MARCH 2018—ISSUE 191 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.

COM

MARY lou
williams
first lady of the piano

W O M E N
J A Z Z
IN
SI S U E

ANAT TIA NANCY HADDA

COHEN FULLER HARROW BROOKS
 Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East MARCH 2018—ISSUE 191
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628 New York@Night 4
Laurence Donohue-Greene:
ldgreene@nycjazzrecord.com
Interview : ANAT COHEN 6 by anders griffen
Andrey Henkin:
ahenkin@nycjazzrecord.com Artist Feature : TIA FULLER 7 by russ musto
General Inquiries:
info@nycjazzrecord.com
Advertising:
On The Cover : MARY LOU WILLIAMS 8 by scott yanow
advertising@nycjazzrecord.com
Calendar:
Encore : NANCY HARROW 10 by marilyn lester
calendar@nycjazzrecord.com
VOXNews:
voxnews@nycjazzrecord.com
Lest We Forget : HADDA BROOKS 10 by jim motavalli

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VOXNEWS 11 by suzanne lorge
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Staff Writers
obituaries 12 by andrey henkin
David R. Adler, Clifford Allen,
Duck Baker, Stuart Broomer,
Robert Bush, Thomas Conrad,
FESTIVAL REPORT 13
Ken Dryden, Donald Elfman,
Phil Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 14
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Matthew Kassel,
Marilyn Lester, Suzanne Lorge,
Mark Keresman, Marc Medwin,
Miscellany 33
Russ Musto, John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Andrew Vélez, Scott Yanow
Event Calendar 34
Contributing Writers
Marco Cangiano, Jim Motavalli, Eric Wendell
Contributing Photographers
Enid Farber. William P. Gottlieb,
Shervin Lainez, Alan Nahigian,
Robert I. Sutherland-Cohen, As we move from winter towards spring, we go from one Mary (Halvorson) to another, Mary
Adrien H. Tillmann, TuKe Photography Lou Williams, no less visionary and the ideal choice for the cover of our annual Women In Jazz
issue in conjunction with Women’s History Month. The pianist/composer was present for pretty
Fact-checker much every innovation in jazz history and is definitely the only person to play with both Benny
Nate Dorward Goodman and Cecil Taylor. Jazz at Lincoln Center’s Jazz for Young People series presents a
celebration of Williams’ life led by vocalist Catherine Russell and drummer LaFrae Sci.

As Williams’ life was drawing to a close, two future jazz stars were born: clarinetist/saxophonist
Anat Cohen (Interview) and saxophonist Tia Fuller (Artist Feature) are carrying on the legacy
of female instrumentalists and composers, both with brand-new albums. Cohen is at 92nd
Street Y as part of the Woman to Woman allstar band while Fuller gets a late-month weekend
at Smoke. We also celebrate two figures whose careers were concurrent with that of Williams:
singer/composer Nancy Harrow (Encore) and the late pianist/singer Hadda Brooks (Lest We
Forget). And the front end of our CD Review section (pgs. 14-18) is dedicated to the many
nycjazzrecord.com women whose contributions—year-round—make jazz as vibrant as it is.

On The Cover: Mary Lou Williams (William P. Gottlieb Collection of The Library of Congress)

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

2 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 MARCH 2018
W W W. B LU E N OT E JA Z Z . CO M

ROY HAYNES
ERIC KRASNO
MACEO PARKER & CHAPTER 2 FT QUESTLOVE,
REBIRTH BRASS BAND 93RD BIRTHDAY CELEBRATION ROBERT RANDOLPH, CORY
FEBRUARY 27 - MARCH 4 BLUE NOTE RESIDENCY WITH SPECIAL GUESTS HENRY & MORE
MARCH 8 - 11 MARCH 15 - 18 MARCH 19 - 21

THE SHOWDOWN KIDS FT SCOTT METZGER, KATIE JACOBY & SIMON KAFKA 8PM / WOLF! (ACOUSTIC) FT SCOTT METZGER 10:30PM MARCH 5
PETE ROCK & THE SOUL BROTHERS MARCH 6 • WEEDIE BRAIMAH & FRIENDS: MARCH 7
MCCOY TYNER MARCH 12 - 14 • MATTHEW WHITAKER TRIO MARCH 22
SPECIAL SUNDAY JAZZ BRUNCH
$ 39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL
LATE NIGHTS
STATIK SELEKTAH & FRIENDS WITH LIVE BAND FEATURING SPECIAL GUESTS MARCH 2
PHONY PPL - BLUE NOTE LATE NIGHT RESIDENCY VOL. 2 MARCH 3, 17, 31 • KOOL KEITH WITH LIVE BAND SOUL'D U OUT MARCH 10
l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM
@bluenotenyc TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM
TERMS, CONDITIONS AND RESTRICTIONS APPLY

THU-SUN MAR 15-18 [EXCEPT SAT MAR 17]

ACTION
JIMMY GREENE’S LOVE IN
RENEE ROSNES - JOHN PATITUCCI - OTIS BROWN III - ROGERIO BOCCATO
SAT MAR 17 CLOSED FOR private event
TUE-WED MAR 20-21

CAMILLE BERTAULT
“VENUE OF THE YEAR” 2017 -NYCJR “TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY”- NY MAGAZINE
THU-SUN MAR 1-4

JAZZMEIA HORN
DAN TEPFER - ALEXANDER CLAFFY
OFRI NEHEMYA
THU-SUN MAR 22-25

BILLY CHILDS QUARTET

VICTOR GOULD - BARRY STEPHENSON
HENRY CONERWAY III - MARCUS MILLER
DAYNA STEPHENS
TUE MAR 6

LOGAN RICHARDSON
HANS GLAWISCHNIG
ARI HOENIG
THU-SUN MAR 27-APR 1
JUSTUS WEST - IGOR OSYPOV

RAVI COLTRANE TRIO

DeANDRE MANNINGS - RYAN LEE
WED MAR 7

JAMES FRANCIES TRIO Nicholas BURNISS TRAVIS

WITH SPECIAL GUEST

Payton MIKE MITCHELL

Tomoki Sanders [3/28 ONLY]
WITH SPECIAL GUESTS
THU-FRI MAR 8-9
Brandee Younger [3/30 ONLY] - Ralph Alessi [4/1 ONLY]
STEVEN BERNSTEIN’S
John medeski
SEXMOB MINGUS MONDAYS MINGUS MONDAYS MINGUS MONDAYS
DEZRON DOUGLAS - ALLAN MEDNARD

MON MAR 5, 12 & 26 MON MAR 19

WITH SPECIAL GUEST [3/9 ONLY]

MINGUS BAND MINGUS orchestra

BIG

BRIGGAN KRAUSS - TONY SCHERR - KENNY WOLLESEN

SAT-SUN MAR 10-11
STEVEN BERNSTEIN’S
Smokestack Brunch
JAZZ BRUNCH SATURDAYS JAZZ BRUNCH SATURDAYS
MILLENNIAL TERRITORY ORCHESTRA
35 MUSIC,
CHARLIE BURNHAM - CURTIS FOWLKES - DOUG WIESELMAN - PETER APFELBAUM
$
SATURDAYS 12PM-1:30 PM
ERIK LAWRENCE - MATT MUNISTERI - BEN ALLISON - BEN PEROWSKY FOOD
TUE MAR 13
& A DRINK

THEO CROKER QUINTET

SAT MAR 24 SAT MAR 31
SAT MAR 3
patrick sargent caroline laurin
IRWIN HALL - MICHAEL KING
ERIC WHEELER - KASSA OVERALL
WED MAR 14
davis talese
OWEN BRODER: AMERICAN PROJECT
SAT MAR 10
ROOTS
THE

JOHN FATUM & FRIENDS EASTER BRUNCH SUN APR 1

SAT MAR 17 CLOSED FOR PRIVATE EVENT CARMEN INTORRE JR. TRIO
SARA CASWELL - SCOTT WENDHOLT - NICK FINZER - FRANK KIMBROUGH - JAY ANDERSON
MATT WILSON - JAMES SHIPP - WENDY GILLES - MELISSA STYLIANOU - MICHAEL MAYO
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY 2PM- DIRECTED BY DAVID O’ROURKE
 NEW YORK @ NIGHT
This year is Swiss pianist Sylvie Courvoisier’s 20th in
the city and moving here probably put her on the
global map more quickly than had she taken a different
route. Since her first recordings were released in 1997
(just before she hopped the pond) she has worked with
a staggering array of improvisers and composers,
though a traditionally structured piano trio was not
one of those models. In 2014, that changed with the
release of Double Windsor (Tzadik), which joined her
with bassist Drew Gress and drummer Kenny Wollesen,
who revisit and expand the format’s possibilities on
the just-released Intakt CD D’Agala, celebrated on the
final two nights of her week-long Stone residency in
February. The second of those nights (Feb. 11th) added
trumpeter Jonathan Finlayson to the proceedings—a
secret weapon, in that his economical approach to
Courvoisier ’s fiendish multi-part compositions lent
them a burnished, elegant swing, especially on the
dedication to late guitarist John Abercrombie, “South
Side Rules”. The pianist is rightly noted for her use of
the piano’s guts and wood to create a Karel Appel-like
painting of garish, violent sounds, employing
hammers, metal balls and other objects to the wires
and soundboard. She filled the small room with
piercing scrapes and reverberant, stomach-churning
knocks, then just as quickly turned to anthemic charge
or lush romanticism in the vein of Mal Waldron or
Abdullah Ibrahim, wheeling like those fine Seagulls of
Kristiansund. —Clifford Allen
R.I. Sutherland-Cohen / jazzexpressions.org
Adrien H. Tillmann - www.aht1985.com
Sylvie Courvoisier @ The Stone
Even the avant garde has gotten commercialized and
when that happens, some artists have to go further
underground, or sub-underground, for their work to
retain its original merit. Saxophonist and performance
artist Kenny Millions (né Keshavan Maslak, b. 1947)
said pretty much the same in a 1999 interview in the
Miami New Times: “[the] mentality was that avant
garde has to be atonal, has to be dissonant, has to be
wild and crazy every minute. If it has to be that, then
it’s very conservative.” Millions hasn’t played this
music in New York in years (he now resides in Florida
and has become associated with the noise scene there)
and it was fitting that his return would be in a secret
basement show in Bushwick, replete with graffiti-
covered walls and crumbling floors and no heat on one
of the coldest nights of the year thus far (Feb. 2nd).
Millions was joined by bassist Damon Smith and
drummer Weasel Walter for two lengthy improvisations;
in the first, he waited for the rhythm section to work
up a pretty good tangled froth before bringing in his
searing, curdled wide-vibrato alto in at just the right
moment, a false-fingering hellhound harking back to
his days in the lofts and as an itinerant player in
Europe—and then came the theatrical brutalism of
berating the audience and writhing on the concrete,
sort of like a bar-walk gone completely bonkers, yet
with a frailty and grotesqueness that kept things
captivating. There is free music and then there is the
bellow of Millions. (CA)
4 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
J azz is one of the only sports in which age can be a
distinct advantage. Sure, its younger athletes are often
faster, stronger, hungrier for glory, but when a veteran
like 89-year-old vocalist Sheila Jordan clambers on
stage to make her play, audiences know there’s history
there, a (long) lifetime of experience to be shared.
Valentine’s Day at Mezzrow, the long narrow bare-
brick room was packed with lovers (jazz and otherwise)
come to harken and hearten to Jordan’s siren songs.
Like any old-timer, she was showing her age: her voice
a bit slower, wobblier, less fluid than in her prime. But
in all other aspects, she was at the top of her game,
setting the crowd immediately at ease with scatted
repartée, relating personal anecdotes about Bird
(Charlie Parker) and Miles (Davis) while guiding
listeners through a romantic evening of well chosen
and paced repertoire. Enjoying the sparse but measured
support of pianist John di Martino and bassist Harvie
S, she sang “Better Than Anything”, “If I Had You”,
“I Concentrate on You”, her own “The Bird” (a vocalese
on Parker ’s “Quasimodo”, itself a contrafact of
“Embraceable You”), the wonderful but not-often-
enough-heard “Look for the Silver Lining”, which she
completely transformed, “Slow Boat to China”,
a mashup of her “Ballad for Miles” with “My Funny
Valentine” and “Waltz for Debby (Lazy Days)”. She
closed with her minor-key “Workshop Blues”, during
which she traded one-bar phrases with her by-now
enraptured fans, all young at heart. —Tom Greenland
Sheila Jordan & Harvie S @ Mezzrow
J acob Sacks, a generous leader, is secure enough in his
vision to surround himself with top-shelf musicians
and give them ample creative space in which to express
themselves. Shepherding his five-man flock through
a set of original compositions during the early set at
Cornelia Street Café (Feb. 10th), he was simultaneously
restrained and exuberant, delicate and assertive. With
the puissant (musical) personalities of tenor
saxophonists Tony Malaby and Ellery Eskelin out
front, the equally puissant rhythm team of bassist
Michael Formanek and drummer Dan Weiss behind,
Sacks himself at the piano, his back to the audience, the
stage was set for a clash of titanic intensity. That the
tunes they played (“Saloon Short Jazz Farm”, “Playing
with Blocks”, “Gray Plaid”, “The Opener” and
“Carnegie Sketch”) were anything but confrontational,
displaying instead an impressive level of both empathy
and vibrancy, heard in various transitory duo and trio
formats, is a resounding tribute to the quintet’s
listening skills. This resulted in the most profound
moments, as during the penultimate number, when
Malaby, inspired by Eskelin’s restrained ‘soloing’ over
the animated interplay of Sacks and Weiss, hefted his
horn sideways, Lester Young style, to lead the music to
a quieter yet somehow more ecstatic realm. Amid the
melée, Sacks, by nature a pointillist, deconstructionist
and sculptor of audio fractals, was a study in surprise:
brief episodes of calm, of hesitation, interrupted by
sudden explosive, decisive attacks. (TG)

For some, “jazz with strings” is basically a dirty word, Returning to the Rose Theater for her first engagement
conjuring up the worst excesses of Creed Taylor. For
others, it simply is a means to an end for better sales;
see Charlie Parker or Bill Evans. Bassist Linda May
Han Oh, presenting music from a forthcoming album at
The Stone at The New School (Feb. 3rd), obliquely
referenced the latter pair in versions of “Au Privave”
and “Time Remembered”, leading a quartet of alto
saxophonist Miguel Zenón, pianist Matt Mitchell and
drummer Ches Smith augmented by a string quartet of
Fung Chern Hwei and Sara Caswell (violins), Benni
Von Gutzeit (viola) and Jeremy Harman (cello). Yet it
was another forebear, Andrew Hill’s 1969 music for
jazz quartet and strings released on One For One, noted
by Oh as the inspiration for the currently-titled
“Sketch”, which best exemplified this expansive project.
It was not a simple grafting of classical filler onto
traditional jazz but rather a carefully produced hybrid
species, possible now with ‘jazz’ musicians well versed
with classical forms and ‘classical’ musicians
comfortable with improvisational environments. Oh
packed a lot of music into her 70-minute set and lots of
music within each piece, yet it never felt leaden or
contrived. Especially appealing were opener “Ebony”,
with a Mediterranean feel conjuring up salt spray from
a warm ocean; dedication to a niece, “Bright Eyes”,
which moved from an Irish jig to grand waltz; and the
strings’ bowed counterpoint to Oh’s solo on the lilting
“Deep Sea Dancers”. —Andrey Henkin
©EnidFarberFoto
alan nahigian
Linda May Han Oh @ The Stone at The New School
G erman pianist George Gräwe said nary a word
before or after his 50-minute solo recital at Roulette
(Feb. 1st), the first half of the first concert in the spring
Interpretations series. Rather than think he was
uncomfortable speaking English, it is better to assume
he had said all he needed at the keyboard. Gräwe,
whose recordings on FMP, Music & Arts, Nuscope and
his own Random Acoustics mark him as one of the
more effective marriers of classical and free
improvisation methodologies, was giving the U.S.
premiere of three pieces and the world premiere of a
fourth. “Afternoon in Coloured Frames”,
“AusFaltungen” and “Rhyme and Discourse” were
presented as a suite, broken up with micropauses by
the composer and taking up almost three-fourths of the
performance. “Behauptung und Nachtrag III”, in
contrast, stood apart. What distinguishes Gräwe is his
remarkable control, a focused urgency making his
compositions/improvisations feel twice as dense. The
way his hands tumble across the keys and over each
other should make it inevitable that his fingers would
get twisted up like Bugs Bunny playing Liszt, yet there
is never a moment of anything other than perfect
articulation. This is complemented/contrasted by an
unusual rhythmic sense in some sections, almost a
drunken lurch approaching proto-stride. And when he
plays slow passages, the loveliness is highlighted by
his seeming to wait until the absolute last possible
millisecond to play a note. (AH)
after a health-related hiatus (Feb. 9th), Dianne Reeves
delivered a performance that more than confirmed her
assurances to the audience that, following a period of
rest and recovery, she was back feeling “one hundred
per cent”. Joining her band of pianist Peter Martin,
guitarist Romero Lubambo, bassist Reginald Veal and
drummer Terreon Gully, Reeves began her set with a
moving rendition of “The Twelfth Of Never”, which
had her virtuosity on full display as she effortlessly
blended her emotional reading of the lyric with tonally
compelling register-leaping scatted interludes. On Pat
Metheny’s “Minuano” she revealed an uncanny ability
to convey effusive emotion convincingly without the
benefit of lyrics, wordlessly swinging the Brazilian-
tinged melody with verve, while on Wayne Shorter ’s
“Infant Eyes” she stretched out Doug Carn’s sensitive
words to heighten their stirring sentiment. Singing her
own lyric to Eduardo del Barrio’s “Nine” she displayed
the playful spirit of childhood. A duo performance of
“Corcovado” with Lubambo was followed by a second
Jobim classic, “Triste”, with the full band. The
performance of Billy Childs’ treatment of Leonard
Cohen’s “Suzanne” was fraught with melancholic
emotion and flowed into Patsy Moore’s “Goodbye”.
After a potent rendering of Abbey Lincoln’s “Long As
You’re Living” the show closed with Mali Music’s
“Beautiful”, as the crowd waved lighted cellphones
like so many stars in the night. —Russ Musto
Dianne Reeves & Reginald Veal @ Rose Theater
Celebrating the release of his new album Blues For
Memo (Motéma Music), David Murray brought his
Infinity Quartet with pianist Carlton Holmes, bassist
Jaribu Shahid and drummer Nasheet Waits into
Birdland for a five-night stand. The saxophonist kicked
off his final set of the engagement (Feb. 3rd) with one
of his older compositions, “Morning Song”, a soulful
paean to his mother, which alternated a funky backbeat
and swinging straightahead rhythms, over which he
blew relentlessly powerful serpentine tenor lines,
showcasing expansive range and formidable circular
breathing prowess. Reaching further back into his
voluminous songbook, Murray followed with his
classic anthem “Flowers For Albert”, raucously
blowing shrieking squeals and bellowing squalls over
Waits’ inexorable marching beat and Holmes’
Capetown-tinged accompaniment. The mood turned
romantic for the band’s rendition of “Body and Soul”,
featuring bowed bass and sensitive brushwork, along
with tradition-steeped solos by Murray and Holmes.
Turning to the new album, the group let loose on Butch
Morris’ “Obe”, a freebopping tour de force. This
featured a lengthy rhythm section outing, with the trio
burning up the stage before Murray’s fiery entrance
and a climactic extended drum solo that had the
audience loudly hollering its approval. The set
concluded with another Murray composition from the
new record, “Circles and Seasons”, a jaggedly sinuous
melodic excursion. (RM)
THE NEW YORK CITY JAZZ RECORD | MARCH 2018
W H AT ’ S N E W S
Winners of the 2018 Grammy Awards have been
announced. Relevant winners are: Best Traditional Pop
Vocal Album: Tony Bennett Celebrates 90 (Columbia);
Best Contemporary Instrumental Album: Prototype, Jeff
Lorber Fusion (Shanachie); Best Improvised Jazz Solo:
John McLaughlin from Live @ Ronnie Scott’s (Abstract
Logix); Best Jazz Vocal Album: Dreams And Daggers,
Cécile McLorin Salvant (Mack Avenue); Best Jazz
Instrumental Album: Rebirth, Billy Childs (Mack Avenue);
Best Large Jazz Ensemble Album: Bringin’ It, Christian
McBride Big Band (Mack Avenue); Best Latin Jazz Album:
Jazz Tango, Pablo Ziegler Trio (ZOHO); Best Instrumental
Composition: “Three Revolutions”, Arturo O’Farrill (from
Familia, Motéma Music); Best Surround Sound Album:
Early Americans, Jane Ira Bloom (Sono Luminus). For
more information, visit grammy.com.
Saxophonist Wayne Shorter, trumpeters Terence
Blanchard and Amir ElSaffar, pianist Danilo Pérez,
vocalists Toshi Reagon and Somi, drummer Tyshawn
Sorey and poet/cultural critic Fred Moten have been
named among the 2018 United States Artists USA
Fellows, each receiving $50,000 in honor of their creative
accomplishments and to support their ongoing artistic and
professional development. For more information, visit
unitedstatesartists.org.
Preceding trumpeter Christian Scott aTunde Adjuah’s
Stretch Music Festival at Harlem Stage Gatehouse (Mar.
30th-31st), there will be an afternoon workshop with Scott
(Mar. 27th), a screening and discussion of Kiel Adrian
Scott’s short film Samaria with music composed by Scott
(Mar. 28th) and a moderated discussion between Scott
and Stefon Harris on the topic “Jazz Then and Now” (Mar.
29th). For more information, visit harlemstage.org.
Sheila Jordan will receive the 2018 Bistro Award for
Outstanding Contributions to the Art of Jazz in a Mar. 12th
ceremony at the Gotham Comedy Club. Additional winners
include Pete and Will Anderson for Instrumentalists. For
more information and to purchase tickets to the event, visit
bistroawards.com.
As part of its annual Women’s Jazz Festival, the Schomburg
Center for Research in Black Culture will include a panel
discussion, “For the Love of Abbey Lincoln”, taking place
Mar. 19th at 7 pm. For more information, visit nypl.org/
events programs/2018/03/05/2018-womens-jazz-festival.
The Jazz Gallery will present its new Vinyl Listening Series
starting in March, with “Dan’s Dilemma”, hosted by Hank
O’Neal and Dan Morgenstern on Mar. 5th at 7 pm. Apr. 2nd
will be “Jazz. Past. Present. Future....” with James Browne
and Lezlie Harrison and May 14th “Getting It On The
Record—Tales of the Tape” with Todd Barkan, Houston
Person and Michael Cuscuna. Tickets are $50 or $120 for
the series. For more information, visit jazzgallery.nyc/vinyl.
The Jazz Education Network awarded its top two honors
to John Edward Hasse and Bobby Sanabria, LeJENd of
Jazz Education and LeJENd of Latin Jazz, respectively,
during its January 2018 annual conference in Dallas. For
more information, visit jazzednet.org.
As part of its “Scenes Through The Cinema Lens” series,
Tribeca Performing Arts Center will present “Leading
Ladies Who Sing” on Mar. 20th at 7:30 pm, moments
from the on-screen careers of several jazz singers,
including Abbey Lincoln, Peggy Lee and Billie Holiday. For
more information, visit tribecapac.org.
The Creative Music Studio has announced two upcoming
worskhop events. The first will take place Apr. 27th-29th at
Greenwich House Music School with Jen Shyu, Jason
Moran, Karl Berger, Ingrid Sertso and Billy Martin. The
second is the annual retreat at Big Indian, NY (Jun.
11th-15th) with Anthony Coleman, Arturo O’Farrill, Peter
Apfelbaum, Ingrid Laubrock, Karl Berger and Ingrid Sertso.
For more information, visit creativemusic.org.
Starting Feb. 24th and running weekly on Saturdays
through Apr. 21st will be a seminar at Hostos Community
College on the history of Latin jazz from the ‘30s to the
present, hosted by historian Joe Conzo, Sr. and featuring
guests. For more information, visit hostos.cuny.edu/
culturearts.
Submit news to info@nycjazzrecord.com
5
 I NTERVIEW
shervin lainez
A nat Cohen is a clarinetist and saxophonist raised in Tel
Aviv, Israel and living in New York for almost 20 years. She
has toured the world, performing and recording with a
range of musicians, including her brothers, trumpeter
Avishai Cohen and saxophonist Yuval Cohen, as well as
Paquito D’Rivera, Renee Rosnes, Jason Lindner, Ben Street,
Cyro Baptista and Terri Lyne Carrington. Over the past 10
years she has received numerous awards and accolades from
ASCAP, the Jazz Journalists Association and DownBeat’s
Critics and Readers Polls. For the 2018 Grammy Awards
she received two nominations: Outra Coisa: The Music Of
Moacir Santos with Marcello Gonçalves in the Best Latin
Jazz Album category and Rosa Dos Ventos with Trio
Brasileiro in the Best World Music Album category. We
managed to catch up just before she embarked on her
February tour with Gonçalves.
The New York City Jazz Record: As I understand it,
your personal discovery of Brazilian and AfroCuban
music started when you attended Berklee in the ‘90s?
Anat Cohen: Pretty much. I started opening my eyes to
world music by meeting students like me that came
from other parts of the world and actually had personal
interactions with other musicians and got to know
music that people play. So, Berklee was a good launch
for my world music exploration.
TNYCJR: Some of this music is perhaps more readily
enjoyed by listeners than mastered by non-native
musicians. Is this a challenge for you and do you
continue to consider yourself a student of this music?
AC: Absolutely! It is a challenge and I think I’ve been
fortunate that I was able to travel and to meet people,
meet the source, basically. To get the accents of the
music, I often have to be the only gringa, so I can
actually get the flavor and see it’s not just the sound of
the music. It’s the way people are, the way they relate
to each other, the way they talk, the volume of their
voices, the kind of casual way of the jokes, the humor.
The whole way of being is all part of the music. So, you
get the accent of the music together with getting to
know the people, the culture. There’s so much, even
within one country. Inside Brazil there’s not the same
music from the north to the south. It’s just an endless,
ongoing journey.
TNYCJR: You mention the humor and I think it’s
evident in some of your music on the albums with
Marcello Gonçalves and Trio Brasiliero, for example.
Some of it is quite challenging, but there’s a lightness
to it, humor and joy.
AC: If we’re talking specifically about choro music,
through that music I met Marcello and Trio Brasiliero.
It’s interesting because this music is basically informal
and you sit out of a concert hall for the most part. The
way the music started is just a casual, social gathering,
6 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
ANAT
TNYCJR: Do you any plans to travel back to Brazil in
the near future?
AC: I try to go once a year, every two years. If I get to
work there, great. If not, I just go to get some inspiration
from one of my favorite places in the world, Rio de
COHEN
Janeiro. There’s some feeling I get that’s very hard to
explain. I don’t have any roots in Brazil, no Brazilians
in my immediate family and, yet, something about the
music, something about Rio makes me feel longing for
something that is part of me, but I can’t explain why.
It’s absolutely a feeling.
(CONTINUED ON PAGE 42)
by anders griffen
people around a table. Yet the music is so detailed it
requires some serious concentration and skill on the
instrument. So, it’s always a combination of being
serious and having humor. You know, one of my idols,
Paquito D’Rivera, is a person that takes the music very
seriously. There’s nothing funny about it. But when the
music stops, oh is he going to crack a joke and just be
relaxed and acting like he’s in your living room? Yes,
there are moments for humor, of course, and they may
quote and be funny inside the music, but it’s very
serious. Again, there’s something about this
combination of who we are. Of course not every person
is cracking jokes at every given moment, but you talk
about the humor and I like a smile to connect people,
to use smiles in order to bridge gaps. It could be just
give a smile get a smile back. So, I communicate that
way and I try to make the same effect through the
music.
TNYCJR: On your recently released tentet album
Happy Song, I noticed the Egberto Gismonti piece
“Loro”, which I don’t think too many people have
recorded. Was that your selection of that piece or the
arranger ’s?
AC: The arranger, my musical director, my business
partner and music partner for many years is Oded
Lev-Ari. He deserves so much credit for so much.
Oded has been a New York resident for pretty much as
long as I have. He was a composition student with Bob
Brookmeyer, attended New England Conservatory,
moved to New York and he’s just one of the most
brilliant people that I’ve ever met. We went to high
school together, so we’re friends for many, many years.
We have a record label together; he’s the mastermind
behind Anzic Records. He wears a lot of different hats,
he can do so many things. He’s just a brilliant,
wonderful person worth exploring. Oded did the
arrangement for “Loro”. For the past 15 years or more
I played with the great Duduka Da Fonseca—
a wonderful drummer, part of Trio da Paz and played
with Jobim. I suggested the song because I played it
with Duduka.
TNYCJR: Can you comment briefly on the rhythm and
character of that tune?
AC: The rhythm is technically from the northeast of
Brazil called baião. For me it’s very much connected to
the Middle Eastern rhythm, it’s not so far. It’s basically
three over two, you have the feeling of the three and
the two in the bass and comping, both exists and the
accent…it’s just different flavors, different spices.
In the arrangement for the tentet we actually break
it down for a moment of forró, where just the accordion
and the percussion are playing, a very common thing
that you could hear, also from the northeast of Brazil,
music called forró. James Shipp on percussion and that’s
where Vitor Gonçalves is wailing on the accordion.
 ARTIST FE ATURE
photo courtesy of the artist
Saxophonist Tia Fuller is one busy woman. Since her
recent appearances at NYC’s Winter JazzFest, she’s kept
a demanding schedule, commuting to Boston, where
she is a professor at Berklee College of Music, and
traveling westward, first to The Ozarks, where she was
the first black woman guest conductor at the Missouri
Music Educator Association Convention, and then to
Lawrence, Kansas to give master classes and perform as
a guest with the University of Kansas Big Band.
She’s most eager to discuss her forthcoming
recording Diamond Cut, her fourth on Mack Avenue.
She notes, “I have two different rhythm sections. It’s
[guitarist] Adam Rogers, [bassist] Dave Holland and
[drummer] Jack DeJohnette for the first rhythm section
and then the second rhythm section is [bassist] James
Genus, [drummer] Bill Stewart and Adam Rogers. So
it’s all absent of piano. It’s definitely an evolutionary
project. I’m able to delve more into the guitar the way
that Adam Rogers is playing harmonies and at times
playing melodies with me. There’s a lot more space for
me, so it’s more evolved and more open.”
The date’s producer Terri Lyne Carrington says of
Fuller, “Tia is a real special talent. She has all of the
important qualities for being a great jazz musician. She
has vast knowledge of the music and a strong presence
and is an advocate for gender equality. Tia is proof that
women can excel on whatever instrument they want.”
That proof is on Fuller’s first three albums for
Mack Avenue, where her rhythm sections featured
pianists Shamie Royston and Miki Hayama, bassist
Miriam Sullivan and drummer Kim Thompson.
Traveling with an all-woman ensemble has made Fuller
acutely aware of the barriers for female artists. “It’s all
the subliminal implications that happen daily in the
music scene and it does need to stop because it really
does cause psychological—and sometimes physical
damage—to a lot of women out there,” she says. “We
have to build these barriers up in order to function.
“I think that probably the most important thing
that I’ve been sharing, because I’ve been part of a lot of
woman’s initiatives and since the rise of the #metoo
movement, I think it’s important for men to hold men
accountable to their actions towards women. It’s one
thing for us as women to hold men accountable and
gang up on them and say you men have to stop doing
this. But to me it resounds more when another man is
holding another man accountable.”
Fuller’s albums have also featured some talented
men, including Mack Avenue labelmates trumpeter
Sean Jones, vibraphonist Warren Wolf and bassist
Christian McBride. She says, “All of those people, Sean
and Warren and Christian, they’re all very close friends
as well. They’re like my brothers in the music and so
they’ve been extremely supportive, not only musically,
but also personally. They’ve given me guidance… I feel
that we’re able to interconnect with the music more
deeply because we know the inner workings of our
beings. We know the inner workings of the relationships
that we have with one another.”
TIA
stage or standing in front of a classroom, however God
wants to use me is where it’s at for me.” v
For more information, visit tiafuller.com. Fuller is at Smoke
Mar. 30th-Apr. 1st. See Calendar.
FULLER
Recommended Listening:
• Sean Jones—Eternal Journey (Mack Avenue, 2003)
• Tia Fuller—Pillar of Strength (Wambui, 2005)
• Tia Fuller—Healing Space (Mack Avenue, 2006)
• Tia Fuller—Decisive Steps (Mack Avenue, 2008)
• Mack Avenue Superband—Live from the Detroit Jazz
Festival 2012 (Mack Avenue, 2012)
NYCJR12thPageAd0318.qxp_Layout 1 2/1/18 9:54 AM Page 1
• Tia Fuller—Angelic Warrior (Mack Avenue, 2012)
by russ musto Diane Moser’s
Composers
The men are equally admiring. Jones declares, Big Band
“Tia is a prime example of someone who has the ability
to flourish in any musical situation while bringing one
Celebrates
of the brightest spirits that I’ve even known to those Women In Jazz!
moments. Tia is truly the full package.” McBride says,
“Tia is one of the most talented and professional featuring the music
musicians I’ve ever known. She works hard, practices of Ann Belmont,
hard and is always prepared. She’s a model not only Barbara Cifelli and
for young ladies wanting to get into the music, but for Diane Moser
young men learning how to be professional.” And Wolf
Wednesday, March 21st • 8-11 p.m.
notes, “Tia is the one of the best examples of a woman
For more info:
in music, period. She’s a very spiritually driven artist Photo:
dianemosermusic.com
Chris Drukker
who plays the saxophone with fire and passion. She’s
also a great writer who strives to touch the souls of
those who listen to her music.”
Fuller’s tenure with Beyoncé taught her important
TRUMPETS
J A Z Z C L U B
6 Depot Square Montclair, NJ 07042
For reservations, call 973-744-2600
www.trumpetsjazz.com
lessons: “How to not accept no for an answer if it’s
something that’s really a strong part of my vision and,
two, and probably more importantly, how to conduct
myself not only as a bandleader, but as a businesswoman.
I would see how she would negotiate, I would see how
she would speak to her crew, how she would speak to
her band, I would see how she put a setlist together.
Performance-wise how she would speak to the
audience, engage the audience. All of those are really
priceless because I was getting it on a nightly basis.
Now it’s become an innate part of me and of my shows.”
Another singer that Fuller cites as a driving force
is Dianne Reeves. “When I went on tour with her all
I could see was regalness. She’s so soulful and anytime
she would step on the stage she would command it.
And just having the opportunity to hang with her,
she’s become one of my big sisters now. Her struggles
that she’s had to go through with management, with
booking agents, promoters and we sit down and talk
about all of that, especially being two black women, so
that’s been really, really powerful.”
Continuing to speak of important women in her
career development, she says, “I do have to say that
Terri Lyne, she’s been on the forefront of a lot of the
people that I’ve met within the past six or seven years.
I’m just really thankful for her because she hasn’t just
done it for me, but she’s done it for so many different
women and men, juxtaposing worlds, coming together
as women and men, she has crossed over between the
jazz and pop worlds early and now has created an
arena for herself where she is able to juxtapose all of
these different musicians, which is really empowering.”
Reflecting on her development during the almost six
years between Diamond Cut and her previous recording
Fuller opines, “I think this whole span of time I’ve been
able to edge further into my being and all of the things
that have been poured into me by my mentors, from the
people that I’ve played with. Now I’m able to reflect that
onto my students and pour that into my students to
where a lot of my students will say, Tia I feel like you’re
preaching…I could see you being in a church some day.
One thing that I do realize is that my purpose is to be a
light for others and whether that means standing on
THE NEW YORK CITY JAZZ RECORD | MARCH 2018 7
 ON THE COVER
MARY lou williams
first lady of the piano
by scott yanow
Throughout her life, Mary Lou Williams was regularly
called “the top female jazz musician.” While meant to
be a compliment, that title completely missed the point.
As a pianist, arranger and composer, Williams was one
of the top jazz musicians, period. What other musician
of the ‘20s still sounded modern in the late ‘70s while
never losing the ability to play in her earliest style?
Williams was virtually alone in having played and
contributed through all of jazz’ eras.
“The history of the music would have been much
different without Mary Lou Williams,” says bassist Buster
Williams. “She was one of the innovators and a great
inspiration, particularly to a lot of the female musicians
who came along. She made it possible for them to break
through the glass ceiling as they fought to make their way
into the music and be accepted as one of the cats.”
She was born Mary Elfrieda Scruggs on May 8th,
1910 in Atlanta, moving with her family to Pittsburgh
and soon attracting attention as a self-taught child
prodigy on the piano. One of 11 children, when she
was 6 she supported her family by playing at parties.
She worked as Mary Lou Burley (using her stepfather ’s
last name) in shows by the time she was a young
teenager. Her early idol was Lovie Austin, a pianist/
bandleader, whom she saw playing onstage with her
left hand while writing music for the next act with her
right, a feat she later learned to duplicate.
She married saxophonist John Williams when she
was 16, a union that ended in divorce by 1942. Williams
made her recording debut in 1927 with the Synco
Jazzers and in 1929 her husband joined Andy Kirk’s
Twelve Clouds Of Joy. When the regular pianist did not
show up for their first record date, Williams (already
contributing arrangements) sat in and helped the band
land a record contract. Despite her obvious brilliance,
Kirk was very reluctant to have a female in his orchestra,
holding out until finally hiring her in 1931.
Williams spent the ‘30s as Andy Kirk’s main
arranger and top soloist, composing such pieces as
“Froggy Bottom”, “Mary’s Idea”, “Walkin’ And
Swingin’”, “Lotta Sax Appeal”, “Keep It In The Groove”,
“A Mellow Bit Of Rhythm” and “What’s Your Story,
Morning Glory?” She also worked as a freelance
arranger, writing the swinging boogie-woogie blues
“Roll ‘Em” for Benny Goodman, which remained in his
book for 40 years. “Her arranging for Benny Goodman
provided great vehicles for his band,” says pianist Dick
Hyman. “Her own playing was a light and airy stride in
comparison with Fats Waller, a bit influenced by Earl
Hines although she did not display the what-the-hell
nerve of the latter. I appreciate how she kept up with the
times in her career, both rhythmically and harmonically.”
Although she was saluted in the song “The Lady
Who Swings The Band”, Williams was never fully
appreciated by Kirk. In 1942 the pianist left Kirk and
soon started a short-term marriage to trumpeter
Harold “Shorty” Baker. When Baker joined Duke
Ellington, she came along and for a time was one of
Ellington’s staff arrangers, contributing the exciting
“Trumpets No End”. Williams enthusiastically
encouraged and taught the young modernists of the
8 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
mid ‘40s, including Thelonious Monk, Bud Powell and
Tadd Dameron, while updating her own style. She
wrote the bebop fable “In The Land Of Oo-Bla-Dee” for
Gillespie, composed the 12-part Zodiac Suite and was
part of Goodman’s short-lived bop combo in 1948.
George Wein booked Williams for the Newport
Jazz Festival and in the ‘50s for the Storyville club.
“By that time, Mary Lou was playing in a contemporary
style as developed by Bud Powell and Thelonious
Monk, although with her own approach,” Wein says.
“Because of her background and her curiosity in
experimenting with new harmonies she, in a sense,
created her own style. There was genius in Mary Lou’s
artistry and she was a shy but determined person, a
fine composer but not a great organizer. That kept her
from reaching the pinnacle of success but her legacy
has become a permanent part of the jazz vocabulary.”
By 1950, Williams was a highly individual if often
overlooked bop pianist, continually frustrated by both
the constant racism of the white world and sexism she
felt from many African-American musicians. Williams
spent much of 1952-54 performing in Europe but
personal problems resulted in her suffering a nervous
breakdown. She found solace in Catholicism, taking
time off from music. She performed Zodiac Suite at the
1957 Newport Jazz Festival with Gillespie but was in
and out of music for the next decade.
Williams struggled, trying to reconcile her religious
faith with her musical talents. Many of her recordings
of the ‘60s, including Black Christ Of The Andes, recorded
at Carnegie Hall, and Music For Peace were primarily
religious works. She wrote three masses, including one
performed at New York’s St. Patrick’s Cathedral. An
important turning point took place when Williams
befriended the much younger Catholic priest Peter
O’Brien, who became her manager and persuaded her
to have a more active performing career.
Bassist Williams met the pianist in 1968 and
worked with her on and off during the next decade.
“Sometimes people would see us together and ask her
if I was her son! I would go over to her house and there
were always musicians present. I remember her
teaching Hilton Ruiz how to play the blues. She was
a beautiful person and always giving of herself.”
Having recorded A Keyboard History back in 1955,
Williams expanded upon the concept in the ‘70s,
performing her version of “The History Of Jazz” often,
tracing the music from spirituals, stride and swing to
bebop, originals inspired by McCoy Tyner and an
avant garde piece. Bassist Brian Torff worked with her
regularly during 1975-76 and wrote about the
experience in his book In Love With Voices—A Jazz
Memoir: “When we began working together, I was 21
years old and very green, but so hungry to play this
music. We worked six nights per week for three
months, Monday through Saturday, 8 pm until 1 am.
When Mary Lou and I were really on, it was the deepest
sense of soulful swing, defying description. Mary was
brilliant, spiritual, very intense and moody. She was
very, very tough on me and.. though I have the bruises
to show for it, I am very glad to have experienced this.”
William P. Gottlieb Collection of The Library of Congress
She was one of the stars of Goodman’s 40th
anniversary Carnegie Hall concert in 1978. Cornet
player Warren Vaché remembers, “She impressed me
as being very elegant, professional and an exciting
soloist. Benny had booked Jimmy Rowles and John
Bunch as the band pianists with Mary Lou Williams
scheduled to be a guest. When the time came for the
concert and Jimmy discovered it was being recorded,
he asked for an over-scale payment. Benny being
Benny then arranged for Mary Lou and John Bunch
to split the band book minutes before the concert. As a
result, Mary Lou ended up sight-reading all of the
parts she did with the band perfectly.”
Williams spent her last years (1977-81) at Duke
University, directing the jazz ensemble and teaching a
History of Jazz class. On May 28th, 1981 she passed
away from bladder cancer at 71. In 1996, the Kennedy
Center in Washington D.C. started hosting an annual
Mary Lou Williams Women In Jazz Festival. Among
those artists who have recorded tributes to her music
are Dave Douglas, John Hicks, Dutch Jazz Orchestra
and Geri Allen’s Mary Lou Williams Collective. Tenor
saxophonist Virginia Mayhew made her own tribute
album, The Next 100 Years, in 2010. “Mary Lou Williams
was always at the forefront of what was happening in
jazz but, despite being well respected by other jazz
musicians, she never got her due.”
Singer Catherine Russell, along with drummer
LaFrae Sci, will be hosting “Who Is Mary Lou
Williams?” as part of Lincoln Center ’s Jazz For Young
People series this month. “I will be giving some of the
history of her extensive career and will introduce
musical selections that will be played by the band. My
mother Carline Ray played with Ms. Williams for years
on many different kinds of gigs, as well as helping her
with the recording of Mary Lou’s Mass. Mary Lou
Williams was a creative genius who was always
forward-thinking in her musical ideas. Her music is
such an important part of Women’s and African-
American history.” Sci adds, “I once saw a copy of a
handwritten piece that she wrote for three pianos and
in the corner she had written the names of who should
play what part: Bud, Mary and Monk. I visited her
archive at Rutgers and it was immense. She left behind
not only her musical legacy but quite a paper trail.” v
A tribute to Williams with Catherine Russell and LaFrae
Sci is at Rose Theater Mar. 24th. See Calendar.
Recommended Listening:
• Mary Lou Williams—The Chronological Mary Lou
Williams: 1927-1940 (Classics, 1927-40)
• Andy Kirk & Mary Lou Williams—
Mary’s Idea (Decca-GRP, 1936-41)
• Mary Lou Williams—Signs of the Zodiac (Zodiac Suite)
(Asch-Smithsonian Folkways, 1945)
• Mary Lou Williams—Live at the Cookery (Chiaroscuro, 1975)
• Mary Lou Williams—Live at the Keystone Korner
(HighNote, 1977)
• Mary Lou Williams—Solo Recital: Montreux Jazz
Festival 1978 (Pablo, 1978)
 arts
education
summer
programs

all-female
jazz
residency
Regina Carter, Artistic Director
Students refine their instrumental or vocal skills
and work with respected jazz musicians.
Ages: 14–25
Dates: July 8–14

bright
moments!
celebrating
dorthaan jazz
and r&b
at 80 Cassandra Wilson
intensive
Overnight residency at Rutgers University-
Newark. Young musicians take their vocal,
Sat, Apr 28 @ 7:30PM instrumental and songwriting skills to the
Musical Director Don Braden with Cassandra Wilson, next level.
Ages: 12–18
Steve Turre and more jazz greats lead a musical Dates: June 25–July 6
celebration of Dorthaan Kirk, “Newark’s First Lady of Jazz.”
Sign up today!
Visit njpac.org/summer or call 973.353.7058 for
more information

