lester bowie - The New York City Jazz Record

Jun 2, 2016 - CafÃ© (May 12th) with a bright, busy, freely improvised and untitled ..... modernist piano trio Dawn of Mi

JUNE 2016—ISSUE 170

YOUR FREE GUIDE TO THE NYC JAZZ SCENE

NYCJAZZRECORD.COM

LESTER BOWIE brass memories

REZ ABBASI

MIKE REED

BOBBY PREVITE

CHICO O’FARRILL

Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 Laurence Donohue-Greene: [emailprotected] Andrey Henkin: [emailprotected] General Inquiries: [emailprotected] Advertising: [emailprotected] Calendar: [emailprotected] VOXNews: [emailprotected] US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above or email [emailprotected]

Staff Writers David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Contributing Writers Tyran Grillo, George Kanzler, Matthew Kassel, Mark Keresman, Eric Wendell, Scott Yanow Contributing Photographers George Council, Enid Farber, Scott Friedlander, Radosław Kaźmierczak, Alan Nahigian, Susan O’Connor, R.I. Sutherland-Cohen, Jack Vartoogian Fact-checker Nate Dorward

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JUNE 2016—ISSUE 170 New York@Night Interview : Rez Abbasi Artist Feature : Mike Reed On The Cover : Lester Bowie Encore : Bobby Previte Lest We Forget : Chico O’Farrill LAbel Spotlight : El Negocito VOXNEWS In Memoriam Festival Report CD Reviews Miscellany Event Calendar

4 6 7 8 10 10 11 11 12 13 14 41 42

by ken micallef by ken waxman by kurt gottschalk by john pietaro by ken dryden by ken waxman by suzanne lorge by andrey henkin

Jazz is a magical word. While acknowledging its complex history, in 2016 it is synonymous with freedom. When you hear the word spoken it opens doors rather than closes them. There should be a thousand definitions of the word, as different as the people who play it. This month’s features embody that freedom. Late trumpeter Lester Bowie (On The Cover) balanced entertainment and art like few could. His long-running Brass Fantasy is celebrated at Tribeca Performing Arts Center with a number of original participants. Guitarist Rez Abbasi (Interview) upends notions about his instrument as well clichés like fusion. His new Cuneiform album gets release concerts at Greenwich House Music School and Red Hook Jazz Festival. Drummer Mike Reed (Artist Feature) has brought together generations and styles and built foundation in his adopted home of Chicago. He makes a rare-ish NYC appearance as part of Vision Festival. Drummer Bobby Previte (Encore) splits his time between Manhattan and Upstate yet hasn’t lost his urban groove. He leads a band at Red Hook Jazz Festival and is at Cornelia Street Café with Jane Ira Bloom. And Chico O’Farrill (Lest We Forget) helped change the entire trajectory of jazz by blending it with the music of his native Cuba. “Liberté, Égalité, Fraternité” is the motto of France. It could be a jazz slogan too... On The Cover: Lester Bowie (photo by Alan Nahigian) All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

JUNE 2016

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

SCOFIELD /MEHLDAU / GIULIANA

ROSA PASSOS

CHRISTIAN MCBRIDE QUARTET

JUNE 9 - 12

ROBERT GLASPER

JOSHUA REDMAN 4TET

JUNE 21 - 26

JUNE 28 - JULY 3

TRIO; W/ JASON MORAN; W/ TAYLOR MCFERRIN & MORE

JUNE 14 - 19

JUNE 1 - 30, 2016 • NEW YORK

ARTURO SANDOVAL

JUNE 6 - 8

MAY 31 - JUNE 5

JAZZ FESTIVAL

W/ AARON GOLDBERG, LARRY GRENADIER, GREG HUTCHINSON

TALIB KWELI WITH LIVE BAND + SPECIAL GUESTS JUNE 13 • REBIRTH BRASS BAND JUNE 20 INDELIBLE: SONIA SANCHEZ & GARY BARTZ PRODUCED BY JILL NEWMAN PROD JUNE 25 • AN EVENING WITH THE NIGEL HALL BAND JUNE 27 SUNDAY BRUNCH -

ll:30AM & l:30PM, $35 INCLUDES BRUNCH MUSIC AND DRINK

GILAD HEKSELMAN TRIO JUNE 5 • EMILIO SOLLA TANGO-JAZZ QUARTET JUNE 12 • JOE ALTERMAN TRIO JUNE 19 • GREGOIRE MARET & KEVIN HAYS DUO JUNE 26

