Professional Documents
Culture Documents
COM
ELLA
FITZGERALD
Centenni-ella
WOM E N
I N JA Z
Z
I SS U E
Staff Writers
In Memoriam 12
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Women in Jazz CD Reviews 14
Ken Dryden, Donald Elfman,
Philip Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 20
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Mark Keresman,
Marc Medwin, Ken Micallef,
Miscellany 40
Russ Musto, John Pietaro,
Joel Roberts, JohnSharpe,
Elliott Simon, Andrew Vlez,
Event Calendar 42
Ken Waxman, Scott Yanow
Contributing Writers
Robert Bush, Tyran Grillo, M.J. Lester
It must have been some cosmic joke that the inauguration of Donald Trump was followed, in
Contributing Photographers short order, by Black History Month and, now, Womens History Month (to which we dedicate
Crystal Blake, Peter Gannushkin, this issue). In the past these celebrations have been filled with inspirational stories of obstacles
William P. Gottlieb, Michael Jackson, Tom Pich,
Frank Stewart, Robert I. Sutherland-Cohen, overcome and rights won, looking backwards at a dark history. Yet the ascension of a bigot and
Jack Vartoogian, Garth Woods misogynist to the highest office and the bigotry and misogyny he has unleashed across the
country make it clear that the history of blacks and womenas well as other oppressed groups
Fact-checker whose progress is in jeopardyis still being written. The question is by whom? Jazz is but
Nate Dorward a part of art and art is but a part of life but written into the DNA of jazz is struggle, whether
against American racism, Latin American authoritarianism or European nationalism. The
irony is that these month-long celebrations will continue in April when Jazz Appreciation
Month competes with Confederate History Month. Wonder which Trump will tweet about...
The centennial of Ella Fitzgeralds birth is not only a chance to recall her contributions to jazz
but also an opportunity to reflect upon the state of the country in 1917 and the strides made
by blacks and women and other minorities over the past hundred years. How tragic then all
that movement is now under serious threat. Where will the country be next year, much less in
On The Cover: Ella Fitzgerald (William P. Gottlieb / Courtesy of the Library of Congress)
Corrections: In last months CD Reviews, the Carmen Lundy album was incorrectly given
the subtitle A Song Cycle for These Dangerous Times thus affecting the review. Also the
track mentioning Patrice Rushens piano should have indicated it was Lundy playing.
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
ROY HAYNES
LOU DONALDSON 92ND BIRTHDAY CELEBRATION
MARCH 2 - 5
MCCOY TYNER W/SPECIAL GUESTS
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STANLEY CLARKE /
RON CARTER DUO
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TERMS, CONDITIONS AND RESTRICTIONS APPLY
SUN MAR 19
BirthDAY celebration
FEATURING CHARLES McPherson [3/1-3 ONLY]
STEVE KUHN DAVID WONG - BILLY DRUMMOND
79TH BDAY
celebration
JEB PATTON - DAVID WONG - CHUCK MCPHERSON [3/1-2 ONLY] - GEORGE COLEMAN JR. [3/3 ONLY] WED MAR 29
KENNY BARRON
MAURICE BROWN MAURICE BROWN MAURICE BROWN
QUINTET
frank stewart
Thomas Buckner s Interpretations Series has been In homage to historic drum battles (Jazz at the
convened for 28 seasons since its beginning in 1990. Philharmonic, 1952; Newport Jazz Festival, 1964),
The goal is to present side-by-side new composition, Joe Farnsworth has challenged fellow stickmen to
improvisation and electronic music with the idea that friendly duels at Smoke. This year Kenny Washington
a vision of borderless new music can occur. At Roulette was the guest of honor, set up stage left, Farnsworth
(Feb. 9th), were sets of music from the duo of flutist right, both facing inwards, with Mike LeDonne (piano)
Robert Dick and pianist Ursel Schlicht and the quartet and Clovis Nicolas (bass) in back, Eric Alexander
of percussionist Gustavo Aguilar, pianist Anthony (tenor saxophone) and Steve Davis (trombone) up
Davis and reed players JD Parran and Earl Howard. front. Fridays (Feb. 10th) final set of three began with
Schlicht and Dick are both masters of expanded LeDonnes Encounter, an uptempo hardbopper on
techniquethe pianos strings getting as much which the drummers switched off behind soloists, then
attention as the keyboard and a bevy of flutes from traded ever shorter phrases with them in a complex
piccolo to subcontrabass were employed with vocal arrangement that kept the whole group on its toes. A
and percussive approaches broadening their expected slower, gently swinging Shiny Stockings came next,
reach. The central piece of five and the title of their horns ad-libbing background figures, the drummers
latest disc The Galilean Moons (NEMU) consisted of more relaxed. Left alone, they played a tribute to Big
four parts, punchy thwacks to metallic howls and vocal Sid Catlett based on Kenny Clarkes Mop Mop, style
chuffs demarcating the room, and the duo closed with differences now brought into sharp relief: Farnsworth
the partly-recited Dark Matter, subcontrabass flute busier and longer-winded, restless, relentless, as if late
towering as Dick declaimed Dadaist texts. For the for a subway train; Washington leaving more space,
second set, Maine-based and Texas-rooted Aguilar taking more time, a yin force to Farnsworths yang.
brought a dry pummel to his kit augmented by watery Tune Up, played at a ferocious pace, was the most
laptop rhythms and samples of acoustic sound. In one exciting number, with more 8-, 4-, 2- and even 1-bar
long piece opened by Parrans nagaswaram and bells, exchanges coming so fast and furious that Alexander,
an incantatory focus held the quartets shiniest standing in the middle, jerking his gaze back and forth
moments in unaccompanied salvos (especially between drummers, looked like he was at a ping-pong
Howards squirrelly alto monologue) or teasing duets match. Everyone played deep in the pocket on the last
and electronic sequences appeared to ground dense number, Cedar Waltons Bleecker Street Theme. Who
and otherwise rangy group interplay. (CA) won the battle? All of us there did. (TG)
Lincoln Center for the Performing Arts has announced its second
class of Emerging Artists, including saxophonist Julian Lee
Min Xiao-Fen @ Brooklyn Conservatory of Music Camille Thurman @ Dizzys Club for Jazz at Lincoln Center. For more information, visit
LCEmergingArtistAwards.org.
A leader s name plus the number of people is the D ee Dee Bridgewater and Nicholas Payton joined
Airmen of Note, the Jazz Ensemble of the United States
band has been standard jazz nomenclature for decades. forces with the Gerald Clayton Trio to commemorate Airforce, is auditioning trumpeters for a vacancy. Materials for
So it was with the Ambrose Akinmusire Quartet at the Dizzy Gillespie-Ella Fitzgerald centennial with application are due Mar. 17th and auditions take place Apr.
Village Vanguard (Feb. 2nd), part of the trumpeter s a concert dubbed Jazz and Love at the Metropolitan 25th-27th. For more information, visit usafband.af.mil/careers.
second-ever weeklong stand at the venerable club. Museum of Arts Grace R. Rogers Auditorium (Feb.
This simple identifying tag belied the complex 10th). Payton and the trio got things started in grand Dates for New England Conservatorys Jazz Lab, a one-week
relationship between the leader and the three players fashion with a pair of flag wavers out of the Gillespie intensive jazz program for students 14-18, have been
announced. The program will take place Jun. 25th-30th, 2017
he chose to support him. Pianist Sam Harris, bassist songbook: Tour de Force and Shaw Nuff; the and feature a faculty including NEC Jazz Studies Department
Harish Raghavan and drummer Justin Brown are not pieces, arranged for the occasion by Clayton, were as Chair Ken Schaphorst, pianist David Zoffer, bassist Rick
merely a rhythm sectionanother reductionist term rhythmically exciting and harmonically sophisticated McLaughlin, trombonist/Jazz Lab Artistic Director Tim Lienhard
but components of Akinmusires musical totality. as when they first set the jazz world on its ear more and guests The Bad Plus, Alex Brown. and Jason Palmer. For
Brown represents his aggression and speed of thought, than a half century ago. Paytons soulful trumpeting more information, visit necmusic.edu/jazz-lab.
as the drummer often struggled to contain himself, proved him well-schooled in the Gillespie tradition, as
Saxophonists Peter and Will Anderson have initiated a
startling everyone with the occasional monumental he smoothly interjected Dizzy-isms into his soaring Kickstarter campaign to fund a tribute album to late Scottish
thwack. Raghavan is Akinmusires calm center, playing upper register and fat-toned midrange. Clayton too saxophonist/Jazz at Lincoln Center Orchestra stalwart Joe
lines that may seem static yet actually develop in demonstrated fluency with bebop, incorporating Bud Temperley and endow a scholarship in his name at the Juilliard
minimalist fashion, tethering the high-flying kite to Powell-like voicings within a contemporary vocabulary. School of Music. For more information and to contribute, visit
earth. And Harris channels the leader s emotional Bassist David Wong and drummer Obed Calvaire are kickstarter.com/projects/1107819185/blues-for-joe-tribute-
core, pure not florid, lyrically cerebral, especially also capable beboppers, the former soloing on the first album-scholarship.
evident during a few trumpet-piano pieces sprinkled song and the latter on the second. Bridgewater joined
It has been reported that Terraza 7, a club in the Jackson
throughout. The music was unrecorded and some the quartet to sing a couple of Fitzgerald-associated Heights neighborhood of Queens for the past 15 years, will soon
tunes came from commissioning projects Akinmusire standardsMack The Knife and On The Sunny close, another victim of outer-borough gentrification. For more
has undertaken. The set was exactly an hour long, Side Of The Street and on Gillespies Ooh-Shoo-Be- information, visit terrazacafe.com.
which, again, is standard jazz duration; Akinmusire Doo-Bee she scatted with tonal authority, dueting
made it feel, however, that he was counting the seconds with Payton, who doubled on piano with Wong and The Seattle Womens Jazz Orchestra Fifth Annual Jazz
in his head to achieve a pre-ordained conclusion, not Calvaire on Tin Tin Deo. Clayton and Calvaire paired Contest for Women Composers is now accepting submissions.
The deadline is Jun. 18th. For more information, visit swojo.org.
wishing to add a single superfluous brushstroke to the off on Con Alma, then Bridgewater returned to end
canvas he and his carefully selected palette of colors things with a sweet Embraceable You and fiery Submit news to info@nycjazzrecord.com
had painstakingly painted before our eyes. (AH) A Night In Tunisia. (RM)
SHERRIE
wherever we go. Weve found the most astounding
women playing jazz all over the country. In Atlanta we
were told we wouldnt find any suitable players and,
guess what, we did. There were women there playing
under the radar and they were great. Its wonderful to
find the talent and without fail we always have such
MARICLE
fun playing the show.
by m.j. lester
An EvEning with
ShEilA JordAn &
S herrie Maricle is a drummer whose musical education is supportive. I also have to credit Ari Hoenig. Hes
JAy ClAyton
began with the clarinet. Eventually she moved on to her first changed the way we drum now with his creativity. For with John di mArtino (piAno)
And CAmEron Brown (BASS)
love, the drums, and began playing professionally in her one thing he has an ability to play pitch-perfect duoS - trio - quArtEt......
native Buffalo with bassist Slam Stewart. Maricle earned a melodies on the instrument. There arent so many true BEBop to frEEBop!
BA in music from SUNY-Binghamton and both an MA and innovations in jazz now, so what he does is truly
a Doctorate in jazz performance from NYU, where she also amazing. fridAy mArCh 3rd
held the position of Director of Percussion Studies. Maricle 8 & 10pm
directed Saturday jam sessions at The Village Gate from TNYCJR: How significant was your first professional JAzz At kitAno
66 pArk AvEnuE
1987 until its closure in 1993 and in 1987 began guest- gig? (At E. 38th StrEEt)
performing and leading small groups with Peter Appleyard. $32 CovEr
In 1992 she began her work with the newly formed DIVA SM: It was a transformative, lightbulb moment. I grew rESErvAtionS
Jazz Orchestra, which she leads. up in Buffalo without a lot of resources, so I was highly rECommEndEd
212-885-7119
studying and practicing and working as a cashier in
The New York City Jazz Record: As a young girl you a local supermarket. Through a friend of one of my ShEilAJordAnJAzz.Com
were turned away from the trumpet and studied teachers I got the chance to work locally at the Eagles JAyClAyton.Com
clarinet and then cello because you were told these Club with Bob Grover and The Tune Twisters. Id
www.kitAno.Com
instruments were suitable for girls. How did you then ridden my bike to the place and at the end of the gig
come to find drumming? got paid $100 for four hours. I couldnt believe it; I was
deliriously happy. This gig was the real start of my
Sherrie Maricle: As a young child I was fascinated by commitment to play music, to live my passion.
the drum line whenever I went to a parade in my town.
The fact that they were playing all the time appealed to TNYCJR: Then you got hooked up with Slam Stewart.
me. In junior high I got to see Buddy Rich and his
Killer Force Orchestra play when a music teacher in SM: Yes and that was also transformative. Through
my school took a few of us to the Binghamton Forum. Slam I was introduced to some of the greats of the jazz
Rich was mesmerizing. His enthusiasm, explosive world and eventually got to play with musicians such
action, creativity and sense of humor, plus the power as Bucky Pizzarelli, Nancy Wilson, Dee Dee
and the sound, made me realize that was the instrument Bridgewater, Carmen Bradford, Slide Hampton,
I had to playand that experience was also my Dr. Billy Taylor, Randy Brecker, Joe Williams, Clark
introduction to jazz. When I told my mother I wanted Terry and a lot more. And all of this led me to sitting in
to play drums in a big band she thought it was a phase with DIVA.
but, to her credit, she supported me when the phase
didnt end. TNYCJR: Tell us how your relationship with DIVA
developed.
TNYCJR: You feel a connection to the drums. What is it
about them that is special to you? SM: The DIVA Jazz Orchestra was the inspiration of
the late Stanley Kay. He was originally a drummer and
SM: In ancient cultures drums were sacred and women then went into managing. He managed Buddy Rich,
were the only ones allowed to play them. So I feel created Hines Hines and Dad and managed Maurice
a social connection to the drum as a means of Hines... I was a pick-up drummer when I met Stanley
communication. I keep that in mind. Its good to know and he had this idea for forming DIVA. He wanted me
the evolution of your instrument. The drum has an to be a part of it, so I was there from the beginning in
important cultural history as high art. But theres 1992, but not the leader then. Actually that happened
a trend I notice and thats drumming as a sporting because of Maurice. He said to Stanley, shes the
event. I find that weirdto consider drumming as a leader. So Maurice and I kept in touch and when he
sport not an art. [Editor s Note: the Worlds Fastest needed a drummer, it would be me. Then he had this
Drummer Extreme Sport Drumming organization uses idea quite a few years ago for a show about his career,
the Drumometer to gauge speed; the event is televised Tappin Through Life, and he wanted DIVA to be
and held regularly worldwide.] involved. Id had experience music directing a show
before and I knew with Maurice the show would be
TNYCJR: Are there drummers besides Rich who have about the music. The band features prominently in the
influenced you as a musician? show and everyone gets to shine in it too.
