, 10 pm $5
Amiri and Amina Barakas Blue Ark
Sistas Place 9, 10:30 pm $20
Duke Ellington Society Concert with Eric Comstock
Saint Peters 8 pm
Paul Meyers Trio
Bar Next Door 9 pm $8
Michelle Walker
55Bar 6 pm
Michael Camacho and Joe Farnsworth Trio
Bacchus Room 8, 9:30, 11 pm $5
Medina and Friends with Neal Haiduck, Alex Bellegarde
Camaradas 10 pm
Lily Maases Hall of Mirrors with Rob Mosher, Evan Smith,
Matt Wigton, Fred Kennedy
Tillies 10 pm
Yutaka Uchida Quartet
Cleopatras Needle 8 pm
Bill Ware
Puppets Jazz Bar 9 pm
Steve Swell
Tower Records Lincoln Center 1 pm
Alejandro Aviles Quartet Dizzys Club 1 pm
Master Class: Gerald Wilson
Irene Diamond Education Center 2 pm
Joni Paladin
The Garage 12 pm
Mark Capon
The Garage 5:45 pm

Sunday, February 26
Anat

Fort Trio with Gary Wang, Roland Schneider; Jenny Lin,


Cornelius Dufallo, Dorothy Lawson
The Stone 8, 10 pm $10
Vijay Iyer Quartet with Rudresh Mahanthappa, Stephan Crump,
Marcus Gilmore
Jazz Standard 7:30, 9:30 pm $20
Jesse Selengut New Orleans Band
Europa Club 7:30 pm $10
Vision Collaboration: Yin Mei Project; Dance Words Speak Peace:
K.J. Holmes, Yoshiko Chuma, Patricia Nicholson, Billy Bang,
William Parker; Julian Barnett; Sonia Portugal/Rob Brown
Vision Club 5 pm $20
Carmen Lundy
Iridium 8, 10 pm $30
Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford,
Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30 pm $30
Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,
Marco Bermudez, Willie Torres, Maximo Rodriguez,
Pablo Chino Nunez, George Delgado, Jorge Gonzalez,
Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh,
Mitch Frohman
Blue Note 8, 10:30 pm $30
Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer,
Eric McPherson
Village Vanguard 9, 11 pm $30
Jim Rotondi Quartet
Bacchus Room 8, 9:30, 11 pm $5
Michael Blakes Free Association, Steven Bernstein, Ben Allison,
Kresten Osgood
55Bar 9:30 pm
The Four Bags: Bryan Drye, Jakob Garchik, Mike McGinnis,
Sean Moran
Barbs 7 pm
Michael Bates
Downtown Music Gallery 6 pm
Valery Ponomarev and the VIP Jazz Band with Hilary Gardner
Birdland 6 pm $10
John Batiste
Sweet Rhythm 8, 10 pm $15
Krackedlenz Project: Stephan Kammerer, Steve Elliot,
Matt Clohesy, Brian WolfeCornelia Street Caf 8:30 pm $8
Kathleen Keogh with Ed Chang, Motoko Shimizu; Carsten Radtke
ABC No Rio 8 pm $3
Neal Haiduck Quartet with David Heckdendorn, Alex Bellegarde,
Rob Garcia
Saint Peters 5 pm
Natasha Drootin
Dannys Skylight Room 9:15 pm $15
Danielle Cohen with Tim Collins, Thomas Morgan
Miles Bistro 9 pm $10
Joel Forrester and People Like Us
Bowery Poetry Club 11 am
Art Baron and Friends
Bowery Poetry Club 4 pm
Ed Stoute and the Brooklyn Allstars
The Jazz Spot 3 pm $10
Mark Harvey Trio
Middle Collegiate Church 3 pm
Jan Findlay
The Garage 12 pm
Roz Corral with Paul Meyers, Santi Debriano
North Square Lounge 12:30, 2 pm
Gretchen Parlato
Blue Note 12:30, 2:30 pm $19.50

Saturday, February 25
Carlos Garnett Quartet
Lenox Lounge 8, 10,
Vijay Iyer Quartet with Rudresh Mahanthappa,

11:30 pm $20
Stephan Crump,
Marcus Gilmore
Jazz Standard 7:30, 9:30, 11:30 pm $25
Joe Locke Quartet with Phil Markowitz, Ed Howard, Terreon Gully
The Kitano 8, 9:45 pm $20
Ben Goldberg Ensemble The Stone 8, 10 pm $10
Vision Collaboration: Yin Mei Project; Kevin Bachman,
Jason Jordan; K.J. Holmes/Roy Campbell; Sonia Portugal/
Rob Brown; Kidd Jordan, Roy Campbell, William Parker,
Alvin Fielder
Vision Club 8 pm $20
Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz
Orchestra with Wynton Marsalis and guests Gerald Wilson,
Plas Johnson
Rose Hall 8 pm $30-130
David Hazeltine Quintet with Eric Alexander
Smoke 9, 11 pm 12:30 am $25
Carmen Lundy
Iridium 8, 10, 11:30 pm $30
Dexter Gordon Birthday Celebration: Javon Jackson Quartet with
George Cables, Rufus Reid, Jimmy Cobb
Birdland 9, 11 pm $30
Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford,
Gerald Cannon, Willie Jones III and guests Stefon Harris,
Wycliffe Gordon
Dizzys Club 7:30, 9:30, 11:30 pm $30
Dan Nimmer Trio with David Wong, Peter Van Nostrand
Dizzys Club 1 am $10
Ralph Alessi Quartet with Andy Milne, Drew Gress, Mark Ferber
and guests
Jazz Gallery 9, 10:30 pm $15

Solo Acoustic Guitar


...a distinct and compelling
acoustic voice...Rolf is also a
master of scrumptious chord
motion...Shawangunk is the pure
expression of his nylon artistry.
- Tony Trischka, banjo virtuoso
www.rolfsturm.org
www.waterstreetmusic.org

ALLABOUTJAZZ-NEW YORK | February 2006

35

Monday, February 27
2006

Beacons Award Gala honoring Ed Bradley, Barry Harris,


Roy Haynes, Jon Hendricks with Bill Cosby, Chico Hamilton,
Charles McPherson, George Wein, Joe Chambers, Al Jarreau,
Earl May, Peter Mihelich, Neal Miner, Andy Watson,
Randy Weston, Leroy Williams, Reggie Workman and others
The Pierre 6:30 pm $500
Mordy Ferber
Blue Note 8, 10:30 pm $10
Upstarts!: Akiko Grace Dizzys Club 7:30, 9:30 pm $15
New School Presents: Charles Tolliver Art Blakey Ensemble
Sweet Rhythm 8, 10 pm $10
Justin Mullens Group with Peter Hess, Jacob Sacks, Bob Bowen,
Take Toriyama
55Bar 7 pm
Mike Stern
55Bar 10 pm
Steve Coleman Presents Jazz Gallery 9 pm $15
James Chirillo Trio
Bacchus Room 8, 9:30, 11 pm $5
Voices and Songs: Erin Bode
Jazz Standard 7:30, 9:30 pm $15
Diana Perez Quartet
Smiths Bar 8 pm
Tony Barba Trio; MHG 3: Mike Gamble, Noah Jarrett,
Matt Vorzimer
Bar 4 8 pm
Gretchen Parlato Trio
Bar Next Door 8 pm $5
Susan Singer
Dannys Skylight Room 7 pm $12

