AUGUST 2017ISSUE 184 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.

COM

NELS
CLINE
music for lovers

VINCENT ERIC HUGH TADD

HERRING HARLAND STEINMETZ DAMERON
 Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East AUGUST 2017ISSUE 184
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Interview : vincent herring 6 by alex henderson
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ahenkin@nycjazzrecord.com Artist Feature : ERIC HARLAND 7 by marilyn lester
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On The Cover : NELS CLINE 8 by john pietaro
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Staff Writers
In Memoriam 12
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Festival Report 13
Ken Dryden, Donald Elfman,
Phil Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 14
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Mark Keresman,
Marc Medwin, Ken Micallef,
Miscellany 31
Russ Musto, John Pietaro,
Joel Roberts, JohnSharpe,
Elliott Simon, Andrew Vlez,
Event Calendar 32
Ken Waxman, Scott Yanow

Contributing Writers
Mathieu Blanger, Robert Bush,
Ori Dagan, Laurel Gross,
George Kanzler, Matthew Kassel,
Marilyn Lester, Ivana Ng
Contributing Photographers
Valerie Gay-Bessette, Peter Gannushkin,
William Gottlieb, Pierre Langlois
, Alan Nahigian, John Rogers,
Adrien H. Tillmann, Nathan West
Fact-checker
Nate Dorward
A generation is loosely defined as those born within a ten-year period, given such colorful
epithets as Baby Boomers, Gen-Xers and Millennials. Our Big Three features this month
represent three consecutive generations and were all mentored by members of earlier eras. This
is the connectivity that has kept jazz in its myriad forms evolving, drawing a direct line from
Buddy Bolden to Ambrose Akinmusire.
Guitarist Nels Cline (On The Cover, born 1956) got early direction (and a recording debut)
from reed player Vinny Golia; this month, Cline premieres the music from his Blue Note debut
Lovers as part of BRIC Celebrate Brooklyn! Festival and curates a week at The Stone.
Saxophonist Vincent Herring (Interview, born 1964) had crucial experience in the bands of
Nat Adderley and Cedar Walton; Herring is part of a Charlie Parker birthday celebration at
Birdland this month and hosts Monday Night jam sessions at Smoke. Drummer Eric Harland
(Artist Feature, born 1976) attended Betty Carter University on his way to becoming one of
todays most in-demand performers; he leads a variety of bands at Jazz Standard this month.

The music industry has changed, clubs come and go, jazz festivals become pop extravaganzas

nycjazzrecord.com but as long as younger musicians keep learning from their elders, jazz will be just fine.

On The Cover: Nels Cline (photo by Nathan West, courtesy of Blue Note Records)

All rights reserved. Reproduction without permission strictly prohibited.

All material copyrights property of the authors.

2 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 W W W. B LU E N OT E JA Z Z . CO M
AUGUST 2017

CHRISTIAN SCOTT EARL KLUGH

AUGUST 3 - 6 AUGUST 8 - 13

BOB JAMES
FEAT.
RANDY BRECKER (8/16)
& SPECIAL GUESTS ROY HARGROVE
AUGUST 15 - 20 AUGUST 29 - SEPTEMBER 3
JOEY DEFRANCESCO & THE PEOPLE AUGUST 1 & 2 EDDIE PALMIERI AUGUST 7 & 28
MCCOY TYNER AUGUST 14 JESSICA CARE MOORE - 8PM / THEO CROKER MONTHLY RESIDENCY - 10:30PM AUGUST 21
JOYCE MORENO AUGUST 22 DERRICK HODGE AUGUST 23
SPECIAL SUNDAY JAZZ BRUNCH
$ 39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL
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@bluenotenyc TWO SHOWS NIGHTLY 8PM & l0:30PM FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM
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THE SUN AUG 20

BAYLOR PROJECT:THE JOURNEY TOUR
KEITH LOFTIS - TERRY BREWER - BEN WILLIAMS - MARCUS BAYLOR
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VENUE OF THE YEAR 2016 -NYCJR HTOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY- NY MAGAZINE BRANDEE YOUNGER QUARTET
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BRAD WILLIAMS - AMMA WHATT
MARQUIS HILL BLACKTET
WED AUG 2 BRAXTON COOK - JOEL ROSS - JEREMIAH HUNT - MAKAYA McCRAVEN
MIKE RODRIGUEZ QUINTETRICK
JOHN ELLIS - GARY VERSACE
ROSATO - CRAIG WEINRIB FRI-SUN AUG 25-27
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DAFNIS PRIETO BIG BAND
PAT MARTINO TRIO PAT BIANCHI
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HARLAND TRIO
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JOEY ALEXANDER TRIO

FEATURING SUN AUG 20
RUBEN ROGERS SUN AUG 13
ERIC HARLAND JOHN CHIN SUN AUG 27 JAY SAWYER TRIO
 NEW YORK @NIGHT
Its hard to think of a better way to spend a humid,
rainy Friday evening than in an artists bunker in
Bushwick bearing witness to free improv and cracked
electronic exploration. The venue was Noise Workshop
(Jul. 14th), hosting sets from the New York Review of
Cocksucking (NYROCS, Michael Foster and Richard
Kamerman) and Plane Crash, the volatile but incisive
trio of guitarist Henry Kaiser, bassist Damon Smith
and drummer Weasel Walter. NYROCS opened, sitting
presented by
across from one another at card tables festooned with
little and not-so-little instrumentsharmonicas,
rattles, pot lids, cymbals, cassette players, pedals,
megaphone, no-input mixer and soprano saxophone
CHARLIE PARKER
and conjured a landscape of feedback, bilious
multiphonic gurgle, percussive clatter and disembodied
voices. While both Plane Crash volumes (released on
JAZZ FESTIVAL
ugEXPLODE and New Atlantis, respectively) have
offered sharply-defined acoustic gamesmanship, in
person they stuck to a charged energy often veering
towards progressive rock, Walter on an expansive
25TH ANNIVERSARY rock-drummer s kit, a sweaty and powerful chug
behind Kaiser s more topographical electric latticework
C E L E B R A T I O N and the throaty incisions of Smiths arco and meaty
pizzicato. The trio worked through one long and one
short improvisation, the rhythm section occasionally
AUGUST 2327
subsuming Kaiser s detail under brute force, but the
three eventually found a common axis of listening,
winnowing their improvisation to a focused, vibrantly
undulating language. Clifford Allen
FREE
Peter Gannushkin/DOWNTOWNMUSIC.NET
John Rogers www.johnrogersnyc.com
AUGUST 23, 2017 | 7:30-9 PM
CHARLIE PARKER WITH STRINGS
The New School Auditorium
66 West 12th St., Manhattan
AUGUST 24, 2017 | 7-9 PM
JASON SAMUELS SMITHS CHASIN THE BIRD
REMIXED
Marcus Garvey Park, Manhattan
AUGUST 25, 2017 | 7-9 PM Henry Kaiser @ Noise Workshop
ANAT COHEN TENTET / CAMILLE THURMAN
IN ASSOCIATION WITH JAZZMOBILE O ne would be forgiven for assuming that Saxophone
Marcus Garvey Park, Manhattan Summit at Birdland (Jul. 1st) would be a blowing
session in the vein of a Tenor Conclave or an Altissimo
performance. Far from that, soprano saxophonist Dave
AUGUST 26, 2017 | 3-7 PM Liebman, tenor saxophonist Joe Lovano and alto
LEE KONITZ QUARTET / TERRI LYNE CARRINGTON AND saxophonist Greg Osby used their 75-minute set to
SOCIAL SCIENCE / LOUIS HAYES / CHARENEE WADE explore four John Coltrane originals from the late
saxophonists 1960-67 floruit. The trio were joined by
Marcus Garvey Park, Manhattan an endlessly inventive rhythm section of pianist Phil
Markowitz, bassist John Bentez and drummer Obed
AUGUST 27, 2017 | 3-7 PM Calvaire, the latter s insistent and dappled press rolls
and brassy flair recalling Roy Haynes more than Elvin
JOSHUA REDMAN QUARTET / LOU DONALDSON
Jones. Beginning with the trilling modes of Equinox,
TIA FULLER / ALICIA OLATUJA it was clear that none of the saxophonists were
Tompkins Square Park, Manhattan beholden to recreating prior forms: Osby, husky and
meditative in his quizzical phrase reworking; Liebman,
a sinewy beam of light, exploding from the narrows;
VISIT SUMMERSTAGE.ORG Lovano, at times conservative, but with a liquid
deftness belying the unflagging mass of his tone.
FOR THE FULL SCHEDULE Seraphic Light took things further out, a saxophone
trio exploring rhythm and tonal overlay in a manner as
much George Crumb as it was the blues, Calvaire
#SummerStage entering in free time alongside Markowitz supple,
impish rhapsody before soprano, bass and drums took
off in flight. The closing India found Liebman on
SummerStageNYC wooden flute with a bent and piercing call, augmented
by piano strings and spry staccato before the familiar
SummerStage tune appeared at a breakneck tempo, Lovano quoting
Sonny Rollins East Broadway Rundown. (CA)
4 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
This is like the end of The Stone, trumpeter Steven
Bernstein remarked at the beginning of the Millennial
Territory Orchestra set (Jul. 2nd), though the closing
of the venue (named for beloved fan Irving Stone) was
still months away. A denizen of erstwhile Downtown
clubhouses like the Old Knit and Tonic (where
MTO cut its teeth), Bernstein has learned to play (and
roll with) the changes. His nonetclarinetist Doug
Wieselman; saxophonists Peter Apfelbaum (tenor/
soprano) and Erik Lawrence (baritone); trombonist
Curtis Fowlkes; bassist Ben Allison; drummer Ben
Perowsky; plus two subs in violinist Sam Bardfeld and
guitarist Will Bernardshowed fine form on the
bands traditional opener, St. Louis Blues, displaying
its unique but recognizable sound, which (somehow)
consolidates 20s whore-house blues, gospel, Swing,
Bird-bop, funk and free improv. Harnessed in
Bernsteins agile arrangements, the groups strong
personalities emerge in a communal, not individual,
context, a renovation of the heterophonic style of early
New Orleans jazz. One 4 Dos, a new chart, profited
from Bernsteins ongoing adjustments, swelling to
a loud, messy collective roar. Another original, Silver
Talk, was pure R&B, moving through cued sections.
Alongside the party music were complex harmonic
explorations: Charles Mingus Duke Ellingtons
Sound of Love and Ellingtons own Flirtibird. Sure,
The Stone will close its door, but these guys will find
new territory to travel. Tom Greenland
Steven Bernstein @ The Stone
Sandwiched between nondescript warehouse fronts
near the Gowanus canal, a small square box of a room
with white brick walls and colored baffles to dampen
the echoes, Ibeam Brooklyn is a far cry from
Manhattans glitzy jazz palacesand thus the ideal
setting for guitarist Joe Morris duet double-header
(Jul. 1st). The first set, with pianist Sylvie Courvoisier,
began with a brief exchanged glance, quickly
developing into a long suite of changing textures and
temperament. Courvoisier, the more exuberant (and
louder) of the two, zeroed in on low pedal tones,
countering them with clacking high notes produced by
hand-plucks or mallets on the bared strings. Morris
favored a traditional jazz guitar tone, creating variety
with muted notes and scratching attacks, generally
following Courvoisier s lead with soft lines or chords.
The second duet, with violinist Mark Feldman, was
more balanced in terms of instrument volume and the
give and take between players. Morris muted touches
now came to the fore, his chords more audible, rich
and mellow. Feldman played with romantic bluster,
see-sawing the bow across wide intervals, feathering it
to make bird-call harmonics, drilling his finger into the
neck on piercing vibratos, sliding to the upper brink of
the fingerboard for stratospheric sighs. But the best
moments were the most subdued, when the mood was
quiet, unforced. Courvoisier came back for a trio finale,
which, after some initial unease, ultimately achieved
gratifying and restorative, if unexpected, closure. (TG)

All these decades later, even as rents go up and
subways derail, musicians still want to move to New
York. On a macro level, there is the challenge of seeing
if you can make it there (and thus anywhere). More
micro is the chance to play such stunning venues as the
Museum of Modern Arts Sculpture Garden, your
notes wafting among Picassos and Matisses and more
recent works by Dan Graham and Isa Genzken. The
latter was represented by a 36-foot stainless steel rose,
next to which Marquis Hill performed to a capacity
crowd and dozens more listening over the wall on 54th
Street (Aug. 16th). Hill, winner of the 2014 Thelonious
Monk Trumpet Competition, has relocated here from
his native Chicago and, rose-like, already bloomed in
his new surroundings. Accompanying Hill was another
Chicago ex-pat and man-about-town in vibraphonist
Joel Ross (Hill likes the instrument in his groups, its
gauziness enveloping his perfectly articulated clarion
tone), bassist Chris Smith and drummer Jonathan
Barber completing the quartet. The concert, presented
in partnership with MoMA and Jazz at Lincoln Center,
was a breezy affair on an evening when the humidity
broke, Hill presenting five originals, including a
closing piece commissioned as part of MoMAs
Summergarden series in honor of sculptor Augusta
Savage. This was classic 60s postbop translated into
new millennium swing, shades of gospel and Mongo
Santamarias Afro Blue vying with soul flourishes
and funky breakbeats. Andrey Henkin
Adrien H. Tillmann - www.aht1985.com
alan nahigian
Marquis Hill @ MoMA Sculpture Garden
Before the Evanses, Wooleys, Finlaysons, et. al, Russ
Johnson was the citys go-to guy for envelope-pushing
trumpet for a wide array of groups. Then six years ago
he gave up Brooklyn hipsters for Wisconsin badgers,
taking a teaching gig and establishing himself anew in
the progressive jazz world of nearby Chicago. Johnson
still comes and visits, as he did for a weekend at
Cornelia Street Underground with a pair of old friends
in bassist Michael Bates and drummer Gerald Cleaver,
plus new associate Arun Ortiz at the piano bench. For
his first set (Jul. 1st), Johnson presented 50 minutes of
new music, four pieces of 10+ minute duration and
a five-minute closing volley. Johnsons playing is not
dependent on virtuosic fanfares, extended techniques
or textural explorations. He does quite a bit with
changes in dynamics, with the space between his notes.
He recalls Tomasz Stako in his ability to lead a group
exploration from behind his instrument. His themes
are, well, thematic and incorporate elements of twisty
bop learned, perhaps, from his time with saxophonist
Lee Konitz (to whom Johnson dedicated a tune, Lees,
also celebrating his daughter and mother). One piece
found him presenting a five-minute buzzing intro of
sparse melodic strokes, the piece developing slowly,
Johnson demonstrating an incomparable way with
ballads. And to show that the Midwest is not all Trump
country, the closing Slightly Off, written post-
election, was a drunken lurch, getting more strident as
it progressed, like the administration itself. (AH)
This is my final set here Weve been working hard
all week. By the end of the night, therell be blood,
sweat and tears all over the stage, Cassandra Wilson
announced to the packed house at the Blue Note
(Jul. 2nd). Wilson kicked off the show singing her
original lyric to Miles Runs The Voodoo Down,
droning the ominous words I got High John in my
pocket and mud in my shoes / Walked all the way
from Mississippi just to spread the news / Dont care
for idle conversation, Im not your girl about town /
But when it comes to making music, I run the voodoo
down in her signature smoky tone over the plucked,
then bowed violin of Warren Benbow and wah-wah
guitar of Brandon Ross, backed by the rhythm section
of Jon Cowherd, Lonnie Plaxico and John Davis. Ross
folkish guitar opened the singer s Another Country,
as she sang, The midday sun is beating drums quarter
time on our parade / We drove past city limits, engines
blazing all the way, with telling authority over the
bands swelling dynamics. Were doing a tour of my
DNA, she declared, detailing her multi-racial
background after a rendition of Angola delivered in
Portuguese patois. She stirringly sang her Love Is
Blind seated, wiping her eyes before standing to sing
Last Train To Clarksville, clapping rhythms to
honky-tonk piano. After a stirring Crazy He Calls
Me, she paused to dedicate the closing St. James
Infirmary to fallen comrade Geri Allen, ending
with The Saints Go Marching In. Russ Musto
Cassandra Wilson @ Blue Note
Revisiting music from his series of albums Latinizing
classic jazz compositions by some of the musics most
renowned artists, Conrad Herwig and his Latin Side
All Stars began the first of four nights at Jazz Standard
(Jul. 13th) performing the music of two of the
trombonists former leaders: Horace Silver and Joe
Henderson, getting started with Herwigs arrangement
of the former s Cape Verdean Blues. It featured
heated solos by Herwig, trumpeter Alex Sipiagin and
tenor saxophonist Craig Handy over pulsating Afro-
Caribbean cadences by the rhythm section of pianist
Bill OConnell, bassist Ruben Rodriguez, drummer
Robby Ameen and conguero Richie Flores, the latter
whose climactic solo had the room cheering.
Hendersons beautiful Black Narcissus found Handy
and Sipiagin on flute and flugelhorn, respectively,
blowing mellifluous harmonies while the orchestration
of Kenny Dorhams Blue Bossa (a Henderson
favorite) had the trumpet/tenor/trombone frontline
give the ensemble the sound of a big band. Things
slowed for Silver s Peace, which began with
trombone, flugelhorn and alto flute playing with
chorale-like intimacy sans rhythm section, prior to
lyrical solos by OConnell and Herwig, who tagged the
pianists arrangement with a solo cadenza. OConnells
take on Silver s classic Song For My Father was
replete with original melodic interludes, before
Herwigs CuBopping arrangement of Silver s
Nutville closed things explosively. (RM)
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
W H AT S N E W S
The Creative Music Studio (CMS) Fall Workshop
dates have been announced. The program will
take place Oct. 2nd-6th at Full Moon Resort in Big
Indian, NY with a faculty including Mary Halvorson,
Billy Martin and Omar Tekbilek. In related news,
CMS founders Karl Berger and Ingrid Sertso have
given over control of the organization, founded in
1971, to Rob Saffer, new Executive Director, and
Steven Bernstein, Peter Apfelbaum and Billy
Martin, artistic directors of the workshops (as well
as alumni). For more information, visit
creativemusic.org.
Saxophonist Wayne Shorter received the
prestigious Polar Music Prize, given annually by
the Royal Swedish Academy of Music and was
fted by Esperanza Spalding during the award
ceremony.
Smalls Jazz Club will host a Josh Benko Repair
Fund Benefit Event and a musical tribute to the
recently departed saxophonist led by Dwayne
Clemons and Sacha Perry Aug. 6th at 2 and 4:30
pm, respectively.
WGXC 90.7-FM in upstate New York has
announced a partnership with Roulette to
broadcast a monthly program, Tracking The Odds:
The Roulette Concert Archive, utilizing recordings
from the venues long history of presenting
progressive concerts. For more information, visit
roulette.org.
Benjamin Barson was named recipient of the
2017 Fred Ho Award as given annually by the The
ASCAP Foundation. Barson worked with the
composer for several years before his 2014 death.
For more information, visit ascapfoundation.org.
In addition to the concert scheduled for this years
Charlie Parker Jazz Fest, taking place at The
New School for Jazz and Contemporary Music
(Aug. 23rd), Marcus Garvey Park (Aug. 24th-26th)
and Tompkins Square Park (Aug. 27th), there will
be free outreach events at The National Jazz
Museum in Harlem (Aug. 23rd), Gin Fizz Harlem
(Aug. 23rd), 6BC Botanical Garden (Aug. 24th),
Ginnys Supper Club (Aug. 24th) and Harlem Rose
Garden (Aug. 25th). For more information, visit
summerstage.org.
It seems that a resolution of sorts has been reached
in the long-standing case between the estate of
late saxophonist Ornette Coleman and the label
System Dialing Records, which released New
Vocabulary in 2014, which was, at the time,
Colemans last recording. The United States
District Court, Southern District of New York,
dismissed the federal lawsuit with prejudice,
noting the plaintiffs sanctionable and dilatory
conduct, and thus absolving System Dialing of
any liability. For more information, visit
systemdialingrecords.com.
Submit news to info@nycjazzrecord.com
5
 I NTERVIEW
photo courtesy of the artist
Vincent Herring is one of the most skillful hard bop/postbop
players to come out of the Young Lion movement of the 80s.
Born Nov. 19th, 1964 in Hopkinsville, Kentucky and raised
in California, the alto and soprano saxophonist moved to
New York City in 1983 and worked with Art Blakey,
Cedar Walton, Nat Adderley, Dizzy Gillespie, Lionel
Hampton and many other greats along the way. Herring,
known for his robust, Cannonball Adderley-influenced tone,
has been recording as a leader since 1988 for Evidence,
Landmark, MusicMasters, HighNote and, most recently,
Smoke Sessions. During a recent interview, the 52-year-old
Herring discussed his current projects as well as his
impressive history.
The New York City Jazz Record: In what ways do you
feel you have evolved and grown as a musician since
you started out?
Vincent Herring: Wow, the list is too long to detail.
I guess the most important thing is that intellectually
I have learned more about music but, at the same time,
I have also grown emotionally with music. Ive
connected with the history of the music and Ive had
a chance to work with some historical guys. The lessons
of life and the lessons of music have helped me to grow
and become the musician I am now. Im continuing to
evolve, but Im aware of all the life lessons.
TNYCJR: Youve been recording for the Smoke Sessions
label in recent years. What are you currently doing for
them?
VH: I just recorded another project and its going to be
coming out in, I think, October or November. The
project is slightly different from what we originally
discussed. Originally, they just wanted me to go in and
cut a record. But I added a vocalist, Nicolas Bearde.
I added a horn section and [guitarist] Russell Malone
joins us for a few tracks. The record really came out
well. Im really proud of it.
TNYCJR: You seem to have a very positive relationship
with Smoke Sessions, the in-house label of Smoke Jazz
Club.
VH: My relationship with Paul Stache, the owner of
the label [and Smoke Jazz Club], is very good. The
label is all about music. Paul really cares about music.
He makes decisions based on music and that is rare.
Paul has a good business sense, but he is also someone
who really loves and cares about the music.
TNYCJR: One of your current projects is The Story of
Jazz, which has an historic outlook.
VH: The Story of Jazz is an allstar group of musicians,
starting with Jon Faddis and Jeremy Pelt on trumpets,
Eric Alexander and James Carter and myself on
saxophones, Steve Turre on trombone and shellsand
6 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
VINCENT
everything togethernot just his music, but his
relationship with the band. His relationship with the
people who dealt with the business. You would never
know that Cedar booked so much of his own stuff. We
had a pattern: we would do Dizzys Club for two
weeks in the summer. We would do the Vanguard for
HERRING
two weeks at the end of the year, before New Year s.
And wed do Birdland in April. That was five weeks in
New York City with Cedar. Then, he had a whole
pattern around the country and around the world he
would always follow.
TNYCJR: And Nat Adderley?
(CONTINUED ON PAGE 38)
by alex henderson
we have a vocalist named Nicolas Bearde. Hes a West
Coast person. A lot of people dont know him, but hes
very special. Mike LeDonne is on piano. Kenny Davis
is playing bass and Carl Allen is on drums. We run
through the history of jazz. The best way I can describe
this is if you ever went to a Motown revueor even
Michael Jackson back in the day when he would run
through all of his hitsthis, similarly, runs through the
history of jazz. The history of recorded jazz is pretty
short; recorded jazz is 100 years old this year. We start LOU CAPUTO NOT SO BIG BAND
with things from 1917James Carter on the clarinet The ZINC BAr - AUG 9Th
and Jon Faddis on the trumpet have such expertise in
TrIeD AND TrUe SwINGerS, They CAN TAke yOU ArOUND
playing that musicand we end up to today. We really The BLOCk wITh A BUNCh Of STOPS IN BeTweeN, ALL
run through the whole history of jazz. It turned out to Of whICh Are PLAyeD TO PerfeCTION ThrOUGhOUT.
-mIDweST reCOrD
be quite a crowd-pleaser hearing somebody like Jeremy
Pelt playing One Finger Snap and the next thing you LOUCAPUTO.COm
know, hes playing Feels So Good. Or hearing Jon
Faddis playing Things to Come and the next thing
you know, hes doing What a Wonderful World. It
runs through all the important times in this music and
its just an amazing show. Were going to be at Birdland
in January.
TNYCJR: Whats going on with Friendly Fire, your
project with Eric Alexander?
VH: Unfortunately, [High Note Records President] Joe
Fields just died. Eric and I were both on that label at
the same time; so, it was easier to get stuff done before.
We would like to do another record, but now Im on
Smoke Sessions and Eric is still on HighNote. So how
do we get it done? Whose record is it? What label does
it come out on?
TNYCJR: So, its up in the air whether Friendly Fire
will do a new album for HighNote?
VH: Its up in the air whether or not we can get it done.
TNYCJR: Eric is extremely expressive. He has major
chops, but he doesnt approach jazz in an overly
technical way. Hes soulful and warm.
VH: Thats correct. Thats the thing that separates Eric
from everybody else. Eric does have the technical side
and he is an incredibly knowledgeable musician. But
the thing that separates Eric from so many people
today is that he is genuinely soulful.
TNYCJR: Eric learned from the best, much like
yourself. Pianist Harold Mabern was his mentor. Along
the way, you played with quite a few major jazz icons
who are no longer with us, from Cedar Walton to
Freddie Hubbard, Art Blakey, Nat Adderley, Dizzy
Gillespie and Horace Silver. What are some of the most
important things you learned from playing with
musicians of that caliber? Cedar, for example?
VH: With Cedar, I watched and examined how he put
 ARTIST FE ATURE
photo courtesy of the artist
The power of music as a channel for healing and
spiritual exploration is, for many musicians, a given.
Where some may unconsciously channel these high
concepts in their playing, others, such as Duke
Ellington with his Sacred Music, John Coltrane with
A Love Supreme and drummer Eric Harland with his
latest release Vipasanna, deliberately pursue this line of
creativity. In fact, Harland says it was Coltrane who
was the chief influence on his drumming. As he has
developed his musicianship, Harlands personal
philosophy of his artistry and skill is based on his
spirituality, plus a proclivity for experimentation,
continuous creative learning and fearlessness in
performing. These elements, he believes, open a portal
that allow listeners to gain insight into each musical
moment for the highest musical experience. Its not
surprising, then, to learn that after graduating from
the Manhattan School of Music, Harland went on to
study theology at Houston Baptist University,
becoming an ordained minister.
Born in Houston, Texas in 1978, Harland is now at
that point where youth yields to maturity. The journey
so far has yielded a rich frame of reference, with
Harland not only leading his own group Voyager but
also being in demand with major players. Over the
years hes been a sideman for the likes of Charles
Lloyd, Terence Blanchard, McCoy Tyner, Joshua
Redman, Chris Potter, Kurt Rosenwinkel, Julian Lage,
Ravi Coltrane, Wynton Marsalis, Betty Carter and
a host of other notables. Hes so in-demand that his
discography now numbers in the hundreds. Yet
Harland is modest, a feature of his innate strength of
character as well as the result of his evolution as a
person and a musician. To prove the point, when asked
what he has yet to accomplish as an artist, he responds,
If you would have asked me this years ago, I would
have had a list of greats that I would have loved to
play with. The Harland of 2017 has a different outlook:
Now Im just really happy for whos in my life and
what I get to experience. I feel like thats whats meant
for me. So if theres anything to be accomplished,
its to be more in this space of appreciating whos here
right now.
Yet life was not always so fluid for Harland. As a
child and young man he was clinically obese, which
caused much grief. The road to turning his life around
meaningfully was a long one. His mother was often
uncomfortably religious, but also musical and his early
genius was encouraged. Harland precociously began
learning piano as a toddler, switching to drums at age
five. As to that memorable and remarkable experience,
he says, Piano definitely informs my work. The
instrument allows me to hear harmonies and sound in
a way that I wouldnt if I just played drums. And so,
provided with a Ludwig drum kit at an age when most
children were happily playing with blocks in
kindergarten, Harland found his strength and solace in
music under the direction of Craig Green. He was my
drum mentor since I was five years old, Harland
ERIC
For more information, visit ericharland.com. Harland is at
Jazz Standard Aug. 8th-13th as a leader and Aug. 17th-19th
with Joey Alexander. See Calendar.
Recommended Listening:
Greg OsbyInner Circle (Blue Note, 1999)
HARLAND
Charles LloydSangam (ECM, 2004)
Dave Holland SextetPass It On (Dare2-Emarcy, 2007)
Eric Harland VoyagerLive by Night
(Space Time, 2008)
SFJAZZ CollectiveLive 2009: The Works of
McCoy Tyner (SFJAZZ, 2009)
Charles Lloyd New QuartetPassin Thru
(Blue Note, 2016)
by marilyn lester SEAMUS BLAKESUPERCONDUCTOR
reports. Hes an amazing teacher/drummer from
Houston. In 1993 Harland began playing
professionally while at the same time completing
studies at Houstons High School for the Performing
and Visual Arts. He won the first chair with the regional
and state jazz band in 1992-93 and also met Marsalis,
who encouraged him to continue his studies in New
York City. Harland won a full scholarship to the
Manhattan School of Music, where he excelled, but at ...AMBITIOUS SUPERCONDUCTOR... ONE Of ThE MOST
a cost. After completing music school Harland AND IMAgINATIVE, fINDS ThE BRILLIANT,
ExPLORINg SAxOPhONIST-COMPOSER fULLy REALIzED
collapsed from exhaustion and self-starvation. It was DISTINCTIVE SERVINg DIVERSE ALBUMS IVE
at this point that he enrolled in Houston Baptist MEANS TO ExPAND ThE DICTATES fROM hIS hEARD IN LONg TIME.
jAzz PALETTE. CONSIDERABLE MUSE. gET IT.
University, studying the theology that has since
informed his life in many ways. -DOWNBEAT -jAzzTIMES -gEOffREy KEEzER
Harlands early experience with the late vocalist
Betty Carter (who died in 1998) was a pivotal step in AVAILABLE AT 5PASSION.COM
his musical development. She loved fast tunes,
Harland recalls, which called for constant focus and
attention. He credits Carter with teaching him how to
use the drums as a way of orchestrating within the
band. Notable in his playing is the capacity to treat
each element of the kit as a fully realized instrument
while integrating them all into a cohesive sound.
Harland notes that when he got seriously into jazz at
14 he would play all over the set, trying to hit
everything in sight. Eventually, he learned to swing
the set with less effort, which was ultimately more
powerful. Along with that ability to control his playing
came subtlety and nuance. Harland at any volume
level is articulate, detailed, even when its a challenge,
such as when there are no definable rhythmic patterns
in a piece. Heres where creativity comes in, he
acknowledges. Beyond being a drummer he considers
himself a shaper of the music.
Carter also encouraged Harland to stay true to his
own style, no matter what the musical situation. That
styleand his musical evolution to dateis showcased
in Harlands latest release Vipasanna with Voyager. In
it, Harland demonstrates his capacity to support,
enhance and lead. One of his strong suits, and hence
his popularity as a drummer, is a capacity to adjust
and conform, yet never yielding his own point of view.
My approach is just to allow the vibrations to be
there, he says, to not get in the way of what the
music is trying to say. His priority is a cohesive sound,
achieved by attuning to his fellow musicians,
perceiving what is needed by them in any given
session. Vipasanna is named for a meditation that
focuses on the body to gain insight through sensory
awareness. Harland achieves rhythmic complexity,
coupled with melodic lines and improvisations,
through an eclectic mix of styles, including several
hip-hop-influenced tracks.
Vipasanna reflects what Harland is striving for
most in his playing: Bliss in terms of being able to be
available for the purity of whats happening. Its
awesome to have ideas, but even better when those
ideas meet other ideas and become woven into a
beautiful tapestry of sound and momentum. v
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 7
 ON THE COVER
nathan west
N els Cline is just a few hours away from lift-off.
Europe-bound, hell be hitting the stage with Wilco,
the alternative rock band hes been a member of since
2004. First stop: Barcelona. The band will play dates
there and in Madrid as well as other sites including
Finlands Pori Festival, an annual jazz and new music
gathering founded in 1966. I played Pori a few years
ago and recall it as a super inelegantly drunken
festival, Cline said, laughing. But the performances
with Wilco, a job he describes as like winning the
lottery, arent the only events for which hes excited.
August finds him back home in Brooklyn where the
big stage in Prospect Park beckons.
Born in 1956 L.A., Nels Cline came of age alongside
the music. It was 1968 and I was 12 years old. Id began
playing the guitar that year, but everything changed for
me upon hearing Jimi Hendrix song Manic Depression.
It was pure electric excitement, sound mastery and
completely phenomenal at the time. It was a defining
moment then and I still feel its one of the main sources
of inspiration for me. Clines twin Alex, who had
begun playing drums that same year, first heard the
Hendrix recording and frantically called Nels down to
the familys Gerard Hi-Fi to revel in the moment with
him. In that records wake, the two embarked on a
musical sojourn that continues to this day.
By 1975, Cline began working at L.A.s Rhino
Records store and he, Alex and other free improvisation
devotees gathered regularly to bask in the avant garde.
Soon, Vinny Golia, a decade senior to the Clines, began
frequenting the store. Vinny had a huge impact on my
life. Hed been working with Anthony Braxton, Chick
Corea, so many of the people we saw as gods. He was a
painter who had been creating album covers for many
of these musicians and he started playing soprano
saxophone later in life. We jammed, listened to records,
talked about music. Hed come over like three nights
per week and have dinner with my family. We played
together on and off, but his music is so complex, its so
hard for me. The guitarist can trace his recording
debut to Golias Openhearted (Nine Winds, 1979).
In the 80s, Clines multi-faceted career was already
in evidence. Beyond the avant scene with Golia, hed
founded an experimental rock ensemble, BLOC, and
also began working in Julius Hemphills JAH Band.
Simultaneously, he happily crossed the boundary to
projects within the expansive punk sphere. In the
company of Thurston Moore and Lee Ranaldo of Sonic
Youth and then Mike Watt, late of Minutemen, the
guitarist descended upon the NYCs underground
from a distance of 3,000 miles. Im very proud of the
music I made with Mike, Cline reminisced. We toured
and did a couple of records. I was/am a huge Minutemen
fan. That was the connection between the music I was
engaged in and the world of punk.
Clines bifurcated track has continued over the
ensuing years, with a resum that boasts performances
with guitarist Wayne Kramer of the revolutionary rock
band MC5, cutting-edge jazz drummer Gregg Bendian,
no wave maven Lydia Lunch, ROVA Saxophone
Quartet, Wadada Leo Smith and Karl Berger. He also
8 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
NELS CLINE
music for lovers
by john pietaro
cast his disparate identity into the role of leader of the
Nels Cline Quartet and the ironically titled instrumental
ensemble Nels Cline Singers. In the midst of this came
the 2004 offer to join Wilco. Id been trying to play
music for a living in L.A. Though I was playing with
a lot of great artists, I was struggling to get by! Wilco
rescued me from going back to a day job. I wasnt
looking to join a rock band but when they came
knocking (laughs). 13 years later all I can say is that
its been a wonderful, simpatico experience.
The attention this highly-coveted gig brought
Cline surely hasnt damaged his reputation as an
instrumentalist with whom to be reckoned. Several
years ago he was cited by Rolling Stone as among the
100 greatest guitarists of all time. I used to listen to
guys like Scott Hamilton and think, God I wish I could
just focus on one style, one genre, then I wouldnt feel
like a sham. But, no, I feel lucky and enriched that
I got to hear all of these other voices and incorporate
them into my vision, he said. In fact, Clines
breadth has only become more expansive as of late.
Following his 2010 marriage to composer-multi-
instrumentalist Yuka Honda, a frequent collaborator,
Cline has engaged in sessions with many of the
Downtown New Yorkers whose careers hed followed
from afar in the 80s and 90s. And it goes on from
there. Lately Im obsessed with Harry Partch.
Listening with detailed scrutiny to Partch ensemble
pieces and Cages prepared piano work. These guys
American iconoclastic homosexual composerswere
the true mavericks. Frank Lloyd Wright looks like a
wimp compared to these guys!
Clines oeuvre also includes the stark, pensive
clarity that produced his Blue Note debut Lovers. This
intrepid double-album deftly reimagines mood
music, viscerally capturing the haunting, late-night
lounge sound of the late 50s-early 60s. But within it,
there is an earnest embrace of latter-day edginess. Its
the border where Duke Ellington and Gil Evans met
Henry Mancini and Johnny Mandel, Cline explained.
But its also an homage to musicians like Arto Lindsay
and Marc Ribot. Lovers is a project I first imagined
decades ago. I never thought it would actually be
recorded and at the eleventh hour it was licensed by
Blue Note. Going to the sessions with a 22-piece
orchestra, it was like we were in 1963. I felt like Sinatra
(laughs). Within a few years these large ensembles and
the mood music became lost.
For those born during the later baby boom years,
the bizarre nexus of popular song, cool jazz and (the
dreaded) easy listening music remains central to ones
personal soundtrack. Cline couches this in the advances
of postmodern concert music, austere darkness. He
has found the means to present this intimate experience
sans irony. Sorry, hipsters, this isnt the stuff of the tiki
bar/bachelor pad lampoon. Even within its lightest
strains, Lovers is constructed with certain import. Then
Cline takes it still deeper: By the early 70s, the
counter-culture had become a leading influence [in
popular culture]. And it was by then immersed in
ethnic music, especially Indian classical. This brought
great change, as did electronic music; so much
invention, so much innovation. The very low tones
were suddenly articulated in music and sound design.
Film scores particularly benefited. The rise of ethnic
musics and influence of electronics can be heard in the
genre of New Age where there are relatively few
chords, drones, mood, timber and modality. Minimalist
acuity to create tension or immersion. Yet, no wave,
punk, classical music of the 60s and world music all
hold these qualities as well.
Spoiler alert: its all in Lovers, amid killer
musicianship over the brilliant, timeless orchestrations
of conductor and trumpet player Michael Leonhart,
Clines partner in the project. The album may speak of
a past era but ultimately stands as a testament to the
guitarists very versatility or, as he put it, his mutt-
like existence. Here, songs of Rodgers-Hart and
Jerome Kern share space with Sonic Youth, Jimmy
Giuffre, Gabor Szabo, Arto Lindsay, Cline originals
and sound clouds of indeterminate pitch, pastel drips
and swaths of charcoal grey. Listen for a waning
moment from Henry Mancinis Breakfast at Tiffanys
score, Wheres The Cat?. This gripping cue toward
the films close doesnt appear on the soundtrack
album, but its impact on the screen action is utterly
thorough. It stayed with Cline for decades. Spectrally.
The musicians who encompass the ensemble
include some of the usual suspects as well as names
primarily associated with Nels or Alex Cline bands:
JD Parran, Steven Bernstein, Zeena Parkins, Kenny
Wollesen, Stephanie Griffin, Julian Lage and more.
Unlikely as it may seem in 2017, Cline has engaged the
full ensemble to reproduce the music of Lovers. Hes
done it in L.A. already and has plans to bring the show
to Europe, but the Prospect Park concert this month
will be a hallmark. Im extremely grateful to Celebrate
Brooklyn for this amazing opportunity, he stressed.
I never thought Id be playing my own music in that
incredible setting on a summer Saturday night.
Shortly after the Brooklyn gig wraps, Cline will be
moving into The Stone for a weeks residency and also
planned for this month is the release of Sky Music
(Rune Grammofon), an allstar recording in honor of the
70th birthday of legendary guitarist Terje Rypdal. Its
the kind of event in which we expect Nels Cline to take
part. Hes always aiming for the musical red zone. v
For more information, visit nelscline.com. Cline is at Prospect
Park Bandshell Aug. 5th as part of BRIC Celebrate Brooklyn!
Festival and The Stone Aug. 22nd-27th. See Calendar.
Recommended Listening:
Vinny GoliaOpenhearted (Nine Winds, 1979)
Nels Cline/Gregg BendianInterstellar Space
Revisited (The Music of John Coltrane) (Atavistic, 1998)
Nels ClineNew Monastery (A View Into the Music of
Andrew Hill) (Cryptogramophone, 2006)
ROVA/Nels Cline SingersThe Celestial Septet
(New World, 2008)
Nels Cline & Julian LageRoom (Mack Avenue, 2013)
Nels ClineLovers (Blue Note, 2013)
 ENCORE
HUGH
STEINMETZ
seidel photo
by andrey henkin
In Spring 2016 Storyville Records released August 1966
Jazzhus Montmartre, the debut performance of
saxophonist John Tchicais Cadentia Nova Danica
(CND). The group, an important European large
ensemble, has tumbled into obscurity compared to the
Globe Unity Orchestra or Mike Westbrook Concert Band
due to both its recordings (Cadentia Nova Danica,
Polydor, 1968 and Afrodisiaca, MPS, 1969) being long out
of print. The group featured a number of Danish players,
some lost to history and others whose work continued.
One of the latter is trumpeter Hugh Steinmetz.
Steinmetz was born Feb. 15th, 1943 in Copenhagen.
Like other native players, the trumpeter was heavily
influenced by visiting Americans who played at Jazzhus
Montmartre. As he related, I do not think the influence
from American musicians settling in Copenhagen has
been overstated... Youngsters like me, who more or less
lived in Montmartre like it was our second home, got to
know and make friends with the American guests pretty
well. We were very young, naive and inexperienced and
the meeting with, for example, Dexter Gordon opened
up a totally new world and vocabulary. I remember that
when he explained the expression mother...... for us, it
left us totally flabbergasted.
Steinmetz got his first trumpet at 14, inspired by
the music of Louis Armstrong. He learned jazz via New
Orleans standards, moved on to Miles Davis and John
Coltrane, finally falling into the music of Ornette
Coleman and his trumpeter Don Cherry. The group
The Contemporary Jazz Quartet with [alto saxophonist]
Franz Beckerlee, I, [bassist] Steffen Andersen and
various drummers was the first group in Denmark to
play almost all of Ornette Colemans compositions of
that time, Steinmetz recalled. It was with this group
LEST WE F ORGE T
TADD
DAMERON
william gottlieb
by stuart broomer
Composer Tadd Dameron made a unique contribution
to the vocabulary of modern jazz, creating the most
melodically memorable of the bop anthems as well as
crafting richly imagined orchestral arrangements.
Tadley Ewing Peake Dameron was born in
Cleveland on Feb. 21st, 1917. Growing up in a musical
family, he started playing piano at four. Moving to the
musical hotbed of Kansas City, he was composing for
Harlan Leonard and His Rockets in 1940, already
demonstrating a quintessential swing and lush
romanticism. A year later Dameron was in New York,
comparing harmonies with the other proto-boppers
and bringing that subtle impressionism and loping
swing to the leading bands of the day, writing first for
Jimmie Lunceford and eventually for Count Basie,
Artie Shaw, Buddy Rich and Benny Goodman.
As bop emerged from the war-time recording ban,
Damerons strongest work started to appear, classics
like Good Bait, Our Delight and Hot House, from 1962, was in many ways a summation of his work,
10 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
that Steinmetz made his recording debut, waxing
Action in 1964 with American drummer Sunny Murray
(at that time part of the Albert Ayler/Don Cherry
Quartet) and as The Contemporary Jazz Quintet (with
tenor saxophonist Niels Harrit added) in 1968, both for
the Debut label, which also released Steinmetz first LP
as a leader, NU!, in 1966 (only tangentially related to
the Charles Mingus/Max Roach imprint of the same
name, Fantasy Records licensing the name and some of
the U.S. releases to Danish bookseller Ole Westergaard).
Steinmetz and Andersen went on to work with
CND from its founding. The influence of Tchicai, who
had spent several years in New York City as part of The
New Thing, was the next stepping stone for Steinmetz.
As a whole the Copenhagen jazz scene was very
reluctant to accept The New Thing or free jazz and
John was not afraid to demonstrate his frustration,
said Steinmetz. One day he showed up in the radio
canteen and smashed his saxophone and flute and
several trays with drinking glasses on the floor while
shouting his displeasure at all the radio bosses in the
room. I was there myself experiencing the whole scene,
because it was in a break of recordings for a broadcast
of some of my compositions with The Radio Jazz
Group. The demonstration paid off after all, because
later John and I was signed up as leaders and composers
of a new Radio Orchestra, the at-that-time 25-piece
orchestra Cadentia Nova Danica with regular weekly
rehearsals and regular monthly broadcasts.
Steinmetz was among the few Danish musicians to
become part of the fabric of the larger European free jazz
scene. German saxophonist Peter Brtzmann hired him to
tour around Germany, which led to participation in the
seminal FMP LP European Echoes led by German trumpeter
Manfred Schoof, featuring players from Holland,
Germany, Switzerland, England, Belgium and Italy. The
Afrodisiaca LP was produced by Joachim Berendt, who
invited Steinmetz to be part of The Baden-Baden Free
Jazz Orchestra, which worked with the visiting Art
Ensemble of Chicago and released Gittin To Know YAll
(MPS, 1969) and a variation of which appeared on the
bootleg festival LP Born Free (Scout, 1970).
His star seemingly on the rise, Steinmetz career
was put on indefinite hold in 1975. I had a severe and
recorded regularly by Dizzy Gillespie and Charlie
Parker and then everyone else. He wrote the wonderful
If You Could See Me Now for Sarah Vaughan. Given
the opportunity, Dameron composed larger-scale
works expanding upon the French impressionist
influences of Debussy and Ravel, creating Soulphony
for Three Hearts for Gillespies big band (1948) and
later the three-part Fontainebleau for his Prestige
octet session in 1956.
No one would mistake Dameron for a great bop
pianist, but his harmonic imagination was a wellspring
for creative soloists. In 1948 he led bands at The Royal
Roost that featured trumpeters Fats Navarro and Miles
Davis, the radio broadcasts later released on LP and
CD. He also led incidental recording sessions until the
mid 50s, crafting distinctive voicings for midsize
bands with sidemen including Navarro, Davis, Clifford
Brown and Benny Golson. In 1957, he recorded Mating
Call with John Coltrane and Philly Joe Jones, including
another great ballad On a Misty Night.
Like many of his generation, Dameron suffered
from heroin addiction and was confined at the federal
hospital in Kentucky in 1958. Released in 1960, he
enjoyed a career resurgence, writing big band
arrangements for Riverside sessions led by Milt Jackson
and Blue Mitchell, the latter featuring the soaring title
track Smooth as the Wind, a reminder of Damerons
devotion to the beautiful. His own LP, The Magic Touch
The Magic Touch (Riverside, 1962)
complicated surgery in the sinuses after which the
doctors grounded me as a trumpet player, he recalled.
That depressed me so much that I completely
withdrew from making music. For some years I worked
in different fields: accountant/cashier in a craftsman
company, sound engineer and cameraman in a film
production company and for a period even as a taxi
driver. In 1982 he decided to go back to making
music and to start all over again from scratch. I began
to study at The Institute of Musical Science at The
University of Copenhagen and finished in 1990 with an
M.D. During that time I started to play trumpet with
The University Big Band and I realized that the scars
from the surgery had healed so much that I could
continue to play trumpet again. Since that time,
Steinmetz has come back to recording, making albums
with his old friend from CND and late 60s-early 70s
psychedelic rock band Burnin Red Ivanhoe, alto
saxophonist Karsten Vogel, and leading his own groups
like Communio Musica and his Octet, which released
its debut of Steinmetz originals in 2012.
Steinmetz aims to be varied in his musical output:
In Denmark there is a tendency to put people in boxes
with labels. Once you have been labeled for example a
free jazz pioneer , God help you if you write and play
thoroughly composed and written music. However,
I totally refuse to be put in a box and I try to play and
write new compositions all the time... I play free jazz
and standard jazz with equal pleasure and I compose
free fantasy compositions as well as Thad Jones-style
compositions for big band. v
For more information, visit hughsteinmetz.dk
Recommended Listening:
Contemporary Jazz QuartetAction: The Original
Debut Recordings (Debut-SteepleChase, 1964/1967)
Hugh SteinmetzNU! (Debut-SteepleChase, 1966)
Cadentia Nova DanicaAugust 1966: Jazzhus
Montmartre (Storyville, 1966)
Communio MusicaGate of Changes (Olufsen, 1997)
Hugh Steinmetz QuartetJanus Head (CIM, 2002-03)
Hugh Steinmetz SextetThe Cherry Blossom
(Hummin, 2007)
including tunes from the 40s-50s as well as new pieces,
played by superb bands that included Clark Terry,
Johnny Griffin, Philly Joe Jones and Bill Evans.
Dameron died of cancer in 1965 but his
compositions have endured, from the easy swing of
Good Bait and fiery Hot House to the ballads that
have inspired readings by the most lyrical players, like
Chet Baker and Bill Evans. In the mid 80s his old
friend Philly Joe Jones and trumpeter Don Sickler
launched Dameronia, a big band devoted to Damerons
music. Paul Combs study Dameronia: The Life and
Music of Tadd Dameron (University of Michigan Press,
2012) is an excellent introduction to his work. v
A Dameron centennial tribute with the Joe Lovano Nonet is
at Village Vanguard Aug. 1st-6th. See Calendar.
Recommended Listening:
Fats Navarro and Tadd DameronThe Complete
Blue Note and Capitol Recordings
(Capitol-Blue Note, 1947-49)
Miles Davis/Tadd Dameron QuintetIn Paris
Festival International de Jazz (Columbia, 1949)
Clifford BrownMemorial (Prestige, 1953)
Tadd DameronFontainebleau (Prestige, 1956)
Tadd Dameron with John Coltrane
Mating Call (Prestige, 1956)
Tadd Dameron and his Orchestra
 L ABELSPOTLIGHT
circum-disc
by ken waxman
Creating more exposure and new opportunities for
the music of the members of Muzzix collective was the
idea behind establishing Circum-Disc in 2004. Based in
Lille, France, the label now not only puts out some
discs by non-Muzzix members, but has also established
two additional imprints, HeliX and microcidi. The
idea at the beginning was the same as the idea of
creating a collective: being independent in our choice
and master all the aspect of our artistic projects,
explains drummer Peter Orins, one of Muzzix artistic
directors and Circum-Disc label coordinator. In the
beginning Circum-Disc was only devoted to Circum
project, or the contemporary jazz side of Muzzix.
HeliX was launched in 2007 with two releases of
La Pieuvre, which was not a Circum band, but from
another collective, Le Crime, which was dedicated to
improvised and experimental music. So HeliX is more
about free music and experimental music. In 2010
Circum and Le Crime merged as Muzzix. As for
microcidi, the idea was to release live concerts and
projects coming from outside the collective.
By the end of 2016 the three Circum-Disc labels
combined had released 42 productions featuring about
100 different musicians. But of course we have many
big orchestras, jokes Orins. There are more Muzzix
members featured, because thats the initial goal of the
label. But thats not a condition. Founded in 2000,
Muzzix not only releases records but also promotes
Le Benefice Du Doute Stt
Impression Stefan Orins Trio
VOX NEWS
DURING THE DOG DAYS
by suzanne lorge
50 years ago, Frank Sinatra and Antnio Carlos
Jobim recorded the landmark Francis Albert Sinatra &
Antnio Carlos Jobim (Reprise), a collection of seductive
bossa novas that kept Sinatra musically relevant
during the onslaught of British rock in the latter part of
the 60s. The album features lush arrangements by
Claus Ogerman; Diana Krall would later rip a page
from the Sinatra/Jobim book to record her own bossa
album, Quiet Nights (Verve), with Ogerman in 2009.
Earlier this year, Universal Music Enterprises dropped
a luxe, remastered version of the classic album to
commemorate this inspired collaborationbut they
werent the only ones wanting to pay homage.
Guitarist/singer John Pizzarelli met up digitally
with Jobims Rio-based grandson, singer/pianist
Daniel Jobim to record Sinatra & Jobim @50 (Concord).
Pizzarelli doesnt include every tune from the original
he stays clear of The Girl from Ipanema, for instance
instead offering a nice mix of medleys and singles from
the original, some other Jobim tunes and a few originals.
His arrangements feature a trio with occasional tenor
saxophone rather than an orchestra, so right away his
renditions are less formal, more open. And Daniels
awareness of advanced and improvised music through
concerts and workshops aimed at school, professional
and amateur audiences. Muzzix has three artistic
directors, Orins, Yanik Miossec and Christian Pruvost,
plus four other musicians who are elected annually
from the collective. The seven are responsible for all
artistic decisions, which include who records for the
label, which is set up as a financially independent
organization. When it comes to day-to-day label
activity though, pre-production to release is taken care
of by Orins, as coordinator, and the musicians featured
on the sessions, which have ranged from solo discs to
big band projects. Nobody works fulltime for Circum-
Disc and nobody is employed by it, Orins adds.
Circum-Disc certainly wasnt the first musician
created label in France, but Orins recalls that its birth
came about at a time when almost no record company
had the budget to produce anything, so it was easier
and more logical to do it by ourselves. We wanted to
use it as a tool to promote our projects and the
musicians of the collective, as well as have the
possibility to propose something different than
concerts. A recording can be a method to promote an
artist, but it can also be part of the artistic path of a
project and both of those aspects are important to us.
Artistic Director of Frances National Jazz
Orchestra, guitarist Olivier Benoit, who has recorded
several CDs for HeliX adds: The label reflects
a specific approach to extending jazz improv and other
styles, which wasnt common in France 15 years ago.
Circum exists because of necessity. Due to the economic
situation, the so-called classic labels can no longer play
their role of watching and support. So a label like
Circum reflects the identity of an artistic group and
Haircut
TOC
crisp vocals in luscious Portuguese feature more
prominently than his grandfathers did on the original.
In truth, the album is more Jobim than Sinatra, but its
hard to imagine how that is a bad thing during the dog
days of summer. Pizzarelli celebrates the album at
Birdland (Aug 8th-12th).
Allegra Levy is the rare singer/songwriter who can
channel the auteurs of the Great American Songbook.
Her second album, Cities Between Us (SteepleChase),
opens with Cherry Blossom Song, an engaging swing
composition showing off her talent for melding modern
lyrics with traditional jazz sonority and closes with the
title cut, an evocative poem set to a skyline-inspired
soundscape. In between these two, Levy explores
myriad emotions and jazz feels, strongly supported by
trumpeter John McNeils dexterous arrangements.
TCB Music has discovered another unreleased
beauty: Swiss Radio Days Vol. 43Zurich 1950: Nat
King Cole Trio, which presents Cole as the headliner
on vocals and piano along with the unusual backing of
guitar, bass and bongos. The lineup of tunes contains
the jazz standards that youd expect (Body & Soul
and How High The Moon), some instrumentals that a handful. Territo reminds us that there are more where
you wouldnt (Bop Kick and Bluesology) and only these came from. The VOXFest at Cornelia Street
one of his pop hits (Route 66). The live recording is
full of charming impromptu moments and amusing
improvisations; Cole was an exceptional jazz pianist,
a truth that his pop stardom often obscured. Among
those that Cole inspired: vocalist Sachal Vasandani
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
allows the audience to have an overview of that
groups different projects. Musician-run labels are
a part of a homemade chain that has been extended
into players creating festivals and organizing concerts
by themselves. Musicians create conditions to practice,
meet, share and promote their shows. Musicians often
lose money putting out CDs, but at least they know
a CD is available to promote their work.
Le Benefice Du Doute by Orins quintet of the time
was Circum-Discs first release. It was financed by a
grant the collective received from a regional music
institution and is still in print. Since that time financing
for the discs has come from government grants,
contributions from the collective as well as from
musicians involved in individual productions, plus
sales of earlier CDs. The usual press run is between 500
and 1,000. About 4 of the 42 discs are completely sold
out with no plans yet to repress them. Although the
situation varies from release to release, the association
usually retains about 20% of the profit, if there is one,
to cover general costs, with 80% going to the producer,
usually the musician(s). For me the success of Circum-
Disc depends in a large part on Peter s presence, says
keyboardist Jrmie Ternoy, a non-Muzzix member
who has been featured on nine Circum-Disc sessions.
Hes a wonderful drummer, who has also become an
excellent sound engineer who knows how to organize
sessions. The most important thing about Circum-Disc
is that it allows projects to exist. Without Circum-Disc,
many projects and musicians would have no visibility.
Although he has been featured on 26 of the labels
releases so far, Orins also records for other imprints as do
other members of the collective. There is no exclusivity
(CONTINUED ON PAGE 38)
Ipteravox June
Christian Pruvost Trouble Kaze
will honor the life of Nat King Cole at Dizzys Club
(Aug. 1st).
Producer Larry Klein was similarly inspired by
Charlie Parker, so much so that he created an
impressionistic narrative of Parker s life using the
saxophone virtuosos compositions, set with lyrics (by
David Baerwald). An impressive array of vocal talent
turned out to help create The Passion of Charlie Parker
(Impulse): Madeleine Peyroux, Gregory Porter,
Luciana Souza, Kurt Elling and Melody Gardot
among them. As it happens, this year Summerstage
will celebrate the 25th anniversary of the Charlie
Parker Jazz Festival. The uber-talented Charene
Wade will participate in the festival (Aug. 26th),
followed by rising star Alicia Olatuja (Aug. 27th).
Final notes: Vocalist/arranger MJ Territo will
launch Ladies Day (Jollie Mollie), an album of tunes by
female composers or lyricists, played by female
instrumentalists, at Club Bonafide (Aug. 17th). Artists
represented on the album include Iola Brubeck, Marian
McPartland, Mary Lou Williams, Abbey Lincoln,
Lorraine Feather and Blossom Dearie, to single out just
Underground promises an impressive lineup of singers
this month: Kelley Suttenfield, Peggy Chew, Anas
Maviel, Aubrey Johnson, Jlia Karosi and curator
Deborah Latz will explore the boundaries of vocal jazz
(Aug 21st-23rd). v
11
 I N ME MORIA M
Open at
GERI ALLEN
PHIL COHRAN (May 8th, 1927Jun.