For tickets & full schedule visit njpac.org/moodyjazz or call 1.888.GO.NJPAC

Groups 973.297.5804 • One Center Street • Newark, NJ

9.5x12_NYCJazzRecord_march_njpac_2018 COLOR.indd 1 2/7/18 3:00 PM

 ENCORE
NANCY
HARROW
by marilyn lester
Among the many superlatives that come to mind for
Nancy Harrow, the first might be “blessed”. The singer
has had a blessedly abundant career and is still going
strong. The energetic octogenarian (born in New York
City in 1930) released The Song Is All in 2016, comprised
of 14 tracks of original material, resplendent with the
musicality evidenced on her first album, Wild Women
Don’t Have the Blues, in 1960. In this now classic
recording, Harrow revealed impeccable phrasing and a
natural, instinctive feel for jazz.
Harrow’s entry into the jazz world was late in
coming. Her original career path was in dancing. She
was also drawn to the world of words, majoring in
literature at Bennington in Vermont. When Harrow
graduated she undertook a career in editing, working
at William Morrow & Company. Yet music was always
a feature of her life: “I played piano since the age of
seven. And my father sang to us.” She also remembers
listening to a lot of jazz from a very early age “because
my two older brothers had a big collection of swing
records.” The singing and performing bug that had lain
dormant was activated by Harrow’s discovery of Billie
Holiday. Editing by day, Harrow would go to the clubs
at night and listen to musicians she came to know.
Eventually she began singing with them. “Musicians
influenced me after I started to meet them and work
with them,” she says. “And later it was actors who
helped me find my own style, which came from the
personal reading of the lyric.”
Harrow briefly toured with the Tommy Dorsey
Orchestra, but it was Nat Hentoff who sparked her
career by producing Wild Women Don’t Have the Blues
for the Candid label, featuring Buck Clayton, Dick
Wellstood, Buddy Tate and Dicky Wells, among others.
LEST WE F ORGE T
HADDA
BROOKS
by jim motavalli
Remember Humphrey Bogart’s pianist in Casablanca,
Dooley Wilson, playing “As Time Goes By”? Well,
Bogart and gal pal Gloria Grahame also take the time to
listen to pianist/singer Hadda Brooks croon
“I Hadn’t Anyone ‘Til You” in 1950’s In a Lonely Place.
It’s another torch song and what Brooks was famous for,
though her first regional hit was the driving instrumental
original “Swingin’ the Boogie”. When she turned out
some churning (and very similar) classically influenced
follow-ups, Brooks was dubbed “Queen of the Boogie”.
Like Nat Cole, Brooks was a talented pianist who
found crossover fame when she started singing. Born
in Los Angeles (as Hattie L. Hapgood), she studied
classical piano, then got signed by Jules Bihari to his
new Modern Records in 1945. Bihari (who gave her the
name Hadda Brooks) challenged his protégée to come
up with a boogie tune and gave her a week to write it.
We’d remember Brooks mostly as a flash-in-the-pan
disciple of Albert Ammons, Pete Johnson and Meade
10 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
It was a grand start, followed by You Never Know in
1963 on Atlantic with John Lewis, Dick Katz, Phil
Woods, Jim Hall, Richard Davis and Connie Kay.
Harrow’s musicality in this album is indisputable, with
an underlay of Billie Holiday evident in tunes such as
“Lover Come Back to Me” and “Tain’t Nobody’s
Bizness If I Do”. Her ability to inhabit a lyric with an
easy style and grace permeates an eclectic set of tracks.
But then came a great gap in Harrow’s recording.
“Probably the biggest roadblock was when rock became
popular and it was difficult to find work as a jazz singer
unless you were already well known,” she recalls.
Harrow had married and raised two small children and
found editing work again. “Then jazz came back,” she
explains, “and I was able to sing and record again.”
Harrow returned to singing in 1975 and went on to
record over 15 albums, many self-produced, which
granted her the control she sought over her own work.
In midlife, two seminal events greatly influenced
the direction of Harrow’s work. The first was her
emergence as a songwriter. In 1981 she wrote lyrics for
some John Lewis music and then discovered she could
write music as well. “One of the first songs I wrote
happened by accident,” she recalls, “because I admired
a poet’s [Raymond Patterson] blues lyric and told him
he should put it to music. He didn’t know any
musicians, so I told him I would find someone to write
a blues with his lyric. But no one I asked was interested
in doing it, so I finally decided that it wouldn’t be that
hard for me to do it myself and it came out well and
I recorded it.” With that door opened, Harrow began to
combine her newly found talent with her love of
literature. “Then I thought of a book that I could bring
to life by writing songs telling the story—that is when
I realized I could write both the music and lyrics—
getting pianists I knew to help me with the chord
structure,” she remembers. The result was the 1994
thematic album Lost Lady, inspired by a 1923 Willa
Cather novel. The album was selected as one of the best
jazz albums of the year by both the Village Voice and
the Boston Globe.
With both a love of music and literature ingrained
from a very early age, it’s no surprise that Harrow has
derived much pleasure from melding these two
Lux Lewis if she hadn’t preferred singing ballads to
playing boogie style. She worked briefly with bandleader
Charlie Barnet and he encouraged her to sing.
In short order, Brooks was singing hits—in the
movies. She scored with the title song to the 1947 Out of
the Blue and also appeared at the piano in the film. Both
Sarah Vaughan and Ella Fitzgerald also auditioned, but
Brooks got the role. The In a Lonely Place appearance is
similar and that’s her singing “Temptation” in the Kirk
Douglas vehicle The Bad and the Beautiful.
At least when she was singing, Brooks didn’t
swing as much as her friend Billie Holiday or Dinah
Washington—the classical training was always there. A
better comparison is to Lena Horne, another trailblazer
in films and TV. Brooks’ good looks and unthreatening
ballads earned her a local California television spot in
1957—around the same time Nat Cole was the first
African-American with a network show. Each of the 26
half-hour episodes opened with Brooks at the piano
(did she ever move from it?), cigarette at the ready.
Brooks found work hard to come by in the ‘60s-
70s, but she kept the lights on with appearances in
Europe. “I was doing lovely when rock ‘n’ roll came
along,” she said in a 1993 LA Times article. “And I got
very upset with it. I remember working in Michigan
when all I could hear on the radio was ‘Don’t step on
my blue suede shoes,’ and I thought, ‘Oh my God, I’m
gone.’ Elvis put a lot of us out of business. I didn’t do
the type of music he did. I was melodic. Still am.”
pursuits. “I feel most proud of the five CDs that I wrote
based on literary works,” she asserts. Harrow wrote 21
songs for an adaptation of The Adventures of Maya the
Bee, which ran for seven years Off Broadway, toured
internationally and was revived for an Off Broadway
run in 2013. Among other efforts, Harrow wrote the
music for the album Winter Dreams: The Life and Passions
of F. Scott Fitzgerald in 2003, which morphed into the
stage work This Side of Paradise: A New Musical About
Zelda and F. Scott Fitzgerald, with book by Harrow. It
debuted Off Broadway in 2010, enjoying a healthy run.
Of these experiences, she says, “I was involved in the
casting, the rehearsals and all the details of production.
It was totally satisfying.” To have her work picked up
by other theaters she calls “also a lot of fun.”
Another recent project was writing the music for
The Cat Who Went to Heaven, based on a 1931 Japanese
children’s book. Following the 2005 CD release, The Cat
Who Went to Heaven opened as an Off Broadway puppet
show in 2008, enjoying many subsequent runs through
2014, when the show played last at the Brooklyn
Academy of Music. For The Last Time, Harrow’s jazz
musical, ran for six weeks in 2015 on New York’s
Theater Row and her album Other Standards was
released by Fresh Sound in 2015. “The young band on
the CD had been onstage in my last theatrical
production,” she says, “and several of those musicians
wrote new arrangements for me. This proved to be as
exciting as my first album had been all those years
ago.” Clearly, with such energy and enthusiasm,
Harrow is much blessed—as are we who can still enjoy
the fruits of her creativity. v
For more information, visit nancyharrow.com
Recommended Listening:
• Nancy Harrow—Wild Women Don’t Have the Blues
(Candid, 1960)
• Nancy Harrow—You Never Know (Atlantic, 1962)
• Nancy Harrow—Anything Goes (Audiophile, 1978)
• Nancy Harrow—You’re Nearer
(Tono-Baldwin Street Music, 1986)
• Nancy Harrow—Secrets (Soul Note, 1990-91)
• Nancy Harrow—The Song Is All (Benfan Music, 2016)
In 1984, a compilation disc entitled Queen of the
Boogie was released and Brooks started working
again—her voice and piano undiminished. She sounds
great singing “That’s My Desire” in a 1994 TV
appearance you can find on YouTube. That same year,
Bonnie Raitt presented her with a Rhythm and Blues
Foundation Prestigious Pioneer award.
Most performers given lifetime achievement
awards are headed for retirement, but not Brooks. In
1995, she was back in the movies with a brief appearance
in Sean Penn’s The Crossing Guard (at the piano, of
course). Two more movies followed, as did new
albums—featuring original compositions. She played
Johnny Depp’s Viper Room (including 80th birthday
appearances) and the Algonquin Hotel’s Oak Room in
New York. Brooks only seemed ageless; she died in
2002 at 86. v
Recommended Listening:
• Hadda Brooks—That’s My Desire (The Modern
Recordings) (Modern—Virgin/Flair, 1945-51)
• Hadda Brooks—Sings & Swings (Crown, 1950/51)
• Hadda Brooks—Jump Back Honey (The Complete OKeh
Sessions) (OKeh-Columbia, 1952-53)
• Hadda Brooks—Anytime Anyplace Anywhere
(DRG, 1994)
• Hadda Brooks—Time Was When (Point Blank-Virgin, 1996)
• Hadda Brooks—I’ve Got News For You
(Point Blank-Virgin, 1945-98)
 L ABEL SPOTLIGHT
DARK TREE
by stuart broomer
There are certain labels that release very few CDs but
manage a high percentage of masterpieces. It’s not a
great business model, but definitely contributes to the
art. The French seem particularly good at this. One
example is Jacques Oger ’s Potlatch, which has released
52 CDs since 1998. Bertrand Gastaut launched Dark
Tree in 2011 and has so far released just nine CDs.
Every one of them demands attention, whether
contemporary free improvisation or California
recordings from the ‘70s.
It’s hard to imagine a label more driven by pure
love for the revelatory power of free jazz and
improvised music and “love” keeps coming up with
musicians associated with the label. Asked to comment
on his previously unreleased No U-Turn – Live in
Pasadena, 1975, trumpeter Bobby Bradford exclaimed,
“We played this music then and we play this music
now, for love and little else. Sometimes the little imp of
doubt creeps into our midst, then along comes Bertrand
and Dark Tree to remind us that someone is always
listening.” For bassist Benjamin Duboc, Dark Tree fills
a special need “between love, luck and professionalism.”
Pianist Eve Risser sums it up: “Bertrand trusts the
music with his whole soul and Dark Tree is an
instinctive and militant record label.”
The latest release, Stomiidae by the hyper-kinetic
New York trio of cellist Daniel Levin, saxophonist
Chris Pitsiokos and guitarist Brandon Seabrook,
The Bill Has Been Paid No U Turn
Steve Dalachinsky/Joëlle Léandre Bobby Bradford/John Carter Quintet
VOX NEWS
rearrangements
by suzanne lorge
Cheryl Bentyne joined The Manhattan Transfer to sing
the soprano part left open by Laurel Massé in 1979. Ten
Grammys and 38 years later, she still performs with the
group. But her solo output, while perhaps less well
known, is just as dynamic as her group work—and
intriguingly diverse. As a soloist Bentyne has tackled
film soundtracks, audiobooks and meditation music in
addition to the masterfully arranged standards that are
her bailiwick and with reArrangements of Shadows: The
Music of Stephen Sondheim (ArtistShare), she makes her
initial foray into musical theater. Don’t expect any
belting or showstoppers, however. Though wide-
ranging, Bentyne’s exploration of Broadway’s most
sophisticated composer/lyricist—her avowed “personal
hero”—stays well within the jazz purview.
Sondheim’s compositions take on added sheen
through this lens: percussive “Everybody Says Don’t”
from Anyone Can Whistle with only bass and drum as
accompaniment; slow, swinging “Ladies Who Lunch”
from Company, with scats and side commentary by fellow
vocalists Tierney Sutton and Janis Siegel; a jazz string-
quartet setting for “Comedy Tonight” from
A Funny Thing Happened on the Way to the Forum; and,
sounds nothing like the label’s other releases and that’s
the point. Levin remarks, “When I was thinking about
a label for Stomiidae, it made sense to approach
Bertrand, because I know that he places a high value
on originality and inventiveness, regardless of style or
genre. The music on Stomiidae may sound different
from most of the Dark Tree catalogue, but I think that it
shares these same essential qualities in common with
many of the other records. I’m proud to be on Dark
Tree.”
The duo of poet Steve Dalachinsky and bassist
Joëlle Léandre created one of the most intimate of Dark
Tree releases, The Bill Has Been Paid, for Léandre
“a really intense and beautiful meeting.” For her,
“Bertrand makes beautiful work with knowledge and
passion,” and Dalachinsky “is like a musician with his
words, moving like a dancer in osmosis with the
musician. You can feel how he listens and pulses,
proposes and invents.” For Dalachinsky, “the
importance of working with someone like Joëlle is that,
though demanding, she is both professional and
generous. She gives her all and she plays a lot when
she plays, but still in that space and language she
generates she also generates space for the other ’s
language even if both of us are going non-stop—when
different languages find a common ground, the
compatibility factor just happens.” That kind of special
relationship characterizes all the Dark Tree releases.
Gastaut was born in 1979 in Marseille to jazz-
loving parents and was immersed in jazz by eight,
initially attracted to Charlie Parker, Clifford Brown
and the Jazz Messengers. Eventually that enthusiasm
took a dramatic turn: “One day, when I was around 10
years old, I played my parents’ Albert Ayler LP Spirits
Generation Live at The Century City Playhouse
En Corps
most arrestingly, a voice-percussion-only arrangement of
“Send in the Clowns” from A Little Night Music, with
close vocal harmonies by Mark Kibble and Armand
Hutton. Bentyne will present the new album at Birdland
(Mar. 5th), right in the heart of New York’s theater district.
A few weeks later on Mar. 30th, The Manhattan
Transfer—Bentyne, Janis Siegel, Alan Paul and
newcomer Trist Curless (who replaces Manhattan
Transfer founder Tim Hauser, who passed away in
2014)—will release its first album in 10 years. The Junction
(BMG) takes its title from Glenn Miller’s “Tuxedo
Junction”, a vocal version of which appeared as the first
tune on the original quartet’s first album back in 1975.
With that Atlantic Records release, The Manhattan
Transfer introduced a new generation to the magnetic
appeal of vocalese and a cappella jazz. All of the singers
in the long-lived quartet have other musical identities,
but when performing together harmony rules.
Alexis Cole has recorded four albums for the
Japanese label Venus, each one a masterful collaboration
with premier jazz musicians like Fred Hersch and
Bucky Pizzarelli. In 2010 she joined with the seriously
swinging sextet One For All to record You’d Be So Nice
To Come Home To—11 straightahead tunes (e.g., “Moon
River”, “Cry Me A River” and the title cut) that show
off Cole’s consummate command of vocal jazz. Cole is
at her finest on this release, which just became available
in the U.S, and will be at Smoke (Mar. 15th).
Singer/pianist Laila Biali splits her time between
THE NEW YORK CITY JAZZ RECORD | MARCH 2018
Rejoice. Bang! Then his two Shandar LPs from the
Fondation Maeght: Bang! Bang! I fell in love
immediately. Then on my parents’ advice, I started
listening to John Coltrane, Eric Dolphy, Steve Lacy and
Cecil Taylor…”
Gastaut moved to Paris in 2001 and soon started
an internship at Universal Music Jazz France. A series
of part-time and contract jobs followed, including
work with Bleu Regard, the label started by Charles
Tyler (as a child Gastaut had met the veteran of Spirits
Rejoice in Marseilles) and a contract stint at Universal
to work on complete sets of legendary singers like
Maurice Chevalier, everything from seeking masters to
research at the French National Library. He worked
with guitarist Pascal Marzan organizing concerts of
distinguished free improvisers like John Russell, Roger
Turner, Isabelle Duthoit and Urs Leimgruber, then
worked for Orkhestra, the French distributor for
Tzadik, Clean Feed, ESP, Intakt and AUM Fidelity.
With the birth of his first daughter in 2010,
Bertrand gave up precarious music business
employment for work as a night desk-clerk in a Paris
hotel. It was around then that he started to pursue his
own projects. The first was a house concert with
Dalachinsky, bassist Benjamin Duboc and drummer
Didier Lasserre in the apartment of his sister Marie: “It
was a nice experience and different people—the artists,
the audience, my sister—kept telling me: ‘It was great!
You have to think about another concert in this place.’”
A few months later he thought of combining “my
favorite sax player with my favorite pair of bass and
drums” and asked Duboc and Lasserre, “what about
a concert with Daunik Lazro and both of you?”
(CONTINUED ON PAGE 42)
Stomiidae
Vinny Golia Wind Quartet Levin/Pitsiokos/Seabrook
her native Toronto, New York City and the road—
a challenging beat for an artist with a family. Biali
addresses this conflict in her original tune, “Satellite”,
one of 12 contemporary jazz compositions on her latest
eponymous release on Kobalt. With an impressive
record as a touring musician with leading pop acts,
Biali brings a fresh sound and skilled songwriting
hand to the recording and a uniquely female point of
view. Biali, currently crossing the U.S. on a CD release
tour, will play Birdland on Mar. 8th.
After three years of hosting weekly jazz jams up in
Hudson Heights, WaHi Jazz founders singer Louise
Rogers and pianist Mark Kross will kick off the
inaugural WaHi Jazz Festival Mar. 9th. The festival,
which lasts for three days, features various local jazz
artists performing in three different Heights
establishments. Rogers, who scats like a reincarnated
horn player, will open the festival and Songbook stylist
La Tanya Hall will close it.
Other gigs: Bobby McFerrin, who in 1985 snagged
a best vocal arrangement Grammy with Bentyne for
their a cappella hit “Another Night in Tunisia”, will be
playing at Blue Note with SpiritYouAll (Mar. 23rd-Apr.
1st). You can catch Pamela Hamilton, perhaps the only
vocalist-cum-violinist around, at Sistas’ Place (Mar.
24th) performing her big-hearted renditions of pop,
jazz and R&B classics. And Danish phenom Sinne Eeg
drops her first U.S. album, Dreams, at Jazz at Kitano on
Mar. 7th (see review on page 15 by yours truly). v
11
 I N MEMORIAM
HUGH MASEKELA
by andrey henkin
Trumpeter Hugh Masekela, among the most famed
musicians of his native South Africa, died Jan. 23rd at
78 from a protracted bout with prostate cancer.
Masekela was born in Witbank, South Africa,
about 90 miles northwest of Johannesburg, on Apr. 4th,
1939. It was American cinema and jazz—Kirk Douglas
in Young Man with a Horn, a movie loosely based on the
life of Bix Beiderbecke and featuring trumpet by Harry
James—that inspired Masekela to take up the trumpet
in his teens. He blossomed under Apartheid as a
member of The Jazz Epistles (which contained another
future star in pianist Dollar Brand) and work with
vocalist Miriam Makeba but the oppressive regime
made the trumpeter yearn for escape to America for
direct contact with his jazz idols, which he achieved
upon entering the Manhattan School of Music (MSM)
in 1960 with the assistance of singer Harry Belafonte.
Within two years of his move, Masekela released
his debut album for Mercury, Trumpet Africaine,
recorded when he was only 23 and featuring a number
of his originals written with Makeba (whom Masekela
would marry in 1964 and divorce in 1966). Recounting
his early years in New York to our own Russ Musto in
2013, Masekela said, “When I came to New York, I was
a walking anthology of swing and bebop. I could tell
you the taxi fare from the Apollo Theater to Birdland
through Central Park and knew the way to every club
and concert hall. I strived to become a better player
through the multiple jazz sessions at private homes
and some clubs. Cecil Collins, my trumpet teacher at
Manhattan School of Music, was instrumental in
upgrading my technique and knowledge of the
instrument.” It was at MSM that Masekela would meet
pianist Larry Willis, a few years his junior, a musical
partnership that would continue regularly for the
ensuing decades.
Masekela would go on to record for MGM, Uni,
Chisa (his own label run with producer Stewart Levine,
whom Masekela also met at MSM), Blue Thumb,
Casablanca, A&M, Novus and Columbia. Though based
in the States, he never abandoned his cultural roots,
mixing South African music with jazz, pop, funk and
soul and promoting social and political awareness. He
also would appear on albums by mentor Belafonte, Eric
Gale, Hamiet Bluiett, Dave Grusin and, in the pop/rock
world, The Byrds, Bob Marley, Paul Simon and Cyndi
Lauper. His most recent album was made for Universal
South Africa, 2016’s No Borders, the same year he
reunited with Brand, now Abdullah Ibrahim, under The
Jazz Epistles banner. Like many South Africans, he
returned home following the dissolution of Apartheid
and formation of a new government by the African
National Congress. In 2015 he was awarded the Gold
Order of Ikhamanga by then South African President
Jacob Zuma for exceptional achievement in music.
12 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
BILL HUGHES (Mar. 28th, 1930—Jan
14th, 2018) The trombonist began
playing with Count Basie in 1953,
making dozens of albums and, after
Basie’s 1984 death, leading the band
from 2003-10, as well as featuring on a
trombone-centric Savoy album from
1956 and recording with Osie Johnson, Al Grey, Oliver
Nelson, The Manhattan Transfer, Lena Horne and
others. Hughes died Jan. 14th at 87.
WILBERT LONGMIRE (1941—Jan.
3rd, 2018) The soul-jazz guitarist had
releases on World Pacific, Astra, J&M
and Tappan Zee and credits with Jean-
Luc Ponty, Gerald Wilson, Rusty Bryant,
mostly in the ‘70s. Longmire died Jan.
3rd at 77.
BILL MOODY (Sep. 27th, 1941—Jan.
14th, 2018) Though the drummer’s
discography was slight, a handful of
albums with Dick Fregulia, Hans Koller,
Dick Conte, Terry Henry and Susan
Sutton, he contributed to jazz in a different
way through the seven books in his Evan
Horne jazz mystery series. Moody died Jan. 14th at 76.
COCO SCHUMANN (May 14th, 1924—
Jan. 28th, 2018) The German guitarist’s
career was interrupted by World War II
when he was sent to concentration
camps as a Jew and forced to perform
for Nazi officers but he went on to
perform and record from the ‘50s
onwards. Schumann died Jan. 28th at 93.
FRANK SMITH (Aug. 25th, 1936—Jan.
15th, 2018) The saxophonist and
woodwind player was part of the avant
garde jazz scene of ‘60s New York though
only appearing on a single track of
Burton Greene’s eponymous 1966 ESP-
Disk’ album and, decades later on the
Revenant boxed set Holy Ghost, with the same band
playing with Albert Ayler. Smith died Jan. 15th at 82.
MARLENE VERPLANCK (Nov. 11th,
1933—Jan. 14th, 2018) The vocalist (and
accomplished jingle artist, particularly
for the Campbell Soup Company)
recorded for Savoy in 1956, Mounted in
the late ‘60s and Audiophile in the ‘80s
and again in the new millennium and
had credits with J.J. Johnson and the Glenn Miller
Orchestra. VerPlanck died Jan. 14th at 84. v
ALEXIS PARSONS DUO
Alexis Parsons-voice / Freddie Bryant-guitar
Thursday, March 29, 2018, 9-11 pm
BarThalia at Symphony Space
2537 Broadway
www.symphonyspace.org
“Alexis Parsons” (Best CDs of 2012) - DownBeat Magazine
“Parsons’ breathy, desultory delivery reminds us that
love is not a game to be entered into lightly.”
- John Ephland, DownBeat Magazine
 F ESTI VAL REPORT
THE JAZZ CRUISE
by thomas conrad
TuKe Photography
Marcus Miller
J azz cruises are the last stage in the progression of jazz
addiction, after compulsive record collecting, club and
concert attendance and jazz festivals. Jazz cruises are
for the hardcore.
Entertainment Cruise Productions (ECP) has been
operating jazz trips for 17 years. From Feb. 3rd-10th,
“The Jazz Cruise” sailed from Fort Lauderdale, Florida to
New Orleans, Louisiana to Cozumel, Mexico and back to
Fort Lauderdale. ECP advertises it as “the first and only
full ship charter in the world dedicated to ‘straightahead’
jazz.” Nowadays most major jazz festivals on dry land
dilute their programs with pop. But on the sold-out
Celebrity Summit, 2,000 passengers were living the
straightahead dream: no fusion; no rock ’n’ roll.
There were over 100 musicians on board and nine
spaces for music, including a luxurious 1,000-seat
theater and a dining room turned into Birdland. If you
had the juice, you could hit all or most of seven concerts
in a day and still have time to eat too much, swim laps
in the ship’s salt-water pool and ride a stationary bike
in the fitness center next to trombonist Robin Eubanks.
The whole point of this cruise was the breadth and
depth of talent on offer. There were established
working bands: Marcus Miller, The Cookers, Kurt
Elling, Brecker Brothers Reunion Band, Joey De
Francesco, Trio Da Paz, Roberta Gambarini, Houston
Person, Clayton Brothers, Arturo Sandoval. There were
piano trios: Benny Green, Jeff Hamilton, Monty
Alexander, Emmet Cohen. There were important
players who performed in various allstar ensembles
and/or appeared in an orchestra under the direction of
John Clayton: Anat Cohen, Gary Smulyan, Wycliffe
ALEXIS COLE
YOu’d BE SO NICE tO COmE HOmE tO
wItH ONE FOr ALL
“AN EXCItINg muSICAL COLLABOrAtION” - wILL FrIEdwALd
ALEXIS COLE
LIvE At SmOkE mArCH 15tH
FEAt. ErIC ALEXANdEr ANd dAvId BErkmAN
Gordon, Sean Jones, Michael Rodriguez, Lewis Nash,
Joe LaBarbera, Terell Stafford, John Fedchock. Introducing the debut album
After seven days of music overkill, memories of
the experience were as jumbled as the jambalaya you
ate in New Orleans. But a few aural and visual
‘spin’
impressions were so vivid they stood apart and kept
of Irene Kepl’s string quartet
coming back:
How Benny Green set the vibe for the week on the
very first night. His repertoire came from a pure jazz
strain, by players who composed: Duke Pearson,
Harold Land, Stanley Turrentine, Hank Jones, himself.
Very few pianists can overwhelm a theme with
variations like Green. He can get you high on the thrill
of sheer speed while he challenges your intellect to
perceive the wholeness of his vast, complex designs.
How Trio Da Paz always works their magic and
draws you inexorably into their elegant, sensuous,
idealized world. Romero Lubambo, Nilson Matta and
Duduka Da Fonseca have been together 30 years. They
function like three tributaries to a single stream of
consciousness. Lubambo is a virtuoso of intricate
glistening five-finger melodies. Da Fonseca can play
an elegy to his grandmother (“Dona Maria”) and make
skating the boundaries between
a drum kit sound like a voice of the heart. jazz, groove, song form,
How Jeff Clayton’s Horace Silver tribute locked contemporary music and noise.
Benny Green into his sweet spot, where he exulted
over “Señor Blues” and “Nica’s Dream” and “Song for
my Father”.
How the natural human soulfulness of Houston
Person’s tenor saxophone sound embodied the core
cultural values of this particular boat trip.
How a piano trio really can be led by a drummer,
even when the pianist is as accomplished as Tamir
Hendelman, if the drummer is Jeff Hamilton. However,
bassist Christoph Luty stole the show with his yearning
arco version of “Someone to Watch over Me”.
How hard it was to walk between venues without
stopping in the Grand Foyer, where a noteworthy
pianist like Renee Rosnes or Ted Rosenthal or Emmet
Cohen was always playing. Nicki Parrott also
performed there. When she sang in a small, flawless
voice, accompanying herself on bass, songs like “The
Very Thought of You” and “What a Diff’rence a Day
Made” were stripped bare and allowed to stand clear.
How a project led by Marcus Miller, marking key
moments in the life of Miles Davis (from “Now’s the
Time” through “Tutu”), caused your own life to pass
before your eyes. Guitarist Kurt Rosenwinkel was
brilliant. Alto saxophonist Alex Han, seamlessly
“String quartet Violet Spin from Vienna are
incorporating wild brays and shrieks into his floods of
music, took the solo of the cruise on “So What”.
brave outliers and point the way to a new
How The Cookers just keep kicking ass, keep frontier for the string quartet.”
Cormac Larkin, Irish Times
issuing their calls to arms, keep commanding their
anthems. Billy Harper ’s “Priestess” was burned into
the sea air. “The quartet presented a richly varied and still
How the Preservation Hall Jazz Band, one of the coherent program comprising gypsy-derived
few disappointments of the cruise, visited the ship and hot club-based pieces, [...] in other words,
while it was docked in New Orleans and played the
Las Vegas version of New Orleans jazz.
How the experience of the music was inseparable
something for everyone.”
Henning Bolte, All About Jazz
from its settings. On the eleventh deck at high noon, “Skilfully and passionately making room
singer Veronica Swift (one of the hits of the cruise), for their musical and stylistically diversified
accompanied by Emmet Cohen’s trio, wailed on “You originality - that’s exactly what Viennese string
Don’t Know What Love Is”. Around the room, beyond quartet Violet Spin is doing on their debut
the tall windows, was the blue of the sky and the sea. The
album ‘spin’.”
prow of the ship was cutting through the Gulf of Mexico, Michael Ternai, MICA Austria
on the way to Cozumel. Later that day, the Clayton
Brothers played their uplifting music while, through
those same windows, the sun sank into the horizon.
How Kurt Elling may never find a more evocative NOW available on www.violetspin.com
backdrop for his art. He played on the fourth deck, at and from 26th of March
10 pm, after the ship had departed New Orleans and
on all major platforms
was making its way down the Mississippi River toward
the Gulf. As Elling sang his compelling stories, the
lights of other boats on the dark river and lights on the
shore slowly slid past the windows. v
US distribution:
www.unitrecords.com
For more information, visit thejazzcruise.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2018 13
 CD REVIEWS
Ladies Day
MJ Territo (Jollie Mollie)
by Alex Henderson
In the past, most of the women who achieved major
recognition in jazz did so as vocalists. But female jazz
instrumentalists have made their presence felt in recent
decades. Vocalist MJ Territo celebrates them on Ladies
Day, a tribute to female composers.
Territo is backed by a trio of pianist Linda
Presgrave, bassist Iris Ornig and drummer Barbara
Merjan, expanded by flutist Andrea Brachfeld on Dave
Brubeck’s “In Your Own Sweet Way” and Blossom
Dearie-Johnny Mercer’s “I’m Shadowing You”, tenor
saxophonist Virginia Mayhew on pianist Mary Lou
Williams’ “Strange Fascination” and harpist Brandee
Younger on Lorraine Feather-Dave Grusin’s “True”.
The arrangements are melodic, easy-to-absorb postbop
and Territo isn’t afraid to explode lesser-known songs.
“In Your Own Sweet Way” is presented here with
the lyrics that Brubeck’s wife Iola added to his melody.
On Mexican songwriter Maria Grever ’s “Cuando
Vuelva a Tu Lado” (aka “What a Diff’rence a Day
Made”), Territo performs the original Spanish lyrics
rather than the Stanley Adams words best known to
English-speaking audiences.
Territo unearths many quality songs: Marian
Greenwich House Music School
46 Barrow Street, New York, NY 10014
NEW WORKS, NEW COLLABORATIONS, NEW DIRECTIONS
MARCH 22 - MAY 10 • THURSDAYS AT 8 PM
A SEASON OF INCREDIBLY DIVERSE WOMEN ARTISTS
3/22 - MOLLY POPE
3/29 - EVA SALINA & PETER STAN
4/5 - CAMILLE THURMAN
4/10 - BRIANNA THOMAS*
4/9 - ANI CORDERO
4/26 - APRIL CENTRONE
5/3 - MARIKA HUGHES
5/10 - CAMILA MEZA
*Special Beneet Concert for GHMS
For tickets and concert information, please visit
greenwichhouse.org/uncharted or call (212) 242-4770
14 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
McPartland’s “There’ll Be Other Times”, Meredith
D’Ambrosio’s “Melodious Funk”, Abbey Lincoln’s
“You Gotta Pay the Band” and Patricia Barber ’s
“I Could Eat Your Words”. Territo also acknowledges
Melba Liston, a fine but underexposed trombonist, on
the torch ballad “We Never Kissed”. Peggy Lee, best
remembered for her singing, was also a talented lyricist
and Territo gives her a nod on Dave Barbour ’s 1946
jump blues “Everything Is Moving Too Fast”,
a humorous reflection on how much technology was
evolving in the ‘40s and still relevant in 2018.
Ladies Day paints an attractive portrait of both
Territo and the women to whom she pays tribute.
For more information, visit mjterrito.com. This group is at
Club Bonafide Mar. 1st. See Calendar.
reArrangements of Shadows
Cheryl Bentyne (ArtistShare)
by Jim Motavalli
“This is not a Broadway album,” declares Cheryl
Bentyne, a mainstay of The Manhattan Transfer. But this
is a tribute to a Broadway master, Stephen Sondheim,
whose songs are deeply imbedded in his hit shows.
Thanks to some clever “rearranging” from Bentyne’s
many collaborators, Sondheim’s songs don coats of many
colors. But there’s a reason that not many songs other
than “Send in the Clowns” have become jazz standards.
The master’s stuff is tough and not for novices.
Bentyne spent six years contemplating this project.
Some songs don’t lend themselves easily to a jazz
treatment and she doesn’t try to pound them into
place. “Comedy Tonight”, for instance, uses the Bevan
Manson String Quartet in a busy and slightly jagged
arrangement that productively undermines the song’s
inherent theatricality. The standout is “Ladies Who
Lunch”, which gets two versions here. On the first, a
brassy Bentyne is joined by Transfer colleague Janis
Siegel and the great Tierney Sutton. Together, these
three ladies work up quite a noise. The version without
the two guests is also nice, but superfluous.
There’s no avoiding “Clowns”, which is the only
track here with a Transfer-type vocal treatment
featuring Mark Kibble and Armand Hutton. It works,
but doesn’t reach the towering purity of Judy Collins’
version. “Clowns” is actually a song that shines with
just piano and that’s what Bentyne (with Tom Zink)
does to “I Wish I Could Forget You”. Jazz fans can revel
in “I Remember” and “Sand”, both of which benefit
strongly from punchy piano work by John Beasley.
“Everybody Says Don’t” features the rhythm section of
bassist Kevin Axt and drummer Dave Tull without
Beasley and they rise to the challenge. “Not a Day Goes
By” adds Tom McCauley on guitar and percussion and
it’s a song other jazz singers should explore.
Bentyne is in lovely form, fully inhabiting every
song and exploring her lower register. I’m still not
convinced that Sondheim’s music easily translates into
jazz, but this album is original, provocative and fun.
For more information, visit artistshare.com. This project is
at Birdland Mar. 5th. See Calendar.

