MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.

COM

DAVE
BURRELL
WINDWARD
PASSENGER

PHEEROAN NICKI DOM HASAAN

ak LAFF PARROTT SALVADOR IBN ALI
 Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
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Interview : PHEEROAN aklaff 6 by anders griffen
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ahenkin@nycjazzrecord.com Artist Feature : nicki parrott 7 by jim motavalli
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Staff Writers
obituaries 12 by andrey henkin
David R. Adler, Clifford Allen,
Duck Baker, Stuart Broomer,
Robert Bush, Thomas Conrad,
FESTIVAL REPORT 13
Ken Dryden, Donald Elfman,
Phil Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 14
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Matthew Kassel,
Mark Keresman, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Miscellany 43
Russ Musto, John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Andrew Vélez, Scott Yanow
Event Calendar 44
Contributing Writers
Kevin Canfield, Marco Cangiano,
Pierre Crépon George Grella,
Laurel Gross, Jim Motavalli,
Greg Packham, Eric Wendell
Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. This is useful
Eirik Ryvoll Åsheim, Peter Gannushkin, for saving space but really undercuts the role of these musicians, particularly in small group
Alan Nahigian, Maurice D. Robertson, situations. And it hardly speaks to the individuality of the various members in said rhythm
Keiko Shiga, Margaret Storer, sections over the decades. To right this wrong just a little, our big three features this month
Robert I. Sutherland-Cohen, would certainly make a fascinating example of the species, yet are here in featured roles.
Adrien H. Tillmann, Jack Vartoogian,
Brian Wittman
We start with pianist Dave Burrell (On The Cover), a key contributor to the New Thing and
Fact-checker its subsequent developments since the ‘60s. He is the very deserving recipient of this month’s
Nate Dorward Vision Festival’s annual celebration evening dedicated to a living musician. We follow—out
of order—with drummer Pheeroan akLaff (Interview), an important collaborator with players
like Wadada Leo Smith, Oliver Lake, Henry Threadgill and the recently departed Cecil Taylor,
to name but a few. He can be heard this month at Issue Project Room, Rubin Museum and The
Stone at The New School. And, finally, from a totally different world (and side of the planet),
is bassist Nicki Parrott (Artist Feature), who has played with legends like Dick Hyman, Clark
nycjazzrecord.com Terry, Joe Wilder and Les Paul but steps out front this month for two nights at Birdland.

On The Cover: Dave Burrell (photo by Alan Nahigian)

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

2 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

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

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BRIAN CHARETTE FT GEORGE COLEMAN MAY 21

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 NEW YORK @ NIGHT
Short in stature, Camille Thurman is nevertheless tall The
in talent. The vocalist/reedplayer debuted new
material at Greenwich House Music School (Apr. 5th)
in a set entitled “Because of Them, We Are”, her
musical response to feedback received about an article
written last December for the local musicians’ union
paper candidly detailing her experiences with sexism
and sexual discrimination in high school, college and
the professional world. Her songs—“Internalized Self-
Doubt”, “Invisible”, “Because of Them, We Are”,
“Inner Peace”, “Beyond Belief”, “Silence Is No Longer
the Status Quo”—all embodied (either in lyric content
or in Thurman’s prefatory remarks) the spirit of
determination and resilience she brings to her art. Of
course, once the music got going, it was hard to keep
one’s mind on social politics, as the hard-swinging
quintet (Thurman on vocals and tenor saxophone,
pianist David Bryant, vibraphonist Nikara Warren,
bassist Dezron Douglas and drummer Eric McPherson)
quickly converted harsh realities into expressions of
healing. Thurman and Bryant were principal soloists
(though Warren shone in a few spots): the leader ’s
pliable voice navigating intricate melodic contours
with aplomb, her horn spinning out relaxed but
cohesive lines laced with ingenuous ornamentations;
Bryant playing in a similar though more incessant and
iterative vein. McPherson, seamlessly integrating
himself into the mix, was paradoxically powerful in his
tasteful restraint. —Tom Greenland
Peter Gannushkin/DOWNTOWNMUSIC.NET
Adrien H. Tillmann - www.aht1985.com
Camille Thurman @ Greenwich House Music School
Despite the slowly increasing presence of women,
jazz remains, as one panelist put it, a “skewed
landscape”. The occasion: a discussion (Apr. 4th) at
New School’s Arnhold Hall on the gendering of jazz,
just prior to a concert by Monika Herzig. After each
artist had weighed in on issues faced working in a
male-dominated arena, the international band—
Germans Herzig (piano) and Leni Stern (guitar),
American Jamie Baum (flute), Israeli Reut Regev
(trombone), Brazilian Amanda Ruzza (electric bass),
Mexican Karina Colis (drums), plus guest Canadian
Ingrid Jensen (trumpet)—took to the stage to play
material from their upcoming (second) release, Sheroes.
First was Herzig’s jazz-rock arrangement of “Ain’t No
Mountain High Enough”, warming into Stern’s
“Bubbles” in 6/8, with solos all around and traded
phrases. Herzig’s “Nancy Wilson Portrait” and “The
Whole World in Her Hands”, a 5/4 blues, featured
sterling Jensen solos, the first building from a
flugelhorn-like timbre into higher range, the second a
textbook of dynamic variety, replete with pinched/
squeezed pitches. Regev, relatively reserved until then,
revved up the emotional energy with her Middle-
Eastern-flavored “I Am A Superstar”, with a fine turn
by Baum. The finale linked Herzig’s energetic “Make It
Count” to Stern’s “Hide and Seek”, based on a
Senegalese children’s song, ending when the teenaged
female musicians in the audience joined the sheroes
onstage for a sing-along. (TG)
4 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
last time this reporter saw British saxophonist
Evan Parker duo with a drummer, it was the notorious
show at The Stone, cut off by the fire department for
massive overcrowding. It was a tragedy (though
avoiding another one) as the assembled were eager for
this meeting of peers of free improvisation. Nearly a
decade later, Parker was back in tow with another
drummer (Apr. 2nd) but the circumstances were
radically different. First off, the club is now in the
spacious (and replete with fire exits) confines of The
New School’s Glass Box Theater. And the drummer was
Dan Weiss, over 30 years Parker’s junior, though not
without his own growing reputation. Parker began the
evening with a 17-minute solo soprano saxophone
soliloquy, moving helically through overtones,
electronic-sounding chirps and shredded brays, his
face as red as the curtain behind him. Weiss followed
this with 10 minutes of rotational drumming, echoing
what Parker had just wrought. Then the pair met and,
sadly, failed to gel across 23 minutes as it seemed Weiss
was loathe to do more than react to Parker’s lines or
stay silent. Things could have stopped there, a missed
opportunity, but Parker, improvising for more than
two-thirds of his life, believes in the process too much
to give up so easily. Fortuitously, as a second duo
improvisation started, Weiss realized a floorboard
beneath him creaked and he incorporated this into a
more fully engaged statement. By the final seven-
minute piece, they were on fire. —Andrey Henkin
Evan Parker & Dan Weiss @ The Stone at The New School
J ust before saxophonist/clarinetist Ned Rothenberg
and Evan Parker were to begin their performance at
Zürcher Gallery (Apr. 5th), the news spread through
the room: pianist Cecil Taylor had just passed away.
Thus what was supposed to be a joyous affair (Parker
was celebrating his 74th birthday) became a reflective
one. Prior to playing, Parker recalled the first time he
had seen the pianist: 1962, a quarter of a mile down
Bleecker at The Take 3, visiting New York because his
father worked for the airlines and the young Parker
could fly for free. Reminiscing done, Parker and
Rothenberg dedicated the evening to Taylor, without
whom the whole notion of the avant garde would be
radically altered. The pair are partners going back over
20 years and thus the challenge, as Parker once
explained to this reporter, is how to encourage one
another to do something different. Whatever the
internal deliberations, to which we as audience
members are not privy, the results were astonishing.
There was no hesitation, not a wisp of hierarchy, nary
a moment where true and verdant communication was
not taking place. Both men played solo pieces, Parker
continuing the solo soprano statement he began over
40 years ago, Rothenberg going the opposite route with
a didgeridoo-like exposition on bass clarinet. And
though there were clarinet/tenor and tenor/alto
dialogues, it was when soprano and bass clarinet met
for 13 minutes that we were transported upwards, our
spirits mingling with those recently departed. (AH)

The vision of drummer William Hooker artfully
extended beyond Roulette’s fourth wall (Apr. 5th),
conjuring jazz’ socio-political foundation. With the
multimedia piece “The Great Migration”, he traced the
northward path of African Americans and, through
pre-recorded interviews, the lives of elders Nannie
Lampkin and Alton Brooks, both present in the
audience. The stories were intertwined with powerful
music, mostly live but also via early recordings of
spirituals and a haunting chain-gang song. Hooker ’s
band of Ras Moshe (tenor saxophone), Eriq Robinson
(electronics), Mara Rosenbloom (piano), William
Parker (bass), David Soldier (violin, banjo) and Ava
Mendoza (guitar) shook the house with searing
improvisations, painting an aural manifesto of the
Black experience. Moshe played with compelling
passion, Mendoza’s features were gripping and
Robinson’s electronics tore up the soundscape. The
leader ’s melodies guided the action, particularly a
blues hook prominent in the bass, often varied fluidly
by the others. The music, emotively directed by
Hooker, recalled the rural south sans any trace of
parody (Soldier ’s fiddle was exceptional but his banjo
needed stronger amplification) while other sections
were ethereal and expansive. Dancer Goussy Celestin’s
majestic segments flanked the production and she,
Jeremy Grosvenor and Hooker also acted as narrators.
So vital is this epic work, right now, that a lack of
future productions would be criminal. —John Pietaro
R.I. Sutherland-Cohen / jazzexpressions.org
© 2018 Jack Vartoogian/FrontRowPhotos
William Hooker @ Roulette
The faux old world décor of Bar Lunàtico encircled
Marc Ribot judiciously (Apr 3rd). Under a corroded
tin ceiling, the club’s shadowy lighting fed into the
noir imagery that no-wavers and other creatures of the
night have always eaten up. Clearly, such affectations
aren’t limited by generational bounds: the
20-somethings in black berets and leather weren’t born
when the guitarist pioneered new sounds downtown,
but at Lunàtico Ribot and his searing new quartet were
greeted by a cheering capacity house. Saxophonist Jay
Rodriguez emoted as if on a mountain top while young
bassist Nick Dunston laid throbbing runs around him
and drummer Nasheet Waits evoked a sudden storm
over toms. The guitarist leaned into his microphone to
unleash radical lyrics on this socially conscious crowd,
offering new visions of the material from his Songs of
Resistance project. Adaptations of the Carter Family’s
“When the World’s on Fire” and the Civil Rights
anthem “We are Soldiers in the Army” were stand-
outs, but no more than Pete Seeger ’s “Waist Deep in
the Big Muddy”, its refrain of “the big fool said to push
on” now a marked affront to the current president.
Lost in the fog of free improv, Ribot played with
frenetic blueness, up-picking spiky motifs of a uniquely
urban sort. By the final piece, Latin rhythms and an
explosive montuno section pumped the audience to
exhaustion. As the final groove burst forward, Bar
Lunàtico’s inhabitants were lost to another time and
place, all the better for the journey. (JP)
In a career spanning over 40 years as a bandleader,
guitarist John Scofield has expertly melded elements
of country, rock and soul music into his writing and
playing, expanding without diluting the jazz lexicon of
his instrument. At Blue Note (Apr. 5th) he continued
along this path with his new band Combo 66
(the number marking the age he celebrated on his
birthday last December). The quartet with pianist
Gerald Clayton, bassist Vicente Archer and drummer
Bill Stewart got things started with the leader ’s “Ring
Out”, one of the set’s seven new songs written for an
upcoming record date. Opening the piece alone with
lightly strummed chords, Scofield’s distinctive sound
was soon on full display, his thick-toned notes ‘ringing
out’ as the rhythm section joined in, Clayton soloing
next, followed by Archer while Stewart propelled each
improvisation with sprawling Elvin Jones-esque
accompaniment. The band charged straightahead on
“Icons At Fair”, an uptempo romp on which Scofield
and Clayton traded fours with Stewart. Clayton moved
over to organ for “New Waltzo”, a rollicking Meters-
flavored number, staying with it for “Can’t Dance“, an
appealingly lyrical piece culminating in a climactic
drum solo. Scofield dug into his country roots on a pair
of waltzes, “Uncle Southern” and “Willa Jean“ (the
latter dedicated to his granddaughter), then dove full
out into the genre on Shania Twain’s pretty “You’re
Still The One“, before closing out swinging wildly on
his “Wide Awaken“. —Russ Musto
John Scofield @ Blue Note
Celebrating the musical legacy of Thelonious Monk
with a concert billed Crescent City Monk in The Appel
Room (Apr. 7th), drummer Herlin Riley brought the
rhythmic flavor of his native New Orleans to a festive
program exploring the repertoire of the iconic pianist.
One of the premier showmen in jazz today, Riley began
by dancing on to the stage playing tambourine and
chanting poetically of the honoree, as fellow Wynton
Marsalis Quintet alumni saxophonist Todd Williams,
pianist Eric Lewis and bassist Reginald Veal, along
with vibraphonist Joel Ross and conguero Pedrito
Martinez, played “Green Chimneys“. This segued into
a brightly swinging version of “Thelonious“ as Riley
took his seat behind the drums to drive the ensemble.
Williams’ solo tenor introduced the quartet’s intensely
bebopping “Epistrophy“, after which Riley brought
out vocalist Melanie Charles, pianist Isaiah Thompson
and Ross for ”Brilliant Corners” and “’Round
Midnight”, Charles singing the first chorus of the latter
in Haitian Creole. Martinez was featured with Williams
on AfroCuban readings of “Evidence“ and “Bye Ya“,
with pianist Ellis Marsalis and Lewis offering solo
renderings of “Crepuscule With Nellie“ and “Blue
Monk“ in between as Riley’s bass drum was replaced.
The revolving cast of pianists Marsalis, Thompson and
Lewis and Thompson again were heard respectively on
versions of “Teo“, “Rhythm-a-ning“, “Trinkle Tinkle“
and “Criss Cross“, then took turns as everybody joined
in for closer “Straight No Chaser“. (RM)
THE NEW YORK CITY JAZZ RECORD | MAY 2018
W H AT ’ S N E W S
Pianist/vocalist/activist Nina Simone was among the most recent
inductees into the Rock & Roll Hall of Fame.
Recipients of the Guggenheim Fellowship Awards have been
named. In the category of Music Composition, relevant winners are
saxophonists Felipe Salles and Anna Webber. For more information,
visit gf.org.
The Roxy Hotel, home of the jazz club The Django, has been gifted
a portrait of saxophonist Dexter Gordon (shot by Herman Leonard in
1948 at The Royal Roost) by the Morrison Hotel Gallery for
permanent display in its front lobby. The latter company, with
showrooms in New York, West Hollywood, CA and Lahaina, Hawaii,
is the world’s leading brand in fine art music photography,
representing over 125 of the world’s finest music photographers and
their archives. For more information, visit morrisonhotelgallery.com
and roxyhotelnyc.com.
Two clubs presenting jazz, though in different boroughs and
economic strata, closed within a day of each other last month. Times
Square’s B.B. King’s Blues Bar and Bushwick’s Silent Barn both
became the latest victims of unsustainable rent increases.
The Jazz Journalists Association 2018 Jazz Heroes have been
named. Among the 20 recipients of the designation is New York City’s
own Bruce Gallanter, proprietor of Downtown Music Gallery. For more
information, visit jjajazzawards.org/p/2018-jazz-heroes.html.
As part of Tribeca Performing Arts Center’s Scene Through the
Cinema Lens series, a retrospective of “The Best Jazz in the
Movies” will take place May 8th at 7:30 pm, featuring on-screen
appearances by Benny Goodman, Duke Ellington and more. For
more information, visit tribecapac.org.
The building that formerly housed legendary Harlem club St. Nick’s
Pub was the site of a fire during the filming of an adaptation of
Jonathan Lethem’s novel Motherless Brooklyn, leading to the death
of a New York City firefighter.
Impresario and Newport Jazz Festival founder George Wein has
donated The Jazz and Blues ArtBox to the Schomburg Center for
Research in Black Culture. The ArtBox is a limited edition cabinet
designed by USM, the Swiss furniture manufacturer, and contains
230 DVDs spanning nearly two decades of the International Jazz
Festival Bern in Switzerland; more than 400 hours of live
performances between 1983-2002; 96 exclusive interviews, filmed
as part of the original Swiss Television broadcasts of the Bern
Festival; and 20 year books (one for each year in the collection) with
photos, set lists, and line-ups for each concert.
The Harlem School of the Arts, in partnership with Manhattan School
of Music and Harlem Stage, will present Jazzland: In Concert, a
musical inspired by Alice in Wonderland, written by Tamara Tunie
and Charles Leipart, with music by Eric Reed. Performances will take
place at HSA Theater, May 11th-13th and 18th-20th. For more
information, visit hsa-jazzland.brownpapertickets.com.
There will be a book release event for Eve Zanni’s Jazz Superheroes
series, biographies of Billie Holiday and Lester Young written
specifically for young people, at Westbeth Artists Complex on May
4th at 7 pm. For more information, visit westbeth.org.
The Brooklyn Jazz Hall of Fame Awards Induction Ceremony will
take place May 9th at Bedford Stuyvesant Restoration Corporation’s
Billie Holiday Theatre. Irving Sidney “Duke” will be inducted into the
hall, Dorthaan Kirk will receive the Jazz Impact Award and pianist
Andre “Chez” Lewis will receive the Deacon LeRoy Applin Young
Lion Award. Performing at the ceremony will be the Louis Hayes
Quartet. For more information, visit cbjcjazz.org.
Trumpeter Franco Ambrosetti has been named winner of the 12th
Annual Swiss Jazz Award, as awarded by Radio Swiss Jazz in
partnership with JazzAscona. For more information, visit jazzascona.
ch. Pianist Kaja Draksler has been named winner of the Paul Acket
Award ‘Artist Deserving Wider Recognition’, as given by the North
Sea Jazz Festival. For more information, visit northseajazz.com.
The Jazz Education Network (JEN) JAZZ2U has received a
$20,000 grant from The Herb Alpert Foundation. Eligible JEN
members can apply for a $300 or $500 grant to assist in funding an
event at schools and other institutions. For more information, visit
jazzednet.org.
2018 marks the inaugural year of Carnegie Hall’s NYO Jazz program
led by trumpeter Sean Jones. Participants in the four-week intensive
summer program are Anna Abondolo, Jett Lim, Evan Mickas, Chris
Ferrari, Ethan Bailey-Gould, Summer Camargo, Eric Gonzalez,
Cyrus Mackey, Kevin Oliver, Jr., Janelle Finton, Seth Finch, Nick
Kepron, Nico Wohl, Wyatt Forhan, Cole Palensky, Domo Branch,
Matt Clarke, Guillermo Lopez, Brooke Wyatt, Geoff Gallante, Andrew
Sumabat and August Braatz. For more information, visit carnegiehall.
org/Education/Young-Musicians/NYO-Jazz.
Submit news to info@nycjazzrecord.com
5
 I NTERVIEW
Keiko Shiga / photo courtesy of the artist
Drummer/composer Pheeroan akLaff was born Paul Maddox
in Detroit in 1955. Before moving to New York in the ‘70s he
lived briefly in New Haven, where he established lasting
relationships and received the name Pheeroan akLaff. He has
led his own ensembles and worked with Cecil Taylor, Andrew
Hill, Wadada Leo Smith, Amina Claudine Myers, Geri Allen,
Oliver Lake, Anthony Braxton, Henry Threadgill, Reggie
Workman, Sonny Sharrock and many others. For over 20
years he has been teaching privately at Wesleyan University.
In 2006 he co-founded Seed Artists through which he has
mentored youth and produced musical events focused on
building community and engagement with the arts.
The New York City Jazz Record: Tell us about those
seminal years in New Haven. I’ve heard you say that
there was “magic in the air” and “a 1970s feel that
cannot be described when it came to a reverence in
music.” Will you elucidate?
Pheeroan akLaff: The ethos of Alice and John Coltrane
had permeated the drive of many musicians in the
liberating African-American cultural milieu.
Meditation was the new turn-on, abstract expression
was the new tune-in and dropping out became lifting
off. I experienced Santana, John McLaughlin and
Khalid Yasin [né Larry Young] with Billy Cobham;
Sun Ra Arkestra with drummer Francisco Ali Mora;
Horace Silver converting to macrobiotic eating; Strata
East: Stanley Cowell and friends and Strata West:
Kenny Cox and Friends; Yusef Lateef introducing
world music compositions. These experiences made
me want to get involved with ensembles that expressed
a holistic approach to music. Many creative people
acted upon the collective conscience in their search for
meaning and their desire to change mindsets and
paradigms. In 1975 I decided to go to New Haven with
my friend Dwight Andrews and start a band. I wanted
to meet Rashied Ali and possibly play music in New
York. Because Dwight was working in the African
American Studies department at Yale I managed to
meet Professor Robert Farris Thompson and audit his
African Art class. Department founder Charles T. Davis
[pianist Anthony Davis’ father] was a conduit for
several great minds there and an encouraging father
figure to many young musicians. Professor Thompson,
John Blassingame, Henry Louis Gates, Irene Jackson-
Brown, Toni Nathaniel Harp, George Edwards of the
Black Panther Party and many people who had either
studied at Yale or experienced the trial of Bobby Seale
were influencing the vibe of how our band made
music. Some of the best friends and music associates
that I still have today were there: Wadada Leo Smith,
Mark Helias, Ed Cherry, Bobby Naughton, Mixashawn
and Rick Rozie, Mario Pavone, Jane Ira Bloom, David
Lopato, Joe Celli, Jarawa Brian Gray, Jay Hoggard, Nat
Adderley, Jr. and many that I am probably forgetting to
mention. At the time, DejaVu was more than a cool
name for a band. It was a family of people with shared
principles. It happened at a time when myth and
6 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
PHEEROAN
music and cognition with Dr. Psyche Loui, professor of
Psychology and Neuroscience at Wesleyan. Creativity
and improvisation figure highly in my view of
cultivating a healthy spirit. I am interested in restoring
emotional qualities that connect music to health.
akLAFF
TNYCJR: What are your views on health and how are
these incorporated into your music and your teaching?
PA: I swim and eat healthy food and encourage
students to do so. I focus on a student’s gait and help
them develop a command of their aura. I don’t always
tell them what I am doing.
(CONTINUED ON PAGE 50)
by anders griffen Music Now!
At the BrooklyN coMMoNs
science became tenable complements to music for me.
thursDAy, MAy 31st, 2018 $15
TNYCJR: Tell us about Brother Ad and Sister Akua, 7pM: rAMsey AMeeN-VioliN / Joel FreeDMAN-cello
perhaps how you came to change your name and what hill GreeNe-BAss / rAs Moshe BurNett-teNor sAx
influence they continue to have on your life and music? chArles DowNs-DruMs
8pM: DANiel cArter-reeDs
PA: Ad Theotis Holland, Yale Divinity School circa rAs Moshe BurNett-soprANo sAx & Flute
1972, Egyptologist, and Akua Audrey Ficklin, Unity DAViD First-GuitAr, electroNics
minister and Astrologer. Both were clairvoyant and DAVe solDier-VioliN / DAVe Miller-DruMs
sort of adopted me and gave me a moniker. It stuck. 9pM: DANiel cArter-reeDs / Joe riGBy-reeDs
They could see that I was directionless with good MAtt lAVelle-truMpet, BAss clAriNet
intentions, with the potential to become significant or MArk heNNeN-piANo / lArry rolAND-BAss
to explode. They were friends with Charles Stepney, chArles DowNs-DruMs
Verdine and Maurice White and others with spiritual rAs Moshe BurNett-teNor & Alto sAx
intent in their music and they hoped the best for me.
Much of my career life was predicted by them. the BrooklyN coMMoNs
388 AtlANtic AVeNue (BetweeN hoyt AND BoND)
B, M, Q, r, 2, 3, 4, 5 trAiNs to AtlANtic / thecoMMoNsBrooklyN.orG
TNYCJR: What is your ongoing study of or approach
to philosophy and/or spirituality?
PA: I study humans through their patterns of mistakes
and discussions of miracles, but I also study their
destruction and the building of walls with their ideas.
There are more pleasant studies like poetry. Philosophy
has been more infused in my life from an Eastern
perspective. A synthesis of Zen and reducing
experience to its purest form. Several processes inform
my spiritual meditation. Ethics and Aesthetics are
increasingly more important than Logic and Reason.
TNYCJR: What is prayer? Or, how do you pray?
PA: My doctor was asked by one of his assistants “Why
do you pray for your patients?” When greeted by
someone from India, they may briefly put their hands
in a praying position while approaching you. You
might notice a person in Japan sharply dip their head
when entering a space occupied by others. Those in
touch with courtesies of Islam or African continental
reverent gestures may touch their heart when greeting
or saying goodbye. These are just a few acts of human
motion toward recognizing the divine in our midst and
it is prayer. If we see God in every molecule and
especially in the obstructions the human form presents,
we develop the sensitivity to modify our space. That is
prayer for me. I believe in prayer for healing. I also
pray for healing of all sorts when I play music.
TNYCJR: Your Wesleyan faculty page mentions,
among other things, “physiological attunement”. What
does this mean and how is it fostered?
PA: I encourage music to be developed as active
meditation with welcoming confidence, receptivity
and concentration. When students are out of shape,
physically and otherwise, playing drums can promote
humor, joy and remission of lethargy. My protocols
borrow from many kinesthetic maintenance techniques.
I have also recently enjoyed exploring creativity in
 ARTIST FE ATURE
© 2017 Brian wittman/bwittman.com
“Can you call me back in 10 minutes?” said Nicki
Parrott, the bassist and vocalist. “We’re having a
teachers’ meeting.” The teachers in question, including
Bria Skonberg and Catherine Russell along with
Parrott, were taking part in the New York Hot Jazz
Camp, held at the Greenwich House Music School.
“It’s for adult musicians,” Parrott said, “and you
can hear improvement from day one—they’re playing
all day long. It ends with a concert. Right now there’s a
bit of cacophony, because people are practicing in 15
rooms simultaneously.”
Parrott caught the jazz bug early. The first record
the Australian bought was Jazz at Massey Hall, the
famous document of the night in 1953 of Dizzy
Gillespie, Charlie Parker, Bud Powell, Charles Mingus
and Max Roach together in Toronto. She was 13 and,
with a little help, had already fully embraced jazz.
“The catalyst was my musician sister, Lisa, who
was coming home with tapes from friends. Lisa plays
alto and baritone sax, and we formed a jazz group,
Blues for 5, together in Australia.” Nicki and Lisa (who
now lives in Brooklyn) have a co-led album, Awabakal
Suite, (Monkey Pants, 2001) and Lisa has appeared on
nine of her sister ’s albums since 2008.
Parrott started on piano at age four, switched to
flute and then double bass (at age 15). She majored in
jazz at the New South Wales Conservatorium in Sydney
and began playing around town with people like Dale
Barlow, Paul Grabowsky, Bernie McGann and Mike
Nock, the New Zealand-born pianist in the pioneering
fusion band The Fourth Way.
By the time she was 16, Parrott was winning
awards in Australia, and one of them (1994 Young
Achievers Award from the Arts Council of Australia)
came with the funds to travel to New York for study
with one of her bass heroes, Rufus Reid.
Since New York is the Mount Olympus for jazz,
Parrott came and never left. After a few more lessons,
with Ray Brown and John Clayton, she joined the city
scene as a freelancing musician and still works that
way. For groups looking for a great bass player, the fact
that she sings too is a nice bonus.
As a bassist and singer, she’s shared bandstands
with such legends as Michel Legrand, Joe Wilder,
Randy Brecker, Harry Allen, Clark Terry, Dick Hyman,
Scott Hamilton, José Feliciano, Bucky Pizzarelli (and
his son John), as well as Ken Peplowski and Ann
Hampton Callaway. She’s also worked on a few
Broadway plays, including Avenue Q and You’re a Good
Man, Charlie Brown.
If all the gigging was an education, then graduate
school happened in 2000. Parrott was playing around
town in a short-lived group with guitarists David
Spinozza and John Tropea. “After a show one night,
they said, ‘Let’s go down and sit in with Les.’” Les was
Les Paul, the famous pioneer of the solid-body electric
guitar and multi-track recording, as well as an
enormously successful recording artist with his wife
Mary Ford. By then 85 years old, Paul played every
NICKI
For more information, visit nickiparrott.com. Parrott is at
Birdland May 22nd-23rd. See Calendar.
Recommended Listening:
• Fiveplay—On The Brink (Arbors, 1998)
• Deborah Weisz Trio—Trio
PARROTT
(Va Wah Music, 2004-5)
• Nicki Parrott/Rossano Sportiello—
People Will Say We’re In Love (Arbors, 2006)
• Randy Sandke—Unconventional Wisdom
(Arbors, 2008)
• Nicki Parrott/Ken Peplowski—Like A Lover
(Venus, 2010)
• Nicki Parrott—Dear Blossom (Arbors, 2016)
by jim motavalli John Fedchock Quartet
Thursday, May 10
Monday night at Iridium and guitarists from all over 8 & 10 PM
the world (Keith Richards, Slash, Paul McCartney,
Steve Miller) dropped in to pay homage. At the end of Jazz at Kitano
that first gig, Parrott quoted Paul as saying, “You guys 66 Park Avenue
can leave, but leave the girl up here.” New York, NY
“He’d worked so long with Mary Ford, I guess he 212-885-7119
liked having a woman on stage with him, singing and
playing,” Parrott said. She played and sang (mostly
standards) with Paul until he died at age 94 in 2009.
“Les just loved to play, whether it was blues or a rock
jam,” said Parrott. “He was also endlessly curious
about how things worked and he had tenacity. He kept
working on that guitar until Gibson finally told him he
had something.”
Parrott would be a fine musician even if she didn’t
have bass playing to fall back on. She’s a wonderful, "a superior jazz trombonist"
expressive singer, with scat and the Great American
Songbook in her arsenal. She counts Billie Holiday,
Peggy Lee, Shirley Horn, Ella Fitzgerald and Blossom
Dearie as influences, along with Brazilian singers Rosa
Passos and Elis Regina. It’s not all women, though.
“I’m a huge Sinatra fan,” she adds.
Parrott is very well known in Japan and has
recorded no less than 16 albums, in all kinds of settings,
for the Japan-only Venus label. It would be great if
these recordings were available in U.S. stores, but they
can be ordered on Parrott’s website. If awards float
your boat, Parrott’s definitely won them, including
two Swing Journal “Best Jazz Vocal Album” honors, for
Moon River (2007) and Fly Me to the Moon (2008). The
2012 Black Coffee album on Venus snared a “Gold Disc”
prize. Her discography includes an album arranged by
Arif Mardin, a duet with singer Becky Kilgore, and a
tribute to influence Blossom Dearie. In the summer,
she’s often found at festivals—in Europe and the U.S.
Parrott’s American label is Arbors, for which she’s
recorded several albums, most with Italian pianist
Rossano Sportiello. “He’s the best at playing stride,”
she said. “He plays classical music, too, and is very
popular in Europe.”
To give an idea of Parrott’s range as a musician,
her 2016 Venus recording Yesterday Once More: The
Carpenters Song Book is certainly not standards, but she
plays them that way with a jazz group—and it works.
“It was really fun,” Parrott said. “Karen Carpenter had
a similar range to me, so I didn’t have to change keys.
I think it came out nice.” Listeners will agree, if they
can find the album.
Jazz education made Parrott who she is, and she’s
paying it back, through programs like Women in Jazz,
the WBGO/New Jersey Performing Arts Center Jazz
for Teens program and the Litchfield Jazz Camp.
Parrott now lives in Connecticut and likes the
greenery, but when she’s not abroad she’s in New York
often for teaching and gigging. Her latest recording
project, for Arbors, will be an album called From New
York to Paris, with songs about both. Saxophonist Harry
Allen is likely to be on it, as will pianist John Di
Martino and maybe some surprise guests. v
THE NEW YORK CITY JAZZ RECORD | MAY 2018 7
 ON THE COVER
dave burrell
WINDWARD PASSENGER
by john sharpe
Many musicians tread the porous border between
inside and outside, tradition and freedom, the
composed and the improvised, but few make such
extensive incursions into either side as pianist Dave
Burrell. Burrell, 77, was born in Ohio and lived there
and in Harlem until his parents moved to Hawaii when
he was six. After graduating from Berklee College of
Music, he became one of the leading pianists associated
with the ‘60s New Thing. Since then he’s enjoyed
enduring relationships with Archie Shepp, David
Murray and William Parker. When I spoke to Burrell he
was busy preparing for the opening evening of the
annual Vision Festival, which will be a celebration of
his work, showcasing three different outfits reflecting
some, but by no means all, of his artistry.
Perhaps the most eye-catching lineup is a reunion
with Shepp. Burrell worked with the saxophonist for
almost a decade from the mid ‘60s, joining him on a
seminal trip to the Pan-African Festival in Algiers,
where they played to huge crowds and rubbed
shoulders with musicians from across the continent. He
then subsequently appeared on a host of classic albums
including Blasé and Attica Blues. “At that particular
time in the mid ‘60s I had started off with the groups of
Pharoah Sanders and Grachan Moncur III and Archie
knew who I was, but he wasn’t using a piano... We had
several tours in the United States prior to the overseas
trip. We were in the prison system in the U.S., Attica
and several other prisons, and we performed at black
student unions and universities that had Black
Awareness Week and other kinds of programs for black
and Latino students. But when he had the opportunity
for the State Department trip, all of his collaborators
were happy to go over.” Looking forward to the Vision
set Burrell explains: “Shepp and I will revisit some of
my compositions from past recordings, ‘Crucificado’
and ‘Margy Pargy’, in addition to my composition
‘Black Robert’. The last time we played together was at
Duc des Lombards in Paris in 2009.”
By the time Burrell hooked up with Shepp he had
already issued his first album High Won-High Two,
which signaled from the start that his interests were
wider than just the avant garde by including a medley
from West Side Story. But the tension between the
inside/outside camps was already there. “I never
wanted to be one of the players who composed or a
soloist who wasn’t aware of both camps. To this day
I enjoy the challenge of fusing the two. I think I was at
Berklee when I first picked the music up. I wanted to
find out what Leonard Bernstein had done to get those
interesting, new-sounding chord progressions and
schemes like in the waltz ‘Somewhere’ and in the
ballad ‘Maria’. I wanted to have the medley go in the
direction of a freeform explosion, if you will.
I formulated throughout with nothing written for the
bass player Sirone. But when I actually got to the end
of the medley I wanted to solo in a new way that was
inspired by what I had heard Cecil Taylor do.”
Building on those lessons and among the most well
known of Burrell’s works is Windward Passages,
conceived as a jazz opera but issued in a solo piano
8 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
rendition by hatHUT in 1979. Burrell’s wife, Swedish
poet and writer Monika Larsson, supplied the libretto
and she takes up the story: “It takes place in 1959 at a
time when Hawaii gained statehood. The family had
lived in a valley from 1946 up to that point in a rural
setting, to have Dave grow up in an environment where
he could just be himself and not the big cities like they
had been. So I decided to base the libretto on that whole
situation: a young man in a valley, growing up with
parents with a musical background, forming a band
with his neighbors. Then by the time that young man
was 15 years old he had a band going, made friends
and became popular in the Islands. So when the
statehood celebration happened in 1959 his band was
hired to play and that’s where the drama unfolds.”
Burrell says his fascination with opera came from,
“My mother, both parents actually, were opera singers.
My dad was inspired by Paul Robeson and they were in
the Fisk University Jubilee Singers together for the
second half of the ‘30s. I was 21 when I started to look
at my mother’s repertoire. She had an organization that
she founded called the Windward Passages Opera
Guild in Honolulu. She was very active and I wanted to
do something for her as she died early of cancer. One of
her favorite operas was Puccini’s Madama Butterfly and
I needed to know what kind of harmony against melody
made for that romanticism that was so deep and lush.”
Another important strand of Burrell’s work has
emerged over the last decade since he became
composer-in-residence at the Rosenbach Library in
Philadelphia.”I spent five years with the Civil War
collection researching and developing my
compositional output. The Director said I should bring
that collection to life through music. So after reading
the documents I took notes, came home and started to
visualize the portraits that I was going to paint. In the
third year we had a five-star recording [Turning Point]
from NoBusiness and it was the best of the compositions
that they chose for that recording. The accumulated
body of work will continue to be part of my repertoire.”
Trombonist Steve Swell worked with Burrell on the
Civil War Project and will appear with him at Vision.
“Dave’s a very serious person. When he rehearses,
we’ll take some of his music, he’ll easily go through one
song for a couple of hours, even upwards of four hours
until I just can’t play anymore and I have to say, ‘Dave
I gotta stop’. Then on stage we’ve developed a really
good rapport in seeing where each of us is going to go
and especially with his tunes I can hear where they’re
going and see what’s happening and we develop our
improvisations that way. We kind of intuitively know
when to go back to the written material.”
Swell is also involved in Burrell’s most recent
project, based on the early 20th century Harlem
Renaissance. Burrell explains the genesis: “After the
Civil War exploration and the many years concentrating
on my rearrangements of Jelly Roll Morton’s
compositions, I wanted to continue journeying through
the past. I want to bring my work up through the Civil
Rights Movement of the ‘60s, through the emergence of
the avant garde and up to the challenges we face today.”
ALAN NAHIGIAN
Older piano styles have always fascinated Burrell due
to “the way ragtime and stride utilize and blend
American and African folk music, as well as European
classical repertoire.” He is currently embarking on a
closer study of the pivotal pianist James P. Johnson,
working on his composition “Carolina Shout” as well
as researching activist, writer and composer James
Weldon Johnson, including his involvement in the early
stages of the Civil Rights movement and leadership of
the NAACP. “My mother worked as Johnson’s secretary
while at Fisk. I still have her copies of his The Book of
American Negro Spirituals and The Second Book of
American Negro Spirituals. Several musical portraits are
already evolving from my research.”
Burrell will present pieces from both projects at
Vision: “The first set includes three compositions,
‘Paradox of Freedom’ from my Civil War project; from
my current project Harlem Renaissance, ‘Red Summer
March’, reflecting the lynchings that started riots that
spread among black workers throughout America in
the summer of 1919; and ‘Full-Blown Rhapsody’, a
bittersweet tribute to the writers, dancers and
musicians emerging from the Harlem Renaissance
1918-1938.” Even within the compositions, Burrell
blurs the lines. “For ‘Red Summer March’ the melody
is very traditional and rhythmic as a march should be
along the lines of a Sousa march, but the improvisation
will be completely free with an emphasis on rhythms
found in the actual melody line.”
But no picture of Burrell’s work would be complete
without representing the unfettered strand. “My last
set will feature James Brandon Lewis and Kidd Jordan.
We will play completely free, charged by the chaos that
has interrupted the prospect of world peace... We have
a poem by Monika called ‘Shout’, which is an
inspirational piece that I will be sharing with the
musicians for the third set. It deals with the turmoil in
the world overall and the situation of migration and
immigration universally.”
It’s best left to Larsson to try to sum up Burrell’s
work: “That’s the thread in Dave’s portraits. They
always reflect the humanity. That’s what that first
opera was about, showing humanity. Not the political
overthrow of bigger governments. But people can live
their lives in harmony, in racial harmony. The Civil
Rights Movement is something Dave has been part of
since he was a little boy. Being brought up in that
climate was a fascinating journey and it still is.” v
For more information, visit daveburrell.com. Burrell is at
Vision Festival May 23rd. See Calendar.
Recommended Listening:
• Dave Burrell—Echo (BYG Actuel, 1969)
• Dave Burrell—After Love (America-Universal, 1970)
• Beaver Harris’ 360 Degree Music Experience—
In: Sanity (Black Saint, 1976)
• Dave Burrell—Windward Passages (hatHUT, 1979)
• Dave Burrell/David Murray—In Concert (Victo, 1991)
• Dave Burrell Full Blown Trio—Expansion
(High Two, 2003)
[ ]
 ENCORE
DOM
SALVADOR
by laurel gross
P ersistent and meticulous, outstanding pianist/
composer Dom Salvador overcame early obstacles and
embraced new challenges. He was the youngest of 11
children growing up in a poor but music-loving family
in the small town of Rio Claro in northeastern Brazil.
His first instrument was the tabletops of his home.
Along with the singing of four sisters, who formed
their own group, his inventive rhythms pervaded the
house. A drum teacher was enlisted but moved away
and there was no one else to tutor him. His brother
Paulo, an electrician adept at saxophone, suggested he
take up another instrument. Piano was chosen. A
teacher was available. But there was no piano.
“The teacher drew a keyboard on paper for me and
I practiced using that for almost a year,” says Salvador.
Then his brothers chipped in to buy him one. “It was a
very bad piano, out of tune, but at least I had a piano to
practice. Also the piano wasn’t in the right pitch, it was
a half-step low. If I had to play with somebody else,
I had to play a half-step up, to get in the same key.”
By 12 he was playing in an orchestra in São Paulo.
Relocating to São Paulo and then to Rio de Janeiro,
where drummer Dom Um Romão had invited him to
join the group Copa Trio, Salvador would make the
famous jazz scene of Beco das Garrafas, Brazil’s “52nd
Street”, and go on to form his own trios, accompany
many Brazilian artists such as Quarteto em Cy, Jorge
Ben, Elis Regina, Elza Soares, Sylvia Telles and Roberto
Carlos and be featured on the last album of the great
master of Brazilian jazz Pixinguinha.
He would become one of the main proponents of
“Samba Jazz”, combining his musical heritage with
American jazz he fell in love with on the radio and 78s
his brother brought home. “The first time I started to
LEST WE F ORGE T
HASAAN
IBN ALI
by eric wendell
J azz has produced its fair share of obscure legends
who exist within the anecdotal prism of folklore
without getting their due. Pianist Hasaan Ibn Ali is
such a legend, with a style and harmonic toolkit well
beyond that of his contemporaries.
Born William Henry Langford, Jr., not much is
known about Ali, with most of his creative output
having been done in the Philadelphia area. Influenced
by pianist Elmo Hope, Ali was less virtuosic than the
previous generation of bebop practitioners and more
rhythmically dexterous than the postbop soldiers
prominent in the late ‘60s.
The only official release that captures his genius is
1964’s The Max Roach Trio Featuring the Legendary
Hasaan. Recorded for Atlantic, the album features a
top-of-his-game Roach alongside bassist Art Davis.
Ali’s style feels unpredictable and salient over the pair,
with a rhythmic dexterity that was truly original, just
as fresh today as it was back then.
10 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
listen to jazz, it felt very familiar to me,” says Salvador.
“So much so it seemed like I had played it in a previous
life. Always I had that feeling...that I had lived here,
came to the United States before my [present] life and
that I knew this music.” Improvisation was not a part of
Brazilian tradition, however. “Of course there were
some people who could improvise a little bit. They had
some freedom. But it’s not the same as in jazz. That’s
why some musicians, not just me, created Samba Jazz.”
Salvador likens jazz to playing soccer. “When the coach
teaches you how to play he tells you to do this, do that.
But when you go to play in the game, and you’re right
there, you forget about the coach, you have to create
your own thing there. You can’t follow what the coach
said to you. Maybe he said, ‘ok, you play the right side’,
but in the real game maybe sometimes you’re in the
middle or on the other side. It’s always improvisation.”
Salvador ’s groundbreaking recording Rio 65 Trio
would make a splash in Brazil when released in 1965
and made a deep and lasting impression on Duduka
Da Fonseca, who was only 14 years old at the time and
about a year into learning the art of drumming. Da
Fonseca would hear the rehearsals of Salvador ’s trio
(with bassist Sergio Barrozo and remarkable drummer
Edison Machado) through windows of the building
where they were working as he walked to school and
was mesmerized. “It’s among my favorite Top 10
albums of music that I know, jazz and Brazilian music
included,” says Da Fonseca. “If I needed to choose 10
recordings, from Coltrane, Miles, from all that, this
album, Rio 65 Trio, would be one of those albums I’d
take to a desert island.”
It wasn’t until 1980 that the two finally met, after
both had moved to the United States (Salvador in 1973
and Da Fonseca in 1975). Salvador ’s regular drummer
for his trio was unable to make a performance and,
having heard of the fellow Brazilian, he called to ask if
he’d substitute. Salvador was surprised to discover
that Da Fonseca already knew much of his music and
this led to Da Fonseca joining his trio and the pair
working together on many other occasions.
Salvador called on Da Fonseca to take the late
Machado’s place at the drumset for his “Rio 65 Trio
50th Anniversary Concert” at Zankel Hall in November
What Ali lacks in recorded provenance he more
than makes up for with his compositional brilliance.
On the Atlantic release, all seven originals are his and
the performances are as enlightened as they are
freewheeling. The tunes don’t quite adhere to the
stylistic impulses of the time. There’s less resolution,
more attention being paid to taking the listener on an
adventure rather than reaching an ultimate destination.
A great example is “Pay Not Play Not” featuring Ali’s
rapid fire right-hand trills. Of note is how Roach reacts,
his only recourse to keep a genuinely loose feel
underneath the pianist’s rhythmic gymnastics.
As a result of his modernistic prowess, not everyone
could play with Ali. In an interview, saxophonist Odean
Pope spoke about Ali dropping by clubs and musicians
leaving the bandstand because they didn’t have the
chops to play with him. Pope stated, “He was so modern,
he was playing all these modern chord changes. Every
tune that he played he created his own chord changes
and his own concepts.” Perhaps what Ali left behind
was his unconventional harmonic sensibilities, which
didn’t adhere to the established way that chords were
supposed to move. This was startling at the time, many
believing he was a big influence on John Coltrane’s
future “sheets of sound” approach.
The greatest tragedy of Ali’s career (he died circa
1980 at 48 or 49) is how little he left behind. What he
did leave behind was a handful of compositions that
showcased a voice ahead of his time. v
2015 with Barrozo aboard, bringing their relationship
full-circle. The live recording of that thrilling concert
featuring Salvador ’s originals from his landmark
album will soon be released by Universal Music.
With Duduka Da Fonseca Trio Plays Dom Salvador,
released by Sunnyside last month, that circle has spun
around again. His music is interpreted by sensitive
musicians (the trio is completed by superb Brazil-based
pianist David Feldman and imaginative bassist Guto
Wirtti) who understand his compositions and share his
free jazz-loving spirit. Salvador ’s propensity for
creating super-complex rhythms that can be very
challenging for even expert musicians to realize are
splendidly exhibited in such robust, energetic
compositions as “Farjuto”, “Samba do malandrinho”,
“Gafieira” and “Meu fraco é café forte” (“My Weakness
Is Strong Coffee”). Salvador ’s exquisite lyricism is
beautifully realized in the ballads “Maria”, a heart-
rending tribute to his wife of more than 50 years, who
knocked him off his feet when he heard her singing in
a São Paulo club where he was also performing, and
“Para Elis”, written in honor of the great Brazilian
singer Elis Regina.
“The way he plays piano is so rich and so many
rhythms, polyrhythms,” says Da Fonseca. “When he
plays it’s amazing. I don’t know anyone who plays that
way. He’s a very unique player. It’s deep...Can be sad
and can be happy... Amazing. A lot of people don’t know
how brilliant Dom Salvador is as a piano player and as a
composer. He’s composed so much beautiful music over
the years... There’s enough to do many albums.” v
A tribute to Salvador with Duduka Da Fonseca is at Jazz at
Kitano May 25th-26th. See Calendar.
Recommended Listening:
• Rio 65 Trio—Eponymous (Philips-Universal, 1965)
• Dom Salvador—Salvador Trio
(Mocambo-Bomba/Mr Bongo, 1965)
• Dom Um Romao—Spirit of the Times (Muse, 1973)
• Robin Kenyatta—Nomusa (Muse, 1975)
• Dom Salvador—My Family (Muse, 1976)
• Dom Salvador/Duduka Da Fonseca/
Rogério Botter Maio—Transition (Lua Discos, 1997)
A tribute to Ali with Brian Marsella, Christian McBride
and Anwar Marshall is at The Stone at The New School
May 24th. See Calendar.
Recommended Listening:
• Max Roach Trio—The Max Roach Trio Featuring
the Legendary Hasaan (Atlantic, 1964)
 L ABEL SPOTLIGHT
SPACE Time
by ken dryden
Many jazz fans dream of running a label. Xavier
Felgeyrolles made it a reality in 1995. Felgeyrolles got
interested in jazz as a young man. He recalled, “People
around me were not listening to jazz. My father was a
very good classical pianist. I discovered Fats Waller,
Lionel Hampton, Duke Ellington and Dizzy Gillespie.
In the late ‘70s, I tried to help the local organization
promote jazz concerts and I met Illinois Jacquet, Hank
Jones, George Duvivier and Lionel Hampton. George
Wein’s French festival organization, Jazz at Nice,
needed drivers and road managers.” Felgeyrolles
signed up and met many musicians while working
with them over the next several years. While continuing
with his university science studies, he also promoted
jazz concerts in his hometown of Clermont. “In 1988,
I created the Jazz-en-Tête Festival. I no longer live
there, but I am still involved in the organization.”
Felgeyrolles completed his PhD in astrophysics in
1989 and began teaching. But jazz never was far from
his mind. “I had a chance to work with the Memphis
pianist Charles Thomas. It was extraordinary. I did a
few tours with him, Essiet Essiet and Ben Riley. I was
still involved with the festival and concerts, then
decided to start a jazz label.” He had gotten to know
Donald Brown that year through his festival and they
became friends. When the pianist no longer had a
recording contract in 1995, the idea for Space Time
Records quickly took shape. “We did a couple of
Hittin’ Home Born to be Blue
Bill Mobley Donald Brown
VOX NEWS
THE RIGHT PLACE
by suzanne lorge
Sara Serpa, whose shimmering straight-tone vocals
and wordless melody lines distinguish her as a leading
musician in experimental jazz, raises the bar ever
higher with Close Up (Clean Feed). As she writes in the
liner notes, Serpa is always seeking to “find the place
for [my] human voice.” The album provides just such
a place through the musical exploration of different
sensate states: the loneliness of motherhood; wonder of
a nighttime mountain sky; inspiration of poetry.
Joining the singer in this exploration are cellist Erik
Friedlander and saxophonist Ingrid Laubrock, whose
cogent playing rises and recedes like ocean waves
throughout Serpa’s compositions. At times Friedlander
will hold the bassline; at other times it’s Serpa or
Laubrock. Regardless of who is in the forefront or the
background, however, all three balance sensitivity and
spontaneity as the sonic field shifts. In her writing,
Serpa reveals a practiced intelligence in her use of
dissonance (“The Future”), tricky harmonies (“Quiet
Riot”) and the unison line (“Sol Enganador”). But it’s
Serpa’s voice that moves the musical narrative along.
Her voice is so pure and crystalline that sometimes it’s
hard to distinguish her line from the soprano line.
concerts of solo piano in the back of a piano store.” It
was the label’s first release, Piano Short Stories. Over 21
years, Space Time has released 43 CDs.
Working around his school schedule, Felgeyrolles
traveled to New York City whenever possible. “In the
1990s and early 2000s I was in New York three times a
year. I made many recordings. Last year I recorded Bill
Mobley, who is writing amazing music for big band,
but people don’t know him. I wanted something
intimate and we did that. I had a chance to spend a lot
of time in New York. To me New York is still the
strongest place for jazz. Paris is a good place but a tiny
thing for jazz, except world music.”
The future label owner was gaining knowledge
from his frequent conversations with musicians. “The
first time I visited New York, Panama Francis told me,
‘You should listen to and work with people of your
generation.’ He was right. I’ve worked with a lot of
them: Mulgrew Miller, Donald, Bill Mobley. I know the
younger generation, too. I met Ali Jackson when he was
16. I did an album with Walter Smith III. Space Time
Records was named because I am a nuclear physicist
and Space Time means ‘open mind’ too. I think each
generation has to find its way. You can’t play what the
generation before played the same way. I promoted the
first concert in France of Robert Glasper and worked
with Lionel Loueke, who is a very good friend. For the
label I have had the chance to release incredible
recordings produced by the musicians or by me. The
library is not big but it is rich. I’ve worked with Donald
Brown for 28 years and 20 with the label, I’ve also
released CDs by his sons Keith and Kenneth. It’s like
a family story.” Brown and Mobley are well represented
in its catalogue, in addition to sessions produced by
Voyager: Live By Night
Eric Harland
For tunes with text, Serpa draws from some
exceptional literary sources. She used the writing of
French feminist philosopher Luce Irigaray to craft the
touching song “Woman” and the lyrics to “Pássaros”
derive from a poem of the same name by Portuguese
poet Ruy Belo. The choice of these texts speaks not only
to Serpa’s cross-cultural awareness but also to the
deeply personal meaning that her music holds.
On the heels of her performance at The Stone in
John Zorn’s a cappella group Mycale last month, Serpa
will perform in composer Sophia Brous’ contemporary
opera cycle Gorgon at National Sawdust (May 3rd).
Then she’ll sing with a classical vocal quartet at the
Anthroposophical Society (May 18th), followed by a
concert at Brooklyn Conservatory of Music with
Friedlander and pianist Angelica Sanchez (May 20th).
Last fall pianist/singer Lauren Lee toured Europe
for five weeks, with part of that time spent as an artist-
in-residence at the UNCOOL Festival in Poschiavo,
Switzerland. At Cornelia Street Underground (May
15th) she’ll be leading her quartet in a set of material
written during that residency; then in August she’ll take
these pieces into the studio to create her second CD as a
leader. (Her first, The Consciousness Test (s/r), came out
in 2016.) As a singer Lee tests boundaries—she doesn’t
hesitate to use overtone singing, fearless improvisations,
counterpoint and challenging harmonies. On the day
before the Cornelia Street gig, Lee will join fellow
improv adventurer, singer Andrea Wolper, at Bushwick
THE NEW YORK CITY JAZZ RECORD | MAY 2018
James Williams, one featuring the little recorded yet
legendary pianist Thomas and the other drummer Alan
Dawson’s only recording as a leader.
Felgeyrolles, like most label owners, gets many
unsolicited tapes pitched to him. “I’ve been on tour so
many times and listened to so many people and since
the festival I promoted for 13 years a lot of musicians
know that I will take the risk to present new talent.
I have many recordings in the can but I always try to
respect what the musicians have in mind. When
I recorded Mulgrew solo in 2000, at that time he wasn’t
confident enough to put it out. A few years after he
said ‘You’re right’ and we didn’t change the sequence.
It was exactly the same as the concert. We released it in
2010.” Nor is there a lack of music that Felgeyrolles
would love to release. “In the can I have an amazing
duet of Toots Thielemans with Martial Solal, but Toots
was asking too much money, I couldn’t afford it. Of
course, I have a lot of live recordings that are very
interesting. I don’t release too many CDs each year.
I don’t make money, I just reinvest any earning with
new projects. The only thing I ask is to approximately
cover the expenses. Earning money with my label is
impossible today.” With a laugh, he added, “Maybe
some people are geniuses, I am not.”
Felgeyrolles sees himself as a hands-on producer
whenever possible. “It’s rare that I haven’t been at a
recording session, I want to be part of it. I wasn’t there
for Kenneth Brown, Donald Brown’s son; it was
produced by them. For Bill Mobley, I was there except
for the duet with Kenny Barron and I suggested the
tunes. I know some music, to read and write some, but
I’m not a professional musician. I’ve learned a lot with
(CONTINUED ON PAGE 50)
Sweet & Lovely Solo
Keith Brown Mulgrew Miller
Public House in Brooklyn (May 14th).
Pianist Monika Herzig’s new album, Sheroes
(Whaling City Sound), is an all-female instrumentalist
musical manifesto. But on the one track with vocals—
“I Am A Superstar”—composer/trombonist Reut Regev
uses spoken word against a klezmer groove to state the
case plainly enough. “I am a good person. I am
beautiful. I am kind. I am funny. I am a superstar,” she
declares—with help from the band: Herzig, guitarist
Leni Stern, trumpeter Ingrid Jensen, bassist Jennifer
Vincent, saxophonist Ada Rovatti, percussionist Mayra
Casales, drummer Rosa Avila and flutist Jamie Baum.
Vocal jazz concert offerings in May run the gamut.
For compelling Latin beats, go see Chilean singer
Claudia Acuña, who pairs up with Cuban powerhouse
pianist Elio Villafranca at Dizzy’s Club (May 4th-6th);
Acuña is also at Mezzrow (May 17th). For expertly-
turned-out standards, check out KT Sullivan, either
when she hosts “All The Way: The Music of Jimmy
Heusen & Friends” at Carnegie Hall (May 18th), or
three days later at Birdland. Alternately (or in addition
to), Michael Feinstein will be at The Appel Room twice
this month, once with singers Nnenna Freelon and
Christine Ebersole (May 2nd-3rd) in “The Enchanting
Lena Horne” and then with Ann Hampton Callaway,
Kenny Washington and the Tedd Firth Big Band in
“Swinging With The Count” (May 30th-31st). For an
otherworldly encounter, see Inuit throat singer Tanya
Tagaq at Le Poisson Rouge (May 11th). v
11
 I N MEMORIAM