!
7:30 pm
28th, 2017) The trumpeter was an early
member of Chicagos Association for
the Advancement of Creative Musicians,
by andrey henkin played with the Sun Ra Arkestra from
1959-61, led his own Artistic Heritage
Ensemble from 1967 onwards with a
number of releases on his own Zulu Records and early
performances at the Affro-Arts Theater, which he
also founded, and fathered all eight members of the

M o n t h! modern all-horn Hypnotic Brass Ensemble. Cohran

This
died Jun. 28th at 90.

Live!
EDDIE DIEHL (Jun. 16th, 1936Jun.
20th, 2017) The guitarist was mostly
active in the 60s groups of Sonny
Stitt (Stitt Meets Brother Jack, Prestige,
alan nahigian 1962), George Braith (Laughing Soul,
WED PA S Q U A L E G R A S S O 8:30PM Prestige 1966 and Musart, Prestige,
8/2 DJANGO JAM 11:00PM 1967), Jack McDuff (Soul Circle, Prestige
1968) and Johnny Hammond Smith (Love Potion #9,
THU MARK WHITFIELD 9:00PM Prestige 1967) as well as a handful of sessions in the
8/3 early 70s with Hank Mobley, Reuben Wilson and
KEN FOWSER QUINTET 8:00PM
G eri Allen, a pianist who was among the most McDuff and an appearance on Roswell Rudds 1999
FRI significant musicians of her generation, both through Knitting Factory Works album Broad Strokes. Diehl died
8/4 JC HOPKINS BIGGISH BAND 10:00PM
her own albums and voluminous sideperson credits, Jun. 20th at 81.
B R A S I L S U M M E R F E S T F T. 8:00PM died Jun. 27th at 60 after a battle with cancer.
SAT
8/5 ZABEL & ALEXIA BOMTEMPO 10:00PM Allen was born Jun. 12th, 1957 in Pontiac, Michigan CHRIS MURRELL (Dec. 18th, 1956
and raised in the Detroit area. Her early interest in jazz Jun. 18th, 2017) The gospel singer was
WED PA S Q U A L E G R A S S O 8:30PM came from her father, as she recounted to Greg Thomas tapped by Frank Foster to be the
8/9 DJANGO JAM 11:00PM for this newspaper in 2009: I remember seeing his featured singer in the Count Basie
records and the beautiful artwork on them and how Orchestra from 1991-2004, recording
THU K AT I N I 9:00PM elegant, stylish and sophisticated the people were. two albums with the band in the late
8/10 People like Ellington, Charlie Parker, Sarah, Ella. He 90s, Live At Manchester Craftsmens
played the music all the time when my brother and Guild (MCG Jazz, 1996) and Swing Shift (MAMA
FRI KEN FOWSER QUINTET 8:00PM
I were kids. Allen began classical studies on piano as Records, 1999). Murrell died Jun. 18th at 60. v
8/11 L A D Y B U G S F T.
M A RT I N A D A S I LVA 10:00PM a child, was influenced early on by the music she heard
in her Lutheran church (the latter laid a foundation U
SE
EW
SAT BRIAN CHARETTE TRIO 8:00PM for my work on the music of Mary Lou Williams) and
8/12 LOS HACHEROS 10:00PM received extensive jazz training at the famed Cass N D
Technical High School. The teachers had an
WED PA S Q U A L E G R A S S O 8:30PM expectation that was very high, Allen recalled. It
8/16 DJANGO JAM 11:00PM made us rise to that expectation. From the beginning,
when I stepped in there, I knew it was no joke.
THU IAN HENDRICKSON-SMITH 9:00PM
Legendary Detroit trumpeter Marcus Belgrave was
8/17 also an early mentor. Allen attended Howard
KEN FOWSER QUINTET 8:00PM University in Washington, DC and then relocated to
FRI
8/18 ETIENNE CHARLES 10:00PM Pittsburgh, where she was able to study Mary Lou
Williams music and influence in her hometown. 236 West 26 Street, Room 804
SAT EMMET COHEN TRIO 8:00PM Allens first album as leader, The Printmakers, New York, NY 10001
8/19 SVETLANA & came out in 1984 on Minor Music, which was followed
THE DELANCEY FIVE 10:00PM over the decades by releases on Polygram, Soul Note, Monday-Saturday, 10:00-6:00
Blue Note, Winter & Winter, Verve, DIW, Storyville,
WED PA S Q U A L E G R A S S O 8:30PM
8/23 DJANGO JAM 11:00PM
Telarc and, the past decade, Motma Music, the most Tel: 212-675-4480
recent being 2016s Perfection by the trio of Allen,
saxophonist David Murray and drummer Terri Lyne
Fax: 212-675-4504
THU H U D S O N H O R N S F T.
Carrington. This was complemented by hundreds of
8/24 A L I TA M O S E S 9:00PM
recording sessions with Oliver Lake, Frank Lowe,
Email: jazzrecordcenter@verizon.net
FRI D AV I D G I B S O N Q U I N T E T 8:00PM Steve Coleman, Woody Shaw, John Stubblefield, James Web: jazzrecordcenter.com
8/25 CRAIG HANDY Newton, Greg Osby, Paul Motian, Ralph Peterson,
& 2ND LINE SMITH 10:00PM Chico Freeman, Jay Hoggard, Betty Carter, Cassandra LPs, CD, Videos (DVD/VHS),
Wilson, Marcus Belgrave, Wallace Roney, Joseph Books, Magazines, Posters,
SAT E D C H E R RY T R I O 8:00PM
10:00PM
Jarman, Reggie Workman, Lenny White, Bob Belden, Postcards, T-shirts,
8/26 MICHAEL STEPHENSON Andy Bey, Charlie Haden, Ravi Coltrane, Craig Handy, Calendars, Ephemera
Buster Williams, Charles Lloyd, Mary Lou Williams
Collective, Carmen Lundy, Trio 3 and Terri Lyne Buy, Sell, Trade
Carrington, among many others.
The influence of Mary Lou Williams and her own
Collections bought
The Roxy Hotel experience with church music gave Allens playing

Reservations Information
and/or appraised
2 AV E . O F T H E and composing a spiritual undercurrent that resonated
AMERICAS deeply with her peers, bandmates and the many
(212 )519 .664 9 Cellar Level younger pianists who admired her. As she told Thomas, Also carrying specialist labels
TH ED JA NG ON
YC . co m Tribeca I listen to Coltranes A Love Supreme every day. When e.g. Fresh Sound, Criss Cross,
you turn it on it changes the vibrations of whatever s Ayler, Silkheart, AUM Fidelity,
going on. It draws the Light. I think thats what this Nagel Heyer, Eremite, Venus,
CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! music has always been about: people finding ways to Clean Feed, Enja and many more
express the Light even in the midst of darkness, finding
LOCATED IN THE OF TRIBECA
a way to it through the power of the Spirit.