Beautiful Love
Fred Hersch/Jay Clayton (Sunnyside)
by Joel Roberts
The superb pianist Fred Hersch has had a number of
rewarding pairings with vocalists over the years,
including Janis Siegel, Nancy King, Norma Winstone,
Kurt Elling and Kate McGarry. But Beautiful Love, his
1995 album with the avant garde singer Jay Clayton, is
one of the very best. Newly remastered, it’s an intimate
and inspired meeting of two like-minded souls that
raises the bar for piano-vocal duos.
Although uniting two exceedingly adventurous
artists, the focus, perhaps surprisingly, is almost
wholly on standards. But in the hands of two such
gifted performers, the ten covered here are presented
in anything but standard form. While Clayton steers
clear of some of the wilder improvisational techniques
for which she’s long been known, she’s never content
to play the tunes entirely straight. She’s constantly
pushing at the edges and putting her unique creative
imprint on the material, making something fresh out of
even such familiar fare as “Blame It on My Youth” and
“You Don’t Know What Love Is”. She also proves
herself a thoughtful and dramatic interpreter of lyrics,
digging into classic songs by the likes of Cole Porter
and Richard Rodgers-Lorenz Hart for all their
emotional worth.
This is certainly one of the most accessible of
Clayton’s recordings, but there are some freer moments
too. Most notable is her wordless vocalizations
throughout Wayne Shorter ’s “Footprints”, replete with
trilling and chirruping and dazzling virtuosity. And
Hersch, a technically brilliant musician with a poetic
heart, is with her every step of the way, at times playing
the role of accompanist, at times taking the lead,
always in total control. Theirs is a true collaboration,
which seems to reflect an abiding sense of mutual
respect and affection. The result is an album of pure,
unabashed beauty.
For more information, visit sunnysiderecords.com. Hersch
is at Village Vanguard Mar. 6th-11th. See Calendar.
Dreams
Sinne Eeg (ArtistShare)
by Suzanne Lorge
Sinne Eeg’s popularity both within and outside of her
native Denmark has been on the rise the last 10 years.
She won the Danish equivalent of the Grammy four
times for Best Vocal Jazz Album and has a strong
following in Asia and Europe. She’s also toured the U.S.
extensively but remains less well known here—this is
about to change with Dreams.
The new album is heavily weighted toward Eeg’s
originals, each one a tight, modern jazz composition
that speaks not only to Eeg’s broad knowledge of
American jazz but also to her global appeal as a singer.
For instance, on opening track “The Bitter End”,
a drawn-out, full-throated blues, Eeg shows off R&B
chops any pop singer would covet; on “Aleppo”, her
awareness-raising ode to the Syrian refugees, she uses
open space and subdued instrumentation to infuse the
jazz ballad with heartbreak and mournfulness; and on
the title track, she positions her smooth vocalese
against crisp instrumental lines at a bright tempo,
engaging neatly and cleanly with a band of pianist
Jacob Christoffersen, guitarist Larry Koonse, bassist
Scott Colley and drummer Joey Baron.
By contrast, Eeg adopts a straightahead approach
to standards. Her effortless solos on tunes like Cole
Porter ’s “What Is This Thing Called Love”, Richard
Rodgers-Lorenz Hart’s “Falling In Love With Love”
and Gene DePaul-Patricia Johnston-Don Raye’s “I’ll
Remember April” demonstrate a deep understanding
of traditional vocal jazz; the swing, the trilled phrases,
the restrained vibrato and the time-tested scat syllables
all speak to Eeg’s mastery of the art form. What’s
intriguing is that this traditional singer coexists so
peaceably with the modern singer/songwriter. This
ability to move in and out of different jazz
vocabularies—rare even among U.S. vocalists—serves
to set Eeg apart from other international jazz singers.
After nine albums as a leader in Scandinavia, Eeg
was invited to record Dreams on the U.S.-based fund-
raising label ArtistShare, thus joining the ranks of such
world-renowned musicians as Maria Schneider, Danilo
Pérez and Jane Ira Bloom. Good company.
For more information, visit artistshare.com. Eeg is at Jazz at
Kitano Mar. 7th. See Calendar.
Generation
En Corps (Dark Tree)
by Clifford Allen
F rench pianist Eve Risser has, over the last decade,
crafted a language of play rooted in gradual material
isolation and elaboration, as well as utilizing resources
available both inside the piano as well as its exterior
(keys, pedals, hull). While delving into the music of
Robert Wyatt and Astor Piazzolla has shown an ear for
diverse sources, the trio En Corps is perhaps the
clearest exposition of her ensemble work. Joining her
with bassist Benjamin Duboc and percussionist Edward
Perraud, the trio has released two discs, of which this
is the latest, two long-form improvisations recorded at
the Austrian free music festival Artacts in 2016.
The first piece, clocking in just shy of 40 minutes,
begins in hushed muted glances, airily hanging, with
arco bass and brushy cymbal deflections as
accompaniment. Prepared piano gobs and measured
knocks sound distinctly koto-esque, reflecting the fact
that the initial reasoning behind extending the
instrument’s sonorous range offered a distinctly non-
Western palette, as well as standing in for a percussion
orchestra. Ghostly pitch-bends couple with a distinctly
roomy recording, rendering the sounds’ center oblique
and amping up the cloud-like quality of enveloping
trio activity before pitched and direct slices (including
a train-whistle-like long bowed tone) herald an
emerging fullness. Perraud’s kit, involving thinly
quavering sheets of metal, rosin, gongs and snappy
impulsions, is a crisp and often jarring counterpoint to
Risser ’s lengthening motifs and squabbling accents.
Without the trance-like minimal pools of a group like
The Necks, En Corps continues to stir its own pot,
setting up areas of clambering, rising tones before
THE NEW YORK CITY JAZZ RECORD | MARCH 2018
making subtle undercuts to isolate and shunt an idea
off in a different direction. Following a Charlie Haden-
like pizzicato statement from Duboc, resonant,
economical and full-toned, the trio returns in rivulets
and agitated superimpositions to close the piece out.
One would think that this breathtaking album-
length improvisation was enough, but a 17-minute
improvisation quickly follows, singing bowls and
drumstick scrapes blurring with metallic natter before
coalescing into breaker-crested forward motion. This
exciting and sonically gorgeous performance is an
essential document of this French trio.
For more information, visit darktree-records.com
UNEARTHED GEM
Live in Tokyo 1964
Anita O’Day (Boundee)
by Ori Dagan
The eight tracks that open this recently discovered
performance by vocalist Anita O’Day are a delight,
with Arthur Freed-Abe Lyman-Gus Arnheim’s
“I Cried for You” a standout for the call and response
of O’Day’s scat with Tetsuo Fushimi (trumpet),
Shigeo Suzuki (alto saxophone) and Tadayuki Harada
(baritone saxophone). As captured famously at
Newport ‘58 with drummer John Poole on Bert
Stern’s Jazz on a Summer’s Day, O’Day’s exploration
of trading time—opposed to taking choruses upon
choruses à la Ella Fitzgerald or Sarah Vaughan—
speaks to her quest to be treated equally as a musician.
On standards such as Harold Arlen-Ted Koehler’s
“Let’s Fall in Love” or the Gershwins’ “Who Cares”,
she’s subtle when trading time with the great pianist
Bob Corwin (the only other American in a group
completed by bassist Tatsuro Takimoto and drummer
Takeshi Inomata) while on Gene de Paul-Don Raye’s
“Star Eyes” and Kurt Weill-Ogden Nash’s “Speak
Low” the listener is invited to bathe in her
rhythmically flowing liquid tone. This is a fine
companion to Anita O’Day in Tokyo 1963.
Also included are two solid live sets from 1956-
57, rare but previously released, featuring different
sextets in Los Angeles. The sprightly all-scat
performance of Dave Lambert-Buddy Stewart’s
bebop line “A Cent and a Half” is worth every
penny; other tracks offer uniquely subtle contrasts
to the takes on period Verve albums like Anita,
Pick Yourself Up with Anita O’Day and Anita Sings the
Most. With the exception of rare dramatic tour-de-
force on Richard Rodgers-Lorenz Hart’s “My Funny
Valentine” and the deliciously syrupy take of
Manning Sherwin-Eric Maschwitz’ “A Nightingale
Sang in Berkeley Square”, the mood is joyous thanks
to a perfectly audible smile on O’Day’s face as she
swings with all her might. Walter Donaldson-Gus
Kahn’s “Love Me or Leave Me” with Alan Marlowe
on piano has the misfortune of being compared to
the Oscar Peterson version. On the Gershwins’
“The Man I Love”, O’Day reimagines the melody
sprinkled with dissonance before swinging the
living hell out of the second chorus; few, if any,
singers in jazz could get away with breaking up
“Stay” into “stay, eh, eh, eh, eh”.
For more information, visit spaceshowermusic.com
15
 G LO B E U N I T Y
Cellular Resonance
Mia Zabelka (LCR)
SololoƧ
Irene Kepl (Fou)
Voyage Apollonian
Mari Kimura (Innova)
by Tom Greenland
Violin techniques have come a long way since Stuff
Smith, Joe Venuti and others adapted classical music’s
quintessential instrument to the heterodox demands
of jazz. Three recent solo albums show just how far.
Viennese violinist Mia Zabelka has, with
Cellular Resonance, produced one of her most
panoramic soundscapes to date, a miasmic, tactile,
kinesthetic, cautiously exuberant voyage to far-off
and far-out sonic spaces. Of the three CDs reviewed
here, hers is the least ‘violinistic’, with fewer obvious
references to signature timbres. Rather, she favors
all manner of electronic processing (assisted by
Lydia Lunch on half the tracks), generating a
mélange of ambiguous yet highly evocative textures:
a sputtering factory engine spewing coolant; rubber-
booted footfalls echoing away down a long cement
tunnel; a stylus scratching vinyl on a decelerating
turntable; braying elephant; bull-roarer; theremin;
gas-burner flames squelched by a boiling teakettle;
moths close-buzzing a lantern. Impressions of the
biosphere: close, visceral, immersive, visual.
Irene Kepl, also from Vienna, takes a contrasting
approach on SololoƧ, her suite of ruminative
improvisations all recorded in a single day. Like
Bach’s Sonatas and Partitas for solo violin, Kepl’s
improvisations unwind in endless streams of notes,
finding their variety and interest in the counterpoint
between simultaneous independent themes voiced
in the low, middle and upper registers. At times she
presses double-stopped strings into triples, wrings
falsetto howls from reluctant pitches, working the
recording space’s natural acoustics for maximum
reverb. Her pianissimi are like small mammals
skulking at night, bow chops like birdcalls,
pizzicatos tinkling kotos, glissandi drifting sirens.
On “Forget-Me-Not”, the most compelling track,
pressure builds from skidding samisen tones to
panning Doppler whistles to distorted explosions,
resolving into a slowly ripping string noise.
And just when you think you’ve heard all a solo
violin can do, hear again. Mari Kimura’s Voyage
Apollonian is the latest progress report in the Japanese
violinist’s development of human-computer
interactive improvisation. Wearing a custom WiFi
motion detector on her right hand that transmutes
physical gestures into digital algorithms, she
configures string quartets (creating low cello tones
with her trademark subharmonic technique), canons,
harmonizing choirs and other ultimately unclassifiable
virtual realities. Imagine HAL, the irrepressible
supercomputer in Stanley Kubrick’s 2001, in a free-fall
free improv with astronaut Dave Bowman and you’ll
get a sense of it. Three covers by Brazilian composers
are less effective, the virtual piano comping an
acquired taste at best, the transcriptions imitative
rather than generative, but cuts like the title track,
“Eigenspace”, “Canon Élastique” and “Breuer Vivant”
show a degree of invention and independence only
possible in a Kimura-ian space-time continuum.
For more information, visit littlecrackdrabbit.co.uk,
fourecords.com and innova.mu
16 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
harmony rather than being simple extensions. The
same is true of chorale-like “Gen Himmel”, though the
reflectively triadic melody doesn’t appear until this
long version is more than half over. Low-register
octaves are dizzyingly rife with overtones and so
crystalline are the pianissimi it can be difficult to tell if
the string is plucked or struck. This is now the best
solo disc in a catalogue containing many.
Atody Man is from longtime quartet Kaze with
Momentum trumpeters Natsuki Tamura and Christian Pruvost and
drummer Peter Orins. Fujii’s “Morning Glow” moves
Muriel Grossmann (Dreamland)
by Elliott Simon from a deliciously modal atmosphere, slowly infiltrated
by a repeating melodic figure, which then becomes grist
The spiritual connection on Momentum is immediately for the group mill of groove and vamp. Her other
obvious. Saxophonist Muriel Grossmann has long contribution, “Moving”, inhabits a space fairly far afield
histories with guitarist Radomir Milojkovic, bassist from traditional notions of New Thing form. Its driving
Gina Schwarz and drummer Uros Stamenkovic, force, at least initially, is superbly recorded drums,
developed through many performances and recordings. setting up something approaching multiple pulses only
Grossmann is clearly in control as she uses tenor, alto to eschew them. Then, there is Orins’ “Hypnotique
and soprano to lead band and listener on a journey that Sympathie”, which involves trumpets slowly wringing
takes off like a missile, passes through meditation, the beats out of gradually detuned unisons, a technique
reaches nirvana and ends with thanksgiving. that would doubtless make Alvin Lucier smile. That
Grossmann’s intense solo supplication and unison is actually the seed from which the rest of the
powerful jousting with Milojkovic begins the session as piece grows, which says nothing of the square pop-tune
“Elevation” rises into a sanctified setting. The vibe Fujii and Orins eventually lay down and which the
comparison to Coltrane is clear but the quartet finds its trumpets do everything in their power to subvert.
own supreme space through the title track’s initial Indeed, it is the trumpeters who continually shake
introspection, gorgeous tenor phrasing and penetrating things up, especially on Tamura’s “Inspiration”, where
guitar soloing. Schwarz and Stamenkovic buttress the they employ an encyclopedia of timbre and technique.
melodies with unceasing rhythm and shifting These discs speak as much to evolution as to backward
augmentation. The latter is a beautifully emotive player glances and to the restlessly creative spirits that fostered
and ensures that the excursion remains smooth and on their creation. Fujii plans to release a disc per month in
course. “Chant” cleverly gives her space, allowing a 2018 and if these first two offerings indicate what’s to
pizzicato solo to define a mantra answered by the come, a top-drawer series is in the offing.
melismatic saxophone/guitar pairing on “Sacred”.
“Horizon” is a glimpse of enlightenment, soprano For more information, visit librarecords.com
painting a free landscape before “Rising” snakecharms
its way to a penultimate peaceful groove driven by
percussive decoration. “Gratitude” appropriately closes
the session with a graceful benediction, highlighting
Grossmann’s improvisational skills. Known primarily
for her exceptional work on alto and soprano, Grossmann
uncovers new spiritual spaces on Momentum by skillfully
incorporating the expanded tonal and textural palette of
her tenor in the context of a compatible quartet.
For more information, visit murielgrossmann.com
Solo
Satoko Fujii (Libra)
Atody Man
KAZE (Circum/Libra)
by Marc Medwin
Stockhausen’s landmark Telemusik exhibits a quality of
simultaneous speed and stasis and the same could be
said of pianist Satoko Fujii. The lack of a steady pulse is
certainly a variable, but her music is imbued with space,
thick connective tissues it would be incomplete to label
silences. These first two discs in her 60th birthday year
celebration speak to that stasis and to the many contrasts
in mood and dynamic arising from them.
Solo is a fortuitously recorded recital in which an
absolutely exquisite room acoustic becomes as much a
musical element as the stunningly tuned instrument.
A piece such as “Spring Storm”, originally for trio,
takes on new life and dimension, despite its fairly
traditional free jazz arc. Multi-timbral explorations of
the piano’s outside and innards bring a small ensemble
quality, each opening event punctuated by a pause and
the echoes of chords in the room adding a layer of
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Tensegridad
Paula Shocron/Germán Lamonega/Pablo Díaz
(hatOLOGY)
by Marco Cangiano
There is an inherent dancing quality here that may be
missed on first listen. This is a modern and yet somewhat
historicized free piano trio, even if pianist Paula Shocron
appears to be in charge much of the time. Tensions
alternate with and dissolve into musical dances, at times
just hinted by the piano’s patterns, which also mirror a
sense of tradition traced to Shocron’s earlier recordings.
The very title of the CD is quite revealing. As
explained by the extensive liner notes, the word
‘tensegrity’ owes to visionary architect Buckminster
Fuller by combining ‘tensional’ and ‘integrity’, the
concept visualized by his geodesic domes. In musical
terms, the concept is more akin to “biotensegrity”,
which describes the body’s muscular and skeletal
systems, hence the connection with the music’s
inherent dancing quality, which also reflects Shocron’s
Imuda project combining music, poetry, visual arts and
dance. These aspects are most evident in “Universo
Tiene Sentido”, based on Shocron’s recited poem, and
the title track, where Germán Lamonega’s insistent
arco bass drone supports hypnotic piano patterns and
Pablo Díaz’ dancing—once again—drumming.
This is a varied program: one original from each
member; three co-authored by the trio; two rarely
performed compositions by Mal Waldron and Charles
Tolliver; and a dramatic yet lyrical dedication to
“Connie” (Crothers) by Shocron herself. It starts with
a deep, suspenseful bass intro to Lamonega’s “Vera”,
which turns rapidly into an almost Keith Jarrett-like
piano dance, leaving to Díaz the task of filling space.
As in many of the compositions, the tension builds up
to a peak then resolved in a quiet coda. A similar
development is found in Díaz’ “El Origin”, with piano
repeating a carillon motif, whereas the trio’s “Casa
Rodante” progresses along a martial cadenza. Finally,
Waldron’s “Snake Out” is given a post-1964 Coltrane
treatment with evident echoes of McCoy Tyner after
a dark if not ominous incipit; Tolliver ’s “Truth” follows
the tension/release pattern. This is a well-balanced
recording rewarding multiple listens.
For more information, visit hathut.com
Ternion Quartet
Anne Mette Iversen (BJU Records)
by Phil Freeman
Bassist Anne Mette Iversen’s Ternion Quartet, formed
in 2015 and recording for the first time, is comprised of
alto saxophonist Silke Eberhard, trombonist Geoffroy
De Masure and drummer Roland Schneider. Iversen
claims the music is “based on a linear and horizontal
concept, allowing the individual instruments’ melodies
to conduct the harmonic map”—which sounds a lot like
what Ornette Coleman was doing in 1959. And indeed,
18 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
there’s an Ornette-ish bounce to some of the tunes here,
though the trombone adds a New Orleans flair.
Iversen is a subtle, self-effacing bassist, mostly
staying in the background on tunes like “Ataraxia On
My Mind”, as the horn players take turns strutting and
Schneider rumbles and clatters along, recalling Ed
Blackwell. In the piece’s final two minutes, the rhythm
section drops away almost entirely, leaving the horns to
converse in a manner not unlike the interactions between
Anthony Braxton and George Lewis in the mid ’70s.
Eberhard is a quick-thinking player, comfortable
with jazz’ creative fringes: her Potsa Lotsa project exists
to explore the music of Eric Dolphy. Her solos here have
some of the crying quality that gave Dolphy’s music so
much of its power, but she’s also able to whip around
the curves of a melody like a Red Bull-fueled child
playing Forza Motorsport 7. De Masure’s playing is
surprisingly crisp; on “Trio One”, his notes emerge in
short, precise bursts, like they were typed out. Even on
a ballad like “Solus”, he is able to maintain precise
articulation while almost droning. At a few points, he
goes so deep into the horn’s lower range to be almost a
tuba, or a second bassist, but then leaps smoothly
upward, commiserating with Eberhard in bluesy
conviviality. On “Eburnine”, he can be heard playing an
eight-note riff pulled from the salsa song “La Murga”.
Every few tracks, a short (under a minute)
variation on a melody appears—it’s called “My
Revised Head”, recurs as “Their Revised Head” and
finally “Your Revised Head”. It gives the album just
enough structure to seem like a through-composed
work, though each tune stands proudly on its own.
For more information, visit bjurecords.com
Descansado
Norma Winstone (ECM)
by Tyran Grillo
V ocalist Norma Winstone returns to ECM with pianist
Glauco Venier and reedplayer Klaus Gesing to explore
the relationship between song and cinema. Interpreting
the scores of Legrand, Rota and Morricone, among
others, and referencing such filmmakers as Godard,
Fellini and Scorsese, the result is a collection of moving
images in and of itself.
Winstone’s penchant for moody arrangements
and organic insights into the human condition shares
the silver screen’s existential concerns. Said concerns
are made explicit as her trio, joined by percussionist
Helge Andreas Norbakken and cellist Mario Brunello,
flip through the pages of the human heart. The power
of memory to shape how we live and love is a central
theme. Whether toeing the line between past and
future in “Il Postino” or weaving through the corridors
of yearning in “Amarcord (I Remember)”, Winstone’s
voice knows where it stands at any given moment.
Thus, “What Is A Youth?”, along with the opening “His
Eyes, Her Eyes”, set the tone for a plaintive emotional
experience, like a dark filter placed over the lens of the
mind through which she captures parries of affection.
Winstone’s musicians soliloquize the finer
implications of her sentiment. Norbakken and Brunello
add points and lines, respectively, setting the scene for
every story, while Venier populates those backdrops
with extras. Gesing, alternating between soprano
saxophone and bass clarinet, is a protagonist on par
with Winstone, responding to her every move in
dialogic fashion. Four tracks in which Winstone sings
wordlessly further highlight these infrastructural
relationships. Of these, the jig-like comportment of
“Meryton Town Hall” comes as a welcome splash of
Technicolor in an otherwise noir-ish program.
Lyrically, too, this record stands out within an
already-distinguished discography. Beginning with
the title song, one of six for which Winstone penned
her own words, and continuing on through to “So
Close To Me Blues” (her take on the theme from Taxi
Driver), she demonstrates a keen understanding of the
magnitude of intimacy, thereby providing shelter for
any soul craving refuge from its weary transit.
For more information, visit ecmrecords.com
IN PRINT
Changing The Tune: The Kansas City
Women’s Jazz Festival, 1978-1985
Carolyn Glenn Brewer (University of North Texas Press)
by Anna Steegmann
Today we can barely imagine the sexist challenges
female jazz musicians faced well into the ‘70s and
‘80s (not that they are by any means absent in the
21st century): hostile club employees, condescending
bandleaders and pompous jazz critics. This book,
written by Kansas City historian, writer, music
educator and clarinet player Carolyn Glenn Brewer
provides some fascinating insight. Changing The
Tune: The Kansas City Women’s Jazz Festival, 1978-
1985, rigorously researched and referenced, based
on numerous interviews, tells the story of the
influential Kansas City Women’s Jazz Festival, its
founders, supporters and notable performers.
Carol Comer, a singer and pianist, and Diane
Gregg, host of the radio show “Women in Jazz”, were
driving back from the 1977 Wichita Jazz Festival
bemoaning the fact that vocalist Sarah Vaughan had
been the only female performer. They questioned
what a festival celebrating female jazz musicians
might look like. Thus the idea for the Kansas City
Women’s Jazz Festival was born. They recruited
board members and volunteers, found many creative
ways to raise funds (such as athletic games between
Kansas City classical and jazz musicians) and
realized their idea the following year.
The author writes authoritatively, as if she has
attended every performance herself. She introduces
us to Kansas City as a jazz town (far more than just
Count Basie and Charlie Parker), the female
musician-trailblazers and the hardships they
experienced. She takes us to clubs, performances,
board meetings and lets us witness the controversies
that came with success: purists were alienated;
established musicians and emerging artists clashed;
male sidemen were not welcome by all.
Best of all, the reader experiences sitting on the
hard chairs in Memorial Hall and the excitement of
listening to Betty Carter, Carla Bley, Carmen McRae,
Nancy Wilson and Urszula Dudziak, to name a few.
This book chronicles the successes and setbacks
of this groundbreaking festival and should be a
must-read for anyone interested in the history of
women in jazz.
For more information, visit untpress.unt.edu
 C H A R L E S C A R L I N I P R E S E N T S

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ARTURO & ADAM O’FARRILL

The great flamenco guitar master pepe habichuela is the
patriarch of one of the most revered families in Gypsy
flamenco, Los habichuela, and trailblazer of “nuevo
flamenco.” he is joined by his son, guitarist Josemi
Carmona; rising vocal star Kiki Morente, son of Enrique
Morente; Javier Colina, one of the finest bass players
in flamenco. Featuring special guests, Grammy-winning 123 W 43rd St NYC
pianist/composer arturo O’Farrill, son of Chico O’Farrill
and bandleader of the afro Latin Jazz Orchestra, and his
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Joey.Monk.Live!
Joey Alexander (Motéma)
by Ken Dryden
There have been a number of young jazz prodigies to
garner attention over the decades, but none have
caught fire as quickly as pianist Joey Alexander, who
made his debut recording as a leader at 11. There has
been pushback from some critics about his two
Grammy nominations, but that is hardly the fault of
the gifted teenager. Although Alexander ’s technique is
strong and he already seems comfortable playing
challenging jazz standards, his improvising on those
first two releases was not anywhere near the level of
many veteran pianists who have explored the same
music in depth for ages. Yet Alexander is maturing
quickly, gaining confidence while remaining humble
about his abilities. guitar sounds almost like a pipa. Previte himself
He set up a tremendous challenge for himself by
tackling seven jazz standards written by Thelonious
Monk, since there are ample recorded versions
available by the composer and other great jazz pianists.
He opens this June 2017 Lincoln Center concert with
a strikingly fresh solo interpretation of “‘Round
Midnight”, which has a versatile, inventive
arrangement full of twists and occasional humor in the
spirit of its author. For the remainder of the set, he is
joined by two seasoned musicians, bassist Scott Colley
and drummer Willie Jones III. Alexander ’s setting of
“Evidence” is brisk and playful with plenty of
interaction with his skilled rhythm team, leaving room
to showcase Colley’s adept solo. “Ugly Beauty” is
given a sauntering rhythm in its disguised introduction
before Alexander takes a more traditional approach in
a duet with Colley, the latter playing both pizzacato
and arco. Alexander ’s rollicking interpretation of
Monk’s theme song “Epistrophy” swings with gusto,
taking a looser approach than its composer, freeing the
usual tension and incorporating more than a few solo
piano detours to flesh out his own vision. A darting,
freewheeling rendition of “Straight, No Chaser” is
equally adventurous, revealing new dimensions to this
frequently performed gem.
While it is still far too soon to crown Joey
Alexander a future jazz master, if he continues to
broaden his repertoire and work with experienced
players who challenge him, it would be foolish to bet
against his career prospects.
For more information, visit motema.com. Alexander is at
The Appel Room Mar. 2nd-3rd. See Calendar.
Rhapsody
Bobby Previte (RareNoise)
by Tyran Grillo
F or the second part of his Terminals trilogy, an ongoing
ode to transit and migration, drummer Bobby Previte
has convened a dream group. Although featuring
musicians often found in electr(on)ic settings,
20 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
Rhapsody unfolds a grand mise-en-scène by purely eventually collapses into a quiet heartbeat pulse.
acoustic means. “Casting Off” and “I Arrive”, Laplante reenters with an almost choral, circular-
respectively, begin and end the album by threading the breathed figure, recalling the work of fellow
vocal delivery of Jen Shyu (whose erhu playing is saxophonist Colin Stetson yet more insistent via
another distinct color in this palette) through the Cleaver ’s equally rotational drumming. Before things
netting of John Medeski’s piano and Fabian Rucker ’s veer out of control, a bluesy tag is introduced,
alto saxophone. As the center of the action, Shyu grounding the flight. The final section introduces
imbues Previte’s lyrics (a first for him) with theatrical Cleaver ’s cymbals as a new sonic element, in effect
punch, singing the role of an airplane traveler cycling turning the duo into a trio, Laplante at his most keening
through various stages of self-awareness until she and exalted, ending on a triumphant, two-minute long
reaches her unknown destination under cover of night. circular-breathed note.
That state of liminality—of hanging suspended
between locations with only a thin layer of metal and For more information, visit newamrecords.com. This project is
plastic between you and certain death—is beautifully at Spectrum Mar. 3rd and Union Pool Mar. 4th. See Calendar.
rendered in Previte’s downright cinematic movements,
each of which variously highlights the strengths of one
or more of his bandmates. Medeski shines in “When I
Land”, his precise syncopations seeming to chart every
leg of the journey, and, in tandem with harpist Zeena
Parkins, he renders the backdrop of tracks like “The
Lost” and “The Timekeeper” while Ruckman carefully
links his own chains of melody and abstraction.
Hearing Parkins unplugged is an especial privilege; in
this context, her crystalline beauty feels nearly all-
consuming. Guitarist Nels Cline treads a parallel path
and to highest effect in “All Hands”, in which his slide
completes the picture, playing an assortment of drums
and percussion and, in “Last Stand/Final Approach”,
autoharp and harmonica to boot. He treats himself no
differently than his other musicians, letting his singular
compositional voice ring over all, handing us a light to
navigate the darkness in which he leaves us.
For more information, visit rarenoiserecords.com. This
project is at Roulette Mar. 2nd See Calendar.
R
• Alexis Cole (with One For All)—
You’d Be So Nice To Come Home To (Venus)
e • Michael Dessen Trio—
Somewhere in the Upstream (Clean Feed)
c • Kat Edmonson—
Old Fashioned Gal (Spinnerette)
o • Sigurd Hole—Elvesang (Elvesang)
m • Jon Irabagon/Joe Fiedler/Todd Neufeld—
In Formation Network (Nuscope)
A Dance That Empties m • Kaze—Atody Man (Libra)
• Dave Liebman/Tatusya Nakatani/
e
Subtle Degrees (New Amsterdam/NNA Tapes)
by Andrey Henkin Adam Rudolph—The Unknowable
H ad John Coltrane lived much past Feb. 22nd, 1967 n (RareNoise)
• Joe Lovano/Dave Douglas Sound Prints—
and continued his ascent (or, depending who you ask,
descent) outwards, he likely would have pre-dated d Scandal (Greenleaf Music)
• Evan Parker/Barry Guy/Paul Lytton—
Anthony Braxton’s 1972 For Alto with his own solo
saxophone album. He and Rashied Ali still left us with e Music for David Mossman (Live at Vortex
Interstellar Space. The saxophone-drum duet is now a
trope for avant garde musicians; even not making one
d London) (Intakt)
• Clemens Salesny/Woody Schabata/
Raphael Preuschl/Herbert Joos—
acknowledges its significance.
So 50 years (plus a couple of months) after Coltrane, n Jekyll & Hyde (Jazzwerkstatt Records)
Laurence Donohue-Greene, Managing Editor
e
saxophonist Travis Laplante and Gerald Cleaver,
aka Subtle Degrees, recorded A Dance That Empties.
Laplante, as evidenced by his own solo saxophone
album Heart Protector and saxophone quartet Battle w • AKA Moon—Now (Outhere Music)
• Arild Andersen—In-House Science (ECM)
Trance, is far more than a firebreather and Cleaver • Anthony Braxton—Sextet (Parker) 1993
stands out as one of the most sculptural drummers
playing today. As such this is one of the more thoughtful r (New Braxton House)
• Satoko Fujii—Solo (Libra)
entries in the canon. The density is offset by pristine
audio, rendering every detail perfectly.
e • Large Unit—Fluku (PNL)
What links A Dance That Empties to Interstellar l • Jay Leonhart—Don’t You Wish
(feat. Tomoko Ohno) (s/r)
Space—and what so many have missed in the interim
—is that both use composition, not free improvising, e • Dave Liebman/Tatsuya Nakatani/
Adam Rudolph—The Unknowable
as their foundation. Laplante composed the piece, split
into three movements, and Cleaver then created his
a (RareNoise)
drum parts. What results are cohesion and a narrative s • Charles Mingus—Live at Montreux 1975
(Eagle Rock)
arc rather than formlessness and focuslessness.
Laplante begins the album unaccompanied before e • Slivovitz—Liver (Moonjune)
• Jeff Williams—Lifelike (Whirlwind)
Cleaver joins. At the ten-minute mark, saxophone
cedes the space to a malleted exploration, which
s Andrey Henkin, Editorial Director

Music for Six Musicians (Hommage à Olivier Messiaen)
Steve Swell (Silkheart)
by Robert Iannapollo
Trombonist Steve Swell is regarded as one of the best
trombonists to emerge in the late ‘80s but his skills as a
composer, which are formidable, tend to be overlooked.
Combing through his discography, as far back as 2003’s
Suite For Players, Listeners And Other Dreamers, Swell
was looking at the total picture. So, an album inspired
by the music of 20th century French composer Olivier
Messiaen shouldn’t be too surprising… but it is. Music
For Six Musicians is a live performance of a five-part
suite played by an assembled group of old cohorts.
Messiaen is a major figure in modern European
music, expanding the scope of orchestral, chamber, organ
and piano music, bringing in original ideas regarding
rhythm (particularly influenced by Eastern music),
orchestral colors, unusual instrumentation, including
early electronic instruments like the ondes Martenot.
What Swell has derived from Messiaen may not
always be readily apparent to someone with a limited
knowledge of his canon yet there are moments that
seem to reference it overtly. The percussive flurry at
the beginning of “Vautour Fauve” is reminiscent of its
use in the Turangalila Symphonie and beautifully
delineated by percussionist Jim Pugliese. The organ
(played by Robert Boston) is given the foreground
through much of “Sextet For The End Of Democracy”.
The use of violin (Jason Kao Hwang) and cello (Tomas
Ulrich) adds chamber music ambience with an edge.
Swell and Co. are first and foremost improvising
musicians and that’s what gives this music, even at its
most composed, its ebb and flow. The most overtly jazz-
derived piece is “Joy And The Remarkable Behavior Of
Time”. After a lengthy, pointillistic introduction of the
material, the piece picks up steam for a round of solos.
Music for Six Musicians shows just what can be
done when ‘foreign’ materials are placed in the hands
of a musician who shares similar views regarding
expansion of his methodology.
For more information, visit silkheart.se. Swell is at H0l0
Mar. 3rd and Happylucky no.1 Mar. 14th. See Calendar.
Live at Rockwood Music Hall NYC
Jim Campilongo Trio (Blue Hen)
by Eric Wendell
Signature sounds in the New York City music scene
are hard to come by in a scene robust with distinctive
acts. Guitarist Jim Campilongo stands out with a mix
of abstract rock and obtuse funk, a rewarding mix on
his latest release.
THE NEW YORK CITY JAZZ RECORD | MARCH 2018
Alongside bassist Chris Morrissey and drummer
Josh Dion, Live at Rockwood Music Hall NYC displays
a working unit not afraid of exploring the moment and
journeying to wherever the sounds take them. The way
the trio innately bounces ideas off of each other allows
the melodic character of each of the eight songs to
shine brightly.
Stemming from a Monday night residency at the
titular New York City club, Campilongo and Co’s
genre-bending peculiarities change nearly bar to bar.
This is evident from the git-go with opener “I’m Helen
Keller and You’re a Waffle Iron”, beginning with
a swift blues riff before switching to a twitchy,
harmonic-infused pattern.
The trio follows through with this trajectory for
much of the album, the subsequent song “Big Bill” an
early highlight showcasing Campilongo’s chicken-
picking Telecaster sound, Morrissey’s use of double-
stops and Dion’s fluid playing. The latter ’s singing on
the blues-saturated “Here I Am”, the sole vocal on the
record, is sultry, sullen and not overly sentimental.
The true standout is “Cock and Bull Story”, which
features a cameo by guitarist Nels Cline, who doesn’t
so much add counterpoint but rather an impartial
thread weaving in and out of Campilongo’s sound.
This is followed by “Sal’s Waltz”, a sparse, heartfelt
avant garde ballad of sorts with touches of Americana.
The album does suffer from an overall lack of color;
Campilongo’s tone is so distinguished that when aimed
at a different genre or style, his Telecaster-twang is just
too hard to deny. A small price to pay for being such a
distinctive quality in the New York City jazz scene.
For more information, visit jimcampilongo.com. This project
is at Rockwood Music Hall Stage 2 Mar. 5th and 12th and
55Bar Mar. 11th. See Calendar.
21
 Open at Wayne Kelly and bassist Ashley Turner are joined by

7 pm!
American tenor saxophonist Eric Alexander. The music
is mostly hardbop with Alexander sometimes sounding
a little like late ‘50s John Coltrane.
The CD begins with an obscure Duke Pearson
song, “Is That So?”, swinging easily even if the melody
is not that memorable. Alexander and Kelly take fine
solos and Dickeson’s feature recalls Philly Joe Jones.