SM: Id have to say Philly Joe Jones, Mel Lewis and Jeff TNYCJR: So, youd consider Tappin Through Life
Hamilton. They all share the same qualities of playing a special experience?
with a very open groove. Theyre relaxed and they
swing full out and thats the most comfortable way of SM: Its been the best and Id be happy to do it all the
hearing, through the fluidity of the phrasing. Their time. Maurice is a brilliant performer with a huge open
musicality is mellifluous, seamless and their technique heart. A big part of it has been finding amazing talent
NICOLE
Recommended Listening:
Nicole Mitchells Black Earth Ensemble
Xenogenesis Suite (A Tribute to Octavia Butler)
(Firehouse 12, 2007)
Nicole Mitchells Black Earth Strings
Renegades (Delmark, 2008)
MITCHELL
Nicole Mitchells Ice Crystal
Aquarius (Delmark, 2012)
Nicole MitchellEngraved in the Wind
(Rogue Art, 2012)
Nicole Mitchells Sonic ProjectionsThe Secret
Escapades of Velvet Anderson (Rogue Art, 2013)
MICHAEL JACKSON
by robert bush
N icole Mitchell is at the vanguard of the flute virtuoso instrument instantly identifiable. That mastery
continuum demonstrated in the 60s by Eric Dolphy obviously came from years of hard work. I think the
and extended by James Newton (with whom Mitchell sound of my instrument was really important to me as
studied). Her first college mentor was John Fonville at a developing musician and there was a time when
UC San Diego, whom she recalls as an amazing I first went to college that I practiced 10 or more hours
teacher. His creative path had a great impact. Her a daysometimes hours on just one note to get the ALEXIS PARSONS TRIO
personal favorites range from the envelope-pushing sound I wanted and it was frustrating! My experience Alexis Parsons voice
Robert Dick on one end to the soul-jazz pioneer Bobbi with bringing my voice into the flute [multiphonics] Frank Kimbrough piano / Dean Johnson bass
Humphrey on the other. probably took place over a 10-year period and theres Wednesday, March 1, 2017, 8p & 10p
Peter Margasak of The Chicago Reader describes still a lot more to discover with it. A lot of my
Jazz At Kitano
Mitchell as the greatest living flutist in jazz and discoveries happen more on stage than they do when 66 Park Avenue at 38th Street
thats a hard point to refute. She has collaborated with Im practicing. I think it starts with your heartthe www.kitano.com
Anthony Braxton, George Lewis, Jeff Parker, Myra development of these soundsit doesnt start with the Reservations: 212.885.7119
Melford and a slew of other top-drawer talent from the intellect. You have to want to get that feeling across Alexis Parsons (Best CDs of 2012) - DownBeat Magazine
creative music community. She has won the Best and then somehow your body figures out how to do it. Parsons breathy, desultory delivery reminds us that
Flute award in DownBeat and prestigious CalArts When I first started to improvise, people used to say love is not a game to be entered into lightly.
- John Ephland, DownBeat Magazine
Herb Alpert Award in the Arts in 2011. After 20 fruitful that the flute wasnt that expressive compared to
years in Chicago, where she joined the Association for a saxophone or trumpet. That really annoyed me and
the Advancement of Creative Musicians (AACM) in made me fight much harder to prove it wasnt true!
1995 and served as president from 2009-10, Mitchell The outcome of the 2016 elections and the current
moved to California where she became a Professor of state of acrimony and divisiveness throughout the
Music at UC Irvine in the Integrated Composition, country has inspired Mitchell to dig deeper in her
Improvisation and Technology program. She has new personal search for truth through music. I think the
albums coming out this spring with the Tiger Trio political climate has changed a lot over the years since
(with Melford and bassist Jolle Landre) and her Ive been here and that has impacted me artistically as
long-running Black Earth Ensemble. well. I have felt the need to have a clearer message in
The change in geography and culture has had some my musicpure instrumental music hasnt been
inevitable influence, although Mitchell maintains ties enough for me for a while. There is a desire to connect
with her Chicago associates. I would say that since with other things I want to express. For instance, I have
I moved to California Ive done a lot more composing, this new album coming out soon called Mandorla
especially through-composing, stuff with no Awakening, which was inspired by the anthropologist
improvising. That has really blossomed since Ive moved Riane Eisler and her book The Chalice and the Blade.
here. Another difference is that Ive gotten the chance to For me, Im interested in the collision of utopia and
do these collaborations with [bassist] Mark Dresser and dystopia. We have to be cognizant of how our ignorance
[trombonist] Michael Dessen with Telematics [concerts can affect people in their lives. One example is the
by musicians in different geographic locations through clash between the water protectors in North Dakota
Internet2 in real time]. Ive also started doing some versus the oil pipeline. Why cant we create a society
video work, which is very new, since I came here. I think that takes advantage of technology yet still supports
these are ways to express myself creatively that are the earth?
possible because Im not running around playing as Activism is nothing new for Mitchell, who still
much as when I was in Chicago. identifies with many of the lessons she learned from
But Mitchell has hit the ground running in her days with the AACM. She is still actively involved
Southern California as well, establishing relations with in promoting projects that honor the legacy of that
pianists Anthony Davis and Joshua White and as spirit. I organized a festival celebrating black women
a member of the Mark Dresser Seven. We just in creative music last December. A lot of the women are
recorded Marks new album and its really exciting to members [of the AACM], but not all of them. The idea
play his music, which is challenging and soulful at the is to create a platform that puts black women front and
same time. Thats hard to balance, music thats complex center in their expressions of creative music. In the
without losing the groove. Ive been working with future Id like to develop it beyond music and include
[bassist] Lisa Mezzacappa too, so thats another expressions of [all] black visionary women because
relationship. Ive deepened my relationship with Myra there are so many other aspects of creativity that I want
Melford. We have a trio album coming out with Jolle to spotlight. Thats also a part of the video work that
Landre on Rogue Art called Unleashed. Those Im doingmaking a documentary about this as Im
relationships are really special and Ive also been working on it. Our first concert had an overwhelming
developing relationships with [local] venues like the response. People were very moved to hear what these
World Stage and the Blue Whale where the music women had to say and to experience their music. v
carries on.
Mitchells sound on the flute is singular and her For more information, visit nicolemitchell.com. Mitchell is
mastery of extended techniques makes her voice on the at National Sawdust Mar. 29th. See Calendar.
ELLA FITZGERALD
FEATURING
KALI Z. FASTEAU
raised as a free thinker, I have a big picture mind that artistic freedom of accomplishing projects
transcends categories. My love and curiosity for independently. I returned to America primarily to
Crystal Blake
particular musics often shaped my itineraries in life. work with the many great musicians here who compose
spontaneously with heart. By tuning ourselves and
by clifford allen
After growing up between Paris and New York,
Fasteau attended Reed College where her listening and refining our skills, we develop sensitivity and intuition
performing interests ran the gamut from jazz and soul to receive and translate energy into beautiful music
Creative improvised music is, quite naturally, an area to blues and in graduate school she studied Carnatic, unique to the present moment. I give form to free-form
of open exploration but that openness, while it allows Turkish, Indonesian and African musics. It was in San music by selecting and naming recorded music and
many activities to coexist within the artform, also gives Francisco where she met Garrett in 1971 and it was sequence pieces on the albums to greatest effect,
rise to situations in which artists escape broader notice. love at first sight! Rafael was already a feminist and considering both flow and contrast. By designing the
Kali Z. Fasteau, a multi-instrumentalist, composer and immediately put me in his band The Sound Circus. We graphics, I also express my taste in visual art.
label owner (Flying Note) is just such a figure gigged a few days later with reed player Gerald Oshita Being creative goes beyond what can be documented
perpetually intriguing in the breadth of her activities, and drummer Oliver Johnson. Rafael had been by recording or live performances though and Fasteaus
yet the true nature of her art is somewhat unknowable performing and recording with John Coltrane [as a job is living as a creative being. My lifelong love of
to those outside the musics immediate creation. bassist and bass clarinetist] and hung out with John and nature is now more passionate than ever, as I see the
Fasteaus list of instrumental credits itself inspires Alice during their sojourn on the West Coast. Their devastating assaults of industry. At a young age I
curiosityvoice, piano, cello, viola, drums, soprano musical marriage was in many ways an inspiration for acquired a healthy skepticism of conventional medicine
saxophone, mizmar, ney flutes, sanza, synthesizer us. Garrett and Fasteau soon formed The Sea Ensemble, and began my continuing research in natural remedies
and has led her to collaborate with vanguard musicians which recorded We Move Together for ESP in 1974 and a and nutrition. Every day I make music, dance and take
like saxophonists Noah Howard and Kidd Jordan, pair of albums, After Nature and Manzara, for the Italian long walks, plus long-distance swimming in
pianist Bobby Few, bassist William Parker, drummers leftist imprint Red Records in 1977. In 2000, an archival summertime. 17 years ago I added Falun Gong [energy
Warren Smith, Rashied Ali, Louis Moholo-Moholo and double-disc containing sessions in Holland and Turkey cultivation] to my daily Tai-Chi practice. Ive learned to
Cindy Blackman and multi-instrumentalist Donald called Memoirs of a Dream was released on Flying Note. heed and completely trust my bodys wisdom.
Rafael Garrett (1932-1989), her first husband. They were a multi-instrumental duo that created their Bringing the vivid color and lively sound of feeling to
Celebrating her 70th birthday this month, Fasteau own tradition while traveling through Europe and the audiences throughout New York and worldwide,
was born Mar. 9th, 1947 into a musically fruitful Mediterranean, blending Arabic, North and Sub- Fasteau carries with her the transformational spirit
environment. In her early life professional classical Saharan African, East and South Asian sonics with free cultivated by innovative musicians going back to the
musicians populated both sides of my lineage. This improvisation and a facility that transcended both jazz beginning of the last century. v
happenstance perhaps justified and propelled me to and classical realms. Beyond that, the music of The Sea
spontaneous composition, the opposite way of making Ensemble was life: our carrying and playing bamboo For more information, visit kalimuse.com.
music and avoiding Western musical notation, song flutes was a passport to hearts, hospitality, smiles and
structures, specialization and hierarchical organization kinship everywhere, especially in non-European lands, Recommended Listening:
of music and musicians. I sang and wrote music very and this blended with our strong drive to experience The Sea EnsembleWe Move Together
early, with formal piano lessons from age 6 [with Olga many cultures, musics, vibes and terrain. (ESP-Disk, 1974)
Heifetz], cello at 8 and flute at 11. I loved singing both After 14 years of traveling, study and performance Kali Z. FasteauWorlds Beyond Words (Special Guest
soprano and baritone parts in school choirs. Later, at age overseas, Fasteau returned stateside in 1985 and Rashied Ali) (Flying Note, 1987-89)
14 I dreamed I improvised on a Bach piece at a piano founded Flying Note a year later. 30 years later, the Kali Z. FasteauAn Alternate Universe
recital; waking in the morning, I went to the piano and labels catalog of 17 releases represents varied (Flying Note, 1991-92)
music flowed from my fingers! I heard Miriam Makeba ensembles committed to free music. Whether on Kali Z. FasteauCamaraderie (Flying Note, 1997)
when I was seven, seeding my love of music from other cassette or CD, Fasteaus releases have presented a Kali Z Fasteau/Kidd Jordan/
lands. The beauty of timbres, rhythms and intonation consistent graphic design and palette that speak to a Newman Taylor BakerLive at the Kerava Jazz
not regimented by Western aesthetics affected me vision bright and to the point, much like the musical Festival: Finland (Flying Note, 2007)
deeply. Perhaps due to me being a left-handed woman contents. Ive always had strong tastes in music and Kali Z. FasteauPiano Rapture
[therefore a well-connected right and left brain] and visual art. I especially enjoy sculpting sound and the (Flying Note, 2012-13)
LEST WE F ORGE T
DOROTHY FIELDS
for Love in the 30s. Fields association with another Mood for Love, a definitive example of vocalese.
Tin Pan Alley icon, Jerome Kern, proved just as Fields kept busy long after Tin Pan Alleys heyday,
lucrative, resulting in 30s standards such as The Way collaborating with composer Albert Hague in the 1959
Broadway musical Redhead and Cy Coleman on
by alex henderson
You Look Tonight, Pick Yourself Up and A Fine
Romance. musicals including Sweet Charity in 1966 and Seesaw in
When Fred Astaire and Ginger Rogers sang the 1973. One of the best-known songs from Fields late
Dorothy Fields was one of Tin Pan Alleys most latter in the 1936 film Swing Time, Fields achieved period was Sweet Charitys If My Friends Could See
prolific lyricists, penning the words to numerous superstar status as a lyricist. The song was recorded by Me Now, originally performed by Gwen Verdon on
standards in the 20s-40s. While Fields had a strong everyone from Billie Holiday in 1936 and Joe Williams Broadway and receiving a hit disco makeover from
connection to Broadway, Hollywood and popular in 1956 to Ella Fitzgerald and Louis Armstrong as a singer Linda Clifford in 1978.
music, her lyrics have received a considerable amount 1957 duet. Fitzgerald revisited A Fine Romance on Fields was 68 when she died of a heart attack in
of attention by jazz vocalists over the years. her 1963 album Ella Fitzgerald Sings the Jerome Kern New York City on Mar. 28th, 1974. v
Born in Allenhurst, New Jersey on Jul. 15th, 1905 Songbook, which featured Nelson Riddle arrangements
and raised in New York City, Fields came from a family and also included The Way You Look Tonight and A tribute to Fields is at 92nd Street Ys Lyrics and Lyricists
heavily involved in the arts: her father, an immigrant the Kern-Fields songs Remind Me and You Couldnt series Mar. 18th-20th. See Calendar.
from Poland, became a vaudeville comedian in the late Be Cuter.
19th century and went on to produce Broadway shows Bandleader Duke Ellington was an early proponent Recommended Listening:
in the early 1900s-10s and both of her older brothers of Fields work, recording vocal versions of Diga Diga Oscar PetersonPlays the Jimmy McHugh Songbook
became Broadway writers as well. Doo and Bandanna Babies (also from Blackbirds of (Verve, 1959)
Composer J. Fred Coots, who Fields met in 1926, 1928) in the late 20s and instrumental versions of Ella FitzgeraldSings the Jerome Kern Songbook
proved to be a valuable connection when, in 1928, he McHugh and Kern melodies co-written with Fields. (Verve, 1963)
introduced her to Jimmy McHugh. With McHugh Jazz instrumentalists have been voracious Dorothy FieldsAn Evening With Dorothy Fields
composing the melodies and Fields writing the lyrics, consumers of the Kern and McHugh songbooks and (DRG, 1972)
their partnership resulted in a long list of standards, one of the most interesting examples of a McHugh- Mark MurphySings Mostly Dorothy Fields and
which include I Cant Give You Anything But Love, Fields gem taking on a whole new life came when Cy Coleman (Audiophile, 1977)
Diga Diga Doo and I Must Have That Man (all saxophonist James Moody recorded an instrumental Daryl ShermanIve Got My Fingers Crossed:
included in the musical revue Blackbirds of 1928) in the version of Im in the Mood for Love in 1949. The A Celebration of Jimmy McHugh (Audiophile, 1990)
late 20s and Exactly Like You, On the Sunny Side of lyrics that singer Eddie Jefferson wrote for Moodys Various ArtistsThe American Songbook Series:
the Street, Dont Blame Me and Im in the Mood improvised saxophone solo resulted in Moodys Dorothy Fields (Smithsonian, 1995)
HARBINGER
then when he moved to New York. Rudman was the and Rudman know their audience and the Harbinger
Associate Director in charge of education at the Great product reaches it. Says Rudman, This has never been
Lakes Theater Festival in Cleveland, Ohio and a money-making project for us. We do it because we
love the music, the tradition and the idea that, as the
by donald elfman
a pioneer in the notion that theater was truly
a community venture. The two men met at a conference name Harbinger suggests, we have this to look forward
of the Federation for the Extension and Development to. To further that notion, the label is now a subsidiary
The essence of Harbinger Records is, say its founders, of the American Theater in the late 70s. Bloom of The Musical Theater Project, a non-profit foundation
The Great American Songbookin particular songs remembers, We were on a bus going somewhere and Rudman had founded in Cleveland to produce
of stage screen and cabaret. The writers, the Bill started whistling the song Happy Hunting Horn educational programming to encourage an appreciation
performers from classic to contemporary and the from Pal Joey and stopped and I continued the song. We of musical theater as an art form. And to give further
tradition of musical theater from whence timeless started to talk, discovered many common interests and substance to its position as a serious and ongoing label,
melodies and lyrics come define the labels reason for decided then and there to start a record label. Rudman Harbinger now has Naxos as a distributor.
being. The founders are Ken Bloom, a theater historian, informed Bloom that he had a recording of Geraldine Harbinger is informed by an approach to
playwright, author and archivist, and Bill Rudman, an Fitzgerald doing her show Street Songs at Playhouse archaeology that one can find in the apartment in
educator, radio personality and producer. Says Bloom, Square in Cleveland. The recording was on a cassette New York where Bloom lives and works. Its a
Some of the vocalists in our catalog can certainly be and, amazingly, was recorded on the wrong side of the storehouse of books, posters, recordings and more that
considered jazz vocalists. Consider the late Maxine tape. The tape worked, an LP was made and it got a celebrate the world that Harbinger documents in
Sullivan, the [late] legendary Barbara Carroll, Nancy rave review by critic John S. Wilson on the front page recordings.