Tuesday, February 28
Joe

Chambers and the Outlaw Band with Javon Jackson,


Logan Richardson, Misha Tsyganoff, Dwayne Burno,
Woody Shaw III
New School 8 pm
Cachao
Blue Note 8, 10:30 pm $45
Fred Hersch solo
Village Vanguard 9, 11 pm $30
Cyrus Chestnut Quintet featuring Mark Whitfield
Dizzys Club 7:30, 9:30 pm $30
Helen Sung Trio
Dizzys Club 11 pm $10
Wolfgang Schalk with Dave Kikoski, Andy McKee, Ian Froman
Jazz Standard 7:30, 9:30 pm $15
Frank London; Shanir Blumenkranz Ensemble
The Stone 8, 10 pm $10
Mark Sherman Quintet
NYC Bahai Center 8, 10 pm $15
Dave Allen with Loren Stillman, Drew Gress, Mark Ferber
Cornelia Street Caf 8:30 pm $10
Christiana Drapkin
Sweet Rhythm 8, 10 pm $15
Tim Ragusis Trio
Bacchus Room 8, 9:30, 11 pm $5
Ari Hoenig Group
Fat Cat 10 pm $10
Eric Frazier Quintet with Danny Mixon, Todd Isler,
Donald Lee Jones, Quent Franklin; Patience Higgins and
The Sugar Hill Quartet with Andy Mc Cloud III, Marcus Persiani,
Dave Gibson
Nuyorican Poets Cafe 7 pm $15
Ken Hatfield/Hans Glawischnig
Fetch 8:30 pm
Steve Hudson with Peter Van Huffel, J. O. Begin, Mike Noordzy,
David Freeman
55Bar 7 pm
Leni Stern
55Bar 10 pm
Phil Palombie Scott LaFaro Workshop
David Gage Bass Shop 7:15 pm $20
Leo Blanco Ensemble
Lucilles at B.B. Kings 8 pm
TreZure with Courtney Bryan
Miles Bistro 9 pm $10
NYU Jazz Orchestra
The Garage 8 pm
Jaime Aff Trio
Puppets Jazz Bar 12 pm

Regular Engagements

MONDAYS
Ron Affif Trio
Zinc Bar 9, 11pm, 12:30, 2 am
Dave Allen Group
Push Caf 8 pm
Gene Bertoncini
La Madeleine 7:30 pm (ALSO SUNDAYS)
Rick Bogart Trio
Seppis 8:30 pm (ALSO WED, THURS, SUN)
Jim Campilongo
The Living Room 11 pm
Joe Cohn/Harry Allen Quartet Zuni 8 pm free
Patrick Cornelius/Lou Garrett Quartet Mona Lounge 9 pm
Eddy Davis New Orleans Jazz Band Caf Carlyle 8:45 pm $75
Kevin Dorn Collective
The Cajun 8 pm
Jam Session with NAMA Band NAMA 7:30 pm
JJA Jazz Jam
Local 802 7 pm
John Farnsworth Jazz Jam Smoke 9:30 pm
Jeanne Geis
Carnegie Club 9 pm
Patience Higgins
Lenox Lounge 9:30 pm $5
Ari Hoenig Trio
Smalls 10 pm $10
Jason Lindner Big Band Fat Cat 10 pm $10
Nathan Lucas Trio
Perks Restaurant 8 pm
Les Paul
Iridium 8:30, 10:30 pm
Vanguard Jazz Orchestra Village Vanguard 9:30, 11:30 pm
Melvin Vines Kortet with Kay Mori St. Nicks Pub 10 pm
Howard Williams Orchestra The Garage 8 pm
Scott Whitfield Jazz Orchestra Birdland 5:30 pm
Bill Wurtzel Trio
Roths Steakhouse 6 - 10 pm
TUESDAYS
Duke Ellington Orchestra Birdland 9, 11 pm
Dekel Bor Trio
CharleyOs 8 pm $7
Mike Cassedy, Dylan Heaney, Ben Campbell Williamsburgh Caf 7 pm
Sedric Choukroun
Seppis 8:30 pm
Seleno Clarke Trio
Perks Restaurant 8 pm
Anat Cohen and Friends Bistro Jules 8:30 pm
Espriens
Caf Charbon 10 pm - 1 am free
Joel Frahm
Bar Next Door 8 pm $5
Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am
Ken Hatfield Duo
Fetch 8:30 pm
Laurent Medelgi/Stefan Held Duo Ara Wine Bar 8:30 pm
Mingus Big Band
Iridium 8, 10:30 pm $25
Karin Okada
Anyway Caf Brooklyn 9 pm
Iris Ornig Duo
La Locanda 6 pm
David Ostwalds Centennial Band Birdland 5:30 pm
Stan Rubin Swing Era Big Band Charley Os Times Square Grill 8:30 pm
Dred Scott Trio
Rockwood Music Hall 12 am
Rich Siegel
Stonewall Bistro 7:30 pm
Slavic Soul Party
Barbs 7 pm
Grant Stewart/Joe Cohn Quintet Smalls 10 pm $10
Julius Tolentino Jam
Cleopatras Needle 8 pm
Jimmy Vass
University of the Streets 8 pm
Melvin Vines Kortet with Kay Mori St. Nicks Pub 10 pm
Bill Wurtzel Trio
Roths Steakhouse 6 - 10 pm
WEDNESDAYS
Hui Cox Group
Creole 9 pm
Eddie Davis and his New Orleans Jazz Band The Cajun 8 pm
Stacy Dillard cPhyve
No Malice Palace 9 pm
Eric Frazier Trio
JRG Fashion Caf 6 pm
Rick Germanson Duo
Ruths Chris Steakhouse 6 - 9 pm
Aaron Goldberg
Smalls 10 pm $10
Jonathan Kreisberg
Bar Next Door 8 pm $5
Nathan & Max Lucas Organ Trio Lenox Lounge 6 pm
Ryan Meagher Jam
Marcs Lounge 10 pm $5
Laurent Medelgi
Due Amici 8pm
Jacob Melchior
Philip Marie 7 pm
New School New Faces in Jazz Le Figaro Caf 8 - 11 pm free
Arturo OFarrill
Night and Day 8 pm
Valery Ponomarev Big Band Swing 46 8 pm
Ray Vega
Kavehaz 8:30 pm
Myron Walden/Darren Barrett Group Fat Cat 10, 11:30 pm $10
Open Mic with Jon Weiss Duo Giovannis Atrium 6 pm
Jerry Weldon Trio
Showmans 8:30, 10, 11:30 pm
Bill Wurtzel Trio
Roths Steakhouse 6 - 10 pm
THURSDAYS
Sedric Choukroun
Brasserie Jullien 7:30 pm
Duane Eubanks Late Night Session Sweet Rhythm 11:30 pm $10
Erik Frazier Band
Club 243 7 pm $10
Lucy Galliher/Don Moore Open Mic Perks Restaurant 8 pm
Rick Germanson Duo
Ruths Chris Steakhouse 6 - 9 pm
Jazz Vocal Coalition Jam Session Creole 9 pm
Justin Lees Guitar Duo Mr. Babbingtons 7 pm
Wayne Krantz
55Bar 9:30 pm
Manhattan Ragtime Orchestra The Cajun 8 pm
Jacob Melchior Trio
Roths Steakhouse 7 - 10 pm
Karin Okada Quartet
Ciao Stella 7:30, 10pm
Barbara Rosene
Times Square Brewery 8 pm
Lorenzo Sanguedolces Sweetblood Trio and Jam I.C.U. Bar 10 pm free
Thos Shipley
New Leaf Caf 7: 30, 9:30 pm free
Tammy Shoji Open Jam Cleopatras Needle 12 am
Andy Statman
Greenwich Village Synagogue 8 pm $10
Will Vinson
Bar Next Door 8 pm $5
Eri Yamamoto Trio
Arthurs Tavern 7 pm (ALSO FRI & SAT)
Lonnie Youngblood
Franks Cocktail Lounge
FRIDAYS
Lew Andersons All-American Big Band Birdland 5:30 pm
Andy Brown/Petra Jensen Osterua Del Sole 1 pm
Yoni Halevys Sienna Quartet Louis 649 7:30 pm
Canal Street Dixieland Jazz and Blues Band The Cajun 8:30 pm
Sedric Choukroun
Brasserie Jullien 8:30 pm
Mike Davis Quintet
St. Nicks Pub 10 pm
Jesse Elder Trio
Perks Restaurant 8 pm
Kelly Friesen Quartet
Shellys 8:30 pm
Jan Leder Trio
La Prima Donna 8:30 pm (ALSO SAT)
Jacob Melchior Trio
Roths Steakhouse 7 - 10 pm
Brady Miller Trio
Bleu Evolution 10 pm (ALSO SAT)
Poma-Swank
Io Lounge 7 pm
Donald Smith
St. Nicks Pub 10 pm
Society Giants
MOTO 8 pm
Terry Waldo
La Belle Epoque 5:30 pm
SATURDAYS
Andy Brown/Petra Jensen Osterua Del Sole 1 pm
Sedric Choukroun
Brasserie Jullien 8:30 pm
Alex Donner Big Band
Caf Carlyle 5:30 pm $45
Jazz Jam with Michael Vitali Group ICU Bar 4 pm
Whitney Moulton/Brian Cashwell Perks Restaurant 7 pm
Annie Ross
Dannys Skylight Room 7 pm $25
Red Onion Jazz Band
The Cajun 8 pm
SUNDAYS
William Ash
Bao 7:30 pm
Kevin Blancqs Crescent City Trio The Cajun 7:30 pm
David Coss and Trio
The Garage 7 pm
Tedd Dolhon Trio
Gramercy 24 11:30 am
Choro Ensemble
Bistro Jules
Sedric Choukroun
Seppis 11:30 am
Charles Davis
The Zipper Theater 9 pm
Toru Dodo Jam
Cleopatras Needle 4 pm
Marjorie Eliot, Rudell Drears, Sedric Choukroun ParlorJazz 4 pm
Lafayette Harris Trio
Lenox Lounge 7 pm
Grassroots Effort
Grassroots Tavern 7:30 pm
Michael Howell/Andy McCloud Village Restaurant 12:30 pm
Jazz Standard Youth Orchestra Jazz Standard 2 pm $5
Bob Kindred, John Hart, Steve LaSpina Caf Loup 12:30 pm
Peter Leitch
Walkers 8 pm
The Jazz Spot with Mike Magilligan Detour 9:30 pm
Peter Mazza
Bar Next Door 8 pm $5
Iris Ornig Trio
Caf Del Mar 6 pm
Carol Sudhalter
The Cajun 12 pm
Bob Ward/Kelly Friesen One91 12 pm
Chris Washburnes SYOTOS Band Smoke 9, 11 pm, 12:30 am