!
The quartet takes J. Fred Coots-Sam M. Lewis’ “For All

This M o n t h Hope and Knowledge

Ron McClure Trio (McJolt)
by Jim Motavalli
We Know” at a faster-than-usual mid-tempo pace,
Kelly displaying some attractive chord voicings in his
solo. Ferde Grofé’s “On The Trail” is also a little hotter

Live!
than one would expect, benefitting from being given a
Ron McClure held the bass chair in fusion group The rhythmic figure similar to Ahmad Jamal’s famous
Fourth Way, which formed in 1967—predating Weather version of “Poinciana” , which featured Fournier.
THU E D C H E R RY T R I O 7:30PM Report by three years. McClure played electric, The chords of Richard Rodgers-Oscar
3/1 HIGH & MIGHTY BRASS BAND 10:00PM complementing Mike Nock’s Rhodes and Michael Hammerstein’s “The Surrey With The Fringe On Top”
FRI KEN FOWSER QUINTET 7:30PM White’s plugged-in violin. So is the music McClure’s are modernized, making Dickeson’s rendition
3/2 MIKE SAILORS BIG BAND 10:30PM making now, 50 years later, pointing to an as-yet surprisingly dark. Jimmy Van Heusen’s lesser-known
unseen electronic future? Not a bit of it; it’s an acoustic “To Love And Be Loved” has some particularly warm
SAT JOHNNY O’ NEAL TRIO 7:30PM
3/3 BRUCE HARRIS 10:30PM piano trio. Not that it isn’t progressive—all the songs ballad playing from Alexander. The Gershwins’ “The
are McClure’s own, with the exception of “Impromptu Man I Love”, not played all that often these days, is
TUE J A Z Z & C O M E D Y N I G H T F T. #1 (Ethan’s Tune)” written by pianist Michael Eckroth. taken at a fast pace with fluent solos by Alexander,
3/6 T H E B R I A N C H A R E T T E O R G A N T R I O 7:00PM
Almost all of it is pretty, midtempo bop. Kelly and Dickeson. Bronislaw Kaper ’s “Invitation”
WED PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M Eckroth is a bouncy, lyrical player à la Wynton inspires some atmospheric drumming and a fiery
3/7 DJANGO JAM SESSION 10:00PM
Kelly (in whose trio McClure worked), but with some statement from the saxophonist who, on Roberto
THR DAN ARAN BAND 7:30PM of McCoy Tyner ’s rhythmic force. He’s dominant, as Menescal’s “Little Boat” plays his version of Coltrane’s
3/8 E L I “ PA P E R B O Y ” R E E D 10:00PM pianists usually are in piano trios, but that’s not the “sheets of sound” while still sounding like himself.
FRI KEN FOWSER QUINTET 7:30PM full story. Pete Zimmer on drums is a find too and then Is That So? concludes with Alexander ’s original
3/9 MICHAEL ARENELLA there’s the bass-on-top playing of McClure, who “Iron Man”, a no-nonsense uptempo blues with a
DREAMLAND ORCHESTRA 10:30PM doesn’t grandstand but is upfront anyway: in the mix, bridge that gives the quartet an opportunity to cook
SAT R AY G A L L O N T R I O 7:30PM as a composer and in his active support. once more, wrapping up a highly enjoyable CD.
3/10 E YA L V I L N E R B I G B A N D F T. “New Autumn” is a standout tune with a lovely
VOCALIST BRIANNA THOMAS 10:30PM
melody crying out for lyrics (players contemplating For more information, visit andrewdickeson.com. Eric Alexander
TUE BRAZILIAN NIGHT yet another run at “On Green Dolphin Street” should is at An Beal Bocht Café Mar. 7th with Joe Farnsworth and
3/13 W / T H E D O M S A LVA D O R Q U A RT E T 7:30PM consider recording it instead). On the title track, Smoke Mar. 16th-18th with Harold Mabern. See Calendar.
WED PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M McClure alternates lead duties with Eckroth and then
3/14 DJANGO JAM SESSION 10:00PM Zimmer moves up front over Eckroth’s comping.
THR A RT H U R V I N T & A S S O C I AT E S 7:30PM “Impromptu #1” starts out slow and dark, then settles
3/15 MARK WHITFIELD 10:00PM into some gentle swinging. “The Yes I Never Heard”
features deep conversations between the players—
FRI KEN FOWSER QUINTET 7:30PM
3/16 LEZLIE HARRISON 10:30PM everybody listening to one other—and McClure offers
a yearningly effective solo. Here and elsewhere, he
SAT NEAL CAINE QUINTET 7:30PM is really pushing the trio forward. “All Things
3/17 PROFESSOR CUNNINGHAM
& HIS OLD SCHOOL 10:30PM Considered” may or may not be about the NPR show,
but, like the news, it has urgency to it. “Daphne” is
TUE TA N G O N I G H T H O S T E D B Y another strong melody, with a building intensity.
3/20 PEDRO GIRAUDO & FRIENDS 7:30PM
The worst thing you could say about this record is
WED PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M that there isn’t enough variety (“In His Name” and
3/21 DJANGO JAM SESSION 10:00PM
“Pre-Pirogian Dirge” are welcome ballads) and it’s
THR
3/22
FREDDY DEBOE BAND
IAN HENDRICKSON-SMITH
7:30PM
10:00PM
perhaps overlong. The best thing? Listeners would be March 6th
Lou Caputo
hard-pressed to identify the leader in a blindfold test.
FRI KEN FOWSER QUINTET 7:30PM They’re all leading and all playing together.
3/23
Little Big Band
C H R I S N O RT O N 10:30PM
SAT PETE MALINVERNI TRIO 7:30PM For more information, visit ronmcclure.com. This project is
3/24 F T. V O C A L I S T T O N Y H E W I T T at Mezzrow Mar. 7th. See Calendar.
STEVEN FEIFKE BIG BAND 10:00PM
March 13
TUE
Mike Longo and the
L AT I N G R O O V E S
3/27 F T. G E R A R D O C O N T I N O 7:30PM
WED
3/28
PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M
DJANGO JAM SESSION 10:00PM NY State of the Art
THR S TA F F O R D H U N T E R & C O N T I N U U M 7 : 3 0 P M
3/29 T H E B I N K Y G R I P T I T E O R C H E S T R A 1 0 : 0 0 P M
Jazz Ensemble
FRI
3/30
KEN FOWSER QUINTET
I TA I K R I S S & T E L AVA N A
7:30PM
March 27th
SAT
F T. B E L LY D A N C E R E L E N A N AY I R I
DIDA PELLED
10:30PM
7:30PM Is That So?
Jay D’Amico Trio
3/31 “KING” SOLOMON HICKS 10:30PM Andrew Dickeson (with Eric Alexander) (s/r)
The Roxy Hotel New York Baha’i Center
by Scott Yanow

Reservations Information 2 AV E . O F T H E
AMERICAS
Andrew Dickeson, a drummer from Australia in his
late 40s, has been a professional since he was 13, active
53 E. 11th Street
(between University Place and Broadway)
(212 )519 .664 9 Cellar Level in Sydney from 1987, spending 1991 in New York
Shows: 8:00 & 9:30 PM
TH ED JA NG ON
YC co m Tribeca studying with Art Taylor and Vernel Fournier, and since
performing with notable jazz artists from the U.S.,
Gen Adm: $15 Students $10
212-222-5159
CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! Australia and Europe. Is That So?, which follows 2011’s
bahainyc.org/nyc-bahai-center/jazz-night
Weaver Of Dreams, is his second recording as a leader.
LOCATED IN THE OF TRIBECA For this set, recorded in Sydney, Dickeson, pianist

22 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD


Modern Lore
Julian Lage (Mack Avenue)
by Stuart Broomer
At 30, guitarist Julian Lage is already distinguished by
his duo and quartet collaborations with Nels Cline, his
work with John Zorn and fellow guitarist Gyan Riley
and the journeys into early jazz that contributed so much
to Arclight, his previous Mack Avenue trio recording.
His musical associations move between easy
listening and the avant garde (touching at times on the
easy listening wing of the avant garde), a phenomenon
that touches guitarists in particular; witness others like
Bill Frisell and Mary Halvorson whose fealty is to an
instrument rather than a genre.
In this sense, guitarists are simply different,
playing an instrument only incidental to certain jazz
styles while tapping into its heartland legacy as the
defining instrument of blues, country and rock. And
that’s just what Lage does here, making his presence
felt in beautifully articulated details while his original
compositions resonate with early rock, surf and
country instrumentals of the ‘50s-60s. He does it with
the stellar support of his trio regulars, bassist Scott
Colley and drummer/vibraphonist Kenny Wollesen.
Lage favors the bubbly, treble-rich sound of a
Telecaster here and it suits the light lyricism of a theme
MARK WADE TRIO
WITh
TIM hARRIsOn (pIAnO)
scOTT nEuMAnn (DRuMs)
lIvE AT club bOnAfIDE
MOvIng DAy cD RElEAsE cOncERT
MARch 3RD AT 8pM
212 E.52nD sTREET ny ny
TIcKETs AvAIlAblE AT clubbOnAfIDE.cOM
“OnE Of ThE KEy bAss
plAyERs Of ThE TIMEs.”
- JAzz In EuROpE
“WhAT IT TAKEs TO
lEAD A JAzz TRIO
TO gREATnEss.”
- ThE JAzz READER
MARKWADEMusIcny.cOM
like “General Thunder”, a number suspended between
down-home comfort music and film noir jazz. Those
complex moods are common here, resulting from a
combination of precision and subtlety that highlights
harmonic nuance. “Wordsmith” emphasizes a certain
woodland delicacy while “Revelry”, country with
touches of Bach, might summon the shade of Hank
Williams. The brief “Earth Science” combines that
Telecaster sonority with a fractured theme that heads in
the direction of collective improvisation while concluding
“Pantheon” uses minimal and gentle melodic means to
develop a rare and somehow spacious grandeur.
Lage succeeds in creating music that rewards a
certain close attention but one that also never demands it.
For more information, visit mackavenue.com. This project is
at Le Poisson Rouge Mar. 9th. See Calendar.
ADAM NUSSBAUM
THE LEAD BELLY PROJECT
with
STEVE CARDENAS
NATE RADLEY
Live & Uncut OHAD TALMOR
Mark Whitfield (Chesky)
by Phil Freeman SSC 1500 - IN STORES NOW
G uitarist Mark Whitfield, bassist Ben Allison and
T
he discovery of the music of Lead Belly was
drummer Billy Drummond tear through a six-song set transformative for young Adam Nussbaum. The
of mostly jazz standards (Edward Eliscu-Billy Rose-
only child of artistic parents in Norwalk, Connecticut,
Vincent Youmans’ “Without A Song”, Bronislaw
Kaper ’s “Invitation”, Ann Ronell’s “Willow Weep For Nussbaum was exposed to many recordings, from
Me”, Monk’s “Jackie-Ing”) on this live album, recorded classical and folk to jazz and blues. It was the image
at Rockwood Music Hall in February 2017. As with all of Huddie Ledbetter on the original Folkways 10-inch
Chesky releases, Live & Uncut features binaural sound record covers that fascinated the five year old. The
intended to mimic the live experience as accurately as celebrated blues and folk musician’s music seared
possible—and so it does. The impression, on itself into his ears, as it does in young listeners,
headphones at least, is of sitting front and center.
informing the future drummer’s musical approach for
Whitfield is heard in the left channel and Drummond
in the right, with Allison not exactly in the middle,
years to come, most explicitly on his new recording,
more like an ambient presence, a steady series of The Lead Belly Project.
underwater booms. The small (let’s be nice and call it
“intimate”) audience seems to be behind one’s head,
enthusiastic but never overbearing.
The opening number, “Without A Song”, sets a
N ussbaum has had a long association with
bassist Steve Swallow, through whom he met
saxophonist/composer/arranger Ohad Talmor, who
tone of moderate intensity; it’s a 10-minute burner that then became a great friend and collaborator. It was
lets Whitfield fly along, letting loose rippling bursts of
Talmor who suggested that Nussbaum begin a new
ultra-clean fast picking. Behind him, Allison throbs
and Drummond keeps the beat swinging without ever
project. It was for this that the drummer decided to
driving so hard that you might accidentally start revisit some of the music that inspired him early on,
tapping your foot or anything. This is head-nodding specifically the music of Leadbelly. Nussbaum found
jazz, the melodies simple and the solos rising that the simplicity and clarity of Leadbelly’s songs
organically out of them. As things progress, though, provided many possibilities in interpretation. It was
the energy level gradually rises. “Willow Weep For only a matter of finding the right voices to fill out an
Me” is performed with a punchy hardbop feel, recalling ensemble.
Dexter Gordon’s version from 1964’s Our Man In Paris,
though Whitfield’s bent notes and occasional bursts of
reverb add a bluesy twang. Drummond swings harder
on this number, brushed snare and aggressive kick F or his quartet in addition to Talmor, Nussbaum
decided to eschew the bass and employ two
electric guitarists (two six stringers for Leadbelly’s
bouncing the track higher and higher.
The eight-minute “Changes For Monk And Trane” single 12-string guitar) whose only requirements
(one of two tunes by Drummond) is one of the peak would be to be open-minded, stay out of each other’s
moments; despite sounding like he’s playing an way and be supportive of the music. Steve Cardenas
acoustic guitar, Whitfield rips it up, swinging in a ‘30s was an obvious choice as Nussbaum had been a fan
style, and when Drummond takes his own solo, it’s a
of his playing and felt that he would be receptive and
Max Roach-esque avalanche of melodic tom work,
speedy rolls and dancing cymbals, after which Allison sensitive to this melding of jazz, blues and folk. Nate
slowly brings the groove loping back in. There’s Radley was a perfect foil for Cardenas and a sensitive
nothing revelatory here—just three dudes swinging listener who could bring much to the music.
hard for an hour. But frankly, that’s more than enough.
For more information, visit chesky.com. Whitfield is at Zinc
Bar Mar. 12th, 19th and 26th with Strings Attached and The
Django at Roxy Hotel Mar. 15th as a leader. See Calendar.
iTunes.com/AdamNussbaum
www.sunnysiderecords.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2018 23
 excellent Too Many Continents (Clean Feed, 2015) with
pianist Kris Davis. So it’s no surprise that the pair
continue to thrive on Is Life Long?. Fraser completes the
roster with two further Canadian collaborators, Rob
Clutton (bass) and Andrew Downing (cello).
Fraser ’s six originals achieve a winning symbiosis
between tightly scripted events and apparently organic
unfolding frameworks. He often sets up driving riffs in
overlapping voices, but then tends to play around any
Chansons du Crepuscule actual or implied time himself, using imaginative
Hélène Breschand/Elliott Sharp (Public Eyesore) textures to lend an engaging off-kilter aspect to the
by Mark Keresman momentum. You certainly wouldn’t know he was the
leader from the amount of prominence he allots
SWING BY TONIGHT Hélène Breschand is French, a Parisian, a vocalist, himself. The nearest he gets to a solo is a clattering
7:30PM & 9:30PM composer and harpist. She’s collaborated with such très undertow on the sprightly “Skeleton”. Instead, the
avant mavens as David Toop and Christian Marclay and draw here is the way in which his compelling charts
musicians Zeena Parkins and Tony Hymas. Elliott Sharp is promote freewheeling interaction.
MAR 1–4
an American, a New Yorker, guitarist, composer and That said, Malaby impresses as a fount of off-the-
charles mcpherson quintet
saxophonist. He writes songs for his blues band Terraplane cuff invention, mixing sudden yelps, feral squeals and
MAR 5 • MONDAY NIGHTS WITH WBGO
and assorted classical chamber ensembles, studied under discordant overtones in a dazzling display. He
new york youth symphony jazz featuring classical composer Morton Feldman and points to Howlin’ produces an astonishing hissed scream as part of the
Wolf’s guitarist Hubert Sumlin as an inspiration. Chansons extemporized dialogue that ends “Disclosure”. But he
vuyo sotashe
du Crepuscule finds them playing tribute (though not also performs a structural role and in “Arachnid” it’s
MAR 6–7
exactly reverently) to the sophisticated, somewhat Malaby’s repeated line that holds everything together
baroque-ish pop of Jane Birkin and Serge Gainsbourg, until the others gradually fall in step, increasing both
denise thimes
whose sleek, suggestive “Je t’aime…moi non plus” was the impetus and the impact. Other highlights include
MAR 8–11 a massive European hit in 1969. the eerie scene-setting of “Quicksand”, which
duduka da fonseca and helio alves Opener “Extase” displays Breschand’s elated incorporates both chamber elements and a nexus of
featuring maucha adnet: samba jazz and whoops intertwining with Sharp’s fuzzed-out guitar turbulent propulsion from cello, bass and drums, and
the music of jobim lines and what sounds like a sitar—this serves as slow-burning martial tattoo of “The Predictor”,
a clarion call and perfect introduction to this vocal finishing the disc in fine style with an explosion of
MAR 12 counterpart to a corridor of funhouse mirrors. The duo spiraling cries and splintered abrasions.
jazz at lincoln center youth orchestra with does a unique rendition of “Je t’aime”, recasting it as
special guest lew tabackin a blues-drenched dirge; Breschand makes with For more information, visit cleanfeed-records.com. Fraser is
appropriately breathy/breathless cooing before loosing at Downtown Music Gallery Mar. 18th, Bushwick Public
MAR 13 some stratospheric wails while Sharp plays eerie House Mar. 19th and Korzo Mar. 20th. See Calendar.
akira tana and otonowa bottleneck blues, set to a percussion loop. This song
goes from seduction to apocalypse in a few (un)easy
MAR 14 minutes. For a taste of the Infernal Depths, take a listen
mark sherman quartet with special guest to “Goutte à Goutte”—Breschand sings wordlessly in a
bruce barth husky (and impressive) range amid eerie guitar sustain
and clattering, echoing, hellish soundscapes.
MAR 15–18 “The Cuckoo”, presumably an ode to the bird,
freddy cole quintet features a rare vocal from Sharp, his deep, velvety
baritone almost a ringer for ‘60s pop craftsman Lee
MAR 19–20 Hazlewood. Brittle, crackling, swirling harp and guitar
brubeck brothers quintet with special carry country blues overtones and some noir-esque
guest carl allen twang over a slinky, loping groove before a somewhat
psychedelic guitar storm. This duo, if not apparent by
MAR 21
now, likes to start with one type of ambiance and then
duchess invert/subvert it. But not all the way through: on
“Amor” the harp is plucked sweetly, Breschand’s voice
MAR 22–24 • FLAMENCO FESTIVAL NY
floating somewhere between coziness and lament, the
dorantes with adam ben ezra and special mood musing and contemplative.
guest tim ries The pair maintain the sultry, refined, shrewdly
erotic vibe of the Gainsbourg/Berkin collaboration
MAR 25
while moving into surreal realms as yet undreamt.
miho hazama and m_unit
For more information, visit publiceyesore.com. Sharp is at
MAR 26
Roulette Mar. 13th. See Calendar.
manhattan school of music afro-cuban
jazz orchestra
MAR 27–28
judy carmichael quartet with special
guest harry allen
MAR 29–APR 1
the diva jazz orchestra's 25th anniversary
celebration and cd release party
Is Life Long?
Nick Fraser (Clean Feed)
by John Sharpe
JAZZ.ORG / DIZZYS
212-258-9595 Canadian drummer Nick Fraser has developed quite
jazz at lincoln center a partnership with saxophone ace Tony Malaby since
broadway at 60th st., 5th fl.
they first combined on Towns And Villages (Barnyard) by
Fraser’s quartet in 2013. And it was also evident on the

24 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 Let’s Groove: The Music of Earth Wind & Fire
Cory Weeds (Cellar Live)
Dreamsville
Cory Weeds & Jeff Hamilton Trio (Cellar Live)
by Tom Greenland

Saxophonist and impresario Cory Weeds has been a

significant presence on the Vancouver jazz scene.
Known especially for his 13-year run at the helm of the
Cellar Jazz Club (sadly, now defunct) and as head of its
namesake record label, Cellar Live (happily, alive and
well and the purveyor of the two discs here), Weeds
was always a hands-on caretaker, sharing the stand
with many of the musicians coming through, producing
a dozen recordings of his own along the way. Two
recent releases show two sides of his musical talent.
Let’s Groove: The Music of Earth Wind & Fire is
a collaboration with New York-based Hammond B3
specialist Mike LeDonne, a tribute to (and take-off
from) the funk super-group formed in 1969, huge in
the ‘70s and still active today.
Weeds and LeDonne bonded on two of the former ’s
earlier projects, so when the latter brought drummer
Jason Tiemann with him to join tenor saxophonist
Steve Kaldestad, guitarist Dave Sikula and conguero
Liam MacDonald in “Rain City” (Vancouver ’s
nickname), the session benefited from a certain
pre-built, West-meets-East cohesion. Their inspiration
may have been catchy funk songs but the sound owes
more to hardbop and organ trio traditions, LeDonne’s
agile left hand handling all bass chores, in Kryptonite
lockstep with Tiemann’s urgent ride patterns. The big
hits are there—“Let’s Groove”, “Devotion”, “The Way
of the World”, “Shining Star”, “After the Love Is Gone”
(taken from albums recorded between 1974-81)—
but you probably wouldn’t recognize them in this
context, which could be a result of that particular
repertoire: songs that rely more on layered rhythmic
grooves than on melodic-harmonic prosody for
effectiveness. Weeds plays alto throughout, matched
with Kaldestad on the heads, pitching it in lower
register, sliding smoothly between tones, sketching his
scenes in bluesy pastels. LeDonne is the group
cynosure, adding the x-factor to a capable if somewhat
predictable blowing session.
Dreamsville partners Weeds (now exclusively on
tenor) with veteran drummer Jeff Hamilton’s trio
(pianist Tamir Hendelman and bassist Christoph Luty),
continuing the relationship they began on 2015’s This
Happy Madness, fostered by a trio of gigs just prior to
the recording date.
Similar to the above album, this is a highly cohesive
blowing date, one in which the quartet is compatible
enough to speak in a kind of musical shorthand. Here
the mood is more relaxed, with a generous helping of
ballads (Michael Franks’ “The Lady Wants to Know”,
Henry Mancini’s “Nothing to Lose” and the title track,
Anthony Newley’s tender but unsentimental “Love Is
a Now and Then Thing”) alongside uptempo originals
(Weeds’ “How Do You Like Them Apples”,
Hendelman’s “Bennissimo”), midtempo swingers,
even a bossa-rock cover of Sting’s “She Walks This
Earth” (based on Chico César-Ivan Lins-Vitor Martins-
Brenda Russell’s “Soberana Rosa”). Hamilton, master
of delicate sticking and sinewy brushwork, orchestrates
the dynamics, allowing Weeds’ warm, slow-boiling
sounds to grin and glow. Not the sort of music to make
your jaw dangle but just the thing for which you’d
come to a club.

For more information, visit cellarlive.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2018 25


After The Fall
Keith Jarrett/Gary Peacock/Jack DeJohnette (ECM)
by Robert Bush
F or more than 30 years, Keith Jarrett (piano), Gary
standard equipment, the format of the sophomore
recording by Dialectical Imagination offers considerable
nostalgia. But what appears to be a cassette actually
conceals a fold-out USB flash drive. In addition to the
four cuts herein, one can also download artwork. Surely
a novel approach, but how about the music?
The duo of pianist Eli Wallace and drummer Rob
Pumpelly is born of the time-honored tradition of free
jazz. The pair offer well-performed, expressionistic
selections dubbed “ecstatic music”, though it’s unclear
how this differs from “fire music”, “The New Thing” or
free improvisation itself. Much of the selections are,
frankly, almost interchangeable, recalling the
thunderously free pianistic sounds coined by Cecil
Warfield and his band bring individual color to a
broad spectrum of musical expression: Wayne Shorter’s
“The Three Marias” reflects its composer with a bouncy
groove and high notes from the saxophones; original
“A Little Circus Music” is a non-stop dance and features
that same kind of force from tenor saxophonist Rich
Perry; and Charles Mingus’ “Goodbye Porkpie Hat”
has a bittersweet feel via Warfield’s muted trumpet and
brilliant arrangement, with which, apparently, Soloff
was quite taken. As he might well be by all these fine
performances by this dynamic big band.
For more information, visit planetarts.org. This project is at
Zinc Bar Mar. 24th. See Calendar.

Peacock (bass) and Jack DeJohnette (drums) operated
as one of the finest piano trios in modern history, with
a slew of touchstone recordings since their official
inception in 1983 (after Peacock’s 1977 ECM album
Tales Of Another). Sadly, the trio stopped performing in
2015, but ECM may just be sitting on a treasure trove of
unreleased material that could sustain the listening
audience for years to come, if the notoriously hard-to-
please Jarrett consents to their unveiling. This session
comes from a 1998 concert (most of the Standards Trio
discography, aside from the first three studio records
and the 1993 offering Bye Bye Blackbird, is concert
PRISM QUARTET
Taylor well before the days of cassettes. “Autopoetica”,
“Hatchling” and “Strength and Presence” (the last
coming in at nearly 14 minutes before slowly fading out)
are branded by the burning intensity so characteristic of
this music: rapid-fire runs up and down the keyboard at
presto; smashing two-handed chord crunches; and wITh
percussive attacks in concert with perpetual-motion
drumming. In such excursions there isn’t room for DAvE LIEbMAn
breath, let alone atmosphere, so it’s hard to hear the
unique ecstasy within. More so, in the frenzy, one RUDRESh MAhAnThAPPA
MIgUEL ZEnón
wonders how dialectics can possibly feature into this.
Only “Autopoetica II” stands out, as it includes a variety

recordings), when Jarrett emerged from a serious bout
with chronic-fatigue-syndrome, an ailment that
sidelined him for several years.
He decided on a bebop-centric program for this
comeback performance and the results are typically
exhilarating. The first disc opens with Jarrett alone,
contemplating Allie Wrubel-Herb Magidson’s pensive
“The Masquerade is Over”, injecting each phrase with
maximum humanity until his partners join him at the
midpoint, whereupon a glorious groove emerges—the
detail and punch of DeJohnette’s brushes propel the
piece into a higher dimension. The full band hits from
bar 1 on Charlie Parker ’s “Scrapple From the Apple”,
swinging like there’s no tomorrow, but Joseph Kosma-
Jacques Prevert-Johnny Mercer ’s “Autumn Leaves”
ratchets up the excitement quotient exponentially. The
inevitable vamp-out finds the drummer activating
thunderous percussion in trademark fashion.
Disc 2 opens with the unfettered rhythmic and
melodic joy of Bud Powell’s “Bouncin’ with Bud” and
Jarrett manages to populate every square inch with
wicked strands of knotted melody. Everyone attacks
the Sonny Rollins classic “Doxy” with languid swagger,
eager to tear the meat off the bones. Peacock indulges
in a wonderfully dark low-end moment, delivering his
most satisfying solo on the date. Crisp ride cymbal
pings propel and illuminate the path for a blistering
reading of John Coltrane’s “Moment’s Notice”,
allowing Jarrett to glide over the minefield of tricky
modulations with characteristic effusive power.
One can only hope that there are still more live
sessions like this in the vaults at ECM.
For more information, visit ecmrecords.com
The Angel and the Brute Sing Songs of Wrath
Dialectical Imagination (Atmanadi)
by John Pietaro
Downtown aficionados of the analog DIY age may
recall Generator, an East Village music shop specializing
in underground cassette tape releases. What with the
development of digital technology and the internet as
TIM RIES
of motifs and a harmonic structure framed by pedal
tones, albeit with no loss of liberty. And as the piece
comes down in dynamics, it also increases the sense of
beauty from which unfortunately avant gardists
sometimes will run. Wallace and Pumpelly, who hail MARch 22nD, 7 PM $8-23
from the Bay Area but have apparently moved to New SyMPhony SPAcE
York as of late, are fine musicians with much to add to 2537 bRoADwAy AT 95Th STREET
Brooklyn’s own ‘downtown’. Their vision, however,
would be better served by an embrace of the full
spectrum of sounds born of jazz’ liberation.
PRISMQUARTET.coM
For more information, visit atmanadi.com. Eli Wallace is at
Bushwick Public House Mar. 12th, St. Lydia’s Mar. 22nd
and Pete’s Candy Store Mar. 30th. See Calendar.
For Lew
Bill Warfield Big Band (Planet Arts)
by Donald Elfman
This extraordinary compilation of recordings made
between 1990-2014 documents the continued vitality of
the big band format, especially when populated by
exceptional players and led by an artist of broad vision.
It takes on special poignancy as trumpeter Bill Warfield
dedicates it “to the memory of my mentor, colleague,
friend and inspiration, Lew Soloff” (who passed away
three years ago this month). For Lew also includes two
unreleased tracks from those earlier recordings and
four tunes featuring Soloff in the trumpet section; in
one case he’s the featured soloist.
Standard “Old Devil Moon” is an unreleased track
from 1997 and a powerful and vibrant opener. The
band, buoyed by guitarist Dave Stryker and the
trumpets, swings definitively, with bracing solos by
alto saxophonist Andy Fusco and pianist Joel Weiskopf.
From the same album and also unreleased comes John
Coltrane’s “Some Other Blues”, a dazzling showpiece
for the orchestra in beautifully frenzied mode. Walt
Weiskopf is the passionate tenor soloist and is followed
in equal measures of intensity by the leader himself.
Bassist Jeff Fuller wrote and arranged “Salsa En Mi
Alma”, a lovely Latin dance number with flute and
piccolo and a beautiful, imaginative solo by Soloff.

26 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD


More Powerful
George Colligan (Whirlwind)
by Matthew Kassel
“Whiffle Ball”, the first track on More Powerful, is more
powerful than its title suggests. It’s a force right out of the
gate, with a brisk, stop-time introduction lasting only
about 30 seconds, until George Colligan takes over with a
splashy solo, setting the mood for most of the record.
This is Colligan’s 28th album as a leader, a lot for any
recording musician. But for a 48-year-old jazz pianist—
and occasional drummer and trumpeter—it’s kind of
ungodly. To his credit, Colligan isn’t a conceptualist.
What he is is a workhorse, who is always writing new
songs and moving forward. He knows how to lead a
recording session without being glib or commandeering.
He is accompanied by drummer Rudy Royston,
a longtime collaborator, bassist Linda May Han Oh
and saxophonist Nicole Glover, a former student of
Colligan from Portland State University. They run
through these finely constructed postbop compositions,
all of which were written by the leader, with aplomb.
Though this is a Colligan production through and
through, his bandmates aren’t relegated to the
background: Royston holds the group together with
fleet-fingered power; Oh takes several lovely solos, her
sound woody and distinct; Glover ’s guttural braying
on soprano and tenor often evokes Coltrane.
Colligan is at his best when he’s working his way
through a fast-paced, straightahead swing rhythm
though there are moments that give the listener a
subtler sense of his sound and style. For instance, on
the second track, “Waterfall Dreams”, Colligan plays a
series of liquid chords that in many ways recall Keith
Jarrett’s open-hearted approach. As the album nears its
end, there are more opportunities to hear this side of
Colligan. The record gets slower, darker and a little
more rhythmically free as it reaches its end.
“Southwestern Silence” and “Empty”, for example, are
particularly contemplative and even occasionally
spooky. But they are no less powerful because of that.
For more information, visit whirlwindrecordings.com.
Colligan is at Smoke Mar. 29th. See Calendar.
Inner Journey
Carl Winther/Jerry Bergonzi (SteepleChase Lookout)
by Ken Dryden
Carl Winther, a talented young pianist, is one of the
many European musicians who record regularly on the
continent yet only sporadically get the opportunity to
play in the U.S. This son of late Danish trumpeter Jens
Winther is well on the way to making a name for
himself, having won several awards in Europe. This
studio session pairs him with veteran tenor saxophonist
Jerry Bergonzi, supported by bassist Johnny Åman and
drummer Anders Mogensen. The foursome are hardly
strangers, having recorded earlier dates for Savant and
Stunt and have also shared the stage during the
saxophonist’s trips to perform in Europe. The entire propulsive energies that inspired it. Influences range
date is devoted mostly to the leaders’ strong originals from Indian classical music to mathematical properties
and the quartet devours them all. (the piece is, after all, dedicated to his father, a UCLA
Winther proves to be a capable partner for the professor of engineering), bringing solid returns on his
usually hard-blowing saxophonist, though he also is emotional investments. There’s a backwater charm
able to bring out some of Bergonzi’s lyrical side. lurking within and a feeling of memory tying it all
Winther ’s “Talisman” takes a little time to simmer as together. Violist Benjamin von Gutzeit’s “Propeller” is
the co-leaders play a tantalizing unison line, something of a sister piece, as it deals equally with
showcasing Bergonzi’s boisterous, inventive mechanisms in motion, if on a more intimate scale. Its
improvising and Winther ’s superb postbop chops. balance of curves and straights is emblematic of what
“Requiem For JW” is a heartfelt tribute to Winther ’s this quartet is capable of at its finest.
father, a moving elegy opening with searching,
unaccompanied horn before the piece transforms into a For more information, visit azica.com. This project is at The
sauntering samba powered by Bergonzi’s anguished Cutting Room Mar. 9th. See Calendar.
tone. The pianist’s breezy “KMA” is perfect fodder for
the energetic flights of Bergonzi, who contributed the
bluesy “Bar None”, which conjures the feeling of lost
love through his keening sound. Mogensen penned the
equally mournful “Wheel of Fortune”, which features
a sparse piano solo and emotional saxophone outburst,
supported beautifully by the rhythm section. Winther ’s
miniature “Long Gone” is just as intense, piano coming
in waves behind saxophone, conveying a sense of
loneliness amid turmoil, fueled by darting bass and
sparse percussion. Winther ’s robust “Golem” finishes
the session with a flourish, highlighted by its playful,
twisting theme. With the strong chemistry throughout
this record date, it is a safe bet that Winther, Bergonzi
and company will cross paths again in the near future.
For more information, visit steeplechase.dk. Bergonzi is at
Jazz at Kitano Mar. 10th. See Calendar.
Bird’s Eye View
Turtle Island Quartet (Azica)
by Tyran Grillo
The Turtle Island Quartet presents a new program
centered on the spirit of Charlie Parker. Although only
one of his tunes is included, these four impeccable
musicians share Bird’s penchant for expanding
parameters and the results of their alchemy are just as
golden. Like the other jazzy ingots herein—namely,
“Subconscious-Lee” (Lee Konitz) and “Miles Ahead”
(Miles Davis)—“Dewey Square” makes artful use of
extended techniques. Violinist/founder David
Balakrishnan employs scratch tones for a delightfully
percussive effect while cellist Malcolm Parson (who,
along with violinist Alex Hargreaves, is new to the
group) plays the role of bassist via robust pizzicato. The
in-house arrangements alone boast of interdisciplinary
genius at play, allowing for plenty of improvisation to
show the quartet’s combinatory properties.
The Modern Jazz Quartet’s “Django” gets a
welcome spin and in its central section evokes the
fluidity of Stéphane Grappelli, whom Balakrishnan
calls a “patron saint” of the quartet. Yet Balakrishnan’s
own compositions are the support beams of this
soundly engineered structure. They sometimes reveal
an underlying quirkiness, as in his “Rebirth of the
Holy Fool”, which puns on Davis’ Birth of the Cool, and
“Squawk”, taking its inspiration from a mysterious
incident in 2011 when the town of Beebe, Arkansas
awoke on New Year ’s Day to find that 5,000 dead
blackbirds had fallen from the sky. The composer
navigates these images with delicate rigor. His
“Aeroelasticity: Harmonies of Impermanence”,
however, is the album’s centerpiece. A multivalent
suite in four movements, it hums with the very
THE NEW YORK CITY JAZZ RECORD | MARCH 2018 27

Amphibian Ardour
Spinifex (Trytone)
by Andrey Henkin
Spinifex is everything the European Union is not. Fun.
Effective. Collaborative. This group of musicians from
Portugal, Netherlands and Germany has been around
since 2005 in various forms, built around the core of
Tobias Klein (alto saxophone), Gonçalo Almeida (bass
guitar), Philipp Moser (drums) and Jasper Stadhouders
(guitar) and not-so-quietly inhabiting a wonderful
plane of European jazz absurdity. According to
Wikipedia, Spinifex is a genus of perennial coastal
plants in the grass family. This is purely a fact for
cocktail parties.
There are two key additions to this, the group’s
fourth album. Gijs Levelt has been replaced on trumpet
by Belgian Bart Maris, adding some veteran swagger,
and Spinifex has opened its borders to tenor saxophonist
John Dikeman, a musical refugee born in Wyoming and
living in Holland. Dikeman and Stadhouders are two-
thirds of Cactus Truck and some of that bombast is
present here. The latter is also a key collaborator of Ken
Vandermark, whose Vandermark 5 is a loose forebear.
Apart from a raga (“Revathi Tillana”) and Sufi
chant (“Zikr”), the tunes are mostly by Klein (Almeida
contributing a pair), sometimes funky, other times
meth-addled. Punk exuberance is doused by
Necrophagist-level precision. Without the chunkiness
of Stadhouders, Almeida and especially Moser, the
horns’ whimsy would come across as too diffuse; the
key to the band is that juxtaposition, as the urge to tap
one’s foot is upended by said foot being blown off by
a shriek from a saxophone or trumpet death ray.
The band’s first album was called Hipsters Gone
Ballistic and certainly this would be dubbed hipster
jazz in the States. That, however, would imply a lack of
seriousness, a transience of purpose. Like those mighty
perennial coastal plants in the grass family, Spinifex is
firmly rooted.
For more information, visit trytone.org. Dikeman and
Stadhouders are at H0l0 Mar. 3rd. See Calendar.
All Can Work
John Hollenbeck Large Ensemble (New Amsterdam)
by Robert Iannapollo
Drummer John Hollenbeck helms several groups that
have made their mark on the current jazz scene. His
most famous, The Claudia Quintet, actually has had a
modicum of commercial success, not easy to do when
working in the field of creative music. The John
Hollenbeck Large Ensemble is his flagship group.
Its third album, All Can Work, operates on several
levels. Many of the compositions were written in
homage to recently departed close friends: trumpeter
Laurie Frink, a Large Ensemble mainstay whose loss
was deeply felt; trombonist Bob Brookmeyer, a mentor;
trumpeter Kenny Wheeler. The most affecting piece is
the title track. Hollenbeck collected his emails from
Frink and fashioned a fragmented text expressive of
her personality, sung by frequent Hollenbeck
collaborator Theo Bleckmann. He gives the lyrics the
right mix of humor and pathos without over-
emphasizing either. The words are couched in warm
brass/reed voicings and, at over ten minutes, present
a firm idea of Frink and her relation to the ensemble.
An uncharacteristic version of Billy Strayhorn’s
“Isfahan”, stemming from a commission from 2015, the
composer ’s centennial year, appears under its original
title “Elf” in a much livelier, less rapturous take than
the original. Tony Malaby’s soprano saxophone is
given free rein and he delivers one of his best recorded
solos on the instrument.
One of Hollenbeck’s strongest assets is knowing
his players and how to write for them. “From trees”
stems from the influence of painter Piet Mondrian.
The opening gauzy orchestral textures are a perfect
analog to his earlier canvases, which were a major step
toward pure abstraction. The dialogue between Malaby
(tenor), Jacob Garchik (trombone) and Dave Ballou
(trumpet) keeps the music texturally loose for the first
part of the piece. The album ends with a rousing
version of Kraftwerk’s “The Model” and it takes the
album out on a positive note, which seems appropriate.
For more information, visit newamrecords.com. Hollenbeck
is at Miller Theatre Mar. 24th with Claudia Quintet. See
Calendar.

DOWNTOWN PERFORMING ARTS

FOR ALL NEW YORK

DCJazzPrix Emerging Band Competition Finalist

SULA
The Music & Magic Of Motown

David Finley (Miracles), George Wilson (Capitols), Douglas Diego Joaquin Ramirez, drums, Michael Mayo, vocals;
Gaddy & Charles Franklin (of Ali Woodson’s Temptations). Wayne Tucker, trumpet; Asaf Yuria, saxophone; Caili
O’Doherty, keyboard; and Tamir Shmerling, bass.