12 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 F ESTI VAL REPORT
MONTRAL
by ori dagan
valerie gay-bessette
pierre langlois
David Virelles & Ravi Coltrane
F or the 11-day fiesta that is the Festival International The
de Jazz de Montral (FIJM), tourists return regularly,
locals look forward and even the merchandise is hip!
Musically there is something for everyone and while
purists will huff and puff about non-jazz acts in the
mix, the sheer variety of 500 concerts, more than two-
thirds of them free, is mind-boggling. Nearly 3,000
musicians from around the world appeared in the 38th
edition (Jun. 28th-Jul. 8th). The indoor program,
presented largely at the prestigious Place des Arts,
boasts some of the finest acoustics in many miles. Here
are a few of the highlights from FIJM 2017:
One of Montrals most prized venues is the Ges
Centre de Crativit. The sonic and spiritual quality of
this room is rooted in its origins as a Roman Catholic
church; this basement space was a perfect setting for
an ethereal set by saxophonist Ravi Coltrane and
pianist David Virelles. The former, son of John and
Alice Coltrane, hauntingly channeled his heritage,
digging deeper with each selection, while Cuban-born
Virelles, now based in New York, shone throughout,
displaying dynamics ranging from feathery delicate to
fiery dynamite. Their breathtaking set featured much
improvisation out of time, including Coltranes
Expression, Monks Epistrophy and striking
compositions by both players.
Aubrey Logan stands out in a crowded field for so
many reasons, its almost impossible to list them all in
this limited space. A powerhouse on trombone, vocals
and on camera, her musicianship, explosive stage
presence and a 21st century approach to the music
business make for a refreshing experience. Logans
memorable videos with Postmodern Jukebox have
garnered her a worldwide following. On the free
outdoor stage on Jul. 4th she was joined by Jesse Elder
(piano), Seth Johnson (guitar), Cee Smith (bass) and
David Tedeschi (drums). Get your kicks on her
Facebook page where you can find a selfie video of
Aubrey duetting with the Montral festival audience
on Route 66!
Its hard to believe he is improvising when guitarist
John Pizzarelli scats and plays so smoothly in unison.
Beyond the swing and bop licks on the likes of Ring-
a-Ding-Ding, this master s banter is second to none;
Pizzarellis introduction of In the Wee Small Hours of
the Morning was as impressive as the tune itself.
Guest vocalist Catherine Russell brought scintillating
class and the essential honesty required of a Billie
Holiday salute: All of Me and Them There Eyes
cooked to a crisp while Ghost of Yesterday eerily
recalled the spirit of Lady Day in its last chilling note.
The show was perfectly supported by the Pizzarellis
band, notably pianist Konrad Paszkudzki. Popolo. The former recited a short poem of his own
(CONTINUED ON PAGE 39)
SUONI PER IL POPOLO
by mathieu blanger
LOGAN STROSAHL TEAM
BOOK I OF ARTHUR
Dave Rempis, Aaron Lumley, Michel Lambert
LOGAN STROSAHL as & narration
annual Suoni Per Il Popolo festival took place MICHAEL SACHS cl - SAM DECKER ts
over the first three weeks of June in Montral.
As always, the festival featured many different genres.
AQUILES NAVARRO tp - NICK SANDERS p
However, compared to recent editions, there was CONNOR BAKER dr - HENRY FRASER b
a recentering on jazz and improvised music. Also, the JULIA EASTERLIN narration
festival continued with its approach of inviting
musicians with whom it has built a relationship
through the years. Indeed, the 2017 edition saw Peter SSC 1493 - IN STORES AUGUST 25
Brtzmann, Nate Wooley, Ingebrigt Hker Flaten,
Chris Corsanothe latter three forming the trio
Icepickreturn to the festival, but also Montral-based
musicians such as Yves Charuest, Lori Freedman and
L ike most jazz musicians, Strosahl has exam-
ined the full scope of the jazz tradition to
inform his own approach to the music. He has,
Craig Pedersen. This approach did not prevent the however, gone a few steps farther. Strosahls
festival from inviting musicians outside of its circle of admiration for the polyphonic music of the 16th
usual suspects, such as Travis Laplante, L Quan
and 17th centuries has shaped his compositional
Ninh and Alan Licht. As with most festivals, it is
impossible to give an account of all the concerts and so
technique, and his knowledge of the classical
this report will concentrate on some that stood out. canon, modern composition, and an array of
Paradoxically, the first memorable moment was a improvised music has been translated to a large
15-minute long silence courtesy of composer/ musical toolset. He makes use of this toolset
filmmaker Phill Niblock, who performed at La Sala with his Team, made up of tenor saxophonist
Rossa as part of the Suspended Music Series, presented Sam Decker, clarinetist Michael Sachs, trumpeter
in collaboration with Quatuor Bozzini, a Montral- Aquiles Navarro, pianist Nick Sanders, bassist
based string quartet. The first part of the concert saw
Henry Fraser and drummer Connor Baker.
Niblock and the quartet play two pieces. In the second
part, Niblock played three pieces with video
projections. Musically, it was perfectly faithful to ones
expectations: a loud drone rich in overtones. However,
when the third piece faded out, the video projections
A ttracted as he was to the idea, the compos-
er was able to find a certain philosophy run-
ning concurrently through another one of his fasci-
continued, Niblock himself remained seated and the nations: the tales about King Arthur, with their
crowd held back its applause. Progressively, some many characters coming together in the service of
spectators stood up and left, but the majority remained good. Strosahl sees the structure of the stories of
seated, some processing the music, others not wanting
the Round Table as polyphonican interconnect-
to break such a surreal moment. It took nearly 15
minutes for Niblock to stand up and indicate his
ed web of the actions of individual people with
performance was indeed over, at which point the entirely different stories.
remaining audience members burst into applause.
Dave Rempis played at Casa del Popolo as part of
a tour across North America. The Chicago-based
saxophonist first played a solo set, well executed and
I n Book I of Arthur, Strosahl sets the scene of
5th century England as a chaotic, semi-myth-
ical place by utilizing 21st century musical tech-
confirming the place he occupies in the landscape of nique to express an eerie, at times aleatoric
improvised music. For the second set, Rempis was
soundworld that becomes more and more struc-
joined by bassist Aaron Lumley and drummer Michel
Lambert. Despite requiring a few minutes to find its
tured as Arthur grows, discovers his roots and,
markas is often the case with first meetingsthe trio finally, claims the throne. The artifice of the later
played a solid set. In this respect, the music had notable pieces, with their precise tonal part-writing, isto
melodic elements that kept everything together, but some extentthe artifice of the moral code that
not at the expense of the energy level and a certain Arthur tried to apply to the world around him.
hard edge, thanks to Rempis incisive sound and
Lamberts use of dynamics.
Another highlight was the set by saxophonist Joe
McPhee and drummer John Heward at Casa del
iTunes.com/LoganStrosahl
www.sunnysiderecords.com
(CONTINUED ON PAGE 39)
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 13
 CD REVIEWS
Thoughts Become Matter
Zero Point (Mole-Tree Music)
by John Sharpe
Multi-instrumentalist Daniel Carter has become an
elder statesman of the NYC jazz and improvised music
scene. As a member of Other Dimensions In Music,
Carter was free-improvising aristocracy until the
untimely demise of his partner in the frontline,
trumpeter Roy Campbell, in 2014. But even as his
regular outlets become less, he nonetheless remains
open to lending his considerable experience to a
seemingly endless variety of up-and-coming outfits.
One such is Zero Point, whose debut Thoughts
Become Matter Carter graces alongside drummer Deric
Dickens, guitarist Marius Duboule and bassist Michael
Bates. Carter s charisma elevates this set of a dozen
uncharted but restrained encounters beyond the
ordinary. The group concept stays so strongly focused
that it sometimes seems as if they are all culled from
one longer piece. Carter switches between his armory
to help avoid any sameness creeping in.
Overall the quartet mines the same introverted
spacious, sensitive seam, exemplified by the opening
Errance, in which Carter s unruffled flute flows over
waves of conversational rejoinders between the
remaining threesome. Where there are exceptions it is
by a matter of degree rather than radical departure. On
the title cut, fuzzed guitar adds some grit as elongated
soprano saxophone tones glide above the trio like
a gull over breakers crashing on a rocky shore. Dickens
instigates a pacy clip on Silicon Valley Folk Art
before the band somehow ends up in the same reflective
territory, although with some fine consonant
intermingling between soprano and bowed bass.
Four-way interplay prevails most of the time with
little in the way of solos. So when tenor is accompanied
by bass and drums only on Circular Vibing it stands
out. Interestingly, Carter doesnt play any more
emphatically in the absence of guitar. In fact, the only
track where he overtly takes the lead is the concluding
Time For Clearance, where his alto pontificates with
haiku-like simplicity over a loose backing shuffle.
For more information, visit store.cdbaby.com/cd/zeropoint22.
This band is at Korzo Aug. 1st. See Calendar.
Post Bop Gypsies
Tomoko Omura (Inner Circle Music)
by Tom Greenland
F rom Stuff Smith and Joe Venuti to Stphane Grappelli,
Zbigniew Seifert, Jean-Luc Ponty and Mark Feldman,
violinists have been a surprising minority presence in
jazz, given the instruments flexibility and intimate,
vocal quality. Post Bop Gypsies, Japanese five-string
violinist Tomoko Omuras third release for Inner Circle
Music, moves beyond the influence of these artists (all
celebrated on her sophomore release, Visions), paring
down her quartet to a trio and focusing on what she
14 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
does best: improvising.
Although the title suggests post-Grappelli swing
with chromatic innovations, in fact the album is
a straightahead interpretation of covers like Lionel
Hamptons Midnight Sun and Charlie Parker s
Relaxin at Camarillo to more unusual fare like
Claude Debussys Arabesque, performed as a
running waltz, and Heitor Villa-Lobos Bachianas
Brasileiras No. 5 Aria, done as a bossa/tango.
Accompanied by guitarist Alex Goodman and bassist
George DeLanceythough the former s contributions
are so strong and interactive that it hardly seems fair to
call him an accompanistOmura solos with an organic
sense of narrative, unfolding improvised tales that
eschew licks and display of chops to concentrate on
plot and character development. As a result, her solos
often sound like new tunes composed to the old chord
changes. In contrast, Goodman is restless, ebullient,
constantly inventive; with a lexicon of guitar techniques
and textures ready at hand, hes an agile foil for Omura.
Relaxin at Camarillo, Thelonious Monks Four
in One, Warne Marshs Background Music
(a contrafact of All of Me) and Denzil Bests Wee True, Hicks is jumping on Sidney Wyches Alright,
all feature the two musicians trading eight-, four- and
even two-bar sections, ideas piled upon ideas,
flawlessly intermeshed, while their interactions on
Arabesque and Midnight Sun provide some of the
albums highlights. In places, Omura too provides
accompaniment, bowing sparse counter-lines or
plucking double-stop chords. DeLancey anchors it all,
walking ever-steady eighth notes and supplying fleet,
conversational solos, especially on Charlie Chaplins
Smile and JR, one of two Omura originals.
Without challenging any stylistic boundaries, Post
Bop Gypsies is nevertheless a testament to Omuras
originality, where we hear her own voice emerging
from a chorus of influences.
For more information, visit tomokoomura.com. Omura is at
Tomi Jazz Aug. 1st, The Cell Aug. 5th with Aubrey Johnson
and Club Bonafide Aug. 30th. See Calendar.
Meet Me At Mintons
JC Hopkins Biggish Band (Harlem Jazz)
by Scott Yanow
Pianist JC Hopkins originally worked as a folk singer
and led a folk/rock band. After moving to Brooklyn in
2000, he became interested in Swing, soon forming his
Biggish Band. During its early period, the bands
singer was Norah Jones. Madeleine Peyroux also spent
time with the group; she was eventually succeeded
by Queen Esther. The JC Hopkins Biggish Band
recorded their debut album Underneath A Brooklyn
Moon in 2005. 12 years later, they have finally released
their long overdue followup.
Meet Me At Mintons celebrates the groups
longtime residence at Mintons Playhouse, which has
been renamed Mintons Harlem. On this CD, the
orchestra functions primarily as a swinging backup
band for a wide assortment of singers on eight
standards and five Hopkins originals. There are nice
solo spots for tenor saxophonist Troy Roberts, baritone
saxophonist Claire Daly, trombonist Corey Wallace,
trumpeter Bruce Harris and guitarist Solomon Hicks
but the emphasis is mostly on the vocalists.
The program begins with the Hopkins original
Remember When, a nostalgic piece interpreted by
Brianna Thomas, whose shouting style recalls Dinah
Washington. Suddenly, which has Jon Hendricks
vocalese lyrics to Thelonious Monks In Walked Bud,
features the veteran singer (who is now 95) scatting
and trading off with Charles Turner and Thomas.
Queen Esther is quite spirited on James F. Hanley-
Lewis Raymond-Walter Bishop, Sr.-Clarence Williams
Swing Brother Swing while Andy Bey gives the
Thelonious Monk tune Reflections (outfitted with
Hendricks lyrics and renamed Looking Back) a
heartfelt and warm vocal.
Jazzmeia Horn, the winner of the 2016 Thelonious
Monk vocal competition, swings well on Hopkins
What Is Love as does Thomas on both Hopkins
Meant To Be and an uptempo and scat-filled romp
on Them There Eyes, a tune by Maceo Pinkard-Doris
Tauber-William Tracey made famous by Billie Holiday.
The team of Queen Esther and Turner interact joyfully
on Hopkins title track and the fairly obscure Teddy
Koehler-Jimmy McHugh swing tune Spreadin
Rhythm Around.
Alicia Olatuja performs the Benny Goodman-
Edgar Sampson-Irving Mills ballad Dreams Come
OK, You Win and Kathy Sledge fares well on the
Gerald Marks-Seymour Simons standard All Of Me.
A special highlight takes place on the Monk ballad
Ask Me Now (renamed How I Wish), matching
Hendricks with the nearly 70-years-younger Horn.
The arrangements by Wayne Tucker, Corey
Wallace, J. Walter Hawkes and Chuck MacKinnon are
uniformly excellent, the bands musicianship is
impressive and all of the singers are in top form during
this enjoyable set.
For more information, visit jchopkins.com. This band is at
The Django at Roxy Hotel Aug. 4th. See Calendar.
R
Mulatu AstatkeMulatu of Ethiopia
(Worthy-Strut)
e Jakob DavidsenSilence Trio 1 (ILK Music)
Allegra LevyCities Between Us
c (SteepleChase)
Charles Lloyd New Quartet
o Passin Thru (Blue Note)
Arun OrtizCub(an)ism (Intakt)
m Mario Pavone Dialect Trio
m Chrome (Playscape)
Flip PhillipsYour Place or Mine?
e (Jump-Delmark)
Timuin ahins Flow State
n Nothing Bad Can Happen
(Between The Lines)
d Tyshawn SoreyVerisimilitude (Pi)
e Kasper Tranberg/Peter Danstrup/
Marilyn MazurDamaztra: Flag of Time
d (ILK Music)
Laurence Donohue-Greene, Managing Editor
n Ambrose AkinmusireA Rift in Decorum
(Live at the Village Vanguard) (Blue Note)
e
Raoul Bjrkenheim Triad
w Beyond (Eclipse Music)
Joseph Bowie/Oliver Lake
Live at A SPACE 1976 (Sackville-Delmark)
Helmut Brandt OrchestraSpree Coast Jazz
r (Berlin 1963) (Sonorama)
e Buffalo Jazz OctetPausaLive (Cadence Jazz)
Rdiger Carl Inc.King Alcohol
l (FMP - Corbett vs. Dempsey)
Jack DeJohnette/Larry Grenadier/
e John Medeski/John ScofieldHudson
(Motma Music)
a Thelonious Monk
s Les Liaisons Dangereuses 1960 (Sam/Saga)
Arun OrtizCub(an)ism (Intakt)
e Trevor Watts/Stephen Grew Duo
All There Is (Discus Music)
s Andrey Henkin, Editorial Director

Spiral
Gene Segal (SteepleChase Lookout)
by Ken Dryden
A native of Moscow, Russia, Gene Segal is an up-and-
coming electric guitarist and composer. Moving to
Brooklyn in his youth, musical influences came in part
from his father and uncle, both of whom were
professional musicians. He studied with Scott
Henderson and Joe Diorio, detoured into rock and
blues for a period, then enrolled in William Paterson
Universitys heralded jazz program, where Vic Juris,
Gene Bertoncini and Paul Meyers were his teachers.
Spiral, Segals fourth CD as a leader, serves as a
tribute to his favorite organ trios, though it focuses on
his original compositions rather than the repertoire of
groups he is saluting. The band includes the highly-
sought-after organ player Brian Charette alongside
drummer Bruce Cox. As with his earlier releases,
Segals approach varies widely from one selection to
the next: his brittle sound in the well-named title track
is reminiscent of John Scofield; Creeper is a greasy
blues with a strong backbeat, Segal showing off a bit
more technique than would be expected in such a
setting, Charette nearly stealing the show with his hip
choruses; and the funky Dharma features edgy
guitar and inventive organ.
Icelandic singer/songwriter Bjrk has been
championed by many jazz musicians (remaining an
acquired taste for some jazz fans). In her Hidden
Place, Segal makes use of special effects and darting
organ in the introduction, with the piece eventually
taking shape. Sunken Treasure would seem to draw
from country with its often loping tempo and laidback
feeling until fuzztone guitar and sudden organ volume
surges make the piece defy classification, off-center
percussion adding to its flavor. Blues Out is breezy
funk at its best, with a catchy unison line by Segal and
Charette backed by Cox driving groove. The guitarist
remains an artist to watch.
For more information, visit steeplechase.dk. Segal is at Bar
Next Door Aug. 5th. See Calendar.
Sounding Tears
Mat Maneri/Evan Parker/Lucian Ban (Clean Feed)
by Stuart Broomer
V iolist Mat Maneri and pianist Lucian Ban revealed
shared reflexes and empathy on Transylvanian Concert,
recorded for ECM in 2011. In this 2014 recording, they
extend the partnership to include saxophonist Evan
Parker. Each musician has followed a particular route
to a special sensitivity to pitch. With Maneri its
literally in the blood, part of his extended exploration
of microtonality with his father Joe; with Ban its in the
culture, in a detailed study of the music of his native
Romania; with Parker its in the symbiosis between
man and saxophones, with embouchure, breath, air
column and keys creating a panorama of intervals.
There are ten pieces here: eight improvised and
two composed. The sequence begins with a brief
episode called Blue Light. Its the only time Parker is
on soprano, Maneri playing rapid pizzicato abstractions
and Ban plucking the piano strings. Theres a bracing
energy, but its an isolated flurry. The same might be
said about two duos: on The Rule of Twelves Maneri
and Parker create rapid dovetailing lines; on This!
Parker and Ban touch on a kind of abstracted
barrelhouse with occasional Monkish chords and even
a transposed tenor phrase.
The bulk of the pieces, including the composed
and longer ones, somehow embody the mysterious
album title, whether its a reverie on transparency or
synaesthesia. Maneris piece Blessed has Ban
providing occasional pedal tones and a spare, limpid
melody, with the composer matching lightly bowed,
harmonic-rich long tones and Parker delicate
multiphonics. The whole is as abstract and resilient as
a Morton Feldman composition. Bans Hymn
emphasizes repeating phrases and simple diatonic
materials, its resonant depths suggesting some of
Virgil Thomsons music. Each improvisation is genuine
spontaneous composition. The most lyrical, Scilence,
has the musicians playing close rhythmic phrases, then
converging and diverging with the piano resonating
and tenor hovering, the whole a model of lucidity.
Maneri, Ban and Parker take improvisation to
levels of clarity and coherence rarely achieved. This
will undoubtedly be among the most beautiful
recordings released in 2017.
For more information, visit cleanfeed-records.com. Maneri
and Ban are at Barbs Aug. 5th. See Calendar.
Superconductor
Seamus Blake (5Passion)
by Phil Freeman
Saxophonist Seamus Blake journeys into outer space
on this release. The opening track, Ohm, features
himself, Judd Miller and Steve Tavaglione all playing
EWI (Electronic Wind Instrument). The horns sound
like synths, or like electric violins, and are occasionally
joined by distorted voices too. Behind them, the core
bandkeyboard player Scott Kinsey, electric bassist
Matt Garrison and drummer Nate Smithlay down
a stuttering funk groove. In the final two minutes,
Blake switches to his usual tenor for a solo that could
have come off a Steely Dan album. This electro-fusion
sound is heard throughout most of the album; on
Forecast and I Do, guitarist John Scofield shows
up to trade tasty licks with the saxophonist.
These electronic/funk pieces are energetic, fun
and frequently surprising, particularly if a listener is
more familiar with Blake via, say, his Criss Cross
albums (under his own name or as a member of Reeds
Ramble). This side of Superconductor recalls Donny
McCaslins recent work. Three other pieces, though,
take the album in an entirely different direction and
make it even more interesting. Sofa Song, Last
Continent and Gracia feature an expanded
ensemble with orchestral horns and a string quartet.
(Scofield also reappears on the third of these and
pianist Gonzalo Rubalcaba plays on two of them.)
Surprisingly, given the number of players, the
orchestrations are spacious; even when things get
really rockin, as on Gracia, the extra horns mostly
sway stoically in the background as the strings twine
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
around everyones ankles like lush vines.
Warning: on the last track, I Do, Blake does not
play saxophonehe sings, in a not-awful voice that
fits the song well, since its a straight-up jam-band/
blues-rock track with nothing to do with jazz at all.
Scofield tears off licks like hes hoping to revive the
Allman Brothers Band, as Kinseys organ surges and
Garrison and Smith rumble and thwack. This is
a surprising song on a surprising album. Open-minded
listeners will find much to enjoy; hardbop diehards
should stay far away.
For more information, visit 5passion.com. Blake is at
Mezzrow Aug. 6th. See Calendar.
UNEARTHED GEM
Groovin High (Live in Haarlem 1964)
Don Byas Meets The Jacobs Brothers
(Dutch Jazz Archive)
by Duck Baker
Don Byas, who died 45 years ago this month at 59,
was one of the greatest and most influential of all
jazz tenor saxophone players, but it is difficult to get
his historical position into focus. The usual
description of him as an important figure in the
transition from Swing to bop seems to conjure up
something on the road from Lester Young to Charlie
Parker, but Byas owed more to Coleman Hawkins
than Young and always cited pianist Art Tatum as
his main model. On the other side of the equation,
his influence is more apparent with the crop of
saxophonists who came up in the 50s rather than
with the bop generation. Perhaps it is more helpful
to try and imagine a bridge from Tatum to Sonny
Rollins and John Coltrane and if that seems like a
quite a bridge, listening to his 1945 Town Hall set in
marvelous duo with bassist Slam Stewart may help.
Byas moved to Europe in 1946, but his influence
never waned. Even though the jazz press forgot
what a giant he was, touring American musicians
found the way to his gigs in Europe, as if paying
homage to a king in exile, and they repeatedly
reported being blown away. He managed to make
several fine studio records in the quarter-century
left to him and an even greater number of releases of
live performances have been issued over the years,
mostly since his death.
The present CD captures Byas at a 1964 concert
in the Netherlands, backed by a fine Dutch rhythm
section featuring the highly regarded pianist Pim
Jacobs. We can assume the backing musicians
(bassist Ruud Jacobs, Pims brother, and drummer
John Engels complete the group) had worked
together often; they certainly interact well and give
good accounts as far as soloing and following the
leader (not always true of Byas accompanists, alas).
The leader s monstrous form is on full display
on a set of familiar standards. Even on his umpteenth
version of Indiana, he still finds new places to
explore. Sound quality is excellent and the balance
generally good, though Byas beautiful tone is, for
some reason, not captured at its best, especially on
some of the high notes. This will certainly be a
welcome release for Byas fans.
For more information, visit jazzarchief.nl
15
 G LO B E U N I T Y: B R A Z I L
Sampa
Romero Lubambo Trio (Sunnyside)
1954
Ricardo Grilli (Tone Rogue)
Trajetrias (Live at Galeria West)
Maurco de Souzas Bossa Brasil (Pitoca Music)
by Tom Greenland
Soon there will be a Blue Note jazz club in Rio de
Janeiro, but Brazilian musical sensibilities long ago
spread north to jazz native shores, bringing choro,
samba and bossa nova.
Romero Lubambo came to New York from Rio de
Janeiro 30 years ago, since when hes become a prolific
sideman and led ten album projects. Sampa is named
for So Paulo, where he gigged with local Paulistas
bassist Sidiel Vierira and drummer Thiago Rabello.
Inspired by these performances, the trio tried to
capture the same energy in the studio. Lubambo favors
acoustic fingerstyle guitar, plucking intricate rhythmic
and harmonic patterns associated with Brazilian
accompanists, but also using pizzicato technique for
rapid, incisive single-note lines more associated with
pick-wielding guitarists like George Benson. On two
tracks he switches to a biting electric blues style,
finessing held tones with shaking or sliding ornaments.
His best playing is heard on Gostoso Demais and
Contrato de Separao (both covers) and Luisa
(for his daughter), where the chief interest lies not in
the high melodies or low basslines but in the middle,
where he keeps the chords inner voices in motion,
strong melodies in their own right.
Guitarist Ricardo Grilli, a Paulista relocated to
New York, is of a more progressive bent. On 1954 he
shows a flair for writing singable tunes, many with
chromatic ornaments in the melodic line, usually set
to slightly unusual rock chord progressions and beats,
resulting in music both probing and approachable.
His slightly overdriven sound is a bit distant; his
legato touch dexterous, fluid, accelerating around the
fast curves, slowing down for musical congestion.
Backed by pianist Aaron Parks, bassist Joe Martin and
drummer Eric Harland, the playing is strong all
around, Parks more supportive than adventurous, his
ideas unfolding like afterthoughts rather than
inevitabilities. On opener Arcturus, Grilli stretches
out in long-limbed phrases, graceful at speed,
chording insightfully, always retaining his forward
momentum. Most comfortable in a rock-fusion vein,
he shows his agility in a postbop style on Pulse.
Drummer Maurcio de Souza, another former
Paulista, now lives in New Jersey. Trajitrias, his third
CD, was recorded live at Westfields Galeria West
with Bossa Brasil, comprised of alto saxophonist
Dmitry Baevsky, vibraphonist Jerry Weir and bassist
Gary Mazzaroppi, with Rhodes pianist Bob Rodriguez
on three numbers. Dominated by Jobim covers (six
out of nine cuts), the setlist also includes Hermeto
Pascoals baio Beb, Milton Nascimentos Vera
Cruz and Pat Methenys Spring Aint Here, which
provide welcome respite from the bossa novas.
De Souzas drumming is supple and energetic, never
overbearing. On the baio and Intil Paisagem,
a samba taken at breakneck tempo, he plays extended
but well-developed solos, inspired yet unflustered by
the pressures of high-speed improvisation.
For more info, visit sunnysiderecords.com, ricardogrilli.com
and mauriciodesouzajazz.com. Lubambo is at Dizzys
Club Aug. 15th-20th and 22nd-27th. See Calendar.
16 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
Mr. EP: A Tribute to Eddie Palmieri
Charlie Sepulveda & The Turnaround (HighNote)
by Russ Musto
A mainstay on the New York Latin Jazz scene for more
than 20 years, trumpeter Charlie Sepulveda has been
heard infrequently on the U.S. mainland since returning
to his native Puerto Rico two decades ago. Mr. EP:
A Tribute To Eddie Palmieri demonstrates that his time
away has in no way diminished his abilities. The date
introduces a new edition of Sepulvedas longstanding
ensemble The Turnaround, which features talented
players largely unknown off the island, along with
several guests, including Palmieri himself.
A pair of Palmieri solo improvisations, Variations
On A Theme 1 and 2, bracket the date, the fted
pianist fleetingly referencing Monks Ruby My Dear
as the foundation for his thematic expansions.
Palmieris Charlies Whole Tone Blues brings The
Turnaround into the spotlight. Beginning with Gabriel
Rodriguez funky electric bass introduction, the
pianists angular composition has the composer,
Sepulveda and tenor saxophonist Norberto Ortiz
contributing incendiary solos on top of the churning
clave rhythms of drummer Raul Maldonado and
conguero Gadwin Vargas, who stretches out over For more information, visit concordmusicgroup.com. This
Palmieris hypnotic tumbao and riffing horns.
The remainder showcases Sepulvedas talents as a
composer and arranger. Bomba Pa Carmen, a soulful
outing with an infectious melody, adds vibraphonist
Felipe Fournier, Eduardo Zayas replacing Palmieri.
The title track is funky jazz in the tradition of Horace
Silver, with blues-drenched solos by the two horns,
pianist Bienvenido Dinzey and Rodriguez on top of a
leisurely cha cha rhythm. Sepulvedas arrangement
of Besame Mucho slows down Consuelo Velazquez
classic, Dinzeys Fender Rhodes underpinning lending
emotional depth to Yarimar Denisses moving vocal
and Sepulvedas mournful horn.
The trumpeter s Peer Magic follows with suite-
like fluidity, Sepulveda and Ortiz delivering powerful
lines over Dinzeys relentless montuno and Vargas
no-holds-barred congas. Si T Sabes successfully
melds jazz and hip-hop with Sepulveda blowing
muted trumpet to complement the exploratory oration
of rapper SieteNueve, after which the band, with Zayas
and Fournier back on piano and vibraphone, charges
straightahead on the anthemic Mr. Jazz.
For more information, visit jazzdepot.com. Eddie Palmieri
is at Blue Note Aug. 7th and 28th. See Calendar.
Sinatra & Jobim @50
John Pizzarelli (Concord)
by Matthew Kassel
G uitarist and singer John Pizzarelli has a sure sense of
rhythm and an effortless command of the American
Songbook, two attributes that make him a perfect
candidate for a dual tribute album to Frank Sinatra and
Antnio Carlos Jobim. Pizzarelli has, in fact, already
recorded two separate albums fting each. Sinatra &
Jobim @50 is for the most part a celebration of the studio
album Francis Albert Sinatra & Antnio Carlos Jobim
(Reprise, 1967) and featuring tracks by Jobim as well as
American composers like Cole Porter.
The 1967 album suggests an easy rapport between
the American songbook and Jobims infectious
melodies, which have become as much a part of the
jazz canon as Irving Berlin or George Gershwin.
Pizzarelli bears that out with a couple of medleys,
including one of I Concentrate on You (Porter) and
Wave (Jobim) and another combining If You Never
Come to Me (Berlin) and Change Partners (Jobim).
Joining Pizzarelli on a few tracksTwo Kites,
Bonitais Daniel Jobim, Antnios grandson, whose
breathy, vibrato-less voice recalls Joo Gilberto. In
a similar way, Pizzarellis somewhat thin, womanly
voice brings to mind Astrud Gilberto, who sang The
Girl From Ipanema, Jobims most famous song.
Pizzarellis rhythm section is comprised of Helio
Alves (piano), Mike Karn (bass) and Duduka Da
Fonseca (drums); tenor saxophonist Harry Allen also
joins in, as does Jessica Molaskey, Pizzarellis wife,
who contributes backing vocals and co-wrote a couple
of the albums songs with Pizzarelli, such as Shes So
Sensitive and Canto Casual. On full display is
Pizzarellis dexterous guitar playing (which is better
than his singing). Its best featured on the Jobim classic
Agua de Beber, in which Pizzarelli puts his
trademark soloing style to impressive use, mouthing
the notes of his instrument simultaneously, like George
Benson famously did in On Broadway.
project is at Birdland Aug. 8th-12th. See Calendar.
DAFNIS PRIETO
BIG BAND world premiere
/ Trumpets / Trombones
MIKE RODRIGUEZ TIM ALBRIGHT
NATHAN EKLUND ALAN FERBER
ALEX SIPIAGIN JACOB GARCHIK
JOSH DEUTSCH JEFF NELSON
/ Saxophones / Piano
ROMAN FILIU MANUEL VALERA
MICHAEL THOMAS / Bass
PETER APFELBAUM RICKY RODRIGUEZ
JOEL FRAHM / Percussion
CHRIS CHEEK ROBERTO QUINTERO
/ Drums & Compositions
DAFNIS PRIETO
@
116 e. 27th st (btw park/lex), nyc
august 25 - 27, 2017
7:30 & 9:30 sets each night
tickets: jazzstandard.com
dafnisprietobigband.com

Falling Forward
Ulysses Owens, Jr. (Spice of Life)
by George Kanzler
O n his latest album, Ulysses Owens, Jr. eschews the
usual prerogatives of the drummer as leader, forgoing
bombastic showcases for his prowess and not
showcasing his own compositions, although his astute
arranging chops are amply demonstrated. Also
unusual for a drummer-leader, this is mostly a trio CD
and one without piano or guitar as lead instrument.
Owens features vibraphonist Joel Ross, rounding out
the group with bassist Reuben Rogers. Vocalist Vuyo
Sotashe appears on 2 of the 11 tracks, with pianist
Stephen Feifke joining her on one.
Owens is a subtle and supple drummer, qualities
he highlights on the opening track, Harold Arlens
My Shining Hour. It begins with just brushes laying
down an easy swing, soon joined by bass, Ross playing
the melody before Rogers solos pizzicato, Owens then
spinning an airy solo with brushes over melody
backgrounds from bass and vibraphone. That is one of
four familiar standards Owens brings to the program.
Poinciana is indebted to Ahmad Jamals famous
recording, Owens invoking the toms from its opening
and following Ross solo with one making virtuosic
use of his entire drum kit. Duke Ellingtons In A
Sentimental Mood finds bass and vibraphone alone
for the first two A sections, Owens adding brushes to
the final 16 bars of melody, Ross taking it out with a
solo and coda. Thelonious Monks Evidence has
a drum solo ushering in the fractured theme at a pace
reminiscent of Cottontail, a solo round culminating
with spirited trading of fours by Ross and Owens.
The balance of the albums instrumentals
emphasize rhythmic versatility, from the sprightly
funk of Roy Ayers Cocoa Butter to the loping beats
and odd meters of Djavans Maria Des Mercedes and
Mulgrew Miller s Spectrum. The latter is also
represented by his Farewell to Dogma, outfitted
with inspirational lyrics by Sotashe, who sings them
over a quartet with Feifke prominently featured.
The Hill influence is well-outlined in the opening
track, Euterpes Dance, in which there is a slightly
ominous yet not unwelcoming melodic line carried by
piano and Dayna Stephens gently somber tenor
saxophone. It has a softly undulating rhythm, lent
relish by the solid, unhurried swing of bassist Joe
Martin and drummer Nasheet Waits. Up on A. Hill is
the tribute to Hill, with Premazzi applying dark, heavy
chords to the mood-rich melody, Waits thundery and
volatile, gradually building in force and Stephens
making with bluesy wails. The hardbopping Peltlude
features a guest shot from Pelt, whose Freddie
Hubbard-like brassiness is allayed by a bit of buttery
tonethat is until he gradually turns up the heat,
bristling and crying out in a declamatory fashion while
maintaining a harmonious flow. Premazzis playing
here is brisk, jabbing and forceful.
It Is Here is a joining of the words of playwright
Harold Pinter with Premazzis wry tune-writing, given
voice by the cool-toned warble of Sara Serpa. The
centerpiece of this set is the Strayhorn standard Lush
LifePremazzi renders it unaccompanied with a
cyclic introduction, discreetly inserting rolling J.S.
Bach-like motifs to offset slightly the core of
melancholy. Premazzi gives this classic a most
distinctive spin by treating it abstractly while never
completely abandoning the tunes mindset of reverie.
The next track, Later Ago, may be her attempt to
write a similar-themed song la Sometime Ago,
going by the wistful introduction, but then Premazzi
and Stephens make with slightly Monk-like angular
phrasing. The former jabs at the keys like a boxer while
the latter sails gracefully around her. Waits inserts
powerful accents and asides, then Stephens flirts with
amiably anguished yelps as Waits kicks it up a notch
with roiling New Orleans-style cadences before the
theme is restated.
While this is a most rewarding set with excellent
and inspired performances, it couldve benefited from
variety of tone, which is almost unrelentingly somber.
For more information, visit simonapremazzi.com. Premazzi is
at The Cell Aug. 12th and Mezzrow Aug. 13th. See Calendar.
Mount Vesuvius. A late 19th century tune that has
since been widely adapted, Funiculi Funicula starts
with a lilting guitar solo and descends into rock fusion
under the wing of rhapsodic cymbals and off-kilter
strings. The interpretation is refreshingly modern
under Hooker s expansive direction and the ensembles
inventive instrumentation.
Impro II marks the second chapter and continues
the free improvisation thread that the group explored
in Impro I. Soldier s emotional range on violin and
guitar, as well as his ability to anchor Hooker s
rollicking percussion and potent lyrics, is on full
display. Relentless drums and plucked guitar notes
collide with dizzying piano, a chaotic intermission
before returning to the lightness of Italian folk. Its
a befitting transition to Santa Lucia, a traditional
ballad transformed into an alt-rock anthem. Soldier s
sweetly melodic lines are juxtaposed with Davis
psychedelic guitar, giving the romantic tune a rock n
roll tinge.
The third chapter affirms the improvisational
thread that marked the first two parts. Epilogue is an
exaltation of spiritual, expansive percussion and heady,
low-register woodwinds while Impro III sees Hooker
becoming more aggressive. Violin explores folk melodies
and dark industrial tones deftly as piano supports with
quiet yet assertive lines. The record concludes with a
second version of Clown, a reworking of an earlier
track that is more solemn, but retains a lilting
romanticism that could be heard in the renditions of
Santa Lucia and Funiculi Funicula. Its a triumphant
marriage of the ensembles tonal rock and free jazz
leanings and the brightness of Italian folk music.
For more information, visit williamhooker.com. Hooker is at
Lantern Hall Aug. 13th. See Calendar.