36 February 2006 | ALLABOUTJAZZ-NEW YORK

CLUB DIRECTORY
92nd Street Y Lexington Avenue at 92nd Street (212-415-5500)
Subway: 6 to 96th Street www.92ndstreety.com
107West 2787 Broadway (212-864-1555) Subway: 1 to 110th Street
ABC No Rio 156 Rivington Street
(212-254-3697) Subway: F to Second Avenue, J,M,Z to
Delancey Street www.abcnorio.org
AC Pianocraft Workshop 333 West 52nd Street (bet. 8th and 9th
Avenues) Subway: C, E to 50th Street
Algonquin Oak Room 59 W. 44th Street between 5th and
6th Avenues (212-840-6800) Subway: B, D, F, V to 42nd Street
Allen Room 33 West 60th Street, 11th floor
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to
Columbus Circle www.jalc.org
Alice Tully Hall (at Lincoln Center) 1941 Broadway at 65th Street
(212-875-5050) Subway: 1, 2 to 66th Street- Lincoln Center
www.lincolncenter.org
Angel Orsensanz Center for the Arts 172 Norfolk Street (between
Houston & Stanton) Subway: F, V to Second Avenue
Anyway Caf Brooklyn 1602 Gravesend Neck Road
(718-934-5988) Subway: Q to Neck Road
Arthurs I/P 13 East 13th Street (bet. 5th Avenue & University)
(212-807-6502) Subway: 6, N, R to 14th Street-Union Square
Arthurs Tavern 57 Grove Street
(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavernnyc.com
Bacchus Room at Bonafides 60 Second Avenue
(212-777-2840) Subway: F to Second Avenue
The Backroom 485 Dean Street at Sixth Avenue,
Brooklyn (718-622-7035) www.freddysbackroom.com
BAMCaf 30 Lafayette Ave at Ashland Place, Brooklyn
(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4,
5 to Atlantic Avenue www.bam.org
Bao 111 Avenue C (between 7th and 8th Streets)
B.B. Kings Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/
Times Square www.bbkingblues.com
Bar 4 15th Street and 7th Avenue, Brooklyn
(718-832-9800) Subway: F to 7th Avenue, N, M, R, D
to Prospect Avenue www.bar4.net
Bar Next Door 129 MacDougal Street
(212-529-5945) Subway: A, C, E, F, V to W. 4th Street
Barbs 376 9th Street at 6th Avenue, Brooklyn
(718-965-9177) Subway: F to 7th Avenue
www.barbesbrooklyn.com
Baruch College 17 Lexington Avenue at 23rd Street
(646-312-3924) Subway: 6 to 23rd Street
Birdland 315 W. 44th Street between 8th and 9th
Avenues (212-581-3080) Subway: A, C, E, F, V to 42nd
Street-Port Authority www.birdlandjazz.com
Bistro Jules 60 St Marks Place
(212-477-5560) Subway: 6 to Astor Place
Blue Note 131 W. 3rd Street at 6th Avenue
(212-475-8592) Subway: A, B, C, D, E, F, V to W. 4th Street
www.bluenotejazz.com
Blue Stockings 172 Allen Street Subway: F to Second Avenue
Bowery Poetry Club 308 Bowery (between 1st and
Bleeker Streets) (212-614-0505) Subway: F to Second
Avenue; 6 to Bleecker Street www.bowerypoetry.com
Bowne Street Church 14311 Roosevelt Ave, Flushing
BPM 237 Kent Avenue Subway: L to Bedford Avenue
Brecht Forum 451 West Street (between Bank & Bethune)
(212-242-4201) Subway: A, C, E, L, 1, 2, 3 to 14th Street
www.brechtforum.org
Caf Bar 247 Eldridge Street
(212-607-7835) Subway: F to Second Avenue
Caf Carlyle 35 E. 76th Street
(212-570-7189) Subway: 6 to 77th Street
Caf Charbon 168 Orchard Street Subway: F train to 2nd Avenue
Caf del Mar 89 MacDougal
(212-777-7521) Subway: A, B, C, D, E, F, V to W. 4th Street
Caf Grumpy Corner of Meserole Avenue and Diamond Street,
Brooklyn Subway: G to Nassau or Greenpoint Avenues
Caf St. Barts 50th Street and Park Avenue
(212-888-2664) Subway: 6 to 51st Street
Cajun Restaurant 129 8th Avenue
(212-691-6174) Subway: A, C, E to 14th Street
Camaradas First Avenue at 115th Street
Cargo Caf 120 Bay Street, Staten Island (718-876-0539)
Carnegie Club 156 W. 56th Street (212-957-9676)
Subway: N, Q, R, W to 57th-Seventh Avenue
Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
Chez Oskar 211 DeKalb Avenue at Adelphie Street, Brooklyn
(718-852-6250) Subway: D,M,N,R, Q to DeKalb Ave,
C to Lafayette Avenue www.chezoskar.com
Ciao Stella 206 Sullivan Street
(212-505-8530) Subway: A,B,C,D,E,F,V to West 4th Street
City Crab Park Avenue South at 19th Street
Cleopatras Needle 2485 Broadway between 92nd and
93rd (212-769-6969) Subway: 1, 2, 3 to 96th Street
www.cleopatrasneedleny.com
Cobis Place 158 West 48th Street between 6th and 7th
Avenues (516-922-2010) Subway: 1,2 to 50th Street
Cornelia Street Caf 29 Cornelia Street
(212-989-9319) Subway: A, B, E, B, D, F, Q to W. 4th
Street www.corneliastreetcaf.com
Creole 2167 3rd Avenue at 118th Street
(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com
Crossroads Caf 1241 Prospect Avenue, Brooklyn
(718-972-1852) Subway: F to Prospect Park
Dannys Skylight Room 346-348 West 46th Street
(212-265-8130) Subway: A, C, E, N, R to 42nd Street
www.dannysgrandseapalace.com
David Gage Bass Shop 36 Walker Street
(212-274-1322) Subway: A to Chambers Street
www.davidgage.com
Detour 349 E. 13th Street at First Avenue
(212-533-6212) Subway: L to First Avenue www.jazzatdetour.com
Dizzys Club Coca Cola 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
Downtown Music Gallery 342 Bowery
(212-473-0043) Subway: 6 to Astor Place; F, V to Second
Avenue www.downtownmusicgallery.com
The Duplex 61 Christopher Street
(212-255-5438) Subway: 1 to Christopher Street
Enzos Jazz 22 East 38th Street
Subway: 4, 5, 6, 7 to 42nd Street-Grand Central
Estonian House 243 East 34th Street at Second Avenue
(212-684-0336) Subway: 6 to 34th Street
Europa Club 98-104 Meserole Avenue, Brooklyn
(646) 322-4051 Subway: G Train to Nassau Avenue
www.europaclub.com
Fat Cat 75 Christopher Street at 7th Avenue
(212-675-7369) Subway: 1, 9 to Christopher
Street/Sheridan Square www.fatcatjazz.com
5C Caf 68 Avenue C (212-477-5993)
Subway: F, V to Second Avenue www.5ccc.com