LATE NIGHT GROOVE SERIES -

l2:30AM

AL STRONG JUNE 3 • ALEXIS HIGHTOWER JUNE 4 • XSPIRITMENTAL PRESENTS SPIRITCHILD JUNE 10 • RABBI DARKSIDE JUNE 11 • KILLIAM SHAKESPEARE JUNE 17 SOUL INSCRIBED JUNE 18 • BEN WILLIAMS & SOUND EFFECT JUNE 24 • TBA JUNE 25

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JSnycjr0616

5/17/16

12:54 PM

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TERMS, CONDITIONS AND RESTRICTIONS APPLY

Page 1

TUE JUNE 21

JAZZTOPAD FESTIVAL PRESENTS:

“TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY” [2015] -NEW YORK MAGAZINE WED JUNE 1

LUIS PERDOMO MIMI JONES - RUDY ROYSTON

& CONTROLLING EAR UNIT

THU-SUN JUNE 2-5

AZAR LAWRENCE QUARTET

DEE DEE BRIDGEWATER

THEO CROKER ANTHONY WARE MICHAEL KING ERIC WHEELER KASSA OVERALL

TUE JUNE 14

DARCY JAMES argue’s

JAMISON ROSS

CHRIS PATTISHALL BARRY STEPHENSON - RICK LOLLAR

FRI-SUN JUNE 24-26

CLAYTON BROTHERS QUINTET LONNIE SMITH TRIO LONNIE SMITH’S TUE-THU JUNE 28-30

DR.

JONATHAN KREISBERG - JOHNATHAN BLAKE FRI-SUN JULY 1-3

“evolution”

JONATHAN KREISBERG - ALICIA OLATUJA - MAURICE BROWN JOHN ELLIS - JOHNATHAN BLAKE - JOE DYSON

SECRET SOCIETY

WED-SUN JUNE 15-19

VIJAY IYER TRIO

WED-THU JUNE 22-23

JEFF CLAYTON - JOHN CLAYTON GERALD CLAYTON TERELL STAFFORD - KENDRICK SCOTT

BENITO GONZALEZ BUSTER WILLIAMS MARVIN “SMITTY” SMITH

TUE-SUN JUNE 7-12

OBARA INTERNATIONAL OLE MORTEN VAGAN QUARTET DOMINIK WANIAGARD-NILSSEN

HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH

STEPHAN CRUMP MARCUS GILMORE

MON JUNE 6, 13, 20 & 27

MINGUS BIG BAND

NEW YORK @ NIGHT As

Trio 3 closed the first set of their final night at Village Vanguard (May 1st), celebrating 25 years together, saxophonist Oliver Lake recited a poem centered on the phrase “Separation—put all my food on the same plate” and declared the uniting factors among different strands of Black music. In cadences recalling St. Louis poet Ajulé Rutlin, with whom he once collaborated, the alto saxophonist outlined what were essentially the precepts behind the trio and its longevity. Lake is a very different player from bassist Reggie Workman and drummer Andrew Cyrille—the three performed lengthy unaccompanied soli that preceded “Separation”—alternating between Parkeriana and ebullient, grotesque trills, which led into Workman expounding on a balladic form with quavering arco and harp-like pizzicato glisses and the drummer exploring a tightly-wound thesis on the linkages between bebop drumming and Central or West African drum choirs. When Lake relocated eastward in 1973, he brought a spaciousness that was rare in New York’s bustling avant garde and his lines still unfold with a gentle logic belying their spiky, fibrous centers. Across six pieces, including renditions of clarinetist John Carter ’s “Encounter” and pianist Adegoke Steve Colson’s “Leaving East of Java”, Trio 3 made a distinct case for their brand of ‘supergroup’ as a unity of complementary approaches standing decidedly sure on their own, but that look and taste wonderful occupying a single dish. —Clifford Allen