For more information, visit spiceoflife.co.jp. This project is

at Dizzys Club Aug. 9th. See Calendar.
Aria (The Italian Project)
William Hooker (Mulatta)
by Ivana Ng

Drummer William Hooker is known for his expressive

Outspoken
Simona Premazzi (s/r)
by Mark Keresman
Simona Premazzi is an Italian-born, NYC-based
pianist whose credits include the bands of Greg Osby
and Jeremy Pelt. The latter produced Outspoken,
Premazzis fourth release as a leader. Stylistically she
brings to mind the late great Andrew Hill, to whom
one of her compositions is a direct homage. Premazzi
shares his measured, deliberate placement of notes and
while her compositions, like Hills, are not
conventionally pretty, they share a pleasing
obliqueness, like a slowly unfolding tale of mystery.
and forceful playing and inventive collaborations with
rock, hip-hop and jazz luminaries. Aria brings together
longtime associates Mark Hennen (piano), On Kaa
Davis (guitar), Welf Dorr (reeds), Richard Keene
(reeds), Louie Belogenis (reeds) and David Soldier
(violin, guitar) to reimagine Italian folk music.
Inspired by his wife, who is Italian, and the cultural
exchange he has experienced in Italy, Hooker explores
Neapolitan classics in a record divided into three parts,
each marked with a jazz aria. The first chapter begins
with Impro I, a light melody supported by rustic
guitar, somber piano and Hooker s powerful poetry.
So that I can catch the grey, dark silence in this Baltic
blue, he exclaims, before delving into sheets of sound
on the drums. The septet continues the spiritual
exchange in Selfcommunion, a languorous tune
featuring Hennens deliberate notes in the lower
register and a rustic, unadorned reed section.
Next, the septet tackles Funiculi Funicula,
written to commemorate the first funicular cable car on

18 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD


Eponymous
Amina Baraka & the Red Microphone (ESP-Disk)
by Clifford Allen
Because it is an inherently generative music, creative
improvisation has a bond with activism, revolutionary
politics and the potential to improve peoples lives.
The top-down power structures that have attempted to
stymie people of color, women, queer people, the
destitute and children have no place in a creative
environment. But these structures do give both
ammunition and reflective opportunity to the artist-
soldiers who have spent decades in the trenches.
Somewhat obscured by the notoriety of her late
husband, the poet and activist Amiri Baraka (1934-
2014), Amina Baraka took on a similar role in her
homebase of Newark, publishing her first volume of
poetry the year of Amiris death and now performing
and recording with improvising musicians.
On this first full-length recording of her work,
Baraka is joined by The Red Microphone, a quartet of
drummer John Pietaro, reed players Ras Moshe Burnett
and Rocco John Iacovone (doubling on piano) and
electric bassist Laurie Towers, surrounding and feeding
her vocal delivery on nine original compositions.
Barakas poetic exhortations stride reverential history,
black experience, political adversaries (the more things
change) and reflections on being and identity (The
Things I Lovequality meals out, Communism and
Coltrane all share space). Afro American Child is the
discs centerpiece, just shy of 20 minutes in length, and
begins wistful and sharp over a rolling bass, brushes
and bluesy piano filigree, Baraka setting images of
rural simplicity against the collective muscle of the
Civil Rights Movement. The ensemble is liquid and
vast, Burnetts tenor shouting, purring and squealing
as a constant nudge to gravelly, bright depictions of
a life in music, art and the unionized working class,
Pietaro switching to sticks and filling out a snappy
rhythmic pulse, the entire piece exuberant but deadly
serious. Talking Drum is a dialogue with Pietaro,
charging through a list of jazz percussion forebears
while For Margaret Walker Alexander is crackling
and scruffy, loosely-nattering horns atop a rubbery
walk as Baraka stitches together a fiery hymn to the
late writer and thinker.
With a deeply personal sense of caterwaul, Baraka
and The Red Microphone create an invigorating
addition to the landscape of musical culture.
For more information, visit espdisk.com. This project is at 5C
Caf Aug. 19th as part of Dissident Arts Festival. See Calendar.
Happiness! (Live at Kuumbwa)
Benny Green (Sunnyside)
by Andrew Vlez
Veteran pianist Benny Green and trio mates bassist
David Wong and drummer Rodney Green get matters
off to a swinging start with an effervescent take on
Horace Silvers The St. Vitus Dance. Its a driving cooperation. A similar dynamic of synchronicity is
start to this live performance at Greens favorite venue, central to Wills Exceptional Elegance. The enterprise
Kuumbwa Jazz Workshop in Santa Cruz, California. wraps up beautifully with The Truth Will Prevail and
This is a set devoted to the music of classic jazz Few And Far Between, two fast-to-medium paced
composers. Green grew up in 70s Berkeley, California, vibrant originals by Will that may eventually resonate
devouring all the jazz he could, especially imprinting as new classics, worthy of being realized by others.
the sound of his heroes from 50s-60s Blue Note LPs The takeaway effect of all of this impressive music,
into his psyche. Later he was able to put his knowledge expertly varied in mood, lyricism, tempo, harmonics
to work directly for singer and mentor Betty Carter and and rhythm with at times pleasing Latin inflections, is
went on to have tenure in the bands of two of his other life-affirming and uplifting. Temperley would be proud.
heroes, drummer Art Blakey and bassist Ray Brown.
Greens own music through the years evolved into For more information, visit gutstringrecords.com. The Andersons
having swing and blues as essential elements. With his are at 59E59 Theaters Aug. 2nd-6th, 8th-13th, 15th-20th and
encyclopedic knowledge of the music he continues to 22nd-27th and Saint Peters Aug. 23rd. See Calendar.
be a true standard bearer for generations of jazz. So
here he is as comfortable and familiar with a thunderous
take on Freddie Hubbards Down Under as he is
with the dynamic twists and turns of Cedar Waltons
LESLIE PINTCHIK TRIO
Marthas Prize. The blues are highlighted in Duke Friday, August 11th
Pearsons Chant, on which the power of Greens Sets at 8:00 PM and 10:00 PM
chords are layered with a fine dusting of drums.
There is particularly outstanding history and
Jazz at Kitano
66 Park Avenue @ 38th Street, NYC (212) 885-7119
brotherhood to be savored in Pittsburgh Brethren,
a Green salute to one of the most important jazz towns ...a composer of emotional depth and eortless
as well as its progeny, including Blakey, Sonny Clark lyricism... DownBeat.com
and Erroll Garner. Ever so mellow drumming keeps
company for gentle piano until joined by the warmth Leslie Pintchik - piano
of bass. Deep musical knowledge and love radiates Scott Hardy - bass
from the trio throughout the set. Michael Sarin - drums
Latest CD
For more information, visit sunnysiderecords.com. Green is TRUE NORTH
at Birdland Aug. 22nd-26th. See Calendar. available now at
Amazon and iTunes
www.lesliepintchik.com
Academy Records
& CDs
Blues for Joe (Dedicated to Joe Temperley)
Peter and Will Anderson (Gut String)
by Laurel Gross
Saxophonists/identical twins Peter and Will Anderson
excel in every aspect of their new album Blues for Joe,
Cash for new and used
a tribute to their former teacher and friend, the late
saxophonist Joe Temperley, stalwart of the Jazz at
compact discs,vinyl
Lincoln Center Orchestra, who guided them through records, blu-rays and
six years at Juilliard. The Andersons are excellent and
thoughtful programmers. Each showcases four of his dvds.
own originals and laced at perfect intervals are two
landmark standards, Billy Strayhorns Lush Life and
Johnny Greens Body and Soul, both exquisitely
executed by this top-notch quintet of Peter (tenor
We buy and sell all
saxophone), Will (alto), Peter Bernstein (guitar), Pat
Bianchi (organ) and Kenny Washington (drums).
genres of music.
From the leisurely paced and emotionally astute All sizes of collections
welcome.
title track (composed by Peter) in honor of Temperley
then on to his highly lyrical, self-assured The Royal
Standard to Wills Exceptional Elegance (it is
exceptional) and on to that gorgeously realized
Lush Life, the program proceeds without a stumble.
Wills Relaxed Beauty, exactly at the halfway mark, For large collections,
keeps the level of focus rolling, a perfect launch into
the rest of the offerings. Bernstein melodically
please call to set up an
underscores the brothers musicianship with his warm
soloing as well as superb rhythmic support. What also
appointment.
distinguishes this project is how well all of the players
listen and respond to each other.
Its rare to witness such a perfectly blended sound.
At the top of Peters The Royal Standard, for instance, Open 7 days a week 11-7
the brothers play joint statements honoring Temperley
with such confidence and precision it recalls the 12 W. 18th Street NY, NY 10011
sharpest of big band reed sections. Their inventive 212-242-3000
solos have an impeccable sense of timing and
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 19

To Love and Be Loved
Harold Mabern (Smoke Sessions)
by Alex Henderson
V eteran pianist Harold Mabern, 81, has had his share
of talented students, but if you had to cite the one to
have the most productive relationship with him, it
would be Eric Alexander. The big-toned tenor
saxophonist has featured Mabern on many albums but
this time, Alexander is the sideman. The pair continue
to enjoy a strong rapport on To Love and Be Loved.
This is primarily a quartet album, Mabern and
Alexander joined by bassist Nat Reeves and drummer
Jimmy Cobb (now 88). Trumpeter Freddie Hendrix is
featured on three selections: McCoy Tyner s Inner
Glimpse, Miles Davis So What and Lee Morgans
The Gigolo, sounding especially at home on the
latter. Percussionist Cyro Baptista appears on the title
track, helping bring a bossa nova flavor to the Jimmy
Van Heusen-Sammy Cahn song. And Mabern gives a
solo reading of Bobby Timmons Dat Dere.
Its great to hear two jazz octogenarians like
Mabern and Cobb still going strong. The pair briefly
worked together in 1963 as part of a Miles Davis
residency at The Blackhawk in San Francisco. Cobb is,
of course, the lone survivor of Davis Kind of Blue and
this albums inspired performance of So What finds
him revisiting the modal standard 58 years later, with
Alexander s fiery solo channeling John Coltrane. Time
has not robbed Mabern or Cobb of their considerable
powers. Both are in fine form on Richard Rodgers-
Lorenz Harts My Funny Valentine, Cole Porter s
I Get a Kick Out of You and Gene Ammons slow
blues Hittin the Jug. The lone original of the session
is Alexander s The Iron Man, a hard-swinging bop/
blues number along the lines of Sonny Rollins.
Smoke Sessions Records reflects the spirit of the
Upper West Side jazz club. To Love and Be Loved is very
much in the vein of Maberns Smoke appearances,
making it an excellent addition to his discography.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Aug. 25th-27th. See Calendar.
Kinship
Uri Gurvich (Jazz Family)
by Elliott Simon
Using music, alto and soprano saxophonist Uri
Gurvich makes a very timely pointthat Kinship
knows no artificial borders. Aiding Gurvich in this
exercise is an ethnically diverse band that adapts well
to the eclectic compositions. Gurvich is the son of
Argentinian immigrants to Israel and the session is a
critical reflection of his roots and identity. Argentinian
pianist Leo Genovese is outstanding and his well-
articulated solos, coalescing comping and superb sense
of self are the threads that make Gurvichs premise pay
off. Bulgarian bassist Peter Slavov and Cuban drummer
Francisco Mela round out the quartet.
20 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
Not surprisingly, a Spanish orientation runs solid jazz vocalist) Jeffrey Wright appears on a couple
through a good deal of the program and after opener of selections, playing the role of Parker himself with a
Song for Kate, where the band and Gurvich dont mix of ferocity and sophistication that fits Bird to a tee.
quite get it together, Dance of the aigos solidifies While some traditionalists might scoff at the
the approach with Mela and Slavov providing a firm liberties Klein and his cohorts take with such hallowed
center. El Chubut features poet Bernardo Palombo as material, everything is done with reverence and a high
he retells the tragic history of the Argentinian province level of artistry. The result is a joyous and rewarding
intertwined with Gurvichs family roots. celebration of Parker that takes his revolutionary
The Israeli aspect of Gurvichs identity is presented music another step forward.
along several different dimensions. In stark contrast to
El Chubut, a Middle Eastern tinge serves as an For more information, visit impulse-label.com. Parker tributes
obvious inspiration for the bouncy Twelve Tribes are at Summerstages Charlie Parker Jazz Fest Aug. 23rd-27th
while two songs from Israeli composer Sasha Argov at various locations and Birdland Aug. 29th-Sep. 2nd. See
get disparate treatments: syrupy love tune Im Tirtzi Calendar.
is a bit too smooth while the transcendent Haim
Haim has the band, especially Genovese, doing
a very nice job of channeling John Coltrane. Blue AKIKO TSURUGA
Nomad is exceptional and a session standout,
blending Gurvichs cultural influences into a new Akiko Tsuruga Quartet
form. The title cut takes the more difficult path of Roxy Lounge AT ROXY HOTEL
weaving together differing emotions yet succeeds SATURDAY, AUGUST 19, 8 pm
quite well with its comforting pathos.
Gurvich succeeds in presenting both contrasting lou donaldson Quartet
and complementary takes on his views of Kinship. charlie parker jazz fest
sunday, AUGUST 27, 3 pm
For more information, visit difymusic.com/jazz-family. This project
is at The Stone at The New School Aug. 25th-26th. See Calendar. new album!
so cute, so bad
akikojazz.com
The Passion of Charlie Parker
Various Artists (Impulse)
by Joel Roberts
The brainchild of producer Larry Klein, The Passion of
Charlie Parker is an ambitious project that reimagines
the music of the bebop legend if he were alive and
working today. The album brings together a host of top
jazz vocalists, including Madeleine Peyroux, Gregory
Porter, Kurt Elling and Luciana Souza, to interpret new
lyrics from singer-songwriter David Baerwald for some
of Parkers classic compositions. While Baerwald often
works in more pop-oriented settings, he clearly knows
the jazz terrain covered here extremely well. His lyrics August 1st
Lena Bloch and Feathery
are dramatic and expressive, but spare enough to leave
the talented cast of singers plenty of room to stretch out
and put their own mark on the songs.
The instrumental backing is provided by
August 8th
Rosemary George
saxophonist Donny McCaslin, guitarist Ben Monder
and drummer Mark Guiliana (who formed the core
group for David Bowies final jazz-tinged album
Blackstar), plus keyboardist Craig Taborn, bassists and Friends
Larry Grenadier and Scott Colley and second drummer
Eric Harland. The group dissects and reassembles the August 15th
familiar tunes, cooling their frenetic bebop energy, but
never losing the melodies or the soul of the songs. Rob Silverman Group
Theres a narrative arc to the album, built around
August 22nd
key events in Parker s life, from his early days in
Art Lillard Group
Kansas City to his tragic death in New York at the age
of 34, but the individual tracks can stand equally well
on their own. Peyroux kicks things off with a soft,
smoky reading of Ornithology (retitled Meet
Charlie Parker), with swirling tenor saxophone New York Bahai Center
floating around her. Some of the arrangements stick 53 E. 11th Street
closer to classic bebop vocalese, including Souzas (between University Place and Broadway)
splendid version of Bloomdido (called Every Little
Thing) and Ellings moody, Beatnik blues take on
Shows: 8:00 & 9:30 PM
Moose the Mooche (retitled Los Angeles). Others
Gen Adm: $15 Students $10
like Porter s Yardbird Suite (A Genius in His 212-222-5159
Youth) and Barbara Hannigans Visa (The Epitaph bahainyc.org/nyc-bahai-center/jazz-night
of Charlie Parker) are more experimental. Actor (and
 November 2017

crosscurrents
with
dave holland
& friends
Sun, Nov 5 @ 7 PM
Indian music meets jazz with Zakir Hussain,
Dave Holland, Shankar Mahadevan and
more!

chris
botti
Wed, Nov 8 @ 7:30 PM
This worlds best-selling jazz instrumentalist returns to NJPAC.
john
mclaughlin
& jimmy
herring
Fri, Nov 10 @ 8 PM
Guitar virtuosos from Mahavishnu
Orchestra and Widespread Panic.

More TD Moody Jazz to

love this November!
Manhattan Transfer
Sat, Nov 4 @ 7:30 PM

Hiromi & Edmar Castaneda

Sun, Nov 5 @ 3 PM

ella & dizzy Christian McBride & Dianne Reeves:

the centennial One-on-one
celebration Fri, Nov 10 @ 7:30 PM

Sun, Nov 12 @ 7 PM Dorthaans Place Jazz Brunch

Gregory Porter, Lizz Wright, Regina Carter, Valerie Simpson, Randy Brecker, Kevin Mahogany
Sean Jones and the Christian McBride Big Band salute Ella Fitzgerald and
Sun, Nov 12 @ 11 AM & 1 PM
Dizzy Gillespie and celebrate the Ella songbook.
Sarah Vaughan Intl
Sponsored by: Jazz Vocal Competition
Sun, Nov 12 @ 3 PM
Guest judges include TS Monk, Ann Hampton Callaway,
Will Downing, Vanessa Rubin and WBGOs Gary Walker

For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC Groups 973.297.5804
One Center Street Newark, NJ
9.5x12_NYCJazzRecord_aug_njpac_2017.indd 1 7/10/17 10:37 AM

Tristeza On Guitar & Images on Guitar
Baden Powell (MPS-Edel)
by Fred Bouchard
Baden Powells pure and forceful acoustic guitar,
brawny-toned with pinpoint attack, rings clearly
through these studio ensembles with a cat-like grace;
he easily blends folksy samba with classical, even
flamenco styling, graceful arpeggios and ringing
sustains, over all a primeval, singular lyricism. mid 50s, but then tailed off to almost nothing after
Powell, who was born 80 years ago this month and
died in 2000 at 63, was a maverick, an original, dripping
with duende: he seemed to shun limelight, but enriched
the bossa nova book in enchanting collaborations with
Vincius de Moraes (hear their hallmark album Os Afro
Sambas, from whence comes Canto de Ossanha) and
was snapped into the U.S. market by the enterprising
flutist Herbie Mann, with whom he made a cute 1962
Atlantic date. His influences (miles-wide open-string
vistas and metallic touch on nylon strings) became
a noticeable reference for Brazilian guitarists such as
Egberto Gismonti and Edu Lobo.
Polymath MPS producer Joachim Berendttalent
scout, jazz historian, philosopher, A&R man, liner note
writer, festival honchorelished showcasing exotic
jazz geniuses (e.g., Tete Montoliu) but occasionally
showed excess enthusiasm for audio gadgetry and
echo effects. The jazz listener s one yardstick in these
two juicy vinyl reissues is a widely-pirated, haunting
Round Midnight duo with bass: Powell winkles out
bluesy phrases in a tart, spidery Django Reinhardt
formalism, with a percussive flair that Monk would
have gruntingly approved.
Tristeza on Guitar (1966, recorded in Rio), the better
date, has pristine flute, clangy agogo, clattery atabaque
and numinous surdo in support of brilliant guitar
musings. The title track, never sad, finds Powell
slashing joyous chords. On Canta da Ossanha he
invents miniscule variations on a haunting single-note
line. Best left to his own musings, Powell evokes
classical minuet on Invenao em 7 and elegant
ruminations on Das Rosas. Three ballads, just guitar
and bass, stand out for heart-rending simplicity. Som
Do Carnaval is a street dance groove!
Images on Guitar (1971, MPS Studio in Villingen,
Germany), by contrast smooth, plush and polished,
finds French contralto Janine de Waleyne and Powell
teaming up on vocals, she wordless and classical, he
hushed and confidential la Joo Gilberto. De
Waleynes clarion, exhibitionist hooting makes an
awkward fitfar from Elis Regina and Tom Jobim
prevailing as a personal triumph over a musical one.
To the instrumentals: Petit Waltz, a breathless
quickstep, sounds through-composed, or instantly
imagined, Fernando Sor tippling cachaa; Sentiment:
If You Forget, No One Will Know is a rich, wistful
chro; on Conversation with Myself Powell trios
via overdub (acoustic guitar, guitar bassline, hammered
dulcimer-like electric lines) with bass and percussion.
Rich variations and cross-pollinated ideas do in their
way conjure a Brazilian Bill Evans. Of Powells three
compositions with Msica Popular Brasileira poet/
lyricist Paulo Csar Pinheiro, two are rarefied, cat-and-
mouse vocals and one a zinging bassline-driven E De
Lei, referring to Powells TV show title and his
steadfastness in the face of swirling musical fashions. reclusive piano virtuoso Forrest Westbrook, born 90
The hefty audiophile pressings on 180-gram grade
vinyl are silky beauties that surpass the originals in
enhancing the AAA recordings.
For more information, visit mps-music.com
22 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
gigged with Art Pepper and Chico Hamilton,
Westbrook remained reluctant to promote himself or
record. Thank goodness the Westbrook sisters had the
sense to contact Jordi Pujol at Fresh Sound Records
and, thus, The Remarkable Forrest Westbrook was born.
Westbrook recorded these sessions on an Ampex
tape machine in his Santa Monica apartment in 1958
(plus one cut featuring bassist Gary Peacock in 1960).
The pianist was an audiophiles audiophile according
Live in Tokyo to Leslieand the fidelity is startling. Turn up the
Jimmy Raney (Xanadu-Elemental Music) volume and it sounds like the trio is in your living
by Duck Baker room. Westbrook can be favorably compared to Wynton
Kelly on one hand to Paul Bley on the other and from
The sporadic leadership career of guitarist Jimmy the opening strains of Im Getting Sentimental Over
Raney, who was born 90 years ago this month and died You, one hears both ends of the spectrum on this
in 1995 at 67, began with a very active period in the wildly swinging yet forward-thinking exposition.
Especially instructive is the maniacally effusive tempo
1957, until he came back in the mid 70s with three on Charlie Parker s Buzzy, upon which Westbrook
releases featuring a guitar-bass-drums trio format. layers one brilliant chorus after another. This is a prime
This is worth noting because it was unusual for example of the state-of-the-art in piano performance
straightahead guitarists at that point; such figures as of its time and its a crying shame that it lingered in
Wes Montgomery never recorded with it and Raney a cardboard box for 57 years before being rescued and
himself had not on his earlier dates. The first of these brought to the attention of the jazz public.
records, Momentum, appeared in 1974 and demonstrated Since he had no intention of putting this out,
that Raney, who had been largely forgotten at that Westbrook defies the recording practices of the day
point, had few if any equals at spinning out chorus and delivers an expansive and relaxed set where
after chorus of inspired melodic invention and the trio everyone gets a chance to stretch. Shine On Harvest
setting gave him full rein. Raney signed with Xanadu Moon is a prime example: ebullient, swinging and
in 1975 and made The Influence, which was even looser than a billionaires ethicsthis cut perfectly
stronger. The following spring, the guitarist was part illustrates how a musical genius can transform even
of a Japanese tour organized by Xanadu, which also the blandest of material into top-notch jazz. The 1960
included alto saxophonist Charles McPherson, pianist cut with Peacock offers another tantalizing taste of
Barry Harris and the rhythm team of Sam Jones and what could have been. They are clearly on the same
Leroy Williams. Live recordings by Raney, McPherson page and their conversation remains riveting.
and Harris were issued later that year.
If you ask modern jazz guitar fans to name their For more information, visit freshsoundrecords.com
favorite five or so guitar-bass-drum records, Live in
Tokyo is going to place near the top of most lists and
likewise any list of Raneys best records. He himself
thought this was his best. From start to finish,
everything was clicking, from the ridiculous uptempo
romps like Cherokee to sensitive ballads like Stella
By Starlight (though even this is peppered with 32nd
note passages). Everyone is tuned in to each other and
having a ball. Obviously the situation inspired Raney,
but we may as well note that attaining these heights
may also have frightened him, as by the time his return
flight to the U.S. touched down, he had already
embarked on one of the destructive drinking binges
that he had to contend with for most of his adult life.
If you are one of the few jazz guitar fans who
doesnt already own this record, what are you waiting
for? If you do, note that this release contains a bonus
track and excellent new liners. Besides, isnt that old
vinyl kind of scratchy after all these years?
For more information, visit elemental-music.com
The Remarkable Forrest Westbrook
Forrest Westbrook (Fresh Sound)
by Robert Bush
There are few unsung heroes with less accolades than
years ago this month. He flew under the commercial
jazz recording radar with imperious stealth until his
death in 2014 when his daughters, Leslie and Yvonne,
discovered a treasure trove of unreleased tapes while
cleaning out his San Diego apartment. Even though he

chapter one: THE CLOCKS HAVE GONE MAD
Brian Marsellas Imaginarium (Red Palace)
by John Sharpe
Brian Marsellas chapter one: THE CLOCKS HAVE
GONE MAD sounds exactly as the title and the eccentric
capitalization suggest: a whacky chase through the
genres. The prodigious Philadelphian pianist may be
best known for his place as a satellite in the orbit of
John Zorn, where he has contributed to both Zorns
Bagatelles and his Book of Angels, but this collection
recorded between 2009-2012 represents his leadership
debut. Unlike his mentor s famous cut-up pieces, the
genre-hopping here is not primarily within numbers,
but between them. While Marsella doesnt major on
thematic development or solo storytelling, his easy
melodies and energetic quirkiness make for an
enjoyable ride nonetheless.
Marsellas Imaginarium comprises a loose core of
players supplemented with a varied cast from track to
track. Two unaccompanied cuts frame ten group
realizations. Marsella not only plays piano but also
Fender Rhodes, Hammond B3, Prophet and Yamaha
synths, vibraphone, accordion, xylophone and
melodica and he executes the opening Lullaby on
shahi baaja (a sort of Indian zither), achieving a
winsome bluegrass feel, while for the final Psalm he
builds a pretty but low-key line up to an ultimately
grand flourish just on piano. But between he touches
on everything from soul to folk dance, settling on jazz
only sparingly, best exemplified by Better Watch
What You Wish For (In These Historic Times) Part 1.
His NewArk Trilogy begins with vaulting
klezmer over a jazzy groove, before moving on to
a jerky cartoon soundtrack allied to a funky beat.
Erstwhile Sun Ra Arkestra boss Marshall Allen guests
on EWI, but you would be hard pressed to pick him
out. For the relaxed last installment Marsella enlists a
childrens choir and throws in a swooping instrumental
break from a keyboard on a flute setting. Thereafter
Whos Going to Follow Your Revolution? packs a
slow-building charge featuring Eyal Maoz guitar
shredding while Lost in the Bubbles proposes a
sashaying Hawaiian lilt, which morphs into Parisian
gypsy music when Marsella takes up the accordion.
You get the idea.
For more information, visit redpalacerecords.com. Marsella
is at The Stone Aug. 17th-18th. See Calendar.
Live at the Jazzfestival Steyr
Daniel Nsig/Jure Pukl Quintet (Alessa)
Live at Thelonious
Jure Pukl Quartet (Discos Pendiente)
by Tom Greenland
J azz artists working within the so-called mainstream
(an admittedly oceanic category) face the significant
challenge of doing something new with something old,
of making an historically established style sound
contemporary. Slovenian tenor saxophonist Jure Pukl
is one younger artist who meets this challenge, as
heard on two recent releases, both 2016 live dates. recognition. The Osaka, Japan native started on organ
Live at the Jazzfestival Steyr from Austria features when she was just three and was attracted from an
an international combo of Austrian trumpeter Daniel early age to straightahead jazz. Drummer Grady Tate
Nsig, Pukl, Hungarian pianist Tzumo rpd and two convinced her to move to the U.S. and Dr. Lonnie Smith
North Americans, bassist Josh Ginsburg and drummer became her mentor. While she considers the latter to be
Gregory Hutchinson. The set begins with lone acoustic her main influence, like most organ players who
bass, followed by a flurry of trumpet and tenor notes, perform blues, ballads and jazz standards, Jimmy
then a loosely doubled melodynow in unison, now Smiths innovations in the 50s were her starting point.
harmonizedswinging along in 5/4, with freely So Cute, So Bad is her tenth album as a leader. It
rendered solos by trumpet and tenor, both playing in was recorded live at the Alvas Showroom near Los
fast, conversational bursts, the whole group coasting Angeles, teaming her with two of Los Angeles top
home at last to end on a gargled saxophone tone. Pukls musicians: Graham Dechter, a bop-based guitarist who
Straight Story, in 7/4, follows a similar template: can hold his own with his New York counterparts and
loose phrasing and lots of give and take between the Jeff Hamilton, famous as both a big band drummer and
horns; rpd taking the first solo; Ginsburg and one who sounds equally at home with small combos
Hutchinson changing up the rhythmic accompaniment including his own trio.
by inserting sections of 4/4 time or half-time; Pukl The music here is both bluesy and soulful and
breathing in ebbs and flows, giving his sound a subtle, features many solos from Tsuruga and Dechter with
gasping quality; Hutchinson taking the last solo. This occasional spots for Hamilton. The repertoire consists of
segues into rpds Message, a sweet ballad in 6/8 the title cut (a midtempo blues), cooking The Lady Is A
that toggles between two chords, with solos by the Tramp, Baby Face Willettes catchy melody Face To
composer and Ginsburg. The latter s Sweatshop Face, slow Slide Hampton blues Frame For The Blues,
Blues contains a compelling theme elevated by Pukls faster than usual You Dont Know What Love Is, the
solo, which hints at a more avant-jazz sensibility, leaders likable Peachie (using the chord changes of
bolstered by the proactive rhythm team. Opener, the Charlie Parkers Confirmation), bossa nova-flavored
ironically titled closer, switches between the tricky Tanabata and Tsurugas thoughtful jazz waltz Pretty
A sections (the first note of the melodic phrases seems Please. Everything works well with Dechter often
to arrive either too early or too late), played with taking the melody and sharing solo honors.
straight eighth-notes and a swinging bridge, the The accessible music is easy to enjoy and forms a
co-leaders both pulling against the pulse in their solos, solid outing for Akiko Tsuruga.
elongating phrases or squeezing in extra notes.
Live at Thelonious features the Jure Pukl Quartet at For more information, visit akikojazz.com. Tsuruga is at
the titular venue in Santiago, Chile. Besides Pukl, the Bar Next Door Aug. 12th with Jeff Barone, The Roxy
groupguitarist Nicols Vera, bassist Pablo Menares, Lounge at Roxy Hotel Aug. 19th and Tompkins Square Park
drummer Flix Lecaros, plus guest tenor saxophonist Aug. 27th with Lou Donaldson as part of Summerstages
Melissa Aldanais Chilean, all but Vera residing in Charlie Parker Jazz Festival. See Calendar.
New York, which may help to explain the close
camaraderie, particularly between Pukl and Vera, who
often seem to be thinking with a single mindset. Pukl
wrote five of the six numbers, provocative tunes setting
him apart from many of the less memorable composers
inundating the jazz mainstream. After False
Accusation, Aldana joins the quartet for Up & Over,
an amazing two-tenor feature with a pair of interlinked
solo sections, Pukl and Aldana improvising a
conversation with no interruptions, each conversant
dovetailing the other s sentences so seamlessly its
difficult to tell whos playing what in a triumph of
musical empathy. Sequence III, an interesting theme,
provides a format for interplay between Pukl and Vera,
segueing into Enko Dunko, over which they trade
open-ended phrases. Compassion, a sweet ballad,
contains similar interplay, both tenor and guitar
achieving comparable sound effects through
ornamentation. Pukl delivers strong cohesive solos on
La Rueda del Tiempo (composed by Vera) and
Bizgo, a snaky line with a blues-rock feel.
For more information, visit sounddesign-austria.at and
discospendiente.com. Pukl is at Bar Next Door Aug. 29th.
See Calendar.
So Cute, So Bad
Akiko Tsuruga (ATM)
by Scott Yanow
Akiko Tsuruga has been one of the top organ players
in jazz ever since she moved to New York in 2001,
although it has taken a while for her to gain proper
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 23

Roll On
Grant Stewart Trio (Cellar Live)
by Ken Dryden
A native of Canada, tenor saxophonist Grant Stewart
was drawn to New York City to work with jazz masters
like Donald Byrd and Barry Harris. Now in his mid
40s, his resum is filled with recordings or performances
with numerous greats, in addition to his many CDs as
a leader or co-leader. His trio here is completed by
bassist Paul Sikivie and drummer Phil Stewart, Grants
brother. While many saxophonists have taken on the
challenge of playing in this type of trio, not all are
equal to the task. The lessons that Stewart learned
working alongside veterans have rubbed off and while
he shows the influence of greats like Sonny Rollins and
Dexter Gordon, he is no carbon copy.
The creative setlist draws from several decades,
starting with the 20s song Thinking of You, which
the trio turns into a brisk bop vehicle, getting up to
speed in no time. After Youve Gone has long been a
standard for jazz musicians and Stewarts fast-paced
workout is a clear nod to Gordon, with sizzling energy
provided by his rhythm section. Bud Powells
Un Poco Loco became a bop staple and Stewarts trio
dives head first into this challenging theme, mastering
it effortlessly. The End Of A Love Affair is a ballad
that was popular for a time but fell out of favor; Stewart
finds plenty of life in this forgotten gem, supported by
walking bass and subtle brushwork.
With his premature death in his 20s, Fats Navarro
has been all but forgotten by many jazz musicians;
Stewarts rendition of Fats Flats (based on the chord
changes to What Is This Thing Called Love?) is on
the money, with potent drum breaks. Do You Know
What It Means To Miss New Orleans is giving a loping
treatment comparable to life in the Big Easy, Stewarts
lyrical tone conveying the nostalgia anyone who has
spent significant time living there feels, an understated
bass solo the centerpiece of the memorable
arrangement. Elmo Hope is another jazz figure who
has fallen into obscurity a half-century after his death:
Stewarts intricate setting of his title track shows
appreciation for a jazz master who died far too young.
For more information, visit cellarlive.com. Stewart is at
Smalls Aug. 11th-12th with John Marshall. See Calendar.
Bossa Brasil
Westfield Jazz
festival
Cd release for
traJetrias
MauriCio de souza (druMs)
adrian CunninghaM
(tenor saxophone)
Jerry Weir
(viBraphone)
gary Mazzaroppi (Bass)
tuesday, august 22nd
Westfield, nJ
free outdoor ConCert
MauriCiodesouzaJazz.CoM
24 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
Legacy of Ashes
Nate Wooley/Daniele Martini/Joo Lobo
(Creative Sources)
Purple Patio
Nate Wooley/Hugo Antunes/Jorge Queijo/
Mrio Costa/Chris Corsano (NoBusiness)
by Stuart Broomer
Nate Wooleys work moves in several directions, from
the mystical intensity of his recurring Seven Storey
Mountain and the classic free jazz of his quintet/sextet
to the complex techniques that have defined his solo
trumpet work. Along with that are regular partnerships,
like those with drummer Paul Lytton and the trio Icepick
with bassist Ingebrigt Hker Flaten and drummer Chris
Corsano. These two recordings come from a broader
category: ad-hoc improvised groups. While these two
recent releases have waited a while to appear on disc,
theres plenty of musical substance on each.
Legacy of Ashes shares its title with Tim Weiner s
2007 history of the CIA and the organizations history
informs its track titles as well, from Dull, Duller,
Dulles to Chasing El Lider Forever. Though they Taylor for a set of nine pieces that have a fierce energy
could have been added at any time, the titles add
material for reflection to this 2011 Brussels meeting of
musicians from three NATO nations: Wooley (USA),
saxophonist Daniele Martini (Italy) and drummer Joo influence on his work here; on Solsticethe Girls (for
Lobo (Portugal). Wooley opens In China One
Moonless Night with an exalted longing that links to
the lineage of lyrical trumpeters (Miles Davis, Don
Cherry, Wadada Leo Smith), but the music shifts
quickly to intense contrapuntal improvisation, whether
the mood is combative, conspiratorial or celebratory.
Martini is a stellar saxophonist, contributing warm to
explosive tenor while Lobo is a subtle, inventive
drummer, finding fresh ways to hold the music
together and press it along. Operation Mocking Birds
is a highlight: mercurial soprano has a crowing force,
drumming is propulsive and when Wooley enters he
supplies a complex blast that sounds like an amplified
fan, anything but a trumpet. By the conclusion Martini
and Wooley are animatedly echoing one another s
phrases. Theres a deliberateness about all the music
here, driving forcefully and inventively ahead.
Purple Patio comes from a Portuguese recording
session in May 2012, with Wooley and bassist Hugo
Antunes joined by up to three drummers: Chris
Corsano, Jorge Queijo and Mrio Costa. The trio of
Wooley, Antunes and Corsano previously released
Malus from a later 2012 concert in Brugge (also on
NoBusiness) and this session is every bit as enjoyable.
Opener Parturition has Wooley taking immediate
inspiration from the dense mesh of percussion,
embarking on a solo that splatters rapid lines and
brassy blasts around the studio. He launches an
unaccompanied exploration of alternative techniques
to begin Auroraevocative, strangely furtive play
with airuntil the drummers join in. Antunes is an
exceptionally grounded bassist, with a big sound and
a strong sense of line, whether insisting on a pulse or
coming to the fore as an equal melodic partner on the
almost balladic Aurora or the pointed and splintering
speculations of Sueca. The drummers contribute as
much taste and invention as sheer force: on their
feature, Triangle, the threesome construct a spacious,
subtly detailed world of varied percussion sounds.
For more information, visit creativesourcesrec.com and
nobusinessrecords.com. Wooley is at The Stone at The New
School Aug. 18th and New Revolution Arts Aug. 26th. See
Calendar.
Sing Me Some Cry
Eric Revis (Clean Feed)
by Phil Freeman
Bassist Eric Revis shuttles between mainstream jazz
and avant garde experimentation with ease and grace.
Hes been part of saxophonist Branford Marsalis group
for 20 years, works regularly with pianist Orrin Evans
and is a sought-after sideman. At the same time, he
leads experimental albums for Clean Feed. To date,
these have included 2012s Parallax, a quartet session
with saxophonist Ken Vandermark, pianist Jason Moran
and drummer Nasheet Waits; two trio discs, 2013s City
of Refuge and 2016s Crowded Solitudes, featuring pianist
Kris Davis and, respectively, drummers Andrew Cyrille
and Gerald Cleaver; and 2014s In Memory of Things Yet
Seen, with saxophonists Darius Jones, Bill McHenry and
Marsalis and drummer Chad Taylor.
Sing Me Some Cry draws from this same pool of
players, bringing together Vandermark, Davis and
but also exhibit restraint and calculation. Taylors long
partnership with cornet player Rob Mazurek in various
Chicago Underground projects seems like a powerful
Max & Xixi), his slow, throbbing rhythm is decorated
with tiny ripples from what could just as easily be a
mbira as a piano and Vandermarks clarinet is patient
and minimal, a murmuring presence. The opening title
piece, on the other hand, begins with taped voices played
backward over a calling-to-order solo from Revis and
a ritualistic shaking of beads; the cymbals are ominous,
piano haunted, saxophone sputters and erupts in
Braxton-ian squawks and squiggles. While never
rocketing into free blare, the music feels like it could at
any moment and the ghostly voices, which return at the
end, are eerie. It brings listeners to full attention, saying
in effect: Get ready. You dont know whats coming.
Pieces like Rumples and Drunkards Lullaby,
are more conventional, even bluesy, but the feeling of
exploration and curiosity remains. Revis has never been
interested in finding a creative comfort zone and Clean
Feed is to be lauded for giving him space to roam.
For more information, visit cleanfeed-records.com. Revis is
at The Stone at The New School Aug. 11th-12th with Kris
Davis. See Calendar.
 www.mps-music.com