BUELL NEIDLINGER
PAUL CRAM (Aug. 11th, 1952—Mar.
20th, 2018) The Canadian saxophonist
with albums on Onari, Apparition,
Justin Time, Spool and Victo founded
by andrey henkin saxophone quartets like Solar System
Saxophone Quartet and Benghazi
Saxophone Quartet as well as the new
Margaret Storer / courtesy of k2b2 records

music organization Upstream Music Association,

based in Nova Scotia. Cram died Mar. 20th at 65.

HERMANN KELLER (Mar. 30th, 1945—

Mar. 26th, 2018) The German pianist’s
later work was mostly as a composer
but he had credits with the Berliner
Improvisations-Quartett, Michael Sell
Orchester and Manfred Schulze
Formation. Keller died Mar. 26th at 72.

JERZY MILIAN (Apr. 10th, 1935—Mar.

Buell Neidlinger, a bassist who was part of some of
the earliest Cecil Taylor groups to go along with a
number of releases as a leader or co-leader, mostly
coming on his co-run label K2B2, died Mar. 16th at 82.
Neidlinger was born Mar. 2nd, 1936 in New York
and started out on cello. As he related to our own
Clifford Allen in a 2003 interview, his introduction to
the bass came as a result of his cello teacher Luigi Silva,
“whose idea was that in the summer you should take
bass lessons for a month, because it would strengthen
your hand for the cello.” Neidlinger ’s first bass teacher
was Walter Page of Count Basie’s orchestra. After a
short period at Yale University, during which time he
was a part of Eli’s Chosen Six with trombonist Roswell
Rudd (the pair were childhood friends from summers
spent in Rudd’s Connecticut home and gigging around
during high school in bands that included Herbie
Nichols), Neidlinger returned to New York, where he
soon met up with players like Steve Lacy and Cecil
Taylor. Both of those players were on Neidlinger ’s
debut as a leader, New York City R&B (Candid, 1961)
alongside Rudd, Archie Shepp, Clark Terry, Charles
Davis, Denis Charles and Billy Higgins.
7th, 2018) The Polish vibraphonist
veered from easy listening to avant
garde jazz, as well as music written for THE NEW YORK
radio big bands and television, and
worked in the bands of countrymen Jan ALL-STAR BIG BAND
Ptaszyn Wróblewski and Krzysztof
Komeda as well as Czech bandleader Gustav Brom.
The Unheard arTie Shaw
(hep2104)
Milian died Mar. 7th at 82.
cd release of previously unrecorded
FRANS VAN DYCK (Oct. 31st, 1923— material from the archive of
Mar. 17th, 2018) The Belgian trombonist shaw’s classic Band of the late 1930s
worked with countrymen like Bobby recorded By top new york musicians
Jaspar and Jack Sels, fellow Europeans directed By james langton
like Ernst van’t Hoff and Kurt and featuring dan levinson
Edelhagen and Americans such as Jiggs
Whigham and Slide Hampton. Van
Dyke died Mar. 17th at 94. v
Academy Records
& CDs
titles - nightmare / everything’s jumpin’
how deep is the ocean / them there eyes
i’ve got the world on a string
leapin’ at the lincoln / stairway to the stars

Cash for new and used

never played around much
Neidlinger would appear on Taylor albums such the moon looks down & laughs
as Jazz Advance, Looking Ahead!, Love For Sale and The on the sunny side of the street
World of Cecil Taylor between 1956-61. He would also
record with Lacy (Soprano Sax and Reflections) and
compact discs,vinyl trav’lin’ all alone / royal garden Blues
stardust / and the angels sing / in the mood

records, blu-rays and

you go to my head / diga diga doo
Jimmy Giuffre (In Person) in this period. As part of a Begin the Beguine
tribute statement to Rudd published in our February
2018 issue, Neidlinger recalled that, “it was during this dvds.
time that Roswell invited me to be in his NY Art
Quartet, but I declined, because in 1962 I moved to
Texas to work with Sir John Barbirolli and the Houston
Symphony Orchestra.”
We buy and sell all
The later ‘60s and ‘70s saw Neidlinger record with
Jean-Luc Ponty and Andrew White while the ‘80s and
genres of music.
‘90s brought credits with Diane Schuur, Les McCann, All sizes of collections
welcome.
Ivo Perelman, The Manhattan Transfer and Anthony
Braxton, the latter in both a Black Saint quartet and a
duo on Neidlinger ’s K2B2. The imprint was co-founded
with saxophonist Marty Krystall and very recently
released The Happenings - Music Of Herbie Nichols,
a trio of Krystall, Neidlinger (returning to cello for the For large collections,
date) and guitarist Howard Alden, as well as Gayle
Force, saxophonist Charles Gayle’s earliest recording,
please call to set up an seth cashman

done in 1965 after Neidlinger, as he told Allen,

“discovered him [in 1962]; he was pushing televisions
appointment.
around the Westinghouse factory. He came down to a
session I used to have at a little coffee shop and sit in.”
Concurrent with all this activity was work in the
contemporary classical field during stints in Houston, Open 7 days a week 11-7
hepjazz.com
Buffalo and Los Angeles; the latter period also yielded
plenty of work as a studio musician and credits with a 12 W. 18th Street NY, NY 10011 Burnside distriBution
host of rock and pop acts, including 21 albums with 212-242-3000 6635 n Baltimore ave, suite 226
portland, or 97203
Barbra Streisand.

12 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 F ESTI VAL REPORT
CREATE FESTIVAL
by greg packham
Maurice D. Robertson
Eirik Ryvoll Åsheim
Wadada Leo Smith
Veteran trumpet player and composer Wadada Leo
Smith brought five different groups into New Haven,
Connecticut’s Firehouse 12 for his annual CREATE
Festival (Apr. 7th-8th). With a large palette, he integrated
acoustic and electric elements, as well as video images
played by Jesse Gilbert on a large screen behind the
stage. Smith also held a reception Sunday afternoon to
display what he calls the “Ankhrasmation Language
Scores”, which add pictorial imagery to his compositions.
The versatile Smith played a wide-ranging variety
of trumpet styles—including stabbing punches, long-
tone harmonies and pungent Harmon mute. One
reference point would be middle and late ‘60s Miles
Davis for the acoustic music and middle ‘70s Miles for
the electric portions. But he has carved out his own
trumpet sound within these styles and added a mixed
media element. He lays a minimum of notes on the
page and uses a lot of hand and verbal cues to direct
his music. This puts a premium on the quality of the
musicians onstage, who have to improvise freely and
watch out for the cued ensemble parts. His collaborators
ranged from improvising classical musicians and
acoustic free jazz veterans to jazz-rock electric
guitarists and bassists.
The first group featured his grandson Lamar
Smith on guitar along with veteran drummer Thurman
Barker and Hardedge on electronics. They performed
ethereal free sounds with rustling drums on “Number
One” and “Organic” and, despite being a last-minute
substitute, Barker followed the music with great
sensitivity. The younger Smith has learned how to get
inside of his grandfather ’s music while electronics
added ambient colors. Gilbert incorporated the audio
mix into his video displays to add rhythmic pulses
along with images of the musicians.
The second group, Kosmic Music Ensemble,
performed “Dark Matter, Dark Energy: The Unseen:
A Suite”. Smith played some beautiful muted trumpet,
which worked well in the quiet room, and pianist
Sylvie Courvoisier had a standout performance,
adding what she calls her “toys” inside the instrument
and exploding at one point into a Cecil Taylor-like
crescendo. Bobby Naughton, a veteran of the
Connecticut scene and erstwhile collaborator of
Smith’s, played tasteful vibraphone, adding nice colors
and reprising the opening theme at the end of the piece
unaccompanied. Brian Jarawa Gray added djembe and
percussion rhythms.
The third group was Smith’s Great Lakes Quartet
performing “The Great Lakes Suite: Lake Michigan
and Lake Superior”. Smith explained the flow of
water from the Great Lakes through America into the
Gulf of Mexico and added some ideas about the flow of
(CONTINUED ON PAGE 51)
VOSSA JAZZ
by suzanne lorge
Jørn Styve
The mist lay heavy on the mountains, fjords and frozen
lakes surrounding Vossevangen, Norway, the setting
for the 45th annual Vossa Jazz Festival (Mar. 23rd-25th).
Despite the town’s diminutive size—Vossevangen and
its broader municipality claim only 14,000 inhabitants—
each day hundreds of ticketholders crowded into the
festival’s several venues, all just a short walk from each
other along a picturesque center street.
The festival headliners played the main stage at
the Park Hotel, an expansive building boasting four
sophisticated performance spaces of varying sizes. On
day one, Jørn Styve stood down center on the darkened
main stage and opened the first show with a long,
sonorous note sounded on the wooden lur, a traditional
Norwegian horn (looks like a didgeridoo, sounds like a
trumpet). The lur player slipped into a sweet, solemn
folk melody that faded into whistles and shouts from
the audience, a surprisingly apt lead-in to the premiere
of an effects-laced, rhythmically driving jazz
composition by bassist Arild Andersen and his younger
quartet. Andersen is one of Norway’s most
internationally renowned jazz musicians; he tours
constantly and on the day of this concert, his label,
ECM, was releasing his latest album, In-House Science.
(Just a few days after this Vossa Jazz premiere, Andersen
played the launch concert at Blue Note Tokyo.)
While it is the fluid integration of traditional
Norwegian sounds and modern jazz that distinguishes
Vossa Jazz among music festivals, curator Trude
Storheim’s vision for the event is nothing if not all-
embracing. Her programming across the festival’s
35+ performances featured avant garde, big band,
experimental, folk, pop and world musicians, many of
them holders of Spellemannprisen, the Norwegian
equivalent of the Grammys. Besides Andersen, the
main stage alone welcomed Norwegian acts as diverse
as hip-hop star Lars Vaular, wildly popular folk singer
Ingebjørg Bratland and saxophone/clarinet player
Eirik Hegdal, former Artistic Director of the Trondheim
Jazz Orchestra (TJO). These concerts, in a room seating
almost 1,000 people, were standing room only.
Vossa Jazz is also known for its Tingingsverket,
the most prominent jazz commission in Norway. This
year the honor went to Hegdal, who debuted “Musical
Balloon”, his composition for six players, on the
festival’s second evening. In this work, Hegdal pulled
several musical components together into one clean
musical statement: percussive free improv; recurring
swing motif; horns trilling in tight harmony; neat
syncopated structures; and surprising melodic leaps as
a testament to the joy of sound. His players, all former
TJO bandmates, had generous solo time, with current
TJO Artistic Director and bassist Ole Morten Vågan,
(CONTINUED ON PAGE 51)
THE NEW YORK CITY JAZZ RECORD | MAY 2018 13
 CD REVIEWS
Concentric Circles
Kenny Barron (Blue Note)
by Ken Dryden
Pianist Kenny Barron was named an NEA Jazz
Master in 2010 and has been honored with 11 Grammy
nominations and regular appearances in the top tier of
critics’ polls.
Barron has upgraded his recent working trio of
bassist Kiyoshi Kitagawa and drummer Johnathan
Blake to a quintet, adding tenor/soprano saxophonist
Dayna Stephens and trumpeter Mike Rodriguez,
expanding his opportunities as a composer and
arranger. The pianist has not settled into a predictable
style of writing; his new pieces show that he continues
to push the boundaries of his universe. This has been a
working band for a while, with a rhythm section
rivaling any current group and two up-and-comers in
the frontline, playing music already woodshedded
extensively on stage.
“DPW” is an infectious opener, brisk postbop
detouring at times into an AfroCuban setting,
showcasing big-toned tenor and energetic trumpet.
“A Short Journey” has a sorrowful air conveyed by
emotional soprano, with the rhythm section playing
loosely behind the two horns. The easygoing rendition
of Brazilian Caetano Veloso’s bossa nova “Aquele
Frevo Axé” relieves some of the tension as Barron
shows off his lyrical side. The funky Barron original
“I’m Just Sayin’’’ is transformed through inventive use
of dissonance while still retaining its urban flavor.
As Barron was a founding member of the
Thelonious Monk tribute band Sphere (active from
1982-2002), it’s never a surprise to hear one of the
master ’s pieces on a Barron album. A solo
interpretation of “Reflections” reveals the composer ’s
early stride influence (though in a very subdued
manner) while blending elegance and humor, complete
with a playful staccato tag at the conclusion.
For more information, visit bluenote.com. This project is at
Jazz Standard May 1st-6th. See Calendar.
A Light In Darkness
Eric Reed (WJ3)
by Tom Greenland
It’s been a long trip for pianist Eric Reed: raised in
a West Philadelphia Baptist church; nurtured as a teen
in the Los Angeles jazz scene; mentored by Freddie
Hubbard, Joe Henderson and, most notably, Wynton
Marsalis. He’s spent the last decade back in Lotusland
after two decades in the Big Apple, returning to his
roots as a musical minister. A Light In Darkness is an
overtly spiritual album, more akin to 2013’s A Grateful
Heart than his recent trio of Thelonious Monk tribute
CDs. Accompanied by alto saxophonist Tim Green (not
to be confused with the late New Orleans tenor
saxophonist), bassist Ben Williams, drummer McClenty
Hunter and guest vocalist Jamison Ross, Reed shows
14 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
himself to be steeped in the traditions of gospel, swing
and blues.
The two vocal numbers, “The Way to Love”
(a Stevie Wonder-esque ballad) and “Hope in View”
(utilizing colorful but wandering harmonies, sung in a
style reminiscent of Donny Hathaway), address the
despair and cynicism of our times, calling for a renewal
of hope and faith. “Calvary” is an updated hymn,
rendered with unforced soulfulness, while “The
Promised Land” is a perky march with animated
exchanges between alto, piano and drums. “Beauty for
Ashes” showcases Reed’s delicate but incisive touch
over a meandering intro, soon devolving to a standard-
style song featuring a robust solo by Williams (who is
equally impressive on “Calvary”). “Shine”, an
impromptu funk jam, gets into a churchy zone when
Reed responds to Ross’ scat sermonizing with some
very fine touches. The serpentine line of “Garden of
Sorrow”, doubled by piano and bass and played over a
bossa beat, shows hints of Baroque-era classicism.
Closer “Yesterday~Yesterdays” is a medley of Paul
McCartney and Jerome Kern’s melodies, the first
tastefully reharmonized, the second played at
extremely slow tempo, returning to the first before a
final sanctified stomp and a surprise cadence to major.
For more information, visit wj3records.com. This project is
at Village Vanguard May 1st-6th. See Calendar.
Sunrise
Ken Peplowski Big Band (Arbors)
by Scott Yanow
K en Peplowski has long been a major force in the
small-group swing movement. He worked with Benny
Goodman, recorded regularly for the Concord label
and established himself as one of the world’s great
clarinetists. Though associated with swing, Peplowski
has long had his own sound and style.
While he has played with many big bands through
the years and occasionally toured with an orchestra,
Sunrise is Peplowski’s first full album at the helm of a
big band. He mentions in the liner notes that two of his
biggest inspirations are Frank Sinatra and Duke
Ellington. The former ’s albums with big bands rarely
have much solo space for sidemen and the same is true
here. While the 18-piece orchestra includes several
bandleaders (such as saxophonist Adrian Cunningham,
trombonist John Allred, trumpeters Jon-Erik Kellso
and Randy Reinhart, pianist Ehud Asherie, guitarist
Matt Munisteri, bassist Nicki Parrott and drummer
Chuck Redd), very little is heard from any of them in a
solo capacity. The music is essentially a matchup
between Peplowski (on clarinet) and the big band.
Even with that limitation, the music holds one’s
interest and is quite successful. Three selections (“All I
Need Is The Girl”, “I Like the Sunrise” and “Come
Back To Me”) are revivals of Billy May arrangements
made for the early ‘60s Sinatra/Ellington Reprise
album. Mark Lopeman contributed four arrangements,
there are two apiece from Dennis Mackrel and the late
Allan Ganley and the ensemble also plays Alec Wilder ’s
little-known “Clarinet In Springtime”, written for
Benny Goodman in the early ‘40s but never recorded.
Starting with a relaxed and cheerful version of
Jule Styne-Stephen Sondheim’s “All I Need Is The
Girl”, highlights include a lively version of Antônio
Carlos Jobim’s “Chega De Saudade”, a fine remake of
Frank Loesser ’s “If I Were A Bell”, a rather moody and
melancholy take of Leigh Harline-Ned Washington’s
“When You Wish Upon A Star” (which makes one think
that the wish is not being granted), a romp through
Sonny Stitt’s uptempo bop piece “The Eternal Triangle”
and an inventive revival of Isham Jones-Gus Kahn’s
“The One I Love Belongs To Somebody Else”.
Peplowski is in top form and his big band is
consistently impressive during the enjoyable set.
For more information, visit arborsrecords.com. Peplowski is
at Stern Auditorium May 1st as part of Forever Django,
Knickerbocker Bar & Grill May 4th-5th, Tribeca Performing
Arts Center May 10th as part of Highlights in Jazz and Jazz
at Kitano May 11th-12th. See Calendar.
Jun Miyake: tenor saxophone, flute, noh kan
Toru Tenda: bass flute, contra-bass flute
Toshiki Nagata: bass violin
Pheeroan akLaff: drums, cymbals, gongs
Available May 1, 2018 www.pheeroanaklaff.com
R
• Tim Berne/Matt Mitchell—
Angel Dusk (Screwgun)
e • Jasmine Choi/Joe Fonda/Harvey Sorgen—
Trio Joy (Klopotec)
c • Fire!—The Hands (Rune Grammofon)
• Dave Liebman/John Stowell—Petite Fleur:
o The Music of Sidney Bechet (Origin)
m • Jon Mayer Trio—Live at the Athenaeum
(Blue Fort)
m • Ken Peplowski Big Band—Sunrise (Arbors)
• Martial Solal—My One and Only Love
e (European Jazz Legends, Vol. 15)
n (Intuition/Double Moon)
• Tonbruket—Live Salvation (ACT Music)
d • Lisa Ullén—Piano Works (Disorder)
• Salim Washington—Dogon Revisited
e (Passin’ Thru)
d Laurence Donohue-Greene, Managing Editor
n • Idris Ackamoor & The Pyramids—
An Angel Fell (Strut)
e
• Jaimie Branch/Jason Nazary—
w Anteloper (International Anthem)
• Alan Braufman—Valley of Search
(India Navigation-The Control Group)
r • Hank Jones—In Copenhagen (Live at Jazzhus
Slukefter 1983) (Storyville)
e • Dave Liebman/John Stowell—Petite Fleur:
The Music of Sidney Bechet (Origin)
l • Mopo—Mopocalypse (We Jazz)
e • Dave Rempis/Matt Piet/Tim Daisy—
Throw Tomatoes (Astral Spirits)
a • Various Artists—Jazz from Carnegie Hall
(1st Oct. 1958) (Fremeaux & Associes)
s • Alexander von Schlippenbach Globe Unity
e
Orchestra—Globe Unity: 50 Years (Intakt)
• Randy Weston—SOUND (African Rhythms)
s Andrey Henkin, Editorial Director

After Bach
Brad Mehldau (Nonesuch)
by Eric Wendell
To say that pianist Brad Mehldau is merely a jazz
artist is a disservice to his artistry. Time and time again,
Mehldau has proven that his aesthetic is fluid and can
take many forms. With his latest release, Mehldau
takes four preludes and a fugue from Johann Sebastian
Bach’s The Well Tempered Clavier and intersperses them
among seven original pieces inspired by the seminal
work. The suggestion of Bach as an inspiration for a
modern practitioner such as Mehldau is warranted as
the composer has been cited by jazz musicians from
Charlie Parker to Wynton Marsalis. Bach, unlike many
of his peers, used improvisation as one of his
compositional tools, making his legacy of particular
importance to jazz musicians.
Stemming from a commission entitled “Three
Pieces from Bach”, Mehldau is adept at handling Bach
as a subject as well as a source. Beginning with his
original “Benediction”, the pianist chooses an airy
touch followed by a sequence of beautiful legato lines
before being broken apart into near cacophony. It is
with “Benediction” that Mehldau expertly executes the
idea at hand of Bach as ore to be mined, time forming
the arc and modern style executing the idea.
While no track on the album is filler, the five
selections from The Well-Tempered Clavier are only
needed as a means of fulfilling the premise of the
album, as it is their responses that are more welcome.
That said, the nuance and delicate interpretation of
Bach is further display of Mehldau’s prowess as a
performer and his sensitivity to the source material.
Mehldau ends the album with a pair of original
selections, further exploring his voice and astuteness as
a storyteller. “Ostinato” takes the subtle grace of the
melody at hand and crafts peaks and valleys while
harmonically responding in parallel, taking listeners
on an emotional ride. “Prayer For Healing” is Mehldau
at his most raw, seemingly detaching himself from the
original conceit of the album with a piece that is
personal, ending After Bach with a reflective and distinct
temperament only Mehldau can deliver.
For more information, visit nonesuch.com. Mehldau is at
Birdland May 1st-2nd with Fleurine. See Calendar.
Old Fashioned Gal
Kat Edmonson (Spinnerette)
by Jim Motavalli
K nown as a singer-songwriter, Kat Edmonson here
shows she’s been listening to jazz singers Blossom
Dearie and Stacey Kent (especially the latter). She’s got
their light delivery down but, as with them, it has a
steely core—no flowing sap here.
The period evoked is the ‘40s-50s, when Tony
Bennett and Frank Sinatra had hits, but had to fight
back against producer Mitch Miller ’s worst instincts.
“If”, complete with whistling, reaches even further
back and is a classic torch number.
April Barrows and Susan Werner have both
recorded convincing records of their own Great
American Songbook contributions and Edmonson’s
work here makes it a trio. Strings and backing vocals
(from Duchess: Hilary Gardner, Melissa Stylianou and
Amy Cervini) steer the project towards the pop side,
but it still swings. Matt Ray, who also arranges, plays
appropriately spare piano.
Some songs, such as the confessional “A Voice”,
aren’t jazz per se, but make some nice cabaret noises;
Elton John or Bette Midler could do wonders with it.
“Canoe” shows this woman can write lyrics—
on a night in June, beneath a silver moon, the
aforementioned boat does float and “fervid fireflies
were lighting their cabooses” while “concerted
katydids” were “buzzing like kazooses”.
Edmonson is apparently an old-fashioned gal and
the title song calls for a return to basics and forgetting
the emails and virtual reality. Yes, Johnny Mercer
already wrote “I’m Old Fashioned”, but this
complements rather than copies it.
Warren Wolf gets in some nice vibraphone work
on “Please Consider Me”, trumpeter Jon-Erik Kellso
evokes Louis Armstrong on “With You” and your
chance to hear Edmonson on ukulele and mouth
trumpet comes on “Not My Time”. But this is not an
album for flashy solos or vocal pyrotechnics. It’s a
beautifully crafted evocation of an era (several,
actually) and the subject is, well, love, with all its highs
and lows.
For more information, visit katedmonson.com. This project
is at Le Poisson Rouge May 4th. See Calendar.
Rediscovered Ellington
Dial & Oatts Rich DeRosa/The WDR Big Band (ZOHO)
by George Kanzler
In 1979, Duke Ellington’s estate engaged pianist Gary
Dial to make reference recordings of all the music in
the Tempo (Ellington’s publishing company) catalogue.
Dial used his extensive knowledge of that catalogue to
come up with the nine titles included here, the majority
of them never recorded commercially by Ellington.
Dial contributed six arrangements, with his longtime
musical partner saxophonist Dick Oatts doing the
other three, for these performances, orchestrated by
conductor Rich DeRosa for the formidable Cologne,
Germany-based WDR Big Band.
Although this music is in no way an attempt to
emulate, echo or ghost a Duke Ellington Orchestra,
it does enforce the sometimes now neglected idea that
material does count. Even though listeners will probably
not be familiar with these works—with the exception of
“Hey, Baby”, part of the popular Blue Rose (1956) album
that featured Rosemary Clooney with Duke’s band—
they are often more resonant and memorable than much
of the original material written for big bands today. Two
ballads, “Love Came” and “I Must Be Mad”, are vividly
indelible. On the former, Andy Haderer’s lead trumpet
floats over a cushion of horns with the initial, captivating
melody, then a ballad tempo, propelled by brushes,
ushers in solos by Oatts (alto) and Dial, the band rising
to a trombones-led shout chorus before Oatts takes it
out over ethereal horn figures. “I Must Be Mad” is
largely a feature for Dial and Oatts, alto emulating the
romantic approach of Johnny Hodges on a distinctively
THE NEW YORK CITY JAZZ RECORD | MAY 2018
Ellingtonian refrain.
Many of these tunes are given expanded treatment,
fleshed out with additional shout and auxiliary
choruses as well as extensive solos and codas, making
this a showcase for the WDR Big Band and the
arrangers-orchestrator, as well as Ellington himself.
Of all the tracks, the one closest to a vintage Ellington
feel is Oatts’ arrangement of “Let the Zoomers Drool”,
an Ellington-Hodges blues-based collaboration from
1945 incorporating step and stop times and very Ducal
call and response between soloists and sections.
For more information, visit zohomusic.com. Dick Oatts is at
Dizzy’s Club May 4th-6th with Elio Villafranca. See Calendar.
UNEARTHED GEM
Ella at Zardi’s
Ella Fitzgerald (Verve)
by Andrew Vélez
O ne of the better-class L.A. jazz rooms of the ‘50s
was Zardi’s, a Polynesian-themed venue of short
duration. As a fine capstone to last year ’s Fitzgerald
Centennial is this real treasure, Ella at Zardi’s, a
previously unreleased 1956 live set, which has lain
in the vaults unheard for over 60 years. Smooth to
the max and radiating a sense of high spirits,
Fitzgerald is loving the music while having a blast
with her trio. Whether singing a Gershwin gem like
“’S Wonderful” or a then-new pop tune like Jimmy
Van Heusen-Sammy Cahn’s “The Tender Trap” and
whatever the tempos, she swings everything.
The good times she regularly shared with her
musicians are spontaneously evident on these two
sets. There is also a cordial and easy interaction with
audience members. When a request is made for her
to sing Allie Wrubel-Herb Magidson’s “Gone With
the Wind” and uncertain she knows all the words,
Fitzgerald renders a beautifully modulated mood
piece, improvising easily when she misses a lyric.
Here and throughout pianist Don Abney keeps her
fine close company. They close the first set with a
thrilling run at Bernie Miller ’s now classic “Bernie’s
Tune”. Bassist Vernon Alley and drummer Frank
Capp keep imperturbable time, perhaps nowhere
more notably than on Morgan Lewis-Nancy
Hamilton’s “How High the Moon” and Charlie
Christian-Benny Goodman-Jimmy Mundy’s “Air
Mail Special”.
This album marks a historic moment in recorded
music. Just a few days after the set at Zardi’s,
Fitzgerald went into the studio to make Ella
Fitzgerald Sings the Cole Porter Song Book, the first of
an unrivalled series of the works of the greatest
American songwriters. It put Verve Records on the
map, became one of the all-time best selling albums
and insured Fitzgerald a permanent place in the
firmament of musical greats. Why the Zardi’s set
was not released remains unknown. Whatever the
reason, this newly recovered treasure is peak
Fitzgerald, full of heart and swinging mightily. She
is at her very best of which there was none better.
Even if you think you have her covered in your
collection, this one is an immediate must.
For more information, visit vervemusicgroup.com. A
tribute to Fitzgerald led by Natalie Douglas is at Birdland
May 14th. See Calendar.
15
 G LO B E U N I T Y
Wie Die Zeit Hinter Mir Her
Hans Hassler (Intakt)
La Contre Attaque Du Jazz Musette, Vol. 1
Swing of France (Fremeaux & Associes)
Music for a Family Picnic
Harri Kuusijärvi Koutus (Eclipse Music)
by Tom Greenland
Quick, name influential accordion players! If you
asked the same of our three featured chromatic button
accordionists, you’d likely hear the names Mogens
Ellegaard and Peter Zinsli; Jo Privat, Gus Viseur and
Tony Muréna; Kimmo Pohjonen and Janne Mäkinen.
Born in Graubünden, East Switzerland under
the influence of Ländler volksmusik (à la Zinsli) and
the classical tradition, accordionist Hans Hassler
was especially inspired by Ellegaard’s avant-
gardism, forging his own approach over a 30-year
period. On Wie Die Zeit Hinter Mir Her, he fully
exploits the polyphonic and –rhythmic capabilities
of his five-octave-plus, Moscow-made Jupiter model,
in particular the free-bass configuration of the left-
hand manual, which allows for customized chords,
educing an orchestral palette in his improvised
compositions: flute and double-reed tones;
symphonic crescendos; rubbing/rustling percussive
effects reminiscent of a güiro or washboard; funky
hocketing across the manuals; odd breaths, squeaks
and finger-taps. But for all his adventurism, he
hasn’t forgotten the instrument’s dancehall roots.
Privat, Viseur and Muréna were important
figures in the jazz manouche movement of interwar
Paris, an amalgam of French valse musette and North
American swing. La Contre Attaque du Jazz Musette,
Vol. 1 samples their best compositions, revisited and
–vitalized by accordionist Erwan Mellec (who favors
an Italian-made Bugari), guitarist Thomas Le Briz
and tuba player Benjamin Lebert, collectively known
as Swing of France, here augmented by Stéphane
Barbier ’s spartan drums. Dominated by minor-key
waltzes, the tunes contain serpentine melodies laced
with intricate ornamentation and delicate flourishes,
rendered with a loose, Roma-esque insouciance that
belies the difficulty of performing them. “Yayou”,
one of two originals, veers to Louisiana swamp
boogie and Privet’s “Modern Valse” has banjo, but
most tracks follow formula, Privet’s “Balajo” and
Viseur ’s “Jeannette” being two of the standouts.
Harri Kuusijärvi is a prog- and avant-rocker
who, like fellow Finns Pohjonen and Mäkinen, is
ushering the accordion into novel sonic spaces.
Music for a Family Picnic is his second CD with
Koutus, the original trio with guitarist Veikki
Virkajärvi here augmented to a quintet with bassist
Eero Tikkanen, vibraphonist/percussionist Teho
Majamäki and drummer Jesse Ojajärvi. A beautifully
conceived and played album, the overall aesthetic is
one of collectivism, capaciousness and restraint.
Like the blurred portraits of individual band
members adorning the CD jacket, each musician
merges into a viscous, holistic soundscape.
Virkajärvi’s compressed electric tone, sparse and
tasteful in the manner of Bill Frisell, is usually the
melodic focal point, Kuusijärvi adding organ-like
pads, wide-interval figurations or plaintive counter-
lines while Majamäki and Ojajärvi layer on subtle
but incisive samples and percussive effects.
For more information, visit intaktrec.ch, fremeaux.com
and eclipse-music.net
16 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
Stomiidae
Daniel Levin/Chris Pitsiokos/Brandon Seabrook
(Dark Tree)
by John Sharpe
N amed after a family of deep-sea predatory fish,
Stomiidae unites three of New York’s finest avant
talents in a suitably immersive experience. Although
cellist Daniel Levin is a generation older than
saxophonist Chris Pitsiokos and guitarist Brandon
Seabrook, he matches their raw intensity and sense of
unbridled adventure on a program of seven improvised
cuts crafted over two days in the studio. In doing so
they go one better than French novelist Georges Perec,
who famously wrote a book without using the letter
“e”, by avoiding not only “e” but all the other notes as
well in music drawn from the extremes.
Seabrook deploys a range of unconventional
timbres with sure-footed inspiration and spiky energy
while Pitsiokos starts at the point where other reed
players climax a solo, with textures that might be taken
to signal emotional turmoil, and fashions a personal
language of squeals, quacks and modulating drones.
For his part Levin puts aside his customary virtuosity
in favor of a litany of creaks, rustles and knocks. But
that’s not to say the album lacks those virtues that
make any musical performance compelling: narrative
shape, tension, empathetic dynamics and sonic depth.
The pieces often reveal an affecting arc from the
urgent and restless into warm exchanges like the
almost homey conversational dialogue of cello sighs
and querulous alto whistles ending “Photonectes
Gracilis” or dreamy ruminations concluding
“Opostomias Micripnus”. The threesome demonstrate
their mastery of dynamics on “Chauliodus Danae”,
which suddenly accelerates from a restrained colloquy
of crackles, beeps and squeaks to red-lining power
before subsiding just as quickly. Such spontaneous
shifts provide one of the joys of this set, with another
being the constant surprise at how they respond to
each other ’s promptings in ways both unanticipated
and yet, in retrospect, almost inevitably apt.
For more information, visit darktree-records.com. Seabrook
is at The Stone at The New School May 5th. Pitsiokos is at
Bushwick Public House May 7th. See Calendar.
Awase
Nik Bärtsch’s Ronin (ECM)
by Tyran Grillo
The booklet for Awase, Swiss pianist Nik Bärtsch’s
latest release with his band of Ronin, quotes French
literary theorist, philosopher, linguist, critic and
semiotician. Roland Barthes: “The sign is a fracture
which only ever opens onto the face of another sign.”
Perhaps no other statement better expresses the fractal
nature of this music, for the more one zooms in on its
precisions, the more one senses its freedoms expand.
Joined by Sha (bass clarinet and alto saxophone),
Kaspar Rast (drums) and newest recruit Thomy Jordi
(bass), Bärtsch finds himself rooted in a familiar ethos
while sprouting new verdure.
The album continues his “modular” approach, by
which larger bodies coalesce from elemental forces.
The newest of these, “Modul 60” and “Modul 59”,
open and close the album with hints of a concentrated
future. Where the latter emotes in liminal territory, the
former is a direct link to Continuum, Bärtsch’s previous
record for ECM with his Mobile project. Any nods to
the past, however, are refracted through a brighter
coming of age: a sound that once ran now leaps. The
ritual groove of “Modul 58”, for instance, is at once
what we might expect and a fresher take on group
integration, a taste of perpetual motion shown in the
band’s willingness to let details express themselves to
the level of ecstasy. “Modul 36” reveals the deepest
change; known to any longtime listener of Bärtsch,
here it takes on the uniformly colored properties that
would seem to extend the band’s evolutionary path.
It’s a classic yet forward-thinking groove, one that
feels like a childhood home renovated from the inside
out. “Modul 34” is another early tune, only now
making its studio debut. There’s an almost digital
quality to it, nuanced by human touch.
Awase is also a departure for including a non-
Bärtsch original by Sha: the enigmatically titled “A”.
Gradually building an ocean out of a water droplet,
its waves flow to the magnetic suggestions of an
itinerant philosophical compass. Like the album as a
whole, it toes the line between light and shadow with
every intention of shedding its ego to both along (and
by) the way.
For more information, visit ecmrecords.com. This project is
at Le Poisson Rouge May 6th. See Calendar.
MAY 8
RUSS KASSOFF ORCHESTRA
WITH CATHERINE DUPUIS
MAY 15
FRANK PERWOSKY
BIG BAND
MAY 22ND
MIKE LONGO’S
NY STATE OF THE ART
JAZZ ENSEMBLE WITH
IRA HAWKINS
New York Baha’i Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
 Celebrating Fat Tuesday’s Marc Cary ArcoIris Sandoval

Remembering Betty Carter

Friday, May 4, Concert at 8:30PM

This evening will celebrate Fat Tuesday’s as well as the
legendary Betty Carter. Musicians who played with
Betty Carter to perform as well as former members of
Betty Carter’s Jazz Ahead program. Addison Frei Diego Joaquin Ramirez

Betty Carter band alumni: JD Allen (sax), Kenyatta Beasley (trumpet), Marc Cary (piano), Curtis Lundy (bass), Taharqa Patterson
(vocals) and Clarence Penn (drums). Former members of Betty Carter’s Jazz Ahead program: Addison Frei (piano),
Diego Ramirez (drums), ArcoIris Sandoval (piano), Barry Stephenson (bass) and Charles Turner (vocals). Subject to change.