Fri., Mar. 23 at 8PM Fri., Mar. 30 at 7:30PM

199 Chambers St. (BMCC campus), New York, NY. (212) 220 - 1460 www.TribecaPAC.org

28 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 es:sensual
Omar Sosa & NDR Bigband (Otá Records)
Transparent Water
Omar Sosa/Seckou Keita (Otá Records)
by George Kanzler

Cuba has given us great jazz figures, from bandleader

Chico O’Farrill and percussionist/Dizzy Gillespie
collaborator Chano Pozo to the band Irakere and its
horn players such as Paquito D’Rivera and Arturo
Sandoval. It has also produced a rich vein of AfroCuban
jazz pianists, from patriarch Chucho Valdés to the
co-leader of these two albums: 50-something Omar
Sosa, who also plays electric keyboards, mallet
instruments and percussion. He is an endlessly questing
musician who has collaborated with musicians from all
over the world. And while he is rooted in Latin and/or
AfroCuban jazz, his style is elastically malleable, able
to embrace a wide swath of jazz and world music styles.
On the first of these albums, he and a German big band
create a more-than-believable version of an AfroCuban
jazz orchestra that could as well be headquartered in
Havana as in its actual base of Hamburg. On the other
he collaborates with a legendary West African
musician/singer, adding, on select tracks, musicians
playing their cultures’ native percussion, wind and
string instruments from Africa, Asia and South America.
Except for Gustavo Ovalles, a France-based
percussionist from Venezuela, and Sosa, es:sensual is an
album by a German radio network’s in-house jazz
orchestra, the NDR Big Band. Conductor Jaques
Morelenbaum took Sosa’s works from earlier albums
and arranged them for big band in tribute to the styles
and with the inspiration of past and present noteworthy
Cuban musicians. Sosa is the beating heart of this
music, joyously riding the clavé and montuño rhythms
in high-spirited fashion, completely aligned with the
stellar tradition of rhythmically charged, percussive
Cuban piano. But he is far from the only prominent
soloist. Memorable leads (uncredited in the notes)
abound. Robust trombones stand out, especially on the
brash open horn solo on first track “Cha Cha Du Nord”
and the variety of slippery horn solos on “Glu-Glu”,
including open horn, wah-wah and tightly muted. The
reed section boasts contrasting tenor saxophone styles,
from avant skittering to lush Stan Getz-ian crooning
and convincing flute, piccolo and clarinet leads mimic
the favored instruments of AfroLatin bands.
Morelenbaum’s charts are often complex, even
convoluted, yet always propulsive, attacked with
verve and fervor by this splendid big band.
Although “sensual” isn’t in the title of Transparent
Water, the music of West Africa, particularly Seckou
Keita’s native Senegal, is lushly sensual. Keita is the
lodestar on the album, as Sosa sublimates his rhythmic
exuberance and extroverted style to the languorous
flow of Keita’s playing and singing. This is music that
floats, individual tracks blending and melding into
one another; solos, mostly from Sosa on piano and
keyboards and Keita on (the stringed) kora, wafting in
and out of the aural soundscape. Yet there are only two
duos among the 13 tracks: “In The Forest” begins with
kora and electronic keyboard sounds before acoustic
piano solos over the top and is joined by kora in a
suave duet. Keita’s voice is multi-tracked, and he
overdubs percussion on the kora and piano duet
“Fatiliku”. It is music that insinuates rather than
asserts, best taken as a whole.

For more information, visit omarsosa.com/ota.php. Sosa’s

Transparent Water is at Roulette Mar. 22nd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2018 29

 The Songbook
Harry South (Rhythm and Blues)
by Scott Yanow
Harry South, who died 28 years ago this month, is not Ralph Towner has carved out a singular niche in modern
a name one comes across too often. The composer-
pianist was a major force in Great Britain’s modern jazz
scene of the ‘60s when he led a significant big band.
A fine bop-based pianist who worked with such
top-notch London-based jazz musicians during 1954-60
as tenor saxophonist Tubby Hayes, trumpeters Dizzy
Reece and Jimmy Deuchar, alto saxophonist Joe
Harriott, clarinetist/tenor saxophonist Vic Ash and
drummer Tony Crombie, South’s playing abilities were
soon dwarfed by his writing. He put together an allstar
big band in 1960 that included such major names as
Hayes, Deuchar, Harriott, tenor saxophonist Ronnie
Scott, baritone saxophonist Ronnie Ross and pianist
Terry Shannon. South spent much of 1962 working and
playing in India with saxophonist Dick Morrissey,
returned to England and reconvened his orchestra,
with many of the same players from his 1960 outfit. His
1966 Mercury LP Presenting The Harry South Big Band
created a minor stir and showed that his writing had
continued to move up with the times on par with
Americans like Gerald Wilson, Oliver Nelson and
Benny Golson. But although his big band was together
until 1975, there were no further albums. South, who
worked as Georgie Fame’s musical director and on his
Sound Venture album, became busy as an arranger-
composer for TV and films, the theme for British
detective series The Sweeney easily his most famous
work. He reemerged in the jazz world in the late ‘80s
shortly before his death from a brain tumor at 60.
The four-CD set The Songbook is the definitive
Harry South release. All 63 selections are South’s
compositions and programmed roughly in
chronological order. South is heard as a boppish
pianist-composer with Hayes, Harriott and Morrisey
and his songs are also interpreted by bands led by
Ross, drummer Basil Kirchin, trumpeter Humphrey
Lyttelton, pianist Roy Budd and guitarist Terry Smith,
plus one number sung by Jimmy Witherspoon.
The bulk of this package features South’s big band.
Four of the eight pieces that were on his Mercury
album (the other four are standards) are here along
with mostly previously unreleased performances from
1964-75, greatly increasing his discography. One can
hear the evolution in South’s writing from bebop to
hardbop, soul jazz, pieces that hint at the avant garde
and music open to the influences of rock and funk. His
band followed a similar path as that of Woody Herman
and Buddy Rich while still retaining its roots in
swinging jazz. In addition to the musicians already
mentioned, South welcomed such soloists as
trumpeters Kenny Wheeler and Ian Carr, tenor
saxophonist Alan Skidmore, pianist Gordon Beck and
drummer Phil Seamen to his orchestra, sometimes
utilizing electric keyboards. After stopping in 1975
when South largely left jazz, The Songbook concludes
with two swinging songs from 1990 performed by the
National Youth Jazz Orchestra, an ensemble for whom
South wrote in his last years.
Outfitted with an informative 36-page booklet, The
Songbook makes a strong case for South’s musical
contributions to jazz. Lovers of modern big band jazz
will find much to discover in this well-conceived set.
For more information, visit historyofrnb.net
30 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
My Foolish Heart
Ralph Towner (ECM)
by Robert Bush
music over the last 50 years, eschewing the electric
instrument in favor of chamber music on classical guitar
and acoustic 12-string, either through solo performance
or in collaboration with key partners like Paul Winter,
Gary Peacock, Jan Garbarek and John Abercrombie.
My Foolish Heart, the 78-year-old guitarist’s latest effort
on ECM, finds him in prime condition and ready to
deliver a crowning achievement. The album was
recorded in an empty concert hall and ECM’s fastidious
dedication to sonic clarity is well served here, as one can
revel in every intimate gesture the master conjures.
Things begin strongly with “Pilgrim”, where the
mixture of precise finger-style plucking and exquisite
balance in all registers makes even the squeaks of flesh
on string sound hyper musical. “I’ll Sing To You” blends
an intoxicating mélange of layered chords and single-
note motifs, which ring in the air and linger in the ear;
one can hear the pianist and trumpeter in Towner’s
background quite clearly. The title track references Bill
Evans, by way of Lenny Breau and perhaps Andrés
Segovia, and “Dolomiti Dance” sends each finger
dancing in a lush orchestral presentation. Towner’s
12-string guitar really sings on “Clarion Call”, a master
class in harmonics, selective muting, double-stops and
an incredible ringing sustain. Some of the most
compelling cuts, including “Two Poets” and “Shard”,
are over in a flash, but each piece represents a complete
and distinctive idea. Especially striking is the penultimate
track, “Blue As In Bley”, a dedication to Paul Bley, where
one can indulge in the incongruous delight of Towner
‘laying it down’ on nylon-string guitar—conjuring up a
weird juxtaposition of the baroque and the barrelhouse.
Closer “Rewind” celebrates three-and-a-half
minutes of unbridled joy as classical guitar races from
basso continuo to biting 9th chords in the upper register,
all unified by a brilliant architecture. One does not need
to be a fan of Towner or the solo guitar album concept in
general to be won over by the music on My Foolish Heart.
For more information, visit ecmrecords.com. Towner is at
Roulette Mar. 26th as part of a John Abercrombie tribute.
See Calendar.
LOU CAPUTO NOT SO BIG BAND
MArCh 6Th - BAhA’I CeNTer
APrIL 25Th - SAINT PeTer’S
MAy 14Th - SIr D’S
“TrIeD AND TrUe SwINGerS, They CAN TAke yOU ArOUND The BLOCk
wITh A BUNCh Of STOPS IN BeTweeN, ALL Of whICh Are PLAyeD TO
PerfeCTION ThrOUGhOUT.” -MIDweST reCOrD
LOUCAPUTO.COM

Spaceships Over Africa
Ra Kalam Bob Moses/Bukky Leo (Ra-Kalam)
by John Pietaro
A thicket of clouds ominously close out the sky and
burst in a barrage of rolling thunder on “Cosmic Soul
Spirits”, opening Spaceships Over Africa. Drummer Bob
Moses’ trademark triple-time, varied sticking phrases
around an expansive drumkit are on full display. Ever
so slowly, the piece works its way to midtempo jazz,
concurrently singing praise and crying out of
loneliness. The piece and so much of what comprises
the rest of this album, speaks to the career of Ra Kalam
Bob Moses. His early work with Rahsaan Roland Kirk
(when Moses was still in high school) was followed by
gigs with Larry Coryell, Gary Burton, Jack DeJohnette
and Dave Liebman at the dawn of fusion. Moses
became a band leader in the ‘70s and embarked on a
visceral study of music and spirituality that has served
him well. He has released some historic works in these
decades and surely this latest on his own label,
recorded six years ago this month, is among them.
Leo Olubukola Afolabi, better known as Bukky
Leo, is an AfroBeat tenor saxophonist of note and the
full breadth of his artistry is made clear from track one.
He seems to call on the spirit of John Coltrane, most
evident in the first track as well as the following “How
Light Dances”. Leo’s lilting, broad instrumental voice,
however, moves into a decidedly Ayler-esque place as
the album progresses, with a reed sounding as indelible
as sand-laden beech wood. This Janus-like alternation
is most befitting as the music shifts around him. The
collaborative nature of this pairing is overt; each has a
page of liner notes to personalize the relationship.
The album contains nine selections as intriguing as
they are brief and on three tracks guests add new
layers to this duo, which begins where the Coltrane/
Rashied Ali pairing left off. Bassist Don Pate, a frequent
Moses collaborator, is present on two tracks and adds a
sonic woodiness quite reminiscent of the late Johnny
Dyani. His lines would have been welcome throughout
the disc. Vivek Patel’s trumpet opens and closes the
album but is most effectively heard on “Joyous
Gathering”, the centerpiece, which also includes alto
saxophonist Kritavi Jim Warshauer. The full quintet,
only present here, is most compelling and Moses
would be robbing listeners of a brilliant band if he
doesn’t record a full album of this joyful noise.
For more information, visit nativepulse.com/
Ra-KalamRecords.html
Light Blue
Martin Wind (Laika)
by Ken Dryden
Bassist Martin Wind has long been in demand as a
sideman, having made many recordings with artists
like Bill Mays, Don Friedman, Dena DeRose and others.
The German native has also been the leader or co-leader
of over 20 albums for various European labels. This Brandt has a few solo spots during the hour-long
German release, recorded in the U.S., features an set but is more prominent for his composing. 10 of the
outstanding international cast from the U.S. (pianist 13 tracks are his pieces (the others are Vincent Youmans’
Bill Cunliffe, pianist/organ player Gary Versace, reed “Tea for Two” and a pair by Dutch film composer Jerry
player Scott Robinson and drummer Matt Wilson), van Rooyen, brother to Ack), including the six-part,
Canada (trumpeter Ingrid Jensen), Israel (clarinetist 26-minute “Ferrien Suite”. If your CD wasn’t labeled,
Anat Cohen) and Brazil (drummer Duduka Da Fonseca the music could easily be mistaken for hip American
and vocalist Maucha Adnet), interpreting ten of Wind’s jazz of the period, sharing much with the music of the
originals. Although Wind has plenty of bass chops to aforementioned Nelson and executed with the precision
share, his primary focus is on his musicians, though he expected from German radio band players. The suite,
does take the spotlight from time to time. however, distinguishes its composer and his band with
Organ adds to the funky atmosphere of “While I’m movements of sprightly shuffle and featured flute.
Still Here” (a very transparent reworking of the
standard “Sweet Georgia Brown”), also featuring Wind For more information, visit sonorama.de
and Robinson’s surprisingly soulful tenor saxophone.
The upbeat “Ten Minute Song” (literally written in that
time frame) showcases Robinson on the infrequently
heard bass saxophone, with inspired soloing from
Versace (piano), Jensen and Cohen. “February” is a
gorgeous melancholy ballad with richly textured
interplay, featuring fiery trumpet.
For the second half of the CD, Da Fonseca and
Cunliffe take over on drums and piano. The heartfelt
tribute “A Genius and a Saint” is a waltz saluting the
late bassist Bob Bowen, utilizing both Cohen and
Robinson on clarinet in a call-and-response pattern but
with overlapping lines, lush piano adding the perfect
seasoning. “Seven Steps to Rio” is an engaging samba
adding Adnet, Da Fonseca nearly stealing the show
with his drum break. Wind switches to playing arco
bass for the haunting ballad “Sad Story”; Adnet
composed its Portuguese lyric, which beautifully
conveys the song’s sense of loss, with Cohen’s
expressive clarinet serving as a bridge before the
vocalist returns with Lice Cecato’s English lyric. It’s
hard not to become caught up in Wind’s infectious
bossa nova “De Norte A Sul”, highlighted by sensuous
vocals and captivating piano.
For more information, visit laika-records.com. This project Academy Records
& CDs
is at Jazz at Kitano Mar. 30th-31st. See Calendar.
Cash for new and used
compact discs,vinyl
records, blu-rays and
Spree Coast Jazz (Berlin 1963)
Helmut Brandt Orchestra (Sonorama)
dvds.
by Andrey Henkin
O n Mar. 27th, 1963, the Academic Senate of Freie
Universität Berlin unanimously passed a resolution
We buy and sell all
naming then-U.S. President John F. Kennedy an
honorary member of the university and inviting him to
genres of music.
speak on his forthcoming trip, during which he would All sizes of collections
welcome.
give his famed “Ich bin ein Berliner” speech, a defiant
moment in the Cold War. Some seven kilometers north,
German baritone saxophonist and bandleader Helmut
Brandt, active from the mid ‘50s until his death in 2001,
was making his own international statement, recording
a jazz orchestra featuring American players. Over 50
For large collections,
years later, that music is finally heard on this release.
Those Americans were West Coast alto saxophonist
please call to set up an
star Herb Geller, bebop trumpeter Benny Bailey and
Kenny Clarke/Francy Boland Big Band trombone
appointment.
stalwart Nat Peck, joining members of the RIAS and
SFB radio orchestras in Harry Samp and Ack van
Rooyen (trumpets), Stefan Von Dobrzynski (tenor
saxophone and flute), Siegfried Schmidt (valve Open 7 days a week 11-7
trombone), Günter Meier (piano), Hajo Lange (bass)
and Heinz Niemeyer (drums); a variation of this band 12 W. 18th Street NY, NY 10011
would record Oliver Nelson’s Berlin Dialogue For 212-242-3000
Orchestra in 1971.
THE NEW YORK CITY JAZZ RECORD | MARCH 2018 31
 B OXED SE T
With Hamid Drake and William Parker
Frode Gjerstad (Not Two)
by Anders Griffen
This four-CD set is a complete and chronological
compilation of Norwegian saxophonist Frode
Gjerstad’s previously released recordings in trio
with bassist William Parker and percussionist Hamid
Drake. Gjerstad, a prolific artist since the late ‘70s,
will turn 70 years old on Mar. 24th and has performed
with heavyweights of improvised music such as
Bobby Bradford, Alvin Fielder, Louis Moholo, Derek
Bailey, Billy Bang, Peter Brötzmann, Borah Bergman
and Han Bennink, among many others.
However, he may be best known for his band
Detail with British drummer John Stevens and
bassist Johnny Mbizo Dyani until the latter ’s
untimely death in 1986. “For me this trio is the
present day Detail,” Gjerstad said of this group with
Parker and Drake in an interview with Vittorio
LoConte. “The basic thing we did in Detail is still
with us in the new trio: playing with rhythms,
turning them around, crossing over them and just
32 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
letting them go. It’s fun. It’s energy and passion.”
This music is completely improvised, but not a
freak-out. It has a vibrant, simmering energy. The
trio is not in a terrible hurry to get somewhere;
they’re enthusiastic about being here, which
produces a current and they discover a lot of places
along the way. That is largely what this music is
about: searching with sound and feeling and making
decisions in real time. Like traditional jazz, this is a
cooperative effort and listeners are encouraged to go
along for the ride. They arrive at some truly
compelling and enveloping themes, creating a
setting where they can be free.
The first two discs consist of the live albums
Ultima and Remember To Forget, which were recorded
on consecutive days, October 7th and 8th, on tour in
Norway in 1997. The former gets its name from the
contemporary music festival in Oslo where this
performance took place. On the original Cadence CD
released in 1999, Ultima was a single track, 58:33 in
length. On this set, it is divided into four parts, but
the music is continuous. Remember To Forget,
recorded at Café Sting in Stavanger, gets a similar
treatment: originally released as two pieces,
“Remember” and “Forget”, these have now been
divided into three parts each.
On both discs the track number usually changes
after or during a bass or drum solo, the next track
tending to start as the trio reassembles, but
sometimes the new ‘part’ seems to come at an
arbitrary time. On the first two discs Parker and
Drake take unaccompanied solos and spend time as
a duo, whereas Gjerstad only plays in a trio setting.
This is addressed on the third disc, which took place
almost three years later. On The Other Side (recorded
in 2000 and originally released by Ayler Records in
2006), they explore different combinations: “Duo”
consists of saxophone and bass and “The Other Duo”
is saxophone and drums. These combinations lead to
a greater range of outcomes.
The sense of space significantly affects how this
music is perceived. The first disc sounds like it is in a
large, open space, perhaps outdoors, while Disc 2,
from a smaller club, is a little more immediate and
intense. Discs 3 and 4 are studio recordings (the latter
recorded in 2006 and released as On Reade Street by
FMR in 2008) and listeners can feel the loss of the live
audience. The music still has vitality and drive, but
the studio sessions after the live dates highlight how
an audience is part of an exchange in performance.
Parker and Drake have broad musical palettes
from which to draw. The former makes occasional
use of an ostinato, which sometimes yields fantastic
results, and the pair can hit some hard grooves.
Parker also gets a great range of timbre and between
he and Gjerstad there are moments where it is not
immediately apparent who is producing a sound.
Gjerstad plays alto saxophone almost throughout
(we hear clarinet on Disc 4) and while comparisons
to Ornette Coleman or Jimmy Lyons may be
inevitable, Gjerstad is a different player with his
own voice and his own journey. Because this set
compiles the work of this trio over the course of
almost nine years, listeners can start to recognize
that voice and understand part of the journey. This is
a nice package with illuminating notes from the
leader and highly engaging music.
For more information, visit nottwo.com. William Parker
and Hamid Drake are at Roulette Mar. 13th. See Calendar.
 M ISCELLANY
ON THIS DAY
by Andrey Henkin

Plenty for Kenny
Kenny Clarke/Ernie Wilkins (Savoy)
March 30th, 1955
Drummer Kenny Clarke and alto/
tenor saxophonist Ernie Wilkins
would both become expatriates in
Europe, though decades apart. While
still U.S.-based, they collaborated
several times in the mid ‘50s in
various formats for Savoy. This
particular instance is a septet
completed by Cecil Payne (baritone
saxophone), George Barrow (tenor
and baritone saxophone), Eddie Bert
(trombone), Hank Jones (piano) and
Wendell Marshall (bass) playing
tunes by Wilkins, Charlie Parker and
session producer Ozzie Cadena.
UK Live 1967
Pat Smythe (Jazzhus Disk)
March 30th, 1967
Pat Smythe was a Scottish pianist
whose discography was mostly made
up of sessions by saxophonist Joe
Harriott and trumpeter Shake Keane
though he worked with British and
visiting American musicians in a
career ending with his 1983 death.
This session from Nottingham,
released 45 years after it was recorded,
becomes his only album as a leader
from the era. Bassist Kenny Napper
and drummer Tony Crombie join him
for this two-volume set, saxophonists
Eddie “Lockjaw” Davis and Harold
McNair appearing as guests.
Live at The Plough
John Stevens (Ayler)
March 30th, 1979
When this album was released in
2003, 24 years after it was recorded at
the London club, it was the latest
extant recording of late alto
saxophonist Mike Osborne (Force of
Nature, Reel Recordings, 2008, would
include live Osborne material from
1980-81). Though nearly the same age
and both seminal figures in British
jazz, Osborne and drummer John
Stevens rarely worked together and
this is the only small-group iteration,
a trio completed by younger bassist
Paul Rogers, playing Osborne
originals and jazz standards.
Daybreak
Dave Burrell/David Murray (Gazell)
March 30th, 1989
Pianist Dave Burrell (b. 1940) and
saxophonist David Murray (b. 1955)
never recorded together in the period
of 1975-86 when the latter was first
active. But after Burrell was part of
Murray’s octet for 1987’s Hope Scope
(Black Saint), it resulted in a large
number of albums through 1993. This
duet session comes in the middle of
that period and while it is Burrell’s
name first and his picture on the
cover, this is a truly collaborative
project, both Burrell and Murray (who
also plays bass clarinet) contributing
tunes to the proceedings.
Commandment
Billy Bang (No More)
March 30th, 1997
Subtitled For The Sculpture of Alain
Kirili, this was recorded in the NYC
loft (and surrounded by his work) of
the French artist, who has a long
history of collaborating with avant
garde musicians like Cecil Taylor and
Steve Lacy, several instances being
released, like this with late violinist
Billy Bang. This is his second of two
solo albums after 1979’s Distinction
Without A Difference (hatHut), Bang
playing “Swing Low Sweet Chariot”,
originals, including the title piece
named for the sculpture, and music
by Sun Ra and Butch Morris.

March 1
†Glenn Miller 1904-44
†Teddy Powell 1906-1993
†Benny Powell 1930-2010
Gene Perla b.1940
Ralph Towner b.1940
Vinny Golia b.1946
Norman Connors b.1947
Elliott Sharp b.1951
March 2
†Eddie “Lockjaw” Davis
1921-86
†Doug Watkins 1934-62
Buell Neidlinger b.1936
Bob Neloms b.1942
Wolfgang Muthspiel b.1965
March 3
†Barney Bigard 1906-80
†Cliff Smalls 1918-2008
†Jimmy Garrison 1934-76
Luis Gasca b.1940
March 4
†Don Rendell 1926-2015
†Cy Touff 1927-2003
†Barney Wilen 1937-96
David Darling b.1941
Jan Garbarek b.1947
Kermit Driscoll b.1956
Albert Pinton b.1962
Dana Leong b.1980
March 5
†Gene Rodgers 1910-87
†Bill Pemberton 1918-84
†Dave Burns 1924-2009
†Lou Levy 1928-2001
†Wilbur Little 1928-87
†Pee Wee Moore 1928-2009
David Fiuczynski b.1964
March 6
†Red Callender 1916-92
†Howard McGhee 1918-87
†Wes Montgomery 1925-68
†Ronnie Boykins 1935-80
Charles Tolliver b.1940
Peter Brötzmann b.1941
†Robin Kenyatta 1942-2004
Flora Purim b.1942
Dom Minasi b.1943
Ayelet Rose Gottlieb b.1979
March 7
Alexander von Schlippenbach Ned Goold b.1959
b.1938
Herb Bushler b.1939
March 8
†George Mitchell 1899-1972
Dick Hyman b.1927
George Coleman b.1935
†Gabor Szabo 1936-82
†James Williams 1951-2004
Biggi Vinkeloe b.1956
Anat Fort b.1970
March 9
†Ornette Coleman 1930-2015
†Keely Smith 1932-2015
Kali Z. Fasteau b.1947
Zakir Hussain b.1951
†Thomas Chapin 1957-1998
Erica von Kleist b.1982
March 10
†Bix Beiderbecke 1903-31
†Pete Clarke 1911-75
†Don Abney 1923-2000
Louis Moholo-Moholo b.1940
Mino Cinelu b.1957
Bill Gerhardt b.1962
Ofer Assaf b.1976
BIRTHDAYS
March 11
†Miff Mole 1898-1961
†Mercer Ellington 1919-96
†Ike Carpenter 1920-98
†Billy Mitchell 1926-2001
†Leroy Jenkins 1932-2007
Vince Giordano b.1952
Judy Niemack b.1954
March 12
†Sir Charles Thompson
1918-2016
†Hugh Lawson 1935-97
Peter Knight b.1965
March 13
†Dick Katz 1924-2009
Roy Haynes b.1926
†Blue Mitchell 1930-79
Michael Jefry Stevens b.1951
Akira Tana b.1952
Terence Blanchard b.1962
Shoko Nagai b.1971
March 14
†Joe Mooney 1911-75
†Les Brown 1912-2001
†Sonny Cohn 1925-2006
†Mark Murphy 1932-2015
†Shirley Scott 1934-2002
Dred Scott b.1964
March 15
†Jimmy McPartland 1907-91
†Spencer Clark 1908-1998
†Harry James 1916-83
†Bob Wilber 1928-2006
Charles Lloyd b.1938
Marty Sheller b.1940
Joachim Kühn b.1944
Anne Mette Iversen b.1972
March 16 March 22 March 27
†Ruby Braff 1927-2003 †Fred Anderson 1929-2010 †Pee Wee Russell 1906-69
†Tommy Flanagan 1930-2001 John Houston b.1933 †Ben Webster 1909-73
Keith Rowe b.1940 †Masahiko Togashi 1940-2007 †Sarah Vaughan 1924-90
John Lindberg b.1959 George Benson b.1943 †Harold Ashby 1925-2003
Woody Witt b.1969 †Bill Barron 1927-89
March 23 †Burt Collins 1931-2007
March 17 †Johnny Guarnieri 1917-85 Stacey Kent b.1968
†Paul Horn 1930-2014 Dave Frishberg b.1933
†Grover Mitchell 1930-2003 †Dave Pike 1938-2015 March 28
†Karel Velebny 1931-89 †Masabumi Kikuchi 1940-2015 †Paul Whiteman 1890-1967
Jessica Williams b.1948 Gerry Hemingway b.1950 †Herb Hall 1907-96 MICHELE ROSEWOMAN
Abraham Burton b.1971 Stefon Harris b.1973 †Thad Jones 1923-86 March 19th, 1953
Daniel Levin b.1974 Bill Anthony b.1930
March 24 †Tete Montoliu 1933-97 The Oakland-born pianist
March 18 †King Pleasure 1922-81 Barry Miles b.1947 first appeared on record in
†Al Hall 1915-88 Dave MacKay b.1932 Donald Brown b.1954 1981 as the junior member in
†Sam Donahue 1918-74 †Kalaparusha Maurice Orrin Evans b.1975 violinist Billy Bang’s band
Bill Frisell b.1951 McIntyre 1936-2013 Jen Shyu b.1978 on Rainbow Gladiator (Soul
Joe Locke b.1959 Steve Kuhn b.1938 Note). Two years later she
Paul McCandless b.1947 March 29 waxed her debut for the
March 19 Steve LaSpina b.1954 †George Chisholm 1915-97 same label, The Source, a
†Curley Russell 1917-86 Renee Rosnes b.1962 †Pearl Bailey 1918-90 quartet session with Baikida
†Lennie Tristano 1919-78 Dave Douglas b.1963 Allen Botschinsky b.1940 Carroll, Roberto Miranda
†Bill Henderson 1930-2016 Joe Fiedler b.1965 †Michael Brecker 1949-2007 and Pheeroan akLaff. Since
Mike Longo b.1939 then she has been a guest
David Schnitter b.1948 March 25 March 30 artist with Greg Osby’s
Chris Brubeck b.1952 Cecil Taylor b.1929 †Ted Heath 1900-69 Sound Theater and Arturo
Michele Rosewoman b.1953 †Paul Motian 1931-2011 Lanny Morgan b.1934 O’Farrill’s Afro-Latin Jazz
Eliane Elias b.1960 †Larry Gales 1936-95 Karl Berger b.1935 Orchestra. Her discography
†Lonnie Hillyer 1940-85 Marilyn Crispell b.1947 comprises several albums
March 20 Makoto Ozone b.1961 Dave Stryker b.1957 on Enja, Evidence, Blue
†Marian McPartland 1920-2013 Frank Gratkowski b.1963 Note and her own Advance
†Sonny Russo 1929-2013 March 26 Dan Peck b.1983 Dance Records, which most
Harold Mabern b.1936 †Abe Bolar 1908-2000 recently released New Yor-
Jon Christensen b.1943 †Flip Phillips 1915-2001 March 31 Uba: A Musical Celebration of
†Andy Hamilton 1918-2012 †Santo “Mr. Tailgate” Pecora Cuba In America, a large
March 21 †Brew Moore 1924-73 1902-84 ensemble project revisiting
†Hank D’Amico 1915-65 †James Moody 1925-2010 †Red Norvo 1908-99 the pianist’s long-standing
Mike Westbrook b.1936 Maurice Simon b.1929 †Freddie Green 1911-87 interest in Cuban folkloric
Herbert Joos b.1940 Lew Tabackin b.1940 †Jimmy Vass 1937-2006 traditions. -AH
Amina Claudine Myers b.1942 Hiromi b.1979 Christian Scott b.1983

CROSSWORD
1 2 3 4 5 6 ACROSS DOWN

1. 1969 Noah Howard Freedom album The Black ____ 1. Kenny Burrell wrote a tune for this snake on Paul
7 8 9
4. Label founded by Jost Gebers in 1969 Gonsalves’ 1963 Impulse album Cleopatra Feelin’ Jazzy
7. Roland Hanna and Charles Thompson 2. Berlin-based big band formerly directed by trombonist
10 11 12 9. ’70 Lionel Hampton trumpeter Domenick Jiggs Whigham
10. Brazilian guitarist Irio De 3. Drum battler of Rich
12. Where jazz is rarely found? 4. 1975 Lol Coxhill Caroline album ____ In Custard
13 14
13. Woody Shaw wrote a blues for this superhero 5. Flutist Herbie
15. 1980 David Earle Johnson/Jan Hammer CMP album 6. Dutch ragtime pianist Beck
15 Hip _____ 8. Mathematical alternate title for the Kai Winding/
16. Charles Mingus wrote a song for an iteration of man J.J. Johnson 1955 Bethlehem album K + J.J.
who walks like this 9. His house is in Corona, Queens
16
17. 1960 Charles Mingus Mercury album 11. 178 7th Avenue South is the Village Vanguard’s
19. Pianist Burton Greene lives in one of these in 12. Joe Cuba, Klaus Weiss and Jeff Lorber all have songs
17 18 Amsterdam named for this largest of Puerto Rican cities
21. Saxophonist Gonsalves and pianist Bley 14. Vocalist Christelle Durandy has worked with this
22. Miles Davis 1972 Columbia album ____ Corner dance company, ____ Kouliballets
19 20
24. Norwegian label ____ Grammofon 17. 2014 Henry Threadgill Pi album For A Penny, In For
25. Evan Parker has a piece in honor of the quilting A ____
21 22 23 societies of ____ Bend, Alabama on his 2006 Tzadik 18. Discographical information
album Time Lapse 19. Jazz____Musik, label once affiliated with Köln’s
26. John Coltrane was supposedly on this when he Stadtgarten
24 25
recorded OM in 1965 20. Matana Roberts 2014 Constellation album Coin Coin
27. Birthday mo. of Cannonball Adderley Chapter Three: River Run ____
26 27 21. Roulette Records Dutch pressing catalogue prefixes
23. Label founded in 1963 by Bernard Stollman

By Andrey Henkin visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | MARCH 2018 33

 CALENDAR
Thursday, March 1 • Alex LoRe Trio with Martin Nevin, Jochen Rueckert • David Amram and Co. with Rene Hart, Kevin Twigg, Elliot Peper
Bar Next Door 7:30, 9:30, 11:30 pm $12 Cornelia Street Underground 8:30 pm $10
• Turn the World Around—The Music and Legacy of Harry Belafonte: Ty Stephens, • Steps Ahead Meets Soulbop: Mike Mainieri, Randy Brecker, Bill Evans, Tom Kennedy, • CompCord Big Band: Franz Hackl, Peter Oswald, Wayne J. Du Maine,
Branice McKenzie, Richard Cummings, Jr. Steve Smith Birdland 8:30, 11 pm $40 Dennis Hernandez, John Clark, Mike Seltzer, David Whitwell, Jonathan Greenberg,
Aaron Davis Hall 7:30 pm $30 êMaceo Parker Blue Note 8, 10:30 pm $45 Gerson Galante, Paul Jones, Paul Carlon, Scott Hoefling, Mercedes Beckman,
• Rico Jones Trio with Cole Davis, Colin Stranahan; Andrew Van Tassel Trio with • Lady Got Chops Fest: Karen Maynard with Bertha Hope, Yuka Tadano, Sylvia Cuenca Richard Sussman, Lawrence Goldman, Joe Abba, Melanie Mitrano, Gene Pritsker
Edward Perez, Colin Stranahan Bar Next Door 6:30, 8:30, 10:30 pm $12 Brooklyn Center for the Performing Arts 2 pm The Cutting Room 7:30 pm $20-25
• David Bixler Auction Project with Arturo O’Farrill • Denton Darien Trio Cleopatra’s Needle 8 pm • New York Youth Symphony Jazz with guest Vuyo Sotashe
Birdland 6 pm $30 • Mark Wade Trio with Tim Harrison, Scott Neumann; Tribute to John Coltrane and Dizzy’s Club 7:30, 9:30 pm $30
• Steps Ahead Meets Soulbop: Mike Mainieri, Randy Brecker, Bill Evans, Tom Kennedy, Johnny Hartman: Kevin Harris, Michael Wolff, Patience Higgins, Tony Garnier, • The Better Tones; Behn Gillece; Billy Kaye Jam
Steve Smith Birdland 8:30, 11 pm $40 Mike Clark Club Bonafide 8, 10, 11:30 pm $15-20 Fat Cat 6, 9 pm 12:30 am $10
êMaceo Parker Blue Note 8, 10:30 pm $45 êLage Lund Quartet with Micah Thomas, Matt Penman, Obed Calvaire • Lady Got Chops Fest: Rebecca Levinson Workshop Band
• Durrah David Duo Cleopatra’s Needle 7 pm Cornelia Street Underground 8:30, 10 pm $10 Local 802 7 pm
• Emilie Surtees; MJ Territo’s Ladies Day Jazz Quartet with Linda Presgrave, Iris Ornig, êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, Todd Coolman, • David Berkman/Chris Lightcap Mezzrow 8 pm $20
Barbara Merjan Club Bonafide 5:30, 7:30 pm $15 Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40 • Jim Campilongo Trio with Chris Morrissey, Josh Dion
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, Todd Coolman, • Barry Stephenson Dizzy’s Club 11:15 pm $20 Rockwood Music Hall Stage 2 10 pm
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40 • Johnny O’ Neal Trio; Bruce Harris The Django at Roxy Hotel 7:30, 10:30 pm êA Celebration of Alice Coltrane: Brandee Younger
• Barry Stephenson Dizzy’s Club 11:15 pm $10 • Nick Dunston solo; Stephen Boegehold Quartet with Yuma Uesaka, Jessica Ackerley, The Schomburg Center 7 pm $35
êEd Cherry Trio; High and Mighty Brass Band Lim Yang The Drawing Room 7 pm $10 • Brian Krock’s Big Heart Machine Sir D’s 8, 9:30 pm
The Django at Roxy Hotel 7:30, 10 pm êIbrahim Maalouf Drom 8, 11:30 pm $35 • Jeremy Udden Sound Pairings Threes Brewing 8 pm $15
• Aubrey Logan Drom 8 pm $20 • Chris Hemingway; Raphael D’lugoff Quintet; Greg Glassman Jam
• Davis Whitfield Maniacs of the Fourth Dimension; Saul Rubin Zebtet; Paul Nowinski Fat Cat 7, 10 pm 1:30 am $10
Fat Cat 7, 10 pm 1:30 am $10 • Daniel Levine’s Knuckleball with Marc Hannaford, Devin Gray; Santiago Liebson Trio
• John Dokes Quintet with Mark Gross, Steve Einerson, Alex Claffy, Jay Sawyer with Michael Formanek, Devin Gray
Jazz at Kitano 8, 10 pm $18 Greenwich House Music School 7:30 pm $15
• Taylor Ho Bynum 9-Tette with Jim Hobbs, Ingrid Laubrock, Bill Lowe, Mary Halvorson, êKate Gentile/Davy Lazar; Sandy Ewen/Weasel Walter; Steve Swell, John Dikeman,
Tomeka Reid, Stomu Takeishi, Ken Filiano, Tomas Fujiwara Jasper Stadhouders, Tony Piazza, Adam Shead
The Jazz Gallery 7:30, 9:30 pm $20 H0l0 7 pm $10
êJazzmeia Horn with Marcus Miller, Victor Gould, Barry Stephenson, Henry Conerway III • Yoon Sun Choi’s Night Owls with Dana Lyn, Scott Colberg, Vinnie Sperrazza
Jazz Standard 7:30, 9:30 pm $30 Ibeam Brooklyn 8:30 pm $15
• Samora Abayomi Pinderhughes Joe’s Pub 9:30 pm $15 • Janice Friedman Trio with Marco Panascia, Joe Strasser
• Rachel Z Mezzrow 8 pm $20 Jazz at Kitano 8, 10 pm $34
• Brian Jackson Minton’s 7:30, 9:30 pm $15 • Chris Dingman Trio with Linda Oh, Jared Schonig
• Lady Got Chops Fest: Mala Waldron MIST 8 pm The Jazz Gallery 7:30, 9:30 pm $25
• Aaron Irwin Sextet with Peter Hess, Matthew McDonald, Emily Wong, Terry McManus, • Patrick Sargent Quartet with David Linard, Mike Harlen, John Fatum
Gary Wang; Sebastien Ammann’s Color Wheel with Michaël Attias, Noah Garabedian, Jazz Standard 12 pm $10
Gerald Cleaver The Owl Music Parlor 7:30 pm $10 êJazzmeia Horn with Marcus Miller, Victor Gould, Barry Stephenson, Henry Conerway III
• Interpretations: Frozen Music: Gustavo Matamoros, David Dunn, Rene Barge; Jazz Standard 7:30, 9:30 pm $30
Ben Manley Electroacoustic Solos and Duos • Ronny Whyte/Boots Maleson Knickerbocker Bar & Grill 9, 10:15 pm $3.50
Roulette 8 pm $20 • Mimi Jones’ The Black Madonna with Léonor Falcon, Nir Felder, Darrian Douglas
• Anibal Rojas Silvana 6 pm Lehman Center 7:30 pm $25
• Davy Mooney Quintet with John Ellis, Jon Cowherd, Matt Clohesy, Brian Blade; • Edith Lettner’s Freemotion with Gerhard Franz Buchegger, Gerhard Graml,
Darrian Douglas Quintet with Andrew McGowan, Jordan Pettay, Jon Beshay, Stephan Brodsky; Delight: Donald Smith, Edith Lettner, Gerhard Graml,
Devin Starks; Davis Whitfield Smalls 7:30, 10:30 pm 1 am $20 Leopoldo F. Fleming, Warren Smith Metro Baptist Church 7:30 pm $20
• Jochen Rueckert Quartet with Lage Lund, Mike Moreno, Matt Penman êDanny Grissett/E.J. Strickland Mezzrow 8 pm $20
Smoke 7, 9, 10:30 pm $15 êAlfredo Rodríguez Trio with Munir Hossn, Michael Olivera
• Leni Stern St. John Lutheran Church 7 pm Miller Theatre 8 pm $20-35
• Jonathan Finlayson/Steve Lehman The Stone at The New School 8:30 pm $20 • Shevelovin’ Quartet Shrine 7 pm
• Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matt Brewer, êMiguel Zenón with Fred Harris and the Massachusetts Institute of Technology Festival
Eric Harland Village Vanguard 8:30, 10:30 pm $35 Jazz Ensemble and guest Evan Ziporyn
Silberman Auditorium at Hunter College Harlem 8 pm $20
• Joe Pino Quintet Silvana 6 pm
Friday, March 2 • Lady Got Chops Fest: Stephanie Bates and Friends
Sistas’ Place 9, 10:30 pm $20
• Hope DeBates with Luca Benadetti, Danny Fox, Matt Pavolka, Diego Voglino • Jade Synstelian Quartet with Greg Glassman, Alexi David, Brandon Lee Lewis;
55Bar 6 pm Tim Hegarty Quartet with Ben Rosenblum, Vince Dupont, Winard Harper;
• Zaid Nasser with Tardo Hammer, John Webber, Steve Williams Stafford Hunter and Continuum with Todd Bashore, Willerm Delisfort, Alexander Claffy,
The 75 Club at Bogardus Mansion 8, 10 pm $20 Chris Beck; Philip Harper Quintet Smalls 4:30, 7:30, 10:30 pm 1 am $20
êWoman To Woman: Renee Rosnes, Cécile McLorin Salvant, Ingrid Jensen, êHelen Sung’s The (re)Conception Project with Ingrid Jensen, John Ellis,
Melissa Aldana, Anat Cohen, Noriko Ueda, Allison Miller Ricky Rodriguez, Kush Abadey Smoke 7, 9, 10:30 pm $38
92nd Street Y 8 pm $80 êSubtle Degrees: Travis Laplante/Gerald Cleaver
• Rags, Strides & Habaneras: Dick Hyman; Joey Alexander; Chano Dominguez;
Sullivan Fortner; Jared Grimes; Eddie Torres, Jr.; Jesús Carmona
Spectrum 8:30 pm
• Jonathan Finlayson Sextet with Steve Lehman, Brian Settles, Matt Mitchell,
John Hébert, Craig Weinrib The Stone at The New School 8:30 pm $20
Edith Lettner’s Freemotion
The Appel Room 7, 9:30 pm $100-110
• Leandro Pellegrino Trio with Tim Norton, Roberto Giaquinto
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matt Brewer,
Eric Harland Village Vanguard 8:30, 10:30 pm $35
& Delight
• Steps Ahead Meets Soulbop: Mike Mainieri, Randy Brecker, Bill Evans, Tom Kennedy,
Steve Smith
êMaceo Parker
Birdland 8:30, 11 pm $40
Blue Note 8, 10:30 pm $45 Sunday, March 4 Saturday, March 3, 2018
• Libby Richman Trio Cleopatra’s Needle 8 pm
• Chloé Perrier and French Heart; Secret Mall: Alfredo Colon, Edward Gavitt, • Owen Howard solo 440Gallery 4:40 pm $10
Steve Williams, Andres Valbuena; Nir Naaman Quartet with Simona Premazzi, • Ron Aprea Birdland 6 pm $30
Marco Panascia, Ofri Nehemya; The Dayz: Dax Callner, Terry Shook, Aaron Green, • Dave Pietro NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $39.50
Richie Phillips, Alroy Teves, Michael Villarosa, Alix Briard, David Kahler êMaceo Parker Blue Note 8, 10:30 pm $45
Club Bonafide 6, 8, 10, 11:30 pm $10 • Charlie Roman with Rocky Chiu, Ellie Goodman, Abe Pollack; Josh Dunn with
• Stream Trio: Yago Vazquez, Scott Lee, Jeff Hirshfield and guest Billy Drewes Gabe Terracciano, Ian Hutchison Cornelia Street Underground 8, 9:30 pm $10
Cornelia Street Underground 8:30, 10 pm $10 êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, Todd Coolman,
êCharles McPherson Quintet with Yotam Silberstein, Jeb Patton, Todd Coolman, Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40
Chuck McPherson Dizzy’s Club 7:30, 9:30 pm $40 • Raf Vertessen, Keisuke Matsuno, Hans Tammen
• Barry Stephenson Dizzy’s Club 11:15 pm $10 Downtown Music Gallery 6 pm
• Ken Fowser Quintet; Mike Sailors Big Band • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band;
The Django at Roxy Hotel 7:30, 10:30 pm Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am $10
• Oscar Williams Trio; Jared Gold/Dave Gibson; Craig Wuepper êJazzmeia Horn with Marcus Miller, Victor Gould, Barry Stephenson, Henry Conerway III
Fat Cat 6, 10 pm 1:30 am $10 Jazz Standard 7:30, 9:30 pm $30
• Carl Stone, Ned Rothenberg, Ami Yamasaki êLady Got Chops Fest: Bertha Hope Manna House 3 pm ©osaka.at