TRISTEZA, IMAGES AND HIS LAST CONCERT ON GUITAR

FELIZ ANIVERSRIO MR. BADEN POWELL

LP, CD and in all digital Fomats Also available on DVD

Edel_ANZ_Baden Powell_NYCJR_Aug17_sw.indd 1 18.07.17 10:54


I Wanna Be Loved (featuring Houston Person)
Barbara Morrison (Savant)
by George Kanzler
A stalwart of West Coast jazz, singer Barbara Morrison
is internationally famous yet has a low profile here on
the East Coast, where she rarely performs. But her
fruitful recording collaborations with tenor saxophonist
Houston Person (this is her third), reminiscent of his
simpatico work over many years with the late Etta
Jones, has widened her appeal. I Wanna Be Loved is
based on a show of the same name Morrison did
honoring Dinah Washington.
According to Person, Morrison is also steeped in the
blues, bringing a bluesy ambiance to songsnone of
them true blues in formrecorded by Washington. The
only real, rocking blues, Nat Adderleys Work Song,
stands out for the way Morrison and Person riff out in
trades as she repeats, with more rocking emphasis each
time, the phrase I been breakin them rocks. Another
song not associated with Washington, Frank Fosters
Basie classic Shiny Stockings, exemplifies her and
Persons easy rapport as well as her buoyant sense of
swing. Their comfort with even much faster rhythms is
evident on a barnburner version of Perdido, Person
shadowing the vocal lead with undulant obbligatos. At
times Morrison seems to channel Washington, right
PETER WILL
ANDERSON ANDERSON
Tenor Sax, Clarinet Alto Sax, Clarinet, Flute
26 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD
down to her signature stylistic quirks, like the yes she
interjects into the trio (sans Person) track Ill Close My
Eyes. Other songs from the Washington repertoire
affirm how versatile the late singer was and how
authoritatively Morrison makes them her own. She
captures both the gruff edge and tenderness in Please
Send Me Someone to Love and unabashed sensuality
of Make Me A Present of You. And she and Person
forge a seamless partnership on the ballads Skylark
and When Sunny Gets Blue and a swinging tandem
on September In the Rain. This is a welcome tribute to
one of the 20th centurys greatest singers.
For more information, visit jazzdepot.com. Person is at
Grants Tomb Aug. 2nd and Brooklyn Bridge Park Aug. 15th
with Eric Person, both as part of JazzMobile. See Calendar.
Happy Juice
Jon Davis (Posi-Tone)
by Phil Freeman
Pianist Jon Davis pays tribute to five (possibly six) of
the major figures of the modern jazz era on his latest
Posi-Tone CD. Backed by bassist Boris Kozlov and
drummer Mark Ferber, he essays pieces by Chick Corea,
Bill Evans, Herbie Hancock, Keith Jarrett and McCoy
Tyner, then composes five originals that incorporate
THEATERS
MOLLY JEB CLOVIS PHILIP
RYAN PATTON NICOLAS STEWART
Vocals Piano Bass Drums
elements of their style, without ever seeming like hes
trying on hats. His reading of Evans The Two Lonely
People retains the introspection of the late pianists
style, but has the driving energy that has always been a
hallmark of Davis own work. The discs second half
kicks off with Coreas Tones for Joans Bones, Kozlov
and Ferber establishing a pulsing rhythm atop which
Davis dances through the melody, giving it an almost
Latin feel. On Hancocks Speak Like a Child, the
music ripples and throbs, Davis heading for the low end
of the keyboard, where Kozlov meets him, deploying
a massive tone. Tyners Search for Peace is a ballad
but here is set to more of a groove. Happy Juice concludes
with a version of Jarretts Rainbow; it begins with
Davis solo, trilling around the keyboard before his
partners join him for a slow, gentle lap around the track.
Davis kicks off the album with two originals, the
title track and Slant Six, inspired by Hancocks early
60s Blue Note recordings and Tyners early 70s work
for Milestone, respectively. Another new piece, As We
Know, explores the lyricism of Jarretts Impulse-era
recordings; it could have been an outtake from Treasure
Island. Later, we get the intriguing Bred On Red, an
original in which the pianist explores Evans feel, but by
focusing on the elements he thinks Evans borrowed
from another hugely important figure of the era, Red
Garland. Unsurprisingly, this is the hardest-swinging
track, stuffed with big block chords and propelled by a
bouncing drum performance. The final Davis original,
Mostly Minor, takes inspiration from Corea and that
fact is as audible in Ferbers twitchy, excited playing as
the pianists.
For more information, visit posi-tone.com. Davis is at Smalls
Aug. 3rd with JC Stylles/Steve Nelson and Birdland Aug.
6th with Tom Tallitsch. See Calendar.
$3B5ERS
MEM
$24.50

Dolphy Formations
Aram Bajakian (Sansar)
by Mark Keresman
G uitarist Aram Bajakian has a most unusually
impressive resum, playing on the last two tours of the
late rock icon Lou Reed as well as with singer
Diana Krall; and legendary multi-instrumentalist and
world music progenitor Yusef Lateef, the latter under
whom he studied. Eric Dolphyone of the early 60s
jazz revolutionariesgave Lateef a portion of
a composition, Synthetic Formations (a scale which
encompasses two octaves without repeating a note) in
1961 and Bajakian uses it as an inspiration for a series
of dreamy/dreamlike soundscapes.
Dolphy fans please note: this music herein does
not at all resemble or even evoke Dolphys music, but
does bear his influence in the way that he expanded
the range of the instruments he played (alto saxophone,
bass clarinet and flute). Superficially, Dolphy Formations
resembles the minimalist (from the progressive rock
sphere) vistas of (Robert) Fripp & (Brian) Eno
(especially their classic album Evening Star) and the
intricately designed, slowly evolving tapestries of
classical composer Morton Feldman.
Bajakian, cellist Peggy Lee and trumpeter
J.P. Carter coax long, sustained tones from their
instruments, separately and in unison, subtly
modulating their held notes. Bajakian plays no melodic
lines but with constant yet restrained distortion
throughout. Trumpet rarely sounds like a horn but
more like a winter wind echoing through the crevices
of a house while cello saws away gently but surely.
There are moments of mild agitation followed by
serenity, but similar to a serenity that can come from
a repetition of an electric fan or falling rain on a metal
awning. All the participants used extended techniques
and, as such, during these three Variations one may
hear a bassoon, bass flute, string section, oboe, tuba
and/or the sound of power tools replayed at one-
quarter speed.
To some, these pieces may all sound rather same-y
until you listen closely. Appreciation for this entrancing
album depends on ones taste for minimalism and
drone-based music. There is improvisation afoot, but
not jazz improvisation, and motion is like the
movement of a clocks hands or the Earths orbit. With
the right mood or mindset, this is an album to immerse
ones self into and get lost.
For more information, visit arambajakian.com. Bajakian is
at The Stone Aug. 18th-20th. See Calendar.
Four in One
Heads of State (Smoke Sessions)
by Joel Roberts
Youd be hard pressed to find a band with more talent,
experience and exuberance than the allstar ensemble
known as Heads of State. This foursome of respected
postbop veterans (three of them are in their 70s) returns
for its sophomore outing after making a strong debut
with 2015s Search for Peace, focused primarily on the
music of McCoy Tyner. This time, the groups focus is
broader, mixing original compositions by the quartet
and material from jazz forebears and contemporaries.
Theres been one, nearly seamless change in
personnel since the first release, with David Williams,
the longtime Cedar Walton bassist, replacing the great
Buster Williams. The rest of the impressive lineup
Gary Bartz (alto saxophone), Larry Willis (piano) and
Al Foster (drums)remains the same.
Foster and Bartz introduce the opener, with Bartz
darting, swirling alto perfectly capturing the essence
of the Thelonious Monk title cut. A Bartz original,
And They Called Him a Messenger, follows, written
in honor of famed drummer Art Blakey. While hes
certainly mellowed with age, no longer the
revolutionary of his youth, Bartz remains a thrilling,
one-of-a-kind player, as evidenced by his performances
on two very different tunes by legendary saxophonists:
Wayne Shorter s dreamy Dance Cadaverous and
Charlie Parker s frenetic Moose the Mooche.
Foster, who has emerged as a composer and leader
of note after decades of working almost exclusively as
a sideman (most famously with Miles Davis), penned
the hard-hitting Aloysius, which he opens with
a propulsive solo. A lush Willis ballad, The Day You
Said Goodbye, quiets things down, showcasing his
elegant piano artistry and leading into a sterling group
reading of the Miles Davis masterpiece Milestones.
The album closes on a high note with a quirky take on
saxophonist Eddie Harris soul-jazz classic Freedom
Jazz Dance, Williams and Foster laying down a deep
funk groove on bass and drums.
At an age when some might be slowing down, the
members of this septuagenarian super-group continue
to push forward, making music thats vital, engaging
and packed with the wisdom of their hard-earned years.
For more information, visit smokesessionsrecords.com.
Gary Bartz and David Williams are at Iridium Aug.
31st-Sep. 2nd. See Calendar.
Hit The Ground Running
Dave Rempis/Matt Piet/Tim Daisy (Aerophonic)
The Halfway There Suite
Tim Daisys Celebration Sextet (Relay)
by John Sharpe
Saxophonist Dave Rempis remains one of Chicagos
busiest and most accomplished improvisers and
organizers. Its hard to believe that he first came to The
Windy City in 1993 to study classical saxophone at
Northwestern University. He quickly became intensely
caught up in the citys vibrant jazz scene and joined
the seminal Vandermark 5 at age 22, before spawning
a slew of his own projects, such as the Rempis
Percussion Quartet and Ballister. But as not all the
members of those bands reside in Chicago, he has also
been assiduous in developing more accessible outlets
for his fiery saxophonics.
Rempis unites with two like-minded spirits on Hit
The Ground Running, a digital-only issue on his own
Aerophonic imprint recorded live at Elastic Arts in
January 2017, which contains two freely improvised
pieces benefitting from a practiced flow. Rempis
inventive tale-spinning dominates, making full use of
emotive tonal distortion and even the occasional R&B
lick. Pianist Matt Piet, one of a new wave of talented
natives, accentuates the percussive feel and proves
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
unafraid of bluesy extemporized vamps as well as the
odd well-placed madcap flail. Drummer Tim Daisys
readiness to propel the trio with his pulsing cymbals
and insistent time puts this session firmly in the free
jazz tradition. Long Night Ahead maintains an
overall trajectory of repeated pressure and release with
Rempis impassioned alto saxophone cry predominant.
Although Keep Alert begins with breathy saxophone
overtones and sonic piano droplets, it soon leaves
ballad territory for another three-way charge, Rempis
weaving in and out of the lattice formed by a reiterated
piano motif and tappy cymbal tattoo. How you move
from A to B is critical in such music and this crew
achieves it effortlessly, making the transitions almost
seamless, whether thats through echoing, as when
Rempis takes on Piets rippling sonorities as a bridge
to an unaccompanied segment, or jumping in just at
the right split second, as saxophone and piano do after
a typically well-ordered drum solo. This is a worthwhile
and exciting set and, better still, all proceeds from the
album go to a local charity supporting refugees.
Rempis and Daisy go way back, so its no surprise
that Rempis features as an impact soloist on the latter s
optimistically named The Halfway There Suite. Its
performed by a special sextet of the drummer s favorite
musicians convened to celebrate his 40th birthday and
its some present. Daisy has clearly learned from his
erstwhile employer Ken Vandermark as he has crafted
varied and thematically coherent small-group charts
while also nailing the trick of providing fertile settings
for some terrific collaborators. Part 1 sets out the
carefully voiced main theme, which launches an
eloquent Steve Swell trombone soliloquy. In Part 2
Fred Lonberg-Holms pizzicato cello riff combines
with ticking hi-hat and unison horns to dispatch James
Falzones keening clarinet. At this point Rempis tenor
rears up into the mix, at first in tandem with Falzone,
then stretching out in a thrilling display. Then, in one
of the highpoints of the disc, the raucous polyphonic
backing of the other horns ratchets up the fervor to
another level. In Part 3 conversational drums duet
with Russ Johnsons expressive muted trumpet.
Further solos and duets follow until Falzones sprightly
pied piper clarinet leads the dashing ensemble into the
final Part 4, which culminates in some suggestive
muttering from Johnson with staccato interjections,
during which the original theme is once more threaded
in, but this time with a more somber cast. One
advantage of the 34-minute playing time is that once
the end is reached, its not too much of an ask to go
immediately back to the start of this superb work.
For more information, visit aerophonicrecords.com and
timdaisyrelayrecords.bandcamp.com. Rempis is at Queer
Trash Aug. 24th, The Stone Aug. 25th, New Revolution Arts
Aug. 26th and Legion Bar Aug. 27th. See Calendar.
27

Monks Cha Cha (Live at the Carnegie-Farian Room)
Bill OConnell (Savant)
by Scott Yanow
Bill OConnell has been a very active jazz pianist since
the 70s, performing both advanced hardbop and Latin
jazz and has worked with the likes of Chet Baker,
Sonny Rollins, Gato Barbieri, Emily Remler and
Charles Fambrough. He had particularly important
associations with Mongo Santamaria (1977-79), Jerry
Gonzales Fort Apache Band and the recently departed
Dave Valentin. In recent times OConnell has led the
Latin Jazz All-Stars, a group also including Conrad
Herwig and Steve Slagle.
Monks Cha Cha, recorded live at the Carnegie-
Farian Room of the Nyack Library, is Bill OConnells
13th album as a leader, but surprisingly his first as
a solo pianist. He sounds like a natural in this setting,
starting with an uptempo and fearless exploration of
Oscar Hammerstein-Jerome Kerns The Song Is You.
While fitting into the modern mainstream of jazz,
OConnell sounds unlike any other pianist and during
these six minutes, he never runs out of creative ideas.
OConnells interpretation of Ray Gilbert-Antnio
Carlos Jobim-Aloysio de Oliveiras Dindi is quite
thoughtful, taking his time and really drawing out the
beauty of the melody. Most intriguing is the title track,
a piece combining hints of Thelonious Monks
Misterioso and Well You Neednt with Latin
rhythms. Johnny Burke-Jimmy Van Heusens It Could
Happen To You is taken slow and out of tempo, the
results a bit dreamy. OConnell performs his augmented
blues Zip Line, Mongo Santamarias Afro Blue
(taken in a McCoy Tyner explorative style rather than
Latin) and an atmospheric and colorful original
Hither Hills. The program concludes with two more
originals, Gibberish (a short but fiery sketch) and the
episodic and unpredictable White Caps.
The music on Monks Cha Cha is so consistently
intriguing that it is surprising that Bill OConnell took
this long to record in this setting.
For more information, visit jazzdepot.com. OConnell is at
Dizzys Club Aug. 28th. See Calendar.
Alto Manhattan
Steve Slagle (Panorama)
by Ken Dryden
Alto saxophonist Steve Slagle has built an impressive
career since he arrived on the scene in the early 80s.
After recording for several labels, Slagle launched
Panorama in 2010 to have control over his CDs. This
session is yet another important chapter in his career.
The title of the CD is Latino slang for Upper
Manhattan, where Slagle has lived for two decades.
His core quartet is comprised of pianist Lawrence
Fields, bassist Gerald Cannon and drummer Bill
Stewart, with guest saxophonist Joe Lovano and
percussionist Roman Daz added on some selections.
Family is the frenetic AfroCuban opener,
showcasing the full sextet, with adventurous solos by
the leader and Lovano leading the way, immediately
followed by the darting first version of the title track
featuring the quartet. I Know That You Know is a
loping blues vehicle that is weary but infused with
a bit of humor. Slagle tackles Body & Soul as an
unaccompanied alto saxophone solo, providing ample
proof that there are still fresh avenues through this oft-
traveled theme. Inception is a lost masterpiece
penned by McCoy Tyner at the dawn of his career,
Slagles fierce attack complemented by the superb
rhythm section and a fluid solo by Fields, who doesnt
attempt to mimic the composer s style.
Slagles breathtaking interpretation of the chestnut
Guess Ill Hang My Tears Out To Dry is full of
emotion, alternating between held notes and fluid bop
runs. Lovano returns on tenor for (Alto Manhattan)
A.M. and fireworks ensue with potent solos by Fields
and both saxophonists. Slagle switches to flute and
Lovano to the rarely heard G mezzo soprano
saxophone, Daz on congas, for the lyrical Latin-
flavored Holiday, which the leader wrote with
harmonica virtuoso Toots Thielemans in mind.
The music succeeds in creating the image of a
Caribbean beach vacation and will easily stand the test
of time.
For more information, visit steveslagle.com. Slagle is at
Dizzys Club Aug. 28th with Bill OConnell. See Calendar.

Hear Songs from the New CD by

GIACOMO GATES JUN-AUG
What Time Is It? Savant SCD 2157 FREE
Check out the full lineup at

At The Kitano
Wed., August 23rd Sets at 8pm & 10pm
66 Park Ave @ 38th St., NYC 212-885-7119

Giacomo Gates digs interesting songs that, more often than not, have a
clever twist to them. What he deliversand what you hearis not always
what you expect. Ken Frankling
Gates is a deeply insightful vocal acrobat, preternaturally skilled in scat
and vocalese, and a first-rate storyteller. Christopher Loudon Sat, Aug 5, 7:30PM
His words are hip, pungent, and seasoned with soul. There's no lovey-
dovey here, but genuine, certainly Post Office Bulletin Board-worthy
Nels Cline: LOVERS
badass jazz singing. Nick Mondello Sam Amidon

28 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD


The Conscience
Paul Rutherford/Sabu Toyozumi (NoBusiness)
Search & Reflect
Spontaneous Music Orchestra (Emanem)
by Stuart Broomer
Trombonist Paul Rutherford (born 1940, died ten years
ago this month) was one of the signal figures in the rise
of the English school of free improvisation. In 1965 he
partnered with drummer John Stevens and saxophonist
Trevor Watts in a group that would become the
Spontaneous Music Ensemble (SME). He launched the
trio Iskra 1903 with guitarist Derek Bailey and bassist
Barry Guy in 1970. His large ensemble credits ranged
from the Globe Unity Orchestra to Mike Westbrook
Concert Band and he distinguished himself as one of
the most creative of solo trombonists, from his mastery
of conventional techniques to extended methodology.
In the intimate gathering of a small improvising
group, Rutherford was intensely engaged, whether
picking up on a partners phrase and extending it or
launching a fresh, sometimes witty new direction. Its
apparent in The Conscience, his duet with the powerful
veteran drummer Sabu Toyozumi, recorded in Japan in
1999. The extended opening title track testifies to a
shared commitment to close listening, each musician
simultaneously offering new material and support,
whether Rutherfords sequences of staccato runs
consisting of shifting, unpredictable intervals or
Toyozumis forceful encouragement, sometimes briefly
assuming pressing rhythmic patterns, at others
a precise explosion of shimmering metal. That
conversational tack gives way to the initially continuous
development of the relatively brief Beer, Beer and
Beer, Rutherfords register-traversing lines bouncing
across Toyozumis shifting techniques, stretching as far
afield as brisk brushwork. The interaction is at once
constant and ever-evolving, filled with wit and energy.
Dear Ho Chi Minh has a shape of its own: developing
from an extended drum solo, it ends in a reflective
moment of sustained trombone multiphonics.
Rutherfords commitment to large-scale
improvisation is apparent on Search & Reflect (the title
comes from John Stevens manual for group
improvisation) by the Spontaneous Music Orchestra
(SMO). The two-CD set collects and reissues work that
previously appeared on three Emanem CDs. Rutherford
appears on two pieces recorded by a nonet version of
the SMO in 1981. He plays euphonium on a version of
Relay RecoRdings
limited edition cd and digital downloads
tRiptych - Ken VandeRmaRK/
michael thieKe/tim daisy
(Relay 019)
tim daisy - Red nation 1
(Relay 018)
wolteR wieRbos/
JaspeR stadhoudeRs/tim daisy
(Relay 017)
the celebRation sextet
halfway theRe suite)
(Relay 016)
daRRen Johnston & tim daisy
cRossing belmont
(Relay digital 006)
timdaisyRelayRecoRds.bandcamp.com
Triangle, a piece first conceived as a trio in which the
musicians sit in a triangle and respond to what the
others are playing while acting as a sound as well. The
nonet version extends the idea to a triangle of three
trios playing simultaneously, each musician working
first listening to his own triangle until the trios begin
interacting with each other, developing into an
extended collective improvisation. Different elements
will catch your ear, whether the foregrounded high-
pitched wisps of soprano saxophones, cornet or
trumpet or the underbrush of sound from guitar and
piano. Eventually the spectrum shifts and Rutherfords
euphonium and Alan Tomlinsons trombone come
increasingly to the fore, each adding to the further
fracturing and subdividing of time. The nonet is also
heard in a fragment of Stevens Static in which the
group explores sustained sounds: the fragment here
builds from near-silence to wailing expression. Its
deeply involving music, even in its abridged state.
For more information, visit nobusinessrecords.com and
emanemdisc.com
All Smiles
Kenny Clarke/Francy Boland Big Band (MPS-Edel)
by George Kanzler
Based in France, the Kenny Clarke-Francy Boland Big
Band was a largely ex-pat (mostly Americans, Brits)
affair, founded in 1961 by Americans Clarke, the
pioneering bebop and original Modern Jazz Quartet
drummer, and bassist and Ellingtonian Jimmy Woode;
and Belgian pianist Boland, the principal arranger-
composer who died 12 years ago this month. The band
carried on through 1972 and during that decade-plus it
rivaled such American big bands as Count Basie,
Woody Herman and Buddy Rich in pulsing power and
precision. This CD reissue of a 1968 LP is unusual in
the bands discography as it does not feature a staple
of the band: Bolands compositions. His only original
is a reworking of a John Philip Sousa march, a high-
flying, quick-stepping High School Cadets, a brief,
rousing two-minute ensemble romp. The balance of the
program is mostly familiar standards.
Boland does make his mark as an arranger though.
You Stepped Out of A Dream features an open brass-
muted trumpet lead giving way to a gorgeous
saxophone section soli that takes out the tune. The first
two tracks, Lets Face The Music and Dance and Im
All Smiles, feature solos from vibraphonist Dave Pike
that vie with ensemble soli and shout choruses for
dominance. There are echoes of New Testament Count
Basie Orchestra in the swinging drive of Get Out of
Town, a saxophone-led melody ushering in solos
from trombonist ke Persson and trumpeter Jimmy
Deuchar. Four tracks are mini-concertos for trumpeters
or tenor saxophonists: Benny Bailey wields flugelhorn
for a ballad take of Im Glad There Is You; Idrees
Sulieman applies his open trumpet to When Your
Lover Has Gone; British tenor saxophonist Tony Coe
essays Branislaw Kaper s Gloria, complete with
a lovely cadenza-coda; and Johnny Griffins tenor flies
through changes in his inimitable, machine gun-like
way on Sweet and Lovely. George Gershwins By
Strauss, a bright waltz, features the other British
tenor, Ronnie Scott, as well as Bolands piano and some
deft brass soli choruses.
For more information, visit mps-music.com
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
IN PRINT
Conversations with Charlie Haden
Josef Woodard and Charlie Haden (Silman-James Press)
by John Pietaro
In the annals of biography, the bond developed
between author and subject, the trust-factor if you
will, is essential. This document of the music and
life of Charlie Haden, who was born 80 years ago
this month and died in 2014, is a testament to that
bond. And when considering both Hadens
accomplishments and the hurdles he faced, mutual
trust bore a unique insight. Conversations with Charlie
Haden is a series of dialogues between Josef Woodard
and Haden over a 20-year period. Here are portraits
of this artist at various stations of life, set in
assorted locations. Over the course of the book,
Hadens growth and change are in full evidence, but
then so are his candid reflections on jazz, activism,
marital struggles and the years of substance abuse.
In his introduction, Woodard states, Economy
was the essence of Charlie Hadens voice and
attributes this to Hadens rural roots as much as the
polio he experienced as an adolescent. Though the
disease usually assaulted ones very body mechanics
by paralyzing extremities, in the young Hadens case
the illness affected his throat. No longer able to emote
vocally within the Haden Family singing group, he
became an upright bassist. But also well illustrated
here is the larger concept of voice: Haden is lauded
for his expansive vision, yet his was a carefully
constructed musical style. Woodard tells us that even
within the avant garde, the bassist lured the ear into
an expressive world of folk-tinged lyricism.
The interviews bring us from Hadens second
relocation to L.A. to his 2008 record Rambling Boy,
but each segment offers reminiscences that bring the
reader into the depths of Hadens story. Fascinating
memories of the early years with the Ornette
Coleman Quartet include his initial meeting with
Don Cherry and Billy Higgins while subbing for
another bass player. But his first encounter with
Ornette is classic: Haden happened to be in a
nightclub when Coleman and his plastic alto were
ejected from the stage, mid-song. I heard him play
and thought, Man, thats what Ive been hearing!
The four coming together, one can argue, was meant
to be. You know the story: angry audiences in L.A.
saw the Quartet move to New York and the legendary
Five Spot residency. Hadens view from the stage is
nothing if not fascinating.
The book also covers Haden on Paul Bley, Miles
Davis, Ginger Baker, Pat Metheny, Quartet West,
Old and New Dreams, his country roots and so
much more. The Liberation Music Orchestra (LMO)
is a frequent topic, threading Hadens (and co-leader
Carla Bley) progressive politics through multiple
chapters. LMOs militant origins and its incarnations
in protest of Ronald Reagan and George W. Bush
fuel the fight-back, even in retrospect. Youve got
to speak out, Haden affirmed, recalling his 1971
onstage arrest. Its not difficult to imagine the
creative explosion he would have unleashed in
response to the 2016 election.
For more information, visit silmanjamespress.com
29
 B OXED SE T
Classic American Film Scores 1956-2016
David Amram (Moochin About)
by Scott Yanow
David Amram has always been a very open-minded
musician with quite a few talents. This five-CD set
contains seven of Amrams film scores and two from
plays. Most of the music has never been released
previously and Amrams scores fare very well as
independent works. A major benefit of this release is
that Amram (now 86) wrote the extensive liner notes.
Amrams most famous film score was for 1962s
The Manchurian Candidate, alternating spooky sounds
to depict Frank Sinatra being brainwashed and West
Coast jazz that fit perfectly with the time period (1952).
As is often true with films, the jazz was very much in
the background but on this set it is in the forefront.
One can hear some fine playing by tenor saxophonist
Harold Land and Amram on French horn. 1960s
Splendor In The Grass is set in the 20s and starred
Natalie Wood and Warren Beatty (in his first film). The
score called for Amram to write music that sounded
like the 20s, or at least the 50s version, particularly
for a few party scenes (Amram can be seen briefly
playing French horn, as can classical trumpet great
Maurice Peress and veteran clarinetist Buster Bailey).
1969s The Arrangement, which deals with the
son of an immigrant struggling through life while
being haunted by reminders of the Old World, gave
Amram an opportunity to utilize musicians from
Greece, Turkey, Morocco, Israel and other countries
along with an orchestra and top jazz artists. His
score covers quite a bit of ground and features
saxophonists Jerry Dodgion and George Barrow and
members of the Egyptian Gardens Ensemble. In
1957, Amram teamed up with Jack Kerouac to
perform the very first live jazz/poetry readings. In
1959 Amram was involved in a Kerouac film project,
Pull My Daisy, which features verbal improvisations
over silent footage. Disc 3 has the soundtrack of the
26-minute film with Kerouac in the spotlight;
it sounds incomplete without the film even with
Anita Ellis singing the title cut and some background
music provided by a group with baritone saxophonist
Pepper Adams. A 1971 remake of the title song with
singer Lynn Sheffield is also included.
The remaining scores are of much greater
interest. The 1961 film The Young Savages stars Burt
Lancaster in a crime drama about New York gangs in
Spanish Harlem. Amram was very familiar with the
neighborhood in which the story takes place and
used the opportunity to write an orchestral score
flavored with Latin rhythms along with some
straightahead jazz jams featuring Land. Amrams
earliest score was for a short documentary (Echo Of
An Era) in 1956 about the elevated subway in New
York. Only one worn-out copy of the film still exists.
Fortunately, Amram saved the score and he has
released about four minutes of the soundtrack. The
mini-suite, which is almost entirely written-out,
features Barrow with oboe, bassoon and a rhythm
section. Pianist Cecil Taylor made his recording
debut in this score.
The fourth disc in this set is comprised of
Amrams music for two plays: Arthur Miller s After
The Fall (1964) and a remake of On The Waterfront.
Since Waltz From After The Fall was the best-
known piece in the first play, a full-length version
was recorded by Amram in 1971 and is heard here
for the first time, featuring a sextet with Adams,
Dodgion and Amram on both piano and French horn.
On The Waterfront was a complete flop that closed
quickly (Amram tells the whole story in the liner
notes). He recorded the score in 1995 and utilizes
a top-notch jazz group that includes Dodgion,
trumpeter Jimmy Owens, trombonist Slide Hampton
and guitarist Vic Juris. The ballad Dare To Dream
not only deserves to be heard but to become a
standard in the future.
This collection closes with music from the 2016
independent film Isnt It Delicious, about a very
dysfunctional family. Amrams first film score in 47
years has 21 themes of varying length performed by
a medium-size group that includes alto saxophonist
Paquito DRivera, a string quartet and Amram
mostly on piano. The moody music balances modern
jazz with string interludes and Latin-tinged pieces.
While Classic American Film Scores 1956-2016 will be
of interest to movie music collectors, jazz fans are urged
to go out of their way to pick up this colorful collection.
For more information, visit moochinabout.com. Amram is
at Cornelia Street Underground Aug. 14th. See Calendar.