For tickets call (212) 220 – 1460 or online at www.tribecapac.org Located on 199 Chambers St. (BMCC campus).

YRU Still Here?
Marc Ribot Ceramic Dog (Northern Spy)
by John Pietaro
Marc Ribot’s career as Downtown guitar guru has
found its natural place, some 40 years hence, fronting
Ceramic Dog. This trio, with a variety of guests layered
into the mix, realizes his current vision. Increasingly,
Ribot has added singing to his performance, raw,
guttural, biting vocals and his fluid, boundless guitar
playing moves into hardcore effortlessly. His kindred
rhythm spirits, bassist Shahzad Ismaily and drummer
Ches Smith, happily wade waist-deep into the big
muddy of this thickened soundscape. Unlike other
experimental ensembles reaching into punk for
inspiration, Ribot’s pedigree gives license to overdriven
rapid-fire crunch chords as much as acoustic finger-
picking. And as Ismaily and Smith are equally adept at
alternating between pensive whisper and merciless
throb, manifold artistry is on full display. Perhaps the
only aspect of YRU Still Here? more apparent than its
eclecticism is the decidedly radical stance upon which
Ribot thrives. Here the call is for unity in defiance of
oppression, with liner notes citing the Trump-directed
immigration raids on working-class communities as
“tyranny” and stating that musicians must “amplify
the voices of rage in our community”.
The album opens with the distortion-laden
“Personal Nancy”, a brief, driving work, before moving
into the more tempered “Pennsylvania 6 6666” (Glenn
Miller allusion?). Things boil over with “Fuck La
Migra”, which sonically spits into the face of the
current administration. But it’s also about the music:
a post-punk funky foray screaming with masterful
guitar (McLaughlin fans will stop in their tracks),
Curtis Fowlkes’ trombone, Mauricio Herrera’s
perpetual-motion congas and Smith’s downright
swinging drum break. Another standout selection,
“MuslimJewish Resistance”, is a hip-hop-flavored
solidarity piece excoriating the rightward forces who
grow fat on Jewish/Muslim division; revel in Briggan
Krauss’ furious tenor saxophone solo signaling a call
to arms. But then “Orthodoxy”, one of several
instrumental selections, is a deft fusion of Arabic and
South Indian traditions colored with boundary-
stomping improvisation. With Ribot, there’s no room
for hesitation and YRU Still Here? is a vital recording
for tumultuous times.
For more information, visit northernspyrecs.com. This
project is at Le Poisson Rouge May 6th. See Calendar.
Live from San Pedro
Jeff Hamilton Trio (Capri)
by Thomas Conrad
W hen you hear a jazz ensemble in person and soon
thereafter hear their new record, it is always a teachable
moment. You learn once again how experiencing music
live differs from hearing it on an album—even when
18 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
the album was recorded live, like Jeff Hamilton’s latest. Crescent City Po’ Boy outlet; and “Miramar”, a
Recently I heard Hamilton’s trio on a jazz cruise. rollicking rumba tune conjuring up Havana’s
They played several of the tunes on Live from San Pedro. glamorous pre-revolution heyday. The closer, “Still
In person, it was clear that a piano trio really can be led Walking Back”, is a heartfelt tribute to Kerwin James, a
by its drummer. Hamilton framed and defined each well-regarded New Orleans sousaphonist, who died
piece with his clean, articulate percussion content. tragically at the age of 35 in 2007.
Even with an exceptional pianist on board (Tamir There’s a seamlessness to all the compositions,
Hendelman), the most riveting solos were Hamilton’s. highlighting how the music of New Orleans and
He ran a drum clinic all night, if a clinic can be joyous Havana, cities less than 700 miles apart, are born from
and swing like crazy. the same African traditions. This is a celebratory album
You cannot obtain such understandings from the performed with exuberance by a great New York band.
record, when you cannot see the band, when you are
not in the same room with their energy. Keith Jarrett For more information, visit jambalayabrassband.com. This
once said that a recording of a concert is like a fax of band is at Floridita Harlem May 11th. See Calendar.
the actual event. As faxes go, Live from San Pedro is a
good one. On the basis of “Sybille’s Day” and
“In Walked Bud”, this trio, together 17 years, is as fast
and fine-tuned as a Formula One racing car. On
“Hammer ’s Tones” and “Brush This”, Hamilton
generates tantalizing excitement, using only brushes.
He heard Meredith Wilson’s “Gary, Indiana” while
driving through that much-maligned town while
listening to Brazilian music on the radio. He decided to
“put the two together”. A song from The Music Man
and sensual samba rhythms mesh, seamlessly. It is a
startling change of mood when Christoph Luty’s
yearning arco bass introduces “I Have Dreamed”, the
only ballad. Hendelman pieces out Richard Rodgers’
rapt melody as if in the process of discovering it. LOU CAPUTO NOT SO BIG BAND
Hendelman’s “Bennissimo” is a tribute to a fellow mAy 14TH - SIR D’S
piano badass, Benny Green. When the trio played it on
the cruise, Green, who was also on the program, was in JUNE 5TH - CLUB BONAFIDE
the audience, in the front row, grinning. His presence “TRIED AND TRUE SwINGERS, THEy CAN TAkE yOU AROUND THE BLOCk
wITH A BUNCH OF STOPS IN BETwEEN, ALL OF wHICH ARE PLAyED TO
made the moment dynamic. Of course, you don’t get PERFECTION THROUGHOUT.” -mIDwEST RECORD
that on the record. But you can hear the record more
than once.
LOUCAPUTO.COm
For more information, visit caprirecords.com. This band is
at Dizzy’s Club May 7th-8th. See Calendar.
Habana to New Orleans
Jambalaya Brass Band (890 West Music)
by Joel Roberts
The Jambalaya Brass Band is a New York-based group
putting a decidedly modern twist on traditional New
Orleans music since 1998. Led by tenor saxophonist
Ric Frank, the group (five horns and two drummers,
plus guests) features an eclectic lineup drawn from big
JEFF HAMILTON TRIO
bands, brass bands and much more contemporary LIVE FROM SAN PEDRO
ensembles like The Lounge Lizards. Its closest musical
cousins are cutting-edge New Orleans brass bands like 4 Weeks at #1 on the JazzWeek Radio Chart!
Dirty Dozen and Rebirth, but with a heavy dose of Big “The pResenCe of a live audienCe inspiRes all
Apple flavor added to the familiar Big Easy stew. ThRee musiCians and The ResulTs aRe
Jambalaya’s latest album, as the title suggests, is a Joyful sampling of mainsTReam Jazz.”
leonaRd malTin
a tale of two cities integral to the history and
development of jazz as we know it. The tunes alternate “This is as good as iT geTs in
between homages to the great musical metropolises, The WoRld of piano TRio Jazz.”
êêêê —pieRRe giRoux
starting with “Congo Square”, a high-spirited
evocation of the market area in the Treme neighborhood
of New Orleans that helped give birth to the music that
became jazz. That’s followed by “Tumbao”, an
CD RELEASE EVENTS:
AfroCuban dance number propelled by Ralph
Hamperian’s tuba and swirling solos from Frank,
trumpeter Jim Seeley and trombonist Curtis Fowlkes. MAY 7&8, 7:30, 9:30 PM $35
Other standout tracks (all original compositions by
Frank) include “Here Dey Come”, a tribute to the
legendary Mardi Gras Indian band Wild Magnolias;
“Parkway Bakery”, written in honor of a landmark
CAPRIRECORDS.COM

Trio Joy
Jasmine Choi/Joe Fonda/Harvey Sorgen (Klopotec)
by Mark Keresman
Sometimes musicians can be hemmed in by reputation,
by style, by their timeframe in the grand scheme of
things. Some performers want to explore/express
themselves in different media—actors want to sing,
singers want to act, jazz musicians want to perform
notated works. Take Jasmine Choi, a superstar of the
classical music sphere, performing as soloist with the
Philadelphia, Berlin and Cincinnati Symphony
Orchestras, adding to the abundant tradition of great
Mozart concertos for flute. Acoustic bassist Joe Fonda
has performed/recorded with Wadada Leo Smith, Billy
Bang, Barry Altschul and Chico Hamilton. Drummer
Harvey Sorgen has been known to mix it up with
Ahmad Jamal and Dave Douglas as well as Paul Simon,
veteran blues-rock band Hot Tuna and Grateful Dead
bassist Phil Lesh. Trio Joy is where these three undertake
group composition/free improvisation.
The opener “Moss” is a lovely soundscape. Choi
plays slightly somber folk-like harmonious passages
while Sorgen rumbles, sways and gently crashes like
a windswept yet not-quite-stormy ocean surface and
Fonda plucks and strums as if playing a giant lute. The
result is modal jazz, Elizabethan-like lament and
British Isles ancient song of the seas all at once. The
surreal, mournful “Storyboard” finds Choi and Fonda
using extended techniques, wrenching agonized,
cathartic wails resembling the purposeful feedback of
an electric guitar. Mildly frenzied “Frame Check” is
perhaps the closest thing to ‘standard’ free jazz, played
with a sense of forward motion and strong suggestion
of swing; some points of reference would be the trios of
Jimmy Giuffre and Sam Rivers. “A Feast of Pigs”
contains a Choi solo that is almost painfully beautiful,
sticking to the middle range of the flute as if trying to
distill all the anguish in the world and make it soulful
and uplifting.
This is music about exploration and expression.
There is warmth and purpose here.
For more information, visit klopotec.si. Fonda and Sorgen
are at The Loft of Thomas Rochon May 11th. See Calendar.
Celebrating William Parker @65
Bobby Zankel & The Wonderful Sound 6 (Not Two)
by Stuart Broomer
A New York native, alto saxophonist Bobby Zankel
began his career in the ‘70s playing in Cecil Taylor ’s
larger ensembles. Since settling in Philadelphia in
1975, he has become a significant presence in that city’s
free jazz scene, leading small groups and a large
ensemble, The Warriors of the Wonderful Sound.
Zankel released several CDs in the ‘90s and early ‘00s
on the Cadence and CIMP labels; Human Flowers with
pianist Marilyn Crispell and drummer Newman Taylor
Baker, from 1995, is particularly outstanding, the trio
format highlighting Zankel’s tart sound and fleet, title track and “Goldie’s Chance” are album highlights.
brightly inflected, continuous lines. Rodriguez displays a delicacy at the keys that perfectly
As the title declares, this is a 65th birthday balances Sevian’s slow, low swaying. But the almost
celebration of bassist William Parker, Zankel’s manic “Lamb and Bunny”, on which Tarantino returns
colleague for over 40 years. The suite is a loose for another round with/against the leader, is
collection of themes taken from Zankel’s compositions astonishing. Rodriguez, McBride and Strickland set a
for big band and used as launching pads for extended racetrack tempo and the two women sprint through
improvisation welling up from the roots of free jazz. complex bebop phrases, tearing through the changes
Two members of the sextet—pianist Dave Burrell and and trading off phrases like it’s 1945. Albums by
drummer Muhammad Ali—launched their careers in baritone saxophonists may not be common, but Bliss
the ‘60s and the dense, powerful undercurrent they makes a strong argument for more of them and soon.
create with Parker ’s foundational bass, a flux moving
in every direction at once, keeps the music in a state of For more information, visit posi-tone.com. This project is at
vital turbulence, feeding the other voices of Zankel, Dizzy’s Club May 16th. See Calendar.
trombonist Steve Swell and violinist Diane Monroe,
the latter two also members of Zankel’s large ensemble.
The third and longest segment includes a Zankel
theme directly invoking Ornette Coleman, as close to
the union of dance and laughter as one can get. Laughter
seems like part of Parker’s extended arco solo as well
and when Monroe launches her solo, interjecting an
extended passage of “Wade in the Water”. Blues roots
arise everywhere here, with the band sourcing them
from West African string music to Coleman and Taylor.
The entire performance is a wide-ranging, joyous
exchange among musicians clearly familiar with one
another, everyone contributing to the celebration.
For more information, visit nottwo.com. William Parker is
at Downtown Music Gallery May 13th and Roulette May
23rd, 25th, 27th and 28th, the latter as part of Vision
Festival. See Calendar.
Bliss
Lauren Sevian (Posi-Tone)
by Phil Freeman
Baritone saxophonists don’t get to make their own
albums very often. This is Lauren Sevian’s second
release as a leader and comes nearly a full decade after
her debut. The band is alto saxophonist Alexa Tarantino
(with whom Sevian co-leads the wittily named group
LSAT), pianist Robert Rodriguez, bassist Christian
McBride and drummer E.J. Strickland. All the
compositions are hers, save Tarantino’s “Square One”.
“Triple Water” kicks off the album in a bebop
flurry. Sevian’s phrases—Tarantino is not heard here—
have the intricacy and speed of John Coltrane on
“Countdown” and the band keeps her flying high;
McBride and Strickland are skipping along and
Rodriguez dances across the keys, releasing rippling
waves of notes. The mellower “Square One” follows,
allowing the two saxophonists to harmonize. Tarantino
plays around in the lower end of the alto’s range, with
Sevian as her shadow, or her big sister, hovering
protectively. McBride takes a forceful, string-popping
solo. “Bluesishness” lives up to its title; it’s bluesy, but
it’s also meandering and somewhat convoluted,
a string of phrases that wind all over the place, barely
anchored by the rhythm. McBride throws a
maddeningly familiar quotation into his solo that does
more to anchor the piece than anything from the
leader ’s pen. “Miss Lady” begins with another
Coltrane-in-1959 opening fanfare, but at the 90-second
mark a half-speed drum solo drains away all its
momentum; when the band comes back in, they’re
swinging in a loose and genial manner, but it feels like
an entirely different piece.
The baritone is well suited to ballads and both the
THE NEW YORK CITY JAZZ RECORD | MAY 2018 19

MICHAEL FORMANEK
60TH BIRTHDAY RESIDENCY!!
st th,
MAY 1 -5 2018
At The STONE at The NEWSCHOOL
55 West 13th St New York, NY 10001
One Set Per Night at 8:30pm
$20 Admission Per Set
http://thestonenyc.com/index.html
May 1st Tuesday 8:30 pm
Michael Formanek and Andrew
Cyrille Duo
Michael Formanek (bass)
Andrew Cyrille (drums)
May 2nd Wednesday 8:30 pm
Michael Formanek Quartet
Tony Malaby (tenor, soprano saxes)
Kris Davis (piano) Michael Formanek
(bass) Dan Weiss (drums, percussion)
rd
May 3 Thursday 8:30 pm
Thumbscrew and Reeds
Mary Halvorson (guitar) Tomas
Fujiwara (drums) Michael Formanek
(bass) with: Tim Berne (alto sax) Jon
Irabagon (saxes) Oscar Noriega (alto
sax, clarinets) Peter Formanek (tenor
sax, clarinet)
May 4th Friday 8:30 pm
Marty Ehrlich, Taylor Ho Bynum,
Angelica Sanchez, Michael Formanek,
Pheeroan AkLaff
Marty Ehrlich (alto sax, clarinets)
Taylor Ho Bynum (cornet) Angelica
Sanchez (piano) Michael Formanek
(bass) Pheeroan AkLaff (drums)
After Caroline
Jason Stein’s Locksmith Isidore (Northern Spy)
by George Grella
Bass clarinetist Jason Stein is much in demand among
cutting-edge Chicago jazz groups like Mike Reed’s
Flesh and Bone and Hearts and Minds, a collective
established by drummer Chad Taylor and pianist Paul
Giallorenzo. One listen to After Caroline demonstrates
why. This is Stein’s fourth release with his trio
Locksmith Isidore (after a debut on Not Two and a pair
of CDs on Clean Feed). Each face of this musical
triangle—with bassist Jason Roebke and drummer
Mike Pride—provides energy, instrumental skill and
active listening-response to everything happening in
the group.
The album is upfront and immediate about what
it’s going to do. The first track, “As Many Chances as
You Need”, opens with Stein in semi-squall, playing
quick runs and hitting multiphonics and altissimo
notes. Then a riff starts in 19/8 time, the rhythm section
comes in and we’re off, with Stein soloing over the
driving rock beat, moving in and out of diatonic
structure.
This is contemporary jazz, emphasis on the last
word. Stein goes where he needs to express himself
and that also means he and the band often stick to
swing and swing well. “Eckhart Park” has plenty of
bounce, the track that follows, “Ida Like”, is mostly
free for the group, then “26-2” is modern postbop.
Stein and band are agile thinkers, everyone on top
of the moment and playing with drive and imagination.
The ballad “You Taught Me How to Love” (not the
Bobby Patterson song) has an impressive melody and a
compelling, minor-key groove. Roebke plays an
involving solo. The trio, engine on, drives away with
“We Gone”.
A note on the band name and album title: Caroline
was Stein’s paternal grandmother, her husband Isidore
was a locksmith and she passed away the day of the
recording. She would be proud.
For more information, visit northernspyrecs.com. This
project is at Nublu 151 May 18th. See Calendar.
indeed a drum set—fitting hand in glove with one of
the tightest rhythm sections in the business: Linda Oh
and Ulysses Owens, Jr. The addition of Joel Ross on
vibraphone is more than a bonus: his rendition of
Bruno Martino’s “Estate” is quite memorable. The two
reeds, Daniel Dickinson and Samir Zarif, integrate and
alternate to great effect, adding to the variety of the
program, which is largely Slatko’s originals.
After fast opener “Green Ceiling”, the pace slows
to a medium bounce, bringing to the fore the Oh-Owens
rhythm duo. “Purpose of Love” features engaging solos
by Dickinson, Ross and Slatko—this is a group that
does not shy away from swinging. “Sister Chromatids”
is possibly the most challenging of the compositions,
with an underlying sense of melancholy set by Oh’s
arco and Dickinson’s alto above a repeated piano
tremolo. “The Haze” is a slow ballad featuring dreaming
alto, then the pace picks up again with two standards—
Irving Berlin’s “Blue Skies” and “Estate”—the former
being given a dynamic trio treatment exalting Slatko’s
touch, whereas the latter is left to an ethereal exchange
between piano and vibraphone after a dramatic start
evolving into the main melody. The full group is
featured on “There is Only Now”, showcasing Zarif’s
original dry tenor. A Monk medley comprising
“Evidence”, executed as solo piano, and Donald
Brown’s “Waltz for Monk”, performed by the quartet
with Ross, reveals Slatko’s various influences, including
Lennie Tristano. “Slat Strut” is reminiscent of Red
Garland both in the piano solo and in Zafir’s abstract
contribution. “Will Things” wraps up the program as
an inspired alto/piano duet. This an authoritative
debut boding well for things to come.
For more information, visit ryanslatkomusic.com. This
project is at ShapeShifter Lab May 18th. See Calendar.

May 5th Saturday 8:30 pm

Tim Berne, Ralph Alessi, Michael
Formanek, Ches Smith
Tim Berne (alto sax) Ralph Alessi
(trumpet) Michael Formanek (bass) First Impressions
Ches Smith (drums, percussion) Ryan Slatko (s/r)
by Marco Cangiano

AND, May 6th Sunday 4:40-6:40pm
Michael Formanek, Solo Bass
Me, Myself, and Eye Series at
440 GALLERY Sixth Avenue @
Ninth Street Brooklyn, NY 11215
Suggested Donation - $10
http://www.michaelformanek.com
A drum roll call announces Ryan Slatko’s authoritative
debut. He is an accomplished pianist who has made
the most of his acclaimed mentors, ranging from Lynne
Arriale while he was at the University of North Florida
to Don Friedman and Alan Broadbent. The program
ably alternates mood and instrumentation and
showcases a formidable cast of up-and-coming
musicians. Slatko’s compositions are all interesting
and quite complex and he shows considerable maturity
as bandleader, giving ample space to his partners. He
is a very rhythmic player—his first instrument was

20 MAY 2018 | THE NEW YORK CITY JAZZ RECORD


The Unheard Artie Shaw
The New York All-Star Big Band
(featuring Dan Levinson) (Hep)
by Alex Henderson
Iconic clarinetist Artie Shaw (who died in 2004 at 94) is
best remembered as among the most famous of the
Swing Era bandleaders and that outfit’s lesser-known
arrangements are the focus of this album. The title is
somewhat misleading because some of these
arrangements from Jerry Gray, Eddie Durham and
others were, in fact, heard on Shaw’s live radio
broadcasts of the ‘30s so the New York All-Star Big
Band (with James Langton conducting and Dan
Levinson featured extensively as lead clarinet) is, in
effect, paying tribute to Shaw’s live performances.
Appropriately, the CD opens with the ominous
“Nightmare”, which was used as Shaw’s theme during
his ‘30s broadcasts from the Blue Room in midtown
Manhattan’s Hotel Lincoln. The band goes on to
recreate the spirit of Shaw’s live broadcasts with
instrumental performances of “I’ve Got the World on a
String”, “In the Mood”, “Diga Diga Doo” and other
standards part of his repertoire during that era.
Soloists include trumpeter Jon-Erik Kellso, tenor
saxophonist Mark Lopeman and trombonists Harvey
Tibbs and Jim Fryer. Levinson is the main lead and
draws on the Shaw/Benny Goodman style whether
playing Clarence Williams/Spencer Williams’ “Royal
Garden Blues”, Irving Berlin’s “How Deep Is the
Ocean” or Cole Porter ’s “Begin the Beguine” (one of
Shaw’s biggest hits). On his hit 1940 recording of
“Stardust”, Shaw performed the Hoagy Carmichael
standard as a slow ballad with lush strings; the Gray
arrangement here is delivered at midtempo and will be
familiar to collectors who have heard Hindsight
Records’ CDs of Shaw’s Blue Room broadcasts.
There are six vocal performances: four with Moanin’
Mary (“Them There Eyes”, “You Go to My Head”,
“Trav’lin Alone” and “The Moon Looks Down and
Laughs”) and two by Molly Ryan (“And the Angels
Sing” and “Stairway to the Stars”). The latter is clearly
paying homage to Shaw vocalist Helen Forrest while the
former is more a combination of Billie Holiday (who
appeared on some of Shaw’s live dates) and Peggy Lee.
Those who have only heard Shaw’s studio hits for
RCA Victor are overlooking an important part of his
history: the live broadcasts, many of which, thankfully,
have been reissued on CD. The Unheard Artie Shaw is an
enjoyable salute to that part of his legacy.
For more information, visit hepjazz.com. Levinson is at St. Michael’s
Cemetery May 19th and Mezzrow May 30th. See Calendar.
Fullmoon
Stephanie Richards (Relative Pitch)
by Robert Bush
Trumpeter Stephanie Richards’ days of flying under
the radar of the creative music consciousness may be
22 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
coming to a welcome end, thanks to recent high-profile imbued his music with the blues. It’s not hard to trace
assignments with Anthony Braxton and Henry the lineage of his craggy tunes and their wry intervals
Threadgill. Richards studied conduction under the late to ragtime and folk-blues songsters, many of whom
Butch Morris and, after years in Brooklyn, migrated plied their trade on the six-string.
out west to teach at UC-San Diego. Fingerstyle guitarist Duck Baker is the kind of
Fullmoon is a superb introduction to her music, musician for whom a project like the recording of nine
which will please fans of masters like Lester Bowie and unaccompanied Monk compositions is a natural fit.
Bill Dixon. Recorded “live” in a room in tandem with His work has often favored soli and small chamber
the sampling of Dino J.A. Deane, Richards explores the ensembles absent piano or drums, focusing on standard
timbral possibilities of her trumpet engaging and repertoire with a deceptively loose, easy swing that
interacting with other resonating bodies to create a allows lines to unfurl in surprising directions (vis-a-vis
singular textural experience. Lacy). Plays Monk is, in a way, a follow up to Spinning
Richards and Deane open “New Moon” with Song, a recording Baker made of Herbie Nichols’ music
warbled sputtering and a variety of organic and for John Zorn’s Avant label in 1996, but these tunes
inorganic samples. Right away, her mastery of tonal open up into different spaces, not to mention adding
manipulation becomes apparent. She places the bell of two decades’ worth of lived artistry.
her horn at various distances and angles to “Snare”, The set starts with “Blue Monk”, which was the
achieving a remarkable variety of textures supported first Monk piece Baker learned (and features in one of
by Deane’s library of martial cadences. It is worth his jazz fingerstyle instructional videos), puckish
noting this album, without benefit of multi-tracking, harmonics and spindly elisions tapping in the direction
ascends to a beautifully orchestral feeling. of song before emerging in twangy pirouettes; furious
On “Piano”, Richards placed a brick on the sustain runs gallop and almost obscure the fact that one is
pedal and blew into the instrument, enjoying the long listening to an acoustic guitarist. It takes a certain kind
decay and the manipulation of specific overtones while of solo player to embody an orchestral concept where
Deane hovers in the background with sympathetic a pianist or saxophonist might be ‘hearable’ whether or
swells of eerie textures. On “Gong Pt. I”, Richards sat not they are present. That said, solo study and the
on the floor, pointing the bell of her horn up to a large shape of a tune — a pearl or a jewel in this case — is
gong hanging a few inches above her head. Certain paramount and Baker imbues a chestnut like “‘Round
tones activated sympathetic overtones, creating new Midnight” with winsome parlor snap and “Bemsha
combinations. “Gong Pt. II” was made possible by Swing” with crisp, raggy jounce. Putting bebop,
Richards playing her flugelhorn without a mouthpiece, written craft and improvisation through their paces,
utilizing her diaphragm for a specific type of vibrato Plays Monk is a masterful recording of creative
reminiscent of bagpipes or shakuhachi. Placing her solo fingerstyle.
horn just above or coming into actual contact with the
surface of “Timpani” creates a wonderfully weird For more information, visit triplepointrecords.com. Baker is
distortion and at times the blend of her instrument and at Wonders of Nature May 20th. See Calendar.
that of Deane becomes nearly impossible to
differentiate.
On “Full Moon I”, electronic drones underpin a
keening high-end yearning evoking Kenny Wheeler
and on “Full Moon II”, Richards spits air out of the
horn while Deane feeds her output back into the room,
manipulating the content to make a dizzying swirl of
sounds. This is a very impressive debut as a leader
from Richards, who won’t be under anyone’s radar for
much longer.
For more information, visit relativepitchrecords.com. This
project is at National Sawdust May 19th. See Calendar.
Plays Monk
Duck Baker (Triple Point)
by Clifford Allen
In looking through discographies of various early-
modern jazz guitarists, the music of Thelonious Monk
enters playbooks only sporadically. Kenny Burrell
didn’t record Monk until 1963; Wes Montgomery
chewed on these pieces a bit earlier, primarily in live
settings. René Thomas’ 1960 Guitar Groove LP includes
“Ruby, My Dear” and that in itself is a treat (duskily
interweaving guitar and tenor over soft rhythmic
footfalls). It’s also easy to forget, as canonized as Monk
is, how little his music was covered by others during
his floruit—soprano saxophonist Steve Lacy being
a rare exception. Monk was considered the “high priest
of bebop” and his tunes a heady challenge to play, but
the pianist, born just over a century ago on the coastal
plains of North Carolina and raised in New York,

Accelerated Projection (Live at Sant’Anna Arresi)
Roscoe Mitchell/Matthew Shipp (Rogue Art)
Bells for the South Side
Roscoe Mitchell (ECM)
Ride the Wind
Roscoe Mitchell/Montreal-Toronto Art Orchestra (Nessa)
by Marc Medwin
Roscoe Mitchell’s allegiance to shifting and merging
universes of improvisation and composition has been
well documented and thoroughly discussed but these
albums up the ante. A layer of recomposition via past
improvisation is added to the mix, placing Mitchell in
the rarified company of artists whose self-actualization
takes on the corpus-unifying complexities of revisitation.
Given this radical context, even Mitchell’s
improvisations seem imbued with a kind of freely
encompassing unity. Take the third section of Accelerated
Projection, a concert duet with pianist Matthew Shipp
recorded in 2005. Shipp’s luminous pianism fades to
silence and Mitchell articulates a series of scalar
fragments, which are then augmented, diminuted,
inverted and reinverted while interspersed with
punctuating single tones before fragmenting into
smaller but related components. We are privileged to
glimpse a view of his mind in the complex process of
creative unfolding. Shipp offers some of the finest
playing of his career and the excellent recording renders
each subtle color vivid and exquisite. Listen to the way,
in similar unity mode, he plumbs the piano’s lower
register in the album’s final section but has obvious fun
blasting asymmetrical holes in the tapestry he’s
weaving with interregistral hammer blows. Yet, one
low tone from Mitchell changes the mood and Shipp is
right there to support every subtlety and nuance
achieved throughout this mesmerizing performance.
Mitchell’s affiliation with the venerable ECM label
is long and Bells for the South Side is yet another
excellent entry for both artist and company. Recorded
in conjunction with the AACM 50th Anniversary
celebrations, it presents members of Mitchell’s current
and often percussion-heavy trios, carrying on the
Art Ensemble of Chicago tradition in multifarious
aggregations. The ethereal opening track, mysteriously
crystalline “Spatial Aspects of the Sound”, is dotted
with improvised and composed melodic relationships,
especially evident when Mitchell’s piccolo emerges
from the sonic mists. The pianos of Tyshawn Sorey and
Craig Taborn form an uneasily marshy backdrop
against which William Winant and Kikanju Baku’s
percussion looms and glitters like a beacon. Both the
opening track and the title track inhabit this space of
sometimes ominous ghost-town emptiness, Hugh
Ragin’s trumpet a clarion call in communion with
various percussive unfoldings and Mitchell’s
subterranean contrabass clarinet. Nowhere does the
music become more beautiful and unnerving than on
the electronic jousts and inexorably building full-band
explorations of “Red Moon in the Sky”, which morphs
into the familiarly lush and victoriously modal theme
of “Odwalla”, performed by all the musicians together
to cap off this extraordinary homage to one of the most
enduring organizations ever to foster creative music.
No label has done more to promote Mitchell’s
music than Nessa and it is fitting that the ambitious
Ride the Wind should be released on that iconic imprint.
The Montreal-Toronto Art Orchestra comprises some
of Canada’s best performers of new music and they
turn their attention to improvisations from two 2014
trio albums, Conversations 1 and 2, with Taborn and
Baku. Stuart Broomer ’s superb notes detail the process
by which Mitchell or one of his students first
transcribed and then orchestrated the improvisations,
sometimes even using spectral analysis to glean
harmony from multi-pitched percussion instruments.
The results are unlike anything in Mitchell’s vast
catalogue, scaling the heights of grandeur only to dive
headlong into passages of uproarious humor, such as
the squeaky-toy-inflected opening of “Rub”. The title
piece is a tour de force of transcription and composition,
as comparison with the improvisation makes plain.
A single but complex bell tone from the original
becomes a chord, a sonority rife with overtone as well
as micro- and macrocosmic implication for the rest of
the piece. Mitchell provides only a sopranino solo on
the second part of “They Rode for Them”, but his
thumbprint is everywhere in these works, which,
in AACM fashion, refuse either to embrace or reject
convention, treading a middle ground of exploration.
The recording itself is unique; it resides at the opposite
end of the spectrum from ECM’s opulent acoustics.
Room atmosphere is almost entirely sublimated in
favor of one of the most vivid stereophonic
presentations imaginable. Each instrument is captured
in space, its sound complete and never subservient to
another instrument, surpassing any concert hall
experience in refinement; the listener is seated about
five feet away from the orchestra. If only major labels
would record orchestras this way!
For more information, visit roguart.com, ecmrecords.com
and nessarecords.com. Mitchell is at Roulette May 24th as
part of Vision Festival. See Calendar.

dan pugach nonet

maY 18 - 55BaR 10 pm
nicole ZuRaitis - voice
david smith - tRumpet
mike Fahie - tRomBone
Jen hinkle - Bass tRomBone
andRew gould - alto saxophone/Flute
JeRemY powell - tenoR saxophone/claRinet
andRew gutauskas - BaRitone saxophone/Bass claRinet
oZ noY - guitaR
leo sheRman - Bass
dan pugach - dRums

“i can’t gush enough “his masteRY oF the music

aBout the JoYFul eneRgY FRom the suBtle inneR
that dan and his nonet woRkings oF his hoRn
expRess in the most open oRchestRations to his
oF waYs. dan’s music is command oveR shaping
thoughtFul, exciting laRgeR musical statements
and immenselY engaging.” puts dan in a league oF
—ingRid Jensen his own.” —alan FeRBeR

maY 4 - Blu JaZZ, akRon, oh

maY 5 - nighttown, cleveland, oh
maY 6 - uRBan aRtiFact, cincinnati, oh
maY 10 - cliFF Bell’s, detRoit, mi
maY 11 - meRRiman’s plaYhouse, south Bend, in
maY 12 - the JaZZ estate, milwaukee, wi
June 1 - piedmont piano companY, oakland, ca
august 16 - haRBoR JaZZ Festival, stonYBRook, nY
august 17 - the palace theateR, wateRBuRY, ct

danpugach.com
septemBeR 7&8 - stowe JaZZ Festival, stowe, vt

THE NEW YORK CITY JAZZ RECORD | MAY 2018 23


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24 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
You Eat My Food, You Drink My Wine, You Steal My Girl!
Leslie Pintchik (Pintch Hard)
by Donald Elfman
P ianist Leslie Pintchik continues her inventive musical
expeditions with yet another set of unique originals
and delightfully different takes on standards. She cares
about melody, telling stories and communicating with
her fellow musicians, most of whom have been with
her for years. Pintchik’s playing presents deft
technique always tempered by a lovely sense of humor.
Let’s start with her take on standards. Jimmy
Dorsey-Paul Madeira’s “I’m Glad There Is You” is
taken at a slow and sexy pace in a trio setting, making
it as warm and inviting as it’s ever sounded. Solos by
the leader and bassist Scott Hardy are delicate and
powerfully passionate. Jerome Kern-Otto Harbach’s
“Smoke Gets In Your Eyes” follows as a samba and the
tone is engaging and intimate yet also hot and strong.
Hardy is the perfect partner and drummer Michael
Sarin provides spot-on complements and accents.
The slow tunes are exquisitely beautiful, elegiac
and bittersweet. “Mortal” reflects on our brief time on
Earth with seriousness and rich emotion. Steve Wilson
(alto saxophone) is elegant and heartfelt and Ron
Horton (flugelhorn) carries a world of sensitivity and
depth in his playing. “A Simpler Time”, which also
appeared on Pintchik’s album Quartets, is heartbreaking
yet bracing in this trio version. Pintchik and Hardy
pair up as loving and listening intimates.
In a lighter spirit are the other four originals.
“Happy Dog” and “Hopperesque” both utilize the
delicate sound of Shoko Nagai’s accordion, the former
a sprightly Latin number and the latter expressing the
mystery inherent in much of Edward Hopper ’s work.
There are two tunes with the unconventional names.
The title track has a sense of urban soul with a
boisterous solo by Wilson and omnipresent funk from
the rhythm section. And “Your Call Will Be Answered
By Our Next Available Representative, In The Order In
Which It Was Received, Please Stay On The Line, Your
Call Is Important To Us” is a brilliant stop-and-start-
and-stop-again line, hip modern jazz with intricate
playing from the trio.
Leslie Pintchik creates a rich palette of music that
is discerning, unexpected and always inviting.
For more information, visit lesliepintchik.com. This project
is at Jazz at Kitano May 23rd. See Calendar.
Magnetism(s)
Matthew Shipp (Rogue Art)
Sonic Fiction
Matthew Shipp (ESP-Disk’)
Zero
Matthew Shipp (ESP-Disk’)
by Kurt Gottschalk
P ianist Matthew Shipp marks 30 years in the recording
business this year, a three-decade run that includes
threats of retirement, overseeing an exceptionally
inventive label imprint and, most importantly, creating
a tower of exciting recordings of his own piano artistry.
The longest professional relationship of that
illustrious run is with saxophonist Rob Brown, with
whom he issued his first record, Sonic Explorations
(Cadence Jazz), in 1988. The two share a certain free
fluidity that has been documented in a variety of
configurations, often with the bassist William Parker.
An excellent album by that trio, Magnetism, was
released on the French label Bleu Regard in 1999 and it
now sees reissue on another French label—the
invaluable RogueArt—paired with a 2016 session by
the same three men.
The reasonable, rash reaction to the double-disc
Magnetism(s) would be to make pronouncements about
how the musicians have changed, matured even, over
the ensuing years. But these are players who evolve
more in a matter of moments than they do over the
course of years. The three play together with a deep,
shared consciousness because they have played
together for so long, for sure, but they’ve also no doubt
played together for so long because they’re able to
share a deep consciousness. The earlier studio session
is comprised of 20 short tracks while the more recent
live recording is three longer tracks, but that is more
likely attributable to the setting than the year. Put
simply, Magnetism(s) extends the line(s) of some of the
longest and strongest associations in New York’s free
jazz. Its value isn’t in surprise but in dependability.
Sonic Fiction is the fourth record that Shipp has
made with another reedplayer, Poland’s Mat Walerian
(after 2012’s The Uppercut: Live At Okuden and Jungle
Live At Okuden and 2015’s This Is Beautiful Because We
Are Beautiful People adding bassist William Parker).
Heard here on alto saxophone and bass and soprano
clarinets, Walerian is a wonderfully slippery player,
full of blurry glissandi that melts over the music. This
studio session is rounded out by two longer-term
Shipp associates, bassist Michael Bisio and drummer
Whit Dickey, resulting in the tense dynamic of a(nother)
simpatico rhythm section with a wild card (emphasis
on wild) soloist. Walerian’s rich tone on the bass
clarinet is a highlight, sounding nearly like a cello on
the abstraction of “Blues Addition”. The wonderful
dialogue between Walerian and Bisio on that track is
typical of the album, which nicely circles in
configuration, more often than not exploring solos or
subgroupings of the already small group. The quartet
is billed under Shipp’s name and all the composition
credits are his, but plenty of space is afforded to each
of the members.
Of the three records considered here, the must-
have for the Shipp Incompletist is the odd and
entertaining Zero. This unusual double-disc set features
two solos: the first a series of short piano impromptus,
the second a 63-minute free ranging discourse on (to
borrow from Sartre) being and nothingness. As such,
it’s unlike any other of the many releases in Shipp’s
catalogue. The piano set is 11 short tracks recorded in
studio, ranging from under two minutes to six and a
half. They show Shipp in a rather jazzy mood, still
following the spontaneity of the moment but with trills
and loping lines reflecting a lifetime of listening to Bill
Evans, Andrew Hill and Paul Bley. Shipp’s playing has
always been full of idiosyncrasies and here he has an
odd done-and-out habit of sudden stops, as if he’s had
enough. It can be a bit disconcerting but gives a nicely
unlikely countenance to the melodious playing.
Disc One is just 45 minutes. It would be nice if it ran
a bit longer so it could provide a backing track to the
decidedly stranger second disc, entitled “A Lecture on
Nothingness” (the nod actually being not to Sartre but
Cage). It’s a monologue by an instrumentalist separated
from instrument, a rambling, verbal improvisation on a
few prepared themes. It may not hold up to more than a
listen or two, but doesn’t need to. It’s another intriguing
entry in the 30-year discography of a musician never
lacking in things to say.
For more information, visit roguart.com and espdisk.com. Shipp
is at Roulette May 25th as part of Vision Festival. See Calendar.
» SATURdAY JUNE 16
VIJAY IYER TRIO
wITH MATANA ROBERTS CELEBRATING
LE POISSON ROUGE’S
» SUNdAY JUNE 17 10TH ANNIVERSARY
MARC RIBOT Y LOS
CUBANOS POSTIZOS F U L L S C H E d U L E AT

» THURSdAY JUNE 21 - 2 SHOwS

LPR.COM/X
BILL FRISELL’S GUITAR INVITATIONAL
wITH JULIAN LAGE, MARVIN SEwELL, BRANdON ROSS & MATT
MUNISTERI (FEATURING TONY SCHERR & KENNY wOLLESEN)
» MONdAY JUNE 25 - LPR PRESENTS AT MURMRR THEATRE

TEN wITH TERRI LYNE CARRINGTON

ESPERANZA SPALdING & NICHOLAS PAYTON

Plays Dom Salvador
Duduka Da Fonseca Trio (Sunnyside)
by Matthew Kassel
Drummer Duduka Da Fonseca’s new album, a tribute
to the great Brazilian pianist and samba jazz pioneer
Dom Salvador, feels inevitable—and in many ways
unnecessary. Da Fonseca came of age in Rio de Janeiro,
where, as a 14-year-old in the mid ‘60s, he encountered
Salvador ’s groundbreaking album Rio 65 Trio, with
Sergio Barrozo (bass) and the estimable Edison
Machado (drums). “I played along with this particular
album day and night for many, many years,”
Da Fonseca writes warmly in the liner notes. Somewhat
fortuitously, Da Fonseca would get the chance to play
with Salvador in New York in 1980, cementing a
musical partnership that has lasted for more than 30
years—and which perhaps had its apotheosis in a 2015
concert at Carnegie Hall on the 50th anniversary of
Salvador ’s seminal album.
In other words, Da Fonseca is so intimately
connected with Salvador that basically everything he
does is in some way a tribute to him. Which isn’t meant
to imply that this record—with bassist Guto Wirtti and
the excellent pianist David Feldman (with a short but
meaningful cameo by the cellist Jacques Morelenbaum
on the ballad “Para Elis”)—isn’t worth seeking out.
Da Fonseca’s fealty to Salvador is tangible, but there
are other influences that listeners will hear as well, in
satisfying doses. In Da Fonseca’s loose, lovely
drumming, which swings and stutters, you can detect
Elvin Jones. There’s also a bit of Paul Motian in his
brushwork. Feldman’s lush chords and rhapsodic
flourishes remind one of Bill Evans, particularly on
“Gafieira” and “Valsa de esquina”. At times, the group
sounds, collectively, like one of Chick Corea’s trios.
But in the end, it all goes back to Salvador, who
wrote all of the compositions covered on this record.
And for Da Fonseca, the admiration is mutual.
Salvador, who lives in New York and has played piano
at the River Café since 1977, writes a laudatory
appreciation of Da Fonseca, printed on the record’s
inside flap. “To know that someone holds my music in
such high regard and has produced such a deeply-felt
recording,” he says, “makes my heart sing.”
For more information, visit sunnysiderecords.com. Da
Fonseca leads a tribute to Salvador at Jazz at Kitano May
25th-26th. See Calendar.
composer/arranger Oscar Hernandez—who’s played
with both Machito and Puente as well as artists from
Ray Barretto to Rubén Blades—the group offers up an
exciting program of nine new original compositions
and updated arrangements of four AfroCuban classics.
Driven by a powerful rhythm section in which
Hernandez is joined by longtime colleagues, bassist
Gerado “Jerry” Madero and percussionists Luisito
Quintero, George Delgado and Jorge Gonzalez (on
timbales, congas and bongos and bell, respectively),
the band’s five horns (trumpeters Hector Colón and
Manuel “Maneco” Ruiz, trombonists Doug Beavers
and Noah Bless and baritone saxophonist/flutist Mitch
Frohman) and three vocalists (Marco Bermúdez, Carlos
Cascante and Jeremy Bosch, the latter doubling on
flute) perform the urbane orchestrations with enviable
sophistication.
The album opener, Bermúdez-Colón mambo “Esa
Nena”, highlights the orchestra’s originality, with an
acappella vocal chorus and Colombian cumbia interlude.
Four more new compositions—a pair from Bermúdez
and the late Tito Puente pianist Gil Lopez, “Yo Te
Prometo” and “Echa Pa’lante”, respectively, Cascante’s
“Dime Tú” and Hernandez’ “Goza El Ritmo”—raise the
temperature of the mambo fever. The band swings the
appealing melodies with horns and voices engaging in
call-and-response riffs with visceral rhythmic intensity.
The exhilarating spirit persists in original arrangements
of Cheo Feliciano’s “Guaracha Y Bembé”, Blades’ “Y
Deja” and José Alfredo Jimenez’ “La Media Vuelta”.
The mood then turns romantic on Hernandez’ cha-cha
“Canción Para Ti”, Cascante’s classically tinged “Como
Te Quise” and the classic bolero “Tres Palabras”.
Trumpeter Randy Brecker joins the band on the
swinging Hernandez instrumental “Somos Uno”, an
easy grooving outing also featuring Quintero’s
timbales. The date closes out back in a classic mambo
mode with Bosch’s “Soy El Tambor”.
Celebrating the album’s release (Apr. 4th) at Le
Poisson Rouge (site of the old Village Gate, where
Hernandez regularly played in the club’s historic
Monday night Salsa Meets Jazz series), the group
opened with the pianist’s as-yet-recorded fiery mambo
“La Orquestra Del Barrio”. Each instrumentalist
stepped into the solo spotlight before Hernandez came
to center stage to introduce the band (with trumpeter
Chris Rogers, son of the late Eddie Palmieri trombonist
Barry Rogers, filling in for Ruiz) and bring out the
orchestra’s vocalists, who sang the song’s Spanish
language lyric declaring the band’s mission to bring
the “ritmo sabroso” to the peoples of the barrios. For
the next two hours the group stretched out on the
thirteen songs from the record, with Bermúdez, Bosch
and Cascante respectively taking turns as lead vocalist
on the first three, then coming together on “Goza El
Ritmo” before a packed room of listeners and dancers,
who cried out for “una mas” when it was all over.
For more information, visit artistshare.com
in Amsterdam at only 59. After growing up in
Oklahoma he arrived in New York at the dawning of
the birth of bebop and soon developed a sound similar
to Miles Davis: quiet, restricted in range and melodic
rather than harmonically virtuosic. Baker ’s decades-
long heroin habit led to the loss of his teeth and his
movie star looks faded to a haunted visage.
However low he sank in later years, his range of
expressiveness, whether playing trumpet or singing,
still retained vestiges of his ability to cast a spell.
Shining out of myriad inferior albums Baker recorded
in his last decade is Live From The Moonlight with his
trio in Macerata, Italy. It includes a rehearsal and a
third set as a bonus. His affinity in his glory early years
for classic American songs is recalled by revisiting
several previously famously recorded. The tempos are
different and takes generously longer. Where once
Irving Berlin’s “How Deep Is the Ocean” was
melancholy, here it bounces and is invigorated by
Michel Graillier ’s vigorous piano and Massimo
Moriconi’s bass. Baker ’s cohorts are full partners,
enjoying generous solos as each winds in and out of
Baker ’s vigorous trumpeting. Another from Baker ’s
personal songbook is Victor Young-Ned Washington’s
“My Foolish Heart”, which, despite the obvious wear
on his voice, is stunning and powerful, especially
when he augments it with some of the still remaining
gold in his trumpet. Two different takes on Jimmy Van
Heusen-Johnny Burke’s “Polka Dots and Moonbeams”
go from a gentle and lilting beat to a subtly melancholy
and no-less-engaging take.
It is good to have these long-lost sets available
again. There is enough gold here to affirm that even in
his last years Baker still had something special to offer.
For more information, visit chetbakerjazz.com