Issue Project Room 8 pm $15 • Joel Frahm Trio with Spike Wilner, Joe Martin ©Ruth Meier

• Larry Fuller Trio with George DeLancey, Jason Tiemann Mezzrow 8 pm $20
Jazz at Kitano 8, 10 pm $34
• Andrew D’Angelo Trio with Carmen Rothwell, Allan Mednard
• Beat Kaestli Trio with Loic Cardeone da Silva, Gary Wang
North Square Lounge 12:30, 2 pm
• Alex Simon Gypsy Swing Ensemble Radegast Hall 7 pm
“Taking Off” CD Release
The Jazz Gallery 7:30, 9:30 pm $20
êJazzmeia Horn with Marcus Miller, Victor Gould, Barry Stephenson, Henry Conerway III • Lady Cantrese and Gents with Marcus Persiani, Santo Albert, Mike Fitzbenjamin Edith Lettner, alto/soprano sax/duduk
Jazz Standard 7:30, 9:30 pm $30 Russian Samovar 3 pm Gerhard Franz Buchegger, piano
• Ronny Whyte/Boots Maleson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 êCatherine Russell Saint Peter’s Church 5 pm
êDanny Grissett/E.J. Strickland Mezzrow 8 pm $20 • Shrine Big Band Shrine 8 pm Gerhard Graml, bass
êTheo Hill Minton’s 7:30, 9:30 pm $15 • Ai Murakami Trio with Zaid Nasser, Sacha Perry; Dave Glasser Quartet with Stephan Brodsky, drums
• Bobby Previte’s Rhapsody Band with Nels Cline, John Medeski, Zeena Parkins, Martha Kato, Nick Dunston, Connor Parks; David Gibson Quintet with Freddie Hendrix,
Jen Shyu Roulette 8 pm $20 Davis Whitfield, Alexander Claffy, Mark Whitfield, Jr.; Hillel Salem
• Dogwood: Nico Soffiato/Zach Swanson Smalls 4:30, 7:30, 10:30 pm 1 am $20
Scholes Street Studio 8 pm $10
• Sten Hostfalt’s Soundalkike with Johnny Lapio; Field Theory: Matt Vashlishan,
êHelen Sung’s The (re)Conception Project with Ingrid Jensen, John Ellis,
Ricky Rodriguez, Kush Abadey Smoke 7, 9, 10:30 pm $38
• Bill Stevens Songbook with Corey Larson, Paul Pricer and guests Sebastian Gil,
Delight
Bob Sabin, Mark Ferber, Matt Panayides Donald Smith, piano/vocals
ShapeShifter Lab 7, 8:15 pm $10-12 Mark Nelms Tomi Jazz 8 pm
• Furmi Gomez 4tet; Alicyn Yaffee Trio êSubtle Degrees: Travis Laplante/Gerald Cleaver
Union Pool 8 pm $12-15
Edith Lettner, alto/soprano sax
Shrine 6, 7 pm Gerhard Graml, bass
• Hilliard Greene and The Jazz Expressions with T.K. Blue, Sharp Radway, Bruce Cox; • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matt Brewer,
Stafford Hunter and Continuum with Todd Bashore, Willerm Delisfort, Alexander Claffy, Eric Harland Village Vanguard 8:30, 10:30 pm $35 Leopoldo F. Fleming, percussion
Chris Beck Smalls 7:30, 10:30 pm $20
êHelen Sung’s The (re)Conception Project with Marquis Hill, John Ellis, Ricky Rodriguez, Warren Smith, drums/vibraphone
Kush Abadey Smoke 7, 9, 10:30 pm $38 Monday, March 5
êLady Got Chops Fest: Bertha Hope Trio
The Sound Bite 7, 9 pm $15 • Sagi Kaufman Trio with Yoav Eshed, Stephen Boegehold; Valentina Marino Trio with Metro Baptist Church
êJoanthan Finlayson and Sicilian Defense with Miles Okazaki, Matt Mitchell, John Hébert, Taulant Mehmeti, Myles Sloniker Bar Next Door 6:30, 8:30, 10:30 pm $12
Craig Weinrib The Stone at The New School 8:30 pm $20 êAllison Miller’s Boom Tic Boom with Carmen Staaf, Tony Scherr 410 W. 40th Street
• Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matt Brewer, Bar Lunàtico 8:30, 10 pm $10 (9th & 10th Avenue, behind Port Authority)
Eric Harland Village Vanguard 8:30, 10:30 pm $35 • Cheryl Bentyne’s ReArrangements of Shadows with Yaron Gershovsky, Matt Aronoff,
Clint De Ganon, Aaron Weinstein Birdland 8:30, 11 pm $30-35 7:30 PM Performance / Doors open at 6:45 PM
Saturday, March 3 • The Showdown Kids: Scott Metzger, Katie Jacoby, Simon Kafka
Blue Note 8 pm $25 Admission Cash Only / $20; Senior/Students, $15
• Zaid Nasser with Tardo Hammer, John Webber, Steve Williams • Devin Brahja Waldman, Brandon Lewis, Reggie Sylvester; Stephen Gauci, Sandy Ewen,
The 75 Club at Bogardus Mansion 8, 10 pm $20 Adam Lane, Kevin Shea; Rick Parker, Martin Philadelphy, Jeremy Carlstedt; General Seating-Reservations:
• Rags, Strides & Habaneras: Dick Hyman; Joey Alexander; Chano Dominguez; Joe McPhee, Elias Stemeseder, Ken Filiano, Raf Vertessen; Eriq Robinson, Dave Ross, abrajazzbra@aol.com / 646.206.2080
Sullivan Fortner; Jared Grimes; Eddie Torres, Jr.; Jesús Carmona Matt Chilton, William Hooker; Prawit Siriwat, Daniel Durst, Colin Hinton Venue not wheelchair accessible
The Appel Room 7, 9:30 pm $100-110 Bushwick Public House 7 pm $10

34 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 Tuesday, March 6 • Megumi Yonezawa Trio with Mike McGuirk, Mark Ferber • Samba Jazz and the Music of Jobim: Romero Lubambo, Billy Drewes,
Jazz at Kitano 8, 10 pm $18 Hans Glawischnig, Maucha Adnet, Helio Alves, Duduka Da Fonseca
• Niall Cade Trio with Kaisa Maensivu, Emil Kristinasen; Alicyn Yaffee Trio with • Chet Doxas Rich in Symbols with Brad Shepik, Rob Ritchie, Zach Lober, Jerad Lippi Dizzy’s Club 7:30, 9:30 pm $45
Kyle Koehler, Colin Stranahan Bar Next Door 6:30, 8:30, 10:30 pm $12 The Jazz Gallery 7:30, 9:30 pm $15 • Nate Sparks Dizzy’s Club 11:15 pm $20
êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White êHarlem Speaks: Henry Threadgill Jazz Museum in Harlem 8 pm $10 • Ray Gallon Trio; Eyal Vilner Big Band with Brianna Thomas
Birdland 8:30, 11 pm $40 êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen The Django at Roxy Hotel 7:30, 10:30 pm
• Pete Rock and The Soul Brothers with Daru Jones, Maurice Brown, Mono Neon, Jazz Standard 7:30, 9:30 pm $30 • Ivan Renta Quintet; Lawrence Clark; Greg Glassman Jam
Marcus Machado, Anu Sun, Lakecia Benjamin, Devone Allison • Vic Juris, Dave Stryker, Charlie Apicella Fat Cat 7, 10 pm 1:30 am $10
Blue Note 8, 10:30 pm $25 Mezzrow 8 pm $20 êMichaël Attias Quartet with Aruán Ortiz, John Hébert, Nåsheet Waits
• VoxEcstatic: Gabrielle Stravelli’s Dream Ago with Joshua Richman, Pat O’Leary; • Maurice Brown Minton’s 7:30, 9:30 pm $15 Greenwich House Music School 8 pm $15
Vanisha Gould Group with Ludovica Burtone, Leandro Pellegrino, Dan Pappalardo • Lady Got Chops Fest: Kim Clarke’s Aqua Ninjaz êRed Baraat Festival of Colors; Women’s Raga Massive
Cornelia Street Underground 8, 9:30 pm $10 MIST 8 pm Highline Ballroom 8 pm $20-35
• Denise Thimes with Adaron “Pops” Jackson, Jamal Nichols, Charles Heath, • Kane Mathis, Moto Fukushima, Rich Stein; Andreas Arnold/Jeremy Smith • Brutal Measures: Lydia Lunch/Weasel Walter; Keijaun Thomas;
Alexa Tarantino, Marquis Hill Dizzy’s Club 7:30, 9:30 pm $35 The Owl Music Parlor 7:30 pm $10 Thomas Boettner’s Straight Panic Issue Project Room 8 pm $15
• Nate Sparks Dizzy’s Club 11:15 pm $5 • Whitney Marchelle with Sweet Lee Odom, Arco Sandoval, Curtis Lundy, êJerry Bergonzi Quartet with Matt Mitchell, Harvie S, Donald Edwards
• Jazz and Comedy: Brian Charette Trio Bernard Linnette Pelham Fritz Recreation Center 6:30 pm Jazz at Kitano 8, 10 pm $34
The Django at Roxy Hotel 7 pm • Joe Pino Quintet Shrine 6 pm • Godwin Louis with Adam O’Farrill, Joel Ross, Victor Gould, Luques Curtis,
• Saul Rubin Zebtet; Willie Martinez y la Familia; Yoshi Waki • Mike Fahn Silvana 6 pm Jonathan Barber The Jazz Gallery 7:30, 9:30 pm $25
Fat Cat 7, 9 pm 12:30 am $10 • Yotam Silberstein Quartet with Nitai Hershkovits, Kendrick Scott; Behn Gillece Quartet • John Fatum and Friends with Michael Fatum, Adam Brisbin, Dave Speranza,
• Lena Horne at 100: Candice Hoyes and Dormeshia Sumbrey-Edwards with Rick Germanson, Ugonna Okegwo, Jason Tiemann; Jonathan Thomas Jamie Eblen Jazz Standard 12 pm $10
Harlem Stage Gatehouse 7:30 pm $20 Smalls 7:30, 10:30 pm 1 am $20 êSteven Bernstein’s Millennial Territory Orchestra with Charlie Burnham, Curtis Fowlkes,
• Myriam Phiro’s Mariposa with Hyuna Park, Léonor Falcon, Tina Lama, • Carolyn Leonhart Quintet with Myron Walden, Theo Hill, Richie Goods, Rodney Green Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Ben Allison,
Jacqueline Avecedo Iridium 8:30 pm $25 Smoke 7, 9, 10:30 pm $15 Ben Perowsky Jazz Standard 7:30, 9:30 pm $35
• Logan Richardson Quintet with Justus West, Igor Osypov, DeAndre Mannings, êJames Brandon Lewis/Chad Taylor Spectrum 7 pm • Russ Kassoff/Jay Anderson Knickerbocker Bar & Grill 9, 10:15 pm $3.50
Ryan Lee Jazz Standard 7:30, 9:30 pm $25 • The Actual Septet: Andrew D’Angelo, Jessica Jones, Claire Daily, John Schott, • Washington Heights Jazz Festival: Street Beat Brass; Tobias Gebb’s Hard Bop Pop;
• Matt Pavolka’s The Horns Band with Mike Rodriguez, Charlotte Greve, Jacob Garchik, Will Bernard, Dan Seamans, John Hanes Matt Davis’ Aerial Photograph; Cocomama Quartet; Berta Moreno Quartet; Blue Food;
Mark Ferber; Caleb Wheeler Curtis Korzo 9, 10:30 pm The Stone at The New School 8:30 pm $20 Eddy Khaimovich Project; Mark Kross’ Uptown Aesthetic
êJeremy Pelt/Jeb Patton Mezzrow 8 pm $20 êFred Hersch Trio with Drew Gress, Billy Hart Le Chéile 1 pm $50
• Syndee Winters and Suite Assembly with Michael Eckroth, Taylor Jones, Village Vanguard 8:30, 10:30 pm $35 • Peter Zak Trio with Ed Howard, Billy Drummond
Mary Ann McSweeney, Bendji Allonce • Hanka Gregusova Williamsburg Music Center 9, 10:30 pm $10 Mezzrow 8 pm $20
Minton’s 7:30, 9:30 pm $15 • Paul Bollenback Quartet with Will Boulware, James Cammack, Atri Dixon and guest
• Lou Caputo Little Big Band New York City Baha’i Center 8, 9:30 pm $15 Ken Giofree Minton’s 7:30, 9:30 pm $15
• Brian Krock’s Little with Olli Hirvonen, Marty Kenney, Nathan Ellman-Bell and guest Friday, March 9 • Nursery Song Swing: Jazz at Lincoln Center Orchestra
ShapeShifter Lab 9:30 pm $10 Rose Theater 8 pm $35-125
• Brian Kastan Shrine 6 pm • Chris Flory with Tardo Hammer, John Webber, Steve Williams • Andy Bianco Quintet Shrine 6 pm
• Tom Blatt Project Silvana 6 pm The 75 Club at Bogardus Mansion 8, 10 pm $20 êPearring Sound Silvana 6 pm
êTheo Hill Trio; Abraham Burton Quartet • Will Bernard Band Bar Lunàtico 8:30, 10 pm $10 • Lady Got Chops Fest: Tulivu Donna Cumberbatch
Smalls 7:30, 10:30 pm $20 • Pasquale Grasso Trio with Ari Roland, Keith Balla Sistas’ Place 9, 10:30 pm $20
• John Schott/Matt Wright The Stone at The New School 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Valery Ponomarev Quintet with Chris Hemingway, Mamiko Watanabe, Ruslan Khain,
êFred Hersch Trio with Drew Gress, Billy Hart êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White Alvester Garnett; Steve Slagle A.M. Quartet with Keith Brown, Gerald Cannon,
Village Vanguard 8:30, 10:30 pm $35 Birdland 8:30, 11 pm $40 Jason Tiemann; Brooklyn Circle: Stacy Dillard, Diallo House Ismail Lawal
• Andromeda Turre Band with Roxy Coss • Rebirth Brass Band Blue Note 8, 10:30 pm $35 Smalls 7:30, 10:30 pm 1 am $20
Warwick Hotel 6 pm • Jo Lawry Quartet The Cave at St. George’s 7:30 pm $15 êChico Freeman Plus-tet with Theo Hill, Kenny Davis, Rudy Royston
• Chip Shelton Trio Cleopatra’s Needle 8 pm Smoke 7, 9, 10:30 pm $40
• Tony Bennett, Johnny Mathis and Bobby Darin Celebration: Marcus Simeone; êCooper-Moore/Andrew Drury Duo; We Free Strings: Melanie Dyer, Gwen Laster,
Wednesday, March 7 Michael McNeill Trio with Ken Filiano, Phil Haynes; Eliane Amherd Band; Charles Burnham, Alex Waterman, Ken Filiano, Michael Wimberly
Pedro Barboza Trio with BamBam Rodriguez, Franco Pinna Soup & Sound 8 pm $20
• Joe Farnsworth Quartet with Eric Alexander, Isaiah J. Thompson, Gerald Cannon Club Bonafide 6, 8, 10, 11:30 pm $10-20 êExceptional Quartet: Robert Dick, Denman Maroney, James Ilgenfritz, Lou Grassi
An Beal Bocht Café 8, 9:30 pm $20 • Tony Malaby, Ben Monder, Tom Rainey Spectrum 9 pm
• Dida Pelled Bar Lunàtico 8:30, 10 pm $10 Cornelia Street Underground 8:30, 10 pm $10 • Cosmic Diaspora: Jake Marmer, Anthony Coleman, John Schott, Aaron Alexander
• Austin Zhang Trio with Niklas Lukassen, Andrew Pitarch Mach • Turtle Island Quartet’s Bird’s Eye View: Alex Hargreaves, David Balakrishnan, The Stone at The New School 8:30 pm $20
Bar Next Door 6:30 pm Benjamin von Gutzeit, Malcolm Parson • Fernando García Band Teatro Latea 9 pm $15
êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White The Cutting Room 7:30 pm $25 êFred Hersch Trio with Drew Gress, Billy Hart
Birdland 8:30, 11 pm $40 • Luiz Simas/Wesley Amorim The DiMenna Center 8 pm $15 Village Vanguard 8:30, 10:30 pm $35
• Weedie Braimah and Friends with Christian Scott, Pedrito Martinez, Abdoulaye Diabate, • Samba Jazz and the Music of Jobim: Romero Lubambo, Billy Drewes, • Aaron Burnett and Big Machine Williamsburg Music Center 9, 10:30 pm $10
Dwayne “MonoNeon” Thomas, Sam Dickey, Yacouba Sissoko, Munir Zakee, Hans Glawischnig, Maucha Adnet, Helio Alves, Duduka Da Fonseca
Luke Quaranta Blue Note 8, 10:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $40
• Jeremy Powell Quartet with Nitzan Gavrieli, Pablo Menares, Allan Mednard; • Nate Sparks Dizzy’s Club 11:15 pm $10
Tobias Meinhart Quartet with Yago Vasquez, Harish Raghavan, Jesse Simpson • Ken Fowser Quintet; Michael Arenella Dreamland Orchestra
Cornelia Street Underground 8, 9:30 pm $10 The Django at Roxy Hotel 7:30, 10:30 pm
• Denise Thimes with Adaron “Pops” Jackson, Jamal Nichols, Charles Heath, • Dida Pelled Quartet; Noah Jackson and Full Circle; Ray Gallon
Alexa Tarantino, Marquis Hill Dizzy’s Club 7:30, 9:30 pm $35 Fat Cat 6, 10 pm 1:30 am $10
• Nate Sparks Dizzy’s Club 11:15 pm $5 êMothers of the Movements—We Insist! Max Roach’s Freedom Now Suite: Marc Cary
• Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam with Terri Lyne Carrington, Reggie Workman, Sameer Gupta, Edmar Colón and guests
Fat Cat 7, 9 pm 12:30 am $10 Harlem Stage Gatehouse 7:30 pm $20
• Carol Sudhalter Jam Session Flushing Town Hall 7 pm $10 • Quentin Tolimieri solo; Jason Mears, Matteo Liberatore, Quentin Tolimieri, Carlo Costa
êMara Rosenbloom solo; Mara Rosenbloom Flyways with Anaïs Maviel, Adam Lane Ibeam Brooklyn 8:30 pm $15
Happylucky no.1 8, 9 pm $15 • Melba Joyce Quartet with John di Martino, Dezron Douglas, George Gray
êSinne Eeg/Kevin Hays Jazz at Kitano 8, 10 pm $18 Jazz at Kitano 8, 10 pm $34
• James Francies and Friends with Burniss Travis, Mike Mitchell and guest • Nerissa Campbell Quartet with Can Olgun, Desmond White, Allen Mednard
Nicholas Payton Jazz Standard 7:30, 9:30 pm $25 The Jazz Gallery 7:30, 9:30 pm $25
êRon McClure Trio with Mike Eckroth, Pete Zimmer êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen and guest
Mezzrow 8 pm $20 John Medeski Jazz Standard 7:30, 9:30 pm $35
• James Cage with Reggie Young, TW Sample, Eric Dupont, Abel Morales • Louise Rogers Trio Kismat 7 pm
Minton’s 7:30, 9:30 pm $10 • Russ Kassoff/Jay Anderson Knickerbocker Bar & Grill 9, 10:15 pm $3.50
• Gina Leishman’s Geography The Owl Music Parlor 7:30 pm $10 êJulian Lage Trio with Jorge Roeder, Eric Doob
• Carol Sudhalter Trio with Patrick Poladian, Kevin Hailey Le Poisson Rouge 7:30 pm $25
Saint Peter’s Church 1 pm $10 • Peter Zak Trio with Ed Howard, Billy Drummond
• St.Amour Trio Shrine 7 pm Mezzrow 8 pm $20
• Takeshi Otani Band; Andrew Schiller • Jams Rich Minton’s 7:30, 9:30 pm $15
Silvana 6, 7 pm • Nursery Song Swing: Jazz at Lincoln Center Orchestra
• Yotam Silberstein Quartet with Nitai Hershkovits, Kendrick Scott; Rose Theater 8 pm $35-125
Simona Premazzi Quintet with Mike Rodriguez, Mark Shim, Joe Martin, Kush Abadey; • Jocelyn Shannon Quartet Silvana 6 pm
Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 • Greg Glassman Quartet with Stacy Dillard, Jeremy Manasia, Joseph Lepore;
êThe Actual Trio: John Schott, Dan Seamans, John Hanes Steve Slagle A.M. Quartet with Keith Brown, Gerald Cannon, Jason Tiemann;
The Stone at The New School 8:30 pm $20 Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20
• Michael Coleman; Dina Maccabee; Evan Francis Group êChico Freeman Plus-tet with Theo Hill, Kenny Davis, Rudy Royston
Threes Brewing 8 pm $10 Smoke 7, 9, 10:30 pm $40
êFred Hersch Trio with Drew Gress, Billy Hart êWhat Comes Before: Ben Goldberg, John Schott, Michael Sarin
Village Vanguard 8:30, 10:30 pm $35 The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Billy Hart
Village Vanguard 8:30, 10:30 pm $35
Thursday, March 8 • eMPathia: Paul Ricci/Mafalda Minnozzi
Zinc Bar 7 pm
• Nicole Zuraitis 55Bar 7 pm êValery Ponomarev Big Band Zinc Bar 8, 10 pm $20
• Vaughn Stoffey Trio with Cole Davis, Alex Ritz; Jon Irabagon Trio with Bob Sabin,
Tony Moreno Bar Next Door 6:30, 8:30, 10:30 pm $12 Saturday, March 10
• Laila Biali Birdland 6 pm $30
êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White • Chris Flory with Tardo Hammer, John Webber, Steve Williams
Birdland 8:30, 11 pm $40 The 75 Club at Bogardus Mansion 8, 10 pm $20
• Rebirth Brass Band Blue Note 8, 10:30 pm $35 • Telavana with Itai Kriss Bar Lunàtico 8:30, 10 pm $10
• George Young Band Cleopatra’s Needle 7 pm • Nadav Remez Trio with Gary Versace, Colin Stranahan
• David Bertrand Quartet with Rafal Sarnecki, Richard Mikel, Carter Bales Bar Next Door 7:30, 9:30, 11:30 pm $12
Club Bonafide 7:30 pm $10 êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White
• Emi Makabe Trio with Vitor Gonçalves, Thomas Morgan; Birdland 8:30, 11 pm $40
Thomas Morgan/Margit Nejlima Cornelia Street Underground 8, 9:30 pm $10 • Rebirth Brass Band Blue Note 8, 10:30 pm $35
• Stephanie Chou Trio with Andy Lin, Kenny Wollesen êLady Got Chops Fest: Monette Sudler’s Ladies Night Out with Lynne Riley,
David Rubenstein Atrium 7:30 pm Noriko Kamo, Kim Clarke, Lucianna Padmore
• Samba Jazz and the Music of Jobim: Romero Lubambo, Billy Drewes, Brooklyn Center for the Performing Arts 2 pm
Hans Glawischnig, Maucha Adnet, Helio Alves, Duduka Da Fonseca • Alicia Olatuja Brooklyn Center for the Performing Arts 8 pm $30
Dizzy’s Club 7:30, 9:30 pm $40 • The Seeing With Photography Collective and Daniel Kelly Trio with Jennifer Vincent,
• Nate Sparks Dizzy’s Club 11:15 pm $10 Bram Kincheloe Brooklyn Conservatory of Music 8 pm $15
• Dan Aran Band; Eli “Paperboy” Reed • Alan Rosenthal Trio Cleopatra’s Needle 8 pm
The Django at Roxy Hotel 7:30, 10 pm • Jazzmensoul; Steve Fidyk Parlour Project
• Marcus Persiani; Greg Glassman Quintet; Avi Rothbard Club Bonafide 8, 10, 11:30 pm $15-20
Fat Cat 7, 10 pm 1:30 am $10
• María Grand Jamaica Center for Arts and Learning 8 pm $10

THE NEW YORK CITY JAZZ RECORD | MARCH 2018 35

 Sunday, March 11 • Andromeda Turre Band with Roxy Coss • Kathleen Landis, Boots Maleson, Dan White
Warwick Hotel 6 pm Knickerbocker Bar & Grill 9, 10:15 pm $3.50
• Jim Campilongo Trio with Chris Morrissey, Josh Dion êKen Peplowski Trio with Ehud Asherie, Kevin Dorn
55Bar 6 pm Mezzrow 8 pm $20
• Mauricio Zottarelli’s Upside Down Looking Up with Gustavo Assis Brasil, Wednesday, March 14 • Jazmyn: Jim Farley, Inez Wilson, Derrick James, Jim Cammack, Arti Dixson
Oriente Lopez, Itaiguara Brandão Blue Note 11:30 am 1:30 pm $39.50 Minton’s 7:30, 9:30 pm $15
• Rebirth Brass Band Blue Note 8, 10:30 pm $35 • George Burton’s Brew Trio Bar Lunàtico 8:30, 10 pm $10 êTo Bird with Strings: Paquito D’Rivera
• Klazz-Ma-Tazz: Benjamin Sutin, Elijah Shiffer, Alec Goldfarb, Robbie Lee, Mat Muntz • Julphan Tilapornputt Trio with Kengchakaj Kengkarnka, Trevor Brown Rose Theater 8 pm $40-130
Cornelia Street Underground 8 pm $10 Bar Next Door 6:30 pm • Hadrien Feraud Band; Spirit Fingers: Greg Spero, Dario Chiazzolino, Hadrien Feraud,
• Samba Jazz and the Music of Jobim: Romero Lubambo, Billy Drewes, • Kurt Elling Birdland 8:30, 11 pm $40 Mike Mitchell ShapeShifter Lab 8:15, 9:30 pm $10
Hans Glawischnig, Maucha Adnet, Helio Alves, Duduka Da Fonseca êMcCoy Tyner Blue Note 8, 10:30 pm $45 • Josiah Boornazian Shrine 6 pm
Dizzy’s Club 7:30, 9:30 pm $35 • Jeff Davis Dragon Father Trio with Ben Monder, Eivind Opsvik; Aaron Irwin Sextet with • Shun Ino Silvana 6 pm
• Sean Ali/Ayako Kanda; Dogwood: Nico Soffiato/Zach Swanson Peter Hess, Matthew McDonald, Chris Commer, Terry McManus, Gary Wang êMike Clark Trio with Jack Wilkins, Andy McKee; Donald Edwards Quintet with
Downtown Music Gallery 6, 7 pm Cornelia Street Underground 8, 9:30 pm $10 Morgan Guerin, Tom Guarna, Davis Whitfield, Ben Wolfe
• Terry Waldo’s Gotham City Band; Diallo House; Brandon Lewis/Renee Cruz Jam • Mark Sherman Quartet with Bruce Barth, David Wong, Carl Allen Smalls 7:30, 10:30 pm $20
Fat Cat 6, 8:30 pm 1 am $10 Dizzy’s Club 7:30, 9:30 pm $35 êHarold Mabern 82nd Birthday Celebration with Eric Alexander, John Webber,
êSteven Bernstein’s Millennial Territory Orchestra with Charlie Burnham, Curtis Fowlkes, • The Ladybugs Dizzy’s Club 11:15 pm $5 Joe Farnsworth Smoke 7, 9, 10:30 pm $40
Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Ben Allison, • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam êTim Berne, Hank Roberts, David Torn, Ben Perowsky
Ben Perowsky Jazz Standard 7:30, 9:30 pm $35 Fat Cat 7, 9 pm 12:30 am $10 The Stone at The New School 8:30 pm $20
• Matt Wolfe/Rick Strong Kismat 12 pm êMyk Friedman Quartet; Steve Swell Trio with William Parker, Michael T.A. Thompson êBill Frisell Trio with Thomas Morgan, Rudy Royston
• La Tanya Hall Las Tapas 5 pm Happylucky no.1 8, 9 pm $15 Village Vanguard 8:30, 10:30 pm $35
• Chris Flory Trio with Larry Ham, Lee Hudson • The Jazz Poems of Grace Schulman: Gene Marlow and The Heritage Ensemble with êToshiko Akiyoshi Trio with Yasushi Nakamura, Tim Horner
Mezzrow 8 pm $20 Michael Hashim, Frank Wagner, Bobby Sanabria Zinc Bar 7, 8:30 pm $25
• Christopher McBride and the C-Note with Jonathan Edwards, Curtis Nowosad Jazz at Kitano 8, 10 pm $18
Minton’s 7:30, 9:30 pm $10 • Owen Broder’s The American Roots Project with Sara Caswell, Scott Wendholt,
• Aakash Mittal’s Awaz Trio with Miles Okazaki, Rajna Swaminathan Nick Finzer, Frank Kimbrough, Jay Anderson, Matt Wilson, James Shipp, Wendy Gilles,
National Sawdust 7:30 pm $29 Melissa Stylianou, Michael Mayo Jazz Standard 7:30, 9:30 pm $25
• Roz Corral Trio with Saul Rubin, Paul Gill • Steve Feifke Trio with Raviv Markovitz, Charles Goold
North Square Lounge 12:30, 2 pm Mezzrow 8 pm $20
• Lady Got Chops Fest: Annette St John Trio with Ester Blue, Kim Clarke êAlvin Curran Park Avenue Armory 7, 9 pm $45
Russian Samovar 3 pm • Jason Prover Sneak Thievery Orchestra
• Caroline Davis solo St. John Lutheran Church 3:30 pm Radegast Hall 9 pm
êCatherine Russell Saint Peter’s Church 5 pm • Aaron Burnett and the Big Machine with Carlos Homs, Nick Jozwiak, Kush Abadey
• Sofia Paola/Alper Tuzcu ShapeShifter Lab 7 pm $8 Roulette 8 pm $20
• Andrew Kushnir Trio Shrine 6 pm • Barbara Rosene with Conal Fowkes, Murray Wall
• Brian Kastan Silvana 6 pm Saint Peter’s Church 1 pm $10
• Ai Murakami Trio with Zaid Nasser, Sacha Perry; Chris Byars Septet with Zaid Nasser, • Gil Schwartz Duo Silvana 6 pm
John Mosca, Stefano Doglioni, Pasquale Grasso, Ari Roland, Phil Stewart; • Michael Feinberg Quintet with Darren Barrett, Noah Preminger, Billy Test, Ian Froman;
Ralph Lalama and Bop-Juice with Alec Safy, Clifford Barbaro; Robert Edwards Dan Aran Trio with Adam Birnbaum, Luke Sellick
Smalls 4:30, 7:30, 10:30 pm 1 am $20 Smalls 7:30, 10:30 pm $20
êChico Freeman Plus-tet with Theo Hill, Kenny Davis, Rudy Royston • Moodswing Orchestra Analog: Charlie Burnham, Ed Pastorini, Oren Bloedow,
Smoke 7, 9, 10:30 pm $40 Ben Perowsky and guest Jennifer Charles
• Phillip Golub/Raf Vertessen Spectrum 7 pm The Stone at The New School 8:30 pm $20
• A Time Like This—Music for Change: Rhiannon Giddens, Toshi Reagon, Young Paris, êBill Frisell Trio with Thomas Morgan, Rudy Royston
Carrie Compere, Ro James Stern Auditorium at Carnegie Hall 3 pm $10-55 Village Vanguard 8:30, 10:30 pm $35
êJohn Zorn with Christian McBride, Marc Ribot, Mary Halvorson, Jim Staley, Ikue Mori, êIngrid Jensen Quartet with Gary Versace, Ed Howard, Colin Stranahan
Kenny Wollesen, Ches Smith and guests Zinc Bar 7, 8:30 pm $25
Village Vanguard 3 pm $35
êFred Hersch Trio with Drew Gress, Billy Hart
Village Vanguard 8:30, 10:30 pm $35 Thursday, March 15
• David Leon Trio with Sam Weber, Stephen Boegehold; Justin Lees Trio with
Monday, March 12 Scott Ritchie, Phil Stewart Bar Next Door 6:30, 8:30, 10:30 pm $12
êCynthia Sayer’s Hot Jazz Banjo Show with Dennis Lichtman, Jared Engle, Dennis Eagle
• Zach Brock, Chris Tarry, Joel Rosenblatt Birdland 6 pm $30
55Bar 7 pm • Kurt Elling Birdland 8:30, 11 pm $40
• Omer Avital’s Qantar Bar Lunàtico 8:30, 10 pm $10 êRoy Haynes 93rd Birthday Celebration
• Cole Davis Trio with Jasper Dutz, Vaughn Stoffey; Les Grant Trio with John Chin, Blue Note 8, 10:30 pm $45
Evan Gregor Bar Next Door 6:30, 8:30, 10:30 pm $12 • Tyler Blanton’s Hornē Electric Band BRIC House Artist Studio 6:30 pm
êMcCoy Tyner Blue Note 8, 10:30 pm $45 • George Stella Band Cleopatra’s Needle 7 pm
• Eric Plaks, Aron Namenwirth, John Loggia; Stephen Gauci, Sandy Ewen, Adam Lane; • The Mateadors: Elsa Nilsson, Jeff McLaughlin, Amanda Ruzza, Lautaro Burgos
Michael Lytle, Matthew Ostrowski, Nicolas Letman-Burtinovic; Caroline Davis, Club Bonafide 9:30 pm $10
Caleb Curtis, Charlotte Greve, Oscar Noriega; Eli Wallace, Ben Cohen, Dave Miller; • Nick Sanders Trio with Henry Fraser, Devin Gray; Julian Shore Quartet with
Will Greene, Elias Stemeseder, Raf Vertessen Yotam Silberstein, Edward Perez, Colin Stranahan
Bushwick Public House 7 pm $10 Cornelia Street Underground 8, 9:30 pm $10
• Jazz at Lincoln Center Youth Orchestra with guest Lew Tabackin • BIGYUKI David Rubenstein Atrium 7:30 pm
Dizzy’s Club 7:30, 9:30 pm $30 • Takeshi Asai solo The DiMenna Center 8 pm $22-36
• Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 êFreddy Cole Quintet with Elias Bailey, Jay Sawyer, Randy Napoleon, Harry Allen
• Mike Eckroth/Scott Colley Mezzrow 8 pm $20 Dizzy’s Club 7:30, 9:30 pm $45
• Aaron Comess Rockwood Music Hall Stage 1 10 pm • The Ladybugs Dizzy’s Club 11:15 pm $10
• Jim Campilongo Trio with Chris Morrissey, Josh Dion and guest Nels Cline • Arthur Vint and Associates; Mark Whitfield
Rockwood Music Hall Stage 2 10 pm The Django at Roxy Hotel 7:30, 10 pm
• Fostina Dixon and Winds of Change with Edsel Gomez, Lonnie Plaxico, • John Colianni Quartet with Matt Chertkoff, Boots Maleson, Steve Johns
Ronnie Burrage The Schomburg Center 7 pm $35 Jazz at Kitano 8, 10 pm $18
• Juanma Trujillo Group Shrine 6 pm • Jasper Dutz Kettles with Anthony Pearlman, Nick Dunston, Connor Parks and guest
• Brian Kastan Silvana 6 pm The Jazz Gallery 7:30, 9:30 pm $15
• Michael Sarian and The Big Chabones êJimmy Greene’s Love In Action with Renee Rosnes, John Patitucci, Otis Brown III,
Sir D’s 8, 9:30 pm Rogério Boccato Jazz Standard 7:30, 9:30 pm $30
• Jeremy Udden Sound Pairings Threes Brewing 8 pm $15 • Edin Ladin Trio with Ari Roland, Allan Mednard
êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield and guest Saul Rubin Mezzrow 8 pm $20
Zinc Bar 8, 10 pm $25 êArturo O’Farrill Quintet Minton’s 7:30, 9:30 pm $15
• Lady Got Chops Fest: Ghanniyya Green
MIST 8 pm
Tuesday, March 13 • Jennifer Wharton Silvana 6 pm
• Christopher McBride and The Whole Proof with JS Williams, Jonathan Thomas,
• Stan Killian Sextet with Paul Brandenburg, Rob Susman, Jon Heagle, Dan Asher, Noah Jackson, Cedric Easton; Asaf Yuria Quintet with Josh Evans, David Bryant,
Shareef Taher 55Bar 7 pm Ben Meigners, Mark Whitfield, Jr. Smalls 7:30, 10:30 pm $20
• Elysse with Ed Pastorini Bar Lunàtico 8:30, 10 pm $10 êAlexis Cole with Eric Alexander, David Berkman, Dmitri Kolesnik, Joe Spinelli
• Alan Kwan Trio with Patrick Lui, Evan Gregor; Hashem Assadullahi Trio with Smoke 7, 9, 10:30 pm $15
Leonard Thompson, Matt Wilson Bar Next Door 6:30, 8:30, 10:30 pm $12 • Earth Tongues: Joe Moffett, Dan Peck, Carlo Costa
• Jane Bunnett and Maqueque with Yissy Garcia, Melvis Santa, Dánae Olano, Spectrum 7 pm
Magdelys Savigne, Celia Jiménez Birdland 8:30, 11 pm $40 êDavid Tronzo, John Medeski, Ben Perowsky
êMcCoy Tyner Blue Note 8, 10:30 pm $45 The Stone at The New School 8:30 pm $20
• Stan Chovnick and Friends with Linda Presgrave, Dimitri Moderbacher, Seiji Ochiai êBill Frisell Trio with Thomas Morgan, Rudy Royston
Club Bonafide 7:30, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $35
• Cesar Garabini/Olli Soikkeli Cornelia Street Underground 8 pm $10 • Christian Howes and Friends Williamsburg Music Center 9, 10:30 pm $10
• Akira Tana and Otonowa with Art Hirahara, Masaru Koga, Noriyuki Ken Okada
Dizzy’s Club 7:30, 9:30 pm $35
• The Ladybugs Dizzy’s Club 11:15 pm $5 Friday, March 16
• Dom Salvador Quartet The Django at Roxy Hotel 7:30 pm
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop • Joe Giglio Trio with Thomson Kneeland, Eric Peters
Fat Cat 7, 9 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12
• Theo Croker Jazz Standard 7:30, 9:30 pm $25 êWarren Vaché with Tardo Hammer, John Webber, Steve Williams
• Adam Kolker, Steve Cardenas, Billy Mintz; James Carney, Dezron Douglas, The 75 Club at Bogardus Mansion 8, 10 pm $20
Allan Mednard and guest Korzo 9, 10:30 pm • Kurt Elling Birdland 8:30, 11 pm $40
• Glenn Zaleski solo Mezzrow 8 pm $20 êRoy Haynes 93rd Birthday Celebration
• Syndee Winters and Suite Assembly with Michael Eckroth, Taylor Jones, Blue Note 8, 10:30 pm $45
Mary Ann McSweeney, Bendji Allonce • Dona Carter Trio Cleopatra’s Needle 8 pm
Minton’s 7:30, 9:30 pm $10 • Ralph Alessi’s This Against That with Andy Milne, Drew Gress, Mark Ferber
• Mike Longo NY State of the Art Jazz Ensemble Cornelia Street Underground 8:30, 10 pm $10
New York City Baha’i Center 8, 9:30 pm $15 ê¡VAYA! 63: Eddie Palmieri David Rubenstein Atrium 7:30 pm
êJin Hi Kim, Elliott Sharp, William Parker, Hamid Drake êFreddy Cole Quintet with Elias Bailey, Jay Sawyer, Randy Napoleon, Harry Allen
Roulette 8 pm $20 Dizzy’s Club 7:30, 9:30 pm $45
• Will Schmid Group with David Acevedo, Conner Duke, Sean Kim, Jesse Thorson • The Ladybugs Dizzy’s Club 11:15 pm $10
ShapeShifter Lab 7 pm $8 • Ken Fowser Quintet; Lezlie Harrison
• Oscar Feldman and Friends Shrine 7 pm The Django at Roxy Hotel 7:30, 10:30 pm
• Josiah Boornazian Silvana 6 pm • Camile Gainer Jones Fat Cat 10:30 pm $10
• Frank Lacy Group Smalls 10:30 pm $20 • Nilson Matta’s Brazilian and Jazz Journey Band with Helen Sung, John Snauwaert,
• Camp Songs: Uri Caine, Drew Gress, Ben Perowsky Marcello Pellitteri Jazz at Kitano 8, 10 pm $34
The Stone at The New School 8:30 pm $20 êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman
êBill Frisell Trio with Thomas Morgan, Rudy Royston The Jazz Gallery 7:30, 9:30 pm $25
Village Vanguard 8:30, 10:30 pm $35 êJimmy Greene’s Love In Action with Renee Rosnes, John Patitucci, Otis Brown III,
Rogério Boccato Jazz Standard 7:30, 9:30 pm $30