Harrow, Mark Murphy. These are jazz artists without of the arts section of The New York Times. Thus And what of those recordings? To begin, think of
any question. Even some of the so-called cabaret Harbinger Records was born in 1983. a songwriter from the American Songbook and they
singers can be considered jazz singers in that they have Soon another opportunity for recording presented are represented here. Some examples: Mostly Mercer,
harmonic sensibilities and are often accompanied by itself. The movie The Cotton Club was about to be a collection of Johnny Mercer songs sung by the likes
improvisers... And, of course, we have done new released and Rudman and Bloom wanted to find of Rosemary Clooney, Jennifer Holliday, Anita ODay
recordings with singers such as Stacy Sullivan and a connection to the music of that club and that era. and Eydie Gorme; Sublimities, piano recordings and
Barbara Fasano that are clearly in the jazz world. Bloom knew biographer Edward Jablonski and, with radio appearances by Cy Walter; and Burke Beautiful,
Rudman goes on to note, The American song and the his help, had done a show of Harold Arlen-Ted Koehler lyrics of Johnny Burke performed by Sharon Paige and
American theater have a jazz sensibility. Its about an songs. We found Maxine Sullivan, who had actually Keith Ingham.
original art form and a feeling of freedom. And, of played The Cotton Club, and got her to make Theres the Hidden Treasures series with rare
course, the great jazz players have long played and a recording of these songs. It was nominated for demos and more from great writers like Sheldon
continue to improvise on these songs. a Grammy! The arrangements were by Sullivans Harnick (Fiddler on the Roof, She Loves Me), John Kander
Bloom began his theater career in Washington, DC music director Keith Ingham. And the band featured, (Cabaret, Chicago) and Hugh Martin (Meet Me in St.
as a vital personproducer, director, marketer, public among others, Phil Bodner on reeds and Marty Grosz Louis). And legendary performances from singers
relationsof the New Playwrights Theatre of on guitar. Mabel Mercer and Susan Johnson.
Washington. In addition, he did radio shows in DC and Harbinger Records has continued to thrive. Bloom (CONTINUED ON PAGE 50)
Busy Being Free Live in Athens, Greece Stranger in a Dream The Great Songs from The Cotton Club Sing Shuffle Along
Barbara Fasano Mark Murphy Stacy Sullivan Maxine Sullivan Sissle & Blake
VOX NEWS
NAT HENTOFF
BUDDY BREGMAN (Jul. 9th, 1930
Jan. 8th, 2017) The composer, arranger
and producer released albums for Verve
ARTS
CENTER for the PERFORMING
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CD REVIEWS
audience) with her touring band of guitarist Jon
Herington and bassist Barak Mori, with the singer
playing guitar as well. She draws upon a different
Great American Songbook: scrappy dark-night blues
(Willie Dixon), traditional American song (Stephen
Foster), New Orleans rhythm & blues (Allen Toussaint),
gospel (Sister Rosetta Tharpe) and contemporary folk
(Townes Van Zandt, who could have given Leonard
Live at the Hungry Brain
Cohen lessons on how to be forlorn), with a detour into
The Urge Trio (Veto Records)
Chicago Sessions Speechless British reggae (Linton Kwesi Johnson). The musical
Silvia Bolognesi (Fonterossa) Champian Fulton (Posi-Tone) framing is lean and intimate, giving Peyroux room to
by John Sharpe by Scott Yanow open up the songs her way and, as Holiday did, make
them hers.
Cellist Tomeka Reid has only one leadership entry in Champian Fulton has become known as a talented She takes gravelly-voiced bard Tom Waits to a
her discography but her supple propulsion and poised swing-to-bop pianist who sings and an appealing place of Parisian elegance, the feverishly oblique yet
angularity crop up in an increasingly wide variety of singer who also plays piano. Her two skills are equal vivid lyrics rendered with sardonic gentility. On the
situations, as evidenced by two discs, which give and complementary. other hand, Everything I Do Gon Be Funky slips
insight into different aspects of her artistry. The well-titled Speechless is a bit different from her and slides like a hepcat on an alcohol-blessed
Reid features alongside two reed players, fellow previous recordings in that it is the first comprised dancefloor, Heringtons wiry electric lines crackling
Windy City denizen Keefe Jackson and Swiss visitor entirely of instrumentals. Not having to perform songs and popping like a too-hot pot of gumbo. Shout Sister
Christoph Erb, as part of The Urge Trio, in a concert that fit her voice has freed her to write new originals Shout is a gospel-charged swinger with decidedly
recorded live at Chicagos Hungry Brain club in and put the focus on her piano. While bassist Adi earthy lyrics while the acoustic, ruminative, hopeful
October 2015 and released on Erbs Veto imprint. They Meyerson and drummer Ben Zweig are excellent in Trampin soulfully looks for a way to heaven. The
mine a determinedly egalitarian seam across the single support and take a few brief solos, the spotlight is slinky If The Sea Was Whiskey features some keening
34-minute, fully improvised set. As an integral part of squarely on the piano player. Fulton contributes nine slide guitar, Peyroux proudly celebrating her appetites
the three-way interaction, Reid doesnt seek a high originals along with a fresh interpretation of Leo with lusty abandon and a big, bottomless tone. Hello
profile. Thats apparent from the start amid the barely Woods Someone Stole My Gal. Her piano style and Babe finds her purring like Eartha Kitt, albeit with an
audible susurrations, drones and pops. Her repeated writing is creative within the hardbop tradition. occasional piercing, bittersweet quality.
cello abrasions braid into Jacksons shrieked Days End opens the CD with Fulton playing in Secular Hymns is as much a compendium of
exclamations and Erbs tenor drone. Although she pianist Erroll Garner s style. The happy relaxed slow- American roots styles as it is a jazz album, a set
follows up with scratchy cello, then nimbly plucked to-medium tempo piece is a perfect vehicle for her to acknowledging assorted traditions and erasing
runs in tandem with Jacksons tenor, everyone emulate Garner s chord voicings, melodic improvising so-called barriers between themand oh, that voice,
resolutely stays in the realm of percussive texture and the way he swung with wit. Lullaby For Art is a like a fine wine getting better with age.
rather than melody or rhythm. As the piece progresses, tribute to drummer Art Blakey, the minor-toned cooker
the exchanges come in waves of overblown juddering utilizing the chord changes of Lullaby Of The Leaves, For more information, visit impulse-label.com. Peyroux is
and skittering bow work. While much of the dense Fultons voicings worthy of pianist Red Garland. at Town Hall Mar. 4th. See Calendar.
interweaving takes complementary form, there is some Although Somebody Stole My Gal originated in the
contrast, as when Reid scrapes a high whistle to pitch 20s, her version is boppish, with plenty of speedy runs
against the ruminative tenor saxophone/bass clarinet from her right hand.
axis. At times theres a sense that the horns periodically Dark Blue is a ballad that she plays with warmth
rein themselves in, as hinted by the spirited duet of while Tea And Tangerines shows the similarities
screeches and clarion calls when left to their own between Tea For Two and Tangerine, presented as
devices. Reid joins in a careening upper register arco a jazz waltz. Later Gator pays tribute to soul jazz
and lowers the temperature first to a simmer, then an saxophonist Lou Donaldson and is a catchy minor
intermittent boil with strums and bent notes, before blues that is also a bit funky. After the thoughtful
a peak of piping reeds and deep bowed cello to end. ballad Pergola, Happy Camper is more in pianist
On Chicago Sessions, Reid lines up in the company Horace Silver s style, at least in its rhythmic melody
of two other Midwest stalwarts in drummer Mike Reed and structure. Fulton concludes the enjoyable set with
and trumpeter Russ Johnson under the banner of Italian the midtempo blues Thats Not Your Donut and an
bassist Silvia Bolognesi. Since 2009 both women have uptempo romp Carondeletos, in tribute to the
been collaborators in the collective trio Hear In Now. Missouri hometown of late trumpeter Clark Terry.
Perhaps as a result, Bolognesis writing fully exploits
Reids facility at moving between lead and support, For more information, visit posi-tone.com. This project is at
sometimes, as in Departure, even within the space of Smoke Mar. 2nd. See Calendar.
a few bars. While the title might imply a blowing date,
the quartet digs into a program of five tuneful originals
by Bolognesi. Her writing makes the most of the
resources available, weaving layers of counterpoint
around a melodic core, as in the attractive Its Not The
Sea, where Reid plays a prominent role, picking out a
high figure filling in the gaps in a bouncy groove,
before later contributing a jaunty pizzicato solo.
Vocalist Dee Alexander appears on three of the five
pieces, supplemented by the voice of Italian singer
Emiliano Nigi on the final track. Reid often sets out the
Secular Hymns
thematic material in unison with downbeat but fluent
Madeleine Peyroux (Impulse!)
trumpet, phrasing together behind Alexanders by Mark Keresman
wordless vocals on Vision. The multi-sectioned
Languages/Sounds Colours and Words serves as a American-born French-raised jazz singer Madeleine
summation of the approaches taken, moving between Peyroux has a lovely voice strongly reminiscent of the
free, song and groove. While Reid sounds most at home iconic Billie Holiday. But whereas some singers would
on the inside components, her sawing towards the end leave it at thatafter all, if you must sound like
suggests further developments are surely afoot. someone it may as well be someone greatPeyroux
takes Holidays phrasing, sly, slightly breathy and a
For more information, visit veto-records.ch and gentle slurring of syllables with a hint of a Southern
silviabolognesi.com/fonterossa. Tomeka Reid is at Roulette drawl and channels it into her own distinctive
Mar. 2nd with Taylor Ho Bynum and Mar. 20th as a leader and direction.
National Sawdust Mar. 29th with Nicole Mitchell. See Calendar. Secular Hymns finds Peyroux recording live (sans
Eve Risser is a young French pianist who has Lightits presence and absencelooms large in V iolinist Jenny Scheinman is a musician whose
distinguished herself as part of the French Orchestre northern latitudes, both as a subject and metaphor. So creativity cannot be limited or defined by one genre or
National de Jazz and with a trio recording called En consider a piece for jazz quintet and symphony style. In one aisle, shes worked with Bill Frisell, ROVA,
Corps (Dark Tree), which revealed her as a brilliant free orchestra entitled Before The Dawn. Finnish pianist Allison Miller and Christian McBride; in another, with
improviser. Les Deux Versants Se Regardent presents her and harpist Iro Haarla meets expectations and more. singer/songwriters Ani DiFranco, Lucinda Williams
other sides, as the leader of a 10-member mini-orchestra Her rich orchestrations, which encompass ethereal and Norah Jones. Her own albums encompass jazz,
and as a remarkable composer drawing inspiration tone poems, shimmering strings and romantic, folk, bluegrass and combinations thereof. Here On
from geology, gemstones and the atmosphere. It also expressive flourishes, emerge from and provide context Earth, featuring originals entirely, falls into the latter
reveals the range and invention of an emerging for the work of her quintet. category while leaning to traditional American acoustic
generation of French improvisers. Although Haarla largely takes a back seat across the sounds. At her back is the company of fellow eclectic
The opening title composition, 20 minutes long, four separate but linked pieces, her guidance ensures types in Frisell and Robbie Fulks (a superbly witty alt-
possesses depth and subtlety. Moving from pure that the two ensembles gel. Songbird Chapel acts as a country songster, though he does not sing here).
percussion sonics to minimalist melody, it suggests majestic curtain-raiser. With Haarla on harp, the quintet Delinquent Bill, a duet with guitarist Danny
both the textural richness of Gil Evansthere are sets out the tuneful thematic material, Trygve Seims Barnes, is a blues-laden near-shuffle, Scheinman
shared roots in French modernismand the mark of a soprano saxophone calmly pontificating in folksy vein, combining the elongated, scratchy tone of bluegrass
first-rate jazz composer: the ability to bridge before the orchestra amplifies and extends the original fiddle with the suave, swinging assurance of jazz string
composition and improvisation, integrating the motifs. Here and elsewhere Mika Kallios unexpected players such as Joe Venuti and Billy Bang. Annabelle
distinctive styles and extended techniques of her percussion accents prick up the ears. and the Bird is a moody modal slice of folk, a link
musicians as well as their skills. In this piece, its On Persevering With Winter, bassist Ulf between the trad folk of the British Isles and American
percussionist Sylvain Darrifourcq, bassoonist Sophie Krokfors deep vocalized bowing and the brooding mountain dwellersRobbie Gjersoes guitar shimmers
Bernado, trumpeter Eivind Lnning and flutist Norrlands Operans Symfoniorkester create a like a mirage, inserting blue notes here n there, fluidly
Sylvaine Hlary who contribute their sounds and lines mysterious opening, building, Sibelius-like, to a slow- improvising with Scheinman while providing steady
to the totality, resulting in work that is distinctly moving crescendo. When the quintet reasserts itself, rhythm. The Road to Manila is an elegant waltz in
contemporary while recalling the evocative lyricism of Seims bleating tenor, initially supported by Haarlas which the range of violin evokes the deep woody strains
Evans Sketches of Spain and a few equivalent works. jazzy comping, later intertwines with Hayden Powells of a cello and even an accordion. Bark, George! could
The pieces that follow go further afield in their heraldic trumpet. have been inspired by the classical works incorporating
methodology and their expressive breadth. After a solo Such interaction also informs the most animated traditional folk riffs by Aaron Copland and Charles
introduction by guitarist Julien Desprez in which he sections for the quintet, which arrive in the last two Ives; Scheinman plays a lilting yet sardonic hoedown
achieves the same scattershot brilliance with the pieces. Seim in particular features on ...And The while Frisell conjures bittersweet dissonances that goes
fretboard that he usually gets with his pedal board, Darkness Shall Not Overcome It.... His sliding against the grain of the idyllic violin line as much as
Tent Rocks is distinctly bright and playful. The dense microtonal soprano, folksy again but with an oriental buoys it. Broken Pipeline is a cross between a waltz
and tumultuous Eclats includes a stunning tinge, opens the proceedings, then returns for a and a lament, Scheinman playing a lurching, driven,
exploration of bass saxophone fundamentals and luminous triumphal ending threaded through the ominous melody atop Barnes crisply picked acoustic
harmonics by Benjamin Dousteyssier while the swirling orchestra. guitar and Frisells moderately psychedelic lines.
obliquely thoughtful alto saxophone of Antonin Tri Finally, portentous piano introduces the dramatic Take heed, jazz brethren: theres precious little
Hoang dovetails with the repeating motifs and title track, ominous orchestral fanfares giving way to swing here, but lots of heartfelt, sometimes primal
expanding complexity of Earth Skin Cut. gentle unfurling tenor and poignant trumpet, before Americana. If you can appreciate David Grisman and
From the coloristic use of winds like bass flute and more jostling interplay punctuated by horn and string Bill Monroe along with Oregon and Frisells genre-
piccolo trumpet to a compositional vocabulary interjections. But rather than delve into the detail, blurring platters, this Earth is well worth a visit.
encompassing Messiaen and the spectral harmonists, perhaps the best way to appreciate the program is to
Risser is constructing her own idiom. let its luxuriant filmic sweep wash over you. For more information, visit royalpotatofamily.com. This
project is at Metropolitan Museum Grace Rainey Rogers
For more information, visit cleanfeed-records.com NYCJR12thPageAd0317.qxp_Layout
For 1 1/31/17 9:39 AM Page 1 Auditorium Mar. 17th. See Calendar.
more information, visit ecmrecords.com
Celebration!
Roger Farbey, All About Jazz
TRUMPETS
J A Z Z C L U B
6 Depot Square Montclair, NJ 07042
For reservations, call 973-744-2600
www.trumpetsjazz.com available on CD BABY,
lineartrecords.com iTUNES, AMAZON
ALEXISCOLE.COm
May 5, 2017 FPE Records
fperecs.com facebook.com/fperecs
NANCY
in 1959 and within a year he was working with bassist strains and some delightfully boppish heads. Sonic
Charles Mingus. That association would last until 1972 Hieroglyphs exemplifies the latter, with the leader s
and it is natural that it will always be the one for which runs up and down the bars feeling like the ascension of
VALENTINE
the alto saxophonist is best known. Even at that early Milt Jackson. At several points, his melodic duels with
stage, McPhersons adherence to the gospel of Charlie Bartz are reminiscent of the classic Bags and Trane
Parker made him a bit of a throwback and he has album (another example is Airegin, which contains SINGS THE mUSIC
remained a bebopper at heart throughout his career. melodic statements of considerable length and oF BILLY STRAYHoRN
But that is not to say that he was ever a mere imitator. rapidity). And Hoggard also manages to conjure Lionel Featuring
Hampton and perhaps Red Norvo at other points; his HarrY aLLen - tenor sax
McPherson may have spoken the language Bird witH
defined, but he had his own story to tell. lack of vibrato, until certain special moments, speaks JoHn di Martino trio
JoHn di Martino - Piano
During the 60s McPherson made six Prestige to the latter connection. Boris KozLov - Bass
MarK taYLor - druMs
records for producer Don Schlitten and when the latter Throughout, the rhythm section is exemplary:
got the Xanadu label up and running in 1975, it didnt pianist/organ player James Weidman (replaced by Nat wednesdaY, MarcH 22 nd
take long for the two men to reunite. Beautiful was the Adderley, Jr on six of the cuts), bassist Belden Bullock jazz at kitano
2 sets: 8PM & 10PM
first of four records McPherson made for Xanadu and and drummer Yoron Israel are integral components in ($17 CoVER + $20 mINImUm)
is a solid outing guaranteed to please anyone who likes top form. The closing cut, Disposable Consumption 66 pARk AVENUE @ 38TH STREET
straightahead modern jazz. The rhythm section of (who couldnt love that title?), is a killer, seemingly RESERVationS HiGHLY SUGGEStED!