Anniversary
Spanish Harlem Orchestra (ArtistShare)
by Russ Musto
A nniversary, the sixth release from the Spanish Harlem
Orchestra and first since 2010’s Grammy-winning Viva
La Tradicion, commemorates the band’s 15-year
existence with yet another impressive effort, extending
the Latin music heritage of the Palladium Ballroom Era
bands of Machito and Tito Puente. Led by pianist/
Live From The Moonlight
Chet Baker Trio (Chet Baker Estate)
by Andrew Vélez
At the time Chet Baker made these 1985 recordings,
he had lived through great acclaim and being what
some would say was the stereotypical young man with
a horn: brilliant, inward and self-destructive. He died
30 years ago this month, in mysterious circumstances

26 MAY 2018 | THE NEW YORK CITY JAZZ RECORD


Circular Mood Scale (Music for Franz West)
Marco Eneidi (Sonorus)
by Pierre Crépon
More often than not, little is to be expected in terms of
posthumous releases for musicians who remained in
obscurity during their lifetime. Thus a new recording
by saxophonist Marco Eneidi, who died two years ago
this month at 59, is a welcome surprise. The digital (and
limited cassette) release is made up of eight short
segments seemingly edited from a longer free
improvisation. The recording was made in a Vienna
studio in 2010 and sheds light on a thus-far
undocumented facet of Eneidi’s work: the trio with
which he played for art openings and art world parties
after his move to Austria in 2004. Those luxurious
settings, with original Warhols and Pollocks on the
walls, starkly contrasted with Eneidi’s life story. “But
quite often,” Eneidi said, “we are ‘just the band.’” In
this trio, Eneidi—Jimmy Lyons student and Cecil Taylor
alumnus—worked with synthesizer player Philipp
Quehenberger and drummer Didi Kern. In line with the
no-genre-barriers free improvisation sessions Eneidi
oversaw in Vienna, his partners were coming from
diverse backgrounds encompassing punk and techno.
Quehenberger uses his synth to explore the outer
regions of electronic sound, contributing heavily to the
framing of the music. The sounds used shift rapidly,
creating, in combination with Kern’s percussion work,
a moving landscape over which Eneidi projects sharp
lines using his characteristically intense tone, before
often retreating into silence. An interesting aspect of
Quehenberger and Kern is the rotating function they
assign to their instruments. On “Say What?”, propelled
by drums, keyboard starts out playing something akin
to a double bass furiously plucked. On “7 Years”,
Quehenberger uses sounds with sharp attacks
reminiscent of orchestral percussion. Coloristic
drumming often blends with wide electronic waves.
Eneidi is maybe at his best on “Up 2 Whom?”, soloing
at his closest to classic free jazz, joined by a keyboard
of rare electronic expressivity.
“Music for Franz West”—an Austrian artist with
whom the trio worked most often—seems to be recorded
for a context, not provided here, but the window those
fragments open on the late life work of one of jazz’ great
alto saxophonists is certainly a welcome one.
For more information, visit sonorus-records.bandcamp.com
Petite Fleur: The Music of Sidney Bechet
Dave Liebman/John Stowell (Origin)
by Ken Dryden
Dave Liebman has an intense musical curiosity,
prompting him to plan for many future projects
simultaneously in the midst of teaching, touring and
composing, the only restraint being able to find the
funding and time. Liebman has never been an easy
artist to categorize stylistically because of his wide
range of interests and willingness to collaborate with rolling, tumbling closing track “Kaijufrem”.
others in a diverse array of settings. Soloing is excellent throughout: Filiú, ever
Liebman breaks new ground here by choosing thoughtful, seeks cogent melodic connections; Alessi,
Sidney Bechet as his subject. This session finds the equally thoughtful, negotiates the tangled charts with
soprano saxophonist putting his stamp on the legend’s aplomb; Stephens adds a strong third voice. The real
compositions in duets with guitarist John Stowell, marvel here is Virelles, who seems to be everywhere
revealing their lyricism, The early New Orleans master and nowhere at once, interjecting highly interactive yet
wrote a number of songs with memorable melodies, empathetic ideas alongside the solos, then steering his
which have stood the test of time and easily can fit into own course with rapid legato lines, maintaining
the repertoire of musicians who don’t usually focus on a limber, effusive, almost childlike quality, which
traditional jazz. nevertheless displays an underlying conceptual unity.
One of Bechet’s biggest hits was his interpretation
of the standard “Summertime”, but the duo revamps it For more information, visit sunnysiderecords.com. This
with a mystical introduction by Liebman on wood flute project is at The Jazz Gallery May 11th. See Calendar.
before he switches to soprano for the body of the
performance; inventive guitar, backed by an
overdubbed guitar playing harmony, gives this
chestnut a modern touch. The most memorable tracks
are the performances of the title track, Bechet’s best
known work, heard in three separate arrangements:
first as an intimate duet where Liebman’s soft approach
with judicious use of vibrato at the end of phrases
works magically with spacious guitar; Stowell opting
for nylon-string guitar in his solo rendition, a virtuoso
yet understated performance; and Liebman throwing a
curve by playing his unaccompanied version on piano,
bringing the piece into the 21st century with his
dramatic approach, which includes dissonance, altered
chords and an unresolved ending.
For more information, visit originarts.com. Liebman is at
The Stone at The New School May 8th and Smoke May
18th-20th. See Calendar.
NYC’S MOST INTIMATE LIVE MUSIC VENUE
Quarteria
Román Filiú (Sunnyside)
by Tom Greenland
CLUB BONAFIDE
Born and raised in Santiago, Cuba, with two decades 212 East 52nd Street NYC
of experience as an alto saxophonist, composer and
arranger, it’s a bit of a surprise that Román Filiú hasn’t WWW.CLUBBONAFIDE.COM
led more dates. Instead, he’s built a solid reputation in
the bands of Steve Coleman, David Murray, Henry 3D RHYTHM OF LIFE • MAY 3
Threadgill, Chucho Valdés and others, becoming
a favorite at The Jazz Gallery, which commissioned VERONNEAU • MAY 4
Quarteria, only his third project as leader. Titled for his
working septet—comprised of trumpeter Ralph Alessi, SOFIA RIBEIRO QUARTET • MAY 10
tenor saxophonist Dayna Stephens, pianist David
Virelles, bassist Matt Brewer, drummer Craig Weinrib
ELIANE AMHERD BAND • MAY 11
and percussionist Yusnier Sanchez (with María Grand
joining Stephens on tenor for two tracks)—the album MAY 12
showcases an ensemble well attuned to Filiú’s
compositional intentions, well versed in each others’ Ty Stephens
musical moves and well equipped to make strong & (the)
personal statements within the group context.
Filiú’s writing and playing show the influences of Souljaazz
the caliente dance beats of Irakere (inventors of Cubop),
tricky intervallic and rhythmic structures of M-BASE
artists and small-group zest of the Jazz Messengers. HOLLYWOOD & THE KINGS • MAY 16
But these are only touchstones of a less easily
categorized, highly original amalgam, heard especially
KEVIN HARRIS ALL-STARS • MAY 18
in Filiú’s distinctive handling of three (and sometimes
four) horns, which varies from highly independent Big Band Night - Tuesdays
counterpoint to sinuous chorales, creating the illusion
of great density with minimal means (though some of MICHAEL SARIAN & THE BIG CHABONES • MAY 15
the horn parts in “Fulcanelli” most likely were ROSS KRATTER JAZZ ORCHESTRA • MAY 22
overdubbed). His melodies, often antiphonal, don’t
always go where you’d expect, yet generate momentum JOHN FUMASOLI/THE JONES FACTOR • MAY 29
through their own logic, heard to best effect on the
THE NEW YORK CITY JAZZ RECORD | MAY 2018 27
 playing to work as a psychiatrist, is now 77, but still
sounds great.
A standout is “The Moontrane”, a tribute to its
composer (and influence on Henderson) Woody Shaw.
The playing is stately and lovely, essentially what
Wynton Marsalis is getting at when he talks about jazz
as America’s classical music. The title track was written
by Henderson’s wife Natsuko (shades of Keiko Jones’
contributions to Elvin’s repertoire) and is a snappy bop
Without A Trace line. Henderson solos first and high notes and ideas
Scott Reeves Jazz Orchestra (Origin) arrive at a rapid pace.
by Scott Yanow Turner Layton-Henry Creamer’s “After You’ve
Gone” doesn’t offer any surprises, but does provide
SWING BY TONIGHT A fine trombonist and alto flugelhornist, Scott Reeves clear evidence of Henderson and Barron’s 30-year
7:30PM & 9:30PM has led small groups but it is with big bands that he association. Ralph Rainger-Leo Robin’s “Easy Living” is
MAY 1
really excels. He first recorded with the Indiana a showcase for Henderson in lyrical Miles mode,
william paterson university jazz orchestra University Jazz Ensemble in 1969 but more significant sticking close to the melody. “Nightride” is a family
and ensembles have been his recorded arrangements and solos with affair, written by Henderson’s daughter Cava Menzies,
orchestras led by Dave Liebman, Michael Treni and Bill mysterious and vaguely dangerous, music to accompany
MAY 2 Mobley. His own orchestra’s debut recording was film noir. “Toys” is a nod to Hancock’s vast repertoire
darcy james argue secret society 2015’s Portraits and Places. For the latest recording by and two horns navigate the tricky turns with aplomb.
his 17-piece band, Reeves contributed arrangements to Drummer Mike Clark (another former Hancock
MAY 3
seven pieces, four of which are his. He also plays and sideman) sounds great, proving himself a close listener.
bruce forman trio takes a solo apiece on both his instruments. He contributes “Loft Funk”, a tune in Horace Silver/
MAY 4–6 The date begins with a stirring version of Kurt Lee Morgan soul jazz mode. In the old days, you could
elio villafranca: on any given night in Weill-Ogden Nash’s “Speak Low”, an AfroCuban- accuse musicians of selling out for tracks like this, but
havana featuring claudia acuna flavored rendition with strong solos from alto that hardly seems apropos now. This kind of funk is as
saxophonist Steve Wilson and trumpeter Chris Rogers. historic as swing and bop. John Coltrane’s “Naima” is
MAY 7–8 Reeves’ title track has a guest vocal by Carolyn taken at a brisk pace while “Dia Juzi”, offering Eastern
jeff hamilton trio Leonhart, who handles the wide intervals very well on European melancholy via Polish drummer/composer
a piece that is not too singable. The Arthur Altman- Tomek Grochot, is pensive, Barron is at his most
MAY 9
Jack Lawrence standard “All Or Nothing At All”, ruminative and Henderson fully inhabiting the mood.
essentially ellington alumni band which is modernized a bit while keeping the melody His breathy playing as the tune fades out is wonderful.
MAY 10–13 intact, has a colorful trombone solo from the leader.
juilliard jazz orchestra: music of duke Moody and atmospheric original ballad For more information, visit smokesessionsrecords.com. This
ellington “Incandescence” has vibraphonist Dave Ellson’s lone project is at Smoke May 11th-13th. See Calendar.
appearance and a spot for Wilson on soprano. Wayne
MAY 14 Shorter’s “Juju” is taken for a stormy ride; the
javon jackson's berklee sextet saxophone section plays two choruses from Shorter’s
MAY 15
original recorded solo while tenor saxophonist Rob
glenn zaleski trio Middleton gets to solo over a newer version borrowed
from the composer. “Shapeshifter”, using a 12-tone
MAY 16 row, goes through several different sections, has an alto
lauren sevian's lsq cd release party flugelhorn solo and gets quite free in the last part when
pianist Jim Ridl is featured. “Something For Thad” uses
MAY 17
rhythm changes, tips its cap to Thad Jones (sounding in
american pianists awards sneak preview spots a little bit like his “Fingers”) and features hot
MAY 18–20 solos from trombonist Matt Haviland and trumpeter
sean jones quintet Andy Gravish. This is an excellent example of both
modern big band music and the arranging of Reeves.
MAY 21 • MONDAY NIGHTS WITH WBGO
kenny rampton's paradise blue suite For more information, visit originarts.com. This project is
at Smalls May 12th and Sir D’s May 21st. See Calendar.
MAY 22
tia fuller quartet
MAY 23
don braden quartet
MAY 24
mike rodriquez quintet
MAY 25–27
gerald cannon septet
MAY 28 Be Cool
will calhoun: celebrating elvin jones Eddie Henderson (Smoke Sessions)
by Jim Motavalli
MAY 29–30
ignacio berroa trio: straight ahead from I don’t want to compare trumpet player Eddie
havana Henderson to macaroni and cheese, but there’s a bit of
comfort food in the grooves of Be Cool. Best known for
MAY 31
his early ‘70s work in Herbie Hancock’s Mwandishi,
benny green trio Henderson dishes up something entirely different
here, a plateful of spicy midtempo and ballad-oriented
JAZZ.ORG / DIZZYS bop. It doesn’t hurt that Henderson is accompanied by
212-258-9595 Kenny Barron (piano) and Donald Harrison
jazz at lincoln center (saxophone). For a program of standards, ballads and
broadway at 60th st., 5th fl.
originals played in an acoustic jazz setting, these vets
are ideal. Henderson, who has taken time out from

28 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

TIME WORKS FOR DREAMERS
Here’s a “Space Time Records” selection:
rare records and family business music.

ALAN DAWSON BUDDY MONTGOMERY CHARLES THOMAS CHARLES THOMAS CHARLES THOMAS
Walztin’ with Flo A Love affair in Paris The Legend The Finishing Touch! Live in Europe

DONALD BROWN DONALD BROWN LIONEL LOUEKE MULGREW MILLER A SEASON OF BALLADS
Piano Short Stories The Classic Introvert In a Trance Solo

DONALD BROWN DONALD BROWN DONALD BROWN KEITH BROWN KENNETH BROWN
Born to be blue Fast Forward to the Past Wurd on the Skreet The Journey 3 Down

BILL MOBLEY Orchestra BILL MOBLEY BILL MOBLEY & Strings BILL MOBLEY JEAN TOUSSAINT
Live at Small’s Moodscape Black Elk Dreams Hittin’ Home Blue Black

ESSIET OKON ESSIET ERIC HARLAND ALI JACKSON WALTER SMITH III TONY TIXIER
Shona Voyager Groove@JazzenTête Live in Paris Dream Pursuit

www.spacetimerecords.com

Barefoot Dances and Other Visions
Jim McNeely/Frankfurt Radio Big Band (Planet Arts)
by George Kanzler
“By the time I wrote the pieces on this CD I knew the ‘ins
and outs’ of this band so very well. I tailored my musical
visions to fit each player in the ensemble and placed each
soloist in a framework both familiar and challenging.”
The reason composer-conductor Jim McNeely
could get to know the musicians in this Frankfurt Radio
Big Band (DR-Bigband) so well is that it is a type of jazz
big band much more common to Europe than to
America—a permanent, endowed, big band with stable
personnel, akin to the genre model of the major,
geographically located, symphony orchestra. McNeely’s
work with the DR is analogous to that of a principal
conductor brought in to lead a city or state symphony
orchestra. He became conductor of the DR in 2011 and
these recordings were made in September of 2014, in
the studio after two concerts featuring Barefoot Dances
and Other Visions, a seven-part suite.
One of the musicians McNeely particularly relies
upon is drummer Jean Paul Hochstadter, who, although
only credited in the notes as a soloist on one track, has a
crucial role on all parts of the suite. His brushes and an
ensemble of airy horns engage in an extended dialogue/
duet to open “Bob’s Here” (a tribute to Bob Brookmeyer),
the first track, and his syncopated tattoos provide the
sparkle on “Barefoot Dances”. “Redman Rides Again”
honors another jazz arranger hero of McNeely’s, Don
Redman, imagining his swinging return with one of the
clarinet trios for which he was famous, as well as a solo
from Oliver Leicht’s (electronically) harmonized
clarinet. McNeely largely jettisons big band conventions,
with billowing chords built across sections and
impressionistic passages replacing riffs and shouts.
“A Glimmer of Hope” introduces a theme—that
“glimmer”—and it is heard again in “Falling Upwards”
and the finale. Introspective moments are countered by
exuberant solos, especially from tenor saxophonists
Tony Lakatos and Steffen Weber. And Hochstadter is a
constant presence as central rhythmic spirit.
For more information, visit planetarts.com. McNeely is at
Mezzrow May 6th. See Calendar.
Live in Europe
Fred Hersch Trio (Palmetto)
by John Sharpe
F red Hersch resides somewhere in the upper echelons
of modern jazz pianists and Live in Europe will only
burnish that reputation. As would be expected with an
album recorded near the end of a three-week tour, the
trio is especially tight and well integrated. Furthermore,
take into account that two such superlative musicians
as bassist John Hébert and drummer Eric McPherson
have worked alongside Hersch for almost a decade
and you have a recipe just about guaranteeing success
on a program of six Hersch originals and four covers.
30 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
Two of the highlights stem from dedications. The plainsong and melisma, pertinent tools all. But such
first, “Bristol Fog”, a luminous ballad homage to late skills require nurturing, indeed a delicate rearing.
British pianist John Taylor, contains exquisite note When works appear strained by uncertainty in vocal
choice and a resonant pizzicato feature for Hébert, expression, the quality of dissent is endangered by its
while in the second, “Newklypso” for Sonny Rollins, very liberation. James Baldwin, among the most
Hersch confounds a dark vamp with a swinging revolutionary of writers, stated that a sentence should
exposition of sparkling tales and wayward contours. emerge ‘clean as a bone’ when edited. It’s easy to
Those tributes are bookended by selections from two imagine the constituent strength that may grow of this
jazz greats, Thelonious Monk and Wayne Shorter. project with multiple performances.
Monk’s “We See” opens the disc with a playful call
and response between Hersch and McPherson before For more information, visit patricianicholsonparker.com. Nicholson
exploding into a series of fugue-like flights of fancy. is at Roulette May 24th as part of Vision Festival. Parker is at
Finishing the concert are Shorter ’s reflective but Downtown Music Gallery May 13th and Roulette May 23rd, 25th,
celebratory “Miyako”, which segues via a rumbling 27th and 28th, the latter as part of Vision Festival. See Calendar.
tattoo from McPherson into a spirited rendition of
“Black Nile”. The inevitable encore is for Hersch alone,
a teasing closer that echoes the start, where he artfully
hints at the tune, but only reveals “Blue Monk” in its
full glory towards the end.
The threesome stretches, but never breaks the
rhythmic and harmonic parameters of the repertoire.
Hébert and McPherson fluidly switch between
providing the superstructure around which Hersch
spins his rich melodic ideas and offering cohesive
counterpoint. But, most importantly, they sound as if
they are having fun. Indeed, you can almost hear the
smiles at a particularly well-turned phrase, of which
there are many.
For more information, visit palmetto-records.com. Hersch is
at Jazz Standard May 8th-13th. See Calendar.
HOPE Cries for JUSTICE
Patricia Nicholson/William Parker (Centering)
by John Pietaro
In times of political strife, musicians, poets, all cultural
workers have stood on the front lines of fight-back.
Patricia Nicholson and William Parker stand as leading
radicals within jazz’ cutting edge.
The pair engage in an intimate portrait of “our
present moment and the power of the spirit.” Parker is
primarily heard on the West African donso ngoni. He
uses the instrument’s modal stasis effectively, evoking
the heat and breadth of sub-Saharan topography,
peppering it with off-mic vocalization. Nicholson’s
performances, in contrast, carry a strong theatrical
component, including affected southern-like vernacular
for some selections. Opener “Taken” finds the narrator
bathed in numbing despair after witnessing a woman’s
brutal abduction by authorities. There is something
stunningly Kafka-esque about the piece, its dark
imagery, its inward isolation, but the remainder of the
album never quite matches this subtle urgency.
The theme is the need for hope; in its absence, the
pair remind us, “there can never be justice”. It’s unclear
how many of these pieces are specific to contemporary
Trump-ian realities, but “The Wall Between” and
“Wailing at the Lost Souls Department” offer strong
responses to reactionary bravura. Mysteriously, within
such vital messaging is “Granola”. Its stirring
Orwellian refrain of “Words have gone missing” is
affixed to a lengthy adoration of this breakfast choice.
Pondering symbolism, the confluence of the two
remains unclear and unfortunately sounds trite.
As Nicholson’s Vision Festival hails improvisation,
much of the work here makes fine use of the medium,
yet some segments fall short. She often embellishes
text with repetition, broken rhythms, diphthongs,

In A Moment
Karl Berger (Tzadik)
by Mark Keresman
G erman Karl Berger (b. 1935) first came to the world’s
notice as one of the first vibraphone players in the
sphere of ‘60s avant garde jazz: a member of Don
Cherry’s groups; playing with John McLaughlin, Dave
Holland, Clifford Thornton and many others; along
with leading his own ensembles. More recently he’s
lent his expertise and creativity in string arrangements
for non-jazz performers Jeff Buckley, Sly & Robbie and
Buckethead. He’s also a pianist and In A Moment is the
latest in a trilogy of piano-oriented recordings for John
Zorn’s Tzadik label—the first was solo, then a trio and
now with a small string group.
“Slow Motion” is stately, sad, elegiac—the strings
literally sigh as Berger parses notes with great care. It’s
pensive but stops just short of bereavement. There are
classical overtones in the writing for strings but this is
indeed jazz, ever-so-slightly reminiscent of the
underrated Third Stream sub-genre of the ‘50s. Note
the swing in the piano and strings of “Mani”. In
“Sertso” the strings and Berger ease out slow, sultry,
Monk-flavored blues. The gorgeous “Not Sure” evokes
Keith Jarrett in intermingling echoes of Impressionist
classical piano and gospel music: rolling
chords; subtle yet purposeful sense of forward-moving
rhythm; almost elemental sense of lyricism. “Where
Will We Go From Here” displays ominous passages for
strings, with sharp, stabbing motifs and dissonances
evoking Bernard Herrmann’s music for Psycho. Ken
Filiano’s sonorous, rippling and bowed bass subtly
buoys Berger and adds wiry drive.
Berger ’s writing for strings is interesting in that it
provides stark contrast(s) to his piano; this isn’t “with
strings” as the players are as expressive and interactive
as Berger and Filano. In A Moment is contemplative,
but without being ponderous or overly cerebral.
Berger ’s compositions—succinct ones at that—reveal
their secrets over repeated listening.
For more information, visit tzadik.com. Berger is at El
Taller LatinoAmericano May 26th. See Calendar.
Sun Embassy
Sun Ra & His Astro-Ihnfinity Arkestra (Roaratorio)
Of Abstract Dreams
Sun Ra (Strut)
Discipline 27-II
Sun Ra (El Saturn-Corbett vs. Dempsey)
by Stuart Broomer
Archival releases of Sun Ra’s music continue
unabated, his work larger and more clearly defined 25
years after his death (May 30th, 1993) than it was in
life. He recorded voluminously and the significance of
his output varies tremendously, from work of interest
primarily to scholars and devotees to music that should
be heard widely. These three recent releases cover
material recorded between 1968-75 and include two
previously unissued collections and a reissued
masterpiece, something for every Sun Ra collection.
The earliest is Sun Embassy, a nine-track LP of
material recorded in the band’s Philadelphia house in a slow, keening melody, the reeds sweet and dream-
1968-69. The pieces are generally brief, resembling the like and lines that Sun Ra intones, June Tyson repeats,
band’s Chicago recordings of the ‘50s, though the then three other singers harmonize and repeat. A hymn
music has grown increasingly exotic and electronic. to the conquest of the everyday, it begins with “For
The small groups include the usual brilliant reed you, I gave up everything I never had”, followed by
players (John Gilmore, Marshall Allen and Danny Ray other phrases—“You call it life.” “They call this life?”
Thompson), but they’re often there to punch out riffs. “They don’t call this life, do they?”—until there’s a
At times this suggests rehearsal tapes, material to be sense in which one world has been transformed into
explored at greater length in performance. another by the calmest of musics. One of Sun Ra’s
Two pieces are reprised from early LPs: “Sunology” greatest achievements, it all ends in laughter, some of
(from Supersonic Jazz, 1956) and “Ancient Aiethiopia”, it coming from saxophones.
(Jazz in Silhouette, 1958) are heard in new versions with
Sun Ra’s Yamaha organ adding a new element. Among For more information, visit roaratorio.com, strut-records.com
the previously unrecorded pieces, short ostinatos and corbettvsdempsey.com
frequently appear: “Walk around Saturn”, for example,
repeats a five-note figure from the reeds as Sun Ra
piles up the strangest fuzzed electronic keyboard parts
imaginable, the whole suggesting a radio transmission
from the ringed planet; “Cosmic Strut” is celebratory
funk, an extended clavinet solo against percussion and
riffing reeds; while “Dance of Fire” is essentially
percussion music, clavinet setting the stage for some
rapid, high-pitched drumming. The chanted theme of
“Why Go to the Moon?” (with the repetition of “rocket
number nine / try Neptune”) hints at this Astro-
Ihnfinity Arkestra’s other dimensions.
Of Abstract Dreams, a radio broadcast from around CARL MICHEL GROUP
1974 on the University of Pennsylvania’s WXPN,
presents a similar band consisting predominantly of
MUSIC IN MOTIAN
(THE COMPOSITIONS OF PAUL MOTIAN)
reeds and percussion performing four highly varied
“REALLy A dATE LOAdEd wITH HEART ANd SOUL”-MIdwEST RECORd
(and entertaining) pieces.
“Island in the Sun” is a gently percolating AvAILAbLE NOw! AT bANdCAMP,
AfroCaribbean episode, propelled by several CdbAby, AMAzON, ITUNES, GOOGLE PLAy
percussionists with Sun Ra’s piano and Marshall
Allen’s flute taking the primary roles. “New Dawn”
begins as a free ballad, Sun Ra piling up dissonant
CARLMICHEL.COM
chords before the tempo picks up for Allen on alto with
wild pitch bends and altissimo shrieks, the first soloist
in a chain that includes bass clarinetist Eloe Omoe and ESP-Disk' New Releases
tenor saxophonist Gilmore. There’s an extended
version of “I’m Gonna Unmask the Batman”,
contemporaneous with the single version that featured
blues singer Lacy Gibson. Here’s it’s the gravel-voiced
percussionist James Jacson functioning as lead singer
while the taut R&B horn section of the single (same
people) gives way to free jamming and hard-edged,
exploratory solos by Gilmore and Allen (the latter on
oboe). In Sun Ra’s mirror world, it’s almost a send-up
of the ‘official’ version. The most substantial piece of
music is “I’ll Wait for You”, until this point a chant in
the band’s repertoire, but here developed much further. Matthew Shipp solo: Zero
It gets an extended piano introduction and typically first edition w/bonus lecture CD
adventurous Gilmore solo: he works his way to the
stratosphere with cycling pentatonics, midway ceding
the foreground to Sun Ra’s “In some far place, many
light years in space, I’ll wait for you”, that singularly
warm and familiar voice then giving way to more wild
reed explorations.
Discipline 27-II is a classic El Saturn record. It
received its first official reissue as an LP on Art Yard/
Strut last year and the CD has just been issued on
Corbett vs. Dempsey with an eight-minute unidentified
outtake added, a lightning-fast abstraction of reeds, Matthew Shipp Quartet: Sonic Fiction
electronic keyboards and bass. Recorded in October
1972, at the same time as the highly accessible Space Is
the Place, Discipline 27-II benefits from a large band,
first-rate studio conditions and engineering, as well as
galvanizing alto solos from the infrequently featured
Danny Davis. It belongs with Sun Ra’s greatest
recordings, like The Magic City, Heliocentric Worlds and
Lanquidity.
The opening “Pan Afro” is a minimalist modal
melody with a dense hive of rhythm provided by five
percussionists. The dissonant tumult of “Discipline 8”
is even more powerful, feeding exotic mergers of brass Megumi Yonezawa/Masa Kamaguchi/
and electronics, while “Neptune” is a superb mix of Ken Kobayashi: Boundary
chorus singing and horn dynamics. The title track, 24 espdisk.com espdisk.bandcamp.com
minutes long, is Sun Ra’s equivalent of a Bach chorale,
THE NEW YORK CITY JAZZ RECORD | MAY 2018 31

Groovin’ With Big G
Brian Charette (SteepleChase)
by Phil Freeman
G eorge Coleman is a true old-schooler. Scorned by the
younger members of the Miles Davis Quintet in 1964 as
too much of a hardbop traditionalist when they were
aching to break free and pull the music apart, the
saxophonist has continued on his own path ever since.
At times, he’s been a crucial voice, helping preserve
the legacy of high-level acoustic jazz—as he did with
Cedar Walton’s ‘70s group Eastern Rebellion—during
periods when other styles were in vogue. A typical
Coleman gig will offer a mix of standards and blues,
with perhaps one original tune. This album follows
a similar pattern, with the band digging into well-
known standards like “Stella By Starlight”, “Maiden
Voyage”, “Autumn Leaves”, “Body and Soul” and
“Tenor Madness”. They also play a version of Lou
Donaldson’s “Alligator Boogaloo” and one new
composition—“Father and Son”, by keyboardist Brian
Charette, the nominal leader.
Charette’s previous SteepleChase albums have
been more experimental and included a solo B3 effort,
two sessions with a four-horn sextet and a B3/piano/
drums trio. But this is a straightahead organ quartet
date with Coleman, his son George Jr. on drums
32 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
and guitarist Vic Juris. The boundary-testing spirit release and the beauty of this music. The playing sticks
animating much of Charette’s recent work is laid aside to the changes, but even though this is jazz it sounds
in favor of thick chords and fleet, bluesy runs. On less improvisatory than Chopin played by Rubinstein
“Alligator Boogaloo”, the saxophonist digs deep into or Argerich. The best tracks, treatments of Nocturne
a bar-walker ’s bag of tricks, unleashing long growling Op. 62, No. 2 in E Major and the A-flat Major Op. 32,
notes alongside fierce cries. Charette’s forceful No. 2 Nocturne, sound like the work of the Paul
approach behind the keys even nudges Juris awake; Motian-Joe Lovano-Bill Frisell trio, with bass added.
the guitarist takes some stinging solos that approach That tickles the memory, but not in a lasting way.
Lonnie Mack territory. “Maiden Voyage”, meanwhile, Whispers and Cries is something else altogether.
is slowed down to a crawl, with guitar limited to The setlist on this CD is standards, plus the traditional
almost theremin-esque ambient slide notes. “Father “Aura Lee”. Preminger ’s playing is at its most
and Son” is a slow simple blues, but the band inhabits expressive and pianist Frank Carlberg gives off the
it with total commitment, conjuring a 2 am barroom tantalizing tension of a musician weighing every note
atmosphere. The longest track, a 10-minute “Autumn before he plays it, leaving open spaces that become
Leaves”, sets up a gentle groove the listener can relax logical parts of every line of soloing or accompaniment.
in, like floating downstream on a raft. This album ends The saxophonist’s lushness and the pianist’s
as a live set by this band would, with a quick (4:31) austerity have an ideal balance. Preminger has always
“Tenor Madness” that lets everyone make final been deep in the sound that Joe Lovano has established
statements before the audience heads for the door. over the decades, managing to be both dark and warm,
but here he sounds more like his own man than even
For more information, visit steeplechase.dk. This project is on the quartet recordings. Heard all the way through,
at Blue Note May 21st. See Calendar. there are musical threads and hints tying all the tracks
together into a large-scale experience: bits of Monk in
“These Foolish Things”, which might have come from
“Reflections”, two songs before, is an example. “Take
the ‘A’ Train”, “Tea for Two”, the beautiful “I’ve Grown
Accustomed to Her Face” at the end, turn out to be
signposts in a set that follows a path deeper and deeper
from one track to the next, full of foreshadowings and
Genuinity recollections. The effect is of complex, circular time—
Noah Preminger (Criss Cross)
this is the kind of album that stops you in your tracks.
Chopin Project (with Nate Radley and Kim Cass)
Dead Composers Club (Connection Works)
Whispers and Cries For more information, visit crisscrossjazz.com,
Frank Carlberg/Noah Preminger (Red Piano) connectionworks.org and redpianorecords.com. The Preminger/
by George Grella Garcia project is at Cornelia Street Underground May 18th.
Preminger’s quartet is at Smalls May 31st. See Calendar.
Would Marx and Engels be jazz fans? One thinks they
would admire tenor saxophonist Noah Preminger.
Since he took over the means of both production and
distribution a few years ago, self-releasing his
recordings through his website, he’s transformed
himself from a solid, talented musician to one who is
showing himself to be a major figure.
The main vehicle for this has been his quartet, with
the excellent trumpeter Jason Palmer, bassist Kim Cass
and now drummer Dan Weiss, who replaces Ian
Froman. This group’s first two albums mixed deep
blues and a quasi-free harmonic structure. The new
release, back on a ‘major ’ label, is an in-the-now
statement in the jazz modernist tradition that began
with Ornette Coleman’s quartet.
Genuity has clear echoes of the earlier group—the
second track, “The Genuine One”, has the band starting
in the same aesthetic and formal territory as “Lonely
Woman”, then taking their own path in 5/4 time.
Preminger and Palmer are a great pair, the former
spinning out twisting horizontal lines, the latter
traversing a postbop intervallic language. Both are
moody players, Preminger obviously dark while
Palmer ’s seeming extroversion barely veils his own
emotional intensity. As with the previous two albums,
this one has a private quality, the musicians playing for
themselves, rather than a prospective audience. This
will not be to everyone’s taste and the album is maybe
a track or two long, but for those who crave this strain
of the music, the rewards are deep.
Dead Composers Club is Preminger and drummer
Rob Garcia’s group and The Chopin Project is more upfront
about music as pleasure. With Nate Radley on guitar and
Cass once more, this is an album of jazz settings of
selected Preludes and Nocturnes from the great composer.
It is pleasant, but ultimately unsatisfying.
None of the tracks show any particular
understanding of Chopin. What in the context of the
originals are famous melodies here are made into
choppy phrases that set the foundation for
improvisation. The harmonies are simplified and
there’s none of the rubato essential to the tension and
 Open at
get the idea. Her latest project is a sublime and unlikely

7 pm!
trio with cellist Erik Friedlander and saxophonist
Ingrid Laubrock.
The disc begins with a seamless blend of cello,
soprano saxophone and wordless vocals that sounds so
natural and organic that one wonders why
combinations like this are not attempted more often.
There is an alluring quality to Serpa’s voice, which
nails each note with devastating clarity. Friedlander

h!
navigates the bottom with the bow and his fingers and

n t
Dog Star

M o
Laubrock integrates herself as a third voice that is

i s
Jerry Bergonzi (Savant)

Th
by Marco Cangiano often difficult to separate from that of the leader.
It is impressive how large of an orchestral sound

Live!
There is a mysterious quality to Jerry Bergonzi’s latest these three can conjure. “Passaros”, sung in Serpa’s
release. Whether due to his switching to an old Selmer native Portuguese, weaves the vocal threads with tenor
or a high degree of empathy within the group, this and cello as equal and distinctive elements of a rich
release conveys a suspenseful quality reminiscent of tapestry. Friedlander opens “Sol Enganador” alone,
TUE PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M Wayne Shorter ’s Speak No Evil. Bergonzi’s influences softly plucking an ostinato somewhat similar to the
5/1 DJANGO JAM 10:00PM are many but he has managed to distill his own sound vamp on Dave Holland’s “Conference of the Birds”,
WED JAINARDO Y SU KUMBAKIN 7:30PM and phrasing and emerge as a jazz beacon, thanks also voice and soprano alternating between lush unisons
5/2 LOS HACHEROS 10:00PM to his valuable contributions as a mentor and teacher. and stark intervals to activate the sense of one big
Bergonzi is joined by pianist Carl Winther ’s instrument. Laubrock’s solo commences to ‘take it out’
THR ADI MYERSON QUINTET Scandinavian trio along with his longstanding partner while maintaining a velvet tone, like Anthony Braxton
5/3 F T. C A M I L A M E Z A 7:30PM
HIGH & MIGHTY BRASS BAND 10:00PM Phil Grenadier on trumpet. The interaction with playing in the spirit of Stan Getz.
Winther is almost palpable, as expected if one has Cello sounds impossibly rich on “The Future”, a
FRI KEN FOWSER QUINTET 7:30PM listened to their earlier collaborations. Winther is minimalistic gem that finds Serpa intoning the words
5/4 PROFESSOR CUNNINGHAM
& HIS OLD SCHOOL 10:30PM himself a synthesis of modern jazz piano, bassist “The future is dark” through multiple key signatures
Johnny Åman and drummer Anders Mogensen as each instrument overlaps to create a swirl of melodic
SAT D AV E S T RY K E R Q U A RT E T 7:30PM providing crisp yet subtle propulsion. textures. Another highlight is “Storm Coming”,
5/5 “KING” SOLOMON HICKS 10:30PM
The program consists of midtempo originals, five a feature for Laubrock, which, despite its title, retains
TUE L AT I N G R O O V E S by Bergonzi and two by Winther. The former ’s a sense of serenity even through multiphonics and
5/8 F T. G E R A R D O C O N T I N O 7:30PM “Pleiades” starts off with a meandering theme followed overtones, while cello and voice blend with very long
by saxophone zigzagging in and out of the rhythm held-tones in a reverb-drenched atmosphere.
WED PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M
5/9 DJANGO JAM 10:00PM section. The title track sustains the mood but at a
slower tempo, whereas Winther ’s “Vertigo” takes it up For more information, visit cleanfeed-records.com. Serpa is at
THR HAROLD MABERN TRIO 7:30PM a notch, with economical piano atop a bouncing walk. Brooklyn Conservatory of Music May 20th. See Calendar.
5/10 MARK WHITFIELD 10:00PM
“Live Stream” veers towards a ballad feeling,
FRI KEN FOWSER QUINTET 7:30PM characterized by Bergonzi breathing long, suspenseful
5/11 MIKE SAILORS BIG BAND 10:30PM notes. “Repore-Pa-Int” showcases Bergonzi’s most
abstract and outwardly solo of the set, a dialogue with
SAT R AY G A L L O N 7:30PM
5/12 E YA L V I L N E R B I G B A N D 10:30PM deep bass, which becomes a trio conversation when
drums rejoin, eventually shifting back to the theme.
TUE A RT H U R V I N T & A S S O C I AT E S 8:30PM Winther ’s “Darkness” opens with a Coltrane-like
5/15
declamation running throughout the full range of
WED STEVEN FEIFKE BIG BAND 10:00PM Bergonzi’s horn and building an expectation for a main
5/16 theme that is never resolved. An underlying loneliness
THR D AV I D G I B S O N Q U I N T E T 7:30PM pervades “Separated”, which is opened and closed by
5/17 IAN HENDRICKSON-SMITH 10:00PM a dialogue between saxophone and trumpet and also
features a beautiful solo by Mogensen. “Darf”
FRI KEN FOWSER QUINTET 7:30PM
NEW ALCHEMY JAZZ ORCHESTRA 10:30PM concludes with a Bergonzi soliloquy, wonderfully
5/18
supported by inventive brushwork and a final
SAT F E L I X P E I K L I & J O E D O U B L E D AY ’ S suspenseful saxophone/trumpet note.
5/19 SHOWTIME BAND 7:30PM
GOTHAM KINGS 10:30PM
For more information, visit jazzdepot.com. Bergonzi is at
TUE PA S Q U A L E G R A S S O S O L O G U I TA R 7 : 3 0 P M Zinc Bar May 23rd. See Calendar.
5/23 DJANGO JAM 10:00PM
WED FREDDY DEBOE BAND 7:30PM
5/24 THE BINKY GRIPTITE ORCHESTRA 10:00PM

THR KEN FOWSER QUINTET 7:30PM

5/25 C H R I S N O RT O N 10:30PM
FRI BRANDON BAIN 7:30PM
5/26 G R E G O RY G E N E R E T 10:30PM
TUE E VA N S H E R M A N B I G B A N D 10:00PM
5/30
WED JOHN DOKES QUINTET 7:30PM Close Up
5/31 A L I TA M O S E S 10:00PM Sara Serpa (Clean Feed)
by Robert Bush

The Roxy Hotel V ocalist Sara Serpa is a masterful minimalist who has
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trace of ornament or artifice. Imagine a merger of
LOCATED IN THE OF TRIBECA Astrud Gilberto and Norma Winstone and you begin to

34 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 T U E S D AY M AY 2 9
In Duo
Wadada Leo Smith – trumpets
Marty Ehrlich – woodwinds

Marty Ehrlich W E D N E S D AY M AY 3 0 T H
Marty Ehrlich’s Trio Exaltation

at The Stone
Clean Feed CD Release Performance
John Hebert – bass
Nasheet Waits – drums
Marty Ehrlich – reeds
T H E S TO N E R E S I D E N C Y: M AY 29 – J U N E 2
T H U R S D AY M AY 3 1 S T
B I R T H D AY C E L E B R A T I O N
It would be hard to conceive of a Marty Ehrlich’s Philosophy of a
Groove Quartet
player who sounds less like anyone else James Weidman – piano
Jerome Harris – electric bass
and more like he’s speaking directly Christopher Beck – drums
Marty Ehrlich – reeds
through his horn than Marty Ehrlich

— Down Beat F R I D AY J U N E 1 S T
Marty Ehrlich’s Shards
Angelica Sanchez - piano
Kate Gentile- drums
Marty Ehrlich - reeds
with special guest
Ray Anderson - trombone

S A T U R D AY J U N E 2 N D
Marty Ehrlich’s Welcome Quartet
Ron Horton – trumpet
Michael Bates – bass
Gerald Cleaver – drums
Marty Ehrlich – reeds