AU G 1 AU G 1 1 1 3

Celebrating nat king Cole with ren marie

saChal vasandani & friends AU G 1 4 M O N DAY N I G H T S W I T H W B G O

AU G 2 jane bunnett and maqueque

dominiCk farinaCCi AU G 1 5 2 0 & 2 2 2 7

AU G 3 6 trio da paz and friends with

ben wolfe sextet with speCial mauCha adnet, harry allen, and
guest randy breCker Claudio roditi
music of getz, jobim &
AU G 7 brazilian classics
jazz house kids with host AU G 2 1
Christian mCbride
danowsky/wolsk jazz orChestra
AU G 8
AU G 2 8
john ellis sextet bill oConnell and the latin jazz
AU G 9 all-stars
ulysses owens, jr. three Cd release AU G 2 9
featuring joel ross, reuben a night in havana with axel tosCa
rogers, and special guest
vuyo sotashe AU G 3 0 3 1

AU G 1 0 ann hampton Callaway

ulysses owens, jr. and
the new Century big band
swing by tonight set times
7:30pm & 9:30pm jazz.org / dizzys
Jazz at Lincoln Centers Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

30 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 M ISCELLANY
ONTHISDAY
by Andrey Henkin

Whats New Luna Surface Re-Entry Summer Serenade [soul search]

J.J. Johnson (Nederlands Jazz Archief)
August 17th, 1957
This is another in the fine Dutch
series of posthumous recordings
released by the Nederlands Jazz
Archief. This volume features
trombonist J.J. Johnson during his
Columbia period leading a quintet of
saxophonist Bobby Jaspar, pianist
Tommy Flanagan, bassist Wilbur Little
and drummer Elvin Jones, pretty much
his working band of the era. Recorded
live at the Concertgebouw in
Amsterdam, the band essays versions
of a number of jazz and Great
American Songbook standards in
pithy, punchy interpretations.
Alan Silva (BYG-Actuel)
August 17th, 1969
Not only did BYG-Actuel record
American ex-pats who had moved to
Paris in the late 60s, it also connected
them with locals working in a similar
vein. Those worlds meet in large-scale
fashion on this release led by bassist
Alan Silva. Saxophonists Archie
Shepp, Anthony Braxton and Kenneth
Terroade, trombonist Grachan
Moncur III, trumpeter Bernard Vitet,
violinist Leroy Jenkins, pianist Dave
Burrell, bassists Beb Guerin and
Malachi Favors and drummer Claude
Delcloo perform the two-part,
28-minute From The Luna Surface.
Charles Sullivan (Trio)
August 17th, 1976
Charles Sullivan, a trumpeter recently
reappearing on the scene as Kamau
Adilifu, was a veteran of the 70s
groups of Dollar Brand, Sonny
Fortune, Carlos Garnett and others.
He had two leader releases during the
period, this the follow-up to Genesis
(Strata-East, 1975). Only drummer
Billy Hart remains from the earlier
session, the band completed by Rene
McLean (saxophones), Kenny Barron
(piano) and Buster Williams (bass).
The leader wrote five of the seven
tunes alongside two versions of the
standard Body & Soul.
Benny Carter (Storyville)
August 17th, 1980
Saxophonist Benny Carter was a jazz
lifer, making dozens of albums from
1952 well into the 90s when he was
in his late 80s. He is a relative spring
chicken here at 73, leading
a band of one Dane and two American
ex-pats living in Copenhagen: Kenny
Drew (piano), Jesper Lundgaard
(bass) and Ed Thigpen (drums),
vocalist Richard Boone added for one
track. Four Carter originals, including
the now-classic When Lights Are
Low, are paired with three Great
American Songbook standards in
another solid Carter session. each others musical consciousness.
Joe Morris/Mat Maneri (AUM Fidelity)
August 17th, 1999
This is a multi-generation meeting of
two musicians intensely interested in
the production of sound. Guitarist Joe
Morris has influenced a whole slew of
younger avant garde players with his
approach while electric violinist Mat
Maneri has continued to explore the
world of microtonality spearheaded
by his father, saxophonist Joe Maneri
(with whom the pair recorded in 1995
for ECM and hatOLOGY). The album
is 10 duet improvisations, ranging
from 3:06 to 8:26, the title implying
the process as the pair dig deep into

August 1
Luckey Roberts 1887-1968
Elmer Crumbley 1908-93
August 2
Big Nick Nicholas 1922-97
Albert Stinson 1944-69
Nan Vasconcelos 1944-2016
David Binney b.1961
Billy Kilson b.1962
Zach Brock b.1974
August 3
Charlie Shavers 1917-71
Eddie Jefferson 1918-79
Dom Um Romao 1925-2005
Tony Bennett b.1926
Ray Draper 1940-82
Roscoe Mitchell b.1940
Hamid Drake b.1955
Tom Zlabinger b.1971
August 4
Louis Armstrong 1901-71
Bill Coleman 1904-81
Herb Ellis 1921-2010
Sonny Simmons b.1933
Bobo Stenson b.1944
Terri Lyne Carrington b.1965
Eric Alexander b.1968
Michel Attias b.1968
August 5
Terry Pollard 1931-2009
Sigi Schwab b.1940
Lenny Breau 1941-84
Airto Moreira b.1941
Phil Wachsmann b.1944
Jemeel Moondoc b.1951
August 6
Norman Granz 1918-2001
Buddy Collette 1921-2010
Dorothy Ashby 1932-86
Joe Diorio b.1936
Charlie Haden 1937-2014
Baden Powell 1937-2000
Byard Lancaster 1942-2012
Joseph Daley b.1949
Victor Goines b.1961
Ramn Lpez b.1961
Ravi Coltrane b.1965
Andrew Bemkey b.1974
August 7
Idrees Sulieman 1923-2002
Rahsaan Roland Kirk 1936-77
Howard Johnson b.1941
Marcus Roberts b.1963
August 8
Lucky Millinder 1900-66
Benny Carter 1907-2003
Jimmy Witherspoon 1923-97
Urbie Green b.1926
Don Burrows b.1928
Vinnie Dean 1929-2010
August 9
Jack DeJohnette b.1942
August 10
Arnett Cobb 1918-89
Chuck Israels b.1936
Denny Zeitlin b.1938
Mike Mantler b.1943
Fred Ho 1957-2014
Akiko Pavolka b.1965
Cyrille Aime b.1984
BIRTHDAYS
August 11 August 17
Peter King b.1940 Ike Quebec 1918-63
Steve Nelson b.1954 George Duvivier 1920-85
Russ Gershon b.1959 Derek Smith 1931-2016
Donny McCaslin b.1966 Duke Pearson 1932-80
Peter Martin b. 1970
August 12 Jeb Patton b.1974
Bent Axen 1925-2010
Dave Lee b.1930 August 18
Pat Metheny b.1954 Eddie Durham 1906-87
Phil Palombi b.1970 Don Lamond 1920-2003
Chuck Connors 1930-94
August 13 Adam Makowicz b.1940
Stuff Smith 1909-67 John Escreet b.1984
George Shearing 1919-2011
Benny Bailey 1925-2005 August 19
Joe Puma 1927-2000 Jimmy Rowles 1918-96
Mulgrew Miller 1955-2013 Danny Mixon b.1949
Tim Hagans b.1954
August 14 Marc Ducret b.1957
Eddie Costa 1930-62
Jimmy Wormworth b.1937 August 20
Tony Monaco b.1959 Jack Teagarden 1905-64
Walter Blanding b.1971 Frank Rosolino 1926-78
Jimmy Raney 1927-95
August 15 Enrico Rava b.1939
Oscar Peterson 1925-2007 Milford Graves b.1941
Stix Hooper b.1938 Jiggs Whigham b.1943
Gnter Baby Sommer b.1943 Terry Clarke b.1944
Art Lillard b.1950 John Clayton b.1952
Dennis Gonzalez b.1954 Reto Weber b.1953
Stefan Zeniuk b.1980
August 21
August 16 Count Basie 1904-84
Mal Waldron 1926-2002 Art Farmer 1928-99
Bill Evans 1929-80 Malachi Thompson 1949-2006
Alvin Queen b.1950 Peter Apfelbaum b.1960
Cecil Brooks III b.1959 Oscar Perez b.1974
Ellery Eskelin b.1959 Chris Dingman b.1980
August 22 August 27
Malachi Favors 1937-2004 Lester Young 1909-59
Warren Daly b.1943 Tony Crombie 1925-99
Vernon Reid b.1958 Rudolf Daek 1933-2013
Arun Ortiz b.1973 Alice Coltrane 1937-2007
Sonny Sharrock 1940-94
August 23 Edward Perez b.1978
Martial Solal b.1927
Gil Coggins 1928-2004 August 28
Danny Barcelona 1929-2007 Phil Seaman 1926-72
Terje Rypdal b.1947 Kenny Drew 1928-93 BRANFORD MARSALIS
Bobby Watson b.1953 John Marshall b.1941
Brad Mehldau b.1970 Stephen Gauci b.1966
August 26th, 1960
Christoph Pepe Auer b.1981 He may not be the most
August 24 Robin Verheyen b.1983 famous of the Marsalises but
Al Philburn 1902-72 his career has been the most
Buster Smith 1904-91 August 29 compelling. His credits
Alphonso Trent 1905-59 Charlie Parker 1920-55 include Art Blakey, brother
Chris Tarry b.1970 Dinah Washington 1924-63 Wynton and father Ellis,
Jerry Dodgion b.1932 Dizzy Gillespie, Miles
August 25 Bennie Maupin b.1940 Davis, Sting, Nancy Wilson,
Bob Crosby 1913-93 Florian Hoefner b.1982 Sonny Rollins, Charlie
Leonard Gaskin 1920-2009 Haden, Harry Connick, Jr.
Rune Gustafsson 1933-2012 August 30 David Murray, Bobby
Hutcherson, Roy Hargrove
Wayne Shorter b.1933 Kenny Dorham 1924-72 and many others. His own
Carrie Smith 1941-2012 John Surman b.1944 output has been impressive,
Pat Martino b.1944 Bronislaw Suchanek b.1948 with albums for Columbia,
Keith Tippett b.1947 Anthony Coleman b.1955 Marsalis Music and, most
Michael Marcus b.1952 Rodney Jones b.1956 recently, OKeh and a strong
Karriem Riggins b.1975 quartet he has maintained
Michael Dease b.1982 August 31 for over 20 years. He has
Edgar Sampson 1907-73 been a live guest with the
August 26 Herman Riley 1933-2007 Grateful Dead three times,
Jimmy Rushing 1903-72 Gunter Hampel b.1937 led The Tonight Show Band
Francis Wayne 1924-78 Wilton Felder 1940-2015 from 1992-95 and also took
on the challenge of
Peter Appleyard 1928-2013 Bengt Berger b. 1942 performing Coltranes A
Clifford Jarvis 1941-99 Stefano Battaglia b.1965 Love Supreme in its entirety
Andrew Lamb b.1958 Evan Christopher b.1969 in 2003, released on CD. -AH
Branford Marsalis b.1960 Tineka Postma b.1978

CROSSWORD
1 2 3 4 5 6 7 8 ACROSS DOWN

9 10
1. 2004 NEA Jazz Master Jim 1. 2008 NEA Jazz Master Andrew
5. Saxophonists do this to their reeds 2. With Jai, Mongo Santamaria recorded song named
9. Russian guitarist Lushtak for this odd sport
11 12 13 10. Traditional song Dont ____ Headstone On My Grave 3. Bassist Seaton
11. French trumpeter Eric Le 4. Philly drummer Byron
14 15 16 12. Pianist Ursula 5. Sun Ra made a 1957 recording with this group that is
14. Keyboard player/producer Jason not the Motown girl supergroup
16. Neapolitan standard O Sole ____ 6. Octopus Records catalogue prefixes
17 18
17. Bill Simon-Chuck Darwin ballad At ____ The Blues 7. Miles Davis had the sickle-cell version of this illness
19. Billy Childs/Buster Williams/Carl Allen 8. 2009 NEA Jazz Master Lee
19 20 21 1999 Metropolitan album Skim ____ 10. Archie Shepp 1969 BYG-Actuel album ____ For Malcolm
21. Rowles called him Bounce because he was 13. British-German trio of Alan, Tony and Ali
22 23
one bad czech 15. Compose music officially?
22. Home of KCSM jazz radio 18. Home of the Jazztopad Festival
24. All The Things You ____ 19. 2004 NEA Jazz Master Ron
24 25 26 27 28
25. French vocalist Marie-Hlne ____ 20. British trumpeter Rob ____
29. Jonathan Robinson 2009 ITM album Spatial ____ 22. Take this airline when you visit the Fasching
29 30 31 31. Argentine pianist/composer Schifrin jazz club (abbr.)
32. Paul Whiteman And His Orchestra recorded a version 23. Lookout Farm bassist Frank
of this female-named foxtrot in 1937 26. Jack DeJohnette 1970 CBS/Sony album ____ You Heard?
32 33
33. Clusone 3 1997 hatOLOGY album Rara ____ 27. Percussionist Fountain and saxophonist Fountaine
34. Fellow saxophone playing son of Jackie 28. 2010 NEA Jazz Master Annie
34 35 35. 2007 NEA Jazz Master Frank 30. Paal Nilssen-Love/Mats Gustafsson 2014 Bocian
album ____ Gas
By Andrey Henkin visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 31

 CALENDAR
Tuesday, August 1 Eiko Rikuhashi and La Descarga Band; Saul Rubin Zebtet; Paul Nowinski Assaf Kehati Quartet with Joel Frahm, Michael OBrien, Peter Traunmueller
Fat Cat 7, 10 pm 1:30 am $10 Jazz at Kitano 8, 10 pm $32
JazzMobile: T.K.Blue Quartet 32nd Police Precinct 7 pm Johnny ONeal Ginnys Supper Club 7:30, 9:30 pm $15 Pat Martino Trio with Pat Bianchi, Carmen Intorre
Guilherme Monteiro Trio Bar Luntico 8:30, 10 pm $10 Greg Lewis Organ Monk Hudson River Park 7 pm Jazz Standard 7:30, 9:30 pm $35
Tommy Holladay Trio with Dean Torrey, JK Kim; Yves Brouqui Trio with Paul Gill, Lines Of Reason: Michael Cochrane, Joe Ford, Marcus McLaurine, Alan Nelson New York Stories: Bernard Purdie/David Haney with guests Herb Robertson,
Phil Stewart Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $17 Adam Lane, Donna Jarosak Joes Pub 9:30 pm $20
Birdland Big Band Birdland 8:30, 11 pm $40 Pat Martino Trio with Pat Bianchi, Carmen Intorre Rufus Reid/Gary Versace Mezzrow 8 pm $20
Joey DeFrancesco and The People with Dan Wilson, Jason Brown, Troy Roberts Jazz Standard 7:30, 9:30 pm $30 BRIC Celebrate Brooklyn Festival!: Nels Cline Lovers Large Ensemble with Alex Cline,
Blue Note 8, 10:30 pm $35 Jim Rotondi Trio with David Hazeltine, John Webber Devin Hoff, Steven Bernstein, Yuka Honda, Julian Lage, Michael Leonhart,
Bertha Hope Bryant Park 12:30 pm Mezzrow 8 pm $20 Taylor Haskins, Erik Friedlander, JD Parran, Charles Pillow, Sara Schoenbeck,
Hilary Gardner/Ehud Asherie Cavatappo Grill 8 pm BRIC Celebrate Brooklyn Festival!: Bla Fleck and The Flecktones; Nellie McKay Doug Wieselman, Ray Mason, Pauline Kim, William Shore
NY JazzWork Vocal Showcase presented by Fay Victor Prospect Park Bandshell 7:30 pm Prospect Park Bandshell 7:30 pm
Club Bonafide 7, 8:30 pm $15 Kenny Shanker Quintet Rockwood Music Hall Stage 3 7 pm $10 Behn Gillece Quartet with Paul Bollenback, Brian Charette, Jason Tiemann;
VoxEcstatic: Brenda Earle Stokes, Evan Gregor, Ross Pederson; Eliane Amherd Pedro Giraudo Tango Quartet Rockwood Music Hall Stage 3 10 pm $10 Tim Green Quintet; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal
Cornelia Street Underground 8, 9:30 pm $10 Endless Field; Awakening Orchestra Smalls 7:30, 10:30 pm 1 am $20
Celebrating Nat King Cole: Sachal Vasandani with Terell Stafford, Kevin Hays, ShapeShifter Lab 7 pm $10 Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder
Josh Ginsburg, Jeremy Dutton Dizzys Club 7:30, 9:30 pm $35 Miguel Angel Crozzoli Shrine 6 pm Smoke 7, 9, 10:30 pm $38
Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Kevin Sun Trio Silvana 6 pm Trigger: Will Greene, Simon Hanes, Aaron Edgcomb
Dizzys Club 11:15 pm $5 Josh Brown Quintet with Glenn Zaleski, Nick Vayenas, Peter Slavov, Luca Santaniello; The Stone at The New School 8:30 pm $20
Tyler Blanton Electric Band; David Oquendo and Havana 3; Craig Wuepper JC Stylles/Steve Nelson Bobby Hutcherson Project with Jon Davis, Peter Washington, Zeena Parkins, George Lewis, Ikue Mori
Fat Cat 7, 9 pm 12:30 am $10 Byron Landham Smalls 7:30, 10:30 pm $20 The Stone 8:30 pm $20
Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Gregory Generet with Rick Germanson, Gerald Cannon, Lawrence Leathers Rocco John Iacovone/Chris Forbes
Nate Smiths Kinfolk with Jaleel Shaw, Fima Ephron, Brad Williams, Amma Whatt Smoke 7, 9, 10:30 pm $12 Tomi Jazz 8 pm $10
Jazz Standard 7:30, 9:30 pm $25 A Tribute to Louis Armstrong: Hot Lips Joey Morant Tadd Dameron Centennial Celebration: Joe Lovano Nonet
Zero Point: Marius Duboule, Daniel Carter, Michael Bates, Deric Dickens; Socrates Sculpture Park 6:30 pm Village Vanguard 8:30, 10:30 pm $35
Dred Scott Trio with Ben Rubin, Tony Mason Zeena Parkins solo The Stone 8:30 pm $20
Korzo 9 pm Tadd Dameron Centennial Celebration: Joe Lovano Nonet
Gene Bertoncini/Josh Marcum Mezzrow 8 pm $20 Village Vanguard 8:30, 10:30 pm $35 Sunday, August 6
Lena Bloch Feathery Group with Russ Lossing, Lim Yang, Billy Mintz
New York City Bahai Center 8, 9:30 pm $15 Songbook SummitCole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton,
Glenn Crytzer Trio Radegast Hall 8 pm Friday, August 4 Clovis Nicolas, Phil Stewart 59E59 Theaters 3, 7:15 pm $35
Michael Bank Septet; Michael Sarian and The Chabones Tom Tallitsch Quintet with Josh Lawrence, Jon Davis, Peter Brendler, Vinnie Sperrazza
Shrine 6, 7 pm Songbook SummitCole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, Birdland 6 pm $30
Miko Shinno Group with Senri Oe; Ken Fowser Quintet with Josh Bruneau, Clovis Nicolas, Phil Stewart 59E59 Theaters 8 pm $35 New Lionel Hampton Band with Jason Marsalis
Rick Germanson, Paul Gill, Jason Tiemann; Abraham Burton Quartet Jack Wilkins Trio with Andy McKee, David Gibson Blue Note 11:30 am 1:30 pm $39.50
Smalls 7:30, 9, 10:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Christian Scott aTunde Blue Note 8, 10:30 pm $35
MZM: Miya Masaoka, Zeena Parkins, Myra Melford Birdland Big Band Birdland 8:30, 11 pm $40 IN/TER\SECTMusic of Derek Bermel: Ashley Jackson; Derek Bermel; Helen Sungs
The Stone 8:30 pm $20 Christian Scott aTunde Blue Note 8, 10:30 pm $35 Sung with Words; Luciana Souzas Sappho with Patrick Zimmerli, Gary Versace,
Tomoko Omura Duo Tomi Jazz 11 pm Bertha Hope Bryant Park 12:30 pm Satoshi Takeishi; Manhattan Chamber Players; Derek Bermel/Nate Smith;
Tadd Dameron Centennial Celebration: Joe Lovano Nonet NY Jazz Academy Student and Faculty Showcase Metropolis Ensemble Bryant Park 6 pm
Village Vanguard 8:30, 10:30 pm $35 Club Bonafide 3:15 pm Ben Wolfe Sextet with Ben Solomon, Victor Gould, Joel Ross, Donald Edwards
Tony Malaby Apparitions with Michael Formanek, Tom Rainey, Randy Peterson and guest Randy Brecker Dizzys Club 7:30, 9:30 pm $35
Cornelia Street Underground 9, 10:30 pm $10 Paper Balls: David Grollman/Jeff Barsky
Wednesday, August 2 Ben Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards Downtown Music Gallery 6 pm
and guest Randy Brecker Dizzys Club 7:30, 9:30 pm $40 Terry Waldos Gotham City Band; Jade Synsteliens Fat Cat Big Band;
Songbook SummitCole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am $10
Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Dizzys Club 11:15 pm $10 Poole and the Gang: Kyle Poole, Mathis Picard, Russell Hall
Eric Alexander/John Webber Birthday Celebrations Ken Fowser Quintet; JC Hopkins Biggish Band Jazz Standard 11:30 am 1:30 pm $35
An Beal Bocht Caf 8, 9:30 pm $15 The Django at Roxy Hotel 8, 10 pm Pat Martino Trio with Pat Bianchi, Carmen Intorre
Jocelyn Medina with Pete McCann, Evan Gregor, Ross Pederson, Eric Phinney, Sarah Slonim; Jared Gold/Dave Gibson; Nick Hempton Jazz Standard 7:30, 9:30 pm $30
Anjna Swaminathan Art Caf 8 pm $15 Fat Cat 6, 10:30 pm 1:30 am $10 Seamus Blake Trio with Dave Kikoski, Matt Penman
Mike Neer and Steelonius Bar Luntico 8:30, 10 pm $10 Chris Turner Ginnys Supper Club 7:30, 9:30 pm $20 Mezzrow 8 pm $20
Birdland Big Band Birdland 8:30, 11 pm $40 Martin Piecuchs Jazzical Fusion with Regan Ryzuk, Laurence Goldman, David Acker Roz Corral Trio with Paul Bollenback, Paul Gill
Joey DeFrancesco and The People with Dan Wilson, Jason Brown, Troy Roberts Jazz at Kitano 8, 10 pm $32 North Square Lounge 12:30, 2 pm
Blue Note 8, 10:30 pm $35 Pat Martino Trio with Pat Bianchi, Carmen Intorre Alex Simons Gypsy Swing Ensemble
Bertha Hope Bryant Park 12:30 pm Jazz Standard 7:30, 9:30 pm $35 Radegast Hall 7 pm
Alex Wyatt Group with Kyle Wilson, Jon De Lucia, Danny Fox, Pablo Menares Louis Armstrong Birthday Celebration: Hot Lips Joey Morant and Catfish Stew Jon Gordon Saint Peters Church 5 pm
Cornelia Street Underground 8 pm $10 Lucilles at BB Kings Blues Bar 7:30 pm Brooklyn Jazz Underground Fest: Brooklyn Youth Ensembles with
Dominick Farinacci with Shenel Johns, Julien Labro, Christian Tamburr, JazzMobile: Jeremy Pelt Marcus Garvey Park 7 pm Brooklyn Jazz Underground; Brooklyn Jazz Underground Ensemble with
Yasushi Nakamura, Lawrence Leathers, Jamey Haddad Ngoma Hill Medgar Evers College 7 pm Tammy Scheffer, David Smith, Adam Kolker, David Cook, Anne Mette Iversen,
Dizzys Club 7:30, 9:30 pm $35 Rufus Reid/Gary Versace Mezzrow 8 pm $20 Owen Howard, Rob Garcia; Owen Howard Trio with Jason Rigby, Matt Clohesy;
Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Jessica Pavone String Ensemble with Robby Kraft, Sarah Bernstein, Dina Maccabee Adam Kolker Group; David Smith Quintet with Dan Pratt, Nate Radley, Gary Wang,
Dizzys Club 11:15 pm $5 and guest Nick Podgurski The Owl Music Parlor 7 pm $10 Anthony Pinciotti ShapeShifter Lab 6 pm $15
Ilya Lushtak Quintet; Groover Trio; Ned Goold Jam Chuck Braman Band Pier 45 7 pm Shrine Big Band Shrine 8 pm
Fat Cat 7, 9 pm 12:30 am $10 Tom Guarna Group with Victor Gould, Joe Martin, Kush Abadey; Tim Green Quintet Dwayne Clemons/Sacha Perry Tribute to Josh Benko; Larry Ham/Woody Witt Quartet
Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 Smalls 7:30, 10:30 pm $20 with Lee Hudson, Tom Melito; Yves Brouqui Trio with Paul Gill, Joe Strasser;
JazzMobile: Houston Person Grants Tomb 7 pm Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder Jon Beshay Smalls 4:30, 7:30, 10:30 pm 1 am $20
John Fedchock Quartet with Allen Farnham, David Finck, Eric Halvorson Smoke 7, 9, 10:30 pm $38 Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder
Jazz at Kitano 8, 10 pm $17 Trigger: Will Greene, Simon Hanes, Aaron Edgcomb Smoke 7, 9, 10:30 pm $38
Mike Rodriguez Quintet with John Ellis, Gary Versace, Rick Rosato, Craig Weinrib The Stone at The New School 8:30 pm $20 Green Dome: Ryan Sawyer, Ryan Ross Smith, Zeena Parkins
Jazz Standard 7:30, 9:30 pm $25 Zeena Parkins, Devin Hoff, Michael TA Thompson The Stone 8:30 pm $20
Paul Bollenback/David Kikoski Mezzrow 8 pm $20 The Stone 8:30 pm $20 Tadd Dameron Centennial Celebration: Joe Lovano Nonet
Gordons Grand Street Stompers Radegast Hall 9 pm Tadd Dameron Centennial Celebration: Joe Lovano Nonet Village Vanguard 8:30, 10:30 pm $35
Carli Munoz/Jesse Murphy Saint Peters Church 1 pm $10 Village Vanguard 8:30, 10:30 pm $35
Proyecto Imuda: Paula Shocron, Pablo Diaz, Ras Moshe Burnett and guest Lee Odom Jack Jeffers and The New York Classics
Scholes Street Studio 8 pm $15 Zinc Bar 8 pm Monday, August 7
Dan Blake and Digging with Leo Genovese, Dmitry Ishenko, Jeff Williams;
Or Bareket Quartet with Nitai Hershkovits, Shahar Elnatan, Jeremy Dutton; Sean Wayland with Orlando le Fleming, David Frazier, Jr.
Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20 Saturday, August 5 55Bar 6 pm
Zeena Parkins/Brian Chase The Stone 8:30 pm $20 Michael Weiss Trio Bar Luntico 8:30, 10 pm $10
Tadd Dameron Centennial Celebration: Joe Lovano Nonet Songbook SummitCole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, Les Grant Trio with Asen Doykin, Evan Gregor
Village Vanguard 8:30, 10:30 pm $35 Clovis Nicolas, Phil Stewart 59E59 Theaters 2, 8 pm $35 Bar Next Door 8:30, 10:30 pm $12
Gene Segal Trio with Dan Loomis, Bruce Cox Herbie Hancock Beacon Theatre 7:30 pm $75-125
Bar Next Door 7:30, 9:30, 11:30 pm $12 Eddie Palmieri Blue Note 8, 10:30 pm $45
Thursday, August 3 Lucian Ban/Mat Maneri Barbs 8 pm $10 Dan Manjovi Bryant Park 12:30 pm
Birdland Big Band Birdland 8:30, 11 pm $40 Jazz House Kids Hosted by Christian McBride
Oz Noy Quartet with Nir Felder, Nate Smith Christian Scott aTunde Blue Note 8, 10:30 pm $35 Dizzys Club 7:30, 9:30 pm $35
55Bar 10 pm IN/TER\SECTMusic of Billy Childs: Manuel Valera Trio with Hans Glawischnig, KAT Modian Trio with Adam Lane, Austin Williamson
Songbook SummitCole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, E.J. Strickland; Triton Brass Quintet with guest Glenn Zaleski; The City of Tomorrow; Farafina Caf & Lounge Harlem 7:30, 9 pm
Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Billy Childs Quartet with Steve Wilson, Hans Glawischnig, Ulysses Owens, Jr. Jim Ridl Trio with Lorin Cohen, Tim Horner
Ghost Train Orchestra The Archway 6 pm Bryant Park 6 pm Mezzrow 8 pm $20
Prawit Siriwat Trio with Yuma Uesaka, Ben Silashi; Kyle Moffatt Trio with Zach Lapidus, Aubrey Johnson Sextet with Roxy Coss, Tomoko Omura, Matthew Sheens, Hashem Assadullahis Safety Buffalo
Jay Sawyer Bar Next Door 6:30, 8:30, 10:30 pm $12 Matt Aronoff, Jeremy Noller The Cell 8 pm $15 Rockwood Music Hall Stage 1 7 pm
Birdland Big Band Birdland 8:30, 11 pm $40 JazzMobile: Jimmy Heath Big Band; Allan Harris; Matthew Whitaker Francesco Geminiani Colorsound 4et
Christian Scott aTunde Blue Note 8, 10:30 pm $35 Central Park Great Hill 4 pm Rockwood Music Hall Stage 3 7 pm $10
Monnette Sudler Brooklyn Museum of Art 6 pm Kayo Hiraki Trio Cleopatras Needle 8 pm Unseen Rain Showcase: Matt Lavelle Quartet with Lewis Porter, Hilliard Greene,
Bertha Hope Bryant Park 12:30 pm Tony Malaby Quartet with Brandon Seabrook, William Parker, Billy Mintz Tom Cabrera; Sumari: Jack DeSalvo, Matt Lavelle, Tom Cabrera
David Gibson Quintet Cavatappo Grill 9 pm Cornelia Street Underground 9, 10:30 pm $10 Scholes Street Studio 9 pm $10
Joel Forrester Duo Cleopatras Needle 7 pm Ben Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards Bobby Spellmans Revenge of the Cool Nonet
Tony Malaby Trio with Ben Monder, Tom Rainey; Tony Malaby Quartet with and guest Randy Brecker Dizzys Club 7:30, 9:30 pm $45 Sir Ds 8 pm
Leo Genovese, William Parker, Billy Mintz Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Mike Noordzy, Jason Loughlin, Nate Radley, Robin Macmillan
Cornelia Street Underground 8, 9:30 pm $10 Dizzys Club 11:15 pm $20 Skinny Dennis 9 pm
Vernon Reid David Rubenstein Atrium 7:30 pm Zabel; Alexia Bomtempo The Django at Roxy Hotel 8, 10 pm Brooklyn Jazz Underground Fest: Rob Garcia 4 with Noah Preminger, Gary Versace,
Ben Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards Mike King; Raphael Dlugoff Quintet; Greg Glassman Jam Joe Martin; David Cook Quintet with Dave Smith, John Ellis, Matt Clohesy,
and guest Randy Brecker Dizzys Club 7:30, 9:30 pm $40 Fat Cat 7, 10 pm 1:30 am $10 Ross Pederson; Anne Mette Iversen Quartet + 1 with John Ellis, Ryan Keberle,
Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Louis Fouch and Jonathan Powell Gary Versace, Jochen Rueckert; Tammy Scheffer Sextet with David Smith, John Yao,
Dizzys Club 11:15 pm $10 Ginnys Supper Club 7:30, 9:30 pm $20 Pete McCann, Daniel Foose, Jay Sawyer
Mark Whitfield The Django at Roxy Hotel 9 pm Smalls 7:30 pm $20