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Duke Jordan, Sam Jones and Leroy Williams is superb twisting cool school into a complex suite that leaves
and McPherson relishes the opportunity to showcase one awaiting another section by the time the disc ends. a mEmoRabLE SinGER poiSED to makE an impoRtant
impact on tHE mUSic ScEnE. - Scott Yanow
his rich tone on a program of standards. An early debt
to Johnny Hodges, possibly filtered through Sonny For more information, visit jayhoggard.com. Hoggard is at NANCYVALENTINEjAzz.Com
Criss, is apparent, but the point is not the influences Roulette Mar. 2nd with Taylor Ho Bynum. See Calendar.
but what our protagonist does with them, which is to
R
Michal Attias Quartet
turn in confident improvisations full of nicely turned
Nerve Dance (Clean Feed)
ideas. McPherson is the kind of player that people
overlook because one must really tune in to hear how e Ernest Dawkins New Horizons Ensemble
(featuring Vijay Iyer)Transient Takes (s/r)
engaged he is, always finding a subtle way to punctuate
or alter a phrase. c Harris EisenstadtRecent Developments
(Songlines)
The CD concludes with a bonus track that didnt
appear on the original LP, a trio version of All Gods
o Satoko FujiiInvisible Hand (Cortez Sound)
Chillun Got Rhythm, confirming the importance of m Champian FultonSpeechless (Posi-Tone)
Noah Preminger Meditations on Freedom
Jordan to the proceedings. Every note and every
gesture seems perfect, delivered with elegant grace m (Dry Bridge)
Andreas SchaererThe Big Wig
e
Latin American Songbook
and a minimum of fuss. It must have been a treat for
Edward Simon (Sunnyside) (ACT Music)
McPherson to work with the pianist who added so
much to so many of his idols classic records.
V eteran
by Joel Roberts
n Idrees Sulieman QuartetThe 4 American
Jazz Men in Tangier
For more information, visit elemental-music.com.
pianist Edward Simons latest release is
a love letter to the music of his childhood. Growing up d (Groovin High-Sunnyside)
Trio 3Visiting Texture (Intakt)
McPherson is at Jazz Standard Mar. 1st-3rd with George
Coleman. See Calendar.
in Venezuela, Simon was exposed to a wide spectrum
of music from across South America, as well as the e Miroslav VitousZiljabu Nights
Caribbean, all of which made an indelible impression
on the young artist, informing the musician he is to
d (Live at Theater Gtersloh) (Intuition)
Laurence Donohue-Greene, Managing Editor
this day.
The 47-year-old Simon, who has played in the past n Roberto FonsecaAbuc (Impulse!)
Led BibUmbrella Weather (RareNoise)
e
with the likes of Greg Osby, Bobby Watson, Terence
Blanchard and the SFJAZZ Collective, fluidly melds Robert DickOur Cells Know (Tzadik)
w
a modern jazz sensibility with a deep affection for Ellery Eskelin/Christian Weber/
traditional folk music. The new album is a bookend in Michael Greiner
some ways to Simons 2014 release Venezuelan Suite, Sensations of Tone (Intakt)
Mikls Lukcs/Larry Grenadier/
expanding the focus from just his homeland to the
entire continent and beyond. The seven songs Simon r Eric HarlandCimbalom Unlimited
Harlem Hieroglyphs
Jay Hoggard (JHVM)
covers are classic compositions representing six
different countries and multiple styles, including
e (BMC Records)
Madness TenorsBe Jazz for Jazz (Cristal)
by John Pietaro
This double-disc release by vibraphonist extraordinaire
Brazilian Bossa nova, Argentinean Tango and Cuban l Cecilia Persson/Norrbotten Big Band
Composer in Residence (Prophone)
Jay Hoggard stands as a salute to Harlems roots and
Bolero, as well as tunes from Puerto Rico, Chile and his
native land. e Eve Risser White Desert Orchestra
culture. Stringing together original compositions and
a few key covers offering an overview of the musics
Simon leads his long-standing trio of bassist Joe
Martin and drummer Adam Cruz through the diverse
a Les Deux Versants Se Regardent (Clean Feed)
Matthew Shipp TrioPiano Song
journey, Hoggard presents selections of what was once set with a warm, lyrical and easily appealing piano s (Thirsty Ear)
Miroslav VitousZiljabu Nights
commonly thought of as nightclub jazz and bits of
funky R&B too. With this timewarp, youd almost
style. He plays with drama and flair on Astor
Piazzollas passionate Libertango and with a subtle e (Live at Theater Gtersloh) (Intuition)
think New York City rents were affordable again.
But Harlem Hieroglyphs is far from a museum piece.
mastery on the gorgeous Cuban ballad En la Orilla
del Mundo. Other highlights include the energetic
s Andrey Henkin, Editorial Director
JOIN US
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Wednesday,
March 8, 2017 7:00pm
Reservations:
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Barry Guy Birthday Celebration with Maya Homburger Barry Guy, Howard Riley Trio with Barry Guy and Lucas Niggli, Barry Guy Evan Parker, Jrg Wickihalder Beyond, Aki
Takase Ingrid Laubrock, Alexander von Schlippenbach Plays Monk, Ingrid Laubrock Sleepthief, Irne Schweizer Louis Moholo Moholo, Aki Takase Rudi Mahall, Lucas Niggli Jan
Galega Brnnimann Aly Keta, Omri Ziegele Wheres Africa feat. Louis Moholo Moholo, Irne Schweizer Maggie Nicols, Noisy Minority feat. Percy Pursglove, Sylvie Courvoisier Mark
Feldman Evan Parker, Sylvie Courvoisier Mark Feldman Duo, Omri Ziegele John Edwards Mark Sanders, Sarah Buechi Lauren Kinsella John Edwards Hannah Marshall, Sarah
Buechi Shadow Garden, Christoph Irniger Pilgrim, Stefan Aeby Trio, Aki Takase Rudi Mahall, Florian Egli Weird Beard, Trevor Watts Dieter Ulrich, Steve Beresford Julian Sartorius,
Pierre Favre DrumSights, Pierre Favre Solo, Schlippenbach Trio with Evan Parker and Paul Lovens, et al. Mediapartner: Jazzwise | Program: www.intaktrec.ch/london
Parker play dreamy unisons in a manner recalling he has rarely been captured but that he clearly relishes.
early Weather Report (think Sweetnighter and Mysterious He digs in with gnarled chords that blend nicely with
Traveler) melding with a more hip-hop aesthetic. Here the rhythm section and prod Dawkins. By the middle
Comes Ezra is infused with Parker s unique approach of the program (South Side Breakdown, the other
to modal harmony and dominated by the heartbeat- Dawkins composition), the band is firing on all
like kick drum. Bobby Hutchersons Visions leans on cylinders and sounds like a working group. The
the guitarists use of distortion and some jump-cut program ends with two duets between Dawkins and
choreography clashing against mangled keyboards but Iyer, simply titled V & E and E & V, a perfect
grounded by the organic swirl of Williams brushes. conclusion indicating a future full set of duets would
Alba Most of the material avoids the classic head-solos- be a fine idea.
Markus Stockhausen/Florian Weber (ECM) head format so it is kind of a relief when Jrifted shifts
by Mark Keresman from volume pedal swells and ethereal harmonies into For more information, visit ernestdawkins.com. Vijay Iyer
conventional features for Parker (who sounds a lot like is at Merkin Concert Hall Mar. 4th as part of the Ecstatic
Sometimes the acorn does not fall far from the Sonny Greenwich on this one) and Johnson (who has Music Festival. See Calendar.
figurative tree. Trumpeter Markus Stockhausen, who mastered the concept of pensive agitation). Bryan gets
straddles the spheres of notated and improvised a welcome showcase on How Fun It Is To Year Whip,
music(s), is the son of avant garde icon Karlheinz another beat-dominated tune reminiscent of a lot of the
Stockhausen, one of the most significant composers of music on the Pat Metheny Groups 1995 session We
the 20th century, while pianist Florian Weber is the son Live Here.
of a music professor and an opera singer who went on The conversational ambiance that weaves through
to study with John Taylor and Paul Bley. Together, Get Dressed is a nice touch, as is the crackling snare
Stockhausen and Weber weave a subtly glorious and extended guitar solo in the Grant Green tradition.
tapestry of luminous lyricism. It all comes together on the closing number, Clich,
Alba consists of 15 concise originals. While where Jobim comes crashing into J Dilla. This tune
Stockhausens poetic tone might evoke early 60s Miles features the guitarists daughter Ruby on vocals, who
Davis, his style itself does not, impacted by European comes across with solid intonation and limber acuity.
classical music as much as jazz. Mondtraum begins Johnson also gets some prime real estate to blow over
with a simple, somewhat Christmas tune-like melody and he acquits himself well.
and Stockhausens harmonious horn work (he
alternates between trumpet and flugelhorn), forlornly For more information, visit intlanthem.com. Parker is at The
crooning an almost folk-like hymn to a chilly, starry Stone Mar. 4th-5th with Oscar Noriega. See Calendar.
sky, looking toward the Bethlehem in your mind with
a warm, wide tone vaguely calling to mind a French
horn. Beifreiung has Stockhausens Miles-hinted
horn gliding over Weber s genial bob-and-weave,
slightly blues-flavored chords.
The breathtakingly lovely Resonances finds
Stockhausen unaccompanied, drawing forth almost
flute-like sounds before building to a brassy yet elegiac
crescendo. Surfboard has rolling fugue-like piano
chords, Stockhausen making with a breezy, Pacific
Coast highway idyll that 50s Chet Baker would have
Transient Takes
been proud to call his own. While it starts off as
Ernest Dawkins New Horizons Ensemble
a restive ballad, Zephir gradually builds into an (featuring Vijay Iyer) (s/r)
elegant slice of midtempo bebop, Weber swinging by Robert Iannapollo
pensively, Stockhausen melancholic, both building to
an expanse wherein restorative sunlight can shine. Chicago reed player Ernest Dawkins is perhaps not as
Subdued, intimate, thoughtful though laced with well known as some of his peers who emerged from
an almost nave playfulness, Alba is ECM chill-out jazz the Association for the Advancement of Creative
of the highest order. Musicians (AACM). Until recently, he was a long-
standing member of drummer Kahil ElZabar s Ethnic
For more information, visit ecmrecords.com. Weber is at Heritage Ensemble and has led his own bands, most
Cornelia Street Underground Mar. 1st with Mareike notably the New Horizons Ensemble since 1992.
Wiening and Brooklyn Conservatory of Music Mar. 4th A group with fluctuating personnel, it has released ten
with Lee Konitz. See Calendar. albums of strong, AACM-style jazz. Pianist Vijay Iyer
emerged in the 90s and has amassed an impressive
discography for ACT and ECM, several entries of
which have topped the year-end polls in the last
decade. Whats impressive about Iyer is his penchant
for immersing himself in the music and groups of
others, including funk collective Burnt Sugar and
Wadada Leo Smiths Golden Quintet.
Transient Takes came about in a most casual
manner. In 2013, Iyer went to hear Dawkins at a New
York concert. The two met and Iyer agreed to record
with Dawkins New Horizons Ensemble. The program
The New Breed
consists of three Dawkins compositions, the rest
Jeff Parker (International Anthem)
by Robert Bush improvised on the spot. Tracks are programmed in the
sequence in which they were played. The openers
F ormer Chicago-based guitarist Jeff Parker has (Dawkness and And The Light, both Dawkins
recently relocated to Los Angeles and this album compositions) are of a similar stripe: energy music
reflects a renewed interest in samples and beat-making played with an intensity and focus that belies the
with a remarkably democratic West Coast ensemble of unfamiliarity of the players. Dawkins playing (on
electric bassist Paul Bryan, saxophonist Josh Johnson either tenor or alto saxophone) is an attractive mix of
and drummer Jamire Williams. Both Johnson and the lyrical line and the ebullient shout and the rhythm
Parker also contribute lots of textural keyboards. section of Junius Paul (bass) and Isaiah Spencer
The disc begins with Executive Life, as scratchy (drums) slips into their role with ease.
record sounds wash over throbbing bass. Johnson and Its great to hear Iyer in this context, one in which
AKIKO
Art Blakeys Jazz Messengers songbook and is a perfect veteran guitarist went on to record a second album,
set closer for gigs. The title Ready The Mops might 2014s Kin, and release The Unity Sessions DVD in 2015.
give the impression of a late-night blues, but thats far This two-CD set, essentially an audio-only version of
from the case: the quintet fires on all cylinders, leaving the DVD, was recorded in a New York City theater but
TSURUGA
listeners wanting more. without a live audience. The Unity Sessions is neither
a live album in the traditional sense nor a studio
For more information, visit posi-tone.com. Fowser is at Fat recording, although is representative of what audiences
Cat Mar. 9th and The Django Mar. 10th, 17th and 24th. See heard on the tour for Kin. The guitarist leads a cohesive
Calendar. lineup consisting of Chris Potter (tenor and soprano
saxophone, bass clarinet, flute and guitar), Giulio
Carmassi (acoustic piano, synthesizer, flugelhorn and
backing vocals), Ben Williams (acoustic and electric
basses) and Antonio Sanchez (drums).
TRIO
Material previously included on Unity Band and
Kin is performed, although with different F R I D A Y, M A R C H 2 4 , 2 0 1 7
improvisations. Melodic offerings such as We Go 7:00PM
On, This Belongs to You and Sign of the Season AARON DAVIS HALL
recall Methenys work with keyboardist Lyle Mays West 135th Street & Convent Avenue
during the 80s and Carmassis occasional background (129 Convent Avenue)
vocals are not unlike the wordless, Brazilian-minded
Bright Eyes Tickets: $20 Regular / Students & Seniors $10
Victor Provost (Paquito) improvisations singer Pedro Aznar brought to the
by Elliott Simon group back then. But Metheny and Mays didnt have
a star saxophonist and Potter s attractive sound is Hailing from Osaka, Japan, this Hammond B3 jazz organist
W ith the exception of adding island coloration to a major asset to these performances. has been a mainstay in the New York jazz scene since 2001.
a tune or its curious place in jazz fusion, steel pan is Much of The Unity Sessions is best described as Charlie Sigler on guitar and McClenty Hunter on drums join
Akiko in a soulful evening of swinging jazz dont miss it!
not a significant jazz instrument. Since 2011 fusion with postbop leanings, but Metheny makes
(Her Favorite Shade of Yellow), however, Victor Provost some exciting detours into the avant garde on One of the most talked about and acclaimed jazz organists
has gone about changing that. Provost is a steel pan Genealogy, Ornette Colemans Police People and on the scene today! Allegro Music
virtuoso and his runs and arpeggios would make the the intense Go Get It (which combines free jazz with For more information
best bop saxophonist jealous. His sophomore effort, some hard-rock shredding la Steve Vai and Joe www.citycollegecenterforthearts.org or (212) 650-6900
Bright Eyes, takes his concept to the next level. His Satriani). The double-disc also includes everything
skills in combination with a variety of guests generally from an exuberant hardbop workout on Ray Nobles
make up for the instruments inherent shortcomings in Cherokee and Japanese-like mood of Come and
dynamic range. See to Al Di Meola-ish moments on the flamenco-
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Hamlisch-Carole Bayer Sager title track, originally fingertips, Sharp provides more than enough
sung by Joni Mitchell, is played tongue firmly in cheek atmosphere for Mingus to chew on and the flavors of
by Bernstein, with tenor saxophonist Josh Kline and their labors are as poignant as they are savory.