36 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 Saturday, March 17 êRoy Haynes 93rd Birthday Celebration
Blue Note 8, 10:30 pm $45
• Brubeck Brothers Quintet: Dan and Chris Brubeck, Mike DeMicco, Chuck Lamb
and guest Carl Allen Dizzy’s Club 7:30, 9:30 pm $35
êWarren Vaché with Tardo Hammer, John Webber, Steve Williams • Julie Eigenberg with Ray Gallon, Alex Blake, Tommy Campbell • Ben Paterson Duo; George Braith; Billy Kaye Jam
The 75 Club at Bogardus Mansion 8, 10 pm $20 City Winery 12:30 pm $20
• Jartse Tuominen Group with Steve Bernai, Brannen Temple Fat Cat 6, 9 pm 12:30 am $10
• Tyler Blanton’s Hornē Electric Band Club Bonafide 7:30 pm $12 • Dan Cray Trio with Joe Martin, Mark Ferber
Bar Lunàtico 8:30, 10 pm $10
êJerome Sabbagh Trio with Joe Martin, Billy Drummond • Michael Blanco Quartet with John Ellis, Mike Moreno, Billy Drummond Mezzrow 8 pm $20
Bar Next Door 7:30, 9:30, 11:30 pm $12 Cornelia Street Underground 8, 9:30 pm $10 • Adam Kolker’s Expanded Trio Sir D’s 8, 9:30 pm
• Kurt Elling Birdland 8:30, 11 pm $40 êFreddy Cole Quintet with Elias Bailey, Jay Sawyer, Randy Napoleon, Harry Allen • Jeremy Udden Sound Pairings Threes Brewing 8 pm $15
êRoy Haynes 93rd Birthday Celebration Dizzy’s Club 7:30, 9:30 pm $35 êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield and guests
Blue Note 8, 10:30 pm $45 êNick Fraser/Ingrid Laubrock Downtown Music Gallery 6 pm Essiet Essiet, David F. Gibson Zinc Bar 8, 10 pm $25
• Lady Got Chops Fest: Annette Aguilar and Stringbeans • Gene Bertoncini solo The Drawing Room 7 pm $20
Brooklyn Center for the Performing Arts 2 pm • Terry Waldo’s Gotham City Band; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam
• Rudi Mwongozi Trio Fat Cat 6, 8:30 pm 1 am $10
Cleopatra’s Needle 8 pm
• Mat Maneri’s Dust with Lucian Ban, John Hébert, Randy Peterson êBilly Martin’s Stridulations For The Good Luck Feast with Chris McIntyre, Tuesday, March 20
Cornelia Street Underground 8:30, 10 pm $10 Chris DiMeglio, Hugo Moreno, Jen Baker
êFreddy Cole Quintet with Elias Bailey, Jay Sawyer, Randy Napoleon, Harry Allen Issue Project Room 1 pm $25 • Nicola Caminiti Trio with Cole Davis, JK Kim; Nick Brust Trio with Ben Eunson,
Dizzy’s Club 7:30, 9:30 pm $45 • Samurai Mama Big Band The Jazz Gallery 5 pm $15 Matt Clohesy Bar Next Door 6:30, 8:30, 10:30 pm $12
• The Ladybugs Dizzy’s Club 11:15 pm $20 • Intergenerational Jazz Jam Session: Jazz Power Quartet with Lakecia Benjamin, • Danny Fox Trio Bar Lunàtico 8:30, 10 pm $10
• Neal Caine Quintet; Professor Cunningham and His Old School Eli Yamin, Endea Owens, Eli Fountain and Zah! Jazz Youth
Jazz Museum in Harlem 2 pm $10 • Steve Smith Trio with Tony Monaco, Vinny Valentino
The Django at Roxy Hotel 7:30, 10:30 pm Birdland 8:30, 11 pm $40
• West Side Story Reimagined: Bobby Sanabria MultiVerse Big Band êJimmy Greene’s Love In Action with Renee Rosnes, John Patitucci, Otis Brown III,
Hostos Center 7:30 pm $25-35 Rogério Boccato Jazz Standard 7:30, 9:30 pm $30 • Keyon Harrold BRIC House Stoop 7 pm
• Nilson Matta’s Brazilian and Jazz Journey Band with Helen Sung, John Snauwaert, êLage Lund/Sullivan Fortner Mezzrow 8 pm $20 • John Pizzarelli Café Carlyle 8:45 pm $70-160
Marcello Pellitteri Jazz at Kitano 8, 10 pm $34 êSteve Cromity Quintet with Richard Clements, Gene Ghee, Lonnie Plaxico, • Steve Sandberg Quartet with Joe Deninzon, Michael O’Brien, Tiago Michelin;
êKris Davis/Ingrid Laubrock The Jazz Gallery 7:30, 9:30 pm $25 Dwayne “Cook” Broadnax Milk River Café 6 pm $10 Tomoko Omura Roots Quintet with Jeff Miles, Glenn Zaleski, Desmond White,
• Eyal Vilner Big Band with Charenée Wade • Christopher McBride and the C-Note with Jonathan Edwards, Curtis Nowosad Jay Sawyer Cornelia Street Underground 8, 9:30 pm $10
Minton’s 7:30, 9:30 pm $10
JCC of Manhattan 8:30 pm
• Sarah James Trio with John di Martino, Yoshi Waki • Brubeck Brothers Quintet: Dan and Chris Brubeck, Mike DeMicco, Chuck Lamb
• Kathleen Landis, Boots Maleson, Dan White North Square Lounge 12:30, 2 pm and guest Carl Allen Dizzy’s Club 7:30, 9:30 pm $35
Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Dida Pelled
êKen Peplowski Trio with Ehud Asherie, Kevin Dorn • Will Mason Electroacoustic Quintet with Matt Mitchell, Miles Okazaki, Greg Chudzik, Dizzy’s Club 11:15 pm $5
Mezzrow 8 pm $20 Charlotte Mundy Roulette 8 pm $20 • Pedro Giraudo and Friends The Django at Roxy Hotel 7:30 pm
• Oscar Feldman Quintet with Leo Genovese, John Benitez, Antonio Sanchez, • Lady Got Chops Fest: Stephanie Jeannot Trio with Danny Dalelio, Kim Clarke • Saul Rubin Zebtet; Cocomama Fat Cat 7, 9 pm $10
Guillermo Klein Minton’s 7:30, 9:30 pm $15 Russian Samovar 3 pm êThe Music of Dorothy Ashby: Brandee Younger
êTo Bird with Strings: Paquito D’Rivera • Melissa Styliano Saint Peter’s Church 5 pm Jazz Museum in Harlem 7 pm $10
Rose Theater 8 pm $40-130 • Dogwood: Nico Soffiato/Zach Swanson • Camille Bertault with Dan Tepfer, Alex Claffy, Ofry Nehemya
• Rico Jones Quartet Shrine 6 pm Scholes Street Studio 8 pm $10
• Ai Murakami Trio with Zaid Nasser, Sacha Perry; Charles Owens Quartet with Jazz Standard 7:30, 9:30 pm $25
• Lady Got Chops Fest: Endea Owens Dave Kikoski, Alexander Claffy, Jason Brown; Hillel Salem • Juilliard Jazz Ensembles Juilliard School Paul Hall 7:30 pm $20
Sistas’ Place 9, 10:30 pm $20
• Francesco Ciniglio’s Create with Adam O’Farrill, Francesco Geminiani, Smalls 4:30, 10:30 pm 1 am $20 êTony Malaby, Kris Davis, Nick Fraser; Mike Pride Trio with Jon Irabagon,
Kasperi Sarikoski, Addison Frei; Matt Haviland Quintet with Mark Gross, êHarold Mabern 82nd Birthday Celebration with Eric Alexander, John Webber, Drew Gress Korzo 9, 10:30 pm
John di Martino, Ugonna Okegwo, Johnathan Blake; Donald Edwards Quintet with Joe Farnsworth Smoke 7, 9, 10:30 pm $40 • George Burton, Pablo Menares, Jeremy “Bean” Clemons
Morgan Guerin, Tom Guarna, Davis Whitfield, Ben Wolfe; Philip Harper Quintet êBill Frisell Trio with Thomas Morgan, Rudy Royston
Mezzrow 8 pm $20
Village Vanguard 8:30, 10:30 pm $35
Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Joshua Walker; Rosemary Minkler Williamsburg Music Center 9, 10:30 pm $10 • Syndee Winters and Suite Assembly with Michael Eckroth, Taylor Jones,
êHarold Mabern 82nd Birthday Celebration with Eric Alexander, John Webber, Mary Ann McSweeney, Bendji Allonce
Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Minton’s 7:30, 9:30 pm $10
• Ben Perowsky Quartet with Chris Speed, Ben Monder, Scott Colley Monday, March 19
The Stone at The New School 8:30 pm $20 • Glenn Crytzer Trio Radegast Hall 8 pm
êBill Frisell Trio with Thomas Morgan, Rudy Royston êBilly Mintz Quartet with Tony Malaby, Roberta Piket, Hilliard Greene;
Village Vanguard 8:30, 10:30 pm $35 êMike Stern 55Bar 10 pm Billy Carrión, Jr. Trio with Roberta Piket, Kyle Duupstadt
• Corey Wilcox Williamsburg Music Center 9, 10:30 pm $10 • Kate McGarry Quartet with Keith Ganz, Sean Smith, Clarence Penn ShapeShifter Lab 7, 8:15 pm $10
Bar Lunàtico 8:30, 10 pm $10
• Sagi Kaufman Trio with Yoav Eshed, Simon Wilson; Nora McCarthy Trio with • Takeshi Otani Band Shrine 6 pm
êAbraham Burton Quartet Smalls 10:30 pm $20
Sunday, March 18 Marvin Sewell, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12
êDaniel Carter, Eric Plaks, Adam Lane, Tcheser Holmes; Stephen Gauci, Sandy Ewen, êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston
• Chad Lefkowitz-Brown Quartet with Steven Feifke, Raviv Markovitz, Allan Mednard Adam Lane; Welf Dorr Quartet; Nick Fraser Quartet with Kenny Warren, Village Vanguard 8:30, 10:30 pm $35
Birdland 6 pm $30 Brandon Lopez; Drew Wesely, Ben Rolston, Colin Hinton; Stelios Mihas, • Andromeda Turre Band with Roxy Coss
• Peter and Will Anderson Band Blue Note 11:30 am 1:30 pm $39.50 Zach Swanson, Michael Sutton Bushwick Public House 7 pm $10 Warwick Hotel 6 pm

THE NEW YORK CITY JAZZ RECORD | MARCH 2018 37

 Wednesday, March 21 • Dida Pelled Dizzy’s Club 11:15 pm $10 • Steve Smith Trio with Tony Monaco, Vinny Valentino
• Freddy DeBoe Band; Ian Hendrickson-Smith Birdland 8:30, 11 pm $40
êMike Stern 55Bar 10 pm The Django at Roxy Hotel 7:30, 10 pm • Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch,
• NanJo Lee Trio with Matt Clohesy, Adam Arruda • Molly Pope Greenwich House Music School 8 pm $15 Jeff Carney, Louis Cato, Madison McFerrin
Bar Next Door 6:30 pm • Aziza Miller and Prime Time with Sly Scott, Robert E. Daniels, Damon Duewhite, Blue Note 8, 10:30 pm $75
• Steve Smith Trio with Tony Monaco, Vinny Valentino Roland Guerrero Iridium 8:30 pm $25 • John Pizzarelli Café Carlyle 8:45 pm $90-180
Birdland 8:30, 11 pm $40 • Katsuko Tanaka Trio with Lonnie Plaxico, Willie Jones III • Marcus MacLaurine Trio Cleopatra’s Needle 8 pm
• John Pizzarelli Café Carlyle 8:45 pm $70-160 Jazz at Kitano 8, 10 pm $18 • SlideAttack Jazz Quintet: Howard Levy, Alan Goidel, Hiroshi Yamazaki, Michael Goetz,
• Ross Kratter Jazz Orchestra Club Bonafide 7:30, 9:30 pm $15 • Morgan Guerin Quintet with Lex Korten, Nick Dunston, JK Kim, Alyssa McDoom Chuck Zeuren; Ben “The Sax Guy” Birthday Bash
êDuchess: Amy Cervini, Hilary Gardner, Melissa Stylianou, Michael Cabe, Matt Aronoff, The Jazz Gallery 7:30, 9:30 pm $25 Club Bonafide 8, 10 pm $15
Jared Schonig Dizzy’s Club 7:30, 9:30 pm $35 • Billy Childs Quartet with Dayna Stephens, Hans Glawischnig, Ari Hoenig • Tarek Yamani David Rubenstein Atrium 7:30 pm
• Dida Pelled Dizzy’s Club 11:15 pm $5 Jazz Standard 7:30, 9:30 pm $30 • David Peña Dorantes, Adam Ben Ezra, Tim Ries
• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam êMark Elf/Gerald Cannon Mezzrow 8 pm $20 Dizzy’s Club 7:30, 9:30 pm $40
Fat Cat 7, 9 pm 12:30 am $10 • Akie Bermiss Quartet with Dan Asher, Andrew “Diz” Gillespie, Stacy Dillard • Dida Pelled Dizzy’s Club 11:15 pm $10
• Mayu Saeki Quartet with Tadataka Unno, Corcoran Holt, John Davis Minton’s 7:30, 9:30 pm $15 • Ken Fowser Quintet; Chris Norton The Django at Roxy Hotel 7:30, 10:30 pm
Jazz at Kitano 8, 10 pm $18 • Hot Club of Flatbush Radegast Hall 9 pm • Lena Burke with guest Malena Burke; Xiomara Laugart
• Camille Bertault with Dan Tepfer, Alex Claffy, Ofry Nehemya • Omar Sosa’s Transparent Water with Seckou Keita, Gustavo Ovalles Hostos Center 7:30 pm $25
Jazz Standard 7:30, 9:30 pm $25 Roulette 8 pm $20 • The Astral Pines: Shawn Russell, Keegan Arnold, Liam Stride, Kellen Radulski,
êLakecia Benjamin’s Rise Up Joe’s Pub 9:30 pm $20 • Emilio Teubal Trio with Federico Diaz, Ivan Barenboim; Ryan Gleason and guest Henry Raker
• Hector Martignon Trio with Samuel Torres, Gabriel Vivas Chuño: Franco Pinna/Sofia Tosello Ibeam Brooklyn 8:30 pm $15
Mezzrow 8 pm $20 ShapeShifter Lab 8:15 pm $15 • Andy Ezrin Trio with David Finck, Adam Nussbaum
• Kristina Koller with Fima Chupakhin, Chris Talio, Darrian Douglas • Nick Grinder Group Silvana 6 pm Jazz at Kitano 8, 10 pm $34
Minton’s 7:30, 9:30 pm $10 • Loren Stillman Quintet with Nate Radley, Gary Versace, Rob Jost, Jared Schonig; • Shai Maestro The Jazz Gallery 7:30, 9:30 pm $25
• Gordon’s Grand Street Stompers Radegast Hall 9 pm Andrew Gould Quintet with Scott Wendholt, Steven Feifke, Marco Panascia, • Billy Childs Quartet with Dayna Stephens, Hans Glawischnig, Ari Hoenig
• John Colianni Big Band Saint Peter’s Church 1 pm $10 Chris Smith Smalls 7:30, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30
• Azonic; Brown Angel; Marc Edwards/Mick Barr; Kevin Hufnagel • Ulysses Owens Three with Joel Ross, Phil Norris • Sean Smith/David Hazeltine Knickerbocker Bar & Grill 9, 10:15 pm $3.50
Saint Vitus Bar 8 pm $12 Smoke 7, 9, 10:30 pm $15 • Sullivan Fortner Trio Mezzrow 8 pm $20
• Will Bernard Quartet with Brian Charette, Kenny Brooks, Donald Edwards; • Brackish: Joe Moffett, Flin Van Hemmen, Lester St. Louis, Eli Wallace; Jessica Pavone • Whitney Marchelle with Adi Meyerson, Bernard Linette, Sweet Lee Odom
Harold Mabern Trio with Joe Farnsworth St. Lydia’s 8 pm $10 Ruumy’s Tavern 9 pm
Smalls 7:30, 10:30 pm $20 • Eyal Vilner Big Band with Shenel Johns • Music Now! Unit: Ras Moshe Burnett, Kyoko Kitamura, Ken Filiano, Anders Nilsson,
êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston Swing 46 8:30 pm Andrew Drury; Dan Kurfirst, Leonid Galaganov, Alex Marcelo, Avram Fefer,
Village Vanguard 8:30, 10:30 pm $35 êPRISM Quartet with guests David Liebman, Rudresh Mahanthappa, Tim Ries, On Ka’a Davis; Music Now! Re:Collective: Ras Moshe Burnett, Jason Hwang,
Miguel Zenón Symphony Space Leonard Nimoy Thalia 7 pm $23 Larry Roland, Charles Downs, John Pietaro, Dave Ross;
• Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai Matt Lavelle 12 Houses Orchestra with Charles Waters, Alex Hamburger,
Thursday, March 22 Tomi Jazz 9 pm $10 Ras Moshe Burnett, Linda Sikhakhane, Stephanie Griffin, Nicole Davis, Anders Nilsson,
• Highlights in Jazz—The Millennials Meet The Masters: Peter and Will Anderson, Francois Grillot, Chris Forbes, Jack DeSalvo
• Manhattan School of Music Afro-Cuban Jazz Orchestra Dominick Farinacci, Jimmy Cobb, Buster Williams, Steve Turre, George Cables Scholes Street Studio 7 pm $20
Aaron Davis Hall 7:30 pm and guest Tribeca Performing Arts Center 8 pm $50 • Mike Fahie Jazz Orchestra with Aaron Irwin, Anton Denner, Rich Perry, Quinsin Nachoff,
• Paul Jubong Lee Trio with Daniel Durst, Diego Maldonado; Hendrik Meurkens Trio with êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston Carl Maraghi, Brian Pareschi, Phil Dizack, Rich Johnson, Marty Bound,
Misha Tsiganov, Chris Berger Bar Next Door 6:30, 8:30, 10:30 pm $12 Village Vanguard 8:30, 10:30 pm $35 Matthew McDonald, Nick Grinder, Jacob Garchik, Jennifer Wharton, Jeff Miles,
• Corcoran Holt Birdland 6 pm $30 • Danae Greenfield; Daniele Germani Randy Ingram, Pedro Giraudo, Jeff Davis
• Steve Smith Trio with Tony Monaco, Vinny Valentino Williamsburg Music Center 9, 10:30 pm $10 ShapeShifter Lab 7 pm $10
Birdland 8:30, 11 pm $40 • Gerry Gibbs and Thrasher People with Alex Collins, Buster Williams;
êMatthew Whitaker Trio Blue Note 8, 10:30 pm $25 Adam Birnbaum Quartet with Rich Perry, David Wong, Billy Drummond;
• James Rouse BRIC House Artist Studio 6:30 pm Friday, March 23 Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20
• John Pizzarelli Café Carlyle 8:45 pm $70-160 • Bobby Watson Quartet with Stephen Scott, Curtis Lundy, Winard Harper
• Jesse Crawford Duo Cleopatra’s Needle 7 pm • Craig Handy with Tardo Hammer, John Webber, Steve Williams Smoke 7, 9, 10:30 pm $40
• Moth to Flame: Tyson Harvey, Ivo Lorenz, Steve Golub, John Krtil, Andy Weintraub The 75 Club at Bogardus Mansion 8, 10 pm $20 • Lady Got Chops Fest: Barbara King Quartet
Club Bonafide 7:30, 9:30 pm $12 • The Swing Collective: Melissa Aldana, Etienne Charles, Elio Villafranca, The Sound Bite 7, 9 pm $15
êJen Shyu’s Nine Doors; Jen Shyu/Ben Monder Yasushi Nakamura, Ulysses Owens, Jr. êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston
Cornelia Street Underground 8, 9:30 pm $10 The Appel Room 7, 9:30 pm $60-85 Village Vanguard 8:30, 10:30 pm $35
• David Peña Dorantes, Adam Ben Ezra, Tim Ries êUri Gurvich Trio with Peter Slavov, Francisco Mela êBruce Barth Trio with Ugonna Okegwo, Adam Cruz
Dizzy’s Club 7:30, 9:30 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12 Zinc Bar 7, 8:30 pm $25

38 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 Saturday, March 24 • Juilliard Jazz—Mary Lou Williams Ensemble: Jonah Moss, JarienJames Jamanila, • Judy Carmichael Quartet with guest Harry Allen
Abdias Armenteros, Jacob Melsha, Felix Moseholm, Taurien Reddick Dizzy’s Club 7:30, 9:30 pm $35
• Craig Handy with Tardo Hammer, John Webber, Steve Williams Blue Note 11:30 am 1:30 pm $39.50 • Caili O’Doherty Lil Hardin Armstrong Project
The 75 Club at Bogardus Mansion 8, 10 pm $20 • Tierra Mestiza: Angelica Sanchez/Omar Tamez; Trumpets and Basses: Danny Gouker, Dizzy’s Club 11:15 pm $5
êThe Swing Collective: Melissa Aldana, Etienne Charles, Elio Villafranca, Jake Henry, Kenny Warren, Adam Hopkins, Will McEvoy, Zach Swanson • Gerardo Contino The Django at Roxy Hotel 7:30 pm
Yasushi Nakamura, Ulysses Owens, Jr. Brooklyn Conservatory of Music 8 pm $10-15 • Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez’ Latin Bop
The Appel Room 7, 9:30 pm $60-85 • AKDuo: Tomoya Aomori, Julia Kang, Hyungjin Choi, Kuriko Tsugawa Fat Cat 7, 9 pm 12:30 am $10
• Jostein Gulbrandsen Trio with Mike McGuirk, Mark Ferber Cornelia Street Underground 6 pm $10 êRavi Coltrane Trio with Dezron Douglas, Allan Mednard
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Miho Hazama and m_unit Dizzy’s Club 7:30, 9:30 pm $35 Jazz Standard 7:30, 9:30 pm $30
• Steve Smith Trio with Tony Monaco, Vinny Valentino • Ross Hammond/Andrew Drury Downtown Music Gallery 6 pm êMike Pride Trio with Jon Irabagon, Drew Gress; Nick Sanders
Birdland 8:30, 11 pm $40 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Korzo 9, 10:30 pm
• Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, Fat Cat 6 pm 1 am $10 • From Brooklyn to Paname: Ayo Lycée Francais de New York 7 pm
Jeff Carney, Louis Cato, Madison McFerrin • Billy Childs Quartet with Dayna Stephens, Hans Glawischnig, Ari Hoenig • Lauren Kinhan/Andy Ezrin Mezzrow 8 pm $20
Blue Note 8, 10:30 pm $75 Jazz Standard 7:30, 9:30 pm $30 • Syndee Winters and Suite Assembly with Michael Eckroth, Taylor Jones,
• Lady Got Chops Fest: Annette Montague Quintet • Tad Shull Trio with Rob Schneiderman, Neal Miner Mary Ann McSweeney, Bendji Allonce
Brooklyn Center for the Performing Arts 2 pm Mezzrow 8 pm $20 Minton’s 7:30, 9:30 pm $10
• John Pizzarelli Café Carlyle 8:45, 10:45 pm $90-180 • Christopher McBride and the C-Note with Jonathan Edwards, Curtis Nowosad • Jay D’Amico Trio New York City Baha’i Center 8, 9:30 pm $15
• Phil Briggs Trio Cleopatra’s Needle 8 pm Minton’s 7:30, 9:30 pm $10 • Aron Namenwirth Quartet with Yutaka Takahashi, Eric Duane Plaks, Jon Panikkar
• Karl Latham, Mark Egan, Vic Juris; Dahka Band • Roz Corral Trio with Billy Test, Gary Wang Pete’s Candy Store 11:15 pm
Club Bonafide 8, 10 pm $20 North Square Lounge 12:30, 2 pm • The Westerlies: Riley Mulherkar, Zubin Hensler, Andy Clausen, Willem de Koch;
• Sebastian Noelle’s Shelter with Marc Mommaas, Matt Mitchell, Thomson Kneeland, • Steph Walker Trio Russian Samovar 3 pm Attacca Quartet Rockwood Music Hall Stage 2 7 pm $15
Dan Weiss Cornelia Street Underground 8:30, 10 pm $10 êCatherine Russell Saint Peter’s Church 5 pm • Aaron Parks and Little Big with Greg Tuohey, DJ Ginyard, Tommy Crane
• Maurício de Souza Trio with Bob Rodriguez, Charlie Dougherty • Ai Murakami Trio with Zaid Nasser, Sacha Perry; Spike Wilner Group; ShapeShifter Lab 8 pm $10
The DiMenna Center 8 pm $20 Bruce Harris Quintet with Grant Stewart, Ehud Asherie, David Wong, Aaron Kimmel; • Dana Reason/Andrew Drury Duo; Ricardo Arias, Ben Manley, Michael Schumacher,
• David Peña Dorantes, Adam Ben Ezra, Tim Ries Robert Edwards Smalls 4:30, 7:30, 10:30 pm 1 am $20 Sean Meehan Soup & Sound 7 pm $20
Dizzy’s Club 7:30, 9:30 pm $45 • Bobby Watson Quartet with Stephen Scott, Curtis Lundy, Winard Harper • Motoko Honda/Theresa Wong The Stone at The New School 8:30 pm $20
• Dida Pelled Dizzy’s Club 11:15 pm $20 Smoke 7, 9, 10:30 pm $40 êAndrew Cyrille Quartet with Bill Frisell, Richard Teitelbaum, Ben Street
• Pete Malinverni Trio with Tony Hewitt; Steven Feifke Big Band êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston Village Vanguard 8:30, 10:30 pm $35
The Django at Roxy Hotel 7:30, 10:30 pm Village Vanguard 8:30, 10:30 pm $35 • Andromeda Turre Band with Roxy Coss
êValerie Capers Trio with John Robinson, Doug Richardson and guest Alan Givens • Lady Got Chops Fest: Cheryl Pyle and Musique Libre Femmes Warwick Hotel 6 pm
Jazz at Kitano 8, 10 pm $34 Wayward Social 7 pm
• Gregoire Maret Quartet with Shedrick Mitchel, DJ Ginyard, Nathaniel Townsley • Melanie Scholtz; Rachel Therrien Williamsburg Music Center 9, 10:30 pm $10
The Jazz Gallery 7:30, 9:30 pm $25 Wednesday, March 28
• Caroline Davis Quintet with Noah Preminger, Julian Shore, Tamir Shmerling,
Jay Sawyer Jazz Standard 12 pm $10 Monday, March 26 êMike Stern 55Bar 10 pm
• Billy Childs Quartet with Dayna Stephens, Hans Glawischnig, Ari Hoenig • Sagi Kaufman Trio with Yoav Eshed, Vinnie Sperazza
Jazz Standard 7:30, 9:30 pm $30 êMike Stern 55Bar 10 pm Bar Next Door 6:30 pm
• Sean Smith/David Hazeltine Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Omer Avital’s Qantar Bar Lunàtico 8:30, 10 pm $10 êThe Tristano Project: Greg Osby, Jaleel Shaw, Melissa Aldana, Vinny Valentino,
• Sullivan Fortner Trio Mezzrow 8 pm $20 • Cole Davis Trio with Jasper Dutz, Vaughn Stoffey; E.J. Decker Trio with Joe Giglio, Ben Allison, Matt Wilson, Billy Drummond
êClaudia Quintet: John Hollenbeck, Matt Moran, Red Wierenga, Chris Speed, Marshall Rosenberg Bar Next Door 6:30, 8:30, 10:30 pm $12 Birdland 8:30, 11 pm $40
Drew Gress Miller Theatre 8 pm $20-35 • Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, • Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch,
• Huntertones Rockwood Music Hall Stage 2 11:30 pm $10 Jeff Carney, Louis Cato, Madison McFerrin Jeff Carney, Louis Cato, Madison McFerrin
êWho is Mary Lou Williams?: Catherine Russell and LaFrae Sci Blue Note 8, 10:30 pm $75 Blue Note 8, 10:30 pm $75
Rose Theater 1, 3 pm $10-25 • Aron Namenwirth, Yutaka Takahashi, Eric Plaks, Sean Conly, Jon Panikkar; êSquirrel Nut Zippers City Winery 8 pm $40-55
• Earth Music Now!: Ras Moshe Burnett, Lisette Santiago, Lee Odom, Melanie Dyer, Stephen Gauci, Sandy Ewen, Adam Lane, Kevin Shea; Keisuke Matsuno, Songyi Jeon, • Nitzan Gavrieli Trio with Rick Rosato, Francisco Mela; Johannes Felscher Quartet with
Judith Insell, Fay Victor, Larry Roland; Lindsey Wilson’s Human Hearts Trio with Dayeon Seok; Hans Tammen, David Rothenberg, Nicola Hein; Bonnie Kane, Lucas Pino, Peter Kronreif Cornelia Street Underground 8, 9:30 pm $10
Ed Keller, Michael Trotman, Reggie Sylvester; Music Now! Re:Cousins: Sandra Sprecher, Dave Miller; Brian Drye Duo • Judy Carmichael Quartet with guest Harry Allen
Ras Moshe Burnett, Adam Power, Eriq Robinson, Sean Conly, Dave Miller Bushwick Public House 7 pm $10 Dizzy’s Club 7:30, 9:30 pm $35
Scholes Street Studio 7 pm $20 • Manhattan School of Music Afro-Cuban Jazz Orchestra • Caili O’Doherty Lil Hardin Armstrong Project
• Lady Got Chops Fest: Pamela Hamilton Quartet Dizzy’s Club 7:30, 9:30 pm $35 Dizzy’s Club 11:15 pm $5
Sistas’ Place 9, 10:30 pm $20 • Pascal Le Boeuf’s Ritual Being with Remy Le Boeuf, Anna Webber, Martin Nevin, • Stafford Hunter Quintet with Camille Thurman, Willerm Delisfort, Paul Beaudry,
• Nick Masters Quartet with Danny Raycraft, Leo Yucht, Adam Olszewski; Jochen Rueckert, Kevin Rogers, Otis Harriel, Taija Warbelow, Doug Machiz Darrell Green and guest Shenel Johns
Gerry Gibbs and Thrasher People with Alex Collins, Buster Williams; The Jazz Gallery 7:30, 9:30 pm $15 Emerald Restaurant 8 pm
Adam Birnbaum Quartet with Rich Perry, David Wong, Billy Drummond; êHarvey Diamond/Cameron Brown Mezzrow 8 pm $20 • Raphael D’lugoff Trio +1; Ned Goold Jam
Brooklyn Circle: Stacy Dillard, Diallo House Ismail Lawal êJohn Abercrombie—Timeless, A Tribute To His Life And Music: Joey Baron, Fat Cat 7 pm 12:30 am $10
Smalls 4:30, 7:30, 10:30 pm 1 am $20 Randy Brecker, Nels Cline, Marc Copland, Jack DeJohnette, Eliane Elias, Peter Erskine, êMatt Mitchell Trio with Kim Cass, Kate Gentile
• Bobby Watson Quartet with Stephen Scott, Curtis Lundy, Winard Harper Mark Feldman, Bill Frisell, Drew Gress, Marc Johnson, Dave Liebman, Joe Lovano, Happylucky no.1 8, 9 pm $15
Smoke 7, 9, 10:30 pm $40 Thomas Morgan, Adam Nussbaum, John Scofield, Ralph Towner and guests êNoah Preminger/Frank Carlberg Jazz at Kitano 8, 10 pm $18
• Pascal’s Triangle: Pascal Le Boeuf, Pablo Menares, Allan Mednard; Roulette 8 pm $45 êRavi Coltrane Trio with Dezron Douglas, Allan Mednard and guest Tomoki Sanders
Cisum Percussion: Nicholas Hall, Luz Carime Santa-Coloma, Sarah Bennett, • Bob Bennett Big Band Sir D’s 8, 9:30 pm Jazz Standard 7:30, 9:30 pm $30
Noah Hadland Spectrum 8:30 pm • Corcoran Holt Quintet with Stacy Dillard, Josh Evans, Benito Gonzalez, êBria Skonberg with Mathis Picard, Lily Maase, Corcoran Holt, Darrian Douglas,
• Pepe Habichuela with Josemi Carmona, Kiki Morente, Javier Colina, Bandolero; McClenty Hunter Smalls 10:30 pm $20 Evan Arntzen Joe’s Pub 9:30 pm $15
Alba Herediaand guests Arturo O’Farrill, Adam O’Farrill êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield and guest êOrrin Evans Trio with Luques Curtis, Gene Jackson
Town Hall 8 pm $45-75 Jorge Chicoy Zinc Bar 8, 10 pm $25 Mezzrow 8 pm $20
êBill Frisell Quartet with Eyvind Kang, Thomas Morgan, Rudy Royston • Emanuele Tozzi Quartet with Andrea Veneziani, Yorgos Maniatis, Nicoletta Manzini
Village Vanguard 8:30, 10:30 pm $35 Minton’s 7:30, 9:30 pm $10
• Lisanne Tremblay and Codeswitch Tuesday, March 27 • The Stone Commissions: Pamelia Stickney
Williamsburg Music Center 10, 11:30 pm $10 National Sawdust 7 pm $25
• For Lew: Bill Warfield Big Band Zinc Bar 7, 8:30 pm $20 • Manhattan School of Music Jazz Arts Vocal Combo • Sameer Gupta/Ross Hammond Rubin Museum 6 pm
55Bar 7 pm • Ravi Campbell Silvana 8 pm
• Jonah Udall, Gregg Belisle, Asher Kurtz; Erez Barnoy Trio • Travis Shook Quartet with Jennifer Vincent, Kebbi Williams, Timothy Angulo;
Sunday, March 25 Bar Next Door 6:30, 8:30, 10:30 pm $12 Le Boeuf Brothers: Remy and Pascal Le Boeuf, Dayna Stephens, Martin Nevin,
êThe Tristano Project: Greg Osby, Jaleel Shaw, Melissa Aldana, Vinny Valentino, Jochen Rueckert; Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20
• Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, Ben Allison, Matt Wilson, Billy Drummond • Theresa Wong solo The Stone at The New School 8:30 pm $20
Jeff Carney, Louis Cato, Madison McFerrin Birdland 8:30, 11 pm $40 êAndrew Cyrille Quartet with Bill Frisell, Richard Teitelbaum, Ben Street
Blue Note 8, 10:30 pm $75 • Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, Village Vanguard 8:30, 10:30 pm $35
Jeff Carney, Louis Cato, Madison McFerrin • Ethan Iverson/Jacob Sacks Weill Recital Hall at Carnegie Hall 8 pm $35
Blue Note 8, 10:30 pm $75