THE STONE
The New School Glass Box Theatre
55 W 13th Street near 6th Avenue
thestonenyc.com
8:30 pm — one set only
$20 admission
PHOTO: CLAUDIA HERMANO

this ad made possible by


Night Wave
Yuko Fujiyama (Innova)
by Kurt Gottschalk
O n the inside of the cover of Night Wave is a humble
note, beginning: “Thank you for listening to our music.
Please let me introduce myself…” It’s a sweet and
hopefully unnecessary caveat from a woman who
recorded with such NYC mainstays as Roy Campbell,
Ellen Christi and Mark Feldman and such luminaries
of Japanese jazz as Masahiko Satoh. But it’s pianist
Yuko Fujiyama’s first record in more than 15 years, so
perhaps reintroductions are in order.
Fujiyama was a key (if unheralded) part of the
vibrant Downtown improv scene of the ‘90s and her
return stays true to form. A release concert at Roulette
(Apr. 16th) held the measured beauty of the album,
starting with a series of brief duets she said was “like a
suite”. (Later in the set, she generously gave each of
the musicians an unaccompanied solo.) Her duet with
violinist Jennifer Choi was beautifully dense and
played with confidence, in spite of the nervousness
Fujiyama owned up to later in the set. With trumpeter
Graham Haynes she played something sparse and
lovely. The third duo was a rollicking piece with
percussionist Reggie Nicholson (ably replacing Susie
Ibarra, who played on the album), both playing
mallets: she inside the piano case and he delivering
isolated phrases on the kit. They moved into a sort of
rotating trio, each player seeming very aware of every
sound they made. As on the CD, it was rare to hear the
whole quartet at once.
Night Wave is dedicated to the late percussionist
Jerome Cooper (most famously one-third of The
Revolutionary Ensemble), who introduced Fujiyama to
the music of Cecil Taylor. It’s more than a bit of a cliché
to liken any free pianist to the late giant but in this
case, the dedication is apparent in the peaks and
valleys of her more spirited playing, as on the plainly
titled “Up Tempo”, a fast cymbal roll with individual
instrument lines balanced on top of it, one at a time
and then removed until the right balance is found, like
a cautious game of Jenga.
But the Fujiyama of 2018 favors space, and it’s in
the quietude—when the air is empty around her and
she doesn’t fill it so much as decorates it—that her
voice as composer, bandleader and instrumentalist
comes through. Fujiyama is, in the best possible sense,
a space-filler, dedicated to her craft and welcome back
after all these years.
For more information, visit innova.mu
Hearts And Minds
Mark Soskin (SteepleChase)
by Ken Dryden
W hen it comes to jazz polls, the top ten pianists don’t
vary much from one year to the next. Though veteran
pianist Mark Soskin has paid his dues during a long
36 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
career, working with many artists including George
Russell, Phil Woods, Joe Henderson and Freddie
Hubbard and, most notably, a dozen-plus years with
Sonny Rollins, he is not as well known as he deserves.
This is likely due in part to his CDs as a leader primarily
being recorded for labels based in Europe or Japan,
making it more challenging for them to get airplay or
reviews in the U.S.
Hearts And Minds, his 12th album as a leader,
provides ample evidence that he belongs in the top
echelon of pianists. Joining him for this trio session are
two seasoned players, bassist Jay Anderson and
drummer Anthony Pinciotti, who are interactive rather
than merely being accompanists. The eight standards
should be familiar to longtime jazz fans, though Soskin
and his bandmates find something fresh to say in each
of them. Their breezy jaunt through Ralph Rainger-Leo
Robin’s “If I Should Lose You” removes any feeling of
melancholy present in its lyric, with just a hint of Bill
Evans’ influence in the leader ’s playing. Soskin’s
deliberate waltz setting of Sergio Mihanovich’s best
known work “Sometime Ago” is refreshing, as it is
often played too fast and loses its intimacy; Soskin’s
lyrical solo is buoyed by soft percussion. The twisting
theme of the pianist’s “Slider” inspires some of the
best interaction of the session and the piece would
seem a natural for a larger group with brass and reeds.
The nostalgia is retained in Willard Robison’s “Old
Folks”, Soskin’s magical variations on its theme and
Anderson’s conversational solo keeping this decades-
old chestnut fresh. To wrap the date, the trio’s lively
interpretation of Thelonious Monk’s “Pannonica” has
a touch of humor while swinging like mad.
For more information, visit steeplechase.dk. Soskin is at
Mezzrow May 10th and Smoke May 24th. See Calendar.
Outta The Box
Matthew Whitaker (Jazz Foundation of America)
by Tom Greenland
J azz enthusiasts, who understand that fine artists, like
wines, only improve with age, tend to take a let’s-wait-
and-see stance towards musical prodigies, as only time
will sift the Roy Hargroves from the Christopher
Hollydays. Enter pianist Matthew Whitaker, a
formidable talent who last year, at 16, released his
debut Outta The Box, a broad sampler of his capabilities
and a strong indication of his potential.
There’s “Matt’s Blues”, an old-timey but effective
big band arrangement, and “Neighborhood Park” and
“Song for Allie”, original ballads in the straightahead
vein, the first rhapsodic and meandering, the second
a well-wrought tune with masterful control of dynamics
over the extended piano solo, both heightened by
Christian McBride’s vigorous bass. Whitaker’s more
commercial leanings are heard on “Flow”, “Take a
Break” and “Until Next Time”, all fodder for crossover
radio play with predictable but effective arrangements,
the second track redeemed by the leader’s soulful chord
fills, the third by Dave Stryker’s rambunctious guitar.
Vocalist Melissa Walker cameos on the easy-swinging
“I Thought About You”, adding warmth to the
otherwise all-instrumental outing. “Mas Que Nada” is
a propulsive Latin-jazz arrangement, which, more than
any other track, demonstrates Whitaker’s impeccable
touch: neither too languid nor impatient, his sense of
timing establishes a pocket that pushes forward even as
it lays back. Awards Sneak Preview. See Calendar.
He switches from acoustic piano to Hammond B3
organ for Dr. Lonnie Smith’s “Back Track” and Pee Wee
Ellis’ “Pistachio”, the latter a tribute to New Jersey
organ player/mentor Rhoda Scott. Whitaker shows
prodigious control of timbre and dynamics, along with
an original approach to the instrument’s tonal range,
employing some very unorganly sounds at the
beginning of “Back Track”, followed by all manner of
rattles and clicks, then, on “Pistachio”, creating
dialogue between upper and lower keyboard manuals.
A consummate technician and probably a perfectionist,
Whitaker is precociously mature for his age and
vintage, so it shouldn’t be a long wait until we (the jazz
enthusiasts) can grant him our hearty imprimatur.
For more information, visit jazzfoundation.org. Whitaker is
at Harlem Stage Gatehouse May 21st. See Calendar.
Masters Legacy Series, Volume 2 (featuring Ron Carter)
Emmet Cohen (Cellar Live)
by Scott Yanow
Bassist Ron Carter, listed in Tom Lord’s Jazz
Discography as having appeared on 1,171 jazz sessions
since 1960 and estimated to be on over 2,500 albums in
all genres, has certainly been busy during the past 58
years. For a time in the ‘70s, he seemed to be in the
studio nearly every day recording for someone and his
career has not slowed down that much since.
Pianist Emmet Cohen, who played with and paid
tribute to drummer Jimmy Cobb in the first volume of
the Masters Legacy Series, gives Carter a similar
treatment in Volume 2. But considering how prolific
Carter has been through the years, how does one pick
the right songs? Should Cohen have performed a full
set of compositions by the bassist, or attempted to sum
up his career in a dozen songs?
Instead, Cohen, Carter and drummer Evan
Sherman constructed a colorful set performed live at
the Vancouver Jazz Festival full of surprising choices.
The first and last songs (a lengthy “All Of You” and
“Joshua”) are from the bassist’s days with Miles Davis
but two Swing Era pieces (Tommy Dorsey’s hit “Opus
One” and “Any Old Time” which was recorded by
Billie Holiday with Artie Shaw) have no prior
connection to Carter. Four songs are played as a
medley, grouped together as a 22-minute “Salute To
Cedar (Walton)”; three are Walton compositions
(“Hindsight”, “Holy Land” and “Dear Ruth”) with
Carter ’s midtempo blues “It’s About Time” his tribute
to the late pianist. In addition, the trio performs
Carter ’s “Light Blue”, “Ron Carter Speaks” is a
thoughtful bass solo and a traditional Jewish prayer
(“Hatzi Kaddish”) is developed into a minor-toned
jazz piece.
The performances are conventional but excellent.
Cohen gets the lion’s share of the solo space, being
accompanied by driving basslines and attentive
drumming. Carter also solos on each piece, creating
concise statements in his distinctive sound and there
are short spots for Sherman. Rather than necessarily
being a definitive Ron Carter retrospective, Masters
Legacy Series Volume 2 stands on its own as a high-
quality modern mainstream set featuring strong
communication between top-notch musicians.
For more information, visit cellarlive.com. Cohen is at
Dizzy’s Club May 17th as part of the American Pianists
 Out of the Gate
Gene Perla The Genemachine (PM)
No Detour Ahead
Viktorija Gečytė (with Go Trio) (PM)
by Jim Motavalli

N ew Jersey native Gene Perla studied piano at

Berklee, then switched to bass. He was ubiquitous in
the ‘70s and is best known for backing Elvin Jones for
three years. Back then he also founded PM Records,
which recorded Jones, Dave Liebman and Jerry
Bergonzi, among others. The label is still going strong,
on the evidence of these two recordings—both of
which feature Perla. He’s 78, but certainly hasn’t
slowed down any.
Out of the Gate is the better showcase for Perla
himself, since he wrote all of the compositions and
plays them with a young band. Perla is a gifted writer
and the music here is mostly midtempo swingers and
ballads. “Spring Rain” is a lovely example of the latter
and the best playing from pianist Oscar L. Williams II.
This reviewer wishes there were more fast tunes,
because a rolling boil is where tenor player Nicole
Glover is heard to best advantage.
This woman is a major find. Her feature is “Sweet
Mama” and oh mama! The bop head is stated, Perla
takes a probing solo, then drummer Nic Cacioppo
slams the band into a fast walk and Glover appears.
Clearly influenced by John Coltrane, she’s also
absorbed his son Ravi and other more recent players.
She’s commanding on her horn and uses its full range,
squeaking, squawking, squealing and building
excitement. I can’t stop listening to that solo. Trumpet
player Ben Seacrist is also heard to good advantage on
“Sandy’s Dance”, “Swissterday” and “’Round Town”.
Not as forceful as Glover, his solos are nonetheless
lyrical and nicely shaped. If he can sing, he’ll be a star.
The album is a good listen, but I keep coming back
to Glover. Clearly, we need more young women in jazz
and this one is ready for the major leagues. The
Portland, Oregon native played in the Next Generation
Jazz Orchestra while in high school, then studied at
William Paterson University. She made a big leap
forward when asked to play on Esperanza Spalding’s
Grammy-winning Radio Music Society. Her first album
as a leader came out in 2015 and now she’s resident
and gigging in New York. Great things are ahead.
Another find is singer Viktorija Gečytė, a native
Lithuanian who nonetheless sings in English with only
a slight accent, but great authority on No Detour Ahead.
She has a smoky voice with command in the lower
register and great timing. Watch a YouTube video and
you’ll see that stage presence is also part of the package.
The Go Trio features Perla and the program is almost
all standards, with the exception of Lithuanian folk
song “Kaledy Rytq” and two versions of the self-
penned “Lauky Daina” (one solo). Gečytė, now resident
in Paris, thrives at slow tempos, always a challenge for
a jazz singer. If you’ve heard Shirley Horn, or Betty
Carter ’s glacial take on “Spring Can Really Hang You
Up the Most”, you’ve taken the master class.
A good pianist is essential to a project like this and
the Go Trio has one in Sean Gough, who shows how to
support a singer on “You Must Believe in Spring” and
“I Keep Going Back to Joe’s”. The latter Jack Segal-
Marvin Fisher song is a winner. Perla and sensitive
drummer Jon Arkin also sound great throughout.

For more information, visit pmrecords.com. Perla is at Zinc

Bar May 23rd with Jerry Bergonzi and The Sound Bite May
25th with Viktorija Gečytė. See Calendar.

38 MAY 2018 | THE NEW YORK CITY JAZZ RECORD


Don’t You Wish (feat. Tomoko Ohno)
Jay Leonhart (s/r)
by George Kanzler
J ay Leonhart has been a first-call bassist on the New
York music scene—jazz and popular—for over 50
years. Along the way he’s forged another, ancillary
career as a singer-songwriter-poet. It is in that role he
presents himself on this album, performing ten songs
written over his career. Some of them have appeared
on other albums and if you’ve seen Leonhart in small
groups or duos in person you’re probably familiar
with some of them. But here he showcases them in the
pared-down context of a bass/piano duo with the
vibrant and swinging Tomoko Ohno.
As a vocalist, Leonhart combines the off-hand ease
of a Mose Allison or Dave Frishberg with the acid bite
of a Randy Newman, with a dollop of Bertie Wooster
bemusement. Half the time his voice is as much
conversational as musical, as he mixes parlando with
actual singing. And he uses naiveté to enhance a sly,
satiric approach to situations encountered in his work.
There’s a phantasmagoric quality to “Playboy
Club”, about his supposed mental breakdown while
working at the one in New York as a “lad from Baltimore
beginning to learn about real life as a 21-year-old.” The
title song is a wry take on a question about smaller
instruments often asked of bass players while “Change
My Occupation” deals with the frustrations of working
in clubs where smoke (in the past) and conversations
(ever present) frustrate musicians. But “Missin’ RB
Blues”, a paean to the late bassist Ray Brown, is an
affirmation of the bassist’s vocation as well as an
infectious blues duet. Seemingly trivial or innocuous
situations like anxiety about getting to a gig on time,
“Curtains (The Mel Tormé Song)”, or being caught in a
traffic jam with a vindictive driver in another car,
“Schadenfreude”, trigger mock-epic songs worthy of
Don Quixote. And Leonhart also applies his wry humor
to history, musing about “Life in the Middle Ages” and
sardonically indicting capitalism on a song about the
first big speculative financial bubble in history:
“Tulips”. Leonhart’s songs may be an acquired taste,
but one well worth the effort of acquiring.
For more information, visit jayleonhart.com. Leonhart is at Tribeca
Performing Arts Center May 10th as part of Highlights in Jazz and
Knickerbocker Bar & Grill May 25th-26th. See Calendar.
Fluku
Paal Nilssen-Love Large Unit (PNL)
by John Sharpe
Straight from the start powerhouse Paal Nilssen-
Love’s Large Unit signals an uncompromising stance.
The Norwegian drummer, a veteran of Peter
Brötzmann’s fiery Tentet, knows all about how to rev
the engines of a gathering of improvisers. Fluku is the
band’s fourth album since its inception in 2014 and
that experience, both in the studio and on tour, means
that Nilssen-Love cannily organizes his 13-strong crew
so they can best express themselves and the crew
amply repays that trust. Of course, given the
assemblage of talent from the Scandinavian scene on
hand, the outcome should never be in doubt.
Nilssen-Love crafts four charts to steer his cast
through soundscapes they might not otherwise reach,
utilizing different subsets of the Unit at different times.
At just under 27 minutes the title track stands as the
highlight and exemplifies the band’s working method,
setting out a series of non-repeating sections through
which the group gleefully rampages. It opens with
a barrage of white noise cymbal hiss, punctuated by
pithy horn figures, offering a grainy backdrop for
Tommi Keränen’s electronic distortions. That gives
way to an episode of garrulous bickering in which
Klaus Ellerhusen Holm’s baritone saxophone is
prominent, before further features for Mats Äleklint’s
sprightly jabbing trombone and Kristoffer Berre
Alberts’ overblown tenor saxophone.
But just when you think the piece will showcase
the entire outfit, Nilssen-Love eases right back on the
throttle to leave only the roiling twin drum tattoo,
which quickly subsides into delicately fluttering
cymbal interplay, interspersed by sustained sound
masses. It’s such unexpected gearshifts that sharpen
the interest and justify repeat plays. “Springsummer”,
featuring Holm’s cool clarinet, suggests a more
ambiguous season than might be anticipated, while
“Playgo” starts from layers of interlocking brass and
woodwind to offer a sequence of riff-driven
opportunities for individual expression, which
guitarist Ketil Gutvik notably exploits by evoking a
rummage through the tool drawer.
The only quibble with this rousing set is that
although the instruments are cleanly spread across the
soundstage, there’s no indication of which of the
multiple bassists, drummers and alto saxophonists is
in which channel, if that matters to you.
For more information, visit paalnilssen-love.com. Nilssen-
Love is at Roulette May 27th with Frode Gjerstad as part of
Vision Festival. See Calendar.
Present Tense
Joe Locke Quintet (SteepleChase)
Divine Gemini
Walt Dickerson/Richard Davis (SteepleChase)
by John Pietaro
After a century of fighting for airspace and a proper
reference in the annals of jazz axes, the vibraphone
may be having its day. Again. With deference to the
instrument’s lustrous history, SteepleChase Records
has just rereleased two vibraphone-fronted LPs
representing vastly different instrumental approaches.
Between the two, an alternative history of mallet jazz
skims across the turntable.
Walt Dickerson burst upon the scene in 1961, when
Milt Jackson’s conceptual approach of soft mallets, a
deft touch and slow vibrato had been the standard for
over a decade. Within a few years, Gary Burton’s
resurgence of the four-mallet school became vital to
the prominence of vibraphone in popular music, but
Dickerson stood alone. Influenced by the bold turn of
free jazz, he attacked the instrument with a pair of
unwrapped mallets to bring out its root percussiveness.
In perpetual-motion runs at startlingly fast tempi,
Dickerson ventured through interstellar duos with Sun
Ra and breathtaking jazz impressions of powerful film
scores. As a pioneer, he was summarily overlooked by
THE NEW YORK CITY JAZZ RECORD | MAY 2018
the music establishment and stepped out of the sphere
in 1965. True to his outsider core, he returned a decade
later, as jazz was falling from corporate grace. Still,
Dickerson remained a singular voice and, when
ignored by the establishment, embarked on several
album projects with SteepleChase. His career came to
an unceremonious close along with the ‘70s and he
maintained a mysterious silence until his death nearly
30 years later.
Divine Gemini brings us back to 1978, during
Dickerson’s latter career. This intimate duet with noted
bassist Richard Davis offers ample space for atmosphere
and exploration. Though the vibraphonist is still using
mallets shed of their yarn wrapping, his touch is artful,
as is his shifting, almost surgically precise use of the
instrument’s vibrato motor and damper pedal. The
lengthy piece “Lucille” opens this outing with a
varying motif in the vibraphone, one which ever so
slowly expands in shape and texture. The album is a
dedication by Dickerson to his mother Lucille Fletcher
but the album also speaks to his spiritual and
metaphysical beliefs. And one can feel this in the depth
of the improvisations. Davis, as always, is commanding
and rich in tone. In opposition to the metallic
soundscape of Dickerson, Davis brandishes the depth
of his instrument’s range, thickly wound strings and
the very wood from which it’s built. His sensitive
touch is featured most clearly in the final selection,
“Her Intuition”. Dickerson, of course, liberates the
prayerful moments with devastating runs up his
keyboard. Or maybe his use of uncannily agile chops—
dashing, perhaps winged may be better descriptions—
functions as a benediction in itself.
Among contemporary vibraphonists, Joe Locke
stands as both torch-bearer and innovator. Since his
New York City debut in the early ‘80s, as Dickerson
was experiencing his twilight, Locke carved out a place
that embraced the mood of the ‘50s-60s while rejecting
the then-popular call for a faithful return to mainstream,
white shirt, skinny tie and all. Fact is, when blowing
over changes, the drive of Locke’s improvisations
carry him to heights above straightahead. This album
from 1990 contains uptempo postbop, cool sounds,
late-night standards and funky fusion. Present Tense
was titled in response to the wave of nostalgia,
uniquely claiming the here-and-now. The wicked irony,
of course, is that this reissue, by default, represents the
there-and-then. But no mind that.
Locke’s quartet of pianist Kenny Werner, bassist
Ron McClure and drummer Ronnie Burrage, with the
addition of tenor saxophonist Larry Schneider on
several cuts, showed his foresight. Locke’s fiery runs
bring to mind the best of Terry Gibbs (no mean feat),
both in the level of chops and modern jazz chordal
mastery. This is evident from the lead cut, “Masada/
Summernight”, which finds him hiply railing over the
instrument in this Harry Warren standard. Werner,
then a regular with the Mel Lewis Vanguard Orchestra,
offers thick, rhythmic fistfuls of harmony and taunting
counterpoint to which the leader responds with a
dense series of solo statements. McClure and Burrage
swing it hardbop style; however, the album shows off
their fusion chops just as heartily. The title track brings
Schneider and his guttural, bar-walking horn to the
front. The saxophonist’s appearances bring the band
into rollicking forays that recalls ‘70s Gato Barbieri. In
such cuts, Burrage kicks the pulse into the next decade.
His incendiary, muscular drumming simmers on the
edge of boiling over, with killer melodic fills and
sudden cymbal accents, as McClure’s ceaseless,
insistent lines steer it all home. The standout track is
Jule Styne’s “You Say You Care”, the mood deep into
the darkest after-hours jam sessions of old, with the
quartet racing toward the dawn, tireless piano
excursions combatting blurring mallets.
For more information, visit steeplechase.dk. Locke is at
Mezzrow May 25th-26th. See Calendar.
39

The Leadbelly Project
Adam Nussbaum (Sunnyside)
by Mark Keresman
It’s no secret blues is the basis for much American
music. While sharp-dressed cats such as B.B. King and
Buddy Guy get lots of well-deserved credit, it was the
unplugged performers who laid the groundwork. One
such figure is Huddie Ledbetter, aka Leadbelly (1888-
1949). Some consider him a folksinger (folk standard
“Goodnight Irene” is his), others a blues singer. Let the
pundits hash it out—Leadbelly remains a crucial figure
in American music who impacted electric blues, folk,
rock ‘n’ roll and country. Drummer Adam Nussbaum—
heard with John Abercrombie, Gil Evans, Ted Curson,
Steve Swallow, Mike Stern and many others—has
fashioned a super-fine tribute to the songs and influence
of Leadbelly (plus a couple of originals).
If one is expecting standard blues chord
progressions, searing instrumental soloing and/or
classic songs presented earnestly, one might be
disappointed. Superficially The Leadbelly Project brings
to mind the electro-acoustic Americana of Bill Frisell.
The tone of the guitars is blurry and slightly ethereal
yet charged with earthy country twang and bent blues
notes. The stately saxophone of Ohad Talmor has a
blues-flavored feel much of the time but is still light
and translucent. Nussbaum evokes slightly the style of
former Frisell employer Paul Motian in that he’s more
of an impressionist than timekeeper. But while he
doesn’t stir up a storm, Nussbaum has got that beat,
swing ‘n’ sway and makes with compelling crackle
when the context calls for it. Take “Black Betty”,
wherein Nussbaum lays down a New Orleans-type
rhythmic pattern halfway between a shuffle and a
march tempo while guitarists Nate Radley and Steve
Cardenas engage in sprightly yet pointed exchanges
and velvety-smooth saxophone sings out a jabbing
melodic line. “Black Girl” shows via contrasting
guitars (terse, worried notes, judicious twang) the
overlap between blues and country.
All tracks are eminently tuneful and relatively
short (between three and five minutes) and the soloing
is to the point. This is an example of what
a great tribute album/band should be—communicating
the essence of the tributee while performing the
subject’s works in refreshing ways.
For more information, visit sunnysiderecords.com
Earth, Wind and Wonder
Don Braden (Creative Perspective Music)
by Phil Freeman
During R&B’s golden era, bands like Earth, Wind &
Fire (EWF), Kool & The Gang, Ohio Players and others,
as well as brilliant composers and arrangers like Stevie
Wonder, Isaac Hayes and Marvin Gaye, created an
expansive sonic palette blending jazz, funk, soul, rock
and—in the case of Wonder and EWF—Brazilian and
40 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
African music into songs as lush and intricate as they
were hard-driving and funky. This was music that
rewarded headphone listening every bit as much as it
pushed people onto the dance floor. Saxophonist Don
Braden, a veteran with over 20 albums to his name as
a leader and a long career as a jazz educator at the
Connecticut-based Litchfield Jazz Camp, New Jersey
Performing Arts Center ’s Jazz for Teens program and
many other schools and institutions, tackles some of
these classic tunes on his latest release.
The music on Earth, Wind & Wonder was recorded
in two sessions: one in 2014 and another three years
later. In between, Braden underwent surgery for a cyst
in his jaw, which very nearly cost him his ability to
play. The fact that it’s impossible to tell, without
looking at the liner notes, which tracks were
recorded in 2014 and which in 2017 is a testament to
the success of the operation and to his talent and skill.
The album—on which he’s backed first by pianist
Brandon McCune, bassist Joris Teepe and drummer
Cecil Brooks III and later by pianist Art Hirahara,
bassist Kenny Davis and drummer Jeremy Warren;
Kahlil Kwame Bell adds percussion overdubs—
includes versions of instantly recognizable tunes like
“Fantasy”, “Can’t Hide Love”, “After the Love Has
Gone”, “Don’t You Worry ’Bout a Thing” and “Higher
Ground”, as well as two Braden originals.
With just one horn and a three-piece rhythm
section, the complex arrangements of the originals are
missed, but the melodies are powerful enough to carry
the day and everyone is playing with love and respect
for the material, swinging hard and spinning these
classic songs into jazz gold. This goes beyond mere
homage into real transformation.
For more information, visit donbraden.com. This project is
at Dizzy’s Club May 23rd. See Calendar.
Don’t Look Down
Ken Fowser (Posi-Tone)
by Ken Dryden
Although major labels have drastically cut their
investments in new jazz artists, there are smaller
independent operations with a knack for discovering
up-and-coming musicians and giving them time to
blossom over a series of recordings with their working
bands. Tenor saxophonist Ken Fowser has been one of
the premier artists for Posi-Tone, first co-leading a
group with vibraphonist Behn Gillece, then fronting
his own band.
This quintet, which has frequently played both
Smalls and Smoke, makes it sound like this music has
been part of their live repertoire, with a spark present
often missing from studio dates. Joining Fowser is Josh
Bruneau (a rising star on trumpet), plus veterans
pianist Rick Germanson, bassist Paul Gill and drummer
Joe Strasser. All 11 tracks are Fowser originals and he
proves to be an astute arranger, keeping one’s interest
by encouraging concise, creative solos. His excellent
pacing of the music and wide variety of styles keep the
listener engaged. One can only imagine the reaction
hearing these songs in a club setting.
“Maker ’s Marc” could be a salute to Posi-Tone
co-owner Marc Free. In any case, this frenetic opener
finds the group in top form as they blend elements of
postbop with Latin interludes and terrific interaction
between the musicians. “You’re Better Than That” is
a lively samba with a contemporary flavor from
Germanson’s switch to electric piano. “Fall Back”
recalls the fever of hardbop stylists with its snappy
theme and powerful rhythm, as Germanson, Bruneau
and Fowser battle it out to a hard-fought draw for solo
honors. The brisk “Top To Bottom” has the flavor of
an Ornette Coleman blues with its twisted theme and
showcases Fowser ’s most adventurous playing of the
session though Gill’s playful arco threatens to steal the
spotlight. The freshness of the music and spirited
playing throughout this CD make Fowser and his band
essential to hear in person at the next opportunity.
For more information, visit posi-tone.com. Fowser is at The
Django at Roxy Hotel Fridays. See Calendar.
IN PRINT
Dizzy, Duke, Brother Ray and Friends
(On and Off The Record with Jazz Greats)
Lilian Terry (University of Illinois Press)
by Kevin Canfield
A radio host, concert organizer and accomplished
vocalist, Lilian Terry played an important role on
the Italian jazz scene for many years. Now in her
80s, she has written a jaunty memoir about the time
she spent with some of the 20th century’s legendary
musicians.
Dizzy, Duke, Brother Ray and Friends is a book of
laudable, if modest, ambitions. Terry isn’t out to
dish dirt and doesn’t spend much time writing
about the music itself. But taken for what it is—a
collection of mostly flattering character sketches—
this is a likeable effort.
Raised in Cairo and Florence, Terry began
working for the Italian broadcaster RAI in the ‘60s.
In the years that followed, she interviewed and
befriended a host of visiting American jazz stars.
Her fond memories of these artists fuel the book’s
most vivid chapters. In Terry’s telling, Duke
Ellington was a font of wry quotes—“I tour the
world with a small case full of vitamins,” he told
her—and Max Roach was a resourceful host when
she visited the U.S. In the late ‘60s, Terry was
traveling with Roach and his fellow African-
American bandmates when they were turned away
by a racist Rhode Island innkeeper. The quick-
thinking drummer responded by arranging
alternative accommodations for the group: “It was
only the next afternoon…that Max told me, greatly
amused, that we had been the guests of Lucky
Luciano’s brother-in-law.”
After Terry, the book’s central character is
probably Dizzy Gillespie. Friends for more than a
quarter-century, Terry and the trumpeter
collaborated on music education programs and an
album released by an Italian label (Oo-Shoo-Be-Doo-
Be ...Oo, Oo ...Oo, Oo, Soul Note, 1985). Gillespie, she
says, was a brilliant, complex person. He could be
moody, Terry says, and as he approached his 60th
birthday, Gillespie rebelled against the idea of
wearing a hearing aid. Though “not a ‘Santa Claus’
kind of man,” Terry writes, Gillespie’s “love of life
and devotion to his music had raised him well above
his shortcomings.”
For more information, visit press.uillinois.edu

Bridges
Jamie Baum Septet+ (Sunnyside)
by Jim Motavalli
F lutist Jamie Baum grew up in Connecticut and
recently returned to her synagogue there for a stellar
benefit concert featuring jazz rabbi Greg Wall and
drummer Adam Nussbaum. She’s a spiritual seeker
and not just in the Jewish tradition. Bridges explores
various faith traditions, but it’s no naïve world music
foray. All of it is filtered through her strong sense of
jazz composition.
You don’t necessarily need to know that “From the
Well” is based on a scale common to Maqam (Arabic),
Jewish and South Asian music. It’s a bright but snaky
uptempo theme, played with a bit of a backbeat.
Baum’s solo looks east and then Sam Sadigursky plays
the snake charmer on bass clarinet. Amir ElSaffar
brings it back to the west with his smeary, destination-
out trumpet solo. The latter, an American whose father
is Iraqi, also adds some guileless singing to “Song
Without Words”, written to honor Baum’s late father.
It’s a pensive song about loss and features Baum’s best
solo, as well as more evocative bass clarinet. “There
Are No Words” is also about loss and John Escreet is
heard to good advantage, with his insistent piano
introducing the main theme and then taking a long
solo that channels Don Pullen, from slightly dissonant
to highly melodic.
“Honoring Nepal: The Shiva Suite” grew out of
Baum’s performances in Kathmandu in 2003 and 2009
and was commissioned by the Rubin Museum of
Himalayan Art in New York. “The Earthquake” evokes
the devastation wrought on Nepal in 2015 (Brad
Shepik’s guitar is effective at conjuring the tragedy)
and “Renewal”, with delicate piano notes like green
shoots coming out of the ground, is about the rebuilding
afterwards; you can almost hear the people coming out
of their damaged homes, tools in hand. “Contemplation”
mixes hope and sadness. Special mention should go to
“Joyful Lament”, a feature for Shepik and Nepali Navin
Chettri’s vocals and percussion. The latter’s playing,
evoking both Carlos Santana and John McLaughlin’s
work with Shakti, soars over written passages in a most
engaging manner. “Mantra” is just that, based on
ancient texts, with Chettri on tanpura and a vocal that
calls for “healing, rejuvenation and nurturance”.
The album lives up to its title. Baum is indeed
building musical bridges.
For more information, visit sunnysiderecords.com. This
project is at The Cell May 26th. See Calendar.
Live at Dizzy’s Club Coca-Cola
Ted Nash Quintet (Plastic Sax)
by George Kanzler
“Epistrophy” was Thelonious Monk’s set closing
theme, hence one of his most familiar pieces. Almost
too familiar and yet the quintet here plays it with
remarkable verve, completely engaged so that an old strong as his drumming, though not as appreciated:
chestnut sounds as fresh as a newly minted original. his dramatic “Ira” shifts from melancholy to
And pianist Gary Versace creates a percussive solo just celebratory, with both Lê Quang and Spányi shining as
as original as Monk’s playing, spicing it up by soloists; intense “Ballad” sounds like a group
alternating straight 4/4 time with off-kilter jangly improvisation in its detours into free jazz amid many
sections spearheaded by drummer Matt Wilson. Ted sudden shifts in direction; and “Couscous Purée” is
Nash, the versatile reedplayer and longtime member a ballad with a mournful air that segues into anguish
of the Jazz at Lincoln Center Orchestra (JLCO) who as tension mounts. Another old friend, Michel Portal,
leads this live date, rounds out his quintet with contributed the demanding “Mutinerie”, a band
vibraphonist Warren Wolf and bassist Rufus Reid. The favorite they devour whole to conclude the show. The
music they create is constantly engaging, exemplary of disc ends with an onstage interview that was recorded
today’s mainstream modern jazz. between sets during the concert.
Nash gets to stretch out here more than with the
JLCO, indulging his more avant abilities to conjure up For more information, visit intuition-music.com
some of Ornette Coleman’s rough-edged tone and
unpredictable lines on “Organized Crime”, which also
takes advantage of alternating jagged and smooth FREE PUBLIC CONCERTS
rhythms, and recalling the swirling phrases of Eric
www.jazzfoundation.org
Dolphy on “Spinning Song”. The leader switches to
flute on Chick Corea’s engaging waltz “Windows” and
piccolo for Henry Mancini’s “Baby Elephant Walk”. JAZZ AT PIER 84 NYC PARKS
That latter is a funky romp, propelled by a boogaloo Hudson River Park Hansborough Recreation
backbeat and snappy snare work, plus a deep-groove 555 12th Ave, 7pm Center, 35 W. 134th St,
bass solo. Reid’s pizzicato solo is also a highlight on 5/31: Ray Mantilla & Friends (Enter from 135th Street)
“Windows”. In fact every solo here shines as timely 6/21: Alvin Flythe Quartet 1pm
and apt and Nash does not fall into the trap—common 5/3: Phil Young
7/19: Sylvia Cuenca Organ
on live dates—of stringing out each tune with a solo 5/10: George Braith
Quartet
5/17: Ray Mantilla
from every member. All but one of the tracks is by the
quintet, the one exception an expansive, tender duet of Sutton Place Park
Johnny Mandel’s “Emily” by Nash on clarinet with JAZZ AT SOCRATES
South, Sutton Place and East
Versace. Although this is a live recording, it has the feel Socrates Sculpture Park,
57th Street, 6pm
of an artfully programmed studio album. 32-01 Vernon Blvd, 7pm
5/12: Alvin Flythe Quartet
6/14: Clifton Anderson
7/12: Eric Wyatt
For more information, visit tednash.com. Nash leads the 8/9: "Hot Lips" Joey Morant
Jazz at Lincoln Center Orchestra in a celebration of Ornette
Coleman at Rose Theater May 18th-19th. See Calendar.
Seasoning
Daniel Humair (Intuition)
by Ken Dryden
No matter how well known a European musician’s
work is on the continent, it is a challenge to gain
significant recognition in the U.S. without committing
to playing in North America on at least an annual
basis. Drummer Daniel Humair, who turns 80 this
month, should need no introduction to seasoned jazz
fans anywhere, as his immense discography playing
with numerous greats and leading his own groups
speaks for itself. A 21st century Renaissance man who
is a heralded painter and jazz educator, Humair proved
in his 20s that visiting American allstars had a first-
rate drummer available for performances and record
dates.
This is the tenth volume in the European Jazz
Legends series recorded in concert at Theater Gütersloh Manuel Valera
in Germany. The drummer brought a new band Yosvany Terry
consisting of three of his former students from the John Benítez
Paris Conservatory: saxophonist Vincent Lê Quang Mauricio Herrera
(mostly heard on soprano), pianist Emil Spányi and
bassist Stéphane Kerecki, all of whom are in their 40s
Mark Whitfield, Jr.
yet not well known outside of Europe. Age makes no
difference on this stage as the younger players are fully
on board with the leader ’s insistence on free expression.
Saturday, May 5 Reserved Seats www.hostoscenter.org
Humair calls François Jeanneau’s “Arfia” (a song
7:30 PM $20 (Students $5) (718) 518-4455
he first recorded with its composer in 1980) to open the
set and the rhythm section is fully engaged interacting
with expressive tenor saxophone in this diverse, free- Repertory Theater | 450 Grand Concourse | Bronx
spirited piece. Humair ’s songwriting is every bit as
THE NEW YORK CITY JAZZ RECORD | MAY 2018 41
 B OXED SE T
The Bootleg Series, Vol. 6: The Final Tour
Miles Davis & John Coltrane (Columbia-Legacy)
by Duck Baker
Miles Davis made several trips to Europe before
1960, but the trumpeter was never invited to tour
with his own working band until the spring of that
year. The trip was made even more historic by the
presence of saxophonist John Coltrane and,
fortunately, 7 of the 20 concerts on the tour were
recorded and began appearing on various European
bootleg labels about 25 years after the fact.
Even though this Columbia four-disc set marks
the first “official” release (it’s hard not to smile when
major labels adopt a sniffy pose regarding boots of
material they decline to release for nearly 60 years,
but never mind), an ocean of ink has by now been
spilled about the music. Serious students of
Coltrane’s playing could spend a long time
comparing recordings on this tour with earlier live
dates and, especially, what he played at the Village
Vanguard in late 1961. A main reason for the way
Coltrane was evolving was the harmonic structures
of the modal style Davis had adopted. Coltrane by
this time had no difficulty negotiating not only
standard changes but also more advanced harmonic
structures like his own “Giant Steps”, even at
breakneck tempos. But the modal feeling seemed to
suit his needs more and that is the direction he was
now to take. Coltrane’s path to freer jazz involved
stripping away the advanced structures he had
mastered and modal jazz was his gateway.
Davis himself said later that Coltrane wanted to
be out on his own and therefore he seemed angry on
the tour and sounded angry on stage and many have
interpreted things along these lines. While some
may laugh at the idea that Davis would notice
anyone else in the band being angry, others might
question whether Coltrane’s playing sounds
particularly angrier here than it did at the Plaza gig
in late 1958 (Miles Davis, Jazz At Plaza, Columbia).
He does sound a bit wilder and woolier on the two
sets recorded in Paris on Mar. 21st than he did on
subsequent tour dates and annotator Ashley Kahn’s
suggestion that Davis’ insertion of more modal
numbers into the later sets as a factor in this is
intriguing. But a simple point already touched on
may bear repeating: this music is chronologically
halfway between the Plaza recordings and Coltrane’s
first Vanguard stand and the same might hold for
a description of his playing style.
Something of the sort is true of Davis as well. He
sounds considerably more like the trumpeter with
his second great quintet than that with the first,
stretching out much further than he had during the
‘50s, albeit in very different ways from Coltrane—
almost the opposite, in fact. Where Coltrane played
more and more notes, Davis played fewer, repeating
simple phrases and even single notes over and over
and where Coltrane was filling more and more of his
canvas with detail, Davis left more space.
As for Wynton Kelly, Paul Chambers and Jimmy
Cobb, they were known, at the time, as “The Rhythm
Section” and for good reason. Each was a superb
accompanist in his own right and as a unit they could
fit perfectly into almost any modern context.
Whatever else was happening on this tour, there is
no question that Coltrane was NOT leaving the rest
of the band behind him. That Chambers was great
with the saxophonist has always been accepted and
by now this is generally acknowledged where Cobb
is concerned. But the oft-implied idea that Kelly
could not make the transition into modal territory as
well as other pianists who would follow him in the
band is given belied by these recordings. His
comping is wonderful and his solos really sparkle.
A fairly recent four-CD boxed set on Acrobat
covered similar territory. It did not include the Paris
concert but did include sets recorded in Germany,
Switzerland and Holland that are not present in the
Columbia package. Thus neither box is definitive,
but both are cheap but well produced and audio
quality is generally similar. Those who want to
collect all the music recorded on the tour might find
it easier to start with the Acrobat set, since all it lacks
is the Paris recordings, but those who feel that one
box is enough to get the idea should go with the
Columbia, because the Parisian material is of
particular interest.
For more information, visit legacyrecordings.com. A
Miles Davis Birthday Celebration led by Al Foster is at
Smoke May 25th-27th. See Calendar.

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rufus reid – BAss | sylviA cuencA – drums
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42 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 M ISCELLANY
ON THIS DAY
by Andrey Henkin

Easy Jazz
Ralph Sharon (London)
May 27th, 1955
While the sidemen on this album
would all go on to jazz stardom,
British-born pianist Ralph Sharon
claimed fame in a different area: as
singer Tony Bennett’s accompanist
and musical director for over 50 years
(returning to regular jazz recording in
the late ‘90s). For this collection of jazz
standards and originals with names
like “Plutocrat in the Automat” and
“Man on the Couch”, Sharon is joined
by J.R. Monterose (tenor saxophone),
Teddy Charles (vibraphone), Joe
Puma (guitar), Charles Mingus (bass)
and Kenny Clarke (drums).
Screamin’ The Blues
Oliver Nelson (New Jazz)
May 27th, 1960
After meeting him in 1959 and then
taking care of business with him
earlier in 1960, listeners were
screamin’ the blues with alto/tenor
saxophonist Oliver Nelson on this
album, his third release as a leader, all
for Prestige’s New Jazz. He is joined
in the frontline by Eric Dolphy (alto
saxophone) and Richard Williams
(trumpet), the rhythm section
comprised of Richard Wyands,
George Duvivier and Roy Haynes. As
had been the case with his previous
recordings, the material is mostly
Nelson’s originals.
The Oscar Peterson Trio In Tokyo
Oscar Peterson (Denon)
May 27th, 1972
Pianist Oscar Peterson was one of the
most prolific recording artists in jazz
history, appearing on labels from
around the world, starting with his
native Canada. This particular date is
taken from a concert at the Palace
Hotel in Tokyo. While drummer Louis
Hayes had occasionally worked as
part of the pianist’s trio from 1966-74,
Peterson’s countryman bassist Michel
Donato appears to have only spent
this summer with him. Only two
originals, “Wheatland” and “Blues
Etude”, appear among a program of
standards.
Eponymous
Toshiko Akiyoshi (Eastworld)
May 27th, 1983
Toshiko Akiyoshi was born in
December 1929 in China but returned
to her parents’ native Japan as a teen.
The pianist’s first album resulted
from the urging of Oscar Peterson to
Norman Granz. Soon after she studied
at Berklee College of Music. And
though she would record for Japanese
labels later, it was typically with
American musicians. Such is the case
here, Akiyoshi joined by Gene Cherico
(bass, part of her first Berklee trio in
1957) and Joey Baron (drums, a more
recent collaborator) for five standards
and one Akiyoshi tune.
As Serious As Your Life
Joe McPhee (hatOLOGY)
May 27th, 1996
In 1976, Joe McPhee recorded his first
solo saxophone album, aptly and
simply titled Tenor and released on
hatHUT, a Swiss label initially
founded by Werner X. Uehlinger to
document McPhee’s work. It was the
first of three solo albums made over
the next year. Two decades later,
McPhee celebrated that period with
this album, named for the 1977 Valerie
Wilmer book on avant garde jazz and
with McPhee on reeds, cornet, piano
and electronics. McPhee would go on
to make another five solo albums
through the new millennium.