Duran getting deep into the fun. Duran arranged two Titles like We Stand Back And Watch, Dont Get
more of the famous themes, You Only Live Twice Me Started and Mr. Trouble are enough to clue the
and Thunderball: the former is a playful waltz with listener in on the politics herein and expectations on
dark undertones and lovely solos by Lauritsen and that front dont disappoint. Wielding capitalisms
tenor saxophonist Dan Erbland while the latter is leftover bones as his oars, Mingus rows a vessel of
smokily evocative thanks to Chris Otts trombone. keen insight into troubled waters. His voice combines
Nobody Does It Better This smart recording stands as a beautiful the soulfulness of a Jimi Hendrix with the experimental
The CCM Orchestra as James Bond (featuring collaboration between talented young musicians and fortitude of a David Moss.
Steven Bernstein) (Summit) adventurous arrangements of much-loved material. Styles are as varied as these musicians rsums.
by Donald Elfman Neither Guns Nor Money recalls the dirges of Bryn
For more information, visit summitrecords.com. Steven Jones (a.k.a. Muslimgauze) while closer Going Home
Nobody Does It Better is the realization of an ambition Bernstein is at Bar Luntico Mar. 2nd, National Sawdust is an R&B-inflected vision for the future. Both feed into
of Scott Belck to have his Cincinnati Conservatory of Mar. 15th as part of the Alternative Guitar Summit and The the albums mission against hatred. Rather than focus
Music Orchestra play what he calls Steven Bernsteins Stone Mar. 28th-Apr. 2nd. See Calendar. on those who lord power over us, these songs remind
decidedly tweaked renditions of music John Barry us of the forces that have power over them.
wrote for James Bond films. Bernsteins Sex Mob had Further highlights include: Back In The Day
done a 2001 recording of this music and this effort Blues, a scathing navigation through a cityscape of
converts those charts to big band format. Bernstein and false idols; Know Much More (check the timely
the Cincinnatian are clearly up to it. refrain, I dont want to know much more right now);
The set starts with Bernsteins Dr. Yes, guitar, and Five Weird Tricks, all of which affirm the duos
organ and the orchestra introducing the slinky theme. interlacing of critique and corrosion. The latter
Joe Wittmans wailing guitar is featured prominently, prophetically holds the sun of recent events in its
adding color to the full ensemble and in a powerful hands and endures the burn in our stead as it ushers
solo. Sam Lauritsen soars on trumpet in amusing past hopes into an uncertain future.
contrast to the slithering of Bernsteins slide trumpet. Here is an historical moment turned inside out, so
Tectonics: Fourth Blood Moon (featuring Eric Mingus)
The music is mostly familiar themes from the films that we may check ourselves before taking up arms on
Elliott Sharp (Enja/Yellowbird)
and some incidental music accompanying dramatic by Tyran Grillo either side of the wall and to which we are bid to respond,
scenes. Bond with Bongos features the line that not through earthly mundanities, but by the power of
started the whole brand; a repeated note from Joe V ocalist Eric Mingus joins New Yorks Downtown nature calling beyond the sphere of our influence.
Durans baritone saxophone is followed by brass and chameleon Elliott Sharp for a thought-provoking
flutes, pushed along by Nick Amerings bass, mosaic of social justice, worthy angst and honest For more information, visit enjarecords.com. Sharp is at
percussionist Shane Jones giving new definition with reflection. With an array of guitars, basses, synths, National Sawdust Mar. 15th with Joel Harrison as part of
his vibrant thumping. The celebratory Marvin electronics, percussion and other gadgetry at his the Alternative Guitar Summit. See Calendar.
M A R 1 2 MAR 20
GREAT
Baggiani and Dutch bassist Clemens van der Feen lay
down a constant backbeat, the guitarists sizzling
upwards string pops limiting Eskelin to contrapuntal
trills until he gathers the strength to challenge the others
with emotional altissimo cries. Tunes like Parcelas
Desiguales and Demagogical Dreams of a Beautiful
World come together more notably, with the pace
Hear & Now
JAZZ AT
CARNEGIE
Nick Finzer (Outside In Music)
slowed down to balladry. The former has a candied by George Kanzler
melody that is pulled, taffy-like, into mouth-watering
and ear-pleasing shapes through trebly guitar chording This engrossing new album from a sextet led by
or chewy saxophone snuffles, bowed bass as the bonding
factor, while the latter is a foot-tapping shuffle with
Eskelins squeezed reed lines harmonizing expressively
trombonist Nick Finzer carries an epigraph on the CD
package: Transformation can only take place
immediately / the revolution is now, not tomorrow.
HALL
with Celanos exuberantly bouncy chording. And the titles of the eight originals by Finzer suggest
The shared history of Eskelin, Swiss bassist Christian recent events have shaped his music in a socio-political Saturday, April 1 at 9 PM
Donny McCaslin
Weber and German drummer Michael Griener, a working way. But as with the best cause-inspired jazz, political
unit since 2011, allows the three to improvise with the commitment is not necessary to appreciate the music.
timing of a well-honed Marx Brothers routine on Finzer uses the easy familiarity of a postbop
Sensations of Tone. This comfort level is obvious as early uptempo theme, We The People, to introduce the Donny McCaslins intense, high-flying
as opener Orchard and Broom, where Grieners ensembles tumbling, racing rhythms propelling solos saxophone playing spearheads an
aggressive rim shots and rolls and Webers rappelling from the leader, pianist Glenn Zaleski and guitarist exciting electro-acoustic quartet
basslines complement Eskelins slurping melodicism. Alex Wintz. Open trombone intones the theme of The
featuring members who performed on
The other instant compositions follow comparable Silent One over slow, sprung rhythms with guitar-
strategies. The saxophonist expresses his laid-back piano rising chords, Finzer and tenor saxophonist Blackstar, David Bowies final album
romanticism via breathy slurs while his sidekicks sonic Lucas Pino soloing as the rhythms heat up. Duke that busts through boundaries that
Ellingtons Single Petal Of A Rose features the separate jazz and electronica. Doors
bookended theme, usually done as a piano solo, limned open one hour before the concert, and
by plunger-muted trombone followed by bass clarinet the first 200 ticket holders receive a
(Pino), Zaleski soloing in the middle and Finzer
overdubbing open and muted trombones on the coda.
voucher for a free drink.
Variety abounds among the six final tracks, as
Finzer mines Mingus expressionism, especially on the This concert and The Shape of Jazz series are made possible by
The Joyce and George Wein Foundation in memory of Joyce Wein.
multi-themed, elegiac New Beginnings, replete with
a Dave Baron bass solo cushioned in horns, and Presented by Carnegie Hall in partnership with Absolutely Live
Entertainment LLC.
Ellingtonian impressionism, most tellingly on the
closing ballad Love Wins, where the ensemble
CUNEIFORM
report that Nathanson still suffers no shortage of ideas.
There are a couple of soulful slow songs, as per usual
sung by trombonist Curtis Fowlkes (including a warm
RECORDS
rendition of The Main Ingredients Everybody Plays
the Fool) but theres also surprising hints at Latin
jazz, most notably in Nathansons Trouble. That
w w w. c u n e i fo r m re c o rd s. c o m groove-upon-groove is abetted by Ben Perowsky, who
has been added as a second drummer alongside E.J.
Slbyone Rodriguez, rounding out the violin (Sam Bardfeld),
Steve Lehman (Pi) vibraphone (Bill Ware), saxophone, trombone melodic
by Tom Greenland frontline. The album ends with a double-hit of songs
by Ware: Friends is a near-perfect testament for all of
If our government wanted to create a think tank to the singers (and non-singers) in the band that could
strategize progressive improvisational music (perhaps have fallen out of a Bob Hope/Bing Crosby vehicle
it has?), alto saxophonist and CalArts professor Steve while Spring Flowers is a catchy bit of jazz circus
Lehman would probably make the short-list of psychedelia that will make you want to start the album
potential recruits. Slbyone is bedded on the cerebral over from the beginning again.
funk of the M-BASE school, rife with mercurial meters If The Jazz Passengers have the warmth and
and asymmetrical rhythms, anchored by keyboardist knowledge of old comrades, Papanosh comes off with
Carlos Homs, bassist Drew Gress and drummer the wonderfully brash arrogance of a group of young
Damion Reid, augmented by Lehman and soprano guns. The French five-piece is joined by Nathanson
THE MICROSCOPIC SEPTET
saxophonist Maciek Lasserres supple lines lacing the and trombonist Fidel Fourneyron on Oh Yeah Ho! for
Been Up So Long It Looks Like Down To Me:
morphing textures and two very different rappers out a bold live outing with more than a little Mingus in the
The Micros Play The Blues
front: local alternative hip-hopper HPrizm (aka High mix. They open with an exciting, slightly sloppy
Voted the #5 jazz group in the 59th annual
Priest, a founding member of the Antipop Consortium) Los Mariachis, pushed into new realms by some
DownBeat critics poll, they combine swing,
and Gaston Bandimic, a Senegalese wordsmith who blistering organ, before taking advantage of Nathanson
energy and humor in a distinctive way.
spits in the distinctive Dakarian dialect, a mashup of the poet with his Snow Day set to Mingus Canon.
The finest retro-futurists around. The Village Voice
Wolof, French and Arabic. Mixer Andrew Wright is one They also take on Peggys Blue Skylight and a couple
last essential ingredient in this heady stew. of originals, but what makes the disc special is their
Heavily influenced by French spectral composition reworkings of one of Mingus worst and then one of
(where form follows the physical properties of sound) his best long-form pieces. They take the turgid
and by what trombonist George Lewis has termed an The Clown as an opportunity for a Nathanson
Afrological approach to improvisation, Lehmans recitation talk about meeting Mingus who, as he makes
musical imagination also draws on the drum clear, was anything but a clown. The disc closes with a
programming, sampling and sound design of hip-hop, riotous take on what is easily one of Mingus most
especially its more iconoclastic adherents. The result underrated works, the expansive 1977 suite Cumbia
is, as the albums Senegalese title translates, an & Jazz Fusion. They play it with love, like a gang of
intersection. HPrizms clever internal rhymes and punks that aint stopping for no one.
layered meanings are immediately accessible to Nearness and You falls, in a sense, between the
English speakers, but Bandimics are more opaque, Passengers and Papanosh discs. Its mostly old friends
requiring a perusal through the online translations to but largely in new environs. Nathanson used a weeks
uncover the many proverbs and ancestral and spiritual residency at The Stone in 2015 to record a series of
CHICAGO/LONDON UNDERGROUND
references enriching his oratory. His Shaking the cats duets (and one trio) and wove from the recordings
featuring ROB MAZUREK tail doesnt make him eat or When you step in the a pair of suites that use extrapolations from Hoagy
A Night Walking Through Mirrors
mouth of an anaconda, you better be ready offer Carmichaels The Nearness of You as a recurring
Rob Mazurek (trumpet and electronics) and a poignant counterpoint to HPrizms proverbs theme. With fellow Passenger Fowlkes and pianists
Chad Taylor (drums andelectronics) meet (Walking through fire either scars you or it charges Anthony Coleman, Myra Melford and Arturo OFarrill,
Alexander Hawkins (piano) and
you), ancestral references and poetics of urban angst guitarist Marc Ribot and trombonist Lucy Hollier,
John Edwards (double bass).
(Scattered ash, empty cigars on park benches, Stared Nathanson works through an array of spiky
at my reflection in project elevator mirrors). A rich, improvisations of a sort almost as standard as the old
densely layered work, this musi-cultural confluence chestnut they use as an anchor.
rewards repeated listening.
For more information, visit thirstyear.com, jazzrecords.com/enja
For more information, visit pirecordings.com. This project and cleanfeed-records.com. The Jazz Passengers are at Roulette
is at Merkin Concert Hall Mar. 27th as part of the Ecstatic Mar. 28th. See Calendar.
Music Festival. See Calendar.
Before you buy, listen at Roy Nathansons Jazz Passengers may have slowed
cuneiformrecords.bandcamp.com their collective pace with age, but the gait of late
shouldnt be taken as a sign of growing weakness.
Buy these and thousands of other Still Life With Trouble is only the third record they have
interesting releases at our online store: released in the last decade but when the old band
waysidemusic.com comes around again, its worth paying them some
mind. The album marks the bands 30th anniversary
For new title announcements, sign up for our monthly Music e-newsletter:
ucpress.edu/go/enews
Paperback, 272 pages, $29.95
Available Now twitter: @ucpress | facebook.com/ucpress | ucpress.edu/go/music
Juxtaposition
Vinnie Sperrazza (Posi-Tone)
Message in Motion Over the Rainbow
Peter Brendler (Posi-Tone) Chano Dominguez (Sunnyside)
by David R. Adler by Thomas Conrad
We know its the rhythm section that drives a band. If you are among those of us who are new to Chano
Its all the more interesting when the same one drives Dominguez, Over the Rainbow will arrive as a major
two different ones. Bassist Peter Brendler and drummer surprise. He sounds like no one else alive.
Vinnie Sperrazza, appearing on each other s latest Most of the important Spanish-speaking pianists
efforts, are a good case in point: they have a versatile, are from Cuba. Dominguez is from the Andalusia
polished, hard-swinging affinity always suiting the region of Spain, the birthplace of flamenco. His use of
creative moment. Sperrazzas Juxtaposition features a those rhythms and harmonies within jazz improvisation
quartet with pianist Bruce Barth and tenor saxophonist is the most obvious aspect of his uniqueness. But his
MAR 31APR 1, 7PM & 9:30PM Chris Speed, players you wouldnt normally connect dense, fiercely percussive lyricism draws on many
but whose rapport is consistently engrossing. The cultural sources. Other than two of his originals, there
JOSHUA REDMAN same can be said for Brendler s Message in Motion, a are no songs by Spanish composers here. Dominguez
PHOTO BY FRANK STEWART
followup to Outside the Line from 2014 with the same prefers classics from Latin America like Gracias a la
STILL DREAMING band. Tenor saxophonist Rich Perry and trumpeter
Peter Evans hail from different corners of the scene but
Vida (Violeta Parra of Chile), Hacia Donde (Marta
Valds of Cuba) and Los Ejes de Mi Carreta
Joshua Redman with Ron Miles, they bring unshakable precision and richly contrasting (Atahualpa Yupanqui of Argentina). He transforms
Scott Colley, and Brian Blade. solo personalities to the table. The addition of guitarist them. His piano language contains ornate European
Ben Monder on 4 of 10 tracks alters the sonic profile formalism, set free in the moment, with a Spanish
THE APPEL ROOM
considerably, particularly on Lucky in Astoria. accent. The Valds and Yupanqui pieces open as
Barth, an underappreciated master, gives halting, hovering ballads, but then a formidable left
Juxtaposition a more conventionally beautiful sound and hand stabs countermelodies and flamenco crescendos.
fuller harmonic spectrum. Speeds relaxed feel, warm And when his vision encompasses songs by North
MAR 1718, 8PM and nuanced tone and utterly clich-free vocabulary is Americans, it is revelatory. He intermittently
FREE TO BE: JAZZ OF THE 60s also reason enough to seek the album out. The program acknowledges the stride bounce of Evidence, but
starts and finishes with blues, from Chimes to Say spills new content all over Monk, in an ecstasy of
& BEYOND the Secret Word, so the sense of tradition is strong end celebration. Above all, Dominguez is a storyteller. His
Jazz at Lincoln Center Orchestra with Wynton to end. Sperrazzas writing shows impressive range: flamenco roots are revealed in his flair for the dramatic.
Marsalis and music director Walter Blanding theres a dark and abstract harmonic color reminiscent John Lewis wrote Django for a great Gypsy artist,
performs the music of Dave Brubeck, Charles of Wayne Shorter on the title track, a slow rubato ode, lost too soon. Flamenco music was created by the
Mingus, Sonny Rollins, and more. Blanding will while One Hour and Warm Winter have an off- Gypsies of southern Spain. Dominguez narrative
also premiere his new work, The Happiness kilter swing and melodic logic recalling Herbie Nichols. sweeps you up in its poignancy and majesty.
of Being. The waltzes Hellenized and House on Hoxie Road This album comes from a 2012 solo recital at the
are lyrical and radiant as well. The band is just as Palua Falguera in Barcelona. Tracks were recorded
ROSE THEATER
invested in the covers: an elegantly reharmonized before and during the concert. The acoustics of the
Somewhere from West Side Story; a fresh look at Alter venue are excellent. Dominguez instrument sings in
APR 5, 7PM APR 6, 7PM & 9PM Ego by late pianist James Williams; and a wonderfully this space, the notes hard and clear. Fortunately, an
MICHAEL FEINSTEIN: dissonant and ethereal This Night This Song by the audience was present for the final haunting title track.