Fetch 1649 Third Avenue between 92nd and 93rd Streets


(212-289-2700) Subway: 6 to 96th Street
55Bar 55 Christopher Street between Waverly Place
and Seventh Avenue South (212-929-9883) Subway: 1, 2
to Christopher Street www.55bar.com
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
Franks Cocktail Lounge 660 Fulton St. at Lafayette,
Brooklyn (718-625-9339) Subway: G to Fulton Street
Galapagos 70 North 6th Street, Brooklyn
(718-782-5188) Subway: L to Bedford Avenue
www.galapagosartspace.com
The Garage 99 7th Avenue South
(212-645-0600) Subway: 1 to Christopher Street
Greenwich Village Bistro 13 Carmine Street
(212-206-9777) Subway: A,C,E,F,V to W. 4th Street
Greenwich Village Synagogue 53 Charles Street at
W. 4th Street (212-242-6425) Subway: 1 train to
Christopher Street-Sheridan Square
Hunter College 695 Park Avenue at 68th Street (212-772-5207)
Subway: 6 to 68th Street
I.C.U. Bar 765 Washington Street at W. 12th Street
Il Campanello Restaurant 136 West 31st Street
(212-695-6111) Subway: A, C, E to 34th Street
Interchurch Center 475 Riverside Drive at 120th Street
Irene Diamond Education Center Broadway at 60th Street
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to
Columbus Circle www.jalc.org
Iridium 1650 Broadway at 51st Street
(212-582-2121) Subway: 1,2 to 50th Street
www.iridiumjazzclub.com
Isaac Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
Issue Project Room 400 Carroll Street, Brooklyn
Subway: F, G to Carroll Street www.issueprojectroom.org
JRG Fashion Caf 177 Flatbush Avenue, Brooklyn (718-399-7079)
Jazz 966 966 Fulton Street (718-638-6910)
www.illbrew.com/Jazz966.htm
Jazz Gallery 290 Hudson Street between Dominick
and Spring Streets (212-242-1063) Subway: C, E, to
Spring Street; 1, 2 to Houston Street
www.jazzgallery.org
Jazz Museum in Harlem 104 E.126th Street between
Park & Lexington Avenues (212-348-8300) Subway: 6 to
125th Street www.jazzmuseuminharlem.org
The Jazz Spot 375 Kosciuszko Street (718-453-7825)
Subway: J to Kosciuszko Street thejazz.8m.com
Jazz Standard 116 E. 27th between Park and Lexington
Avenue (212-576-2232) Subway: 6 to 28th Street
www.jazzstandard.net
Jesses Place 812 W. 181st Street
(212-795-4168) Subway: A to 181st Street
Jimmys Restaurant 43 E. 7th Street (basement) 212-982-3006
Subway: 6 to Astor Place
Joes Pub at the Public Theater 425 Lafayette Street
(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to
Astor Place www.joespub.com
Kavehaz 37 West 26th Steet between Broadway and
Sixth Avenue (212-343-0612) Subway: 1 to 23rd
Street www.kavehaz.com
The Kitano 66 Park Avenue at 38th Street
(212-885-7000) Subway: 6 to 33rd Street
The Kitchen 512 W. 19th Street
(212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org
Knickerbocker Bar & Grill 33 University Place at 9th
Street (212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com
Knitting Factory; Knitting Factory Tap Bar; Old Office
74 Leonard Street between Broadway and Church Street
(212-219-3055) Subway: 1,2 to Franklin Street
www.knittingfactory.com
La Locanda 737 Ninth Ave between 49th and 50th Streets
(212-258-2900) Subway: 1 to 50th Street, C, E to 50th Street
La Prima Donna 163 W. 47th Street (between 6th & 7th Avenues)
(212-398-3400) Subway: B, D, N, R, W train to W 47th Street
www.laprimadonnany.com
Laila Lounge 113 N. 7th Street (between Wythe and Berry)
(718-486-6791) Subway: L to Bedford Avenue
www.lailalounge.com
Le Madeleine 403 W. 43rd Street (212-346-2993)
Subway: A, C, E, 1, 2, 3 to 42nd Street-Times Square
Le Figaro Caf 184 Bleecker Street
(212-677-1100) Subway: 6 to Bleecker Street
Lenox Lounge 288 Lenox Avenue between 124th and
125th Streets (212-427-0253) Subway: 2, 3 to 125th
Street www.lenoxlounge.com
The Living Room 154 Ludlow Street
(between Stanton and Rivington) (212-533-7237)
Subway: F, V to Second Avenue
www.livingroomny.com
Local 802 322 W. 48th Street between Eighth and Ninth
Avenues (212-245-4802) Subway: C to 50th Street
Location One 20-26 Greene Street (212-334-3347)
Subway: A, C, E to Canal Street www.location1.org
Lotus Arts 109 West 27th Street, 8th Floor
Subway: 1, 9 to 28th Street www.lotusarts.com
Louis 649 649 9th Street at Avenue C (212-673-1190)
Subway: L to 1st Avenue www.louis649.com
Lucky Cat Lounge 245 Grand Street between Driggs and Roebling
Streets (718-782-0437) www.theluckycat.com
Makor 35. W. 67th Street at Columbus Avenue
(212-601-1000) Subway: 1, 2 to 66th Street-Lincoln
Center www.makor.org
Manhattan School of Music 120 Claremont Avenue
(212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu
Merkin Concert Hall 129 W. 67th Street between Broadway and
Amsterdam (212-501-3330) Subway: 1 to 66th Street-Lincoln
Center www.kaufman-center.org
Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street
(212-570-3949) Subway: 4, 5, 6 to 86th Street
www.metmuseum.org
Middle Collegiate Church Second Avenue at 7th Street
(212-477-0666) Subway: F to Second Avenue
Miles Bistro 228 West 72nd Street between Broadway
and West End Ave (212) 864-1829 Subway: 1, 2, 3 to 72nd Street
Miller Theater 2960 Broadway and 116th Street (212-854-7799)
Subway: 1 to 116th Street www.millertheater.com
Miss Elles & Co. 226 West 79th Street between Broadway
and Amsterdam (212-864-1829) Subway: 1 to 79th Street
Mo Pitkins 34 Avenue A (bet. 2nd and 3rd Streets)
(212-777-5660) Subway: F to Second Avenue www.mopitkins.com
New School 55 West 13th St., 5th floor (212-229-5896)
Subway: F, V to 14th Street www.jazz.newschool.edu
NYC Bahai Center Gillespie Auditorium
53 E.11th Street (212-222-5159) Subway: 4, 5, 6
to 14th Street-Union Square www.bahainyc.org
Night and Day 230 5th Avenuue, Brooklyn (718-399-2161)
www.nightanddayrestaurant.com