May 1
Ira Sullivan b.1931
†Shirley Horn 1934-2005
Carlos Ward b.1940
James Newton b.1953
Kevin Hays b.1968
Ambrose Akinmusire b.1982
May 2
†Pat Smyth 1923-83
†Richard “Groove” Holmes
1931-91
†Eddy Louiss 1941-2015
Mickey Bass b.1943
Keith Ganz b.1972
May 3
†John Lewis 1920-2001
†Jimmy Cleveland 1926-2008
Jymie Merritt b.1926
Johnny Fischer b.1930
John Alexander b.1948
Larry Ochs b.1949
Guillermo E. Brown b.1974
Matt Bauder b.1976
Alexander Hawkins b.1981
May 4
†Sonny Payne 1926-79
†Maynard Ferguson
1928-2006
†Don Friedman 1935-2016
Ron Carter b.1937
Chuck Folds b.1938
Rudresh Mahanthappa b.1971
Jeremiah Cymerman b.1980
May 5
Kidd Jordan b.1935
Stanley Cowell b.1941
Jack Walrath b.1946
Pablo Aslan b.1962
May 6
†Freddy Randall 1921-99
†Denny Wright 1924-92
Isla Eckinger b.1939
Paul Dunmall b.1953
May 7
†Yank Porter 1895-1944
†Pete Jacobs 1899-1952
†Leon Abbey 1900-75
†Edward Inge 1906-88
†Herbie Steward 1926-2003
†Arthur Blythe 1940-2017
David Haney b.1955
Michael Formanek b.1958
May 8
†Red Nichols 1905-65
†Mary Lou Williams 1910-81
†Jerry Rusch 1943-2003
Keith Jarrett b.1945
Jon-Erik Kellso b.1964
Meinrad Kneer b.1970
May 9
†George Simon 1912-2001
†Dick Morrissey 1940-2000
Dennis Chambers b.1959
Ricardo Gallo b.1978
May 10
†Pee Wee Hunt 1907-79
†Al Hendrickson 1920-2007
†Mel Lewis 1929-90
†Julius Wechter 1935-99
†Mike Melvoin 1937-2012
†Jimmy Ponder 1946-2013
Ahmed Abdullah b.1947
†Hans Reichel 1949-2011
Alex Foster b.1953
Philip Harper b.1965
Jasper Hoiby b.1977
BIRTHDAYS
May 11
†King Oliver 1885-1938
†JC Higginbotham 1906-73
†Oscar Valdambrini 1924-97
†John Coppola 1929-2015
Dick Garcia b.1931
†Freddie Roach 1931-80
Carla Bley b.1938
Ralph Humphrey b.1944
Mikkel Ploug b.1978
May 12
†Marshal Royal 1912-95
†Don DeMichael 1928-82
Gary Peacock b.1935
Klaus Doldinger b.1936
Trevor Tompkins b.1941
May 13
†Maxine Sullivan 1911-87
†Gil Evans 1912-88
†Red Garland 1923-84
Creed Taylor b.1929
†Erick Moseholm 1930-2012
John Engels b.1935
May 14
†Sidney Bechet 1897-1959
†Zutty Singleton 1898-1975
†Skip Martin 1916-76
†Al Porcino 1925-2013
Warren Smith b.1932
†Jack Bruce 1943-2014
Virginia Mayhew b.1959
Frank Basile b.1978
May 15
†Ellis Larkins 1923-2002
Karin Krog b.1937
Oscar Castro-Neves b.1940
Omer Klein b.1982
Grace Kelly b.1992
May 16
†Woody Herman 1913-87
†Eddie Bert 1922-2012
†Betty Carter 1930-98
Billy Cobham b.1944
May 17
†Paul Quinichette 1916-83
†Dewey Redman 1931-2006
†David Izenzon 1932-79
†Jackie McLean 1932-2006
Roy Nathanson b.1951
Michiel Braam b.1964
May 18
†Joe Turner 1911-85
†Kai Winding 1922-83
Jim McNeely b.1949
Weasel Walter b.1972
May 19
Cecil McBee b.1935
Sonny Fortune b.1939
Henry Butler b.1949
Michael Blake b.1964
May 20
†Tommy Gumina 1931-2013
†Louis Smith 1931-2016
†Bob Florence 1932-2008
†Charles Davis 1933-2016
†Rufus Harley 1936-2006
Victor Lewis b.1950
Ralph Peterson b.1962
Sheryl Bailey b.1966
Benjamin Duboc b.1969
May 21
†Fats Waller 1904-43
†Tommy Bryant 1930-82
Marc Ribot b.1954
Lewis “Flip” Barnes b.1955
May 22
†Sun Ra 1914-93
†Elek Bacsik 1926-1993
Giuseppi Logan b.1935
†Dick Berk 1939-2014
May 23
†Artie Shaw 1910-2004
†Rosemary Clooney 1928-2002
†Les Spann 1932-89
Daniel Humair b.1938
Marvin Stamm b.1939
Don Moye b.1946
Richie Beirach b.1947
Ken Peplowski b.1959
Darcy James Argue b.1975
May 24
†Frank Signorelli 1901-75
†Herbie Fields 1919-58
Max Bennett b.1928
†Gianni Basso 1931-2009
†Michael White 1933-2016
Archie Shepp b.1937
†Charles Earland 1941-99
May 25
Marshall Allen b.1924
†Miles Davis 1926-91
†Piet Noordijk 1932-2011
Gary Foster b.1936
Christof Lauer b.1953
Wallace Roney b.1960
May 26
†Ady Rosner 1910-76
†Shorty Baker 1914-66
†Ziggy Elman 1914-68
†Calvin Jackson 1919-85
Frank Grant b.1931
†Neil Ardley 1937-2004
David Torn b.1953
May 27
†Albert Nicholas 1900-73
†Earl “Jock” Carruthers 1910-71
†Bud Shank 1926-2009
Ramsey Lewis b.1935
†Rufus Jones 1936-90
†Niels-Henning Ørsted
Pedersen 1946-2005
Gonzalo Rubalcaba b.1963
May 28
†Andy Kirk 1898-1992
†Al Tinney 1921-2002
†Russ Freeman 1926-2002
Alfred Patterson b.1937
Claudio Roditi b.1946
May 29
Freddie Redd b.1927
†Hilton Ruiz 1952-2006
Jim Snidero b.1958
Lafayette Harris, Jr. b.1963
Wycliffe Gordon b.1967
Sean Jones b.1978
May 30
†Sidney DeParis 1905-67
†Benny Goodman 1909-86
†Pee Wee Erwin 1913-81
†Shake Keane 1927-97
†Harry Beckett 1935-2010
Ann Hampton Callaway b.1959
Juan Pablo Carletti b.1973
Frank Rosaly b.1974
May 31
†Red Holloway 1927-2012
Albert “Tootie ”Heath b.1935
Louis Hayes b.1937
Marty Ehrlich b.1955
Eric Revis b.1967
Christian McBride b.1972
MICHAEL FORMANEK
May 7th, 1958
Michael Formanek’s earliest
recording was made while
the bassist was still in his
teens, a 1979 album on Ego
by Dave Liebman. He
slowly accumulated credits
through the ‘80s with Bob
Moses, Mark Murphy and
Attila Zoller. The latter’s
albums were on Enja, which
would host Formanek’s first
four albums as a leader from
1990-96. He has had long
associations with Dave
Ballou, Harold Danko, Tim
Berne, Uri Caine and Mary
Halvorson in a discography
of over 100 sessions. He
might have continued to
have a solid career but
reached a new level in 2010
when he began recording for
ECM, first with two quartet
records and then upping the
ante considerably with his
18-piece Ensemble Kolossus
on The Distance. -AH

CROSSWORD
1 2 3 4 5 6 7 8 9 ACROSS DOWN

1. Misha Mengelberg/Han Bennink 1972 ICP six-flexidisc 1. Bobby Watson tune that may or may not be late
10 11 12
set ____ Mirakelse Tocht Door Het Scharrebroekse 2. See 25 Across
4. Innova is the label of this org. 3. Bassist Meshell
13 14 15 7. Important info for touring musicians 4. Label releasing albums by Don Moye, Joseph Jarman
10. Vague Mike Osborne composition? and Malachi Favors
11. New York Eye And ____ Control 5. British trumpeter Ian
16 12. Pianist Waldron 6. Kris Davis/Ingrid Laubrock/Tyshawn Sorey prefer the
13. Timeless ECM guitarist? paradoxical sort
16. John McLaughlin was helped to Fame with this 7. Added notes
17 18 19 20 21
British bandleader 8. Jim Pepper tune “Witchi-____-To” covered by
17. 2014 John Zorn Tzadik album The Testament Of Solomon Jan Garbarek, Oregon and others
22 23 (Music From The Sefer Shirim ____ Shir Hashirim) 9. Brother Thelonious was a Belgian-style one of these
19. Bassist Stewart 14. 1968 Mike Westbrook Concert Band Deram album
22. Instrument played by Yusef Lateef and Paul McCandless 15. Go up a whole tone in a chromatic scale?
24 25 23. What 19 Across would do to his instrument 17. 1992 Michel Doneda/Lê Quan Ninh/Dominique Regef
24. Dizzy’s Club ____ Cola In Situ album
25. With 2 Down, 1967 Johnny “Hammond” Smith 18. Broadcaster of Treme
26 27 28 29
Prestige album 20. Recording classification for a CD
26. They often license music and images for deceased 21. Play____, digital music delivery platform
30 31 32 33 musicians 27. It can be common or cut
30. Jazz festival held every April in Ulrichsberger, Austria 28. Jazz standard “What a Diff’rence ____ Made”
34. Cap-D’____, site of Cap Jazz Festival in southern France 29. Ben Webster and Johnny Hodges were known for
34 35 36 35. Eric Dolphy was an iron one theirs
36. Pianist Yamamoto 30. Winding trombonist?
37. Pianist Haarla 31. Threadgill/Hopkins/McCall
37 38 39
38. Wayne Shorter had an all-seeing one? 32. Bassist John with played with Monk and Sun Ra
39. Another nickname for Long Tall 33. Guitarist Bern
By Andrey Henkin visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | MAY 2018 43

 CALENDAR
Tuesday, May 1 • Adi Myerson Quintet with Camila Meza; High & Mighty Brass Band
The Django at Roxy Hotel 7:30, 10 pm
• Dave Stryker Quartet; “King” Solomon Hicks
The Django at Roxy Hotel 7:30, 10:30 pm
• Nicola Caminiti Trio with Ben Tiberio, JK Kim; Assaf Kehati Trio with Matt Pavolka, • Greg Murphy Quintet; Saul Rubin Zebtet; Yoshi Waki • Manuel Valera’s New Cuban Express with Yosvany Terry, John Benítez,
Peter Tranmueller Bar Next Door 6:30, 8:30, 10:30 pm $12 Fat Cat 7, 10 pm 1:30 am $10 Mauricio Herrera, Mark Whitfield, Jr.; Steve Kroon Sextet
• Fleurine and Boys from Brazil with Brad Mehldau, Vitor Gonçalves, Ian Faquini, • Marika Hughes New String Quartet with Charlie Burnham, Marvin Sewell, Hostos Center 7:30 pm $20
Eduardo Belo, Rogério Boccato Birdland 8:30, 11 pm $40 Rashaan Carter Greenwich House Music School 8 pm $15 êPheeroan akLaff solo; Isabelle O’Connell solo
êChucho Valdés with Roy Hargrove, Roberta Gambarini • Phil Young Hansborough Recreation Center 1 pm Issue Project Room 8 pm $15
Blue Note 8, 10:30 pm $75 êJessica Pavone solo; Liberty Ellman Trio with Stephan Crump, Damion Reid • Jon Gordon Quartet with Bryn Roberts, Matt Clohesy, Quincy Davis
• Voxecstatic: Julissa with Layla Wang; Jane Irving with John Di Martino, Kevin Hailey Happylucky no.1 8, 9 pm Jazz at Kitano 8, 10 pm $34
Cornelia Street Underground 8, 9:30 pm $10 • Asen Doykin Trio with Marco Panascia, Colin Stranahan êStephan Crump Rhombal Quartet with Ellery Eskelin, Adam O’Farrill, Kassa Overall
• William Paterson University Jazz Orchestra and Ensembles Jazz at Kitano 8, 10 pm $18 The Jazz Gallery 7:30, 9:30 pm $25
Dizzy’s Club 7:30, 9:30 pm $35 • Marike van dijk Stereography Project with Jeff Taylor, Anna Webber, Charlotte Greve, • David Durrah Jam Session Jazz Museum in Harlem 2 pm
• Danny Janklow Dizzy’s Club 11:15 pm $5 Jay Rattman, Alan Ferber, Sita Chay, Meg Okura, Eric Lemmon, Susan Mandel, • The Ladybugs: Martina DaSilva, Vanessa Perea, Joe McDonough, Robert Edwards,
• Katsuko Tanaka; Gerardo Contino’s Afro-Latin Renaissance; Russ Nolan Latin Jam Manuel Schmiedel, Petros Klampanis Dida Pelled, Dylan Shamat Jazz Standard 12 pm $10
Fat Cat 7, 9 pm 12:30 am $10 The Jazz Gallery 7:30, 9:30 pm $15 êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa,
• Marc Hannaford Trio with Simon Jermyn, Satoshi Takeishi; Alec Goldfarb Quartet with êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, Johnathan Blake Jazz Standard 7:30, 9:30 pm $35
Jeremy Viner, Kim Cass, Steven Cramer Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 êEhud Asherie/Ken Peplowski Knickerbocker Bar & Grill 9, 10:15 pm $3.50
Ibeam Brooklyn 8 pm $15 • Samora Abayomi Pinderhughes Joe’s Pub 9:30 pm $15 êDenny Zeitlin Trio with Buster Williams, Matt Wilson
• Paul Shinn Jazz at Kitano 8 pm êDenny Zeitlin solo Mezzrow 8 pm $20 Mezzrow 8 pm $20
êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, • Igmar Thomas Revive Big Band with Casey Benjamin êDave Holland/Zakir Hussain Crosscurrents with Chris Potter, Sanjay Divecha,
Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 Nublu 151 9 pm Louiz Banks, Gino Banks, Shankar Mahadevan
• Jazz for Gender Justice: The Björkestra with Pyeng Threadgill; Candice Hoyes; • Jason Prover Sneak Thievery Orchestra Rose Theater 8 pm $35-125
Lauren Sevian; Rana Farhan; Resistance Revival Chorus Radegast Hall 9 pm • Salvo Losappio; Rodrigo Bonelli Quintet
Joe’s Pub 6:30 pm $50-100 • Interpretations: Thomas Buckner Roulette 8 pm $20 Shrine 6, 7 pm
• Caroline Davis Quartet with Julian Shore, Tamir Shmerling, Jay Sawyer; • Dan Blake Brooklyn College Jazz Ensemble • Michael Isichenko Group Silvana 6 pm
Tim Berne/Hank Roberts Korzo 9, 10:30 pm ShapeShifter Lab 8 pm $5 • Robert Rutledge/George Gray Band
• Hilary Gardner/Bruce Forman Mezzrow 8 pm $20 • Joe Pino Quintet Shrine 6 pm Sistas’ Place 9, 10:30 pm $20
• Glenn Crytzer Trio Radegast Hall 8 pm • Frank Perowsky Silvana 6 pm • Kristina Koller Quartet with Fima Chupakhin, James Robbins, Darrian Douglas;
• María Grand’s Revés/Rêves: Dreams of a Departed Maestra with Ganavya Doraiswamy, • Will Vinson Quartet with Mike Moreno, Rick Rosato, Clarence Penn; Ed Cherry Quartet Craig Handy Quintet with Kyle Koehler, Matt Chertkoff, Clark Gayton, Jerome Jennings;
Joel Ross, Rajna Swaminathan; María Grand’s DiaTribe with David Bryant, with Peter Bernstein, Dean Torrey, Anwar Marshall; Jonathan Thomas Jam Session Ralph Peterson Quartet with Felix Peikli, Joseph Doubleday, Alex Hoth; Brooklyn Circle
Rashaan Carter, Jeremy Dutton Roulette 7:30 pm $20 Smalls 7:30, 10:30 pm 1 am $20 Smalls 4:30, 7:30, 10:30 pm 1 am $20
êOkkyung Lee Yeo-Neun Quartet with Maeve Gilchrist, Jacob Sacks, Eivind Opsvik • Darryl Yokley’s Sound Reformation with Zaccai Curtis, Luques Curtis, • The Battle: Vincent Herring vs. Eric Alexander with Dave Kikoski, Yasushi Nakamura,
San Damiano Mission 8 pm $15 Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $15 Joe Farnsworth Smoke 7, 9, 10:30 pm $40
• Moppa Elliott’s Unspeakable Garbage with Jon Irabagon, Nick Millevoi, Ron Stabinsky, êThumbscrew and Reeds: Mary Halvorson, Tomas Fujiwara, Michael Formanek, • David Oquendo Trio The Sound Bite 7, 9 pm
Dan Monaghan; Mike Kennedy Group with Mike Frank, Ken Pendergast, Tim Berne, Jon Irabagon, Oscar Noriega, Peter Formanek êTim Berne, Ralph Alessi, Brandon Seabrook, Michael Formanek, Ches Smith
Dan Monaghan ShapeShifter Lab 7 pm $10 The Stone at The New School 8:30 pm $20 The Stone at The New School 8:30 pm $20
• Takeshi Otani Band Shrine 6 pm êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr. êDjango A Gogo 2018: Stéphane Wrembel, Stochelo Rosenberg, Simba Baumgartner,
• Joe Pino Quintet Silvana 6 pm Village Vanguard 8:30, 10:30 pm $35 Paulus Schafer, Olli Soikkeli, Daisy Castro, Pierre Barré, Sara L’Abriola, Thor Jensen,
êSteve Nelson Quartet; Abraham Burton Quartet • Daniele Germani; Allegra Krieger Williamsburg Music Center 9, 10:30 pm $10 Ari Folman-Cohen, Nick Anderson and guest Sam Bush
Smalls 7:30, 10:30 pm $20 Town Hall 8 pm $45-75
êForever Django—Passing the Family Torch: Dorado, Samson and Amati Schmitt, Friday, May 4 êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr.
Ludovic Beier, Pierre Blanchard and guests Melody Gardot, Ken Peplowski, Village Vanguard 8:30, 10:30 pm $35
Veronica Swift Stern Auditorium at Carnegie Hall 8 pm $17.50-85 êDave Schnitter and The Trio with Tardo Hammer, John Webber, Steve Williams • Brad Miller Williamsburg Music Center 10, 11:30 pm $10
êMichael Formanek/Andrew Cyrille The Stone at The New School 8:30 pm $20 The 75 Club at Bogardus Mansion 8, 10 pm $20
• Hayes Greenfield/TJ Maiani Troost 8 pm • Mark Cocheo Trio with Mark Zaleski, Brian Adler Sunday, May 6
êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr. Bar Next Door 7:30, 9:30, 11:30 pm $12
Village Vanguard 8:30, 10:30 pm $35 • Savion Glover/Marcus Gilmore Birdland 8:30, 11 pm $50 êMichael Formanek solo 440Gallery 4:40 pm $10
êChucho Valdés/Ron Carter Blue Note 8, 10:30 pm $75 • The Bombshells: Tiffany Dissette, Heather Lundstedt O’Neill, Leah Sprecher
Wednesday, May 2 • Alicia Rau’s aRAUz with Marcus McLaurine, Adam Lomeo, Bruce Cox
Brooklyn Conservatory of Music 7 pm $15
Birdland 6 pm $30
êChucho Valdés Quartet with Regina Carter, Ron Carter, Lenny White
• Vanisha Gould Quartet with Ludovica, Leandro Pellegrino, Dan Pappalardo; • Dan Furman Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $75
The Jazz Thieves: Matt Robbins, Ayumi Ishito, John Gray, Tim Ford • Veronneau Club Bonafide 10 pm $20 • Brooklyn Music School Fundraiser with BMS Student Jazz Ensembles,
An Beal Bocht Café 8, 9:30 pm $20 êPetros Klampanis/Gilad Hekselman BMS Jazz Faculty Ensemble and guest Victor Lewis
• The Enchanting Lena Horne: Michael Feinstein Cornelia Street Underground 8:30, 10 pm $10 Brooklyn Music School 3 pm $30
The Appel Room 7 pm $85 • Elio Villafranca’s On Any Given Night in Havana with Dick Oatts, Itai Kriss, • Elio Villafranca’s On Any Given Night in Havana with Dick Oatts, Itai Kriss,
• Arthur Kell and Friends with Brad Shepik, Nate Radley, Mark Ferber Rey Martinez, Luisito Quintero, Arturo Stable and guest Claudia Acuña Rey Martinez, Luisito Quintero, Arturo Stable and guest Claudia Acuña
Bar Lunàtico 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $30
• Austin Zhang Trio with Niklas Lukassen, Andreu Pitarch • Danny Janklow Dizzy’s Club 11:15 pm $10 • Thomas Helton/Brandon Lopez; Nicola Hein/Robert Dick
Bar Next Door 6:30 pm • Ken Fowser Quintet; Professor Cunningham and His Old School Downtown Music Gallery 6, 7 pm
• Shoko Nagai’s Tokala with Vasko Dukovski, Kenny Warren, Stomu Takeishi, The Django at Roxy Hotel 7:30, 10:30 pm • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band
Satoshi Takeishi Barbès 8 pm $10 • Nick Lyons/Harvey Diamond The Drawing Room 7 pm $20 Fat Cat 6, 8:30 pm $10
• Rothko in Jazz: Māris Briežkalns Quintet with Viktors Ritovs, Raimonds Macats, • GoGo Penguin: Chris Illingworth, Nick Blacka, Rob Turner êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa,
Kristaps Lubovs, Andris Grunte Baryshnikov Arts Center 7:30 pm $25 Elsewhere 8 pm $25 Johnathan Blake Jazz Standard 7:30, 9:30 pm $35
• Fleurine and Boys from Brazil with Brad Mehldau, Vitor Gonçalves, Ian Faquini, • Jeffery Miller; Jared Gold/Dave; Will Terrill • Tribute to Nina Simone: Abiah Joe’s Pub 7 pm $35
Eduardo Belo, Rogério Boccato Birdland 8:30, 11 pm $40 Fat Cat 6, 10:30 pm 1:30 am $10 êMarc Ribot’s Ceramic Dog with Shazad Ismaily; Nik Bärtsch’s Ronin with Sha,
êChucho Valdés with Roy Hargrove, Roberta Gambarini êIgor Lumpert Quartet with Rez Abbasi, Sean Conly; Reggie Workman, Ikue Mori, Thomy Jordi, Kaspar Rast Le Poisson Rouge 7:30 pm $25
Blue Note 8, 10:30 pm $75 Redi Fernandez Happylucky no.1 8, 9 pm • Andrei Carreire and The Tones Manna House 4 pm
• David Rogers/Peter Douskalis Club Bonafide 7:30 pm $20 • Tom Pappas Quartet with Takaaki Otomo, Jon Burr, Tim Horner • Scott Wendholt Trio with Jim McNeely, Mike Karn
• Chris Dingman’s Songs with Miriam Elhajli, Ike Sturm, Zaneta Sykes; Jen Allen Quartet Jazz at Kitano 8, 10 pm $34 Mezzrow 8 pm $20
with Kris Allen, Marty Jaffe, Kush Abadey • Aaron Parks Quintet with Joel Ross, María Grand, John Hébert, Kendrick Scott • Eyal Vilner Big Band The Museum at Eldridge Street 3 pm
Cornelia Street Underground 8, 9:30 pm $10 The Jazz Gallery 7:30, 9:30 pm $25 • Aimee Allen Trio with Tony Moreno, Dean Johnson
êDarcy James Argue’s Secret Society with Dave Pietro, Rob Wilkerson, Sam Sadigursky, êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, North Square Lounge 12:30, 2 pm
John Ellis, Brian Landrus, Seneca Black, Sam Hoyt, Matt Holman, Josh Deutsch, Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 • Sweet Megg and The Wayfarers Radegast Hall 7 pm
David Smith, Mike Fahie, Ryan Keberle, Kalia Vandever, Jennifer Wharton, êEhud Asherie/Ken Peplowski Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Dogwood: Nico Soffiato/Zach Swanson
Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan êKat Edmonson Le Poisson Rouge 7 pm $30 Robert Bar 6 pm
Dizzy’s Club 7:30, 9:30 pm $35 êDenny Zeitlin Trio with Buster Williams, Matt Wilson • Sweet Richie and The Best with Joel Diamond, Marvin Horne, Robb Roberts,
• Danny Janklow Dizzy’s Club 11:15 pm $5 Mezzrow 8 pm $20 Harvey Lacene Russian Samovar 3 pm
• Jainardo Y Su Kumbakin; Los Hacheros • Dogwood: Nico Soffiato/Zach Swanson • Mimi Jones and Friends with Leonor Falcón, Nir Felder, Darrian Douglas
The Django at Roxy Hotel 7:30, 10 pm Nhà Minh 7 pm Saint Peter’s Church 5 pm
• Ai Murakami Quintet; Curtis Nowosad; Ned Goold Jam • Field Theory: Matt Panayides, Matt Vashlishan, Robert Sabin, Mark Ferber • Shrine Big Band Shrine 8 pm
Fat Cat 7, 9 pm 12:30 am $10 Nublu 10 pm • Anton Delecca Quintet Silvana 7 pm
• Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 êDave Holland/Zakir Hussain Crosscurrents with Chris Potter, Sanjay Divecha, • Ralph Lalama Bop-Juice with Gerald Cannon, Clifford Barbaro; Jerry Weldon Group;
êNed Rothenberg, Adam Rudolph, Hamid Drake; Amirtha Kidambi Quartet with Louiz Banks, Gino Banks, Shankar Mahadevan Jon Beshay Smalls 4:30, 7:30, 10:30 pm 1 am $20
Matt Nelson, Nick Dunston, Max Jaffe Rose Theater 8 pm $35-125 • The Battle: Vincent Herring vs. Eric Alexander with Dave Kikoski, Yasushi Nakamura,
Happylucky no.1 8, 9 pm • Joseph Green Quartet with Peter Evans, Anna Webber, Mariel Roberts Joe Farnsworth Smoke 7, 9, 10:30 pm $40
êHarvey Diamond/Cameron Brown Jazz at Kitano 8, 10 pm $18 Scholes Street Studio 8 pm $15 • Jamie Fox The Sound Bite 1 pm
êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, • Oli Nelson Group Shrine 6 pm • Bill Stevens, Corey Larson, Paul Pricer
Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 • Dave Mosko; Glassbath Silvana 6, 8 pm Tomi Jazz 8, 9:40 pm
êDenny Zeitlin solo Mezzrow 8 pm $20 • Craig Handy Quintet with Kyle Koehler, Matt Chertkoff, Clark Gayton, Jerome Jennings; êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr.
• Todd Herbert Quartet with Oscar Williams, Tyler Mitchell, Jason Tiemann Ralph Peterson Quartet with Felix Peikli, Joseph Doubleday, Alex Hoth; Village Vanguard 8:30, 10:30 pm $35
Minton’s 7:30, 9:30 pm $10 Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20 • Francisco Haye and Yesterday’s Swing; Julian Jimenez
• Dana Murray and Manifesto with JD Allen, Andrew Bailie, David Hawkins, Reg Wyns • The Battle: Vincent Herring vs. Eric Alexander with Dave Kikoski, Yasushi Nakamura, Williamsburg Music Center 9, 10:30 pm $10
and guests Nublu 151 7 pm $12 Joe Farnsworth Smoke 7, 9, 10:30 pm $40
• Jason Treuting; Sō Percussion: Eric Cha-Beach, Josh Quillen, Adam Sliwinski; • Nat Adderley, Jr. Trio The Sound Bite 7, 9 pm Monday, May 7
Tigue: Matt Evans, Amy Garapic, Carson Moody; Adam Groh; Ji Hye Jung êMarty Ehrlich, Taylor Ho Bynum, Angelica Sanchez, Michael Formanek,
Roulette 8 pm $20 Pheeroan akLaff The Stone at The New School 8:30 pm $20 • David Berkman Bar Lunàtico 8:30, 10 pm $10
• Ganavya Doraiswamy with Charles Overton, Max Ridley, Rajna Swaminathan • Clarice Assad and Friends with Jorge Continentino, João Luiz Rezende, Keita Ogawa, • Alan Kwan Trio with Christopher Wright, Curtis Connor Kent; Christine Tobin Trio with
Rubin Museum 7 pm $25 Shin Sakaino SubCulture 7 pm $30-50 Phil Robson, Peter Brendler Bar Next Door 6:30, 8:30, 10:30 pm $12
• Roz Corral, Jim Ridi, Paul Gill Saint Peter’s Church 1 pm $10 êLost Jazz Shrines 2018: Remembering Fat Tuesday’s—A Betty Carter Celebration: • The Bombshells: Tiffany Dissette, Heather Lundstedt O’Neill, Leah Sprecher
• Teodora Stepancic; Aurelius: Mark Ballyk, Lester St. Louis, Bryan Qu, Zack Clarke Addison Frei, Arcoiris Sandoval, Diego Ramirez, Barry Stephenson, Charles Turner; Birdland 6 pm $30
ShapeShifter Lab 7 pm $10 Clarence Penn, Curtis Lundy, Kenyatta Beasley, JD Allen, Taharqa Patterson, Marc Cary • Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45
• Gil Schwartz Shrine 6 pm Tribeca Performing Arts Center 8:30 pm $30 • Raf Vertessen, Drew Wesely, Hery Paz; Stephen Gauci, Sandy Ewen, Adam Lane,
• Jaka Kopach; Tarabbia Ricke Silvana 6, 8 pm • Joao Martins Trio Turtle Bay Music School 7 pm Kevin Shea; Tiffany Chang/Robert Dick; Florian Herzog, David Leon,
• Will Vinson Quartet with Mike Moreno, Rick Rosato, Clarence Penn; Kelly Green Sextet êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr. Stephen Boeghold; Eli Wallace, Chris Pitsiokos, Andrew Smiley, Jason Nazary;
with Brandon Woody, Jovan Alexandre, Mike Troy, Matt Dwonszyk, Jonathan Barber; Village Vanguard 8:30, 10:30 pm $35 Ethan Primason, Justin Frye, Arian Shafiee
Mike Troy Jam Session Smalls 7:30, 10:30 pm 1 am $20 Bushwick Public House 7 pm $10
êMichael Formanek Quartet with Tony Malaby, Kris Davis, Dan Weiss Saturday, May 5 • Dan Greenblatt Group with Dave Marck, Ed Fuqua, Jeff Brillinger
The Stone at The New School 8:30 pm $20 Club Bonafide 7:30 pm $15
êEric Reed Quartet with Timothy Green, Michael Gurrola, McClenty Hunter, Jr. êDave Schnitter and The Trio with Tardo Hammer, John Webber, Steve Williams • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper
Village Vanguard 8:30, 10:30 pm $35 The 75 Club at Bogardus Mansion 8, 10 pm $20 Cornelia Street Underground 8:30 pm $10
• Janis Seigel, Lauren Kinhan and Theo Bleckmann with Andy Ezrin, Ed Howard, • Patrick Cornelius Trio with Ed Howard, Jochen Rueckert êJeff Hamilton Trio with Tamir Hendelman, Christoph Luty
Steve Williams Zinc Bar 8, 10 pm $25 Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35
• Jason Kao Hwang/Anders Nilsson Barbès 6 pm $10 • Lorin Benedict, María Grand, Caroline Davis
Thursday, May 3 • Dida Pelled Birdland 6 pm $30
• Savion Glover/Marcus Gilmore Birdland 8:30, 11 pm $50
Downtown Music Gallery 6 pm
• Ben Paterson Duo; Todd Herbert; Billy Kaye Jam
• The Enchanting Lena Horne: Michael Feinstein êChucho Valdés Trio with Ron Carter, Lenny White Fat Cat 6, 9 pm 12:30 am $10
The Appel Room 7, 9 pm $85 Blue Note 8, 10:30 pm $75 êPlucky Strum: Sheryl Bailey/Harvie S
• Rico Jones Trio with Cole Davis, JK Kim; Sam Zerna Trio with Hugh Stuckey, • Wide Open: Dana Lyn, Michel Gentile, Anna Webber, Joe Fiedler, Daniel Kelly, Mezzrow 8 pm $20
Fabio Ragnelli Bar Next Door 6:30, 8:30, 10:30 pm $12 Matt Pavolka, Rob Garcia Brooklyn Conservatory of Music 8 pm $15 êThe Jazz Gallery Annual Gala Honoring Randy Weston, Eddie Palmieri,
• Savion Glover/Marcus Gilmore Birdland 8:30, 11 pm $50 • Denton Darien Trio Cleopatra’s Needle 8 pm Terri Lyne Carrington, Bruce Gordon with Roy Hargrove
êChucho Valdés solo Blue Note 8, 10:30 pm $75 • The DoDo Orchestra Club Bonafide 8 pm $20 The Players Club 6 pm $200-1,000
• Noriko Kamo Duo Cleopatra’s Needle 7 pm • Elio Villafranca’s On Any Given Night in Havana with Dick Oatts, Itai Kriss, • Joelle Lurie Rockwood Music Hall Stage 3 8:15 pm $10
• Emilie Surtees Club Bonafide 6 pm $20 Rey Martinez, Luisito Quintero, Arturo Stable and guest Claudia Acuña • Jacob Melsha Quintet Silvana 6 pm
• Paul Jones Sextet with Alex LoRe, Matt Davis, Glenn Zaleski, Johannes Felscher, Dizzy’s Club 7:30, 9:30 pm $45 êVirginia Mayhew Septet with Dave Smith, Lisa Parrott, Noah Bless, Roberta Piket,
Allan Mednard Cornelia Street Underground 8, 9:30 pm $10 • Danny Janklow Dizzy’s Club 11:15 pm $20 Billy Mintz Sir D’s 8, 9:30 pm
• Bruce Forman Trio with Rufus Reid, Matt Wilson • Molly Jones; Jon Taylor’s Mover; Aakash Mittal’s Awaz Trio • Ari Hoenig Trio; Joe Farnsworth Group
Dizzy’s Club 7:30, 9:30 pm $40 The Drawing Room 7 pm $10 Smalls 7:30, 10:30 pm $20
• Danny Janklow Dizzy’s Club 11:15 pm $10 • Ivan Renta Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am $10

44 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 Tuesday, May 8 • Chris Washburne and The SYOTOS Band with John Walsh, Ole Mathisen,
Hector Martignon, Edward Perez, Diego Lopez, Orestes Abrante

Viktorija Gečytė
• Alexia Bomtempo, Stan Killian, Jake Owen, Michael Kiaer, Tiago Michelin Smoke 7, 9, 10:30 pm $15
55Bar 7 pm êGalaxies: Bill Laswell, Nels Cline, Hamid Drake, Adam Rudolph, Ralph M. Jones,
êJenny Scheinman and Allison Miller’s Parlour Game James Dellatacoma The Stone at The New School 8:30 pm $20
Bar Lunàtico 8:30, 10 pm $10 • Eyal Vilner Big Band with Charles Turner, Brianna Thomas

with Gene Perla Trio

• Nicola Caminiti Trio with Vaughn Stoffey, Andres Valbuena; Tal Yahalom Trio with Swing 46 8:30 pm
Eivind Opsik, Ben Silashi Bar Next Door 6:30, 8:30, 10:30 pm $12 êHighlights in Jazz—Dick Hyman and Friends with Wycliffe Gordon, Jay Leonhart,
êHank Roberts Trio with Jacob Sacks, Vinnie Sperrazza Ken Peplowski, Chuck Redd Tribeca Performing Arts Center 8 pm $50
Barbès 7 pm $10 êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd,

“Anniversary Tour”
êBill Charlap Trio with Peter Washington, Kenny Washington Sean Rickman Village Vanguard 8:30, 10:30 pm $35
Birdland 8:30, 11 pm $40 • Max Light Trio; Lisanne Tremblay Williamsburg Music Center 9, 10:30 pm $10
• Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45
• Ryan Keberle and Catharsis with Camila Meza, Will Vinson, Jorge Roeder, Eric Doob Friday, May 11
Cornelia Street Underground 8, 9:30 pm $10
êJeff Hamilton Trio with Tamir Hendelman, Christoph Luty
Dizzy’s Club 7:30, 9:30 pm $35
• Roni Ben-Hur/Harvie S Trio The 75 Club at Bogardus Mansion 8, 10 pm $20
êJack Wilkins Trio with Andy McKee, Sylvia Cuenca
Sean Gough
• Nate Sparks Big Band Bar Next Door 7:30, 9:30, 11:30 pm $12

David Jimenez
Dizzy’s Club 11:15 pm $5
• Gerardo Contino’s Latin Grooves The Django at Roxy Hotel 7:30 pm êBill Charlap Trio with Peter Washington, Kenny Washington
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop; Craig Wuepper Birdland 8:30, 11 pm $40
Fat Cat 7, 9 pm 12:30 am $10 êDayna Stephens The Cave at St. George’s 7:30, 9:30 pm $15
êCamille Thurman with Darrell Green Trio • Alan Chaubert Trio Cleopatra’s Needle 8 pm

• Paul Shinn
Iridium 8:30 pm $20
Jazz at Kitano 8 pm
êEric Alexander Trio with Doug Weiss, Johnathan Blake
êMario Pavone Dialect Trio with Matt Mitchell, Tyshawn Sorey
Cornelia Street Underground 8:30, 10 pm $10
• Music of Duke Ellington: Juilliard Jazz Orchestra
MAY

êFred Hersch/Anat Cohen
The Jazz Gallery 7:30, 9:30 pm $20
Jazz Standard 7:30, 9:30 pm $35
êJames Carney Quartet with Tony Malaby, Dezron Douglas, Allan Mednard;

• Nate Sparks Big Band
Dizzy’s Club 7:30, 9:30 pm $40
Dizzy’s Club 11:15 pm $10
• Ken Fowser Quintet; Mike Sailors Big Band
12 Montclair Library
Tony Malaby Group Korzo 9, 10:30 pm
êJoel Ross Trio with Harish Raghavan, Craig Weinrib
Mezzrow 8 pm $20
The Django at Roxy Hotel 7:30, 10:30 pm
• Dida Pelled Quartet; Astoria Salsa Company; Ray Gallon
Fat Cat 6, 10:30 pm 1:30 am $10
12 Lafayette Bar
• Russ Kassoff Orchestra with Catherine Depuis
New York City Baha’i Center 8, 9:30 pm $15
• Arturo O’Farrill Brooklyn College Jazz Big Band
• Jambalaya Brass Band

Floridita Harlem 8 pm
êAnthony Coleman solo; Ellery Eskelin solo
Greenwich House Music School 7:30 pm $15
13 Shanghai Jazz

• Takeshi Otani Band
ShapeShifter Lab 8 pm $5
Silvana 6 pm
êDick Hyman/Ken Peplowski Jazz at Kitano 8, 10 pm $34
êRomán Filiú Quartería with María Grand, Adam O’Farrill, Sam Harris, Rashaan Carter, 14 WFMZ-TV
• Spike Wilner Group; Frank Lacy Group Craig Weinrib, Yusnier Sanchez The Jazz Gallery 7:30, 9:30 pm $25
Smalls 7:30, 10:30 pm 1 am $20
êThe Unknowable: Dave Liebman, Adam Rudolph, Hamid Drake
• Fred Hersch Pocket Orchestra with Jo Lawry, Ingrid Jensen, Rogério Boccato
Jazz Standard 7:30, 9:30 pm $35
• A Sophisticated Reunion—A Celebration of Duke Ellington: Valarie Pettiford,
16 Two Rivers
17 Zinc Bar
The Stone at The New School 8:30 pm $20
• Hayes Greenfield/Austin Vaughn Troost 8 pm Ty Stephens, Terri Klausner Kingsborough Community College 7 pm $43
êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd, êJon Davis/Ben Wolfe Knickerbocker Bar & Grill 9, 10:15 pm $3.50

18 Miller Symphony
Sean Rickman Village Vanguard 8:30, 10:30 pm $35 êTanya Tagaq Le Poisson Rouge 7:30 pm $35
• Christophe Rocher, Joe Fonda, Harvey Sorgen
Wednesday, May 9 The Loft of Thomas Rochon 8 pm

19 Deer Head Inn

êEhud Asherie Trio with David Wong, Rodney Green
• Iris Ornig Burt Bacharach Project with Dave Smith, Jeremy Powell, Allan Mednard Mezzrow 8 pm $20
55Bar 7 pm • Virg Dzurinko solo; Maryanne de Prophetis/Adam Caine
20 Master Concert
êBill Charlap Trio with Peter Washington, Kenny Washington Scholes Street Studio 8, 9 pm
Birdland 8:30, 11 pm $40 • Juan Carlos Polo; Suenos Shrine 6, 7 pm
• Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45 • Sundae + Mr. Goessl Silvana 6 pm

23 Zinc Bar
• Mareike Wiening with Rich Perry, Glenn Zaleski, Alex Goodman, Johannes Felscher; • Will and Peter Anderson Quintet with Jeb Patton, Neal Miner, Phil Stewart;
Yuhan Su Quintet with Matt Holman, Alex LoRe, Petros Klampanis, Nathan Ellman-Bell Robin Eubanks Group; JD Allen Smalls 7:30, 10:30 pm 1 am $20
Cornelia Street Underground 8, 9:30 pm $10 êEddie Henderson Quintet with Donald Harrison, Peter Zak, Essiet Essiet, Mike Clark
• Essentially Ellington Alumni Band Dizzy’s Club 10 pm $30
• Nate Sparks Big Band Dizzy’s Club 11:15 pm $5
• Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam

• Rob Fulton
• Eli Wallace/Sandy Ewen
Smoke 7, 9, 10:30 pm $40
The Sound Bite 7, 9 pm
Spectrum 7 pm
24 Strauss Mansion
Fat Cat 7, 9 pm 12:30 am $10
• Thollem McDonas/Brian Chase H0l0 7 pm $10
• Tobias Meinhart Quintet with Ingrid Jensen, Julian Shore, Matt Penman,
êKaruna: Ralph M. Jones, Hamid Drake, Adam Rudolph
The Stone at The New School 8:30 pm $20
• Noshir Mody Ensemble with Mike Mullan, Benjamin Hankle, Campbell Charshee,
25 Sound Bite
John Lenis, Yutaka Uchida The Theater Center 8 pm $25
ViktorijaGecyte.com
Colin Stranahan Jazz at Kitano 8, 10 pm $18
• Martin Nevin Quintet with Sam Harris, Craig Weinrib, Kyle Wilson, Román Filiú êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd,
The Jazz Gallery 7:30, 9:30 pm $15 Sean Rickman Village Vanguard 8:30, 10:30 pm $35
êFred Hersch/Kate McGarry Jazz Standard 7:30, 9:30 pm $35 • John Melendez and Big Sur; Danae Greenfield
• Erin McDougald, Rob Block, Dean Torrey, Cedric Easton Williamsburg Music Center 9, 10:30 pm $10
Mezzrow 8 pm $20 êJeff “Tain” Watts Trio Zinc Bar 7, 8:30 pm $25
• Russ Nolan Minton’s 7:30, 9:30 pm $10
• Unanimity: Daniel Carter, Vasko Dukovski, Stelios Mihas, Jeff Harshbarger, Saturday, May 12
George Spanos

Nublu 8 pm
êBrooklyn Jazz Hall of Fame Awards and Induction Ceremony: Louis Hayes Quartet
Restoration Plaza 6 pm
• Jim Campilongo Quartet with Grey McMurray, Chris Morrissey, Josh Dion
• Roni Ben-Hur/Harvie S Trio The 75 Club at Bogardus Mansion 8, 10 pm $20
• New Zion Trio: Jamie Saft, Brad Jones, Dan Rieser
Bar Lunàtico 8:30, 10 pm $10
TRANSCRIPTIONS
Kenny Kirkland
Rockwood Music Hall Stage 2 10 pm $10 • Ben Eunson Trio with Zach Brown, Kush Abadey
• Kathleen Landis, Boots Maleson, Dan White Bar Next Door 7:30, 9:30, 11:30 pm $12
Saint Peter’s Church 1 pm $10 • Fackcamp: Anders Nilsson, Sarah Bernstein, Sam Kulik
• Emanuele Filippi Band Shrine 6 pm Barbès 6 pm $10
• Jacob Polly Trio Silvana 6 pm
• Danny Kolke Quartet with Walter Blanding, Jon Hamar, Greg Williamson;
Dave Baron Quartet with Joe Magnarelli, Victor Gould, Aaron Kimmel; Isaiah Thompson
êBill Charlap solo Birdland 6 pm $40
êBill Charlap Trio with Peter Washington, Kenny Washington
Birdland 8:30, 11 pm $40
Steve Grossman
• Justin Lees Trio
David Liebman
Smalls 7:30, 10:30 pm 1 am $20 Cleopatra’s Needle 8 pm
êHu: Vibrational: Adam Rudolph, Joe Hertenstein, John Hadfield, Rogério Boccato, êJacob Sacks Quartet with Ellery Eskelin, Michael Formanek, Dan Weiss
Dan Kurfirst, Hamid Drake, Alexis Marcelo, James Dellatacoma Cornelia Street Underground 8:30, 10 pm $10
The Stone at The New School 8:30 pm $20 • Music of Duke Ellington: Juilliard Jazz Orchestra
Dizzy’s Club 7:30, 9:30 pm $45

RECORDINGS
êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd,
Sean Rickman Village Vanguard 8:30, 10:30 pm $35 • Nate Sparks Big Band Dizzy’s Club 11:15 pm $20
• Eric Alexander Quartet with David Hazeltine, John Webber, Joe Farnsworth • Ray Gallon; Eyal Vilner Big Band The Django at Roxy Hotel 7:30, 10:30 pm
Zinc Bar 8, 10 pm $25 • Samir Zarif; Eric Wheeler; Greg Glassman
Fat Cat 7, 10 pm 1:30 am $10
Thursday, May 10
• Luca Benedetti with Michael Blake, Eric Finland, Tony Mason
• Lena Bloch and Feathery with Russ Lossing, Cameron Brown, Billy Mintz

êDick Hyman/Ken Peplowski
Ibeam Brooklyn 8 pm $15
Jazz at Kitano 8, 10 pm $34
Elvin Jones
êDezron Douglas’ Black Lion with Abraham Burton, Stantawn Kendrick, Keith Brown,

55Bar 7 pm
êJohn Ellis and Double Wide Bar Lunàtico 8:30, 10 pm $10
• Rico Jones Trio with Cole Davis, JK Kim; Phil Robson Trio with Paul Nowinski,
Rob Garcia Bar Next Door 6:30, 8:30, 10:30 pm $12
Don Alias
Johnathan Blake The Jazz Gallery 7:30, 9:30 pm $25
• Carmen Staaf’s Day Dream with Alexa Barchini, Dave Ballou, Kris Allen, Jon Michel,
George Schuller Jazz Standard 12 pm $10

Stone Alliance
• Mathis Picard Birdland 6 pm $30 • Fred Hersch Pocket Orchestra with Jo Lawry, Ingrid Jensen, Rogério Boccato
êBill Charlap Trio with Peter Washington, Kenny Washington Jazz Standard 7:30, 9:30 pm $35
Birdland 8:30, 11 pm $40 êJon Davis/Ben Wolfe Knickerbocker Bar & Grill 9, 10:15 pm $3.50
• Nick Masters Duo Cleopatra’s Needle 7 pm êEhud Asherie Trio with David Wong, Rodney Green

TOURS
• Emilie Surtees Club Bonafide 6 pm $20 Mezzrow 8 pm $20
• Music of Duke Ellington: Juilliard Jazz Orchestra • Juan Carlos Polo Silvana 6 pm
Dizzy’s Club 7:30, 9:30 pm $40 êAhmed Abdullah’s Diaspora Sistas’ Place 9, 10:30 pm $20
• Nate Sparks Big Band Dizzy’s Club 11:15 pm $10 êScott Reeves Jazz Orchestra with Steve Wilson, Matt Haviland, Max Seigel,

New Light
êHarold Mabern Trio; Mark Whitfield Rob Middleton, Chris Pasin, Vito Chiavuzzo, Matt McDonald, Pete McGuiness,
The Django at Roxy Hotel 7:30, 10 pm Tim Armacost, Terry Goss, Nathan Eklund, Chris Rogers, Andy Gravish, Jim Ridl,
• Rodney Green; Greg Glassman; Paul Nowinski Bill Moring, Scott Neumann; Randy Johnston Trio with Jonah Kane-West,
Fat Cat 7, 10 pm 1:30 am $10 Fukushi Tainaka; Robin Eubanks Group; Philip Harper Quintet
• Camila Meza/Aaron Goldberg Greenwich House Music School 8 pm $15
Galvanic Ignition
Smalls 4:30, 7:30, 10:30 pm 1 am $20
êGeorge Braith Hansborough Recreation Center 1 pm êEddie Henderson Quintet with Donald Harrison, Peter Zak, Essiet Essiet, Mike Clark
• Sam Harris solo Jamaica Center for Arts and Learning 8 pm $10 Smoke 7, 9, 10:30 pm $40
• Annette Genovese Quartet The Sound Bite 7, 9 pm

The Gene Machine

êJohn Fedchock Quartet with Allen Farnham, David Finck, Eric Halvorson
Jazz at Kitano 8, 10 pm $18 êAdam Rudolph’s Moving Pictures Sextet with Hamid Drake, Ralph M. Jones,
êHarish Raghavan Sextet with Immanuel Wilkins, Joel Ross, Micah Thomas, Kenny Wessel, Damon Banks The Stone at The New School 8:30 pm $20
Jeremy Dutton, Jay Sawyer The Jazz Gallery 7:30, 9:30 pm $25 • Alvin Flythe Quartet Sutton Place Park South 6 pm
• Made in New York 5th Anniversary Jazz Gala: Randy Brecker, John Patitucci,
Good & Plenty Jazz
êFred Hersch/Miguel Zénon Jazz Standard 7:30, 9:30 pm $35
êLakecia Benjamin Soul Party Joe’s Pub 9:30 pm $20 Francisco Mela, Bobby Sanabria, Yaacov Mayman; Alexa Tarantino/
• Mark Soskin/Jay Anderson Mezzrow 8 pm $20 Lauren Sevian Band; Michal Martyniuk Trio; JD Warren and The Rudiment;
• Hot Club of Flatbush Radegast Hall 9 pm Jesus Molina Tribeca Performing Arts Center 7:30 pm $45-55
• Jonathan Barber’s Vison Ahead Rockwood Music Hall Stage 2 8 pm $10-20 êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd,
• Sundae + Mr. Goessl
• Justin Mullens
Shrine 7 pm
Silvana 6 pm
• New York Jazz Nine: John Eckert, David Smith, Noah Bless, Jason Jackson,
Sean Rickman Village Vanguard 8:30, 10:30 pm $35
• My City, My Song: Sofía Rei/Sofia Tosello; Martha Redbone; Sbongiseni Duma/
Tshidi Manye Zankel Hall 12, 3 pm $10
TundraEnterprise.com
Chris Hemingway, Jason Marshall, Tim Harrison, Chris Haney, Taro Okamoto;
Thomas Marriott Quartet with David Budway, Alexander Claffy, Kassa Overall;
Davis Whitfield Smalls 7:30, 10:30 pm 1 am $20