Tony Williams Lifetime. Dominguez slowly shares and arrays Over the
THE UNFORGETTABLE Message in Motion favors a free-ish bop aesthetic Rainbow, fragmenting and reconfiguring Harold
NAT KING COLE out of the gate with the lowdown shuffle Splayed Arlens masterpiece, retaining its essence as a fragile,
Michael Feinstein with Denzal Sinclaire, and Calypso-ish Angelica, a classic from the album brave arc of faith.
Loston Harris, and the Tedd Firth Big Band. Duke Ellington & John Coltrane. Perry, not unlike Speed,
has a deep swing feel and a searching, wholly For more information, visit sunnysiderecords.com. Dominguez
THE APPEL ROOM
unrepetitive approach to playing lines. On a bright is at Jazz Standard Mar. 30th-Apr. 2nd. See Calendar.
walking tune like Very Light and Very Sweet, based
APR 78, 8PM on Sweet and Lovely changes, hes almost the straight
BUDDY RICH CENTENNIAL: man to Evans, whose more experimental rhythmic and
tonal instincts push the envelope. The chemistry
CELEBRATING THE JAZZ DRUM between Brendler and Sperrazza is most apparent on
Jazz at Lincoln Center Orchestra with Easy Way Out, an affecting song by the late singer-
Wynton Marsalis and music director Ali songwriter Elliott Smith, brought down to C from the
Jackson present new arrangements of original D-flat. The arrangement starts with bass
Richs music and premiere Jacksons Living playing the melody over quiet brushes. Monder enters,
Grooves: A Journey in Jazz Rhymes. in the only horn-less trio cut of the session, to deliver a
ROSE THEATER lustrous performance, full of melodic sensitivity. Alice
Coltranes Ptah the El Daoud, which paired Ron
Carter and Ben Riley back in 1970, also highlights
Brendler and Sperrazza at their best, transforming the
venue singable minor-key theme into a march of sorts. If its
frederick p. rose hall Perry channeling Joe Henderson here, then Evans is
box office Pharoah Sanders. His breath effects and half-valving,
broadway at 60th st., summoning tones between a voice and a violin, bring
ground fl.
about one of the discs most extraordinary moments.
centercharge JAZZ.ORG
212-721-6500 @jazzdotorg
For more information, visit posi-tone.com. Sperrazzas project
is at Cornelia Street Underground Mar. 31st. See Calendar.
Live! e! Open at
7 pm!
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CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ!
LOCATED IN THE OF TRIBECA
CRAFT COCK
THE NEW YORK CITY JAZZ RECORD | MARCH 2017 33 LOCAT
Feels music is to draw listeners in through familiar techniques to draw forth a range of sounds one may be
songs, then capture their imaginations with the hard-pressed to believe emanate from a flute. On Our
emotional expressiveness of the improvisational Cells Know, Dick concentrates entirely upon the
extrapolations. The hooting and hollering heard from sculptural contrabass flute.
the audience between songs here proves theyre On the Restless Seas of Time begins with cyclic
accomplishing that goal. percussive sounds like a marimba. This is followed by
As the album progresses, Stranahan emerges as almost clarinet-like tones and vocalese, then some
the groups most powerful weapon. His skittering, deep sawing racket and fierce blowing with a serrated
drum n bass-ish beats allow Raymond to turn the edge, deepening to a cello, then more vocalized noises,
Live Vol. 1 melody of Atoms for Peace into something soaring rising to cinematic levels, as if the listener was floating
John Raymond & Real Feels (Shifting Paradigm) and beautiful, but he is just as capable of laying back, upon tempestuous waves near islands with restless
by Phil Freeman as he does, brushes in hand, on a meditative and lyrical inhabitants. Aura Aurora is a lonely dirgeits easy
version of Amazing Grace. Hekselman, of course, is to imagine a person sitting atop a mountain wailing
In 2016, Minnesota trumpeter John Raymond formed more than just a middleman; his guitar stings this lament, only to be joined by someone from afar
Real Feels with guitarist Gilad Hekselman and throughout and on the trios explosive version of This playing a harp or maybe percussion? With the wind
drummer Colin Stranahan. Their self-titled debut Land is Your Land, his chords clang like Richard Serra through the trees its hard to tell but its a journey full
included versions of the jazz standard Donna Lee sculptures suddenly pushed over. of beautiful mystery.
and The Beatles Blackbird as well as Atoms for Theres another voyage into the realm of simulated
Peace by Radiohead and songs from the folk and For more information, visit johnraymondmusic.net. This percussion with Afterimage, Before, a dedication to
gospel repertoire like This Land is Your Land, Ill band is at Rockwood Music Hall Mar. 21st. See Calendar. the notorious jazz/rock drummer Ginger Baker,
Fly Away and Scarborough Fair. Then they hit the wherein Dick sounds as if he is both behind a drum kit
road. The result is this six-track CD, featuring five and playing the berimbau (a South American string
pieces recorded at BLU Jazz in Akron, Ohio and one instrument played as a percussive); as with some of
from the Blue Whale in Los Angeles, California. Baker s efforts, theres a strong suggestion of West
The group performs four songs from the album African rhythms. Some further overblowing suggests
Ill Fly Away, Atoms for Peace, Amazing Grace electric guitar feedbackapt as Baker was one-third of
and This Land is Your Land and essay interpretations the power trio Creamthen gently builds to a
of Minor Silverstein, by another Minnesotan, bassist dramatic, rock-like ending.
Chris Morrissey, and The Beatles Yesterday. This is an impressionistic, occasionally
Stranahan launches the album with a taut, martial nonconcrete, always evocative, lively album and Dick
call to arms, setting up a strutting gospel-parade beat, frequently has a rhythmic impetus in mind, stated or
Our Cells Know
atop which Hekselman builds a funk groove at the low implied, playing with intensive yet understated fervor.
Robert Dick (Tzadik)
end of his guitar s range. When Raymond enters, he by Mark Keresman
lets the melody slowly unfurl with a lush, full tone For more information, visit tzadik.com. Dick is at The Stone
(he plays flugelhorn throughout) before jumping into Robert Dicks work blurs the lines between Mar. 21st-26th, including with this project on Mar. 26th.
a melodic but exciting solo. The whole point of Real composition and improvisation and he uses extended See Calendar.
SAINT PETERS CHURCH - APRIL 26TH For more information, visit icalledhimmorgan.com. This
...pulsing organism of a band. Their charts are sophisticated, their
film will have two local screenings: Mar. 7th at IFC
arrangements complex. And, boy, can they blow! - Don McNeil Center and Mar. 31st at Metrograph Theater. For more
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. -Chris Spector information, visit ifccenter.com/series/stranger-than-
fiction-winter-2017 and metrograph.com
LOUCAPUTO.COM
Live at the Hi-Hat Inspired Abandon First Encounter The Cry Eponymous
Stan Getz Quintet (Fresh Sound) Lawrence Browns All-Stars (Impulse!) Mal Waldron (Victor) Steve Lacy +6 (Soul Note) Jon Gordon Quartet (Chiaroscuro)
March 8th, 1953 March 8th, 1965 March 8th, 1971 March 8th, 1988 March 8th, 1992
Released over six decades after it Apart from the rhythm section of Pianist Mal Waldron and bassist Gary One of the many albums the late For what would be his first U.S. label
happened, this two-disc live set from Jimmy Jones, Richard Davis and Peacock, born 10 years apart, meet for soprano saxophonist Steve Lacy made release after a debut for Norways
the famed Boston club (extant from either Gus Johnson or Johnny Hodges, the first and only time on record for for this Italian label, the two-disc set Taurus, alto/soprano saxophonist Jon
1937-59 and site of a number of mostly Jr., trombonist Lawrence Browns All this outing for the Japanese Victor finds him with old friends in vocalist- Gordon celebrates his roots by
posthumous recordings) is the earliest Stars is comprised of fellow Duke imprint. Completing the trio is wife Irne Aebi and bassist Jean- featuring legendary alto saxophonist
document of tenor saxophonist Stan Ellington alumni: Ray Nance, Cat drummer Hiroshi Murakami, who Jacques Avenel along with new Phil Woods, who inspired him as a
Getz working with trombonist Bob Anderson, Buster Cooper, Jimmy had worked with Waldron a month associates Tina Wrase (reeds), Petia teenager and later became his teacher,
Brookmeyer. This then-new quintet Hamilton, Johnny Hodges, Russell earlier in support of singer Kimiko Kaufman (harpsichord), Cathrin on four of the ten tracks found here,
(active for about a year and then Procope, Harold Ashby and Paul Kasai. Waldron contributes three Pfeifer (accordion) and Daniel Gioia including Woods inspirational Pass
revived in 1961) is filled out by Getz Gonsalves. Confirming its status as a songs, She Walks in Beauty, The (percussion). Lacys originals utilize It On, Jon. The rest of the band are
regular pianist and bassist of 1952 in moon orbiting the Ellington sun is the Heart of the Matter and Walkin texts of Womens Rights (in Muslim Gordons contemporaries in pianist
Duke Jordan and Bill Crow plus inclusion of Ellington standards like Way, none which appear elsewhere societies) advocate Taslima Nasrin. Kevin Hays, bassist Scott Colley and
drummer Al Levitt. The 14 tracks Mood Indigo and Do Nothin Till in his discography, with the same for For this live recording, Lacy also drummer Bill Stewart, playing
contained herein are all jazz and You Hear From Me to go along with Peacocks Whats That. Why there included a set dresser and costumer Gordon originals, standards and Joe
songbook standards. several tunes by the elder Hodges. was no second encounter is a mystery. for what he called a jam opera. Lovanos Land of Ephesus.
BIRTHDAYS
March 1 March 6 March 11 March 16 March 22 March 27
Glenn Miller 1904-44 Red Callender 1916-92 Miff Mole 1898-1961 Ruby Braff 1927-2003 Fred Anderson 1929-2010 Pee Wee Russell 1906-69
Teddy Powell 1906-1993 Howard McGhee 1918-87 Mercer Ellington 1919-96 Tommy Flanagan 1930-2001 John Houston b.1933 Ben Webster 1909-73
Benny Powell 1930-2010 Wes Montgomery 1925-68 Ike Carpenter 1920-98 Keith Rowe b.1940 Masahiko Togashi 1940-2007 Sarah Vaughan 1924-90
Gene Perla b.1940 Ronnie Boykins 1935-80 Billy Mitchell 1926-2001 John Lindberg b.1959 George Benson b.1943 Harold Ashby 1925-2003
Ralph Towner b.1940 Charles Tolliver b.1940 Leroy Jenkins 1932-2007 Woody Witt b.1969 Bill Barron 1927-89
Vinny Golia b.1946 Peter Brtzmann b.1941 Vince Giordano b.1952 March 23 Burt Collins 1931-2007
Norman Connors b.1947 Robin Kenyatta 1942-2004 Judy Niemack b.1954 March 17 Johnny Guarnieri 1917-85 Stacey Kent b.1968
Elliott Sharp b.1951 Flora Purim b.1942 Paul Horn 1930-2014 Dave Frishberg b.1933
Dom Minasi b.1943 March 12 Grover Mitchell 1930-2003 Dave Pike 1938-2015 March 28
March 2 Ayelet Rose Gottlieb b.1979 Sir Charles Thompson Karel Velebny 1931-89 Masabumi Kikuchi 1940-2015 Paul Whiteman 1890-1967
Eddie Lockjaw Davis 1918-2016 Jessica Williams b.1948 Gerry Hemingway b.1950 Herb Hall 1907-96 MARILYN CRISPELL
1921-86 March 7 Hugh Lawson 1935-97 Abraham Burton b.1971 Stefon Harris b.1973 Thad Jones 1923-86 March 30th, 1947
Doug Watkins 1934-62 Alexander von Schlippenbach Ned Goold b.1959 Daniel Levin b.1974 Bill Anthony b.1930
Buell Neidlinger b.1936 b.1938 Peter Knight b.1965 March 24 Tete Montoliu 1933-97 Though born in Philly, the
Bob Neloms b.1942 Herb Bushler b.1939 March 18 King Pleasure 1922-81 Barry Miles b.1947 pianists career began with
Wolfgang Muthspiel b.1965 March 13 Al Hall 1915-88 Dave MacKay b.1932 Donald Brown b.1954 players out of the avant
March 8 Dick Katz 1924-2009 Sam Donahue 1918-74 Kalaparusha Maurice Orrin Evans b.1975 garde scene of Chicago in
March 3 George Mitchell 1899-1972 Roy Haynes b.1926 Bill Frisell b.1951 McIntyre 1936-2013 Jen Shyu b.1978 Leo Smith, Roscoe Mitchell
Barney Bigard 1906-80 Dick Hyman b.1927 Blue Mitchell 1930-79 Joe Locke b.1959 Steve Kuhn b.1938 and, most significantly,
Cliff Smalls 1918-2008 George Coleman b.1935 Michael Jefry Stevens b.1951 Paul McCandless b.1947 March 29 Anthony Braxton, with
Jimmy Garrison 1934-76 Gabor Szabo 1936-82 Akira Tana b.1952 March 19 Steve LaSpina b.1954 George Chisholm 1915-97 whom she worked off and
Luis Gasca b.1940 James Williams 1951-2004 Terence Blanchard b.1962 Curley Russell 1917-86 Renee Rosnes b.1962 Pearl Bailey 1918-90 on from 1978-93, mostly as
Biggi Vinkeloe b.1956 Shoko Nagai b.1971 Lennie Tristano 1919-78 Dave Douglas b.1963 Allen Botschinsky b.1940 part of a quartet with Mark
March 4 Anat Fort b.1970 Bill Henderson b.1930 Joe Fiedler b.1965 Michael Brecker 1949-2007 Dresser and Gerry
Don Rendell 1926-2015 March 14 Mike Longo b.1939 Hemingway. She made her
Cy Touff 1927-2003 March 9 Joe Mooney 1911-75 David Schnitter b.1948 March 25 March 30 debut as a leader for
Barney Wilen 1937-96 Ornette Coleman 1930-2015 Les Brown 1912-2001 Chris Brubeck b.1952 Cecil Taylor b.1929 Ted Heath 1900-69 Cadence in 1981 in groups
David Darling b.1941 Keely Smith 1932-2015 Sonny Cohn 1925-2006 Michele Rosewoman b.1953 Paul Motian 1931-2011 Lanny Morgan b.1934 featuring violinist Billy
Jan Garbarek b.1947 Kali Z. Fasteau b.1947 Mark Murphy 1932-2015 Eliane Elias b.1960 Larry Gales 1936-95 Karl Berger b.1935 Bang and then went on to
Kermit Driscoll b.1956 Zakir Hussain b.1951 Shirley Scott 1934-2002 Lonnie Hillyer 1940-85 Marilyn Crispell b.1947 record for FMP, Leo, Victo,
Albert Pinton b.1962 Thomas Chapin 1957-1998 Dred Scott b.1964 March 20 Makoto Ozone b.1961 Dave Stryker b.1957 Music & Arts, Matchless,
Dana Leong b.1980 Erica von Kleist b.1982 Marian McPartland 1920-2013 Frank Gratkowski b.1963 Okka, ECM, Black Saint,
March 15 Sonny Russo 1929-2013 March 26 Dan Peck b.1983 Intakt and Tzadik, among
March 5 March 10 Jimmy McPartland 1907-91 Harold Mabern b.1936 Abe Bolar 1908-2000 others. She has also worked
Gene Rodgers 1910-87 Bix Beiderbecke 1903-31 Spencer Clark 1908-1998 Jon Christensen b.1943 Flip Phillips 1915-2001 March 31 regularly with bassists such
Bill Pemberton 1918-84 Pete Clarke 1911-75 Harry James 1916-83 Andy Hamilton 1918-2012 Santo Mr. Tailgate Pecora as Reggie Workman, Barry
Dave Burns 1924-2009 Don Abney 1923-2000 Bob Wilber 1928-2006 March 21 Brew Moore 1924-73 1902-84 Guy, Jolle Landre and
Lou Levy 1928-2001 Louis Moholo-Moholo b.1940 Charles Lloyd b.1938 Hank DAmico 1915-65 James Moody 1925-2010 Red Norvo 1908-99 Gary Peacock in a
Wilbur Little 1928-87 Mino Cinelu b.1957 Marty Sheller b.1940 Mike Westbrook b.1936 Maurice Simon b.1929 Freddie Green 1911-87 discography approaching
Pee Wee Moore 1928-2009 Bill Gerhardt b.1962 Joachim Khn b.1944 Herbert Joos b.1940 Lew Tabackin b.1940 Jimmy Vass 1937-2006 500 sessions. -AH
David Fiuczynski b.1964 Ofer Assaf b.1976 Anne Mette Iversen b.1972 Amina Claudine Myers b.1942 Hiromi b.1979 Christian Scott b.1983
CROSSWORD
1 2 3 4 ACROSS 28. Peter De Rose-Carl Sigman standard
Buona ____ popularized by Louis Prima
5 6 7 8 9 1. Swedish cellist ____ El-Habashi
5. Skitch Henderson and Doc Severinsen DOWN
10 11 both led this networks orchestra
8. 70s German pop-jazz saxophonist Jochen 1. German saxophonist Max on hatOLOGY
10. Drummer Terri Lyne 2. 1966 Bola Sete New Brazilian Trio Fantasy album
12
12. German trombonist Rolf 3. Washington, D.C. neighborhood of Blues Alley
13. Coltranes tribute to his longtime bassist 4. Natl. of trumpeter Amir ElSaffar
13 14 15
14. Defunct music camp based in CT 5. Jazz educators can become this (abbr.)
16. Violinist ____ Deng who recorded with 6. Bassist Guy and keyboardist Miles
16 17 Jane Monheit and Diana Krall 7. Monks ____ with Nellie
17. 1974 Tsuyoshi Yamamoto Three Blind Mice 8. Colorado pianist Art Lande runs this ens.