George Colligan’s
FRI., maRch 23Rd, 2018 $20
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THE NEW YORK CITY JAZZ RECORD | MARCH 2018 39

 Thursday, March 29 êDan Nimmer Trio with David Wong, Peter Van Nostrand

• Elijah Shiffer Trio with Joanna Sternberg, Vincente Hansen; Daan Kleijn Trio with
Luke Selleck, Jimmy Macbride Bar Next Door 6:30, 8:30, 10:30 pm $12

Mezzrow 8 pm $20
• Marshall McDonald Quartet with Mike Eckroth, James Cammack, Vince Ector
Minton’s 7:30, 9:30 pm $15
RE G U L AR ENGAGE MENTS
• JayCee Driesen Birdland 6 pm $30 • DCNN: Ben Cohen, Daniel Carter, Eli Wallace, Dan Kurfurst M O N D AY
êThe Tristano Project: Greg Osby, Jaleel Shaw, Melissa Aldana, Vinny Valentino, Pete’s Candy Store 9 pm
Ben Allison, Matt Wilson, Billy Drummond • Michael Whalen/Bob Magnuson ShapeShifter Lab 7 pm $15 • Richard Clements/Murray Wall Band
• David Acevedo’s Eyehear with Joseph Freund, Sean Kim, Conner Duke, Daniel Mesko 11th Street Bar 8 pm
Birdland 8:30, 11 pm $40 • Grove Street Stompers Arthur’s Tavern 7 pm
• Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, ShapeShifter Lab 8:15 pm $10 • Earl Rose Bemelmans Bar 5:30, 9 pm
Jeff Carney, Louis Cato, Madison McFerrin • Scott Wendholt/Adam Kolker Quartet with Ugonna Okegwo, Victor Lewis; • Woody Allen and The Eddy Davis New Orleans Jazz Band
Blue Note 8, 10:30 pm $75 Black Art Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, Victor Gould, Café Carlyle 8:45 pm$120-215
• Nick Masters Duo Cleopatra’s Needle 7 pm Vicente Archer, Johnathan Blake Smalls 7:30, 10:30 pm $20 • Jon Weiss Duo Cleopatra’s Needle 8 pm
êTia Fuller Quartet with Shamie Royston, Mimi Jones, Tyson Jackson • Svetlana & The Delancey 5 Freddy’s Backroom 8:30 pm
• Samuel Torres Quartet Club Bonafide 7:30 pm $15 • Vince Giordano and The Nighthawks
êDIVA Jazz Orchestra 25th Anniversary Celebration: Sherrie Maricle, Tomoko Ohno, Smoke 7, 9, 10:30 pm $38
• Lady Got Chops Fest: Marilyn Kleinberg Quartet Iguana 8 pm
Noriko Ueda, Alexa Tarantino, Mercedes Beckman, Janelle Reichman, Cynthia Mullis, • Iris Ornig Jam Session Jazz at Kitano 8 pm
Leigh Pilzer, Liesl Whitaker, Jami Dauber, Rachel Therrien, Barbara Laronga, The Sound Bite 7, 9 pm $15 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Jennifer Krupa, Hailey Brinnel, Leslie Havens and guest Ingrid Jensen • Dana Reason and The MIVOS Quartet • Glenn Crytzer Orchestra Kola House 7 pm
Dizzy’s Club 7:30, 9:30 pm $40 Spectrum 9 pm • JFA Jam Session Local 802 7 pm
• Caili O’Doherty Lil Hardin Armstrong Project • Mercedes Roffé, Adria Otte, Bergrún Snæbjörnsdóttir, Rachel Devorah, Theresa Wong • Melvin Vines Paris Blues 9 pm
The Stone at The New School 8:30 pm $20 • Jazz Jam Session Radegast Hall 8 pm
Dizzy’s Club 11:15 pm $10 • Vincent Herring Quartet and Smoke Jam Session
êStafford Hunter and Continuum with Willerm Delisfort, Alex Claffy, Vince Ector; • SULA: Michael Mayo, Caili O’Doherty, Tamir Shmerling, Diego Joaquin Ramirez, Smoke 7, 9, 10:30 pm
Binky Griptite Orchestra The Django at Roxy Hotel 7:30, 10 pm Wayne Tucker, Asaf Yuria Tribeca Performing Arts Center 7:30 pm $30 • Swingadelic Swing 46 8:30 pm
• Eva Salinas/Peter Stan Greenwich House Music School 8 pm $15 êAndrew Cyrille Quartet with Bill Frisell, Richard Teitelbaum, Ben Street • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
• Scott Morgan Quintet Birthday Bash with Gary Versace, Nadje Noordhuis, Matt Aronoff, Village Vanguard 8:30, 10:30 pm $35
Mark Ferber Jazz at Kitano 8, 10 pm $18 T U E S D AY
• Jihye Lee Orchestra The Jazz Gallery 7:30, 9:30 pm $15
êRavi Coltrane Trio with Dezron Douglas, Allan Mednard Saturday, March 31 • Nick West’s Westet
• Richard Wyands
Analogue 7 pm
75 Club at Bogardus Mansion 8, 10 pm
Jazz Standard 7:30, 9:30 pm $30 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm
• Janice Friedman/Marco Panascia Mezzrow 8 pm $20 • Grant Stewart with Tardo Hammer, John Webber, Steve Williams • Art Hirahara Trio Arturo’s 8 pm
• Whitney Marchelle with Duane Eubanks, Arco Sandoval, Eric Lemon, Bernard Linnette The 75 Club at Bogardus Mansion 8, 10 pm $20 • Joel Forrester solo The Astor Room 6 pm
Pelham Fritz Recreation Center 6:30 pm • Jim Campilongo Trio Bar Lunàtico 8:30, 10 pm $10 • Jerome Harris/Dave Baron Barawine 6 pm
• Paul Shapiro Russ & Daughters Café 8 pm • Arun Luthra Trio with Evan Gregor, Kenny Grohowski • Marc Devine Trio Cleopatra’s Needle 8 pm
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Battle Of The Horns Farafina Jazz Café and Lounge 8 pm
• Paul Francis Silvana 6 pm • Diego Voglino Jam Session Halyard’s 10 pm
• Christian Finger Trio with Vadim Neselovskyi, Adam Armstrong êThe Tristano Project: Greg Osby, Jaleel Shaw, Melissa Aldana, Vinny Valentino,
• Vince Giordano and The Nighthawks
Sir D’s 8 pm Ben Allison, Matt Wilson, Billy Drummond Iguana 8 pm
• Mathis Picard Sextet with Giveton Gelin, Corey Wilcox, Ruben Fox, Marty Jaffe; Birdland 8:30, 11 pm $40 • Mona’s Hot Four Mona’s 11 pm
Carlos Abadie Quintet Smalls 7:30, 10:30 pm $20 • Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, • John Cooksey Paris Blues 9 pm
• George Colligan Trio with Buster Wiliams, Lenny White Jeff Carney, Louis Cato, Madison McFerrin • Mike LeDonne Quartet; Emmet Cohen Band
Blue Note 8, 10:30 pm $75 Smoke 7, 9, 10:30, 11:30 pm
Smoke 7, 9, 10:30 pm $15 • George Gee Orchestra Swing 46 8:30 pm
• Kanoko Nishi-Smith, John McCowen, Theresa Wong, Christian Kobe • Carol Sudhalter Quartet Cleopatra’s Needle 8 pm
• Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm
The Stone at The New School 8:30 pm $20 • Mike Armando Trio with Andrew Golba, Greg Bonasera;
• Alexis Parsons/Freddie Bryant Symphony Space Bar Thalia 9 pm Charlie Rhyner/Imraan Khan Quintet with Dan Schnapp, Mike Roninson
W E D N E S D AY
êAndrew Cyrille Quartet with Bill Frisell, Richard Teitelbaum, Ben Street Club Bonafide 8, 10 pm $15
Village Vanguard 8:30, 10:30 pm $35 • Matt Aronoff Quintet with Jason Rigby, Fabian Almazan, Henry Cole • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
Cornelia Street Underground 8:30, 10 pm $10 • Monika Oliveira Analogue 7 pm
êDIVA Jazz Orchestra 25th Anniversary Celebration: Sherrie Maricle, Tomoko Ohno, • Eve Silber Arthur’s Tavern 7 pm
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Friday, March 30 Noriko Ueda, Alexa Tarantino, Mercedes Beckman, Janelle Reichman, Cynthia Mullis,
Leigh Pilzer, Liesl Whitaker, Jami Dauber, Rachel Therrien, Barbara Laronga,
• David Ostwald’s Louis Armstrong Centennial Band
Birdland 5:30 pm $20
• Kendra Shank, John Stowell, Dean Johnson Jennifer Krupa, Hailey Brinnel, Leslie Havens and guest Camille Thurman • Les Kurtz Trio Cleopatra’s Needle 7 pm
55Bar 6, 7:45 pm Dizzy’s Club 7:30, 9:30 pm $40 • Pasquale Grasso; Django Jam Session
• Grant Stewart with Tardo Hammer, John Webber, Steve Williams • Caili O’Doherty Lil Hardin Armstrong Project The Django 8:30, 11 pm
Dizzy’s Club 11:15 pm $20 • Mark Kross and Louise Rogers WaHi Jazz Jam
The 75 Club at Bogardus Mansion 8, 10 pm $20 Le Chéile 8 pm
• Michael Valeanu Trio with Rick Rosato, Dani Dor • Dida Pelled; King Solomon Hicks The Django at Roxy Hotel 7:30, 10:30 pm • Les Goodson Band Paris Blues 9 pm
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Christian Scott aTunde Adjuah Stretch Music Festival • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam
êThe Tristano Project: Greg Osby, Jaleel Shaw, Melissa Aldana, Vinny Valentino, Harlem Stage Gatehouse 7 pm $25 Smoke 7, 9, 10:30, 11:30 pm
Ben Allison, Matt Wilson, Billy Drummond êMartin Wind Sextet with Anat Cohen, Ingrid Jensen, Scott Robinson, Gary Versace, • Stan Rubin Orchestra Swing 46 8:30 pm
Birdland 8:30, 11 pm $40 Duduka Da Fonseca Jazz at Kitano 8, 10 pm $34
• Bobby McFerrin Spirityouall with Gil Goldstein, David Mansfield, Armand Hirsch, • Immanuel Wilkins Quartet with Micah Thomas, Daryl Johns, Kweku Sumbry T H U R S D AY
Jeff Carney, Louis Cato, Madison McFerrin The Jazz Gallery 7:30, 9:30 pm $25
• Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm
Blue Note 8, 10:30 pm $75 • Laurin Talese with Toru Dodo, Jonathan Michel, Anwar Marshall • Ray Blue Organ Quartet American Legion Post 398 7 pm
• Walter Williams/Gitesha Trio Cleopatra’s Needle 8 pm Jazz Standard 12 pm $10 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
• Jason Rigby Detroit-Cleveland Trio with Cameron Brown, Gerald Cleaver êRavi Coltrane Trio with Dezron Douglas, Allan Mednard • John McNeil/Mike Fahie The Douglass 9 pm
Cornelia Street Underground 8:30, 10 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $35 • Steve Wirts Han Dynasty 6 pm
êDIVA Jazz Orchestra 25th Anniversary Celebration: Sherrie Maricle, Tomoko Ohno, • Women’s Raga Massive Joe’s Pub 7 pm $20 • Les Goodson Band Paris Blues 9 pm
êDan Nimmer Trio with David Wong, Peter Van Nostrand • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm
Noriko Ueda, Alexa Tarantino, Mercedes Beckman, Janelle Reichman, Cynthia Mullis, • Rob Duguay Low Key Trio Turnmill NYC 11 pm
Leigh Pilzer, Liesl Whitaker, Jami Dauber, Rachel Therrien, Barbara Laronga, Mezzrow 8 pm $20
Jennifer Krupa, Hailey Brinnel, Leslie Havens and guest Camille Thurman • Shevelovin’ Quartet Silvana 6 pm
F R I D AY
Dizzy’s Club 7:30, 9:30 pm $40 • Scott Wendholt/Adam Kolker Quartet with Ugonna Okegwo, Victor Lewis;
• Caili O’Doherty Lil Hardin Armstrong Project Black Art Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, Victor Gould, • Eri Yamamoto Trio Arthur’s Tavern 7 pm
Dizzy’s Club 11:15 pm $10 Vicente Archer, Johnathan Blake; Philip Harper Quintet • The Crooked Trio Barbès 5 pm
Smalls 7:30, 10:30 pm 1 am $20 • Birdland Big Band Birdland 5:15 pm $25
• Ken Fowser Quintet; Itai Kriss and Telavana with Elena Nayiri • Shirley House The Heath 12 am
The Django at Roxy Hotel 7:30, 10:30 pm êTia Fuller Quartet with Shamie Royston, Mimi Jones, Tyson Jackson
• Nico Soffiato Nha Minh 7 pm
• Christian Scott aTunde Adjuah Stretch Music Festival Smoke 7, 9, 10:30 pm $38 • Melvin Vines Paris Blues 9 pm
Harlem Stage Gatehouse 7 pm $25 • Lady Got Chops Fest: Taeko Fukao • Gerry Eastman Quartet Williamsburg Music Center 10 pm
êMartin Wind Sextet with Anat Cohen, Ingrid Jensen, Scott Robinson, Gary Versace, The Sound Bite 7, 9 pm $15
Duduka Da Fonseca Jazz at Kitano 8, 10 pm $34 • John McCowen/Theresa Wong and guest RED SCARF: Li Xing, Deng Boyu, Lao Dan S AT U R D AY
êStephan Crump, Ingrid Laubrock, Cory Smythe The Stone at The New School 8:30 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Richard Teitelbaum, Ben Street • Eri Yamamoto Trio Arthur’s Tavern 7 pm
The Jazz Gallery 7:30, 9:30 pm $25 • Bill Saxton and the Harlem Bebop Band
êRavi Coltrane Trio with Dezron Douglas, Allan Mednard and guest Brandee Younger Village Vanguard 8:30, 10:30 pm $35 Bill’s Place 8, 10 pm $20
Jazz Standard 7:30, 9:30 pm $35 • Marco Bolfelli Williamsburg Music Center 10, 11:30 pm $10 • Gabrielle Stravelli Brazen Tavern 12 pm
• Joel Forrester Café Loup 12:30 pm
• Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm
• Assaf Kehati Duo Il Gattopardo 11:30 am
Bassist/Composer • Melvin Vines Paris Blues 9 pm
• Johnny O’Neal Smoke 11:45 pm 12:45 am
martiN WiND S U N D AY
releases milestoNe
reCorDiNg With • Sam Martinelli Trio Analogue 6:30 pm
light BlUe
availaBle marCh 2, 2018
• Creole Cooking Jazz Band; Stew Cutler and Friends
Arthur’s Tavern 7, 10 pm

Migration
• Jerome Harris/Dave Baron Barawine 6 pm
oN laika reCorDs, • Peter Mazza Trio Bar Next Door 8, 10 pm $12
CD BaBy aND itUNes • Arturo O’Farrill Afro Latin Jazz Orchestra
Birdland 9, 11 pm $30
• Renaud Penant Trio Bistro Jules 7:30 pm
release CeleBratioNs: • Glenn Crytzer Trio Blacktail 8 pm
• Marc Devine/Hide Tanaka Café Loup 6:30 pm
the kitaNo hotel • Keith Ingham Cleopatra’s Needle 4 pm

William Hooker marCh 30 & 31

66 park aveNUe, NeW york City
aNat CoheN (ClariNet), iNgriD
JeNseN (trUmpet), sCott roBiNsoN
(teNor sax), gary versaCe (piaNo)
• Trampelman
• The EarRegulars
• Joel Forrester solo
• Grassroots Jazz Effort
• Bassey & The Heathens
Dominie’s Astoria 9 pm
The Ear Inn 8 pm
Grace Gospel Church 11 am
Grassroots Tavern 9 pm
The Heath 12 am

Roulette
aND DUDUka DaFoNseCa (DrUms)
• Tony Middleton Trio Jazz at Kitano 12 pm $40
• Avalon Jazz Band Minton’s 12 pm
Jazz ForUm • Melvin Vines Paris Blues 9 pm
april 1 • Marjorie Eliot/Rudell Drears/Sedric Choukroun
Thursday, April 5, 2018, 8PM 1 DixoN laNe, tarrytoWN, Ny
maUCha aDNet (voCals), iNgriD
JeNseN (trUmpet), sCott roBiNsoN

• Koran Agan
• Lu Reid Jam Session
Parlor Entertainment 4 pm
Radegast Hall 1:30 pm
Shrine 4 pm
509 Atlantic Avenue (teNor sax), gary versaCe (piaNo)
aND DUDUka Da FoNseCa (DrUms) • Annette St. John; Wilerm Delisfort Quartet
Smoke 11:30 am 11:45 pm
• Stan Killian Trio Thaimee 3 pm
roulette.com martiNWiND.Com
laika-reCorDs.Com
• Sean Smith and guest Walker’s 8 pm

40 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD

 CLUB DIRECTORY
• 11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
• 440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 75 Club at Bogardus Mansion 75 Murray Street
(212-268-1746) Subway: 1, 2, 3 to Chambers Street
www.bogardusmansion.com
• 92nd Street Y Lexington Ave. at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
• Aaron Davis Hall 133rd Street and Convent Avenue
(212-650-7100) Subway: 1 to 137th Street-City College www.adhatccny.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
• An Beal Bocht Café 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 Appel Room Broadway at 60th Street, 5th floor
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org
• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
• Arturo’s 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
• The Astor Room 34-12 36th Street, Queens
(718-255-1947) Subway: M, R to Steinway Street www.astorroom.com
• BB King’s Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square
www.bbkingblues.com
• Bar Lunàtico 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
• Barawine 200 Lenox Avenue at W. 120th Street
(646-756-4154) Subway: 2, 3 to 116th Street
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 135th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• Bistro Jules 60 St Marks Place
(212-477-5560) Subway: 6 to Astor Place www.julesbistro.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
• Brazen Tavern 356 W. 44th Street
(646-678-5989) Subway: A, C, E to 4nd Street-Port Authority
www.thebrazentavern.com
• BRIC House Artist Studio, Ballroom, Media House and Stoop • JCC of Manhattan 334 Amsterdam Avenue at 76th Street
647 Fulton Strreet (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street
www.bricartsmedia.org
• Brooklyn Center for the Performing Arts 2900 Campus Road
Subway: 5 to Flatbush Avenue/Brooklyn College www.brooklyncenter.com
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org
• Bushwick Public House 1288 Myrtle Avenue • Kismat 603 Fort Washington Avenue
(917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54
www.bushwickpublichouse.com
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
• Caffe Vivaldi 32 Jones Street 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
• The Cave at St. George’s 209 E. 16th Street
(646-723-4178) Subway: L to Third Avenue www.calvarystgeorges.org
• City Winery 155 Varick Street
(212-608-0555) Subway: 1 to Houston Street www.citywinery.com
• Cleopatra’s 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.corneliastreetcafé.com
• The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
• David Rubenstein Atrium Broadway at 60th Street (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.atrium.lincolncenter.org
• The DiMenna Center 450 W. 37th Street
(212-594-6100) Subway: A, C, E to 34th Street/Penn Station
www.dimennacenter.org
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org
• The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• The Douglass 149 4th Avenue
(718-857-4337) Subway: R to Union Street www.thedouglass.com
• Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
• The Drawing Room 56 Willoughby Street
(917-648-1847) Subway: A, C, F to Jay Street/Metrotech
www.drawingroommusic.com
• Drom 85 Avenue A
(212-777-1157) Subway: F to Second Avenue www.dromnyc.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• Emerald Restaurant 9704 Queens Boulevard, Rego Park
(718-275-2045) Subway: E, M, R to 63rd Street-Rego Park
www.emerald-restaurant.com
• Farafina Café & 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 Flatiron Room 37 W. 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
• Freddy’s Backroom 627 5th Avenue, Brooklyn
(718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• Grassroots Tavern 20 Saint Marks Place
(212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
• Groove Bar & Grill 125 MacDougal Street
(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com
• H0l0 1090 Wyckoff Avenue Subway: L to Halsey Street www.h0l0.nyc
• Halyard’s 406 3rd Avenue, Brooklyn
(718-532-8787) Subway: R to 9th Street www.barhalyards.com
• Han Dynasty 215 W. 85th Street
(212-858-9060) Subway: 1 to 86th Street www.handynasty.net
• Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
• Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street
• Harlem Stage Gatehouse 150 Convent Avenue at W. 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
• The Heath at McKittrick Hotel 530 W. 27th Street
(212-904-1883) Subway: C, E to 23rd Street www.mckittrickhotel.com
• Highline Ballroom 431 W. 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
• Hostos Center 450 Grand Concourse
(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
• 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
• Issue Project Room 22 Boerum Place
(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall
www.issueprojectroom.org
• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens
(718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org
• 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
(646-505-5708) Subway: 1, 2, 3 to 72nd Street www.jccmanhattan.org
• Joe’s Pub at the Public Theater 425 Lafayette Street
(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.publictheater.org/Joes-Pub-at-The-Public
• Juilliard School Peter Jay Sharp Theater, Paul Hall 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
(212-795-8633) Subway: 1 to 191st Street www.kismatny.com
• Knickerbocker Bar & Grill 33 University Place at 9th Street
(212-228-8490) Subway: N, R to 8th Street www.thesoundbiterestaurant.com
www.knickerbockerbarandgrill.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
• Las Tapas 808 W. 187th Street
(646-590-0142) Subway: 1 to 191st Street www.lastapasny.business.site
• Le Chéile 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
• Lehman Center 250 Bedford Park Boulevard West, Bronx
(718-960-8833) Subway: 4, D to Bedford Park Boulevard
www.lehmancenter.org
• Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• Lycée Francais de New York 505 E. 75th Street (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com
(212-439-3820) Subway: 6 to 77th Street
• Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall,
Ades Performance Space, Carla Bossi-Comelli Studio
Broadway and 122nd Street
(212-749-2802 ext. 4428) Subway: 1 to 116th Street
www.msmnyc.edu
• Manna House 338 E. 106th Street between First and Second Avenues
(212-722-8223) Subway: 6 to 103rd Street
• Metro Baptist Church 410 W. 40th Street (between Ninth and Tenth Avenues)
(212-765-8446) Subway: A, B, C, D, E, F, S, V to 42nd Street
www.hkculturalcenter.org
• Mezzrow 163 W. 10th Street
(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com
• Milk River Café 960 Atlantic Avenue
(718-636-8600) Subway: C, S to Franklin Avenue
www.milkriverbrooklyn.com
• Miller Theater 2960 Broadway and 116th Street
(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com
• Minton’s 206 W. 118th Street (between St. Nicholas Avenue and
Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com
• MIST 40 W. 116th Street Subway: 2, 3 to 116th Street www.mistharlem.com (212-247-2700) Subway: F to 57th Street www.warwickhotels.com
• Mona’s 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 York City Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
• Nhà Minh 485 Morgan Avenue
(718-387-7848) Subway: L to Graham Avenue
• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2018
• The Owl Music Parlor 497 Rogers Avenue, Brooklyn
(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc
• Paris Blues Harlem 2021 Adam Clayton Powell, Jr., Boulevard
(212-222-9878) Subway: 2, 3 to 125th Street www.parisbluesharlem.com
• Park Avenue Armory 643 Park Avenue
(212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org
• Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street
• Pelham Fritz Recreation Center 18 Mt Morris Park West
(212-860-1380) Subway: 2, 3 to 125th Street
• The Penrose 1590 2nd Avenue
(212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com
• Pete’s Candy Store 709 Lorimer Street
(718-302-3770) Subway: L to Lorimer 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
• Rose Theater Broadway at 60th Street, 5th floor
(212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle
www.jalc.org
• Roulette 509 Atlantic Avenue
(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
• Rubin Museum 150 W. 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
• Russ & Daughters Café 127 Orchard Street
(212-475-4881) Subway: F to Delancey Street
www.russanddaughterscafe.com
• Russian Samovar 256 W. 52nd Street
(212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com
• Ruumy’s Tavern 310 W. 53rd Street
(917-409-3661) Subway: C, E, F to 50th Street www.ruumystavern.com
• Ryan’s Daughter 350 E. 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
• St. John Lutheran Church 81 Christopher Street
(212-242-5737) Subway: 1 to Christopher Street www.stjohnsnyc.org
• St. Lydia’s 304 Bond Street, Brooklyn
(646-580-1247) Subway: F, G to Carroll Street www.stlydias.org
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• Saint Vitus Bar 1120 Manhattan Avenue
Subway: G to Greenpoint Avenue www.saintvitusbar.com
• Scholes Street Studio 375 Lorimer Street
(718-964-8763) Subway: L to Lorimer Street; G to Broadway
www.scholesstreetstudio.com
• The Schomburg Center 515 Macolm X Boulevard
(212-491-2200) Subway: 2, 3 to 135th Street
www.nypl.org/locations/schomburg
• ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Silberman Auditorium at Hunter College Harlem
2180 Third Avenue at 119th Street Subway: 6 to 116th Street; 4, 5 to 125th Street
• Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
• Sir D’s 837 Union Street, Brooklyn
(718-789-2762) Subway: M, R to Union Street
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 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
• The Sound Bite 737 9th Avenue
(917-409-5868) Subway: C, E to 50th Street
• Soup & Sound 292 Lefferts Avenue between Nostrand and Rogers Avenues
Subway: 2 to Sterling Street
• Spectrum 70 Flushing Avenue
Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com
• Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
• The Stone 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 Bar Thalia, Leonard Nimoy Thalia,
Peter Jay Sharpe Theatre 2537 Broadway at 95th Street
(212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
• Teatro Latea 107 Suffolk Street
(212-529-1948) Subway: F, J, M, Z to Delancey Street www.teatrolatea.org
• Terraza 7 40-19 Gleane Street
• Thaimee at McCarren 160 N. 12th Street
(718-218-7500) Subway: G to Nassau Avenue; L to Bedford Avenue
www.thaimeeatmccarren.com
• Threes Brewing 333 Douglass Street
(718-522-2110) Subway: R to Union Street www.threesbrewing.com
• Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Town Hall 123 W. 43rd Street
(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.the-townhall-nyc.org
• Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org
• Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
• Union Pool 484 Union Avenue at Meeker Street
(718-609-0484) Subway: L to Lorimer Street
• Velvet Brooklyn 174 Broadway
(718-302-4427) Subway: J, M, Z to Marcy Avenue
• Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
• Warwick Hotel 65 W. 54th Street
• Wayward Social 35 Ingraham Street
(347-335-0419) Subway: L to Morgan Avenue
• Weill Recital Hall at Carnegie Hall 154 W. 57th Street at Seventh Avenue
(212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org
• Williamsburg Music Center 367 Bedford Avenue, 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
41
(INTERVIEW CONTINUED FROM PAGE 6)
TNYCJR: When this article is published in March you
will have completed a tour with Marcello Gonçalves in
Italy and…
AC: …and we’ll be post-Grammys, so we’ll know if we
won, since we’ve been nominated for two albums.
It’s amazing. Hopefully we’ll get the Tentet album to
be nominated next year. And we’ll have some shows
coming up with the Tentet. Oh! And I have a duo album
coming out with Fred Hersch and hopefully it will be
ready for our dates in March on the West Coast.
TNYCJR: That’s a lot of ongoing projects. Looking at
your website, I see you’re almost booked solid through
July. How are you able to work with all of these projects
and keep a schedule like that? Is there time to get the
music organized and rehearse?
AC: Not always. Sometimes things happen last minute.
Sometimes there is time. If there’s an ongoing project
then we end up building over an existing repertoire
and it’s easier to just add things as we go. Sometimes
I’ve done stuff where you start with the same repertoire
and every day or two of a tour you add a song and you
work on it and then you add another song and then by
the end of the tour you have new repertoire. And I love
experimenting with things live because sometimes you
rehearse a song and you think, “that’s the way I want
to play it” and then something is missing when it
comes to playing it live. You want to know what excites
the music, what makes it go in a certain trajectory. We
need the live shows in order to let the music be what
it wants to be. I want people to keep coming out and
supporting live music. There are some things that
cannot be worked out unless we try them on people,
unless we play for people, unless we feel how people
react to it and feel what it does. The music is a dialogue
with the artist and the audience so just keep coming
out to support live music.
TNYCJR: I’m sure this is the process with Hersch.
AC: Absolutely! With Fred it’s very unknown because
the music is really open. Even though we could play a
standard, we could play a song, it can come out
differently every time and that’s part of the reason
I like to play in duos. It makes the music much more
flexible and elastic as opposed to…I mean it can
become flexible with a quartet as well, but there’s
something about only two people making a decision at
the same time. It’s enough if one wants to go a certain
way and the other just lets it be, then the music just
goes there. There’s much more back and forth when
there’s a few more people involved.
TNYCJR: Also coming up in March is the Woman to
Woman All-Star Band performance at 92nd Street Y.
AC: Oh! Amazing. I love this band so much. I think we
have a new name for the band. It’s called Artemis, but
that will have to be confirmed with our musical
director [pianist] Renee Rosnes. We did a tour this past
summer for three weeks. It was just such an incredible
experience. Amazing musicianship, great spirit, great
souls, just powerful people, happen to be women, but
that’s really not the main point. It’s just a great way to
make music with sensitive musicians and it was just
such a joyful, positive experience that we decided to
try and do it again.
TNYCJR: How much have you worked with those
individual artists separate from this band?
AC: I’ve toured with Renee in the past, we went to
Japan together. I worked with [trumpeter] Ingrid
Jensen; I played with [vocalist] Cécile McLorin Salvant
42 MARCH 2018 | THE NEW YORK CITY JAZZ RECORD
a few times. I’ve been friends with [saxophonist]
Melissa [Aldana]… Yeah, I know all of them. I worked
with [drummer] Allison Miller before. I went to Berklee
College of Music with Noriko [Ueda], the bass player,
so I know her for a long time. Yeah, I know everybody
in the band for a long time.
TNYCJR: I spoke to Terri Lyne Carrington a while back
and I think she said something similar to you when she
was getting a lot of attention for an all-woman project.
It just happened to be a group of amazing artists and
she didn’t really put the emphasis on the fact that it
was an all-women band. She said the point was not to
make a women’s band but just to make a band.
AC: Yeah. I mean, we will get to a point where it’s not
going to matter. You know, when it’s an all-guys band
nobody asks, “why decide to put all guys in the band?”
[laughs] But when it’s all girls they ask, “why did you
decide to put all girls?” Well, I like the way they all
play and I want to play with them. You know, when it
comes time to make music you think about personalities
and musical fit and sometimes people are aware of it,
but you don’t necessarily think about gender or race or
age. It’s not the first thing that comes to my mind when
I want to put a band together. I think about what the
music wants. The music just wants to be played the
best way it can be played and you have to find the
people that are going to make…you know, I want to
play with people that help me feel that I can be me and
let me be free. When you can find that, the rest doesn’t
matter. v
For more information, visit anatcohen.com. Cohen is at
92nd Street Y Mar. 2nd as part of the Woman to Woman
band and Jazz at Kitano Mar. 30th-31st with Martin Wind.
See Calendar.
Recommended Listening:
• Five Play—…Plus (Arbors, 2004)
• Waverly 7—Yo! Bobby (Anzic, 2006)
• Anat Cohen—Clarinetwork: Live at the Village
Vanguard (Anzic, 2009)
• Anat Cohen—Claroscuro (Anzic, 2011)
• 3 Cohens—Tightrope (Anzic, 2013)
• Anat Cohen Tentet—Happy Song (Anzic, 2016)
(LABEL CONTINUED FROM PAGE 11)
To find more than door money for the band he’d just
invented, Gastaut said, “I like the idea of this trio, you
like it too, let’s do a recording session and I’ll start a
label to release it!”
The group’s first meeting resulted in Pourtant les
cimes des arbres, the first Dark Tree release and one that
would distinguish any label associated with improvised
music, from its striking Rorschach blot cover with its
colored spheres (Marie Gastaut does all the Dark Tree
design work), the epigram from the traveller-poet
Basho and, most of all, the music, work of elemental
power in which Lazro’s baritone summons up granite
blocks of sound amid Duboc’s bowed and plucked
foundations and the rattle and hum of Lasserre’s snare
and cymbals.
Since then the team of Bertrand, Marie and her
husband Emmanuel have presented 90 concerts in the
jazz@home series (jazzathome.fr) and Dark Tree has
become a significant label. The name, taken from a
composition by Horace Tapscott, commemorates
Gastaut hearing the California pianist at a 1995 concert:
“I didn’t know anything about him at that time, but
Tapscott blew my mind, I’d seen the light! At the same
time, I discovered the music of Bobby Bradford and
John Carter. That’s how I started being interested in
the L.A. avant garde jazz scene. So now, you can
imagine how happy I am to be able to put out the Dark
Tree Roots Series with unreleased recordings from that
scene.”
The second CD to appear in the Roots Series is the
Vinny Golia Wind Quintet’s Live at the Century City
Playhouse, Los Angeles 1979, a striking foray into
chamber music with Golia’s extensive woodwinds and
complex compositions joined by Bradford, Carter and
trombonist Glenn Ferris.
It was a significant moment early in Golia’s career.
He recalls, “before the gig we couldn’t all rehearse
together, I did one rehearsal in the afternoon with John
and Glenn and then one with Bobby. I was a bit nervous
because this was a new setting for me, but I love
chamber music settings... Bertrand came to LA a couple
of times, saw Bob and I play, so we talked a lot about
the musicians and the fact that many of us on the entire
West Coast have been often overlooked when it comes
to playing festivals and such. I mentioned the wind
quartet, so he asked if he could hear it and he liked it.
Checked with me about everything, very easy to work
with. I do have to say that I did not listen to any of the
music until I got the CDs. I am delighted that a label
has taken an interest in the scene out here. It’s still very
vibrant, fertile in fact. The history out here is amazing
and growing. That quartet was a big step for me,
thinking about how to compose for more delicate
situations. John, Bobby and Glenn are masters of
nuance so I was learning quite a bit from them just by
listening. John, Bobby and Horace Tapscott were like
beacons of light showing us a pathway to what our
music could become if we stayed on it.”
For Gastaut to record a band, “they have to be
singular, to touch my soul, to give me goosebumps!
When I listened for the first time to Sens Radiants [the
second album by Lazro, Duboc and Lasserre], I had
tears in my eyes, so I had no doubt.”
While the music on Dark Tree is mostly improvised,
there’s no house style: one unifying feature might be
the presence of Duboc on five of the nine CDs, but the
three trios of which he’s a member inhabit very
different ‘zones’ of free improvisation. Duboc feels
that, “Bertrand is like me, he thinks that music is a
story of relationship, between human beings and the
world. My dear wife thinks that ‘music is the way to
make love with the world.’ I agree.”
The trio Tournesol with guitarist Julien Desprez
and percussionist Julien Loutelier often focuses on
sustained sounds, sometimes abrasive, sometimes
with isolated bass rumbles and slow percussion, the
result an intense and unpredictable meditation on time
stretching toward the horizon. The trio En Corps (with
two CDs, the first eponymous, the second Generation,
see review on pg. 15) with pianist Eve Risser and
drummer Edward Perraud is a radical extension of the
piano trio in which it is reimagined as a kind of
percussion orchestra, an astonishing dance of mutating
particles.
For Risser, “In this trio each player can play bass,
percussion, highs, so it makes a non-soloistic jazz
piano trio. It’s very magical when we don’t even
recognize who does what, even while playing
ourselves. At the same time, each member likes to
navigate between these beautiful possibilities and the
proper role of being a bass, a piano or drums in a jazz
piano trio. This movement in the instruments’ timbres
and registers gives us joyfulness and warm interaction.”
For Duboc, “Each trio has its own music, its
texture. It depends on our stories, about what is
possible together. The choice is maybe to be where we
have to be, to be at the right place in the right moment.
But, for me, the most important thing is to share the
present, to share the air! They all are fantastic
musicians, there is never fighting, just love. We trust
each other and this is the deal, the beginning. This is
maybe the identity of the label and maybe the reason
for the high quality.” v
For more information, visit darktree-records.com
 BrILLIaNt pIaNIst
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