North Square Lounge 103 Waverly Place at McDougal


Street (212-254-1200) Subway: A, B, C, E, F, V to West
4th Street www.northsquarejazz.com
Orbit 2257 1st Avenue at 116th Street (212-348-7818)
Subway: 6 to 116th Street www.orbiteastharlem.com
ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981)
Subway: G to Clinton-Washington www.parlorjazz.com
Parlor Entertainment 555 Edgecombe Ave. #3F
between 159th and 160th Streets (212-781-6595)
Subway: C to 155th Street www.parlorentertainment.com
Perks Restaurant 553 Manhattan Avenue (at 123rd Street)
Subway: A, C, D to 125th Street
Pianos 158 Ludlow Street Subway: F, V to Second Avenue
Pierre Hotel Fifth Avenue at 61st Street
(212-940-9109) Subway: 4, 5, 6 to 59th Street
Pourhouse Metropolitan Avenue at Humboldt Street,
Brooklyn (917-776-6950) Subway: L to Graham Avenue
www.thepourhouse.com
Primi dell Classe 228 W. 72nd Street (212-875-0115)
Subway: 1, 2, 3 to 72nd Street
Puppets Jazz Bar 294 5th Avenue, Brooklyn
(718-499-2627) www.puppetsjazz.com
Push 294 Third Avenue between 22nd and 23rd Streets
Redds 511 Grand Street, Brooklyn (718-218-9429)
Rockwood Music Hall 196 Allen Street
(212-477-4155) Subway: F, V to Second Avenue
www.rockwoodmusichall.com
Rose Center (at the American Museum of Natural
History) 81st Street between Central Park West and
Columbus Avenue (212-769-5100) Subway: B, C to 81st
Street-MNH www.amnh.org/rose
Rose Hall 33 West 60th Street, 11th floor
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to
Columbus Circle www.jalc.org
Rubin Museum 150 West 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
Ruths Chris Steakhouse 148 W. 51st Street
St. Marks Church 2nd Avenue and 10th Street (212- 674-6377)
Subway: 6 to Astor Place
St. Nicks Pub 773 St. Nicholas Avenue at 149th Street
(212-283-9728) Subway: A, C, B, D to 145th Street
St. Peters Church 346 West 20th Street (212-563-5124)
Subway: A, C, E to 23rd Street www.matafestival.org
Saint Peters Church 619 Lexington Avenue at 54th
Street (212-935-2200) Subway: 6 to 51st Street
www.saintpeters.org
Seppis 123 W. 56th Street (212-708-7444)
Shellys 104 W. 57th Street at 6th Avenue
(212-245-2422) Subway: E,V to Fifth Avenue
Showmans 375 West 125th Street at Morningside)
(212-864-8941) Subway: 1 to 125th Street
Sistas Place 456 Nostrand Avenue at Jefferson Avenue,
Brooklyn (718-398-1766) Subway: A to Nostrand
Avenue www.sistasplace.org
Smalls 183 W 10th Street at Seventh Avenue
(212-929-7565) Subway: 1,2,3,9 to 14th Street
www.fatcatjazz.com
Smiths Bar 708 Eight Avenue
(212-246-3268) Subway: A, C, E, N, R to 42nd Street
Smoke 2751 Broadway between 105th and 106th
Streets (212-864-6662) Subway: 1 to 103rd Street
www.smokejazz.com
S.O.B.s 204 Varick Street
(212-243-4940) Subway: 1, 9 to Varick Street www.sobs.com
Spoken Words Cafe 226 4th Avenue between Union and President
(718-596-3923) Subway: N, R trains to Union Street
Stain Bar 766 Grand Street, Brooklyn
(718-387-7840) Subway: L to Grand Street www.stainbar.com
The Stone Avenue C and 2nd Street
Subway: F, V to Second Avenue www.thestonenyc.com
Sugar Bar 254 W. 72 St between Broadway and West End Avenue
(212-579-0222) Subway: 1, 2, 3 to 72nd Street
Sweet Rhythm 88 Seventh Avenue South between
Bleecker and Grove Streets (212-255-3626)
Subway: 1 to Christopher Street/Sheridan Square
www.sweetrhythmny.com
Swing 46 349 W. 46th Street
(646-322-4051) Subway: A, C, E to 42nd Street
www.swing46.com
Symphony Space 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
Tea Lounge 837 Union Street, Brooklyn
(718-789-2762) Subway: M, R to Union Street
www.tealoungeNY.com
Tillies 248 DeKalb Avenue
(718-783-6140) Subway: B, D, F, Q, N to DeKalb
Tonic 107 Norfolk Street between Delancey and Rivington Streets
(212-358-7503) Subway: F to Delancey Street; J, M, Z
to Delancey-Essex Streets www.tonicnyc.com
Tower Records Lincoln Center 1961 Broadway (at 66th Street)
(212-799-2500) Subway: 1, 9 to 66th Street
Town Hall 123 W. 43rd Street
(212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square
Triad 158 West 72nd Street, 2nd floor (212-787-7921)
Subway: B, C to 72nd Street www.triadnyc.com
Tribeca PAC 199 Chambers Street (212-346-8510)
Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org
Tribes Gallery 285 E. 3rd Street
(212-674-8262) Subway: F, V to Second Avenue
www.tribes.org
Velvet Lounge 223 Mulberry Street between Prince and
Spring Streets (212-965-0439) Subway: 6 to Prince Street
Via Della Pace 48 East 7th Street and Second Avenue
(212-253-5803) Subway: 6 to Astor Place
Village Restaurant 62 West 9th Street (212-505-3355)
Village Vanguard 178 Seventh Avenue South at 11th
Street (212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com
Vision Club 107 Suffolk Street www.visionfestival.org
Vox Pop Coffee Shop 1022 Cortelyou Road, Brooklyn
www.voxpopnet.net
Walkers 16 North Moore Street (212-941-0142)
The West End 2911 Broadway between 113th & 114th Street
(212-662-8830) Subway: 1 to 116th Street
Williamsburg Caf 170 Wythe Avenue, Brooklyn
(718-387-5855) Subway: L to Bedford Avenue
York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens
Subway: E train to last stop www.york.cuny.edu
Zankel Hall 881 Seventh Avenue at 57th Street
(212-247-7800) Subway: N, Q, R, W to 57th Street
www.carnegiehall.org
Zebulon 258 Wythe Avenue between Metropolitan and
North 3rd Street (718-218-6934) Subway: L to Bedford
Avenue www.zebuloncafeconcert.com
Zinc Bar 90 West Houston Street (212-477-8337)
Subway: A, C, E, F, V, to W. 4th Street www.zincbar.com
The Zipper Theater 336 W. 37th Street (212-563-0480)
Zuni 598 Ninth Avenue at 43rd Street (212-765-7626)
Subway: A, C, E to 42nd Street