THE NEW YORK CITY JAZZ RECORD | MAY 2018 45

 Sunday, May 13 • Greg Skaff Soulmation Project with Wayne Escoffery, Pat Bianchi, Tom Rainey
Minton’s 7:30, 9:30 pm $10
• Barbara King The Sound Bite 7, 9 pm
• Joan La Barbara, Gelsey Bell, John King
• Jim Campilongo/Luca Benedetti 55Bar 6 pm êVirginia Mayhew Septet Saint Peter’s Church 1 pm $10 The Stone at The New School 8:30 pm $20
• Will Bernard and The BK Strays Barbès 7 pm $10 • Fabian Ziegler; Felix Reyes ShapeShifter Lab 8 pm $12 • Eco-Music Big Band Symphony Space Leonard Nimoy Thalia 8 pm $25
• Melvis Santa and Ashedí Birdland 6 pm $30 • Jonathan Heagle; Bahdee Silvana 6, 7 pm • Datevik Hovanesian and Trio with Bob Albanese, Joe Fitzgerald, David Meade
• Dave Ambrosio Quartet with Tim Hagens, Joel Frahm, Billy Mintz • Marko Churnchetz Trio with Chris Tordini, Rodney Green; Harold Mabern Trio; Triad Theater 9:30 pm $24
Cornelia Street Underground 8, 9:30 pm $10 Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump,
• Music of Duke Ellington: Juilliard Jazz Orchestra • David Behrman/John King The Stone at The New School 8:30 pm $20 Jeremy Dutton Village Vanguard 8:30, 10:30 pm $35
Dizzy’s Club 7:30, 9:30 pm $35 êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump, • All the Way - The Music of Jimmy Van Heusen and Friends hosted by KT Sullivan
• Jackdaw: Sean Ali, Erika Dicker, Joe Moffett; William Parker Aquasonic Ensemble with Jeremy Dutton Village Vanguard 8:30, 10:30 pm $35 Weill Recital Hall at Carnegie Hall 7:30 pm $30-150
Jeff Schlanger, Anna Humanfeld, Leonid Galaganov • Michael Moss Accidental Orchestra
Downtown Music Gallery 6, 7 pm Thursday, May 17 Westbeth Artists Complex 7 pm
• Terry Waldo’s Gotham City Band; Asaf Yuria • Doug Carn Williamsburg Music Center 10, 11:30 pm $15
Fat Cat 6, 8:30 pm $10 • Melissa Stylianou with Gene Bertoncini, Ike Sturm êJoAnne Brackeen Trio with Ugonna Okegwo, Rudy Royston
êEric Alexander Trio with Doug Weiss, Johnathan Blake 55Bar 7 pm Zinc Bar 7, 8:30 pm $25
The Jazz Gallery 7:30, 9:30 pm $20 • Sun Kim Trio with Hwansu Kang, JK Kim; Daniel Eli Weiss Trio with Alec Safy,
êFred Hersch/Esperanza Spalding Jazz Standard 7:30, 9:30 pm $35 Charles Goold Bar Next Door 6:30, 8:30, 10:30 pm $12 Saturday, May 19
• Juan Pablo Carletti, Yoni Kretzmer, Shayna Dulberger, Angela Morris, Jake Henry, • Pedro Giraudo Tango Quartet Barbès 8 pm $10
Caroline Davis, Christoph Knoche, Dan Peck, Rick Parker; Daniel Sarid Trio URU; • Karen Oberlin Birdland 6 pm $30 êThe Music of Clifford Jordan: Steve Williams and James Weidman with
Eyal Maoz Band Legion Bar 9 pm $10 êBill Charlap Trio with Peter Washington, Kenny Washington Anthony Nelson, Essiet Essiet The 75 Club at Bogardus Mansion 8, 10 pm $20
• Emilio Solla Drumless Trio Mezzrow 8 pm $20 Birdland 8:30, 11 pm $40 • Miriam Makeba & Nina Simone—Singing Protest & Memory: Somi with guest
• Kelsey Jillette Trio with Tony Moreno, Daniel Foose • Daniel Bennett Bloomingdale School of Music 7 pm $10 Laura Mvula The Appel Room 7, 9:30 pm $115
North Square Lounge 12:30, 2 pm • João Bosco and Band From Brazil Blue Note 8, 10:30 pm $45 • Seoul Music: Lee Tae-Baek, Yi Jiyoung, Kim Sung-Ah, Gamin, Sita Chay, Frank London,
• Kate Baker with Zach Brock, Vic Juris, Anthony Pinciotti • Carrie Sooter Duo Cleopatra’s Needle 7 pm Ned Rothenberg Asia Society 7 pm $25
Rockwood Music Hall Stage 2 7 pm $10 • Emilie Surtees Club Bonafide 6 pm $20 • Àlvaro Benavides Group Bar Lunàtico 8:30, 10 pm $10
• Petros Klampanis Rockwood Music Hall Stage 3 9 pm $15 • American Pianists Awards Preview: Kenny Banks, Jr., Emmet Cohen, Keelan Dimick, • Jeff Miles Trio with Julian Smith, Colin Stranahan
• Richard Clements Quartet with Joy Brown, Charles Davis, Jr., David Colding Dave Meder, Billy Test Dizzy’s Club 7:30, 9:30 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12
Russian Samovar 3 pm • Anthony Hervey Dizzy’s Club 11:15 pm $10 • Michael Winograd/Ben Holmes Barbès 4 pm $10
• Mimi Jones and Friends with Leonor Falcón, Arcoiris Sandoval, Mark Whitfield, Jr. • David Gibson Quintet; Ian Hendrickson-Smith • Anders Nilsson Trio with Michaël Attias, Ken Filiano
Saint Peter’s Church 5 pm The Django at Roxy Hotel 7:30, 10 pm Barbès 6 pm $10
• Jinjoo Yoo Trio; Kihong Jang Trio; Bob Gingery Group with Jon Irabagon, êRay Mantilla Hansborough Recreation Center 1 pm êLucian Ban/Alex Harding Barbès 8 pm $10
Mike Baggetta, Jeff Hirshfield ShapeShifter Lab 7, 8:15, 9:30 pm $10 êDr. Lonnie Smith Trio Harlem Stage Gatehouse 7:30 pm êBill Charlap solo Birdland 6 pm $40
• Andy Bianco Quintet; Julio Botti South American Jazz Project • Mark Sherman’s Venture with Chase Baird, Felix Pastorius, Mike Clark êBill Charlap Trio with Peter Washington, Kenny Washington
Silvana 6, 8 pm Iridium 8:30 pm $25 Birdland 8:30, 11 pm $40
• Sacha Perry Trio; Chris Byars Original Sextet with Zaid Nasser, John Mosca, êAmanda Monaco Quartet with Noah Baerman, Rufus Reid, Sylvia Cuenca • João Bosco and Band From Brazil Blue Note 8, 10:30 pm $45
Stefano Doglioni, Ari Roland, Phil Stewart; Nick Hempton Band; Hillel Salem Jazz at Kitano 8, 10 pm $18 • Wade Barnes Tribute Band led by Roy Meriwether
Smalls 7:30, 10:30 pm 1 am $20 êThana Alexa with Carmen Staaf, Jordan Peters, Jorge Roeder, Antonio Sanchez Brownsville Heritage House 3 pm
êEddie Henderson Quintet with Donald Harrison, Peter Zak, Essiet Essiet, Mike Clark The Jazz Gallery 7:30, 9:30 pm $15 • Alan Rosenthal Trio Cleopatra’s Needle 8 pm
Smoke 7, 9, 10:30 pm $40 êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, • Jeff Davis Dragon Father Trio with Ben Monder, Eivind Opsvik
• Craig Crawford The Sound Bite 1 pm Scott Robinson, Tom Christiansen, Alden Banta, Adam Unsworth, David Peel, Cornelia Street Underground 8:30, 10 pm $10
êSteve Coleman and Five Elements with Kokayi, Jonathan Finlayson, Anthony Todd, Augie Haas, Scott Wendholt, Mike Rodriguez, Ryan Keberle, Marshall Gilkes, • Sean Jones Quintet with Brian Hogans, Orrin Evans, Luques Curtis, Mark Whitfield, Jr.
Sean Rickman Village Vanguard 8:30, 10:30 pm $35 George Flynn, Marcus Rojas, Frank Kimbrough, David Wong, Matt Wilson Dizzy’s Club 7:30, 9:30 pm $45
Jazz Standard 7:30, 9:30 pm $35 • Anthony Hervey Dizzy’s Club 11:15 pm $20
Monday, May 14 • Eve Zanni Quartet
• Claudia Acuña
Jefferson Market Library 6 pm
Mezzrow 8 pm $20
• Felix Peikli/Joe Doubleday’s Showtime Band; Gotham Kings
The Django at Roxy Hotel 7:30, 10:30 pm
• Carl Bartlett, Jr. with James Navan, Steve Wood, Hiroyuki Matsuura • Little Johnny Rivero with Ivan Renta, Alex Norris, Zaccai Curtis, John Benitez êA Tale of Two Franks: Ed Palermo Big Band with guest Napoleon Murphy Brock
Bar Lunàtico 8:30, 10 pm $10 Minton’s 7:30, 9:30 pm $15 Iridium 8:30, 10:30 pm $30
• Luke Schwartz Trio with Kells Nollenberger, Kyle McCarter; Tammy Scheffer Trio with êChris Dingman solo; Todd Neufeld/Thomas Morgan duo • Audrey Silver Quintet with Jon Cowherd, Alex Pope Norris, Paul Beaudry,
Glenn Zaleski, Daniel Foose Bar Next Door 6:30, 8:30, 10:30 pm $12 The Owl Music Parlor 8, 9 pm $10 Anthony Pinciotti Jazz at Kitano 8, 10 pm $34
• Tribute to Ella: Natalie Douglas Birdland 7 pm $30 • Cait and The Critters Radegast Hall 9 pm êEric Harland’s Explorations with Chris Potter, Chris Turner
• Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45 • Rogério Boccato Quarteto with Dan Blake, Jay Anderson, Nando Michelin The Jazz Gallery 7:30, 9:30 pm $25
• Lior Milliger, Welf Dorr, Adam Lane, Jeremy Carlstedt; Stephen Gauci, Sandy Ewen, Saint Peter’s Church 8 pm êThe Gil Evans Project Presents Porgy & Bess: Ryan Truesdell, Steve Wilson,
Adam Lane; Andrea Wolper/Lauren Lee; Shawn Lovato, Todd Neufeld, Colin Hinton; • Matt McDonald Silvana 6 pm Dave Pietro, Tom Christiansen, Alden Banta, Adam Unsworth, David Peel,
Michael Larocca, Tristan Pollack, Zac Jaffee, Aaron Rubenstein; Rodrigo Recabarron/ • Chris Beck Quintet with Stacy Dillard, Giveton Gelin, Anthony Wonsey, Eric Wheeler; Shelagh Abate, Augie Haas, Scott Wendholt, Mike Rodriguez, Riley Mulherkar,
Justin Wert Bushwick Public House 7 pm $10 Ben Wolfe Quartet with Giveton Gelin, Immanuel Wilkins, Donald Edwards; Ryan Keberle, Marshall Gilkes, Nick Finzer, George Flynn, Marcus Rojas,
• Javon Jackson Berklee Sextet Dizzy’s Club 7:30, 9:30 pm $30 Charles Goold Smalls 7:30, 10:30 pm 1 am $20 Frank Kimbrough, David Wong, Matt Wilson and guests Sara Caswell, Scott Robinson
• Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 êTheo Hill Trio with Alex Claffy, Rudy Royston Jazz Standard 7:30, 9:30 pm $35
êRuss Lossing/Cameron Brown Mezzrow 8 pm $20 Smoke 7, 9, 10:30 pm $15 êValerie Capers/John Robinson Knickerbocker Bar & Grill 9, 10:15 pm $3.50
• Ben Winkelman Trio with Matt Clohesy, Pablo Bencid • Conrad Harris/Pauline Kim Harris; Chris McIntrye/Jen Baker; • Corina Bartra Septet with Steve Sandberg, Victor Murillo, Diego Lopez, Perico Diaz,
Rockwood Music Hall Stage 3 7 pm $10 Aleksandra Vrebalov/John King The Stone at The New School 8:30 pm $20 Dave Morgan, Tony Romano Metro Baptist Church 7:30 pm $20
• B’s Bees: Julien Sandiford, Joe Ferracuti, Alec Safy, Brandon Goodwin êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump, • Bruce Barth/Dave Baron Mezzrow 8 pm $20
ShapeShifter Lab 8:15 pm $10 Jeremy Dutton Village Vanguard 8:30, 10:30 pm $35 êStephanie Richards’ Fullmoon with J.A. Deane, Qasim Naqvi
• Marcos Rosa Silvana 6 pm National Sawdust 10 pm $25
• Lou Caputo Not So Big Band Sir D’s 8, 9:30 pm Friday, May 18 êJamie Saft Quartet with Bill McHenry, Bradley Jones, Mike Clark with guest Rosita Kess
• Lucas Pino Nonet; Jonathan Michel Group The Owl Music Parlor 7:30 pm $10
Smalls 7:30, 10:30 pm $20 • Dan Pugach Nonet with Nicole Zuraitis, David Smith, Mike Fahie, Jen Hinkle, êCelebrating Ornette Coleman: Jazz at Lincoln Center Orchestra
Andrew Gould, Jeremy Powell, Andrew Gutauskas, Oz Noy, Leo Sherman Rose Theater 8 pm $35-125
Tuesday, May 15 55Bar 10 pm $15
êThe Music of Clifford Jordan: Steve Williams and James Weidman with
• Itay Goldberg 4Tet
• Sharp Radway
Silvana 6 pm
Sistas’ Place 9, 10:30 pm $20
• Cole Davis Trio with Clay Lyons, James Gillespie; Alex Levine Trio with Ben Rolston, Anthony Nelson, Essiet Essiet The 75 Club at Bogardus Mansion 8, 10 pm $20 • Lucine Yeghiazaryan Quartet with Greg Ruggiero, Stefan Vasnie, Daniel Duke;
Stephan Boegehold Bar Next Door 6:30, 8:30, 10:30 pm $12 • Alegria—Urban Latin Jazz Portrait: Samuel Torres Super Band with Michael Rodriguez, Noam Wiesenberg Quintet with Immanuel Wilkins, Philip Dizack, Michael King,
êBill Charlap Trio with Peter Washington, Kenny Washington Alex Norris, Marshall Gilkes, Will Vinson, Joel Frahm, Ivan Renta, Luis Perdomo, Ofri Nehemya; Sam Newsome Trio with Hilliard Greene, Reggie Nicholson;
Birdland 8:30, 11 pm $40 Ruben Rodriguez, Pablo Bencid Aaron Davis Hall 7:30 pm $30 Brooklyn Circle Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45 • Miriam Makeba & Nina Simone—Singing Protest & Memory: Somi with guest êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino ,
• Michael Sarian and The Big Chabones Laura Mvula The Appel Room 7, 9:30 pm $115 Alex Ritz Smoke 7, 9, 10:30 pm $40
Club Bonafide 8 pm $15 • Paul Bollenback Trio with Tamir Shmerling, Tommy Campbell • Isaiah J. Thompson Quartet The Sound Bite 7, 9 pm
• Lauren Lee Quartet with Brad Mulholland, Marcos Varela, Andy O’Neill; Bar Next Door 7:30, 9:30, 11:30 pm $12 êScott Joplin Memorial Concert: Dan Levinson Canary Cottage Dance Orchestra
Brad Whitely Quintet with Michael Eaton, Tom Guarna, Matt Pavolka, Kenneth Salters êBill Charlap Trio with Peter Washington, Kenny Washington St. Michael’s Cemetery 2 pm
Cornelia Street Underground 8, 9:30 pm $10 Birdland 8:30, 11 pm $40 êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump,
• Glenn Zaleski Trio with Pablo Menares, Craig Weinrib • João Bosco and Band From Brazil Blue Note 8, 10:30 pm $45 Tyshawn Sorey Village Vanguard 8:30, 10:30 pm $35
Dizzy’s Club 7:30, 9:30 pm $30 • Julie Bluestone Trio Cleopatra’s Needle 8 pm • Doug Carn Williamsburg Music Center 10, 11:30 pm $15
• Anthony Hervey Dizzy’s Club 11:15 pm $5 • Maria Alejandra Rodriguez; Kevin Harris All-Stars with Michael Wolff, Patience Higgins, • Sharon Isbin/Romero Lubambo Winter Garden 7:30 pm
• Arthur Vint and Associates The Django at Roxy Hotel 8:30 pm Tony Garnier, Mike Clark Club Bonafide 6, 10 pm $20
• Saul Rubin Zebtet Fat Cat 7 pm $10 • Noah Preminger/Rob Garcia Dead Composers Club with Nate Radley, Kim Cass Sunday, May 20
• Paul Shinn Jazz at Kitano 8 pm Cornelia Street Underground 8:30, 10 pm $10
êBroken Shadows: Tim Berne, Chris Speed, Reid Anderson, Dave King • Sean Jones Quintet with Brian Hogans, Orrin Evans, Luques Curtis, Mark Whitfield, Jr. • West Harlem Jazz Festival: Vincent Herring; Joe Magnarelli; Lezlie Harrison;
Jazz Standard 7:30, 9:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $40 Sam Taylor; Lucy Yeghiazaryan Bierstrasse 12:30 pm
êAlan Broadbent Trio with Don Falzone, Billy Mintz • Anthony Hervey Dizzy’s Club 11:15 pm $10 • Simona Premazzi Quintet Birdland 6 pm $30
Mezzrow 8 pm $20 • Ken Fowser Quintet; New Alchemy Jazz Orchestra • João Bosco and Band From Brazil Blue Note 8, 10:30 pm $45
• Frank Perowsky Big Band New York City Baha’i Center 8, 9:30 pm $15 The Django at Roxy Hotel 7:30, 10:30 pm • TRIPTYK: Patricia Brennan, Leonor Falcón, Noel Brennan; Sara Serpa Trio with
• Ravi Campbell Silvana 9 pm êDavid Weiss Point of Departure Fat Cat 10:30 pm $10 Angelica Sanchez, Erik Friedlander Brooklyn Conservatory of Music 8 pm $15
êSteve Nelson Quartet; Abraham Burton Quartet êA Tale of Two Franks: Ed Palermo Big Band with guest Napoleon Murphy Brock • Michel Ries Trio with Aidan O’Donnell, Colin Stranahan
Smalls 7:30, 10:30 pm 1 am $20 Iridium 8:30, 10:30 pm $30 Cornelia Street Underground 8, 9:30 pm $10
• Consurgence of Doves: Cornelius Dufallo, Jennifer Choi, Lev Zhurbin, Yves Dharamraj, • Brandon Lopez’ Mess with Sam Yulsman, Chris Corsano • Sean Jones Quintet with Brian Hogans, Orrin Evans, Luques Curtis, Mark Whitfield, Jr.
John King The Stone at The New School 8:30 pm $20 Issue Project Room 8 pm $10 Dizzy’s Club 7:30, 9:30 pm $35
êHayes Greenfield/Vinnie Sperrazza Troost 8 pm êGeorge Colligan Trio with Ed Howard, Victor Lewis and guest Adam Hutcheson • Gene Bertoncini The Drawing Room 7 pm $20
êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump, Jazz at Kitano 8, 10 pm $34 • Terry Waldo’s Gotham City Band; Marcos Valera
Jeremy Dutton Village Vanguard 8:30, 10:30 pm $35 êEric Harland’s Explorations with Chris Potter, Chris Turner Fat Cat 6, 8:30 pm $10
êDave Chamberlain Band of Bones Zinc Bar 8 pm $20 The Jazz Gallery 7:30, 9:30 pm $25 • Ships of Theseus: Fabian Almazan, Kris Davis, Jeremy Jordan, John Stetch,
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Daniel Anastasio, Erika Dohi The Jazz Gallery 7:30, 9:30 pm $15
Wednesday, May 16 Scott Robinson, Tom Christiansen, Alden Banta, Adam Unsworth, David Peel,
Augie Haas, Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer, George Flynn,
êThe Gil Evans Project Presents Porgy & Bess: Ryan Truesdell, Steve Wilson,
Dave Pietro, Tom Christiansen, Alden Banta, Ethan Helm, Adam Unsworth, David Peel,
• Julphan Tilapornputt Trio with Keng Kengkarnaka, Josh Roberts Marcus Rojas, Frank Kimbrough, David Wong, Matt Wilson, Wendy Gilles Shelagh Abate, Augie Haas, Scott Wendholt, Mike Rodriguez, Riley Mulherkar,
Bar Next Door 6:30 pm Jazz Standard 7:30, 9:30 pm $35 Jonathan Heim, Ryan Keberle, Marshall Gilkes, Nick Finzer, George Flynn,
• Olli Soikkeli Barbès 8 pm $10 êValerie Capers/John Robinson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Marcus Rojas, Frank Kimbrough, David Wong, Matt Wilson and guests Mike Rodriguez,
êBill Charlap Trio with Peter Washington, Kenny Washington • Bruce Barth/Dave Baron Mezzrow 8 pm $20 Steve Wilson Jazz Standard 7:30, 9:30 pm $35
Birdland 8:30, 11 pm $40 • Alex Zhang Hungtai/Gabriel Ferrandini; Brian Chase êJoel Frahm Trio Mezzrow 8 pm $20
• Ron Carter Birthday Celebration Blue Note 8, 10:30 pm $45 National Sawdust 10:30 pm $15 êSteve Cromity Quintet with Richard Clements, Gene Ghee, Lonnie Plaxico,
• Daniel Sarid Trio with Nadar Makel, Od Bymet; Almog Sharvi Band with Adam O’Farrill, • Nico Soffiato/Zach Swanson Nhà Minh 7 pm Dwayne “Cook” Broadnax Milk River Café 6 pm $10
Brandon Seabrook, Luckas Koenig Cornelia Street Underground 8, 9:30 pm $10 • Welf Dorr Unit with Dave Ross, Dmitry Ishenko, Joe Hertenstein • Roz Corral Trio with Ed Cherry, Paul Gill
• Yashmin Charnet-Abler, Enrico Granafei, Larry Corban Nublu 9 pm North Square Lounge 12:30, 2 pm
The Delancey 6:30 pm $10 êJason Stein’s Locksmith Isidore with Jason Roebke, Mike Pride; Jaimie Branch Trio • Tribute to Nina Simone and Miriam Makeba: Robbi Kumalo/Leopoldo F. Fleming
êLauren Sevian’s LSQ with Robert Rodriguez, Marcos Varela, Johnathan Blake with Luke Stewart, Mike Pride Nublu 151 7 pm $12 Rockwood Music Hall Stage 2 7 pm $15
Dizzy’s Club 7:30, 9:30 pm $30 êCelebrating Ornette Coleman: Jazz at Lincoln Center Orchestra • Nita with Marcus Persiani, Michael Rorby, Patience Higgins, Endea Owens
• Anthony Hervey Dizzy’s Club 11:15 pm $5 Rose Theater 8 pm $35-125 Russian Samovar 3 pm
• Steven Feifke Big Band The Django at Roxy Hotel 10 pm • Jog Blues: Ikhlaq Hussain, Siddartha Mukherjee, Andy Biskin, Joel Bluestein, • Ike Sturm Ensemble Saint Peter’s Church 5 pm
• Nolatet: Mike Dillon, Brian Haas, James Singleton, Johnny Vidacovich Jeffrey Zeigler, Jonathan Rose, Pheeroan akLaff • Sacha Perry Trio; JC Stylles/Steve Nelson Band; Jon Beshay
Drom 8 pm $18-35 Rubin Museum 7 pm $30 Smalls 4:30, 10:30 pm 1 am $20
• Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam • Michael Wimberly’s Bennington College Student Ensemble êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino ,
Fat Cat 7, 9 pm 12:30 am $10 Scholes Street Studio 7:30 pm $15 Alex Ritz Smoke 7, 9, 10:30 pm $40
êJamie Saft, Joe Morris, Charles Downs êLaszlo Gardony solo ShapeShifter Lab 7 pm $10 • Harry Miller The Sound Bite 1 pm
Happylucky no.1 8, 9 pm $10 • Ryan Slatko First Impressions Syndicate with Daniel Dickenson, Azat Bayazitov, êJoshua Redman and Brooklyn Rider: Johnny Gandelsman, Colin Jacobsen,
• Jaimoe’s Jasssz Band Iridium 8:30 pm $25-35 Alex Claffy, Adam Arruda ShapeShifter Lab 10 pm $10 Nicholas Cords, Michael Nicolas with guests Scott Colley, Satoshi Takeishi
êYayoi Ikawa Trio with Mark Helias, Clarence Penn • SHGR Quartet Shrine 6 pm Town Hall 8 pm $40-65
Jazz at Kitano 8, 10 pm $18 • Oli Nelson Group Silvana 6 pm êJohn Zorn, Sae Hashimoto, Steve Gosling, Shanir Blumenkranz, Tyshawn Sorey
• Broken Shadows: Tim Berne, Chris Speed, Reid Anderson, Dave King êAlex Blake Group; Sam Newsome Trio with Hilliard Greene, Reggie Nicholson; Village Vanguard 3 pm $35
Jazz Standard 7:30, 9:30 pm $30 Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20 êVijay Iyer Sextet with Graham Haynes, Mark Shim, Steve Lehman, Stephan Crump,
• Jill McCarron Trio with Lee Hogan, Tom DiCarlo êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino , Tyshawn Sorey Village Vanguard 8:30, 10:30 pm $35
Mezzrow 8 pm $20 Alex Ritz Smoke 7, 9, 10:30 pm $40 êDuck Baker; Woody Mann Wonders of Nature 8 pm $14

46 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 Monday, May 21 • Songs for Petra: Petra Haden and Jesse Harris with Julian Lage, Jorge Roeder,
Eric Doob Rockwood Music Hall Stage 2 8:30 pm $20-25
• Charlotte Greve, Chris Tordini, Vinnie Sperrazza êVision Festival—Celebrating Dave Burrell: Dave Burrell, Darius Jones, Steve Swell,
Bar Lunàtico 8:30, 10 pm $10 Harrison Bankhead, Andrew Cyrille; Archie Shepp Quartet with Dave Burrell,
• Ryan Hernandez Trio with Liany Mateo, Zach Adelman; Elisabeth Lohninger Trio with William Parker, Hamid Drake; Djassi DaCosta Johnson/Shayna Dulberger;
Michael Kanan, Pat O’Leary Bar Next Door 6:30, 8:30, 10:30 pm $12 Dave Burrell Quintet with James Brandon Lewis, Kidd Jordan, William Parker,
• KT Sullivan with Jon Weber, Steve Doyle Andrew Cyrille Roulette 6:30 pm $40
Birdland 7 pm $30 êDouble Vision: Stephanie Nakasian/Veronica Swift with Randy Johnston
êBrian Charette Quartet with George Coleman, Vic Juris, George Coleman, Jr. Saint Peter’s Church 1 pm $10
Blue Note 8, 10:30 pm $25 • David Bixler, Jon Cowherd, Ike Sturm, Rogério Boccato
• Xander Nayler, Elija Shiffer, Nicholas Jozwiak, Raphael Pannier; Stephen Gauci, ShapeShifter Lab 7 pm $10
Sandy Ewen, Adam Lane; Aron Namenwirth, Welf Dorr, Charlie Sabatino, • Emanuele Filippi Band Silvana 6 pm
Joe Hertenstein; Brian Groder, Mike Bisio, Jay Rosen; Billy Mintz Quartet; • Jonathan Kreisberg Quartet with Martin Bejerano, Matt Clohesy, Colin Stranahan;
Sam Day Harmet/Sana Nagano Bushwick Public House 7 pm $10 Brandon Sanders Quartet with Jeremy Pelt, Anthony Wonsey, Kuriko Tsugawa;
êKenny Rampton’s Paradise Blue Suite with Marcus Printup, Sherman Irby, Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20
Victor Goines, Sam Chess, Dan Nimmer, Carlos Henriquez, Marion Felder • Joe Morris, Tomeka Reid, Kyoko Kitamura, Taylor Ho Bynum
Dizzy’s Club 7:30, 9:30 pm $35 The Stone at The New School 8:30 pm $20
• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant,
êHarlem Stage Annual Gala directed by Terri Lyne Carrington Honoring Tamara Tunie, Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder,
S. Epatha Merkeson, Matthew Whitaker Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35
Harlem Stage Gatehouse 8 pm $1,000 êJerry Bergonzi Quartet with Bruce Barth, Gene Perla, Victor Lewis
• Jon Cowherd/Scott Colley Mezzrow 8 pm $20 Zinc Bar 8, 10 pm $25
• Jim Campilongo/Luca Benedetti Rockwood Music Hall Stage 2 10 pm $10
• Alicyn Yaffee Trio Shrine 7 pm Thursday, May 24
• Jon Menges Group Silvana 6 pm
êScott Reeves Jazz Orchestra Sir D’s 8, 9:30 pm • Aram Bajakian’s Dálava Bar Lunàtico 8:30, 10 pm $10
• Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Barber Quintet with • Andrew Pereira Trio with Emanuele Fillipi, Giacomo Taglivia;
Taber Gable, Godwin Louis, Andrew Renfroe, Matt Dwonszyk Spin Cycle: Scott Neumann, Tom Christensen, Phil Palombi
Smalls 7:30, 10:30 pm $20 Bar Next Door 6:30, 8:30, 10:30 pm $12
êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield, Essiet Essiet, êRené Marie Quartet with John Chin, Elias Bailey, Quentin Baxter
David F. Gibson and guest Randy Johnston Birdland 8:30, 11 pm $40
Zinc Bar 8, 10 pm $25 êDuke Ellington Orchestra Blue Note 8, 10:30 pm $45
• David Freeman with Mustafa Bhagat, Steve Hudson, Jamie Zillitto, Ivan Barenboim
Tuesday, May 22
êJoel Forrester Duo
BRIC House Artist Studio 8 pm
Cleopatra’s Needle 7 pm
• David Leon Trio with Sam Weber, Stephen Boegehold; Sagi Kaufman Trio with • Andrew Van Tassel; Julian Shore Cornelia Street Underground 8, 9:30 pm $10
Tal Yahalom, Noam Israeli Bar Next Door 6:30, 8:30, 10:30 pm $12 êMike Rodriguez Quintet Dizzy’s Club 7:30, 9:30 pm $35
êNicki Parrott Quartet with John Di Martino, Alvin Atkinson, Harry Allen • Matt Dwonszyk Dizzy’s Club 11:15 pm $10
Birdland 8:30, 11 pm $40 • Freddy Deboe Band; Binky Griptite Orchestra
êDuke Ellington Orchestra Blue Note 8, 10:30 pm $45 The Django at Roxy Hotel 7:30, 10 pm
• Ross Kratter Jazz Orchestra Club Bonafide 8 pm $15 • Sanah Kadoura Sextet Fat Cat 10 pm $10
• Jonathan Saraga Trio with Rick Rosato, Johnathan Blake • Michael Morreale Quintet with Jon Gordon, Tony Regusis, Bill Moring, Tim Horner
Cornelia Street Underground 8 pm $10 Jazz at Kitano 8, 10 pm $18
êTia Fuller Quartet Dizzy’s Club 7:30, 9:30 pm $35 • Lara Bello with Eric Kurimski, Jay Rattman, Janet Sora Chung, Arturo Stable
• Matt Dwonszyk Dizzy’s Club 11:15 pm $5 The Jazz Gallery 7:30, 9:30 pm $15
• Saul Rubin Zebtet Fat Cat 7 pm $10 êSullivan Fortner Trio with Matt Brewer, Marcus Gilmore and guest Roy Hargrove
• Paul Shinn Jazz at Kitano 8 pm Jazz Standard 7:30, 9:30 pm $30
êJure Pukl’s Sound Pictures with Joel Ross, Charles Altura, Matt Brewer, Damión Reid • Mike Longo/Paul West Mezzrow 8 pm $20
The Jazz Gallery 7:30, 9:30 pm $20 • Mike Davis and The New Wonders Radegast Hall 9 pm
• Gil Gutiérrez Trio with Robert Stern, David Rodriguez êVision Festival: Mary Halvorson’s Code Girl with Adam O’Farrill, Amirtha Kidambi,
Jazz Standard 7:30, 9:30 pm $30 Michael Formanek, Tomas Fujiwara; Whit Dickey Trio with Michael Bisio, Rob Brown;
• Deanna Kirk Mezzrow 8 pm $20 Women with an Axe to Grind: Patricia Nicholson, Joëlle Léandre, Nicole Mitchell,
• Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins Melanie Dyer; Space: Thomas Buckner, Roscoe Mitchell, Scott Robinson
New York City Baha’i Center 8, 9:30 pm $15 Roulette 7 pm $40
• Walker Adams Project Radegast Hall 8 pm • Ben Jagz Quartet; Kevin Quinn Protocol with Mark Dziuba, Steve Wilson, Daryl Chen,
• Gil Schwartz Duo Silvana 6 pm Vinnie Martucci, Jeff Siegel; Take Off Collective: Ole Mathisen, Marko Djordevic,
êIan Hendrickson-Smith Group; Frank Lacy Group Matthew Garrison ShapeShifter Lab 7, 8:15, 9:30 pm $10
Smalls 7:30, 10:30 pm $20 • Samyukta Ranganathan Silvana 6 pm
• Joe Morris/Tomas Fujiwara The Stone at The New School 8:30 pm $20 • Jonathan Kreisberg Quartet with Martin Bejerano, Matt Clohesy, Colin Stranahan;
êHayes Greenfield/Vinnie Sperrazza Troost 8 pm Ximo Tebar Group; Asaf Yuria Smalls 7:30, 10:30 pm 1 am $20
êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant, êMark Soskin Trio with Doug Weiss, Al Foster
Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder, Smoke 7, 9, 10:30 pm $15
Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35 êTribute to Hasaan Ibn Ali: Brian Marsella, Christian McBride, Anwar Marshall
The Stone at The New School 7 pm $20
Wednesday, May 23 • Joe Morris/Ben Stapp The Stone at The New School 8:30 pm $20
• Eyal Vilner Big Band with Brianna Thomas
• Secret Trio: Ismail Lumanovski, Tamer Pinarbasi, Ara Dinkjian Swing 46 8:30 pm
Bar Lunàtico 8:30, 10 pm $10 • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai
• Paul Jubong Lee Trio with Daniel Durst, Diego Maldonado Tomi Jazz 9 pm $10
Bar Next Door 6:30 pm êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant,
• Curtis Hasselbring’s Curhachestra Barbès 8 pm $10 Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder,
êNicki Parrott Quartet with John Di Martino, Alvin Atkinson, Aaron Heick Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35
Birdland 8:30, 11 pm $40 • Jhoe Garay; Neta Raanan Sextet Williamsburg Music Center 9, 10:30 pm $10
• Duke Ellington Orchestra Blue Note 8, 10:30 pm $45
• Don Braden’s Earth Wind and Wonder with Brandon McCune, Kenny Davis, Friday, May 25
Jeremy Warren Dizzy’s Club 7:30, 9:30 pm $35
• Matt Dwonszyk Dizzy’s Club 11:15 pm $5 • Kendra Shank with Paul Bollenback, Dean Johnson, Matt Wilson
• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam 55Bar 6 pm
Fat Cat 7, 9 pm 12:30 am $10 êWarren Vaché and The Trio with Tardo Hammer, John Webber, Steve Williams
• Zach Layton; Loren Connors; David Grubbs The 75 Club at Bogardus Mansion 8, 10 pm $20
H0l0 7:30 pm $10 • Brian Mitchell Bar Lunàtico 8:30, 10 pm $10
êShoko Nagai solo and Quartet Happylucky no.1 8, 9 pm $10 • Yuto Kanazawa Trio with Zwelakhe-Duma Bell le Pere, Roberto Giaquinto
êLeslie Pintchik Trio with Scott Hardy, Michael Sarin Bar Next Door 7:30, 9:30, 11:30 pm $12
Jazz at Kitano 8, 10 pm $18 êRené Marie Quartet with John Chin, Elias Bailey, Quentin Baxter
• Kevin Sun Quintet with Adam O’Farrill, Dana Saul, Simon Willson, Dayeon Seok Birdland 8:30, 11 pm $40
The Jazz Gallery 7:30, 9:30 pm $15 êDuke Ellington Orchestra Blue Note 8, 10:30 pm $45
• Gil Gutiérrez Trio with Robert Stern, David Rodriguez • Julia Banholzer Trio Cleopatra’s Needle 8 pm
Jazz Standard 7:30, 9:30 pm $30 • Chloé Perrier and French Heart Club Bonafide 6 pm $20
• Steve LaSpina Trio with Luis Perdomo, Donald Edwards êGerald Cannon Septet with Steve Slagle, Sherman Irby, Jeremy Pelt, Rick Germanson,
Mezzrow 8 pm $20 Russell Malone, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $45
• Tommy Morimoto Quartet with Mel Davis, Marvin Horne, Earl Grice • Matt Dwonszyk Dizzy’s Club 11:15 pm $10
Minton’s 7:30, 9:30 pm $10 • Ken Fowser Quintet; Chris Norton The Django at Roxy Hotel 7:30, 10:30 pm
• Midori Takada Murmrr 8 pm $20-35 êHank Roberts Sextet with Brian Drye, Mike McGinnis, Dana Lyn, Jacob Sacks,
êGordon’s Grand Street Stompers Radegast Hall 9 pm Vinnie Sperrazza; Joe Fiedler’s Stunt Chicken with Jeff Lederer, Sean Conly,
Michael Sarin Ibeam Brooklyn 8, 9:30 pm $15
• Oz Noy, Will Lee, Lenny White Iridium 8:30, 10:30 pm $30
êTribute to Dom Salvador: Duduka Da Fonseca and Brazilian Express with
LESLIE PINTCHIK TRIO Maucha Adnet, Billy Drewes, Helio Alves, Martin Wind
Jazz at Kitano 8, 10 pm $34
êJames Francies Group with Chris Turner, Joel Ross, Mike Moreno, Matt Penman,
You Eat My Food, You Drink My Wine, Jeremy Dutton The Jazz Gallery 7:30, 9:30 pm $25
You Steal My Girl! êSullivan Fortner Trio with Matt Brewer, Marcus Gilmore and guest Melissa Aldana
Jazz Standard 7:30, 9:30 pm $30
CD Release Performance • Alexander Leonard/Jay Leonhart Knickerbocker Bar & Grill 9, 10:15 pm $3.50
êJoe Locke Trio with Jim Ridl, Lorin Cohen
Wednesday May 23rd, sets at 8:00 PM & 10:00 PM Mezzrow 8 pm $20
• Tony Middleton with Roy Dunlap, Ron Jackson, Jim Cammack,
Jazz At Kitano Dwayne “Cook” Broadnax Minton’s 7:30, 9:30 pm $15
êVision Festival: Irreversible Entanglements: Camae Ayewa, Keir Neuringer,
66 Park Avenue @ 38th Street, NYC (212) 885-7119 Aquiles Navarro, Luke Stewart, Tcheser Holmes; Douglass Dunn with Emily Pope,
Grazia Della-Terza, Jin Ju Song-Begin, Jake Szczypek, Alexandra Berger, Jules Bakshi,
Janet Charleston, Timothy Ward, Jason Kao Hwang, Anders Nilsson, Michael TA Thompson;
Leslie Pintchik - piano Nasheet Waits Equality with Darius Jones, Aruán Ortiz, Mark Helias; Seraphic Light:
Scott Hardy - bass Daniel Carter, William Parker, Matthew Shipp; Matthew Shipp Acoustic Ensemble with
Michael Bisio, Newman Taylor Baker, Jason Kao Hwang, Mat Walerian, Nate Wooley
Michael Sarin - drums Roulette 7 pm $40
• Maës Shrine 6 pm
• Leap Organ Collective Silvana 6 pm
You Eat My Food, You Drink • Michael Dease Group with Sam Dillon, Jocelyn Gould, Luther Allison, Liany Mateo,
My Wine, You Steal My Girl! Zach Adleman; Jason Brown Quintet with Jerry Weldon, Dan Wilson, Anthony Wonsey,
Neal Caine; JD Allen Smalls 7:30, 10:30 pm 1 am $20
**** —DownBeat êMiles Davis Birthday Celebration: Al Foster Quintet with Josh Bruneau, Dayna Stephens,
Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40
Available now at • Viktorija Gečytė and Gene Perla Quartet
Amazon and iTunes The Sound Bite 7, 9 pm
• Joe Morris, Peter Evans, Mat Maneri The Stone at The New School 8:30 pm $20
êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant,
www.lesliepintchik.com Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder,
Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | MAY 2018 47