18 19 20 album Blues For ____ 9. ____.com, official website for the writers of
18. Sons of Sound Productions catalogue prefixes Getting to Know You
21 22 23 24 19. Erskine Hawkins Orchestra 1939 single 11. Roaratorio included prints on this
____ Living I Japanese medium in recent Joe McPhee LPs
25
21. This label, best known for its Allman Brothers 15. Swiss organ player Heinz ____
albums, also released two 70s LPs by 20. NYC-based jazz photograher Farber
Eddie Henderson 22. Swedish 30s-40s bandleader Derwin
26 27
25. Trumpeter Al Hirt performed during 23. Red River Entertainment catalogue prefixes
halftime at this sporting 1967 event 24. ____ Mukhtarr Mustapha, track from 1972
28
26. Benny Goodman tune Seven Come ____ Stanley Cowell ECM album Illusion Suite
27. Shakuhachi player Rothenberg 25. Strata-East catalogue prefixes
By Andrey Henkin visit nycjazzrecord.com for answers
Wayne Shorters The Universe Ccile McLorin Salvant Weather Report and
A Concerto for Miles with Sullivan Fortner Beyond Reimagined
By Wallace Roney Orchestra and The Emmet Cohen Trio Christian McBride, Rachel Z,
Featuring Buster Williams, Friday, April 21 at 7:30pm Joe Lovano, Steve Wilson,
Lenny White and Patrice Rushen Omar Hakim and Manolo Badrena
Thursday, April 20 at 7:30pm Saturday, April 22 at 8pm
Dorthaans Place
Sunday Jazz Brunches
NJPACs series of intimate jazz
brunches returns, curated and
hosted by jazz champion and WBGO
legend Dorthaan Kirk, Newarks
First Lady of Jazz.
NICO Kitchen + Bar 11am & 1pm
Rob Paparozzi
March 12
Esperanza Spalding Wayne Shorter Quartet
Blues, harmonica and more from
Christian McBride Wayne Shorter Quartet NJs Rob Paparozzi.
& Esperanza Spalding: with special guests
One on One The Bucky Pizzarelli
Herbie Hancock and and Ed Laub Duo
Sunday, April 23 at 3pm Gretchen Parlato April 2
Sunday, April 23 at 7pm The accomplished guitar
duo perform American
Songbook selections.
MAR 31 | FRI | 8 PM
@ FLUSHING TOWN HALL
Two NEA Jazz Master pianists Toshiko Akiyoshi and Barry Harris
perform together in a piano duo of classic jazz standards and
original arrangements riffing, complementing, and answering
each other in melodic and harmonious responses.
www..ushingtownhall.org
(718) 463-7700 x222
137-35 Northern Blvd.
Flushing NY 11354
BANDPresents
of BONES
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce
WOW Caf Theater 7:30 pm $15-20
Kenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa,
Johnathan Blake Jazz Standard 7:30, 9:30 pm $35
an Roberta Gambarini Blue Note 8, 10:30 pm $35
Bill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
ZINC BAR
The Stone 8:30 pm $20
Tulivu Donna Cumberbatch Sistas Place 9, 10:30 pm $20
Jackie Gage Quartet; Michael Thomas Septet
The Cell 8, 9:30 pm
82 West 3rd Street Jostein Gulbrandsen Trio with Andrea Veneziani, Mark Ferber
$20 Admission Bar Next Door 7:30, 9:30, 11:30 pm $12
Steve Blum Trio; Camille Thurman; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
Nir Naaman Quartet Club Bonafide 7:30 pm $15
call 646-373-5372 for info Steve Carrington Mintons 7 pm $10
Benjamin Serveney Trio; Daniel Bennett Group; Paul Lee Trio
www.bandofbones.com Tomi Jazz 6, 8, 11 pm $10
www.zincbar.com Katsuko Tanaka Trio with Jaimeo Brown
Hillstone 6:30 pm
Allan Rosenthal Trio Cleopatras Needle 8 pm
Salsondria Guadalupe Inn 8 pm $5-10
Three CDs available Free To BeJazz of the 60s & Beyond: Jazz at Lincoln Center Orchestra
Rose Theater 8 pm $45-135
at cdbaby.com: Heads of State: Gary Bartz, Larry Willis, David Williams, Al Foster
Smoke 7, 9, 10:30 pm $45
Band of Bones, Caravan Michele Rosewomans New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard,
Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy,
Rafael Monteagudo, Nina Rodriguez Dizzys Club 7:30, 9:30 pm $45
and Stomp Bruce Harris Dizzys Club 11:30 pm $20
Joe Locke Birthday Bash Quartet with Jim Ridl, Lorin Cohen, Samvel Sarkisyan
Jazz at Kitano 8, 10 pm $32
ROBERT DICK
Residency at The Stone - March 21 - 26, 2017,
all concerts at 8:30 PM $20 - corner of East 2nd Street and Avenue C
Tuesday, March 21 We Are the Walrus
Thomas Buckner, baritone and Robert Dick, flutes
Two long-time musical collaborators who always surprise each other and themselves!
Wednesday, March 22 Dissonant Geranium
Miya Masaoka, koto; Ken Filiano, bass and Robert Dick, flutes
Robert has played many times with Miya in duo and with Ken in a wide range of
ensembles. This is the first outing for this intensively colorful trio.
Thursday, March 23 Raise the River Flutes and Drums
Tiffany Chang, drums and Robert Dick, flutes
Primal music from the next dimension.
Friday, March 24 The Time Between Us
Stephanie Griffin, viola; Ned Rothenberg, alto sax, bass clarinet and shakuhachi;
Satoshi Takeishi, drums; Robert Dick, flutes
Improvisations and compositions by Robert.
Saturday, March 25 Bermuda Rectangle
Vince Bell, spoken word and song; David Mansfield, guitars of all types;
Ratzo B. Harris, bass; Robert Dick, flutes and voice
Texas Blues deconstructed and reconstructed!
Sunday, March 26 Our Cells Know Robert Dick, contrabass flute solo
Celebrating the release of Roberts solo contrabass flute CD on Tzadik! Music thats truly unique.
ROBERTDICK.nET
46 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Friday, March 24 Joe Fiedler Quintet with Jeff Lederer, Pete McCann, Rob Jost, Michael Sarin
The Jazz Gallery 7:30, 9:30 pm $22
Sunday, March 26
Ethan Iverson/Albert Tootie Heath; Theo Hill Bermuda Rectangle: Vince Bell, David Mansfield, Ratzo Harris, Robert Dick Robert Dick solo The Stone 8:30 pm $20
Mezzrow 8, 11 pm $20 The Stone 8:30 pm $20 Ben Perowsky Trio with Chris Speed, Michael Formanek
Bucky Pizzarelli/Ed Laub Group with Larry Fuller, Martin Pizzarelli Zeena Parkins/Mary Halvorson Ibeam Brooklyn 8:30 pm $15 Cornelia Street Underground 8:30, 10 pm $10
Jazz at Kitano 8, 10 pm $17 Hank Roberts with Sarah Bernstein, Shoko Nagai, Satoshi Takeishi Camila Meza and the Nectar Orchestra; Elsa Nilsson Quartet
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Owl Music Parlor 8 pm $10 Rockwood Music Hall Stage 2 7, 8 pm $15
Smoke 7, 9, 10:30 pm $38 Lena Bloch/Roberta Piket Duo The Drawing Room 7:30 pm $15 Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Michela Lerman;
Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and A Tribute to Nat King Cole: Thos Shipley Neal Smith/Donald Vega Quartet with Dezron Douglas; Hillel Salem
guest Don Vappie Dizzys Club 7:30, 9:30 pm $40 Metropolitan Room 7 pm $22.50 Smalls 4:30, 7:30, 10:30 pm 1 am $20
Patrick Bartley Dizzys Club 11:30 pm $5 Daniel Levin, Chris Pitsiokis, Brandon Seabrook Terry Waldos Gotham City Band; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam
Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $3.50 Soup & Sound 8 pm $20 Fat Cat 6, 8:30 pm 1 am
The Time Between Us: Stephanie Griffin, Ned Rothenberg, Satoshi Takeishi, Mike Rood Trio with Sam Minaie, Jerad Lippi Sean Ali solo Downtown Music Gallery 7 pm
Robert Dick The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Kengo Yamada Tomi Jazz 8 pm $10
Ben Williams Ginnys Supper Club 7:30, 9:30 pm $20 Los Aliens: Ricardo Gallo, Andrs Jimnez, Sebastin Cruz, Victor Murillo Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Gilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey Nublu 10 pm $10 Smoke 7, 9, 10:30 pm $38
Cornelia Street Underground 9, 10:30 pm $10 New Masses NightsWomens History Month Celebration: Maryanne de Prophetis Trio Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and
Ken Fowser Quintet The Django at The Roxy Hotel 7:30 pm with Ron Horton, Dean Johnson; Lee Odom Quartet guest Don Vappie Dizzys Club 7:30, 9:30 pm $35
Jochen Rueckert Trio with Dayna Stephens, Joshua Crumbley Henry Winston Unity Hall 7 pm $10 Steve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Bar Next Door 7:30, 9:30, 11:30 pm $12 Lil Phillips Sistas Place 9, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30
Akiko Tsuruga Trio with Charlie Sigler, McClenty Hunter Lee Tomboulians Weekly Reeders DiMenna Center 8 pm $20 Trio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Aaron Davis Hall 8 pm $20 Tres Mujeres, Magnificas del Jazz Latino: Annette Aguilar and String Beans; Village Vanguard 8:30, 10:30 pm $30
Charlie Burnham Owl Music Parlor 7:30 pm $10 Jenn Jade Ledesna Trio; Laura Andrea Legua Ensemble Roy Hargrove Quintet Blue Note 8, 10:30 pm $35
Mike Moreno Quartet The Jazz Gallery 7:30, 9:30 pm $22 Hostos Center 7:30 pm $15 Jlia Karosi Quartet Saint Peters 5 pm
Ralph Lalama Bop-Juice with Alec Claffy, Clifford Barbaro; Charles Ruggiero Quartet Carolina Calvache Quintet with Camila Meza; Lady Cantrese NY Jazz Women: Lee Torchia, Jill McManus, Melissa Slocum, Carol Sudhalter
with Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner The Cell 8, 9:30 pm Metropolitan Room 4 pm $24
Smalls 7:30, 10:30 pm $20 Dan Greenblatt Group with Dave Marck, Ed Fuqua, Jeff Brillinger Alexis Cole Trio with Doug Munro, Michael Beaudry
Rachel Therrien Quartet Club Bonafide 7:30 pm $15 Club Bonafide 7:30 pm $10 North Square Lounge 12:30, 2 pm
Takenori Nishiuchi Tomi Jazz 9 pm $10 Sharp Tree Trio; Akihiro Yamamoto Trio; Annie Chen Trio Dandy Wellington Mintons 12 pm $10
Rale Micic/Ed Cherry Symphony Space Bar Thalia 9 pm Tomi Jazz 6, 8, 11 pm $10
Dona Carter Trio Cleopatras Needle 8 pm Fuku and Chihiro Trio Cleopatras Needle 8 pm Monday, March 27
Cumbiagra Trio Guadalupe Inn 8 pm $5-10 Joshua Levine Guadalupe Inn 8 pm $5-10
Steve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond Ethan Iverson/Albert Tootie Heath; Theo Hill Womens Jazz FestivalElla, Ella A Centennial Celebration of Mama Jazz!:
Jazz Standard 7:30, 9:30 pm $35 Mezzrow 8, 11 pm $20 Hlne and Clia Faussart Schomburg Center 7 pm $30
Trio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Steve Lehman Slbyone with HPrizm, Gaston Bandimic, Maciek Lasserre, Carlos Homs,
Village Vanguard 8:30, 10:30 pm $30 Smoke 7, 9, 10:30 pm $38 Chris Tordini, Damion Reid Merkin Concert Hall 7:30 pm $25
Roy Hargrove Quintet Blue Note 8, 10:30 pm $35 Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and 7th Annual James Moody Jazz Scholarship Of New Jersey Youth Benefit:
The Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson guest Don Vappie Dizzys Club 7:30, 9:30 pm $45 David Hazeltine, Kenny Barron, Jamie Baum, Randy Brecker, Paquito DRivera,
Birdland 8:30, 11 pm $40 Patrick Bartley Dizzys Club 11:30 pm $20 Roberta Gambarini, Allan Harris, Antonio Hart, Jimmy Heath, Freddie Hendrix,
Jun Miyake Trio Shrine 6 pm Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $3.50 John Lee, Victor Lewis, Adam Nussbaum, Rufus Reid, Ada Rovatti, Terell Stafford
Gilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey Blue Note 8, 10:30 pm $65-100
Saturday, March 25 Cornelia Street Underground 9, 10:30 pm $10
Steve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Mike Stern 55Bar 10 pm
Supersilent: Helge Sten, Arve Henriksen, Stle Storlkken
Wadada Leo Smith/Angelica Sanchez; Angelica Sanchez Trio with Michael Formanek, Jazz Standard 7:30, 9:30 pm $35 Le Poisson Rouge 8 pm $25
Tyshawn Sorey Greenwich House Music School 7:30 pm $25 Dave Stryker Quartet with Jared Gold, McClenty Hunter; Charles Ruggiero Quartet with Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Adam Rudolphs Go: Organic Orchestra: Kaoru Watanabe, Michel Gentile, Ze Luis, Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner; Philip Harper Quintet Manhattan School of Music Jazz Orchestra conducted by Jim McNeely
Sylvain Leroux, Mariano Gil, Avram Fefer, Ivan Barenboim, JD Parran, Smalls 7:30, 10:30 pm 1 am $20 Dizzys Club 7:30, 9:30 pm $35
Sean Sonderegger, Batya Sobel, Graham Haynes, Stephen Haynes, Peter Zummo, Trio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille Edward Perez/Helio Alves Terraza 7 9 pm $10
Julianne Carney, Mark Chung, Sana Nagano, Gwen Laster, Melanie Dyer, Village Vanguard 8:30, 10:30 pm $30 Joe Blaxx Grissett Band Bar Luntico 8:30, 10 pm $10
Stephanie Griffin, Leco Reis, James Hurt, Shakoor Sanders, Kenny Wessel, Roy Hargrove Quintet Blue Note 8, 10:30 pm $35 Dred Scott Mezzrow 8 pm $20
Jerome Harris, Marco Cappelli, Alexis Marcelo, Damon Banks The Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson Manuel Valera Trio with Hans Glawischnig, E.J. Strickland; Jonathan Michel with
Brooklyn Conservatory of Music 8 pm Birdland 8:30, 11 pm $40 Micah Thomas, Julius Rodriguez Smalls 7:30 pm 1 am $20
Bobbi Humphrey Ginnys Supper Club 7:30, 9:30 pm $30 Adam Rudolphs Go: Organic Orchestra Improvising Workshop David Kuhn Trio with Patricia Wichmann, Aaron Caceres; Dana Reedy Trio with
Stephanie Nakasian/Veronica Swift Double Vision with Tardo Hammer Trio Brooklyn Conservatory of Music 1:30 pm $60 Ed Cherry, James Robbins Bar Next Door 6:30, 8:30, 10:30 pm $12
Jazz at Kitano 8, 10 pm $32 Sebastien Ammann; Jessie Bielenberg, Asher Kurtz, Aaron Rourk
Delroys Caf and Wine Bar 9, 10 pm $10
The Jazz Passengers: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware,
Brad Jones, Ben Perowsky, EJ Rodriguez
Nick Finzer Trio with Or Bareket, Allan Mednard
Silvana 6 pm RE G U L AR ENGAGE MENTS
Roulette 8 pm $20 Friday, March 31 M O N D AY
Stanley Clarke/Ron Carter Duo with guest Russell Malone
Blue Note 8, 10:30 pm $45 DIVA Jazz Orchestra Celebrates The Divas with guest Brianna Thomas Richard Clements and guests 11th Street Bar 9 pm
Peter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster Dizzys Club 7:30, 9:30 pm $40 Glenn Crytzer Orchestra Slate 7:30 pm
Village Vanguard 8:30, 10:30 pm $30 Piano Masters: Toshiko Akiyoshi and Barry Harris Vince Giordanos Nighthawks Iguana 8 pm (ALSOTUE)