George Council/PoeticElegancePhotography.com

Circumstances required that the Craig Taborn Quartet spend all day working on a new album for ECM before rushing over to The Jazz Gallery to finish a two-night run (May 5th). The band members—pianist/ keyboardist Taborn, tenor saxophonist/clarinetist Chris Speed, bassist Chris Lightcap and drummer Dave King—may have been tired but it didn’t show in the vibrant, rhythmically entrancing music that flowed from the bandstand. The first untitled pieces were full of mystery and sonic abstraction. Taborn began by coaxing ominous sounds from a small Vox organ before switching over to acoustic piano. Similarly, Lightcap alternated between upright and electric bass, pizzicato and arco, as the music evolved through loping legato unisons, raw freely improvised passages, intricate ensemble work and pulsating grooves somewhat reminiscent of Taborn’s Junk Magic project (also with King on drums). Roscoe Mitchell’s “Jamaican Farewell”, a ballad that Taborn once played on the AACM icon’s Nine to Get Ready, served as a melodic oasis of sorts, with Speed taking up clarinet to offer lyrical expressions and powerful, cleanly executed high-register tones. Taborn closed the brief but explosive set with the originals “New Glory” and “Ancient”, pieces that bore yet more fruit in terms of beat logic and momentum. Cycling a hypnotic line on electric bass, Lightcap let it gather steam and then slyly dropped an octave, setting King off to burrow deeper in search of timbral oddity. —David R. Adler

Craig Taborn @ The Jazz Gallery

Trio 3 @ Village Vanguard

Reconvening the quintet personnel from his superb 2012 Clean Feed release Spun Tree (with pianist Jacob Sacks subbing for Matt Mitchell), alto saxophonist Michaël Attias dove into his first set at Cornelia Street Café (May 12th) with a bright, busy, freely improvised and untitled opener. The band began together at close to full intensity, though drummer Tom Rainey’s deliberate brushwork cooled the music out, allowing subtleties in the interplay between Attias and trumpeter Ralph Alessi to speak. Bassist Sean Conly brought a full-bodied pizzicato touch to shifting lines and patterns, which served as essential transition points in all of this music. “Scribble Job Yin Yang” brought the tempo down, as a stuttering, dissonant theme emerged and the instrumental voices crisscrossed at a measured pace, with Sacks playing only single notes. The pianist introduced “Moonmouth” with a beautiful abstract rubato statement, cueing the band in with an elegant arpeggiated pattern. The carefully wrought dynamics and lyrical unisons of this piece contrasted with the funky, far more aggressive vibe of “Hexway Liner” (a “bloodbath”, as Attias termed it when it ended). The leaping-interval lines, compelling solos and vamped tag ending, preceded by Rainey’s wildest drum fills, yielded to “Goodbye Rumination” with its spacious rubato atmosphere, followed by the closing romp “Many Skins”. These were short, focused tunes that still offered collective improvisational freedom and not a few individual tours de force as well. (DA)

After Charlie Parker ’s death in 1955, the collection of Bird Feathers felt massive and separating rare plumage from pigeon chaff was a challenge. Phil Woods (19312015) crafted his own unique approach, hinging on crisp, bitter runs and charged fireworks. At Jazz at Kitano (May 6th), his life was celebrated by longtime collaborators drummer Bill Goodwin and bassist Steve Gilmore, pianist James Weidman (subbing for an ailing Don Friedman) and alto saxophonist Grace Kelly, a Woods protégé. The set consisted of standards, bebop tunes and one Kelly original, “Man with the Hat” (she inherited one of Woods’ trademark leather caps). Certainly a player with visual presence, Kelly’s tone is both warm and brittle and her phraseology includes quizzical left turns, emphatic leaps and honks and a clean meander. Coupled with Weidman’s inventive, chunky clamber and contrasting push-pull between bassist and drummer, the music was consistently inspired and Kelly gave quite a bit of space for the rhythm section to forge individual and collective paths. Goodwin’s brash economy certainly was part of the push, but Gilmore’s meticulous explorations provided an elegant carpet. “Smile”, associated with Charlie Chaplin, was a vocal number onto which Kelly grafted a few different deliveries, although the most convincing voice remained that of her horn. The quartet closed with a spry, rare take of Bud Powell’s “Webb City”, leaping and pirouetting in a convincing nod to the historical present of modern jazz. (CA)