ALLABOUTJAZZ-NEW YORK | February 2006

37

(GREENLEAF CONTINUED FROM PAGE 8)


Bimhuis, from its 2002 European tour. The latter is the
first in Greenleafs Paperback Series, which, Douglas
said, involves recordings that ought to be out there
but that would very rarely get a chance to see the light
of day, because of marketing and promotion
constraints. The Paperbacks are professionally
recorded, but feature minimalist packaging and are
sold only online and at a reduced price ($9 for one set,
or $15 for both sets of Live at the Bimhuis).
In addition to the Paperback Series, Greenleaf
offers fans several different subscription options,
where a prepaid contribution entitles them to CDs and
monthly digital downloads not available anywhere
else. Its just this special thing for people who choose
to help us out and subscribe, said Douglas. And we
trust them not to make copies for all their friends, he
added. I think a lot of listeners realize that youre
supporting a community of people trying to make
music in a difficult environment.
The sense of a community of listeners supporting
artists is tangible to Douglas now. Its just been a
thrill, he said. Were not selling as many records as
I sold when I was with RCA and we didnt expect to,
but the thrill is that I feel each sale is a real personal
connection with a listener who wants to hear it. Now I
feel like Im really part of something that counts at a
very basic level.
One of Douglas goals as Greenleafs Artistic
Director is to do more records with different artists in
the years to come. You know me, I like all kinds of
music and Id like to do a whole slew of recordings,
but I feel that whats the point of doing that if we cant
help the artist reach his or her listeners, he said. We
have to grow slowly.
In February, Douglas Keystone ensemble makes
its New York premiere at Carnegies Zankel Hall. He
also enters the studio for a new quintet recording this
month and Greenleaf plans a Paperback Series for
Kneebody in 2006 as well.
And, just maybe, in the future a digital file might
appear on Greenleafs Web site, featuring a
20-something Dave Douglas and a 20-something Mike
Friedman playing together at the recording session
where they met two decades ago. K
For more information, visit www.greenleafmusic.com.
Douglas is at Zankel Hall Feb. 18th. See calendar.
(ABC NO RIO CONTINUED FROM PAGE 8)
hate that I let anyone do anything. But I dont want it
to be just a free jazz night. I really do like all kinds of
music.

Its really about taste, how someone does


improvised music, he added. You can have two
people with alligator clips and one does something
interesting and the other person is just making noise
and thinks theyre doing something interesting. Thats
kind of what creative music is about, doing something
new.
Despite the open-door policy, the small audiences
are less likely to see singer-songwriters or indie
rockers than they are to see free jazz and free noise
improvisers, from the quiet to the very loud.
Saxophonist Jack Wright, guitarist Ed Chang,
percussionist Michael Evans and pianist Ursel Schlicht
are all recurring performers there. Traveling
musicians such as German violinist Christoph Irmer,
west coast percussionist Gino Robair and Georgiabased violist LaDonna Smith have all found gigs at the
space, when New York bookings can otherwise be
tough to come by for people from other places. The
late Peter Kowald, Kevin Norton, Joe McPhee and
Borah Bergman have all played there, and, of course,
Silwula - himself a strong improvisor - generally plays
a part in the open jams that follows the scheduled sets.
The open sessions are a central part of the
C.O.M.A. ideology, Siwula said, as well as being his
favorite part of the nights. The approach was carried
over from the Bunker Annex series that he helped to
curate at the Knitting Factory. After leaving that, he
was approached by people at ABC to start an improv
series there. He agreed, selecting an acronym for the
name before deciding what it would stand for. Initially
it was the Creative Out Music Association, but it
sparked too many things in peoples minds, the word
out, he said. He changed it to the Citizen
Ontological Music Agenda, a mouthful of a name that
suggests the open invites and the tenor of the space.
While much of what goes on at ABC No Rio is run
collectively - the building is also home to a weekly
punk series, a computer center, a darkroom, a print
shop and a library, all open to the public - Siwula said
he chose to oversee C.O.M.A. alone and keep the
bookings open to anyone.
I decided to not have it be a committee because I
hate committees, he said. I just have to keep
reminding myself benign indifference and not get to
charged up. Its kind of like a zen thing.
While theres no strict political affiliation to the
space, its hard to miss the feel. The walls are often
painted with murals calling current politicians to
question and they recently participated in an
international exhibition of work made by Arab and
Israeli artists.
I think its really independent, in that theyre
concerned about the future of the world, Siwula said
of the space. Theyre definitely left but theyre kind

Solar is

Eli Yamin, piano/vocal


Adam Bernstein, bass/vocal
Andy Demos, drums/reeds

debut release

SUNS OF
COSMIC CONSCIOUSNESS
ebullient - Time Out NY

now available everywhere!

www.solartunes.com
38 February 2006 | ALLABOUTJAZZ-NEW YORK

of free-floating left. Theyre more concerned about oh,


people in prison dont have books, lets send them
books. But I dont think youre going to find the
Daughters of the American Revolution meeting there.
On Feb. 19th, Siwula will mark his 56th birthday
with a special C.O.M.A. night, featuring himself in a
variety of duos and trios. In the spring - as he does
every year - he will organize a building-wide benefit,
this year raising funds needed more than ever. And
once a renovation schedule is set, he will organize a
special last concert before the room goes dark until
2007. When it resumes, it will be in an all-new ABC No
Rio.
Assuming that Im back there, he said, Im
hoping just to continue what Ive been doing in a nicer
room, which Im ready for, frankly - an even floor and
hopefully some chairs that dont break. K
For more information, visit www.abcnorio.org. Performers
this month include Julianne Carney/Adam Matta; Jed
Shahar/John Clair; Kurt Heyl/Ravi Padmanabha; Todd
Merrell, Lou Rossi, Casey Block; Travis Just, Matt
Richelson, Quentin Tolimieri; Blaise Siwula with Dom
Minasi, Chris Welcome, Shayna Dulberger, Robyn Siwula,
Ray Sage, Bonnie Kane, Adam Lane, Frank Keeley;
Kathleen Keogh with Ed Chang; Motoko Shimizu; and
Carsten Radtke. See calendar.