Eliane Elias Birdland 8:30, 11 pm $40 Flushing Town Hall 8 pm $42 Grove Street Stompers Arthurs Tavern 7 pm
Vincent Herring Quartet and Smoke Jam Session Smoke 7, 9, 10:30 pm
Maurice Browns Electric Ride with Skerik, Chad Selph, Nir Felder, Michael League, Joshua Redman Still Dreaming Quartet with Ron Miles, Scott Colley, Brian Blade
Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
Lee Pearson Jazz Standard 7:30, 9:30 pm $25 The Appel Room 7, 9:30 pm $65-85 Jazz Foundation of American Jam Session Local 802 7 pm
Brubeck Institute Jazz Quintet: Brandon Woody, Isaiah Collier, Jamael Dean, Steven Feifke Dizzys Club 11:30 pm $10 Arthur Kell and Friends Bar Lunatico 8:30 pm
Zane DeBord, Timothy Angulo Dizzys Club 7:30, 9:30 pm $35 Azar Lawrence Quintet with Eddie Henderson, Benito Gonzalez, Essiet Essiet, Roger Lent solo Cavatappo Grill 7 pm
Steven Feifke Dizzys Club 11:30 pm $5 Brandon Lewis Smoke 7, 9, 10:30 pm $38 Renaud Penant Trio Analogue 7:30 pm
Jay DAmico Trio NYC Bahai Center 8, 9:30 pm $15 Lew Tabackin Birthday Bash with Yasushi Nakamura, Mark Taylor and guest Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
Helge Stens Deathprod Issue Project Room 8 pm $15 Joe Magnarelli Jazz at Kitano 8, 10 pm $32 Stan Rubin All-Stars Charley Os 8:30 pm
Diaspora Special Edition: Arturo OFarrill, Peter Apfelbaum, Brad Jones, Billy Martin, Spanish Fly: Steven Bernstein, Marcus Rojas, Dave Tronzo Svetlana and the Delancey 5 The Back Room 8:30 pm
Steven Bernstein The Stone 8:30 pm $20 The Stone 8:30 pm $20 Swingadelic Swing 46 8:30 pm
Andrew Drury, Dan Blake, Ricardo Gallo CubaSenegal: Elio Villafrancas Letters to Mother Africa II with Vincent Herring, Gracie Terzian Bar Hugo 6 pm
Korzo 10:30 pm Bruce Harris, Steve Turre, Ricky Rodriguez, Dion Parson, Miguelito Valdes Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
James Zeller Duo Spasso 7 pm (ALSO SUN)
Streams: Yago Vazquez, Scott Lee, Jeff Hirshfield Aaron Davis Hall 7:30 pm $30
Cornelia Street Underground 8, 9:30 pm $10 Vinnie Sperrazza Quartet with Chris Speed, Bruce Barth, Pete Brendler
Marianne Solivan; Miki Yamanaka/Adi Meyerson Cornelia Street Underground 9, 10:30 pm $10 T U E S D AY
Mezzrow 8, 11 pm $20 Ralph Alessi solo; Alex Koo, Mark Turner, Ralph Alessi Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
Ehud Asherie Trio with Neal Miner, Aaron Kimmel; Steve Nelson Group; Jon Beshay Greenwich House Music School 7:30 pm $18 Ronnie Burrage and The Robu Trio The Five Spot Brooklyn 11 pm $10
Smalls 7:30, 10:30 pm 1 am $20 Graham Haynes Group with Hardedge Joel Forrester solo Stop Time 7 pm
Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop BAMCaf 9 pm George Gee Orchestra Swing 46 8:30 pm
Fat Cat 7, 9 pm 12:30 am Steve Davis Mezzrow 8 pm $20 Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
Dan Hartig Trio with Alex Ball, JC Polo; Kyle Moffatt Trio with Brad Whitely, Joey G-Clef Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson; Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 PM)
Peter Tranmueller Bar Next Door 6:30, 8:30, 10:30 pm $12 George Colligan Quintet with Jimmy Greene, Jon Irabagon, Linda Oh, Jochen Rueckert Loston Harris Caf Carlyle 9:30 pm $20 (ALSO WED-SAT)
Micah Thomas Jazz at Kitano 8 pm Smalls 7:30, 10:30 pm $20 Art Hirahara Trio Arturos 8 pm
Peter Ayres Trio; Andrew Licuta Trio; Tomoko Omura David Weiss Point of Departure Fat Cat 10:30 pm Yuichi Hirakawa Trio Arthurs Tavern 7, 8:30 pm
Dario Chiazzolino Trio with Marco Panascia, Jerome Jennings Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm
Tomi Jazz 8, 9:40, 11 pm $10 Monas Hot Four Jam Session Monas 11 pm
Elise Wood Duo Silvana 6 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Annie Ross The Metropolitan Room 9:30 pm $25
Florian Klinger Group Shrine 6 pm Roberta Piket Quartet with Daniel Carter, Billy Mintz Bill Todd Open Jam Club Bonafide 9 pm $10
Spectrum 9 pm Diego Voglino Jam Session The Fifth Estate 10 pm
Wednesday, March 29 Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9:45 pm $3.50 The Westet Analogue 7:30 pm
Chris Turner and The DropOuts Ginnys Supper Club 7:30, 9:30 pm $20
Stone Commissioning Series: Nicole Mitchell with Fay Victor, Tomeka Reid, Arun Ortiz Kendra Shank Group 55Bar 6, 7:45 pm W E D N E S D AY
National Sawdust 7 pm $34 King Solomon Hicks Mintons 7 pm $10
Bucky Pizzarelli, Ed Laub, Harold Allen, Martin Pizzarelli Julio Botti Trio Tomi Jazz 9 pm $10 Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
The Jazz Gallery 7:30 pm $50 Denton Darien Trio Cleopatras Needle 8 pm Rick Bogart Trio Lybane 9:30 pm (ALSO FRI)
Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen Jacob Varmus Trio Shrine 7 pm Django Big Band and Jam Session The Django 8 pm
Solange Prat Guadalupe Inn 8 pm $5-10 Rob Duguays Low Key Trio Turnmill NYC 11 pm
The Stone 8:30 pm $20 Jeanne Gies with Howard Alden and Friends Joe Gs 6:30 pm
Emilio Sollas Bien Sur! with Chris Cheek, Julien Labro, Jorge Roeder, Ferenc Nemeth Chano Dominguez Flamenco Quintet with Sonia Fernandez, Ismael Fernandez,
Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Smoke 7, 9, 10:30, 11:30 pm
Dizzys Club 7:30, 9:30 pm $35 Alex Cuadrado, Jose Moreno Jazz Standard 7:30, 9:30 pm $30 Martin Kelleys Affinity John Brown Smoke House 5:30 pm
Steven Feifke Dizzys Club 11:30 pm $5 Stanley Clarke/Ron Carter Duo with guest Russell Malone Mark Kross and Louise Rogers WaHi Jazz Jam Le Chile 8 pm
Camille Bertault/Dan Tepfer Duo Jazz Standard 7:30, 9:30 pm $25 Blue Note 8, 10:30 pm $45 Les Kurtz Trio Cleopatras Needle 7 pm
Andrew Rathbun Quartet with Tim Hagans, Matt Pavolka, Tom Rainey Peter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Cornelia Street Underground 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 Ron McClure solo piano McDonalds 12 pm (ALSO SAT)
Plucky Strum: Sheryl Bailey/Harvie S; Tony Hewitt/Pete Malinverni Eliane Elias Birdland 8:30, 11 pm $40 David Ostwalds Louis Armstrong Centennial Band Birdland 5:30 pm $20
Mezzrow 8, 11 pm $20 Jane Ira Blooms Wild Lines with Dawn Clement, Mark Helias, Bobby Previte, Stan Rubin Orchestra Swing 46 8:30 pm
Stafford Hunter Quintet with Todd Bashore, Victor Gould, Luques Curtis, Vince Ector; Deborah Rush The New School Arnhold Hall 2 pm Eve Silber Arthurs Tavern 7 pm
Nol Simon Spaha Soul Restaurant 8 pm (ALSO FRI)
Benny Benack III Group Smalls 7:30, 10:30 pm $20 Donald Smith and Friends Cassandras Jazz and Gallery 8, 10 pm $10
Raphael Dlugoff Trio +1; Ned Goold Jam Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
Fat Cat 7 pm 12:30 am
Tony Middleton Quartet with Roy Dunlap, Kenji Yoshitake, Dwayne Cook Broadnax
Jazz at Kitano 8, 10 pm $17 Paul Jones & Jason Yeager Present: T H U R S D AY
Ricardo Gallo solo Terraza 7 8 pm $15 Marc Carys The Harlem Sessions Ginnys Supper Club 10:30 pm $10
Jean Rohe Rye 9:30 pm Gene Bertoncini Ryans Daughter 8:30, 10:30 pm
Abel Mireles Duo; Dayeon Seok Duo
Tomi Jazz 8, 11 pm $10 CONCERT FOR A CURE Dr. Dwight Dickerson Cassandras Jazz and Gallery 8 pm $5
Harlem Renaissance Orchestra Swing 46 8:30 pm
Carte Blanche Guadalupe Inn 8 pm $5-10 Jazz Jam Session American Legion Post 7:30 pm
Stanley Clarke/Ron Carter Duo with guest Russell Malone A fundraiser for Type 1 Diabetes Research Kazu Trio
Martin Kelleys Affinity
Cleopatras Needle 11:30 pm
Domaine Wine Bar 8:30 pm
Blue Note 8, 10:30 pm $45 Jon Langs First Name Basis Jam Session Symphony Space Bar Thalia 9 pm
Peter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster
Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm
Village Vanguard 8:30, 10:30 pm $30 Curtis Lundy Jam Session Shells Bistro 9 pm
Eliane Elias Birdland 8:30, 11 pm $40 Sol Yaged Grata 8 pm
Bill Stevens, Rich Russo, Gary Fogel
Silvana 6 pm
Eri Yamamoto Trio Arthurs Tavern 7 pm (ALSOFRI-SAT)
SM: Again, its about being under or over the radar. SM: Weve recently formed a partnership with Maria
Among female jazz drummers Terri Lyne Carrington is Schneider and John Clayton and ArtistShare. DIVA (LABEL CONTINUED FROM PAGE 11)
the most notable in the last 30 years, but shes by no turns 25 in 2017. Were commemorating this landmark
means the only one. Unfortunately, the attrition rate with an anniversary project that features original Old and new gems abound. Peggy Lees Love Held
for women drummers is high. Its a topic of concern in compositions by our band members. Its a big Lightly is a stunningly intimate set of rare Harold Arlen
educational circles as to why this is so. One of the undertaking and Im very excited by it. I also have tunes. Sissle and Blake Sing Shuffle Along was released
prime reasons I think is that there are pretty much no opened my own performance arts space in Philadelphia. last year to coincide with the recent updating of the
full-time jobs in the arts. If youre a musician you can show. From Blooms friendship with Jablonski,
only be guaranteed a permanent gig by joining the TNYCJR: Is there a bucket list? biographer of Arlen, Gershwin, etc. came sessions from
military. The lack of guaranteed work has to have an the Walden label of stylish recordings of the songs of
impact on career decision-making. SM: Im always going to play the drums and do what Cole Porter, Rodgers-Hart and Arlen.
I do. Thats not going to change. But I do have a fantasy. A feeling for jazz and a love of classic song clearly
TNYCJR: Should there be more advocacy for women The DIVA band had its first international gig in 1995 at go together. Singer Stacy Sullivan recorded Stranger in
in drumming? the Pori Jazz Festival where we also saw Wynton a Dream in tribute to her performance on the late
Marsalis perform. Its since been my fantasy to have a Marian McPartlands celebrated Piano Jazz radio
SM: For women in drumming and for women in jazz. Battle of the Bands with DIVA and Wynton and the program. She says, The recording process was
The status of women who play jazz is slightly better Jazz at Lincoln Center Orchestra! seamless and my tastes for everything seems to match
now than it has been, but theres more to be done. For theirs perfectly! Pianist/vocalist Eric Comstocks
example in 2013 the Kennedy Center renamed the TNYCJR: If a musician can master the demands of debut recording, Young Man of Manhattan, was made in
Mary Lou Williams Women in Jazz Festival [started by playing jazz, what rewards might he or she expect? 1997 and hes since made two more, including the very
Dr. Billy Taylor in 1996] to the Mary Lou Williams Jazz special No One Knows, which takes him from being
Festival. They said the emphasis on women was too SM: For any musician, jazz is a great way to express considered a cabaret singer (I hate that word, he
limiting. They also said the designation for women emotion. The music allows you to tap into your own says) to an accomplished pianist and singer. Comstock
was unnecessary because women had made such self-expression, to the most creative part of your own muses, Its clear that Harbinger is about digging for
a success in the jazz world they didnt need it anymore. soul, and then make it a shared expression. All music songs and writers from our past, but its also greatly
That was a step back. We also still have the clothes and has the power to move people, but theres an extra about looking for new voices to carry the tradition
hair syndrome to deal with. What we wear or how our layer in that power with jazz, because to hear a jazz forward. Harbinger continues to find talented
hair is fixed has nothing to do with the music. Its piece played is a once-in-a-lifetime experience. Jazz is vocalists. Barbara Fasano (performing partner and
a double standard. I applaud Wynton Marsalis, whos in the moment. What youre hearing now youll never wife to Comstock) offers Busy Being Free, with
now conducting blind auditions. Thats what its hear again. Jazz is never the same twice. The freedom arrangements and smart piano from John di Martino
about, the music first, what you are hearing, not what to improvise within the piece guarantees that. So, and sensitive cornet playing by Warren Vach. Fasano
youre seeing. unlike a symphonic piece, for example, where the said, I think the guys are playing their hearts out.
notes are pretty much played the same way all the So the tradition does indeed go forward. Rudman
TNYCJR: Since youre working with women time, jazz makes room for constant evolution. This and Bloom agree. We do this for the love of the
exclusively in the DIVA Jazz Orchestra, what do you capacity for jazz to allow the players to express musichow important and necessary it is to the story
look for in a musician? themselves and combine with other players in a shared of America, says Rudman. And Bloom adds, At the
experience happens on two levels. It happens among end of the day, its about relationships. We form bonds
SM: DIVA offers an opportunity for a work experience themselves and with the audience and that has the with the musicians and with the music. v
that women musicians might not otherwise have. Of potential to be nothing less than transformative. v
course we first look for technique and talent, of mastery For more information, visit harbingerrecords.com. Artists
of the instrument. But its also necessary for our For more information, visit divajazz.com. DIVA Jazz Orchestra performing this month include Eric Comstock and Barbara Fasano
musicians to be wide open to every experience. We is at Dizzys Club Mar. 31st-Apr. 2nd. See Calendar. at Neue Galerie Mar. 16th and Birdland Mar. 19th. See Calendar.
AVA I L A B L E O N A P R I L 2 1 , 2 0 17
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