4 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

J oe Lovano celebrated The Spiritual Side of John Coltrane at The Appel Room in a program starting and ending with divinely inspired selections by the iconic late saxophonist. Fronting an allstar septet featuring guest Ravi Coltrane, the group fittingly opened its May 14th early set with a terse reading of “Welcome”. It began with Geri Allen’s rumbling piano and Reggie Workman’s bowed bass, joined by Andrew Cyrille’s bright cymbals and Brian Blade’s malleted toms, introducing the inspirational song before Lovano and Coltrane entered blowing the classic melody, their distinctive sounds coalescing in ecstatic harmony colored by Tom Harrell’s flugelhorn. The two tenors took flight on “Spiritual”, with Lovano’s airy tone punctuated by signature hoarse cries while Coltrane let loose with blistering “sheets of sound” echoing his honored father. In between Harrell soloed with boppish flair, as he did on the smoothly swinging “Lazy Bird”, along with the two saxophonists, who improvised with lyrical aplomb. The mood calmed for “Central Park West”, with Lovano’s mellow toned straight alto saxophone out front, then got bluesy on “Mr. Day”, featuring Coltrane on sopranino saxophone. The spiritual mode returned with “Swamini” (Allen’s solo homage to Alice Coltrane), “Configuration/Jimmy’s Mode” (a forum for wildly conversing tenors and Workman’s virtuoso bass) and passages from A Love Supreme (played with joyous swing). The set ended prayerfully with “Song of Praise”. —Russ Musto

was, as curator Joel Harrison observed in closing, “an embarrassment of riches”, referring to the eight other guitarists heard during the Alternative Guitar Summit at Drom (May 11th). Each act covered compositions by Joni Mitchell and/or Carla Bley, making for a less pyrotechnical, more song-centered concert. Mike Baggetta began with a crackly, whining medley of “Case of You” and “Ictus”, floating uncanny sounds over incessant electronic hum. Sheryl Bailey, paired with bassist Harvie S, demonstrated her crystalline acoustic tone on “Hissing of Summer Lawns” and “Sad Song”. Wolfgang Muthspiel fingerpicked sensitive renditions of “Amelia” and “Floater”, layering flatpicked solos over looping chords. Harrison’s trio enlisted Muthspiel for “Vox Humana”, vocalist Everett Bradley for “Borderline”, then did “The Jungle Line”, featuring bassist Jerome Harris’ vocals and drummer Allison Miller’s funky bare-handed beats. Steve Cardenas, Miller and bassist Ben Allison played one of the event’s shortest but most satisfying sets, a mash-up of “Yvette in English” and “King Korn”. Nels Cline and Julian Lage achieved equally intimate repartee on “Temporarily” and “A Fiddle and Drum”, followed by Ben Monder’s rumbling sonic earthquakes under Jo Lawry’s vocals to Mitchell’s “Sunny Sunday” and a second version of “Lawns”. Trumpeter Dave Douglas’ trio with Camila Meza and Heather Masse preceded the finale: a seven-guitar romp over “Ida Lupino” and “The Circle Game”. —Tom Greenland