Rome Neals

BANANA PUDDIN
a JAZZ JAM AND OPEN MIC
FEB 28TH at 7 P.M. $7

ERIC FRAZIER AND QUINTET

with: Eric Frazier (percussion & vocals),


Danny Mixon (piano), Todd Isler (drums),
Donald Lee Jones (alto sax & flute),
Quent Franklin (bass)

JAN 31ST at 9 P.M.

$10 AND $5 FOR JAMMIN MUSICIANS


Featuring

PATIENCE HIGGINS AND


THE SUGAR HILL QUARTET
with Patience Higgins (sax)
Andy Mc Cloud III (bass),
Marcus Persiani (piano),
Dave Gibson (drums)

**COMPLIMENTARY BANANA PUDDIN FOR ALL**

RSVP NOW!!! @ 212-465-3167


or romekyn@earthlink.net
at the world famous
NUYORICAN POETS CAFE

236 East 3rd Street, (Bet B& C Aves)


(take F- train to 2nd Avenue)
www.nuyorican.org
Sponsors:
EricFrazierMusic.com, Carlton Spiller Esq, Kiini Ibura Jewelry,
Malchijah Hats, Audley Haffenden, Obe1.com, Boca Chica, Black
Spectrum Theatre, 966 Jazz, High Chai -The Tea Party Place, Milton
Slaughter Esq., Barbaras Flower Shop, THE CLASSICAL THEATRE OF
HARLEM, Inc., International African Arts Festival, NAMASKAR, BOB
LAWS HEALTH & BODY SHOP, le Souk / B3 Restaurants, Rainbow &
Thunderbolts MultiMedia Promotions, Inc. Bobcunninghambass.com,
Sankofa Kuumba Cultural Arts Consortium, Kimathi Card,
Sourceunltd.com, African Poetry Theatre, John D. SmithThe
Youngbloods Jazz Jam @ NAMA, Fredrick Levore, 4W Circle, Keur
NDeye Restaurant, saddledown.com, Kids Kitchen of Alaska

In Memoriam by Celeste Sunderland


Jackie Armstrong
Professional at age 15, the
trombonist soon found himself
in the Ted Heath Orchestra as a
frequent soloist and comic
entertainer on stage. One of the
UKs top trombonists, he died
July 16th aged 85.
Bill DeArango
Birds Anthropology, and
Dizzy Gillespies Night In
Tunisia feature his guitar. A
fixture on 52nd Street until
1948 when he returned to
Cleveland and embraced
jazz/rock fusion, DeArango
was 85 when he died Dec. 26th.

Phil Elwood
With a devotion to jazz
sparked at age 13 by Count
Basie, the critic brought an
appreciation of the music to
Calif. radio listeners in the 50s.
After 40 years at the SF
Examiner and Chronicle, he died
Jan 10th at age 79.
Bob Enevoldsen
Best known as a valve
trombonist, the arranger and
orchestrator also played tenor
sax and bass with the likes of
Gerry Mulligan, Bill Holman
and Henry Mancini before his
death Nov. 19th at age 85.

Harry Gold
A 1919 Original Dixieland Jazz
show solidified his desire to be
a
musician.
The
bass
saxophonist who eventually
started his own Dixieland style
band, Pieces of Eight, died
Nov. 13th. He was 98.

Ken Mackintosh
The British bandleader and sax
player formed his own big
band in 1948 at the Astoria
Ballroom, Nottingham and
sparked a dance craze in 1953
with The Creep. At age 86
Mackintosh died Nov. 22nd.

Mike Mikell
Whitney Houston got her start
at his Upper West Side club. A
jazz, R&B and literary hub in
the 70s and 80s, Lettermans
Paul Shaffer once called the
spot Soul Heaven. Mikell
passed away Nov. 18th at 80.

Jamie Hodgson
A shot of Dizzy Gillespie
playing chess backstage at a
London nightclub hung in a
collection of jazz photos at the
National Theatre last month.
The photographer who took
them in the 50s and 60s died
Jan 8th. He was 76.

Homer Mensch
The revered bassist/educator
played with NBCs Symphony
and the NY Philharmonic;
recorded with Jaco Pastorius
and Nina Simone; and taught
at Julliard, Mannes and the
Manhattan School of Music.
He died Dec. 9th aged 91.

Low Rawls
The Chicago born, Grammy
Award winning singer started
in gospel with childhood pal
Sam Cooke. He opened for the
Beatles in 1966 and topped the
charts with Youll Never Find
Another Love Like Mine. He
was 72 when he died Jan 6th.

Simon Salz
The jazz guitarist, called the
finest in South Florida,
founded the Gold Coast Jazz
Society Band and taught music
at many universities and
camps. He died at 50 in Nov.
Bob Weinstock
In 1949 at age 20 he released
Lennie Tristano recordings on
his label New Jazz, which soon
became Prestige. During two
decades at the helm he
recorded Miles Davis, John
Coltrane, Sonny Rollins and
Eric Dolphy. Weinstock died
aged 77, Jan. 14th.

BIRTHDAYS
February 1
James P.Johnson
1894-1955
Tricky Sam Nanton
1904-46
Sadao Watanabe b.1933
February 2
Andrew Brown 1900-60
Emanual Paul 1904-88
Joe Mondragon 1920-87
Sonny Stitt 1924-82
Mimi Perrin b.1926
Stan Getz 1927-91
James Blood Ulmer
b.1942
February 3
Lil Hardin Armstrong
1898-1971
Dolly Dawn 1919-2002
Snooky Young b.1919
Chico Alvarez 1920-92
John Handy b.1933
Leroy Williams b.1937
Bob Stewart b.1945

February 6
George Brunis 1902-74
Ernie Royal 1921-83
Conrad Gozzo 1922-64
Sammy Nestico b.1924
Bernie Glow 1926-82
Don Fagerquist 1927-74
Tom McIntosh b.1927
Nelson Boyd b.1928
February 7
Eubie Blake 1883-1983
Wilbur Sweatman
1892-1961
Ray Crawford 1924-97
Ray Alexander
1925-2002
King Curtis 1934-71

February 11
Claude Jones 1901-62
Bob Casey 1909-86
Matt Dennis 1914-2002
Martin Drew b.1944
February 12
Paul Bascomb 1912-86
Tex Beneke 1914-2000
Ernst Landl 1914-83
Leroy Harris b.1916
Bernie Privin 1919-99
Hans Koller 1921-2003
Art Mardigan 1923-77
Mel Powell 1923-98
February 13
Wingy Manone 1900-82
Les Hite 1903-62
Lennie Hayton 1908-71
Wardell Gray 1921-55
Ron Jefferson b.1926
Keith Nichols b.1945

February 8
Lonnie Johnson
1889-1970
Buddy Morrow b.1919
Pony Poindexter 1926-88
Eddie Locke b.1930
February 14
Perry Bradford
February 9
1893-1970
Walter Page 1900-57
Jack Lesberg b.1920
February 4
Peanuts Holland 1910-79 Elliot Lawrence b.1925
Manny Klein 1908-96
Artie Bernstein 1909-64 Joe Dodge b.1922
February 15
Harold Duke DeJean
February 10
Harold Arlen 1905-86
1909-2002
Walter Foots Thomas Walter Fuller 1910-2003
Jutta Hipp 1925-2003
1907-81
Nathan Davis b.1937
Wally Cirillo 1927-77
Henry Threadgill b.1944
Tony Fruscella 1927-69 Chick Webb 1909-39
Larry Adler 1914-2001
Kirk Lightsey b.1937
Wade Legge 1934-63
Sir Roland Hanna
Edward Vesala 1945-99
John Stubblefield
1932-2002
1945-2005
Walter Perkins
February 16
Machito 1912-84
1932-2004
February 4
Bill Doggett 1916-96
Roxelle Claxton 1913-95 Rahn Burton b.1934
Charlie Fowlkes 1916-80
Gene Schroeder 1915-75 Rufus Reid b.1944
Butch Morris b.1947
Howard Riley b.1943
Bill Mays b.1944