32 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 Tuesday, August 8 Jennifer Sanon Dizzys Club 11:15 pm $10 Bill Frisell solo The Stone 8:30 pm $20
Katini The Django at Roxy Hotel 9 pm Manuel Valera Quartet Terraza 7 10:30 pm $10
Stan Killian with Jon Heagle, Brad Whiteley, Matt Pavolka, Russell Carter Greg Glassman Quintet Fat Cat 10 pm $10 A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guests
55Bar 7 pm Sharel Cassity Ginnys Supper Club 7:30, 9:30 pm $15 Cassandra Wilson, Ravi Coltrane Village Vanguard 8:30, 10:30 pm $35
Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Loren Connors, Daniel Carter, Steve Dalachinsky and guests Ikue Mori, Andrea Parkins
Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 HOLO 8 pm
Sagi Kaufman Trio with Tal Yahalom, Noam Israeli; Kevin McNeal Trio with Dawn Clement Trio with Dean Johnson, Matt Wilson Sunday, August 13
Noriko Kamo, Tom Baker Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $17
Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, Rotem Sivan Trio The Jazz Gallery 7:30, 9:30 pm $15 Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton,
Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli Eric Harlands Voyager with Walter Smith III, Taylor Eigsti, Harish Ragavan
Jazz Standard 7:30, 9:30 pm $30 Clovis Nicolas, Phil Stewart 59E59 Theaters 3, 7:15 pm $35
Birdland 8:30, 11 pm $50 Sony Holland Blue Note 11:30 am 1:30 pm $39.50
Earl Klugh Blue Note 8, 10:30 pm $35 Scott Robinson/Bill Cunliffe Mezzrow 8 pm $20
Earl Klugh Blue Note 8, 10:30 pm $35
Dan Manjovi Bryant Park 12:30 pm BRIC Celebrate Brooklyn Festival!SELMA: Jason Moran and Wordless Music Orchestra
Prospect Park Bandshell 7:30 pm Ren Marie with John Chin, Elias Bailey, Quentin Baxter, Jr.
Bucky Pizzarelli Trio Cavatappo Grill 6 pm
John Ellis Sextet with Joel Ross, Alan Ferber, Gary Versace, Reuben Rogers, Napoleon Revels-Bey Putnam Triangle Plaza 6 pm Dizzys Club 7:30, 9:30 pm $35
Joe Dyson Dizzys Club 7:30, 9:30 pm $30 Aaron Irwin Trio Silvana 6 pm Gene Bertoncini The Drawing Room 7 pm $20
Jennifer Sanon Dizzys Club 11:15 pm $5 Ralph Alessi This Against That with Ravi Coltrane, Andy Milne, Drew Gress, Terry Waldos Gotham City Band; Ark Ovrutski Quintet with Myron Walden,
Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop Mark Ferber; Jonathan Thomas Smalls 10:30 pm 1 am $20 Benny Benack III, Willerm Delisfort, Jason Brown; Brandon Lewis/Renee Cruz
Fat Cat 7, 9 pm $10 Juan Carlos Polo Neo Latin Jazz Quartet with Ben Rosenblum, Eduardo Belo, Fat Cat 6, 8:30 pm 1 am $10
Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Roland Guerrero Smoke 7, 9, 10:30 pm $12 John Chin Trio with Elias Bailey, Quentin Baxter
Eric Harland Trio with Taylor Eigsti, Michael League Bill Frisell solo The Stone 8:30 pm $20 Jazz Standard 11:30 am 1:30 pm $35
Jazz Standard 7:30, 9:30 pm $30 A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest
Eric Harland Trio with James Francies, Big Yuki
Womans Raga Massive: Trina Basu, Anjna Swaminathan, Amali Premawardhana, Nicholas Payton Village Vanguard 8:30, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $30
Perry Wortman, Camila Celine, Lauren Crump, Roshni Samlal, Roopa Mahadevan, William Hooker Trio with Dave Ross, Larry Roland
Priya Darshini Joes Pub 7 pm $20
Dezron Douglas; Good For Cows: Devin Hoff/Ches Smith Friday, August 11
Simona Premazzi
Lantern Hall 6 pm
Mezzrow 8 pm $20
Korzo 9, 10:30 pm
Janice Friedman/Marco Panascia Mezzrow 8 pm $20 Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm
Rosemary George and Friends New York City Bahai Center 8, 9:30 pm $15 Clovis Nicolas, Phil Stewart 59E59 Theaters 8 pm $35 North Square Lounge 12:30, 2 pm
Frank Lacy Group; Abraham Burton Quartet Yacine Boulares and Ajoyo Bar Luntico 8:30, 10 pm $10 Andrew Hartman Quartet Saint Peters Church 5 pm
Smalls 7:30 pm 1 am $20 Nelson Riveros Trio with Peter Slavov, Steve Johns Johnny ONeal Trio with Ben Rubens, Itay Morchi; Jerry Weldon Quartet;
Bill Frisell solo The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Robert Edwards Smalls 7:30, 10:30 pm 1 am $20
Daniel Rotem Quartet Terraza 7 9:30 pm $10 Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, Kevin Mahogany Quartet with Daniela Schchter, Marco Panascia, J.T. Lewis
A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli Smoke 7, 9, 10:30 pm $38
Joe Lovano Village Vanguard 8:30, 10:30 pm $35 Birdland 8:30, 11 pm $50 Bill Frisell solo The Stone 8:30 pm $20
Earl Klugh Blue Note 8, 10:30 pm $35 Bill Stevens, Rich Russo, Gary Fogel
Dan Manjovi Bryant Park 12:30 pm Tomi Jazz 8 pm
Wednesday, August 9 Alex Layne Trio Cleopatras Needle 8 pm
A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guests
NY Jazz Academy Student and Faculty Showcase
Cassandra Wilson, Ravi Coltrane Village Vanguard 8:30, 10:30 pm $35
Krrent: Brian Charette, Ben Monder, Jordan Young Club Bonafide 3:15 pm
55Bar 10 pm Gilad Hekselman Trio with Becca Stevens, Antonio Hart
Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Cornelia Street Underground 9, 10:30 pm $10
Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Ren Marie with John Chin, Elias Bailey, Quentin Baxter, Jr. Monday, August 14
Wayne Tucker Group Bar Luntico 8:30, 10 pm $10 Dizzys Club 7:30, 9:30 pm $40
Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, Jennifer Sanon Dizzys Club 11:15 pm $10 Jim Ridl Trio with Chris Tarry, Joel Rosenblatt
Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli Ken Fowser Quintet; Martina DaSilva and The Ladybugs 55Bar 6 pm
Birdland 8:30, 11 pm $50 The Django at Roxy Hotel 8, 10 pm Nir Felder with Joe Martin, Jimmy Macbride
Earl Klugh Blue Note 8, 10:30 pm $35 Eric Wheeler Fat Cat 10:30 pm $10 55Bar 10 pm
Dan Manjovi Bryant Park 12:30 pm Afro Yaqui Music Collective Honors Fred Ho Patience Higgins Sugar Hill Quartet with Marcus Persiani, Neal Caine, Dave Gibson
Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen and guest Ginnys Supper Club 7:30, 9:30 pm $20 Bar Luntico 8:30, 10 pm $10
John Medeski City Winery 8 pm $35-55 Leslie Pintchik Trio with Scott Hardy, Michael Sarin Alan Kwan Trio with Evan Gregor, Curtis Nowosad; Nora McCarthy Trio with
Dave Scott Quintet with Rich Perry, Gary Versace, Johannes Weidenmueller, Jazz at Kitano 8, 10 pm $32 Marvin Sewell, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12
Jeff Williams; Hashem Assadullahi Quartet with Leonard Thompson, Peter Brendler, Manuel Valera Trio with Hans Glawischnig, E.J. Strickland
McCoy Tyner Blue Note 8, 10:30 pm $45
Vinnie Sperrazza Cornelia Street Underground 8, 9:30 pm $10 The Jazz Gallery 7:30, 9:30 pm $22
Deanna Witkowski Bryant Park 12:30 pm
Spanish Harlem Orchestra; Edmar Castaeda Eric Harland Quartet with Taylor Eigsti, Big Yuki, Chris Turner
David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper
Damrosch Park at Lincoln Center 7:30 Jazz Standard 7:30, 9:30 pm $30
Ulysses Owens, Jr. with Reuben Rogers, Joel Ross, Vuyo Sotashe JazzMobile: Craig Harris Marcus Garvey Park 7 pm Cornelia Street Underground 8:30 pm $10
Dizzys Club 7:30, 9:30 pm $35 Melby Joyce Bradford and Friends Medgar Evers College 7 pm Jane Bunnett and Maqueque with Danae Olano, Celia Jimenez, Magdelys Savigne,
Jennifer Sanon Dizzys Club 11:15 pm $5 Ken Peplowski Trio with Ehud Asherie, Kevin Dorn Elizabeth Rodriguez, Yissy Garcia Dizzys Club 7:30, 9:30 pm $30
Raphael Dlugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Mezzrow 8 pm $20 Ned Goold Quartet; Billy Kaye Jam
Fat Cat 7, 9 pm 12:30 am $10 Sugar Hill Trio Shrine 6 pm Fat Cat 9 pm 12:30 am $10
JazzMobile: Alyson Williams Grants Tomb 7 pm Dave Schnitter Group; John Marshall Quintet with Grant Stewart, Jeb Patton, Ehud Asherie Trio with Peter Washington, Aaron Kimmel
Pucci Amanda Jhones Quintet with Joseph Tranchina, Ralph Williams, Eric Lemon, David Wong, Phil Stewart Smalls 7:30, 10:30 pm $20 Mezzrow 8 pm $20
Willie Martinez Jazz at Kitano 8, 10 pm $17 Kevin Mahogany Quartet with Daniela Schchter, Marco Panascia, J.T. Lewis Greg Tardy Group; Jonathan Barber Group
Eric Harlands Voyager with Walter Smith III, Taylor Eigsti, Harish Ragavan Smoke 7, 9, 10:30 pm $38 Smalls 10:30 pm 1 am $20
Jazz Standard 7:30, 9:30 pm $30 Kris Davis Trio with Eric Revis, Andrew Cyrille
Kenny Garrett Madison Square Park 7 pm The Stone at The New School 8:30 pm $20
Bill Frisell solo The Stone 8:30 pm $20
Roberta Piket Trio with Harvie S, Billy Mintz and guests
Mezzrow 8 pm $20 A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest
Tuesday, August 15
Melissa Hamilton with Lee Tomboulian, Hilliard Greene Nicholas Payton Village Vanguard 8:30, 10:30 pm $35
Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan,
Saint Peters Church 1 pm $10
Nathan Peck and The Funky Electrical Unit; Andy Bianco Quintet; Beledo, Tony Steele, Jeb Patton, Clovis Nicolas, Phil Stewart
Doron Lev ShapeShifter Lab 7, 8:15, 9:30 pm $8-15 Saturday, August 12 59E59 Theaters 7 pm $35
Nick Di Maria Shrine 6 pm Nadav Peled Trio with Scott Colberg, Peter Kronreif
Vitaly Golovnev Quintet with David Gibson, Bruce Barth, Gerald Cannon, Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Bar Next Door 8:30, 10:30 pm $12
Donald Edwards; Michael Feinberg Quartet with Noah Preminger, Ian Froman, Clovis Nicolas, Phil Stewart 59E59 Theaters 2, 8 pm $35 Count Basie Orchestra Directed by Scotty Barnhart
Billy Test; Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 Jeff Barone Trio with Akiko Tsuruga, Paul Wells Birdland 8:30, 11 pm $50
Bill Frisell solo The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Bob James Blue Note 8, 10:30 pm $35
A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, JazzMobile: Eric Person Band with Houston Person, Zaccai Curtis, Kenny Davis,
Nicholas Payton Village Vanguard 8:30, 10:30 pm $35 Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli McClenty Hunter Brooklyn Bridge Park 7 pm
Lou Caputos Not So Big Band Zinc Bar 7:30, 9, 11 pm Birdland 8:30, 11 pm $50
Deanna Witkowski Bryant Park 12:30 pm
Earl Klugh Blue Note 8, 10:30 pm $35
Rocco John Iacovone/Chris Forbes Dan Weisselberg Trio with Jehofatach Kari, Guy Paz
Caffe Vivaldi 6:30 pm
Thursday, August 10 Caffe Vivaldi 6 pm
Mike Sailors Jam Session Cavatappo Grill 8 pm
Simona Premazzi Quintet with Philip Dizack, Mark Shim, Pablo Menares, Kush Abadey
Dan Pugach Nonet 55Bar 7 pm The Cell 8 pm Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests
Songbook SummitHarold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Masami Ishikawa Trio Cleopatras Needle 8 pm Maucha Adnet, Harry Allen, Claudio Roditi
Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Gilad Hekselman Trio with Joel Ross, Nate Wood Dizzys Club 7:30, 9:30 pm $40
Vaughn Stoffey Trio with Tony Marino, Alex Ritz; Tim Hayward Trio with Cornelia Street Underground 9, 10:30 pm $10 Nate Sparks Ensemble Dizzys Club 11:15 pm $5
Essiet Okon Essiet, John Riley Bar Next Door 6:30, 8:30, 10:30 pm $12 Ren Marie with John Chin, Elias Bailey, Quentin Baxter, Jr. Saul Rubin Zebtet; Danitos Salsondria
Laila Biali Birdland 6 pm $30 Dizzys Club 7:30, 9:30 pm $45 Fat Cat 7, 9 pm $10
Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, Jennifer Sanon Dizzys Club 11:15 pm $20 High and Mighty Brass Band Gantry Plaza State Park 7 pm
Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli Brian Charette Trio; Los Hacheros The Django at Roxy Hotel 8, 10 pm Kazuhiro Yokoshima solo Jazz at Kitano 8 pm
Birdland 8:30, 11 pm $50 Gotham Kings Ginnys Supper Club 7:30, 9:30 pm $15 Sara Gazarek with Taylor Eigsti, Alex Boneham, Christian Euman
Earl Klugh Blue Note 8, 10:30 pm $35 Roseanna Vitros Bossas and Ballads on a Summer Night with Mark Soskin, Jazz Standard 7:30, 9:30 pm $25
Neil Clarke Trio Plus Brooklyn Museum of Art 6 pm Dean Johnson, Tim Horner Jazz at Kitano 8, 10 pm $32
Sacred Prostest SongsFrom Africa to America: Mwenso and The Shakes,
Dan Manjovi Bryant Park 12:30 pm Eric Harland Quartet with Chris Potter, Nir Felder, Big Yuki
Vuyo Sotashe, Sullivan Fortner Le Poisson Rouge 7 pm $20
Nick Myers and The Varitones Cavatappo Grill 9 pm Jazz Standard 7:30, 9:30 pm $30
Nellie McKay Mezzrow 8 pm $20
Robert Rocker Duo Cleopatras Needle 7 pm Veronica Swift Metropolitan Room 7 pm $24
Audrey Silver Band with Bruce Barth Ken Peplowski Trio with Ehud Asherie, Kevin Dorn Rob Silverman Group with Steve Dash, Andy Bassford, Scott Hamilton, James Halliday
Club Bonafide 7:30 pm $20 Mezzrow 8 pm $20 New York City Bahai Center 8, 9:30 pm $15
Gilad Hekselman Trio with Ben Williams, Billy Hart Ralph Lalama Bop-Juice with David Wong, Clifford Barbaro; John Marshall Quintet with Joe Pino Quintet Shrine 6 pm
Cornelia Street Underground 8:30 pm $10 Grant Stewart, Jeb Patton, David Wong, Phil Stewart; Philip Harper Quintet Steve Nelson Quintet; Abraham Burton Group
Ulysses Owens, Jr. New Century Big Band with Tim Green, Lakecia Benjamin, Smalls 7:30, 10:30 pm 1 am $20 Smalls 10:30 pm 1 am $20
Daniel Dickinson, Michael Thomas, Carl Maraghi, Michael Dease, Tom Malone, Kevin Mahogany Quartet with Daniela Schchter, Marco Panascia, J.T. Lewis Unbroken: Louie Belogenis, Shanir Ezra Blumenkranz, Kenny Wollesen
Nicholas Lee, Wyatt Forhan, Benny Benack III, Frank Green, Marcus Parsley, Smoke 7, 9, 10:30 pm $38 The Stone 8:30 pm $20
Alphonso Horne; Takeshi Ohbayashi, Yasushi Nakamura, Shenel Johns, Kris Davis Trio with Eric Revis, Andrew Cyrille Billy Hart Quartet with Ethan Iverson, Ben Street and guest
Charles Turner Dizzys Club 7:30, 9:30 pm $40 The Stone at The New School 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 33

 Wednesday, August 16 Ken Fowser Quintet; Etienne Charles Abraxas: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz, Kenny Grohowski
The Stone 8:30 pm $20
The Django at Roxy Hotel 8, 10 pm
Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan, Troy Roberts Nujive 5 Fat Cat 10:30 pm $10 Billy Hart Quartet with Ethan Iverson, Ben Street and guest
Jeb Patton, Clovis Nicolas, Phil Stewart Allan Harris Ginnys Supper Club 7:30, 9:30 pm $20 Village Vanguard 8:30, 10:30 pm $35
59E59 Theaters 7 pm $35 Hermione Johnson: Susan Alcorn, Ingrid Laubrock, Leila Bordreuil Christian Marclay/Okkyung Lee Whitney Museum 8 pm $22
Count Basie Orchestra Directed by Scotty Barnhart Ibeam Brooklyn 8:30 pm $15
Birdland 8:30, 11 pm $50 Lynette Washington/Dennis Bell Jazz NY with Alex Blake, Luciana Padmore
Bob James Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $32 Monday, August 21
Deanna Witkowski Bryant Park 12:30 pm David Gilmore Quintet with Mark Shim, Victor Gould, Carlo De Rosa, E.J. Strickland
Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone, The Jazz Gallery 7:30, 9:30 pm $22 Meg Okura/Sam Newsome Group with Ayako Shirasaki, Noriko Ueda, Paul Wells
Terry Schwadron Caffe Vivaldi 8 pm Joey Alexander Trio with Reuben Rogers, Eric Harland Bar Luntico 8:30, 10 pm $10
En Route Trio: Jean-Marie Corrois, Nick Grondin, Flavio Lira Jazz Standard 7:30, 9:30 pm $35 Andrew Shillito Trio with Jakob Dreyer, Matt Honor; Tammy Scheffer Trio with Billy Test,
Club Bonafide 7:30 pm $15 Rhythm Future Quartet: Jason Anick, Olli Soikkeli, Max ORourke, Greg Loughman Daniel Foose Bar Next Door 6:30, 8:30, 10:30 pm $12
Satoshi Takeishi/John Hadfield; Rogrio Boccato, Keita Ogawa, James Shipp Joes Pub 9:30 pm $15 Theo Croker Blue Note 10:30 pm $25
Cornelia Street Underground 8, 9:30 pm $10 Bashiri Johnson Medgar Evers College 7 pm Armen Donelian Bryant Park 12:30 pm
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Kenny Barron/Ray Drummond Mezzrow 8 pm $20 VOXFest: Deborah Latz Quartet with Jim Ridl, Ray Parker, Kevin Twigg;
Maucha Adnet, Harry Allen, Claudio Roditi Songs of Protest and Reconciliation: Damien Sneed and Keyon Harrold Kelley Suttenfield Cornelia Street Underground 8:30, 10 pm $10
Dizzys Club 7:30, 9:30 pm $40 New York Botanical Garden Conservatory 7 pm $45 Danowsky/Wolsk Jazz Orchestra Dizzys Club 7:30, 9:30 pm $30
Nate Sparks Ensemble Dizzys Club 11:15 pm $5 Dana Reedy Silvana 7 pm George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10
Raphael Dlugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam Leon Parker Humanity Quartet; Victor Gould Group Ed Palermo Big Band Iridium 8 pm $25
Fat Cat 7, 9 pm 12:30 am $10 Smalls 7:30, 10:30 pm $20 Shai Maestro The Jazz Gallery 7:30, 9:30 pm $15
Jaimoes Jasssz Band Iridium 8:30 pm $25-35 John Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, Essiet Essiet Bruce Harris Mezzrow 8 pm $20
Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner Smoke 7, 9, 10:30 pm $40 Summer Youth Combo directed by Zack OFarrill
Jazz at Kitano 8, 10 pm $17 VCR: Sylvie Courvoisier, Ken Vandermark, Nate Wooley, Tom Rainey ShapeShifter Lab 7, 8:15 pm $10
James Francies Flight with Joel Ross, Steve Lehman, Matt Brewer, Jeff Tain Watts The Stone at The New School 8:30 pm $20 Mike Noordzy, Jason Loughlin, Nate Radley, Robin Macmillan
Jazz Standard 7:30, 9:30 pm $25 The Fugu Plan: Yuka, Shanir Ezra Blumenkranz, Eyal Maoz, Aram Bajakian, Skinny Dennis 9 pm
Cyrille Aime with Michael Valeanu, Adrien Moignard, Dylan Shamat, Dani Danor Brian Marsella, Yoni Halevy, Yuval Lion Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel Group
Le Poisson Rouge 8 pm $25-35 The Stone 8:30 pm $20 Smalls 10:30 pm 1 am $20
Matthew Fries Trio with Steve LaSpina, Ron Affif Billy Hart Quartet with Ethan Iverson, Ben Street and guest Christian Marclay/Okkyung Lee Whitney Museum 1 pm $22
Mezzrow 8 pm $20 Village Vanguard 8:30, 10:30 pm $35
Eyal Vilner Big Band Saint Peters Church 1 pm $10
Neal Caine Group with Stephen Riley; Harold Mabern Trio; Aaron Seeber Tuesday, August 22
Smalls 7:30, 10:30 pm 1 am $20 Saturday, August 19
War Paint: Briggan Krauss, Shanir Ezra Blumenkranz, Brian Chase Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan,
The Stone 8:30 pm $20 Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan, Jeb Patton, Clovis Nicolas, Phil Stewart
Billy Hart Quartet with Ethan Iverson, Ben Street and guest Jeb Patton, Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35
Village Vanguard 8:30, 10:30 pm $35 59E59 Theaters 2, 8 pm $35 Peter Amos Trio with Dave Hassell, Brian Plautz; Paul Jones Trio with Leon Boykins,
Dissident Arts Festival: Amina Baraka and The Red Microphone: Ras Moshe Burnett, Jake Robinson Bar Next Door 6:30, 8:30, 10:30 pm $12
Rocco John Iacovone, Laurie Towers, John Pietaro; Trudy Silvers Benny Green Trio Birdland 8:30, 11 pm $40
Thursday, August 17 Wheres the Outrage? with Scottie Davis, Kathryn Hall, Sanae Buck, Joyce Moreno Blue Note 8, 10:30 pm $35
Raymond Nat Turner, Zigi Lowenberg; Lindsey Wilson Human Hearts Trio with Armen Donelian Bryant Park 12:30 pm
Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan, Michael Trotman, Reggie Sylvester; Steve Dalachinsky; Raymond Nat Turner; Jonny King Trio with Gerald Cannon, Joe Strasser
Jeb Patton, Clovis Nicolas, Phil Stewart Crystal Shipp; Bernard Block 5C Caf 7 pm Cavatappo Grill 8 pm $10
59E59 Theaters 7 pm $35 Ben Sher Trio with Gary Fisher, Steve Johns VOXFest: Peggy Chews Sonic Calligraphy with Chris Washburne, Adrian Frey;
Dan Hartig Trio with Jeff Koch, JC Polo; Steve Bloom Trio with Danton Boller, Bar Next Door 7:30, 9:30, 11:30 pm $12 Anas Maviel, Leonid Galaganov, Alexis Marcelo
Jeremy Carlstedt Bar Next Door 6:30, 8:30, 10:30 pm $12 Count Basie Orchestra Directed by Scotty Barnhart Cornelia Street Underground 8, 9:30 pm $10
Count Basie Orchestra Directed by Scotty Barnhart Birdland 8:30, 11 pm $50 Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests
Birdland 8:30, 11 pm $50 Bob James Blue Note 8, 10:30 pm $35 Maucha Adnet, Harry Allen, Claudio Roditi
Bob James Blue Note 8, 10:30 pm $35 Denton Darien Trio Cleopatras Needle 8 pm Dizzys Club 7:30, 9:30 pm $40
Deanna Witkowski Bryant Park 12:30 pm Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Martina DaSilva/Justin Poindexter Dizzys Club 11:15 pm $5
Kat Gang and Matthew Fries Cavatappo Grill 9 pm Maucha Adnet, Harry Allen, Claudio Roditi Saul Rubin Zebtet Fat Cat 7 pm $10
Matt Baker Duo Cleopatras Needle 7 pm Dizzys Club 7:30, 9:30 pm $45 Dan Martin Ensemble Gantry Plaza State Park 7 pm
MJ Territo and Ladies Day Jazz Ensemble with Linda Presgrave, Iris Ornig, Nate Sparks Big Band Dizzys Club 11:15 pm $20 Jorge Sylvester ACE Collective with Nora McCarthy, Waldron Mahdi Ricks,
Barbara Merjan Club Bonafide 7:30 pm $15 Emmet Cohen Trio; Svetlana and The Delancey Five Pablo Vergara, Donald Nicks, Ethan Kogan
Nick Finzers Hear & Now with Lucas Pino, Glenn Zaleski, Alex Wintz, Dave Baron, The Django at Roxy Hotel 8, 10 pm Goddard Riverside Community Center 7:30 pm $10
Jimmy Macbride Cornelia Street Underground 6 pm $10 Bruce Williams Quintet; Greg Glassman Jam Kazuhiro Yokoshima solo Jazz at Kitano 8 pm
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Fat Cat 10:30 pm 1:30 am $10 Brandee Younger Quartet with Chelsea Baratz, Dezron Douglas, E.J. Strickland
Maucha Adnet, Harry Allen, Claudio Roditi Allan Harris Ginnys Supper Club 7:30, 9:30 pm $20 Jazz Standard 7:30, 9:30 pm $25
Dizzys Club 7:30, 9:30 pm $45 Laura Henningsdottir Trio with J.P. Lakehill, Ollie Herman Harvey Diamond/Cameron Brown Mezzrow 8 pm $20
Nate Sparks Ensemble Dizzys Club 11:15 pm $10 Ibeam Brooklyn 8:30 pm $15 Art Lillard Group New York City Bahai Center 8, 9:30 pm $15
Ian Hendrickson-Smith The Django at Roxy Hotel 9 pm Scott Robinson Quartet with Helen Sung, Jay Anderson, Tim Horner So Wrong Its Right Trombone Quartet: Dave Taylor, Kalun Leung, David Whitwell,
Point of Departure Fat Cat 10 pm $10 Jazz at Kitano 8, 10 pm $32 Felix Del Tredici ShapeShifter Lab 7 pm $8
Johnny ONeal Ginnys Supper Club 7:30, 9:30 pm $15 Joey Alexander Trio with Reuben Rogers, Eric Harland Joe Pino Quintet Silvana 6 pm
Geoffrey Gallante Band with Morgan Guerin, Daryl Johns, Robin Baytas Jazz Standard 7:30, 9:30 pm $35 Lucas Pino Nonet with Alex LoRe, Andrew Gutauskas, Nick Finzer, Philip Dizack,
Jazz at Kitano 8, 10 pm $17 Kenny Barron/Ray Drummond Mezzrow 8 pm $20 Rafal Sarnecki, Glenn Zaleski, Desmond White, Jimmy MacBride;
Ricky Rodrguez Group with John Ellis, Luis Perdomo, Lage Lund, Obed Calvaire Akiko Tsuruga The Roxy Lounge at Roxy Hotel 7 pm Abraham Burton Quartet Smalls 7:30 pm 1 am $20
The Jazz Gallery 7:30, 9:30 pm $15 Leon Parker Humanity Quartet; Victor Gould Group; Brooklyn Circle: Stacy Dillard, Nearer the Spheres: Erik Friedlander, Yuka Honda, Ikue Mori, Nels Cline
Joey Alexander Trio with Reuben Rogers, Eric Harland Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 The Stone 8:30 pm $20
Jazz Standard 7:30, 9:30 pm $35 John Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, Essiet Essiet Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson
JazzMobile: Ray Mantilla Louis Armstrong House 7 pm Smoke 7, 9, 10:30 pm $40 Village Vanguard 8:30, 10:30 pm $35
Lafayette Harris Trio with Lonnie Plaxico, Terell Stafford Sylvie Courvoisier Trio with Drew Gress, Kenny Wollesen
Mezzrow 8 pm $20 The Stone at The New School 8:30 pm $20
Jason Prover Sneak Thievery Orchestra Abraxas: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz, Kenny Grohowski Wednesday, August 23
Radegast Hall 9 pm The Stone 8:30 pm $20
Colleen Clark Collective with Chad Lefkowitz-Brown, Randy Ingram, Augie Haas, Billy Hart Quartet with Ethan Iverson, Ben Street and guest Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan,
Henry Beal, Linda Briceo Rockwood Music Hall Stage 3 8:30 pm $10 Village Vanguard 8:30, 10:30 pm $35 Jeb Patton, Clovis Nicolas, Phil Stewart
Alex Nguyen Silvana 6 pm Christian Marclay/Okkyung Lee Whitney Museum 8 pm $22 59E59 Theaters 7 pm $35
Rick Rosato Quartet with Dayna Stephens, Sam Harris, Bill Stewart; Benny Green Trio Birdland 8:30, 11 pm $40
Josh Ginsburg Quartet with Dayna Stephens, George Colligan, E.J. Strickland Derrick Hodge Trio with Mike Mitchell, Mike Aaberg
Smalls 7:30, 10:30 pm $20 Sunday, August 20 Blue Note 8, 10:30 pm $25
MBalia with Josh Lawrence, Sarah Slonim, Adrian Moring, Anwar Marshall Armen Donelian Bryant Park 12:30 pm
Smoke 7, 9, 10:30 pm $12 Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan, VOXFest: Vadim Neselovskyi Trio with Dan Loomis, Ronen Itzik and
Theatre of Operations: Shanir Ezra Blumenkranz, Brian Marsella, Kenny Grohowski Jeb Patton, Clovis Nicolas, Phil Stewart guest Aubrey Johnson; Jlia Karosi Hidden Roots with Yago Vzquez, Ike Sturm,
The Stone 8:30 pm $20 59E59 Theaters 3, 7:15 pm $35 Peter Kronreif Cornelia Street Underground 8, 9:30 pm $10
Linda Presgrave Quartet with Stan Chovnick, Iris Ornig, Seiji Ochiai Bob James Blue Note 8, 10:30 pm $35 Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests
Tomi Jazz 9 pm $10 Jerram Original Network Band: Jerry Griffin, Kiane Zawadi, Tyler Mitchell Maucha Adnet, Harry Allen, Claudio Roditi
Billy Hart Quartet with Ethan Iverson, Ben Street and guest Brooklyn Waterfront Artists Coalition 2 pm Dizzys Club 7:30, 9:30 pm $40
Village Vanguard 8:30, 10:30 pm $35 Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Martina DaSilva/Justin Poindexter Dizzys Club 11:15 pm $5
Maucha Adnet, Harry Allen, Claudio Roditi Raphael Dlugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am $10
Dizzys Club 7:30, 9:30 pm $35 Giacomo Gates Trio with John di Martino, Ed Howard
Friday, August 18 Ras Moshe Music Now! Unit Downtown Music Gallery 6 pm Jazz at Kitano 8, 10 pm $17
Terry Waldos Gotham City Band; Brandon Lewis/Renee Cruz Marquis Hill Blacktet with Braxton Cook, Joel Ross, Jeremiah Hunt, Makaya McCraven
Songbook SummitGeorge Gershwin: Peter and Will Anderson, Molly Ryan, Fat Cat 6 pm 1 am $10 Jazz Standard 7:30, 9:30 pm $25
Jeb Patton, Clovis Nicolas, Phil Stewart Tubby: Luca Benedetti, Matt Parker, Danny Fox, Dave Speranza, Dan Rieser Steve Feifke Mezzrow 8 pm $20
59E59 Theaters 8 pm $35 Jazz Standard 11:30 am 1:30 pm $35 Burnt Sugar the Arkestra Chamber: Greg Tate, Shelley Nicole, Julie Brown,
Adison Evans Trio with Jared Gold, Robert Gianquinto The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Terry Brewer, Ben Williams Karma Mayet Johnson, Leon Gruenbaum, Bruce Mack, Lewis Barnes, Micah Gaugh,
Bar Next Door 7:30, 9:30, 11:30 pm $12 Jazz Standard 7:30, 9:30 pm $25 Avram Fefer, Paula Henderson, Ben Tyree, Jason DiMatteo, Val Jeanty, Chris Eddleton,
Count Basie Orchestra Directed by Scotty Barnhart Edin Ladin Mezzrow 8 pm $20 Jared Michael Nickerson National Sawdust 7, 10 pm $25
Birdland 8:30, 11 pm $50 Steve Cromity Quintet with Richard Clements, Gene Ghee, Lonnie Plaxico, Charlie Parker Jazz Festival: Charlie Parker with Strings
Bob James Blue Note 8, 10:30 pm $35 Dwayne Cook Broadnax Milk River Caf 6 pm $10 New School Tishman Auditorium 7:30 pm
Deanna Witkowski Bryant Park 12:30 pm Vanessa Perea Trio with Greg Ruggiero, Dave Baron New Cicada Trio: Iva Bittov, Timothy Hill, David Rothenberg
Chip Shelton Peacetime Ensemble with Noriko Kamo, Ray Newton North Square Lounge 12:30, 2 pm Rubin Museum 7 pm $25
Cleopatras Needle 8 pm Summerstage: Mulatu Astatke; Emel Mathlouthi; Alsarah and The Nubatones; DJ Sirak Peter and Will Anderson with Alex Wintz
NY Jazz Academy Student and Faculty Showcase Rumsey Playfield in Central Park 6 pm Saint Peters Church 1 pm $10
Club Bonafide 3:15 pm Yotam Ben-Or Quartet Saint Peters Church 5 pm Andy Fusco Quintet with Rudy Petschauer, Joe Magnarelli, John Hart, Bill Moring;
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Todd Marcus Ensemble ShapeShifter Lab 7 pm Steam Trio: Jeff Hirshfield, Yago Vazquez, Scott Lee; Jovan Alexandre
Maucha Adnet, Harry Allen, Claudio Roditi Tardo Hammer Trio with Lee Hudson, Mark Taylor; Saul Rubin Group; Jon Beshay Smalls 7:30, 10:30 pm 1 am $20
Dizzys Club 7:30, 9:30 pm $45 Smalls 7:30, 10:30 pm 1 am $20 Nels Cline/Zeena Parkins The Stone 8:30 pm $20
Nate Sparks Ensemble Dizzys Club 11:15 pm $10 John Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, Essiet Essiet Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson
Smoke 7, 9, 10:30 pm $40 Village Vanguard 8:30, 10:30 pm $35

34 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 Thursday, August 24
Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan,
Jeb Patton, Clovis Nicolas, Phil Stewart
at Cavatappo Grill
59E59 Theaters 7 pm $35
Mike Moreno Group Bar Luntico 8:30, 10 pm $10
NanJo Lee Trio with Rick Rosato, Jochen Rueckert; Larry Corban Trio with Harvie S,
Steve Johns Bar Next Door 6:30, 8:30, 10:30 pm $12
Michelle Lordi with Michael Kanan, Matthew Parrish, Bill Avayou, Larry McKenna
Live Jazz Music
every Tuesday (8-10 pm)
Birdland 6 pm $30
Benny Green Trio Birdland 8:30, 11 pm $40
James Carter Blue Note 8, 10:30 pm $35
Armen Donelian
&
Bryant Park 12:30 pm
Sonelius Smith/Dave Hofstra Cleopatras Needle 7 pm
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests
Maucha Adnet, Harry Allen, Claudio Roditi
Dizzys Club 7:30, 9:30 pm $45
Martina DaSilva/Justin Poindexter Dizzys Club 11:15 pm $10
Alita Moses and Hudson Horns The Django at Roxy Hotel 9 pm
Thursday (9-11 pm)
Poole and The Gang; Charlie Parker Jazz Festival Jam Session
Ginnys Supper Club 7:30, 9:30 pm $20
Yuko Ito Quartet with Oriente Lopez, Edward Perez, Alexander Kautz Live piano every Monday (7-10 pm)
Jazz at Kitano 8, 10 pm $17
Marquis Hill Blacktet with Braxton Cook, Joel Ross, Jeremiah Hunt, Makaya McCraven
Jazz Standard 7:30, 9:30 pm $25
Nicole Henry Joes Pub 7 pm $25
Summerstage/Charlie Parker Jazz Festival: Jason Samuels Smiths Chasin The Bird
Its a joy to create jazz in such a positive atmosphere and
Remixed with Dormeshia Sumbry-Edwards, Derick K. Grant
Marcus Garvey Park 7 pm
to be so close to the people too! Enjoying a great bowl of pasta
Laura Ainsworth Metropolitan Room 7 pm $24
Orrin Evans Trio with Ben Wolfe, JD Walter
listening to world class jazz is the only way to go
Mezzrow 8 pm $20 John Pizzarelli, Grammy-nominated guitarist and singer
Dave Rempis/Jaimie Branch; Gordon Beeferman, Chris Cochrane, Kevin Shea;
Kate Mohanty solo; Samantha Riott
Queer Trash 8 pm
Hot Club of Flatbush
Joe Magnarelli
Radegast Hall 9 pm
Silvana 6 pm Mondays with Roger Lent solo piano
Kevin Harris Jazz All Stars with Craig Handy, Mark Berman, Tony Garnier, Mike Clark;
Hendrik Meurkens Quartet with David Berkman, Chris Berger, Peter Van Nostrand; 7-10pm no cover
Jonathan Thomas Smalls 7:30, 10:30 pm 1 am $20
George Burton Quartet with Terell Stafford, Pablo Menares, Jeremy Clemons
Smoke 7, 9, 10:30 pm $12 AUGUST 1ST - 8/10 pm $10 COVER
Trio Teeth: Okkyung Lee, Booker Stardrum, Nels Cline
The Stone 8:30 pm $20
Hendrik Helmer Trio with Geoff Burke, George Papageorge
Hilary Gardner & Ehud Asherie
Symphony Space Bar Thalia 9 pm
Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson AUGUST 3RD - 9/11 pm $10 cover
David Gibson Quintet
Village Vanguard 8:30, 10:30 pm $35

Friday, August 25
AUGUST 8TH - 6-8 pm $15 cover
***Bucky Pizzarelli Trio***
Kendra Shank/Dean Johnson 55Bar 6 pm
Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan,
Jeb Patton, Clovis Nicolas, Phil Stewart
59E59 Theaters 8 pm $35
Richard Padron Trio with Ludwig Afonso, Dan Martinez
Bar Next Door 7:30, 9:30, 11:30 pm $12 AUGUST 1OTH - 9/11 pm $10 cover
Benny Green Trio
James Carter
Armen Donelian
Birdland 8:30, 11 pm $40
Blue Note 8, 10:30 pm $35
Bryant Park 12:30 pm
Nick Myers & The Varitones
Art Lillard Trio
AUGUST 15TH - 8/10 pm $5 cover
Cleopatras Needle 8 pm
NY Jazz Academy Student and Faculty Showcase

Jam Session hosted by Mike Sailors

Club Bonafide 3:15 pm
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests
Maucha Adnet, Harry Allen, Claudio Roditi
Dizzys Club 7:30, 9:30 pm $45
Martina DaSilva/Justin Poindexter Dizzys Club 11:15 pm $10
David Gibson Quintet; Craig Handy and 2nd Line Smith
AUGUST 17TH - 9/11 pm $10 cover
The Django at Roxy Hotel 8, 10 pm
Harvey Diamond, Lena Bloch, Lim Yang, Dayeon Seok
Kat Gang and Matthew Fries
The Drawing Room 7:30 pm $15
Bobbi Humphrey Ginnys Supper Club 7:30, 9:30 pm $20
The Treehouse All-Stars: Dave Frank, Richard Tabnik, Jimmy Halperin, Frank Canino, AUGUST 22nd - 8/10 pm $10 cover
BIlly Mintz Hari NYC 9 pm
Emi Makabe/Eva Novoa; Hery Paz, Eva Novoa, Kenneth Jimnez, Evan Hyde Jonny King trio
Ibeam Brooklyn 8, 9 pm $15
Dominick Farinacci Quartet with Dan Kaufman, Jon Michel, Lawrence Leathers
Jazz at Kitano 8, 10 pm $32 AUGUST 24th - 8/10 pm $10 cover
Dafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin,
Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, Citizens of the Blues
Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera,
Ricky Rodriguez, Roberto Quintero
Jazz Standard 7:30, 9:30 pm $30 AUGUST 29TH - 8/10 pm $10 cover
Summerstage/Charlie Parker Jazz Festival: Anat Cohen Tentet with Oded Lev-Ari,
Rubin Kodheli, Stuart Mack, Nick Finzer, Owen Broder, James Shipp, Vitor Gonalves, Dennis Joseph Quartet
AUGUST 31st - 9/11 pm $10 cover
Sheryl Bailey, Joe Martin, Anthony Pinciotti; Camille Thurman
Marcus Garvey Park 7 pm
Jazzmeia Horn Medgar Evers College 7 pm

***lew tabackin trio***

Jeanne Gies and Her Jazz Masters with Jack Wilkins, Andy McKee, Ray Blue,
Michael Rorby Metropolitan Room 7 pm $20
Joanne Brackeen Mezzrow 8 pm $20
Eugene Seow Group; Kevin Quinn Protocol with Mark Dziuba, David Savitsky,
Sean Wayland, Daryl Chen, Mark Ferber

Kuumba Soul Band
ShapeShifter Lab 7 pm $10
Silvana 6 pm
Joey G-Clef Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson;
Lucas Jazz Corner
Melissa Aldana Quintet Smalls 7:30, 10:30 pm $20
Harold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves,
at Cavatappo Grill
1712 First Avenue - (212) 987-9260
Joe Farnsworth Smoke 7, 9, 10:30 pm $40
Uri Gurvich Quartet with Luis Perdomo, Peter Slavov, Johnathan Blake and guest
Bernardo Palombo The Stone at The New School 8:30 pm $20

lucasjazzcorner.com
The Ring Nebula Project: Dave Rempis, Taylor Ho Bynum, Chris Lightcap,
Michael TA Thompson, Nels Cline The Stone 8:30 pm $20
Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson
Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 35