W H AT ’ S N E W S 2016 Doris Duke Award winners have been named. Recipients in the jazz category are Dave Douglas, Fred Hersch, Wayne Horvitz, Jason Moran, Matana Roberts, Jen Shyu, Wadada Leo Smith and Henry Threadgill. For more information, visit ddpaa.org. In related news, the Doris Duke Charitable Foundation also announced recipients of its new Leadership Grants Program, five organizations receiving grants totalling $1 million: City Parks Foundation of the Charlie Parker Jazz Festival ($75,000); Detroit Jazz Festival Foundation ($200,000); Jazz Institute of Chicago of the Chicago Jazz Festival ($225,000); Monterey Jazz Festival ($400,000); Newport Festivals Foundation ($100,000). For more information, visit ddcf.org. Pianist Robert Glasper and author Ashley Kahn will present a class on Miles Davis this fall at New York University’s Clive Davis Institute of Recorded Music. For more information, visit tisch.nyu.edu. Mack Avenue Records has acquired the MAXJAZZ imprint, home of Carla Cook, Nancy King, the late Mulgrew Miller, René Marie and Geoffrey Keezer. For more information, visit mackavenue.com. ASCAP (American Society of Composers, Authors and Publishers) has established an award in honor of the late composer Fred Ho (1957-2014), which will be presented annually to innovative emerging composers. For more information, visit ascap.com/eventsawards/ awards/foundation/awards/fred-ho.aspx. Bobby McFerrin will lead a week-long workshop, Aug. 19th-26th, on the improvisational singing technique Circlesongs. The workshop will take place in Rhinebeck, NY and feature a faculty of David Worm, Judi Donaghy Vinar, Rhiannon, Christiane Karam, Karen Goldfeder and Joey Blake. For more information, visit eomega.org/workshops/ circlesongs-0#-workshop-video-block. The 14th annual International Junior Jazz Meeting will take place Jul. 26th-30th in Emmental, Switzerland as part of the 26th Langnau Jazz Nights. The meeting is an “opportunity for young aspiring artists to meet fellow musicians as well as internationally acclaimed stars in a great musical gathering.” Applicants must be under 25 years old. For more information, visit jazz-nights.ch/en/workshops/junior-jazz-workshop.

Woodlawn Cemetery will offer jazz trolley tours to visit the graves of Duke Ellington, Miles Davis, WC Handy, Coleman Hawkins and others Jun. 5th and 26th, Jul. 24th, Aug. 7th and Sep. 4th. Tours begin at 1 pm and are $15. For more information, visit woodlawnconservancy.org.

photo by scott friedlander

Alvin Reed, Sr. has won his trademark litigation in the case of ownership of the name/mark Lenox Lounge, previously used for the club of the same name in Harlem. The decision allows Reed to use the name for another club or other licensing arrangements.

New England Conservatory’s 2016 Honorary Degree recipients were in attendance at last month’s commencement ceremonies. Relevant winners are Anthony Braxton and Bernie Worrell. For more information, visit necmusic.edu.

Mike Baggetta @ Drom

Joe Lovano & Ravi Coltrane @ The Appel Room

Although he now makes his home in New York (after Hurricane Katrina destroyed his house), blind pianist Henry Butler hasn’t lost his Crescent City accent, which was readily audible to Dizzy’s Club patrons (May 2nd). After a live radio interview with WBGO’s Rhonda Hamilton, he began the early set with 1927’s “Ain’t She Sweet”, his left leg stomping time, his big hands rolling chords to a propulsive stride bass while the Fifth Avenue skyline, visible through the club’s panoramic picture windows, rose over Central Park’s trees in the late-late afternoon. “September Song” was delivered in a similarly New Orleans-drenched dialect, followed by “Samba C”, which featured lightning-fast flourishes over a relaxed but propulsive montuno, the two hands in a seemingly equal partnership. After “The Blues”, from a suite by Alvin Batiste, Butler gave The Beatles’ “Eleanor Rigby” a complete facelift, the new rhythms and harmonies giving a fresh look to an old familiar friend. The next three numbers, “L’Esprit de James”, “Booker Time” and “Mardi Gras in New Orleans”, homages to James Booker and Professor Longhair, respectively, all evoked the zesty flavors of jazz’ ‘hometown’, a spicy roux of gospel, blues, rumba and boogie, played in that laid-back Southern rhythmic style that gives a groove its deepest funk. As the magic hour advanced into darkness, the Fifth Avenue apartment lights winking on behind him, Butler ended his extended soliloquy with two free-form blues sung in a harsh but redolent tenor. (TG)