 Saturday, May 26 Tuesday, May 29
êWarren Vaché and The Trio with Tardo Hammer, John Webber, Steve Williams
The 75 Club at Bogardus Mansion 8, 10 pm $20
• Jay Rodriguez Bar Lunàtico 8:30, 10 pm $10
• Joey Lamb Trio with Perrin Grace, Josh Roberts; Andrew Shillito Trio with
RE G U L AR ENGAGE MENTS
• Itai Kriss and Televana Bar Lunàtico 8:30, 10 pm $10 Jakob Dreyer, Matt Honor Bar Next Door 6:30, 8:30, 10:30 pm $12
• Jeff McLaughlin Trio with John Cowherd, Rudy Royston • Bossa Brasil: Marcos Valle with Patricia Alves, Roni Ben-Hur, Jesse Sadoc, M O N D AY
Bar Next Door 7:30, 9:30, 11:30 pm $12 Itaiguara Brandao, Renata Massa and guests Paula Morelenbaum, • Richard Clements/Murray Wall Band
• Anders Nilsson Trio with David Ambrosio, Satoshi Takeishi Jaques Morelenbaum Birdland 8:30, 11 pm $40 11th Street Bar 8 pm
Barbès 6 pm $10 êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King • Grove Street Stompers Arthur’s Tavern 7 pm
êRené Marie Quartet with John Chin, Elias Bailey, Quentin Baxter Blue Note 8, 10:30 pm $35 • Earl Rose Bemelmans Bar 5:30, 9 pm
Birdland 8:30, 11 pm $40 • The Bush-Tet: Stan Killian, Chris McCarthy, Will Slater, Tiago Michelin; • Woody Allen and The Eddy Davis New Orleans Jazz Band
êDuke Ellington Orchestra Blue Note 8, 10:30 pm $45 Peter Kronrief Group Cornelia Street Underground 8, 9:30 pm $10 Café Carlyle 8:45 pm$120-215
êJamie Baum Septet+ with Amir ElSaffar, John Escreet, Sam Sadigursky, Zack Lober, êIgnacio Berroa Trio with Martin Bejerano, Josh Allen • Jon Weiss Duo Cleopatra’s Needle 8 pm
Brad Shepik, Chris Komer, Jeff Hirshfield Dizzy’s Club 7:30, 9:30 pm $35 • Svetlana & The Delancey 5 Freddy’s Backroom 8:30 pm
The Cell 8 pm $15 • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop • Vince Giordano and The Nighthawks
êClifford Barbaro Trio Cleopatra’s Needle 8 pm Fat Cat 7, 9 pm 12:30 am $10 Iguana 8 pm
• Sebastien Noelle Band Cornelia Street Underground 8:30, 10 pm $10 • Paul Shinn Jazz at Kitano 8 pm • Iris Ornig Jam Session Jazz at Kitano 8 pm
êGerald Cannon Septet with Steve Slagle, Sherman Irby, Jeremy Pelt, Rick Germanson, • Sachal Vasandani with Casey Benjamin, James Francies, Reuben Rogers, • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Paul Bollenback, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $45 Obed Calvaire Jazz Standard 7:30, 9:30 pm $30 • JFA Jam Session Local 802 7 pm
• Matt Dwonszyk Dizzy’s Club 11:15 pm $20 • Todd Neufeld Group with Rema Hasumi, Sergio Krakowski, Billy Mintz • Pasquale Grasso Mezzrow 11 pm $20
• Brandon Bain; Gregory Generet The Django at Roxy Hotel 7:30, 10:30 pm Korzo 9 pm • Melvin Vines Paris Blues 9 pm
• CMS Improvisers Orchestra led by Peter Apfelbaum and Karl Berger • Vanessa Trouble/Burt Eckoff Mezzrow 8 pm $20 • Jazz Jam Session Radegast Hall 8 pm
El Taller LatinoAmericano 7:30, 9 pm $15 • Josh Levinson Septet Rockwood Music Hall Stage 3 7 pm $12 • Vincent Herring Quartet and Smoke Jam Session
• Battle of the Big Bands!: Eyal Vilner Big Band; Artie Shaw Orchestra; • DIáSPORA: Chiquita Magic/Anaïs Maviel; Cross Times: Sam Yulsman, Luke Stewart, Smoke 7, 9, 10:30 pm
George Gee Swing Orchestra Intrepid Sea, Air & Space Museum 8 pm $59 Anaïs Maviel Roulette 8 pm $20 • Swingadelic Swing 46 8:30 pm
• Oz Noy, Will Lee, Lenny White Iridium 8:30, 10:30 pm $30 • Valentine and The Jazzbois Silvana 6 pm • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
êTribute to Dom Salvador: Duduka Da Fonseca and Brazilian Express with • Robert Edwards Quartet with Joe Magnarelli, Mike Karn, Aaron Kimmel;
Maucha Adnet, Billy Drewes, Helio Alves, Martin Wind Josh Evans Group Smalls 7:30, 10:30 pm 1 am $20 T U E S D AY
Jazz at Kitano 8, 10 pm $34 êMarty Ehrlich/Wadada Leo Smith The Stone at The New School 8:30 pm $20
êJames Francies Group with Chris Turner, Joel Ross, Mike Moreno, Matt Penman, êHayes Greenfield/Vinnie Sperrazza Troost 8 pm • Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm
Jeremy Dutton The Jazz Gallery 7:30, 9:30 pm $25 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street • Nick West’s Westet Analogue 7 pm
• Lee Hogans and Pursuance with Seth Johnson, Dave Stolarz, Rob Collazo, Village Vanguard 8:30, 10:30 pm $35 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm
Jerome Jennings Jazz Standard 12 pm $10 • Art Hirahara Trio Arturo’s 8 pm
êSullivan Fortner Trio with Matt Brewer, Marcus Gilmore and guest Peter Evans Wednesday, May 30 • Loston Harris Trio Bemelmans Bar 9:30 pm
Jazz Standard 7:30, 9:30 pm $30 • Marc Devine Trio Cleopatra’s Needle 8 pm
• Alexander Leonard/Jay Leonhart Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Swinging with the Count: Michael Feinstein and Tedd Firth Big Band • Battle Of The Horns Farafina Jazz Café and Lounge 8 pm
êJoe Locke Trio with Jim Ridl, Lorin Cohen The Appel Room 7 pm $85 • Diego Voglino Jam Session Halyard’s 10 pm
Mezzrow 8 pm $20 • Alan Kwan Trio with Evan Gregor, Patrick Lui • Vince Giordano and The Nighthawks
êVision Festival: Visionary Youth Orchestra directed by Jeff Lederer and Jessica Jones Bar Next Door 6:30 pm Iguana 8 pm
with guest Dave Burrell; Fay Victor Mutations for Justice with Jaimie Branch, • Bossa Brasil: Marcos Valle with Patricia Alves, Roni Ben-Hur, Jesse Sadoc, • Miki Yamanaka & Adi Meyerson Polite Jam Session
Luke Stewart, Michael Vatcher; Afro-Algonquin 2018: Mixashawn Rozie, Rick Rozie, Itaiguara Brandao, Renata Massa and guests Paula Morelenbaum, Mezzrow 11 pm $20
Royal Hartigan; Patricia Spears Jones/Jason Kao Hwang; Ambrose Akinmusire, Jaques Morelenbaum Birdland 8:30, 11 pm $40 • Mona’s Hot Four Mona’s 11 pm
Kris Davis, Tyshawn Sorey; AfroHorn: Francisco Mora Catlett, Ahmed Abdullah, êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King • John Cooksey Paris Blues 9 pm
Alex Harding, Bob Stewart, Sam Newsome, Aruán Ortiz, Rashaan Carter, Roman Díaz Blue Note 8, 10:30 pm $35 • Mike LeDonne Quartet; Emmet Cohen Band
Roulette 6 pm $40 êIgnacio Berroa Trio with Martin Bejerano, Josh Allen Smoke 7, 9, 10:30, 11:30 pm
• Josiah Boornazian Shrine 6 pm Dizzy’s Club 7:30, 9:30 pm $35 • George Gee Orchestra Swing 46 8:30 pm
• Shun Ino; Jacob Varmus Quartet Silvana 6, 7 pm • Evan Sherman Big Band The Django at Roxy Hotel 10 pm
• Ed Stoute Sistas’ Place 9, 10:30 pm $20 • Luis Perdomo; Ned Goold Jam Fat Cat 7 pm 12:30 am $10 W E D N E S D AY
• Ben Barnett; Michael Dease Group with Sam Dillon, Jocelyn Gould, Luther Allison, êRuss Lossing solo; Russ Lossing’s King Vulture with Adam Kolker, Matt Pavolka,
Liany Mateo, Zach Adleman; Jason Brown Quintet with Jerry Weldon, Dan Wilson, Dayeon Seok Happylucky no.1 8, 9 pm $10 • Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm
Anthony Wonsey, Neal Caine; Philip Harper Quintet • David Lopato Quintet with Lucas Pino, Ed Neumeister, Ratzo Harris • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
Smalls 4:30, 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $18 • Monika Oliveira Analogue 7 pm
êMiles Davis Birthday Celebration: Al Foster Quintet with Josh Bruneau, Dayna Stephens, • Sachal Vasandani with Casey Benjamin, James Francies, Reuben Rogers, • Eve Silber Arthur’s Tavern 7 pm
Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40 Obed Calvaire Jazz Standard 7:30, 9:30 pm $30 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Clifton Anderson The Sound Bite 7, 9 pm êFrançois Moutin/Kavita Shah with guest Sheila Jordan • Loston Harris Trio Bemelmans Bar 9:30 pm
êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant, Joe’s Pub 7 pm $20 • David Ostwald’s Louis Armstrong Centennial Band
Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder, • Dan Levinson, Mark Shane, Molly Ryan Birdland 5:30 pm $20
Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35 Mezzrow 8 pm $20 • Les Kurtz Trio Cleopatra’s Needle 7 pm
• Humberto Olivieri and The Sonic Groove Ensemble • The Stone Commissions: Annie Gosfield • Pasquale Grasso; Django Jam Session
Williamsburg Music Center 10, 11:30 pm $10 National Sawdust 7 pm $25 The Django 8:30, 11 pm
• Luke Schwartz, Stephan Crump, Kenny Wollesen • WaHi Jazz Jam Le Chéile 8 pm
Sunday, May 27 Rockwood Music Hall Stage 3 8:30 pm $10 • Pete Malinverni Mezzrow 11 pm $20
• Cecilia Coleman Big Band Saint Peter’s Church 1 pm $10 • Les Goodson Band Paris Blues 9 pm
• Mike Neer Quartet with Nate Radley, Matt Pavolka, Diego Voglino • Max Logue; Tierra Sonikete Silvana 7, 8 pm • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam
Barbès 7 pm $10 • Steve Lyman Quartet with Nir Felder, Chase Baird, Chris Tordini; Carlos Abadie Quintet Smoke 7, 9, 10:30, 11:30 pm
• Vitaly Golovnev Birdland 6 pm $30 with Mike Troy, Peter Zak, Kiyoshi Kitagawa, Luca Santaniello • Stan Rubin Orchestra Swing 46 8:30 pm
• Duke Ellington Orchestra Blue Note 8, 10:30 pm $45 Smalls 7:30, 10:30 pm 1 am $20
• Alden Hellmuth Trio City Winery 11:30 am êMarty Ehrlich Trio Exaltation with John Hébert, Nasheet Waits T H U R S D AY
• Q Morrow Quartet with Evan Francis, Sam Bevan, Raj Jayaweera The Stone at The New School 8:30 pm $20
Cornelia Street Underground 8, 9:30 pm $10 • Ron Dabney with Daryl Kojak, Steven Frieder, John Burr, Dwayne “Cook” Broadnax • Richard Wyands Trio 75 Club at Bogardus Mansion 8, 10 pm
êGerald Cannon Septet with Steve Slagle, Sherman Irby, Jeremy Pelt, Rick Germanson, Triad Theater 7 pm • Ray Blue Organ Quartet American Legion Post 398 7 pm
Paul Bollenback, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $35 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street • Eri Yamamoto Trio Arthur’s Tavern 7 pm
• Mickey Bass New York Powerhouse Ensemble with Steve Nelson, John Eckert, Village Vanguard 8:30, 10:30 pm $35 • Loston Harris Trio Bemelmans Bar 9:30 pm
Brent Birkhead, Tommy Morimoto, Mark Johnson • Sarah Bernstein Unearthish with Satoshi Takeishi; Laura Ortman/Emilie Lesbros • John McNeil/Mike Fahie The Douglass 9 pm
Faison Firehouse Theater 4 pm $25 Wonders of Nature 8 pm $10 • Steve Wirts Han Dynasty 6 pm
• Oz Noy, Will Lee, Lenny White Iridium 8:30, 10:30 pm $30 • Spike Wilner Mezzrow 11 pm $20
êSullivan Fortner Trio with Matt Brewer, Marcus Gilmore and guest Ambrose Akinmusire Thursday, May 31 • Les Goodson Band
• Gene Bertoncini
Paris Blues 9 pm
Ryan’s Daughter 8:30, 10:30 pm
Jazz Standard 7:30, 9:30 pm $30
• Max Johnson Fresh Ink Trio with Anna Webber, Michael Sarin, TsTp: Yoni Kretzmer, • Swinging with the Count: Michael Feinstein and Tedd Firth Big Band • Rob Duguay Low Key Trio Turnmill NYC 11 pm
Shanir Blumenkranz, Weasel Walter Legion Bar 8 pm $10 The Appel Room 7, 9 pm $85
• Chris Flory Trio with Larry Ham, Lee Hudson êAruán Ortiz Bar Lunàtico 8:30, 10 pm $10 F R I D AY
Mezzrow 8 pm $20 • Vaughn Stoffey Trio with Cole Davis, Alex Ritz; Nadav Peled Trio with Tamir Shmerling,
• Roz Corral Trio with Freddie Bryant, Santi Debriano Eran Fink Bar Next Door 6:30, 8:30, 10:30 pm $12 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
North Square Lounge 12:30, 2 pm • Abelita Mateus Birdland 6 pm $30 • The Crooked Trio Barbès 5 pm
• Hot Club Of Baltimore Radegast Hall 7 pm • Bossa Brasil: Marcos Valle with Patricia Alves, Roni Ben-Hur, Jesse Sadoc, • Loston Harris Trio Bemelmans Bar 9:30 pm
êVision Festival: Frode Gjerstad Trio with Ingebrigt Håker Flaten, Paal Nilssen-Love and Itaiguara Brandao, Renata Massa and guests Paula Morelenbaum, • Birdland Big Band Birdland 5:15 pm $25
guest Steve Swell; Gerald Cleaver, Brandon Lopez, Chris Potter, David Virelles; Jaques Morelenbaum Birdland 8:30, 11 pm $40 • Melvin Vines Paris Blues 9 pm
Arthur Jafa; By Any Means: Charles Gayle, William Parker, Muhammad Ali; êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King • Gerry Eastman Quartet Williamsburg Music Center 10 pm
Craig Harris Brown Butterfly with Eddie Allen, Jay Rodriguez, Adam Klipple, Calvin Jones, Blue Note 8, 10:30 pm $35 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
Tony Lewis, Kahlil Kwame Bell Roulette 6:30 pm $40 • Ramsey Ameen, Joel Freedman, Hill Greene, Ras Moshe Burnett, Charles Downs; S AT U R D AY
• Tory Gee Trio with Lucy Galliher, Hilliard Greene Daniel Carter, Ras Moshe Burnett, David First, Dave Soldier, Dave Miller; Daniel Carter,
Russian Samovar 3 pm Joe Rigby, Larry Roland, Matt Lavelle, Charles Downs, Ras Moshe Burnett,
• Gene Bertoncini Trio Saint Peter’s Church 5 pm Mark Hennen The Brooklyn Commons 7 pm $15 • Bill Saxton and the Harlem Bebop Band
• Dingonek Street Band; Michael Sarian and The Big Chabones • David Pearl Duo Cleopatra’s Needle 7 pm Bill’s Place 8, 10 pm $20
ShapeShifter Lab 7, 8:15 pm $12 • Jeremy Powell Quartet with Nitzan Gavrieli, Ricky Rodriguez, Allan Mednard; • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm
• Sacha Perry Trio; Hillel Salem Smalls 4:30 pm 1 am $20 Tobias Meinhart Quartet with Yago Vasquez, Matt Aronoff, Jesse Simpson • Bassey & The Heathens
• Yvonnick Prené
The Heath 12:30 am
Henry’s 12:30 pm
êMiles Davis Birthday Celebration: Al Foster Quintet with Josh Bruneau, Dayna Stephens, Cornelia Street Underground 8, 9:30 pm $10
Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40 • Benny Green Trio Dizzy’s Club 7:30, 9:30 pm $40 • Assaf Kehati Duo
• Melvin Vines
Il Gattopardo 11:30 am
• Arnold Strickland The Sound Bite 1 pm • John Dokes Quintet; Alita Moses The Django at Roxy Hotel 7:30, 10 pm • Johnny O’Neal
Paris Blues 9 pm
Smoke 11:45 pm 12:45 am
êGuillermo Klein y Los Gauchos with Diego Urcola, Taylor Haskins, Richard Nant, êRay Mantilla Hudson River Park 7 pm
Sandro Tomasi, Miguel Zenón, Bill McHenry, Chris Cheek, Ben Monder, • Lullaby of Birdland—Bird, Bebop, and 52nd Street: Christine Tobin and Phil Robson
Fernando Huergo, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35 with Sheila Jordan, Steve Wilson, Mark Lewandowski, Charles Goold S U N D AY
• Rachel Therrien; Karen Tennison Williamsburg Music Center 9, 10:30 pm $10 Irish Arts Center 7:30 pm $24
• Creole Cooking Jazz Band; Stew Cutler and Friends
• Mustafa Bhagat, David Freeman, Steve Hudson, Jamie Zillitto and guests
Monday, May 28 Ivan Barenboim, Arun Ramamurthy Jalopy 8:30 pm $15
• Peter Mazza Trio
Arthur’s Tavern 7, 10 pm
Bar Next Door 8, 10 pm $12
• Takaaki Otomo Trio with Noriko Ueda, Jared Schonig • Arturo O’Farrill Afro Latin Jazz Orchestra
• Toby Driver Areté Gallery 8 pm $20 Jazz at Kitano 8, 10 pm $18
Birdland 9, 11 pm $30
• Jeff Lederer’s Shakers ’n Bakers with Mary LaRose, Miles Griffith, Jamie Saft, • Jeremy Dutton Quartet with Marquis Hill, Harish Raghavan • Renaud Penant Trio Bistro Jules 7:30 pm
Chris Lightcap, Allison Miller Bar Lunàtico 8:30, 10 pm $10 The Jazz Gallery 7:30, 9:30 pm $15
• Elijah Shiffer Trio with Jane Marshall, Alex Perry; Rose Ellis Trio with Alex Goodman, • Joey DeFrancesco Trio with Mark Whitfield, Lenny White • Steve LaSpina Trio Café Loup 12:30 pm
George DeLancey Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $30 • Marc Devine/Hide Tanaka Café Loup 6:30 pm
êWil Calhoun’s Celebrating Elvin Jones with Troy Roberts, Donald Vega, Buster Williams • Rob Schwimmer Heart of Hearing Joe’s Pub 7 pm $15 • Keith Ingham Cleopatra’s Needle 4 pm
Dizzy’s Club 7:30, 9:30 pm $45 • Martin Bejerano Trio with Edward Perez, Ludwig Alfonso • Trampelman Dominie’s Astoria 9 pm
• Ed Howard/Dave Kikoski Mezzrow 8 pm $20 Mezzrow 8 pm $20 • The EarRegulars The Ear Inn 8 pm
• Jim Campilongo Trio with Chris Morrissey, Josh Dion • Sofía Rei Russ & Daughters Café 8 pm • Glenn Crytzer All Stars The Flatiron Room 6:30 pm
Rockwood Music Hall Stage 2 10 pm $10 • Kendra Shank with Pete McCann, Dean Johnson • Joel Forrester solo Grace Gospel Church 11 am
êVision Festival—Jaimie Branch Fly or Die with Anton Hatwich, Lester St. Louis, Settepani 7 pm • Grassroots Jazz Effort Grassroots Tavern 9 pm
Chad Taylor; Cooper-Moore solo; Julie Ezelle Patton with Ken Filiano, Nasheet Waits, • Dom Palombi Project Shrine 6 pm • Tony Middleton Trio Jazz at Kitano 12 pm $40
Paul Van Curen; Jemeel Moondoc New World Pygmies with William Parker, • Stafford Hunter Silvana 6 pm • John Merrill and Friends Mezzrow 11 pm $20
• Avalon Jazz Band Minton’s 12 pm
Hamid Drake; Oliver Lake Big Band with Bruce Williams, James Stewart, Alex Harding, êNoah Preminger Quartet with Jason Palmer, Kim Cass, Dan Weiss
• Melvin Vines Paris Blues 9 pm
Darius Jones, Mike Lee, Adam O’Farrill, Freddie Hendrix, Nabate Isles, Greg Glassman, Smalls 7:30 pm $20 • Marjorie Eliot/Rudell Drears/Sedric Choukroun
Aaron Johnson, Al Patterson, Terry Greene II, Robert Stringer, Yoichi Uzeki, • Reggie Quinerly Quintet with Melanie Charles, Milton Suggs, Orrin Evans, Ben Wolfe Parlor Entertainment 4 pm
Robert Sabin, Chris Beck Roulette 6 pm $40 Smoke 7, 9, 10:30 pm $15 • Koran Agan Radegast Hall 1:30 pm
• Josiah Boornazian Silvana 6 pm êMarty Ehrlich’s Philosophy of a Groove Quartet with James Weidman, Jerome Harris,
• Lu Reid Jam Session Shrine 4 pm
• Alec Castro Octet Sir D’s 8, 9:30 pm Christopher Beck The Stone at The New School 8:30 pm $20 • Annette St. John; Wilerm Delisfort Quartet
• Ari Hoenig Trio; Joe Farnsworth Smalls 7:30, 10:30 pm $20 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street
Smoke 11:30 am 11:45 pm
êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield, Essiet Essiet, Village Vanguard 8:30, 10:30 pm $35 • Sean Smith and guest Walker’s 8 pm
David F. Gibson and guest Chico Pinheiro • Aidan O’Connell Trio; Juan Chiavassa Trio
Zinc Bar 8, 10 pm $25 Williamsburg Music Center 9, 10:30 pm $10

48 MAY 2018 | THE NEW YORK CITY JAZZ RECORD

 CLUB DIRECTORY
• 11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
• 440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 75 Club at Bogardus Mansion 75 Murray Street
(212-268-1746) Subway: 1, 2, 3 to Chambers Street
www.bogardusmansion.com
• Aaron Davis Hall 133rd Street and Convent Avenue
(212-650-7100) Subway: 1 to 137th Street-City College www.adhatccny.org
• American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
• American Legion Post 398 248 W. 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
• An Beal Bocht Café 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
• Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
• The Appel Room Broadway at 60th Street, 5th floor
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org
• Areté Gallery 67 West Street, Brooklyn
(929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com
• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
• Arturo’s 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
• Asia Society 725 Park Avenue
(212-288-6400) Subway: 6 to 68th Street www.asiasociety.org
• Bar Lunàtico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
• Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Baryshnikov Arts Center 450 W. 37th Street, 4th floor
(212-279-4200) Subway: A, C, E, F, V to 42nd Street-Port Authority
• Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Bierstrasse 2346 12th Avenue at 133rd Street
Subway: 1 to 137th Street www.bierstrassenyc.com
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 135th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• Bistro Jules 60 St Marks Place
(212-477-5560) Subway: 6 to Astor Place www.julesbistro.com
• Bloomingdale School of Music 323 W. 108th Street
(212-663-6021) Subway: 1 to Cathedral Parkway www.bsmny.org
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
• BRIC House Artist Studio 647 Fulton Street
(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org
• The Brooklyn Commons 388 Atlantic Avenue
Subway: A, C, G to Hoyt/Schermerhorn Streets
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org
• Brooklyn Music School 126 Saint Felix Street
(718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street
• Brownsville Heritage House 581 Mother Gaston Boulevard
(718-385-1111) Subway: L to New Lots Avenue
• Bushwick Public House 1288 Myrtle Avenue • Jazz Standard 116 E. 27th between Park and Lexington Avenue
(917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54
www.bushwickpublichouse.com
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
• Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
• Carnegie Club 156 W. 56th Street
(212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue
• The Cave at St. George’s 209 E. 16th Street
(646-723-4178) Subway: L to Third Avenue www.olmstedsalon.com
• The Cell 338 W. 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
• City Winery 155 Varick Street
(212-608-0555) Subway: 1 to Houston Street www.citywinery.com
• Cleopatra’s Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
• Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
• Cornelia Street Underground 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com
• The Delancey 168 Delancey Street
(212-254-9920) Subway: F to Delancey Street www.thedelancey.com
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org
• The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• The Douglass 149 4th Avenue
(718-857-4337) Subway: R to Union Street www.thedouglass.com
• Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
• The Drawing Room 56 Willoughby Street
(917-648-1847) Subway: A, C, F to Jay Street/Metrotech
www.drawingroommusic.com
• Drom 85 Avenue A
(212-777-1157) Subway: F to Second Avenue www.dromnyc.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• El Taller LatinoAmericano 225 W. 99th Street
(212-665-9460) Subway: 1, 2, 3 to 96th Street
• Elsewhere 599 Johnson Avenue
Subway: L to Jefferson Street www.elsewherebrooklyn.com
• Faison Firehouse Theater 6 Hancock Place
(212-665-7716) Subway: A, D to 125th Street www.faisonfirehouse.org
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• The Flatiron Room 37 W. 26th Street
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com
• Floridita Harlem 2276 12th Avenue
(212-662-0090) Subway: 1 to 125th Street
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• Freddy’s Backroom 627 5th Avenue, Brooklyn
(718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• Grassroots Tavern 20 Saint Marks Place
(212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
www.clubgroovenyc.com
• Halyard’s 406 3rd Avenue, Brooklyn
(718-532-8787) Subway: R to 9th Street www.barhalyards.com
• Han Dynasty 215 W. 85th Street
(212-858-9060) Subway: 1 to 86th Street www.handynasty.net
• Hansborough Recreation Center 35. W. 134th Street
(212-234-9603) Subway: 2, 3 to 135th Street www.nycgovparks.org
• Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
• Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street
• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
• The Heath at McKittrick Hotel 530 W. 27th Street
(212-904-1883) Subway: C, E to 23rd Street www.mckittrickhotel.com
• Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street • Roulette 509 Atlantic Avenue
• H0l0 1090 Wyckoff Avenue Subway: L to Halsey Street www.h0l0.nyc
• Hostos Center 450 Grand Concourse
(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu
• Hudson River Park 555 12th Avenue at 44th Street
(212-627-2020) Subway: A, C, E, F, V to 42nd Street-Port Authority
www.hudsonriverpark.org
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
• Il Gattopardo 13-15 W. 54th Street
(212-246-0412) Subway: E, M to Fifth Avenue/53rd Street
www.ilgattopardonyc.com
• Intrepid Sea, Air & Space Museum Pier 86, W. 46th Street and 12th Avenue
(212-245-0072) Subway: E to 50th Street www.intrepidmuseum.org
• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
• Irish Arts Center 553 W. 51st Street
(212-757-3318) Subway: C, E to 50th Street www.irishartscenter.org
• Issue Project Room 22 Boerum Place
(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall
www.issueprojectroom.org
• Jalopy 315 Columbia Street, Brooklyn
(718-395-3214) Subway: F to Smith Street www.jalopy.biz
• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens
(718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org
• Jazz 966 966 Fulton Street
(718-638-6910) Subway: C to Clinton Street www.jazz966.com
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org
• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net
• Jefferson Market Library 425 Sixth Avenue
(212-243-4334) Subway: 1 to Christopher Street www.nypl.org
• Joe’s Pub at the Public Theater 425 Lafayette Street
(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.publictheater.org/Joes-Pub-at-The-Public
• Kingsborough Community College 2001 Oriental Boulevard
(718-368-6686) Subway:Q to Brighton Beach
www.onstageatkingsborough.org
• Knickerbocker Bar & Grill 33 University Place at 9th Street
(212-228-8490) Subway: N, R to 8th Street (212-533-5470) Subway: 6 to Bleecker Street www.subculturenewyork.com
www.knickerbockerbarandgrill.com
• Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
• Le Chéile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
• Le Poisson Rouge 158 Bleecker Street
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com
• Legion Bar 790 Metropolitan Avenue
(718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com
• Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• The Loft of Thomas Rochon 100 Grand Street, 6th Floor
Subway: 6, A, C, E, N, Q, R to Canal Street
• Manna House 338 E. 106th Street between First and Second Avenues
(212-722-8223) Subway: 6 to 103rd Street
• Metro Baptist Church 410 W. 40th Street (between Ninth and Tenth Avenues)
(212-765-8446) Subway: A, B, C, D, E, F, S, V to 42nd Street
• Mezzrow 163 W. 10th Street
(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com
• Milk River Café 960 Atlantic Avenue
(718-636-8600) Subway: C, S to Franklin Avenue
www.milkriverbrooklyn.com
• Minton’s 206 W. 118th Street (between St. Nicholas Avenue and
Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com
• MIST 40 W. 116th Street Subway: 2, 3 to 116th Street www.mistharlem.com • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
• Mona’s 224 Avenue B Subway: L to First Avenue
• Murmrr 17 Eastern Parkway
(516-510-1477) Subway: 2, 3 to Eastern Parkway www.murmrr.com
• The Museum at Eldridge Street 12 Eldridge Street at Canal Street
(212-219-0888) Subway: F to East Broadway
• National Sawdust 80 N. 6th Street
(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org
• New York City Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
• Nhà Minh 485 Morgan Avenue
(718-387-7848) Subway: L to Graham Avenue
• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
• Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
THE NEW YORK CITY JAZZ RECORD | MAY 2018
• Nublu 151 151 Avenue C
(212-979-9925) Subway: 6 to Astor Place www.nublu.net
• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C
(212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org
• The Owl Music Parlor 497 Rogers Avenue, Brooklyn
(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc
• Paris Blues Harlem 2021 Adam Clayton Powell, Jr., Boulevard
(212-222-9878) Subway: 2, 3 to 125th Street www.parisbluesharlem.com
• Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street
• The Penrose 1590 2nd Avenue
(212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com
• The Players Club 16 Gramercy Park South
(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org
• Radegast Hall 113 N. 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
• Restoration Plaza 1368 Fulton Street
Subway: A to Nostrand Avenue www.restorationplaza.org
• Robert Bar 104 Bond Street
(347-853-8687) Subway: A, C, G to Hoyt-Schermerhorn
www.robertbarbrooklyn.com
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
• Rose Theater Broadway at 60th Street, 5th floor
(212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle
www.jalc.org
(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
• Rubin Museum 150 W. 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
• Russ & Daughters Café 127 Orchard Street
(212-475-4881) Subway: F to Delancey Street
www.russanddaughterscafe.com
• Russian Samovar 256 W. 52nd Street
(212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com
• Ryan’s Daughter 350 E. 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
• St. Michael’s Cemetery 72-02 Astoria Boulevard, East Elmhurst
Subway: N to Astoria Boulevard
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• San Damiano Mission 85 N. 15th Street
Subway: G to Nassau Avenue www.missionbklyn.org
• Scholes Street Studio 375 Lorimer Street
(718-964-8763) Subway: L to Lorimer Street; G to Broadway
www.scholesstreetstudio.com
• Settepani 196 Lenox Avenue at 120th Street
(917-492-4806) Subway: 2, 3 to 116th Street www.settepani.com
• ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
• Sir D’s 837 Union Street, Brooklyn
(718-789-2762) Subway: M, R to Union Street
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com
• Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• The Sound Bite 737 9th Avenue
(917-409-5868) Subway: C, E to 50th Street
www.thesoundbiterestaurant.com
• Spectrum 70 Flushing Avenue
Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com
• Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
• The Stone at The New School 55 West 13th Street
(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com
• SubCulture 45 Bleecker Street
• Sutton Place Park South Sutton Place and East 57th Street
Subway: N, R, W to Lexington Avenue/59th Street
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Symphony Space Bar Thalia, Leonard Nimoy Thalia,
Peter Jay Sharpe Theatre 2537 Broadway at 95th Street
(212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
• The Theater Center 1627 Broadway
(212-921-7862) Subway: C, E to 50th Street www.thetheatercenter.com
• Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Town Hall 123 W. 43rd Street
(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.thetownhall.org
• Triad Theater 158 W. 72nd Street, 2nd floor
(212-362-2590) Subway: 1, 2, 3 to 72nd Street www.triadnyc.com
• Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org
• Troost 1011 Manhattan Avenue
(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
• Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
• Turtle Bay Music School 244 East 52nd Street
Subway: 6 to 51st Street
• Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue
(212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org
• Westbeth Artists Complex 155 Bank Street
(212-691-1500) Subway: 1, 2, 3 to 14th Street
• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
• Winter Garden Battery Park City
Subway: E to World Trade Center www.worldfinancialcenter.com
• Wonders of Nature 131 Grand Street
Subway: L to Bedford Avenue www.wondersofnaturebk.com
• Zankel Hall 881 Seventh Avenue at 57th Street
(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org
• Zinc Bar 82 W. 3rd Street
(212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street
www.zincbar.com
49
(INTERVIEW CONTINUED FROM PAGE 6)
TNYCJR: Please tell us more about Seed Artists?
PA: Seed Artists is a small non-profit that thinks big.
We got our first grant from the Elisabeth Irwin High
School to take students to sing at hospice centers and
community gardens. Now we are a catalyst for service
to our community by promoting daring music, youth
literacy and community arts for all ages. Chris
Napierala, our Creative Director, has worked very
hard in the last few years to bring great music to
Montclair. We even have jazz listening night in the
Montclair Public library hosted by professor Peter
Bodge, who prompts discussions with several swanky
seniors. Our library concerts have been great outreach
for bringing people together. The list is long, but Sheila
Jordan, Richard Davis, Cyro Baptista, Oscar Noriega
and several great artists have enriched our community.
We had brilliant book talks with authors David
Greenstein and William Parker at the New York
Buddhist Church. We have contributed to Community
Real Talk with ex-offenders, the police department and
community groups. We are best known though for the
Eric Dolphy Freedom of Sound Celebration, in which
we featured over 40 musicians to commemorate the
50th anniversary [2014] of his untimely passing. The
symposium included Eric Dolphy’s friends Richard
Davis, Gunther Schuller and Grachan Moncur III and
younger scholars James Newton, John Szwed and
Michael Veal. We performed his known and unheard
compositions, later to be inducted into the Library of
Congress. Since then we have partnered with William
Paterson University, The National Jazz Museum of
Harlem, The Jazz Foundation of America and the
73 See Gallery in Montclair. On May 11th we will
surprise middle school children during class time with
a concert by pianist Angelica Sanchez. On Jul. 7th, we
will co-present Randy Weston African Rhythms quartet
with the Jamaica Center for Arts and Learning in
Queens. This summer we will have concerts at the
Montclair Public Library and the first weekend of
October we will have our first Millennium of Percussion
Sound Celebration festival in Montclair. We intend for
you to get involved with a wide range of music for
body and soul regeneration.
TNYCJR: So it’s not all jazz.
PA: It’s almost never jazz to me, or I should say not
jazz only. One of the distinctions I like to make is jazz
the music and jazz the culture. One of the reasons I got
involved with music was because of jazz the cultural
ethos, which may be found in several areas of life, as
well as a music we butcher words to describe. Its
impact upon the world has represented the greatest
absolving music of an era of cruelty. Not only have we
educated, or mis-educated, a generation to emphasize
virtuosity but we’ve also mis-educated the public to
think that this interaction of performance and applause
is something that is going to benefit both parties. Jazz
the music inspired a cumbersome educated virtuosity.
Jazz the culture inspired social activism. The matrix
that these two areas should be used to comprise do not
work so much in tandem today. There is an applause
button on one and a pause button on the other.
TNYCJR: What were you saying about virtuosity?
PA: In some cases we’re mis-educating jazz players to
think that to be a virtuoso on their instrument is the
key part of their development. But virtuosity alone
cannot help us explore the tender, the frail or the
process of selflessness leading to the majestic. Think
Chick Webb, George Russell or the accompaniment
range of Freddie Waits or Paul Motian. Perhaps some
great ones were looking for something that went
beyond the physical experience and in so doing they
50 MAY 2018 | THE NEW YORK CITY JAZZ RECORD
ended up sounding in a way that would astound us.
I’d love to hear an interview with Art Tatum just to
know what he was trying to make happen beyond
demonstrating how hard he worked to expand the
many embellishments with overwhelming facility.
Drumming has always represented an exploration into
a stratified environment generated by memory and
shaping ideas until they deserve to be reconstituted or
abandoned. Trance is also important, which is different
than just using one or two of these elements. The
beating oneself into a frenzy like at a disco era of the
‘80s is now seeping its way into jazz and so it makes
me a little sensitive as to just how I want to hear the
percussion world. Some reverie brings on the worst
and some brings out the best. It’s part of what makes
percussion so powerful.
TNYCJR: A recent academic publication in the
discourse on jazz education compares what they call
“street level education” with current curricula and
argues, I believe, that jazz education programs are
missing the “street level” part.
PA: “Street” sort of reduces that side of the equation to
how we think of something in contrast to university
settings. “Street” can imply a lot of things. In the last
few decades “street” is a code word for having a nose
for skullduggery, emphasized by a colloquial
vocabulary tone. But to actually learn by assembling
parts of the nuggets of wisdom acquired from as many
beacons as you can meet...that’s a good street. The best
of black music for me is not empty riffing or overstating
the forlorn. I like the simplicity of absorbing the most
from least. There’s a famous song that Totó La
Momposina of Colombia sings called “Dolores has a
piano”. The whole song is about Dolores having a
piano and therefore having a massive influence on
their quaint society. It’s a visual example of African
diaspora adaptation at the turn of the 19th century.
Some stuff doesn’t come up in jazz education. What’s
important in all this is remembering the connection to
the music that has healed communities, not to just be
one who toots their horn! I’ve been fortunate enough
to be associated with huge mentors and made music
with people who have advanced a lot of good things:
Andrew Hill, Sonny Sharrock, Amiri Baraka, Cecil
Taylor and many ancestors who commandeered life
with a great amount of depth and perseverance. My
situation is unique and I appreciate the amount of
inner strength that I developed from working with
many important trailblazers. Reggie Workman got me
my first jam session gig in Harlem and, 20 years after
that, a seminal record with Mal Waldron titled My Dear
Family. Geri Allen helped me score parts from my
crude etchings for my first ensemble CD, Sonogram.
John Szwed produced several concerts for our Double
Duo band [Rashied Ali, Ravi Coltrane, Mixashawn] at
Columbia University. I’m still learning so much from
our rich musical environment. v
For more information, visit pheeroanaklaff.com. akLaff is at
The Stone at The New School May 4th, solo at Issue Project
Room May 5th and Rubin Museum May 18th as part of Jog
Blues. See Calendar.
Recommended Listening:
• (Wadada) Leo Smith New Dalta Ahkri—
Kanto Pri Homaro (Song of Humanity)
(Kabell, 1976)
• Oliver Lake Quartet—Clevont Fitzhubert (A Good
Friend of Mine) (Black Saint, 1981)
• Air (Henry Threadgill/Fred Hopkins/
Pheeroan akLaff)- New Air: Live at Montreal Jazz
Festival (Black Saint, 1983)
• Pheeroan akLaff—Sonogram (MUWORKS, 1989)
• Yosuke Yamashita—Ways of Time (Verve, 1994)
• Wadada Leo Smith Golden Quintet—
America’s National Parks (Cuneiform, 2016)
(LABEL CONTINUED FROM PAGE 11)
Bill and Donald. In 1996, I was recording Donald for
the album Enchanté!, with Steve Nelson, Bill Easley,
Essiet Essiet, Billy Higgins and the French trumpeter
Stéphane Belmondo. I always try to understand what
the musicians are doing and suggest tunes and special
guests to make combinations. When we did the
recording of Bill Mobley with Mulgrew Miller
[Moodscape, 2007, a quartet session completed by
Robert Hurst], I think that Eric Harland was not Bill’s
first choice, but I like having someone of another
generation bringing something different.
The same way we did Donald’s Born To Be Blue,
I invited two young drummers, one of his sons,
Kenneth, and Marcus Gilmore, which brings something
different to the vibe. People like Donald or Bill have an
open mind. That’s how I see the role of the producer, to
suggest or bring something a little different. I don’t
have to explain to them what to do. I worked two times
with Buddy Montgomery. I recorded several CDs but
only released one [Buddy Montgomery All Star Group,
A Love Affair In Paris, 2000] because Buddy was a little
sick, but the music was extraordinary. I wish I could
find some time with Lenny White and Donald, I know
exactly what to do to put it out. The tunes Buddy wrote
and the way he organized the music, he was a master.”
When asked about issuing historical recordings,
Felgeyrolles explained, “I’m open to do it. I have a
recording of Illinois Jacquet with George Duvivier and
Hank Jones, but Black & Blue has already done
something similar [Blues from N.O. (Live)]. I have an
unreleased project by Donald Brown and an
unreleased concert of James Williams with Billy Pierce,
Mickey Roker and Peter Washington. I need to talk
with Cedar Walton’s widow. I have a concert with his
trio plus Wallace Roney and Vincent Herring. When
I try to issue this type of recording, the main thing is to
pay the expenses. If people will buy them, it’s okay
with me.”
Space Time artists are generous in their assessment
of Felgeyrolles’ contributions. Mobley remarked,
“It has been great working with Xavier over so many
years and getting his feedback and input regarding my
projects. I feel very thankful he has given people like
me, Jean Toussaint, Donald Brown and others like
Essiet Essiet and Keith Brown the opportunity to
record and get our music out there. Being connected
with the great Donald Brown gave me the introduction
to Xavier Felgeyrolles. I only regret that Xavier is so far
away in France and cannot work his magic so easily
here in the States to hook up all his great artists with
more work in the States.”
Brown is no less enthusiastic with his praise:
“We met when my album Early Bird was out and Xavier
contacted Sunnyside Records to book me for his
festival. He became my number one fan. I consider him
to be one of my closest friends. He has been invaluable
to my life on so many levels. That’s carried on to my
kids; he has recorded them. He makes sure my records
are played around the world and doesn’t let me fall by
the wayside. When I had health issues, he was working
with me to record. He has had great ideas and provided
direction. He wanted me to reinvent myself as well,
suggesting a duo record. Everyone in my household
knows him and loves him to death. He has been a
driving force.” v
For more information, visit spacetimerecords.com. Artists
performing this month include Kenny Barron at Jazz
Standard May 1st-6th; Essiet Essiet at Smoke May
11th-13th with Eddie Henderson, The 75 Club at Bogardus
Mansion May 18th-19th with Steve Williams and James
Weidman and Zinc Bar May 21st and 28th, the latter with
Strings Attached; Eric Harland at The Jazz Gallery May
18th-19th; Ali Jackson at Rose Theater May 18th-19th with
the Jazz at Lincoln Center Orchestra; and Harold Mabern at
Fat Cat May 9th and Smalls May 16th. See Calendar.
(CREATE CONTINUED FROM PAGE 13)
water under the human skin. The band, Jonathon
Haffner (alto saxophone), John Lindberg (bass) and
Barker once more, was the most traditional free-style
group of the festival, with nice moments by Lindberg
using a wide range of techniques, including bowing,
plucking and strumming. Barker’s churning solo in the
middle of the piece evolved over the whole of his kit.
Sunday night featured “JFK in Dallas, Parkland”,
dedicated to fallen leaders Martin Luther King, Jr. and
the Kennedy Brothers. This was a wild group with
Brandon Ross (guitar), Melvin Gibbs (electric bass) and
J.T. Lewis (drums), reminiscent of the later periods of
Miles Davis and Ornette Coleman. Gibbs added ripping
electronic fuzz box and Moog sounds, recalling his
work with drummer Ronald Shannon Jackson, over
reverb-drenched guitar sounds while Smith showed off
his amazing technique. Definitely high-energy stuff.
The fifth group reunited Smith’s Golden Quintet,
this time with longtime collaborator Anthony Davis
(piano), Ashley Walters (cello), Lindberg and Pheeroan
akLaff (drums). They performed Smith’s “Peace, Love
and Liberty: Compassion and Respect for a Tolerant
World”. Smith used piano, bowed bass and cello as
a trio grouping, adding classical elements along with
Davis’ freeish approach. Walters improvised with
bowed harmonics and long tones and Lindberg took an
extended and imaginative solo. This group has a long
history and it showed in its ensemble tightness.
Smith is a talker and gave the audience detailed
descriptions of the pieces, including what inspired
them. The introductions went a long way to help the
sold-out crowd grasp the challenging music. v
For more information, visit wadadaleosmith.com/create-festival
(VOSSA CONTINUED FROM PAGE 13)
trumpeter Eivind Lønning, vocalist/guitarist Nils
Olav Johansen, vibraphonist Mattias Ståhl and
drummer Jon Fält. While this exhilarating group
performed, the audience listened rapt, as if watching
a balloon disappear into the sky.
In keeping with Storheim’s vision, this year the
festival added to its list of commissioned works. Four
artists or groups received backing for their festival
premieres: Finnish drummer Olavi Louhivuori for his
impressionistic “The Net of Indra”; folk multi-
instrumentalist Anders Roine and the avant garde
13-piece band Skadedyr for the environmentally aware
“Mutationes Tempestas”; folk-jazz quintet Hildo, for a
lilting homage to the Voss Church; and
HP Gunderson and The Last Hurrah, a U.S.-Norwegian
band fronted by singer Maesa Pullman, for the blues-
soaked piece “Los Angeles”.
The smaller venues offered more subdued contexts
for the audiences to experience the festival’s offerings.
The Osasalen, a small auditorium in the music school
Ole Bull Akadamiet, transformed into a cozy, lamp-lit
salon for the trio 1982; in the soothing atmosphere of
the room violinist Nils Økland’s controlled, delicate
bowing, organist Sigbjørn Apeland’s deeply felt
harmonies and percussionist Øyvind Skarbø’s
rhythmic abstractions evolved into a transcendent
meditation. In Vangskyrkja, the 13th century church in
the center of town, vocal duo Kira Skov and Maria
Faust sang from their 2017 Stunt album In The
Beginning, a musical summoning of the sacred and the
folkloric, backed by a traditional choir and a modern
horn section. In Gamlekinoen, a converted movie
theater, singer/violinist Sigrid Moldestad offered
moving renditions of the traditional Norwegian folk
music that has earned her three Spellemannprisen.
And in Finnesloftet, one of Norway’s oldest non-
religious buildings, Danish drummer Kresten Osgood
explored the outer edges of percussive sound.
Also in Gamlekinoen, irrepressible British multi-
instrumentalist Django Bates teamed up with the
Bergen Big Band, now in its 26th year, to revisit his
previous work with the innovative swing orchestra
Loose Tubes, an ‘80s jazz phenomenon in Great Britain.
Along with Loose Tubes drummer Martin France and
flutist Eddie Palmer, Bates recreated his tune “Yellow
Hill,” a bright, horn-focused composition and one of
the biggest hits from the orchestra’s eponymous first
album in 1985. On the final tune of the set, Bates had
the horn section exit through the audience, riffing
through a free improvisation—a thrilling close to the
Gamlekinoen lineup on the festival’s final day.
Almost all of the performers at Vossa Jazz 2018
hailed from Scandinavia or, like Bates and Pullman,
participated in creative collaborations with
Scandinavian musicians. The exceptions to this rule
provided a smattering of contrast: American avant
garde guitarist Mary Halvorson led her ensemble Code
Girl in a blazing set behind avant garde singer Amirtha
Kidambi and South Korean singer Youn Sun Nah
showed off her wide-ranging vocal skills in an eclectic
repertoire of revamped pop/rock tunes, French
chanson and contemporary jazz.
During the Easter season, the usual time of the
Vossa Jazz Festival, the town of Vossevangen still lies
wrapped in a wintry Nordic beauty. The festival
venues, though, ring with a Nordic beauty of a different
sort—one of artistic connection, musical exploration,
and cultural celebration. Equally dazzling. v
For more information, visit vossajazz.no

Mario Pavone

Dialect trio
Mario Pavone
Bass / Compositions

Matt Mitchell
Piano

Tyshawn Sorey
Drums

may 11 Cornelia Street , NYC

may 12 Lily Pad - Cambridge , MA
may 18 Firehouse 12 - New Haven , CT

mariopavone.com

THE NEW YORK CITY JAZZ RECORD | MAY 2018 51

 Monday, May 21

Vision Films
u n i t y at Anthology Film Archives
32 Second Avenue, NYC

DAVE BURRELL
m
7:00 Dave Burrell: Echo / Cecil Taylor
a Paris – Les Grandes Répétitions
9:00 Sunny’s Time Now: A Portrait of
m
Jazz Drummer Sunny Murray
o

Wednesday May 23 | DAVE BURRELL

c

CELEBRATING A LIFETIME OF ACHIEVEMENT

6:30 Invocation
7:00 Harlem Renaissance Sextet
8:00 Archie Shepp Quartet ft. Dave Burrell
n

9:00 Djassi DaCosta Johnson / Shayna Dulberger

o

bou
9:30 Dave Burrell Quintet

Thursday May 24
May 23 - 28, 2018
t i

5pm PANEL: Creating Safe(r) Spaces in the Performing Arts

Roulette
a

hosted by The #WeHaveVoice Collective

7:00 Mary Halvorson’s Code Girl
n
s

8:00 Whit Dickey Trio

509 Atlantic Ave, Brooklyn
d
i

les 9:00 Women with an Axe to Grind

o v 10:00 SPACE: Tom Buckner, Roscoe Mitchell, Scott Robinson

pr s im Friday May 25
7:00 Irreversible Entanglements
8:00 Douglas Dunn + Dancers w/ Critical Response Trio
8:45 Nasheet Waits Equality
9:30 Seraphic Light:
10:30 Matthew Shipp Acoustic Ensemble

Saturday May 26
6:00 Visionary Youth Orchestra
7:00 Fay Victor’s Mutations for Justice
8:00 Afro-Algonquin 2018
9:00 Patricia Spears Jones / Jason Kao Hwang
9:30 Ambrose Akinmusire / Kris Davis / Tyshawn Sorey
10:30 AfroHORN Fellow

Sunday May 27
3pm PANEL: The Ongoing Struggle for Cultural Equity in New
York City Music Communities Pt. 1
6:30 Frode Gjerstad Trio
7:30 Gerald Cleaver / Brandon Lopez / Chris Potter
David Virelles
8:30 Arthur Jafa
9:30 By Any Means
10:30 Craig Harris’ Brown Butterfly

Monday May 28
3pm PANEL: The Ongoing Struggle for Cultural Equity in New
York City Music Communities Pt. 2
6:00 Jaimie Branch’s Fly or Die
7:00 Cooper-Moore
8:00 Julie Ezelle Patton
8:30 Jemeel Moondoc’s New World Pygmies
9:30 Oliver Lake Big Band
Presenting visual art by Julie Ezelle Patton, Arthur Jafa,
Oliver Lake, Katy Martin, Bill Mazza, Jorgo Schafer,
Jeff Schlanger, Marilyn Sontag, Kim Winkler,
Jo Wood Brown & Miriam Parker.

www.artsforart.org/vf23
info@artsforart.org