 Saturday, August 26 Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel Group
Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan,
Jeb Patton, Clovis Nicolas, Phil Stewart
Smalls 10:30 pm 1 am $20
RE G U L AR ENGAGE MENTS
59E59 Theaters 2, 8 pm $35 Tuesday, August 29 M O N D AY
Greg Skaff Trio with Ugonna Okegwo, Jonathan Barber
Bar Next Door 7:30, 9:30, 11:30 pm $12 David Kuhn Trio with Jasper Dutz, Nick Dunston; Jure Pukl Trio with Carlo De Rosa, Richard Clements/Murray Wall Band
11th Street Bar 8 pm
Benny Green Trio Birdland 8:30, 11 pm $40 Eric McPherson Bar Next Door 6:30, 8:30, 10:30 pm $12 Grove Street Stompers Arthurs Tavern 7 pm
James Carter Blue Note 8, 10:30 pm $35 Charlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, Svetlana and the Delancey 5
Walter Williams Trio Cleopatras Needle 8 pm Helen Sung, Lonnie Plaxico, Billy Drummond The Back Room 8:30 pm
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Birdland 8:30, 11 pm $40 Earl Rose Bemelmans Bar 5:30, 9 pm
Roy Hargrove Blue Note 8, 10:30 pm $45 Roger Lent solo Cavatappo Grill 7 pm
Maucha Adnet, Harry Allen, Claudio Roditi Jon Weiss Duo Cleopatras Needle 8 pm
Dizzys Club 7:30, 9:30 pm $45 Frank Owens Bryant Park 12:30 pm Vince Giordano and The Nighthawks
Martina DaSilva/Justin Poindexter Dizzys Club 11:15 pm $20 Dennis Joseph Quartet Cavatappo Grill 8 pm Iguana 8 pm
Ed Cherry Trio; Michael Stephenson Maria Guida Trio with Jeff Barone, Harvie S Iris Ornig Jam Session Jazz at Kitano 8 pm
The Django at Roxy Hotel 8, 10 pm Cornelia Street Underground 6 pm $10 Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Axel Tosca Glenn Crytzer Orchestra Kola House 7 pm
Martin Porter Group The Drawing Room 7 pm $20 Dizzys Club 7:30, 9:30 pm $35 JFA Jam Session Local 802 7 pm
Dissident Arts Festival: Bern Nix Tribute Trio: Matt Lavelle, Franois Grillot, Patrick Bartley Dizzys Club 11:15 pm $5 Dred Scott Trio Rockwood Music Hall Stage 1 12 am
Reggie Sylvester; The Beyond Group: Cheryl Pyle, Ingrid Laubrock, Larry Roland, Raymond Macdonald/George Burt Downtown Music Gallery 6 pm Vincent Herring Quartet and Smoke Jam Session
Newman Taylor Baker; Ras Moshes Music Now! with Lee Odom, Dave Ross, Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Smoke 7, 9, 10:30 pm
Fat Cat 7, 9 pm 12:30 am $10 Swingadelic Swing 46 8:30 pm
Larry Roland, Charles Downs, John Pietaro Vanguard Jazz Orchestra
Henry Winston Unity Hall 7 pm Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Village Vanguard 8:30, 10:30 pm $30
Billy Mintz Quintet with Tony Malaby, John Gross, Roberta Piket, Hilliard Greene Kendrick Scott Oracle with John Ellis, Mike Moreno, Aaron Parks, Ben Williams
Ibeam Brooklyn 8:30 pm $15 Jazz Standard 7:30, 9:30 pm $25 T U E S D AY
Steve Turre Band with Javon Jackson, Ron Carter, Jimmy Cobb Arun Ramamurthy, Jay Gandhi, Sameer Gupta; Pawan Benjamin, Arun Ramamurthy,
Jay Gandhi, Sharik Hasan, Michael Gam, Sameer Gupta Nick Wests Westet Analogue 7 pm
Iridium 8 pm $30-40 Yuichi Hirakawa Trio Arthurs Tavern 7 pm
Marlene VerPlanck Trio with Mike Renzi, Jay Leonhart ShapeShifter Lab 7, 8:15 pm Art Hirahara Trio Arturos 8 pm
Jazz at Kitano 8, 10 pm $32 Andrew Pereira Quartet Shrine 7 pm Joel Forrester solo The Astor Room 6 pm
Dafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin, Spike Wilner Trio with Paul Gill, Anthony Pinciotti; Abraham Burton Quartet Chris Gillespie; Loston Harris
Smalls 7:30 pm 1 am $20 Bemelmans Bar 5:30, 9:30 pm
Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, Marc Devine Trio Cleopatras Needle 8 pm
Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera, Trevor Dunn solo The Stone 8:30 pm $20 Battle Of The Horns Farafina Jazz Caf and Lounge 8 pm
Ricky Rodriguez, Roberto Quintero Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, Ronnie Burrage and The Robu Trio
Jazz Standard 7:30, 9:30 pm $30 Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35 The Five Spot Brooklyn 6 pm $10
Summerstage/Charlie Parker Jazz Festival: Lee Konitz Quartet with Dan Tepfer,
Diego Voglino Jam Session Halyards 10 pm
Vince Giordano and The Nighthawks
Jeremy Stratton, George Schuller; Terri Lyne Carrington and Social Science; Iguana 8 pm
Louis Hayes Serenade for Horace with Abraham Burton, Steve Nelson, David Bryant, Wednesday, August 30 Miki Yamanaka/Adi Meyerson Polite Jam Session
Dezron Douglas; Charenee Wade Marcus Garvey Park 3 pm Mezzrow 11 pm
Joanne Brackeen Mezzrow 8 pm $20 Paul Jost 55Bar 7 pm Monas Hot Four Monas 11 pm
Charlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, Mike LeDonne Quartet; Emmet Cohen Band
Dave Rempis, Nate Wooley, Brandon Lopez Smoke 7, 9, 10:30, 11:30 pm
New Revolution Arts 8 pm Helen Sung, Lonnie Plaxico, Billy Drummond George Gee Orchestra Swing 46 8:30 pm
Kuumba Soul Band Shrine 6 pm Birdland 8:30, 11 pm $40 Evolution Series Jam Session
Eddie Allen Quintet with Bruce Williams, Misha Tsiganov, Kenny Davis, Roy Hargrove Blue Note 8, 10:30 pm $45 Zinc Bar 11 pm
Jerome Jennings; Melissa Aldana Quintet; Philip Harper Quintet Frank Owens Bryant Park 12:30 pm
Smalls 7:30, 10:30 pm 1 am $20 Squirrel Nut Zippers City Winery 8 pm $40-55 W E D N E S D AY
Harold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves, Tomoko Omura Roots Quintet with Jeff Miles, Glenn Zaleski, Noah Garabedian, Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Jay Sawyer Club Bonafide 7:30 pm $10 Monika Oliveira Analogue 7 pm
Uri Gurvich Quartet with Luis Perdomo, Peter Slavov, Johnathan Blake and guest Ann Hampton Callaway Dizzys Club 7:30, 9:30 pm $40 Eve Silber Arthurs Tavern 7 pm
Patrick Bartley Dizzys Club 11:15 pm $5 Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Bernardo Palombo The Stone at The New School 8:30 pm $20 Chris Gillespie; Loston Harris
Bando Bro Jo: Elliott Sharp, Brandon Seabrook, Mary Halvorson, Julian Lage, Raphael Dlugoff Trio +1; Ned Goold Jam Bemelmans Bar 5:30, 9:30 pm
Ava Mendoza, Nels Cline The Stone 8:30 pm $20 Fat Cat 7 pm 12:30 am $10 David Ostwalds Louis Armstrong Centennial Band
Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson JazzMobile: Sonny Fortune Grants Tomb 7 pm Birdland 5:30 pm $20
Village Vanguard 8:30, 10:30 pm $35 Alan Broadbent Trio with Harvie S, Billy Mintz Les Kurtz Trio Cleopatras Needle 7 pm
Jazz at Kitano 8, 10 pm $17 Pasquale Grasso; Django Jam Session
The Django 8:30, 11 pm
Kendrick Scott Oracle with John Ellis, Mike Moreno, Aaron Parks, Ben Williams Mark Kross and Louise Rogers WaHi Jazz Jam
Sunday, August 27 Jazz Standard 7:30, 9:30 pm $25 Le Chile 8 pm
Tony Hewitt/Pete Malinverni
Dred Scott Trio with Ben Rubin, Tony Mason
Mezzrow 8 pm $20 Mezzrow 11 pm
Songbook SummitRichard Rodgers: Peter and Will Anderson, Molly Ryan, Lezlie Harrison; Mel Davis B3 Trio and Organ Jam
Jeb Patton, Clovis Nicolas, Phil Stewart The Stone Commissions: Mary Halvorson/Ambrose Akinmusire Smoke 7, 9, 10:30, 11:30 pm
59E59 Theaters 3, 7:15 pm $35 National Sawdust 7 pm $25
Lorin Cohen Birdland 6 pm $30 Roxy Coss Quintet Rockwood Music Hall Stage 3 8:30 pm $10 T H U R S D AY
Nanny Assis and Friends Blue Note 11:30 am 1:30 pm $39.50 Kat Gang with Matthew Fries, Phil Palombi, Tim Bulkley Ray Blue Organ Quartet American Legion Post 398 7 pm
James Carter Blue Note 8, 10:30 pm $35 Saint Peters Church 1 pm $10 Chris Gillespie; Loston Harris
Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Will Vinson Quartet with Kevin Hays, Matt Brewer, Clarence Penn; Bemelmans Bar 5:30, 9:30 pm
Maucha Adnet, Harry Allen, Claudio Roditi Tivon Pennicott Group; Aaron Seeber Spike Wilner Mezzrow 11 pm
Dizzys Club 7:30, 9:30 pm $35 Smalls 7:30, 10:30 pm 1 am $20 Gene Bertoncini Ryans Daughter 8:30, 10:30 pm
SpermChurch with Trevor Dunn, Sannety Stan Rubin Orchestra Swing 46 8:30 pm
Terry Waldos Gotham City Band; Brandon Lewis/Renee Cruz Rob Duguay Low Key Trio Turnmill NYC 11 pm
Fat Cat 6 pm 1 am $10 The Stone 8:30 pm $20
Steve Turre Band with Javon Jackson, Ron Carter, Jimmy Cobb Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, F R I D AY
Iridium 8 pm $30-40 Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35
Eri Yamamoto Trio Arthurs Tavern 7 pm
Jay Sawyer Trio with Michael King, Endea Owens The Crooked Trio Barbs 5 pm
Jazz Standard 11:30 am 1:30 pm $35 Chris Gillespie; Loston Harris
Dafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin, Thursday, August 31 Bemelmans Bar 5:30, 9:30 pm
Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, Birdland Big Band Birdland 5:15 pm $25
Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera, Tommaso Gambini Trio with Cole Davis, Dan Nedau; Yuto Kanazawa Trio with Johnny ONeal Mezzrow 11 pm
Zwelakhe-Duma Bell Le Pere, Jonathan Barber Nico Soffiato Nha Minh 7 pm
Ricky Rodriguez, Roberto Quintero Gerry Eastman Quartet Williamsburg Music Center 10 pm
Jazz Standard 7:30, 9:30 pm $30 Bar Next Door 6:30, 8:30, 10:30 pm $12
Yoni Kretzmer, John Hbert, Billy Mintz; Dave Rempis, Michael Foster, Brandon Lopez, Charlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, S AT U R D AY
Weasel Walter Legion Bar 8 pm $10-15 Helen Sung, Lonnie Plaxico, Billy Drummond
Birdland 8:30, 11 pm $40 Eri Yamamoto Trio Arthurs Tavern 7 pm
Lage Lund/Sullivan Fortner Mezzrow 8 pm $20 Chris Gillespie; Loston Harris
Kate Baker Trio with Vic Juris, Todd Coolman Roy Hargrove Blue Note 8, 10:30 pm $45 Bemelmans Bar 5:30, 9:30 pm
North Square Lounge 12:30, 2 pm Frank Owens Bryant Park 12:30 pm Bill Saxton and the Harlem Bebop Band
Elsa Nilsson Quartet Rockwood Music Hall Stage 1 6 pm Lew Tabackin Trio Cavatappo Grill 9 pm Bills Place 8, 10 pm $20
Sari Kessler Saint Peters Church 5 pm Joe Bonacci Duo Cleopatras Needle 7 pm Joel Forrester Caf Loup 12:30 pm
Dorian Devins with Lou Rainone, Paul Gill Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm
Johnny ONeal Trio with Ben Rubens, Itay Morchi; Bruce Harris Group; Robert Edwards Assaf Kehati Duo Il Gattopardo 11:30 am
Smalls 7:30, 10:30 pm 1 am $20 Cornelia Street Underground 6 pm $10 Johnny ONeal Smoke 11:45 pm 12:45 am
Harold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves, Jazzrausch Bigband David Rubenstein Atrium 7:30 pm
Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Ann Hampton Callaway Dizzys Club 7:30, 9:30 pm $40 S U N D AY
Nels Cline/Julian Lage The Stone 8:30 pm $20 Patrick Bartley Dizzys Club 11:15 pm $10
Sam Martinelli Trio Analogue 6:30 pm
Summerstage/Charlie Parker Jazz Festival: Joshua Redman Quartet with Sax Appeal: Jimmy Heath, Gary Bartz, Javon Jackson, Donald Harrison with Creole Cooking Jazz Band; Stew Cutler and Friends
Aaron Goldberg, Reuben Rogers, Marcus Gilmore; Lou Donaldson; Tia Fuller; Jeremy Manasia, David Williams, McClenty Hunter Arthurs Tavern 7, 10 pm
Alicia Olatuja Tompkins Square Park 3 pm Iridium 8, 10 pm $35-45 Peter Mazza Trio Bar Next Door 8, 10 pm $12
Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson Tony Hewitt Quartet with David Kikoski, Rick Rosato Earl Rose solo; Billy Stritch and Jim Caruso Trio
Jazz at Kitano 8, 10 pm $17 Bemelmans Bar 5, 9 pm
Village Vanguard 8:30, 10:30 pm $35 Arturo OFarrill Afro Latin Jazz Orchestra
Cyrus Chestnut with Buster Williams, Lenny White Birdland 9, 11 pm $30
Jazz Standard 7:30, 9:30 pm $35 Glenn Crytzer Trio Blacktail 8 pm
Monday, August 28 Bob DeVos/Andy LaVerne Mezzrow 8 pm $20 Keith Ingham Trio
Trampelman
Cleopatras Needle 4 pm
Dominies Astoria 9 pm
Shanir Ezra Blumenkranz Russ & Daughters Caf 8 pm
The EarRegulars The Ear Inn 8 pm
Itai Kriss Quartet Bar Luntico 8:30, 10 pm $10 Andres Rot/Angela Watson Silvana 6 pm Joel Forrester solo Grace Gospel Church 11 am
Daniel Dickinson Trio with Hugh Stuckey, Noel Mason; Dana Reedy Trio with Willy Rodriguez Quintet; Nick Hempton Band Tony Middleton Trio Jazz at Kitano 12 pm $40
Pete McCann, Morrie Louden Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30, 10:30 pm $20 John Merrill Mezzrow 11 pm
Eddie Palmieri Blue Note 8, 10:30 pm $45 Brandon Bain with Wayne Tucker, Marvin Dolly, Willerm Delisfort, Jonathan Michel, Marjorie Eliot/Rudell Drears/Sedric Choukroun
Parlor Entertainment 4 pm
Frank Owens Bryant Park 12:30 pm Malik Washingon Smoke 7, 9, 10:30 pm $12 Lu Reid Jam Session Shrine 4 pm
Bill OConnell Latin Jazz All-Stars with Steve Slagle, Conrad Herwig, Luques Curtis, The Secret Quartet: Jennifer Choi, Cornelius Dufalo, Ljova Zhurbin, Yves Dharamraj Annette St. John; Wilerm Delisfort Quartet
Richie Barshay, Roman Diaz Dizzys Club 7:30, 9:30 pm $30 and guest Kris Davis The Stone 8:30 pm $20 Smoke 11:30 am 11:45 pm
Sullivan Fortner Mezzrow 8 pm $20 Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, Sean Smith and guest Walkers 8 pm
Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35

36 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

 CLUB DIRECTORY
5C Caf 68 Avenue C
(212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org
32nd Police Precinct 250 W. 135th Street
(212-690-6311) Subway: 2, 3 to 135th Street
55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
59E59 Theaters 59 East 59th Street
(212-753-5959) Subway: 4, 5, 6 to 59th Street www.59e59.org
American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
American Legion Post 398 248 W. 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
American Museum of Natural History 79th Street and Central Park West
(212-769-5100) Subway: B, C to 81st Street-MNH www.amnh.org
An Beal Bocht Caf 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
The Archway Water Street Brooklyn Subway: F to York Street
www.dumbo.is
Art Caf 884-886 Pacific Street
(718-857-2522) Subway: C to Clinton-Washington Avenue
Arthurs Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
Arturos 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
The Astor Room 34-12 36th Street, Queens
(718-255-1947) Subway: M, R to Steinway Street www.astorroom.com
BB Kings Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square
www.bbkingblues.com
Bar Luntico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
Barbs 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
Beacon Theatre 2124 Broadway at 74th Street
(212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com
Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Bills Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 135th Street
Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
Blacktail 2nd floor, Pier A Harbor House, 22 Battery Place
(212-785-0153) Subway: 4, 5 to Bowling Green www.blacktailnyc.com
Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
Brooklyn Bridge Park Furman Street and Atlantic Avenue
Subway: A, C to High Street; 2, 3 to Clark Street
Brooklyn Museum of Art 200 Eastern Parkway
(718-638-5000) Subway: 2, 3 to Eastern Parkway
www.brooklynmuseum.org
Brooklyn Waterfront Artists Coalition 499 Van Brunt Street
(718-596-2507) Subway: F to Smith - 9 Streets www.bwac.org
Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org
Caf Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Caf Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
Carnegie Club 156 W. 56th Street
(212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue
Cavatappo Grill 1712 First Avenue
(212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com
The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
Central Park Great Hill 105th Street Subway: B, C to 103rd Street
Central Park Summerstage, Rumsey Playfield
72nd Street and Fifth Avenue (212-360-2777)
Subway: B, D to 72nd Street www.summerstage.org
City Winery 155 Varick Street
(212-608-0555) Subway: 1 to Houston Street www.citywinery.com
Cleopatras Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
Cornelia Street Underground 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcaf.com
The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
Damrosch Park at Lincoln Center Broadway and 62nd Street
Subway: 1 to 66th Street
David Rubenstein Atrium Broadway at 60th Street
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.LincolnCenter.org/Atrium
Dizzys Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
Dominies Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
The Drawing Room 56 Willoughby Street #3 (917-648-1847)
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com
The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
Farafina Caf & Lounge Harlem 1813 Amsterdam Avenue
(212-281-2445) Subway: 1 to 145th Street
www.farafinacafeloungeharlem.com
Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
The Five Spot 459 Myrtle Avenue, Brooklyn (718-852-0202)
Subway: G to Clinton/Washington www.fivespotsoulfood.com
The Flatiron Room 37 West 26th Street
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
Freddys Backroom 627 5th Avenue, Brooklyn
(718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com
Gantry Plaza State Park 49th Avenue and Center Boulevard
Subway: 7 to Vernon-Jackson Boulevard
Ginnys Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
Goddard Riverside Community Center 593 Columbus Avenue
(212-873-6600, ext. 314) Subway: 1 to 86th Street www.goddard.org
Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
Grants Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street
Halyards 406 3rd Avenue, Brooklyn
(718-532-8787) Subway: R to 9th Street www.barhalyards.com
Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street
Henry Winston Unity Hall 235 W. 23rd Street, 7th floor
Subway: 1 to 23rd Street www.facebook.com/NewMassesNights
HOLO 1563 Decatur Street Subway: L to Halsey Street
Hudson River Park 555 12th Avenue at 44th Street
(212-627-2020) Subway: A, C, E, F, V to 42nd Street-Port Authority
www.hudsonriverpark.org
Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
Il Gattopardo 13-15 W. 54th Street
(212-246-0412) Subway: E, M to Fifth Avenue/53rd Street
www.ilgattopardonyc.com
Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway:N, R to 28th Street www.jazzgallery.org
Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway:6 to 28th Street www.jazzstandard.net
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
Kola House 408 W. 15th Street
(646-869-8873) Subway: A, C, E, L to 14th Street www.kolahouse.com
Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
Lantern Hall 52 Harrison Place
(718-381-2122) Subway: L to Morgan Avenue www.lanternhall.com
Le Chile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
Le Poisson Rouge 158 Bleecker Street
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com
Legion Bar 790 Metropolitan Avenue
(718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com
Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
Louis Armstrong House 34-56 107th Street, Queens
(718-478-8274) Subway: 7 to 11th Street www.satchmo.net
Madison Square Park 5th Avenue and 23rd Street
Subway: R, W to 23rd Street
Marcus Garvey Park 120th Street between Mt. Morris Park and Madison
Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street
Medgar Evers College 1650 Bedford Avenue, Brooklyn
Subway: 2, 3, 4 to Franklin Street
Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
Mezzrow 163 W. 10th Street
(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com
Milk River Caf 960 Atlantic Avenue
(718-636-8600) Subway: C, S to Franklin Avenue
www.milkriverbrooklyn.com
Mintons 206 West 118th Street
(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com
MIST - My Image Studios 40 West 116th Street
Subway: 2, 3 to 116th Street www.mistharlem.com
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
Monas 224 Avenue B Subway: L to First Avenue
National Sawdust 80 N. 6th Street
(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org
New Revolution Arts 7 Stanhope Street
Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
New School Tishman Auditorium 66 W. 12th Street
(212-229-5488) Subway: F, L, M to 14th Street
New York Botanical Garden Conservatory 2900 Southern Boulevard, Bronx
(718-817-8700) Subway: 4 to Fordham Road www.nybg.org
New York City Bahai Center 53 E. 11th Street (212-222-5159)
Subway:4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
Nh Minh 485 Morgan Avenue
(718-387-7848) Subway: L to Graham Avenue
www.nhaminh.squarespace.com
North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
The Owl Music Parlor 497 Rogers Avenue, Brooklyn
(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc
Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street
The Penrose 1590 2nd Avenue
(212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com
Pier 45 Subway: 1 to Chistopher Street
Prospect Park Bandshell Subway: F to Prospect Park
Putnam Triangle Plaza 22 Putnam Avenue, Brooklyn
(212-639-9675) Subway: A, C to Clinton-Washington Avenue
www.nycgovparks.org
Queer Trash 1090 Wyckoff Avenue Subway: L to Halsey Street
Radegast Hall 113 N. 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com
Rubin Museum 150 W. 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
Russ & Daughters Caf 127 Orchard Street
(212-475-4881) Subway: F to Delancey Street
www.russanddaughterscafe.com
Saint Peters Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway:6 to 51st Street www.saintpeters.org
Scholes Street Studio 375 Lorimer Street
(718-964-8763) Subway: L to Lorimer Street; G to Broadway
www.scholesstreetstudio.com
ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
Showmans 375 W. 125th Street at Morningside (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
Sir Ds 837 Union Street, Brooklyn Subway: M, R to Union Street
Skinny Dennis 152 Metropolitan Avenue
Subway: G to Metropolitan Avenue www.skinnydennisbar.com
Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com
Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City
(718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue;
M to Broadway www.socratessculpturepark.org
The Stone Avenue C and 2nd Street
Subway:F to Second Avenue www.thestonenyc.com
The Stone at The New School 55 West 13th Street
(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com
Swing 46 349 W. 46th Street (646-322-4051)
Subway:A, C, E to 42nd Street www.swing46.com
Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
Terraza 7 40-19 Gleane Street
(718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com
Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
Tompkins Square Park 7th to 10th Streets between Avenue A and Avenue B
(212-387-7685) Subway: L to 1st Avenue; 6 to Astor Place
The Treehouse 833 Broadway at 13th Street, Suite #6
Subway: 4, 5, 6, L, N, R to 14th Street-Union Square
Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway:1, 2, 3 to 14th Street www.villagevanguard.com
Walkers 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
Whitney Museum 1845 Madison Avenue at 75th Street
(800-944-8639) Subway: 6 to 77th Street www.whitney.org
Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
Zinc Bar 82 W. 3rd Street
(212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street
www.zincbar.com
37
(INTERVIEW CONTINUED FROM PAGE 6)
VH: Im sure there were musical lessons I learned
when I was with Nat Adderley, but one of the most
important things I learned was that Nat was just
a great person. Nat was just a really kind man and had
a really kind spirit. I matured quite a bit when I played
with Nat and I started to appreciate people in
a different kind of way.
With some other bands, like Horace Silver s, I was
really not ready for that job when I got it. But I couldnt
turn it down, being a young musician who had a
chance to play with Horace. Between needing the
money and wanting to play with Horace, I took it. I
enjoyed the experience, but I wasnt ready for it. When
we were finished, I was immediately working hard to
try to improve my musicianship and it gave me the
direction and the motivation for developing myself.
That was in 1986 or 1987.
TNYCJR: Art Blakey?
VH: When I worked with Art, I had just really started
to get it together, playing decent. And that was one of
my target jobs that I wanted. But at the same time,
I had met Nat and started playing with him and Nat
was just a great person. We were the best of friends.
I called Nat up to tell him I had just finished two weeks
with Art at Sweet Basil and we were going to Europe
on such and such a date. Before thatmonths before
thatI was always pressuring Nat, Hey, man, we
have to do some gigs. Why dont we work a bit? Why
dont you want to tour? All this stuff. When I told Nat
that Art and I were going on a tour on such and such
a date, he was like, No, youre not. I was like, Yes, TNYCJR: The question for young musicians is, What
we are. Art just told me. And Nat was like, No, were
going on a tour.
So, I had to make a decision between those two
bands right then and there. And its funny:
I occasionally sign stuff that I have from an Art Blakey
tour in Europe and I tell them, I wasnt there. And
they just point to it. I sign it anyway. But I didnt go to
Europe with Art. The first tour with Nat, I think, was
Australia. So, you have to make decisions in life. Was
there necessarily a best choice? I dont know. I enjoyed
my time with Nat and it was very important for me.
Im sure if I had stayed with Art, it would have also
been important. But these are life decisions that you
have to make. I couldnt make a wrong decision with
that one.
TNYCJR: What a choice to have to make: Art Blakey or
Nat Adderley.
University and the Manhattan School of Music. In
what ways do the young music students of 2017 differ
from when you were their age back in the 80s?
VH: Students today, overall, are much more prepared,
much more aware, much more in tune than me and my
peers were at the same age. There are some things that
are better and some things that are not as good. One of
the things that is better is that they are able to
experience and hear great players via video, YouTube
and things like that online.
Its not as good as getting to hear these people
live; through no fault of their own, they didnt get to
hear them live. But in terms of having mechanical
information about the music, theyre much more in
tune and often come in very well-informed and more
technically proficient than me and my peers were.
TNYCJR: Thats saying a lot because the 80s is the era
that gave us Wynton and Branford Marsalis, Terence
Blanchard, Donald Harrison and many others
The Young Lions.
VH: Im telling you: the percentage of people that are
prepared is higher now. Ill put it to you like this. Are
you into sports? People want to talk about how great
the NBA was in the 60s, 70s and 80s. But guys now,
their skill set is so superior. Their physical training and
nutrition is so superior. Any of these peak athletes
would have been a freak of nature back in the day. A lot
of old-timers would tell you that it was much better
back then, but these young guys today are faster,
stronger, more skilled. Its like this in music also.
opportunities are there going to be for them in the
future?
VH: Theres things that we cant see. For instance, the
70sgoing from what people have told mewas
a down period for jazz. It seemed like things were
dying out. No one saw Wynton coming along.
TNYCJR: In the 70s, people were saying that
straightahead jazz was music of the past.
VH: And all of a sudden, the whole Wynton
phenomenon happened and the next thing you know,
there was a resurgence of the whole jazz scene.
TNYCJR: Youve been living in New York City since
the early 80s. In what respects has New Yorks club
scene for jazz evolved since then?
(LABEL CONTINUED FROM PAGE 11)
about the label, he notes. Everybody is free, and even
encouraged, to record somewhere else. Were very proud
of all the releases, but some musicians or bands would
be happy to get more exposure for a project than what
you get with Circum-Disc. This is a micro-economy,
especially in our field. I guess we are just happy to be
able to publish our music and to make it known.
The majority of Circum-Discs projects are
available as CDs, three are on both CD and LP, with
only one, Empty Orchestras, Orins solo disc, accessible
on vinyl and as a download. All sessions can be
downloaded from the Circum-Disc website as mp3 or
high-resolution FLAC files as well as through streaming
services or platforms like iTunes and Amazon.
Physical sales are still much more important and
numerous for us, Orins reports. But for unknown
projects or musicians, being available on the web or on
streaming platforms can help promote sales.
Two non-Muzzix members who collaborate with
Orins and trumpeter Pruvost are pianist Satoko Fujii and
trumpeter Natsuki Tamura. Their band Kaze has three
CDs on Circum-Disc and, with pianist Sophie Agnel and
Didier Lasserre added to the quartet, have a new CD,
June, released earlier this year. Others scheduled sessions
will be guitarist Ivann Cruz first solo album, the fifth
CD by pianist Stefan Orins trio and the fourth by the
TOC trio with Ternoy. Despite the presence of sessions
by non-Muzzix members such as Fujii and Tamura,
saxophonist Jean-Luc Guionnet and Ternoy, Circum-
Disc continues to fulfill its original mandate: exposing
the music of the collective. As Orins says: Our releases
are the best illustrations of what we do. v
For more information, visit circum-disc.com

VH: Right. Ive had the good fortune to work with a lot
of great musicians.
TNYCJR: You also played with singer Nancy Wilson.
VH: Yes, I did some tours with her and some isolated
gigs like the Hollywood Bowl and Avery Fisher Hall.
TNYCJR: Nancy is quite versatile, having recorded
everything from straightahead jazz, traditional pop
and standards to soul and funk. Working with her, did
you have to approach a variety of styles?
VH: No, because every time I worked with her, it was
doing the Nancy Wilson/Cannonball Adderley music.
Thats what it was every time I played with Nancy
Wilson.
TNYCJR: Which was appropriate given the influence
Cannonball had on your playing.
VH: Absolutely.
TNYCJR: You have been teaching at William Paterson
VH: To be honest, I dont really notice that big of
a difference in the jazz clubs. One extreme difference is
that at that time, the space where Smoke is now was
a watering hole. Now, its a professionally-run jazz
club. But thats one isolated place. As a business model,
it hasnt really changed much with the jazz clubs. v
For more information, visit vincentherring.com. Herring is
at Birdland Aug. 29th-Sep. 2nd as part of a Charlie Parker
birthday celebration and Smoke Mondays. See Calendar and
Regular Engagements.
Recommended Listening:
Vincent HerringAmerican Experience
(MusicMasters, 1986/1989)
Vincent HerringEvidence (Landmark, 1990)
Nat Adderley Quintet (featuring Vincent Herring)
Workin (Timeless, 1992)
Cedar WaltonThe Promise Land (HighNote, 2001)
Louis Hayes and the Cannonball Legacy Band
(featuring Vincent Herring)Maximum Fire Power
(HighNote, 2006)
Vincent HerringNight and Day
(Smoke Sessions, 2014)

38 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

(MONTRAL CONTINUED FROM PAGE 13)
Rising stars on the global world music scene,
A-WA is a dynamic trio of Israeli sisters, Tair, Liron
and Tagel Haim, who fuse Yemenite vocals and
traditional dance with contemporary beats and
instruments. Although by applause nearly no one in
the crowd was of Yemenite descent, the audience was
quickly seduced by the unique harmony exclusive to
sisterhood, original songs that sounded ancient and
the sheer talents of each person on stage, including
their solid supporting musicians: Tal Kohavi (drums
and loops), Nitzan Eisenberg (bass), Noam Havkin
(keyboards) and Yogev Glusman (guitar and violin).
Now in its ninth year at the marvelous La Maison
Symphonique, Battle of the Big Bands is a thoroughly
educational and highly engaging competition.
Nostalgia, humor and surprising repertoire choices
were all instrumental in winning over the mostly
blue-haired crowd, many of them dedicated locals. By
audience vote, the Cab Calloway Orchestra, directed
by the founder s charismatic grandson Christopher
Calloway-Brooks, emerged victorious over the Xavier
Cugat Orchestra. Memorable solos included Larry
Spivack on marimba for the Cugat side and New Yorks
own Champian Fulton guesting on piano and vocals
for the Calloway Orchestra.
The festival annually celebrates musicians with
awards. This year s honorees were Charlie Musselwhite
(B.B. King Award), Buika (Antnio Carlos Jobim
Award), Jack DeJohnette (Miles Davis Award), Lizz
Wright (Ella Fitzgerald Award) and Christine Jensen
(Oscar Peterson Award). To springboard emerging
talents across Canada, eight nominated groups vie for
the Grand Prix de Jazz, with the winner revealed
towards the end of the festival and given a cash prize
and an additional concert. This year the Allison Au
Quartet took home the prize, its leader recognized for
a mature compositional style, which complements her
laidback, sincere way on the alto saxophone.
There was one major disappointment: this year
there was no official jam session at FIJM. It goes
without saying that jam sessions are not money makers;
it is always a gamble as to whether or not an audience
will support a late-night event and, even if they do,
they will have already spent their money elsewhere.
However, being an integral part of an improvised
tradition, where musicians from anywhere in the world
can connect and create, jam sessions belong in any
serious jazz festival and this was a disappointing
omission. Thankfully, Alex Bellegardes weekly
Tuesday night session at Diese Onze was includeddo
check that one out year-round if you are visiting
Montral, the second largest city in Canada, possessing
one of the worlds greatest jazz festivals. v
For more information, visit montrealjazzfest.com
(SUONI CONTINUED FROM PAGE 13)
before playing his tenor saxophone. This set the tone
for the concert: reflexive and profound. After a few
minutes, Heward started playing straightforward
rhythmic patterns with a soft touch, which
complemented the mood already established and
created a background over which McPhee would
explore and develop ideas. The resulting music was
intense without being loud or fast-paced, but also
heartwarming without being sentimental.
THE NEW YORK CITY JAZZ RECORD | AUGUST 2017
If one had to find an adjective to qualify Association
for the Advancement of Creative Musicians/Art
Ensemble of Chicago veteran Roscoe Mitchells solo
performance, which took place at La Sala Rossa,
radical would come to mind. Mitchell opened with a
28-minute piece on sopranino saxophone, making
ample use of circular breathing and piercing tones. The
second piece was for alto saxophone and used twisted
lines with circular breathing and multiphonics. The
third and final piece, for soprano, explored some
fascinating multiphonics that sounded like distortion.
All three pieces were extremely focused and without
compromise. It definitely counts as one of the strongest
performances of the festival.
Anthony Braxton ZIM Sextet at La Sala Rossa
marked the first visit of the American saxophonist to
Montral in over 20 years and, judging by the size of
the audience and a certain electricity in the air, it was
obvious many were delighted to see him back. The
group played an unannounced composition that lasted
around 60 minutes and, as the name of the group
suggests, used the ZIM system. Based on a single
concert experience, not only is it unclear what the
principles underlying the ZIM system are, it is also
hard to say to what extent they are different from those
underlying Braxtons recent systems such as Ghost
Trance Music or Falling River Music. Nevertheless, the
performance was as enjoyable as those based on those
other systems and, if a standing ovation is anything to
go by, the audience definitely liked it.
Overall, this year s edition turned out to be one of
the strongest and most enjoyable in recent years and
one can only look forward to the next one. v
For more information, visit suoniperilpopolo.org
39