O ne of the leading instrumental voices to emerge out of Cuba to enrich the New York jazz scene, alto saxophonist Yosvany Terry continues to push forward the Latin Jazz idiom with an innovative merging of the musical traditions of his native and adopted homelands. Leading his AfroCuban Sextet at Symphony Space Leonard Nimoy Thalia (May 5th) Terry proved himself to be not only a commanding saxophonist, but also an inventive composer. Opener “Looking In Retrospective” was an episodic adventure of intricate construction, the leader exchanging serpentine melodic lines with trumpeter Michael Rodriguez and pianist Osmany Paredes over the ever-shifting rhythms of Yunior Terry’s bass and Ludwig Afonso’s drums in a heady mix that moved from cacophonous M-Base complexity to grooving Messenger-ish swing. Cuban hand drummer Mauricio Herrera joined the ensemble for “Nuevo Jazz Latino”, opening the Terry anthem with an extended bata drum outing ushering in the horns’ blaring fanfare over driving piano montuno, setting up bass, trumpet and alto solos that climaxed in an exciting Afonso-Herrera duet. Yunior Terry’s taut bass introduced Rodriguez’ Eastern-tinged “Mikey’s Tune” and was featured on his own melancholic “Winds of Sorrow”. Two rhythmically driving pieces by the leader ended the set: “Contrapuntistico”, a showcase for his masterful chekeré playing, and “Noticero”, a propulsive AfroCuban free-for-all with a vocal coro. (RM)

The winners of the 2016 Jazz Journalists Association Jazz Awards will be announced at a ceremony Jun. 15th at the Blue Note jazz club. Our humble gazette was nominated for Jazz Periodical of the Year for the ninth time. For the complete list of nominees, visit jjajazzawards.org. Bob Koester, founder of Delmark Records and owner of the Jazz Record Mart, which closed last year, has opened a new shop at the Delmark Records studio, 4121 N. Rockwell Street in Chicago. Jazz at Madison Square Garden? This unlikely scenario will come to pass this summer in two fascinating instances: Locksmith Isadore, the trio led by Chicagoan bass clarinetist Jason Stein, will open up for comedienne (and Stein’s cousin) Amy Schumer on Jun. 23rd and postmodernist piano trio Dawn of Midi will be the opening act for Radiohead Jul. 26th-27th. Another brick-and-mortar victim to changes in music consumption is West Village fixture Other Music, which closes Jun. 25th. Winners of the 21st Annual Essentially Ellington High School Jazz Band Competition have been announced. First place went to New World School Of The Arts (Miami, FL), second to Triangle Youth Jazz Ensemble (Raleigh, NC) and third to Tucson Jazz Ensemble, (Tucson, AZ). For the complete list of winners, visit academy.jazz.org/ee. Former New York Yankee and four-time World Series Champion Bernie Williams received his Bachelor of Music as part of the 2016 graduating class of Manhattan School of Music. Newport Jazz Festival founder George Wein received an honorary doctorate from Providence College last month in a ceremony taking place a few dozen miles from the site of his annual festival. David Amram has been named Composer-in-Residence of the New York Chamber Music Festival, coinciding with the 50th anniversary of Leonard Bernstein selecting Amram as the first ever Composer-inResidence of the New York Philharmonic. For more information, visit newyorkchambermusicfestival.org. Submit news to [emailprotected]

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

photo courtesy of the artist

I NTERVIEW

REZ ABBASI by ken micallef

Guitarist Rez Abbasi is one of jazz’ more restless spirits. His tenth and previous album, Intents & Purposes, tackled ‘70s-era classics of the fusion genre. In Abbasi’s skilled hands, however, this was no nostalgia trip into odd-metered fuzak, rather a complete reimagining of the works of Corea, McLaughlin, Zawinul and Shorter through an all-acoustic vision, which recontextualized the music’s sometimes bombastic textures with a supple, singular approach, creating new wine from old wine skins, as it were. With his latest release, Rez Abbasi & Junction’s Behind the Vibration (Cuneiform), he continues a path of growth that began on 1995’s Third Ear (Ozone), staked a serious claim on his landmark 2009 recording Things to Come (Sunnyside) and now culminates (for the moment) with the new album. Abbasi’s journey is the journey of jazz itself—a perpetual merging of influences, sounds and styles in service to the artist’s broader vision of the world around him. Rez Abbasi’s world is rich, indeed. The New York City Jazz Record: With your two prior recordings and the new one, you seem to have really found your thing. Rez Abbasi: I don’t agree. What I look for in any worthy music is character and that’s been a big ingredient in all my albums. Has my playing improved over the years? I would hope so. Also, ‘finding’ one’s thing implies that he or she was lost at a point. I view it more as growth. What I did 20 years ago was the same as what I do now—play who I am. I wasn’t searching for my thing any more then than today. I wasn’t searching at all because I am always in my own skin, whether past, present or future. People view growth as change but that’s more perceived than real. My music doesn’t change; it grows and in that sense, I have shifting preferences rather than a directive to an end result. TNYCJR: Your last record revisited ‘70s fusion acoustically. This record sounds nothing like your last record and not only because it’s electric. What was the source and direction of the new record? What inspired the tunes and trajectory? RA: Firstly, I like to live my musical life from a calland-response framework. Intents & Purposes was an album of all acoustic covers with my band RAAQ. Behind the Vibration on the other hand is fully original and uses a lot of electric instruments to find new territories within the compositions. Some of the tunes were already written prior to the acoustic album for an organ trio but as I researched a lot of ‘70s jazz-rock for the acoustic project, I came away with a desire to turn up the heat. Junction was formed with that in mind but the caveat was that it had to sound unique to today— everything from the technology, the compositions and the players. Each of us has lived inside and outside of the jazz universe so what we bring collectively is pretty unprecedented—current experiences from heavy