February 17
Wallace Bishop 1906-86
Charlie Spivak 1906-82
Harry Dial 1907-1987
Alec Wilder 1907-80
Buddy DeFranco b.1923
Buddy Jones b.1924
February 18
Emil Barnes 1892-1970
De De Pierce 1904-73
Hazy Osterwald b.1922
Frank Butler 1928-84
Billy Butler 1928-91
February 19
Johnny Dunn 1897-1937
Fred Van Hove b.1937
Ron Mathewson b.1944
David Murray b.1955

February 22
James Reese Europe
1881-1919
Bob Ysaguirre 1897-1982
Joe Tarto 1902-86
Rex Stewart 1907-67
Claude Fiddler
Williams 1908-2004
Buddy Tate 1914-2001
Joe Wilder b.1922
Dave Bailey b.1926
Whitey Mitchell b.1932
Roman Dylag b.1938
Marc Charig b.1944
Harvey Mason b.1947
Joe La Barbera b.1948

February 23
Cie Frazier 1904-85
Sterling Bose 1906-58
John Benson Brooks
1917-99
February 20
Jimmy Yancey 1894-1951 Money Johnson 1918-78
Fred Robinson 1901-84 Harry Lim 1919-90
Hall Overton 1920-72
Oscar Aleman 1909-80
Johnny Carisi 1922-92
Frank Isola b.1925
Richard Boone 1930-99
Bobby Jaspar 1926-63
Les Condon b.1930
Nancy Wilson b.1937
Lew Soloff b.1944
February 24
Anthony Davis b.1951
Jimmy Bertrand 1900-60
Leroy Jones b.1958
Johnny Miller 1915-88
Iain Ballamy b.1964
Eddie Chamblee b.1920
Ralph Pena 1927-69
February 21
Andrzej Kurylewicz
Al Sears 1910-90
b.1932
Tommy Stevenson
Michel Legrand b.1932
1914-44
Tadd Dameron 1917-65 David Fathead
Newman b.1933
Eddie Higgins b.1932
Nina Simone 1933-2003 Steve Berrios b.1945
Vladimir Chekasin b.1947
Graham Collier b.1937
Bob Magnusson b.1947
Herb Robertson b.1951
Maggie Nicols b.1948
Warren Vache b.1951

February 25
Ida Cox 1896-1967
Tiny Parham 1900-43
Ray Perry 1915-50
Fred Katz b.1919
Rene Thomas 1927-75
Sandy Brown 1929-75
Tommy Newsom b.1929
Ake Persson 1932-75
February 26
Chauncey Haughton
1909-89
Dave Pell b.1925
Chris Anderson b.1926
Hagood Hardy 1937-97
Trevor Watts b.1939
Yosuke Yamashita b.1942
Mike Richmond b.1948
February 27
Leo Watson 1898-1950
Mildred Bailey 1907-51
Abe Most 1920-2002
Dexter Gordon 1923-90
Chuck Wayne 1923-97
Harold Jones b.1940
John B. Williams b.1941
February 28
Edmund Cohanier b.1905
Louis Metcalf 1905-81
Lee Castle 1915-90
Svend Asmussen b.1916
Bill Douglass 1923-94
Marty Grosz b.1930
Donald Garrett 1932-89
Willie Bobo 1934-83
Pierre Drge b.1946

KIRK LIGHTSEY
February 15, 1937
Best known as an
accompanist, the pianist
recorded with Sonny Stitt
in the early 60s after
moving to the West Coast
from Detroit by way of
New York. He worked
with Chet Baker and later
joined Dexter Gordons
band. As a member of the
Leaders and with his own
trio, Lightsey proves to be
a charismatic soloist and
leader in his own right.
- CS

Separated at Birth?
Pianist Eubie Blake (l.)
Mahatma Ghan di (r.)

Leap Year Babies


Jimmy Dorsey 1904-56
Paul Rutherford b.1940

ONbyTHIS
DAY
Andrey Henkin

Grand Encounter
Lewis/Perkins (Pacific Jazz)
February 10, 1956

The late Bill Perkins (tenor) co-led


this date with the also departed John
Lewis (piano). Added to the mix is
the wonderful rhythm section of
guitarist Jim Hall, bassist Percy Heath
and drummer Chico Hamilton.
Concurrent relationships abound on
this date - Lewis and Heath in the
Modern Jazz Quartet and Hamilton
and Hall in the drummers quintet.
Perkins, a prototypical West Coast
player, makes this date special, a
program of standards and Two
Degrees East, Three Degrees West
by Lewis, the albums alternate title.

Manhattan Egos
Sonny Simmons (Arhoolie)
February 10, 1969

Exit
Pat Martino (Muse)
February 10, 1976

Earth Jones
Elvin Jones (Palo Alto-Quicksilver)
February 10, 1982

The Marmalade King


Gerry Hemingway (hatART)
February 10, 1994

the predominant style of


whatever era guitarist Pat Martino
has played in, he never stops
sounding like himself - a faster,
darker-toned heir to the tradition of
Wes Montgomery. By this album,
Martino had mixed his Philly soul
roots with post-Fusion leanings, ably
supported by pianist Gil Goldstein,
bassist Richard Davis (who played
with Martino on his landmark
Baiyina) and drummer Billy Hart.
This album is also notable for being
one of the few in Martinos catalogue
with more covers than originals.

David Liebman was the most suited


saxophonist to play with Elvin Jones
after his major influence and Jones
former employer Coltrane. The two
had played together for 10 years by
the time of this out-of-print recording.
This comfortable pairing is spiced up
by a trio of unique international
musicians: Japans Terumasa Hino on
cornet, Americas Kenny Kirkland on
piano and Czech bassist George
Mraz. The tunes are split evenly
between drummer and hornplayer,
with Never Let Me Go added for
good measure.

Gerry Hemingway is much more a


conceptualist than your typical
backline timekeeper. The album was
recorded in Bussum, Holland, a
mixture of sessions with and without
an audience. A five-part suite, all
written by the leader and acting as a
musical fairy tale, The Marmalade King
features an astonishingly virtuosic
lineup: reedman Michael Moore,
trombonist Wolter Wierbos, cellist
Ernst Reijseger (a native of Bussum as
it happened) and bassist Mark
Dresser. All of Hemingways cerebral
talents are on display here.

After two discs as a leader on ESP Despite


and one collaborative effort with
Prince Lasha, Simmons (solely on alto
sax) recorded this album for a label
not previously known for jazz (or
indeed after either). Simmons is
joined by an obscure trio, the most
notable musician his former wife
Barbara Donald on trumpet. The
material for this post-New Thing
album is all Simmons originals Coltrane in Paradise, The Prober,
the title track, the oddly titled Seven
Dance of Salami and Visions, all
energetic music typical of the time.

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ALLABOUTJAZZ-NEW YORK | February 2006

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