metal, electronica, pop, Carnatic and Hindustani classical, to name a few. TNYCJR: You have exceptional players on the new record: saxophonist Mark Shim, keyboardist Ben Stivers and drummer Kenny Grohowski. RA: I consider Mark to be one of the more cutting-edge yet highly grounded soloists on any instrument today. It’s the balance of emotions he has that’s captivating— angular and in your face but very approachable for various types of listeners. I discovered Kenny recently through hearing Andy Milne’s band and liked him immediately. He’s versatile with a downtown paradigm and a fat groove to boot—very cool. Ben first played with me as a sub for Gary Versace in my organ quartet. That music was all mixed-meter using independence with both hands and Ben nailed it. Because he’s also worked with people like Barry Gibbs, Matchbox 20 and Chris Botti, he understands newer keyboard technology. TNYCJR: Why is the band called Junction? RA: It’s where everything meets and is joined—all my influences are successfully captured in this statement and presented as one. TNYCJR: This album is very open ended improvisationally. How do you compose to free your improvisers? RA: The source for improvisation is always inherent in any written music. The source for written music is always inherent in improvisation. So the key is to get the two elements to work in conjunction and if you’re successful, the music takes on a flow of its own. The players benefit from strong composition because they have a character to build from. If you play on someone’s original tune the same as you would when freely improvising or playing on your favorite standard, you’re not doing justice to the composer. The truly great musicians are composers and improvisers who are able to orbit around both simultaneously. TNYCJR: How do you write new material? Pen and paper? Sibelius? RA: All the above. Sometimes I play an idea on the guitar and then input it into Finale. From there it becomes technically easier to manipulate. I can let my imagination do the work rather than be burdened by the limitations of the guitar. But sometimes creativity comes from limitation and so I sometimes stay with the guitar until the end of a piece. TNYCJR: “Holy Butter”! The first track says it all. Catchy melody, blazing solos, lots of space. What is this song based on, if anything in particular?

6 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

RA: This is the only track that actually carries a true story with it. I was waiting for my luggage and the airline was taking much too long to deliver. 30 minutes later every bag came out drenched in melted butter. An Indian woman had checked a suitcase full of “holy” butter and because it was summer, it melted. My apartment smelled like buttered popcorn for a week. The tune itself was written during a time when I was performing with a Bharatanatyam [South Indian] dance troupe. The melody reflects the dancers’ rhythmic bounce but the grease comes from the butter! TNYCJR: What do you practice now?

(CONTINUED ON PAGE 50)

photo courtesy of the artist

ARTIST FE ATURE

MIKE REED

For more information, visit mikereed-music.com. Reed is at Judson Memorial Church Jun. 12th as part of Vision Festival. See Calendar. Recommended Listening: • Mike Reed—In The Context Of (482 Music, 2004) • Mike Reed’s Loose Assembly—Last Year’s Ghost

(482 Music, 2005)

• Mike Reed’s People, Places & Things—

Stories and Negotiations (482 Music, 2008)

• Jason Adasiewicz Sunrooms—Spacer (Delmark, 2011) • Roscoe Mitchell/Mike Reed—In Pursuit of Magic

(482 Music, 2013)

• Mike Reed’s People, Places & Things—

A New Kind of Dance (482 Music, 2014)

by ken waxman Chicago drummer Mike Reed, 42, is a realist—and a visionary. More than a dozen years ago he experienced his own epiphany about the (jazz) music business and his place in it while working part-time as a bartender. “I was thinking about my future and how I didn’t want to still be a bartender when I was 39…or 49,” he recalls. Reed, who had been involved with different bands in Chicago’s music ferment since his mid ‘90s return after completing a degree in English and Psychology at the University of Dayton Ohio, was already co-curating a series of Sunday sessions at the Hungry Brain club with cornet player Josh Berman. Earlier, while working for a marketing agency, he had helped organize city concerts encouraging people to vote in the presidential election. Promotion seemed to be the appropriate career choice and within a year, he had partnered with Pitchfork, a Chicago-based online music magazine, to create the annual summer Pitchfork Music Festival. Related to his booking expertise, but more sui generis to the jazz community was another series of incidents that happened about five years ago. Reed, looking for investment property, found out that the owners of the Viaduct Theater in Chicago’s northwest wanted to sell. Almost simultaneously an e-mail arrived from Links Hall, the venerable arts organization offering space to performing artists for the research, development and presentation of new works. Rising rents meant Links needed a new location and it was willing to sign a multi-year lease to obtain it. With Links as a committed tenant, Reed could afford to purchase and renovate the theater. Since the space had already been zoned to include a bar and Links’ need was during the day, why not create a club there as well? Before getting fully involved he wrote three long memos listing the pros and cons and showed them to friends involved in business. Most thought it a viable proposition. He received a small business grant to help with the conversion and within three years Constellation has become one of the prime venues for progressive music in the city and pays for itself. “Business is actually organizing a system and working out logical plans and processing,” explains Reed. Besides Pitchfork and Constellation commitments, Reed is also part of the programming committee of Chicago’s city jazz festival and was Vice-Chairperson of the Association for the Advancement of Creative Musicians (AACM) from 2009-11. Last year Reed and a partner bought Hungry Brain, which has a similar booking policy as Constellation. Citing his commitment to local music, Reed was recently named one of the city’s most influential people by Chicago Magazine. This business acumen shouldn’t distract from the fact that Reed is very much an active recording and touring musician, part of many bands, the newest of which, Flesh & Bone with long-time associates alto saxophonist Greg Ward, tenor saxophonist Tim Haldeman, bass clarinetist Jason Stein as well as new recruits Ben Lamar Gay (cornet) and Kevin Coval and Marvin Tate (spoken word), will perform at this

month’s Vision Festival. Reed has long been drawn to lyrics, so an association with spoken-word artists isn’t a stretch. Growing up in Evanston, a Chicago suburb, he was first interested in blues and classic soul music and later rock and rap before getting into jazz. Admitting that his parents weren’t very supportive of having a jazz drummer in the house, playing music was more or less put on hold until he entered the University of Dayton. Deciding that he wanted to play again he began spending his time with friends in the school’s jazz program. At that point the department was so small he was allowed to participate as much as he wanted. On school breaks, he was able to attend shows by local Chicago legends from swing drummer Barrett Deems to bop saxophonist Von Freeman. Reed’s desire was to be Philly Joe Jones and move to New York but a fellow university musician convinced him that the Windy City would be a better choice. Reed soon started playing as much as he could, attending sessions led by Freeman at The Apartment Lounge or by tenor saxophonist Fred Anderson at The Velvet Lounge. “That was a pivotal moment in Chicago,” Reed remembers. “There was the emergence of underground groups such as Tortoise, the various configurations of Ken Vandermark and the Chicago Underground and the reemergence of Fred Anderson. It opened the door to a completely creative scene that if you felt you had enough talent you could pull it off.” Around the same time Reed developed as a composer. “It didn’t seem to be odd to write your own tunes,” he notes. He had begun composing in college after he realized that rather than transcribing and arranging tunes he liked, he could create his own in a similar style. That skill was put to good use as he formed bands such as People, Places & Things and Loose Assembly, most of which feature the same musicians involved in Flesh & Blood. “Around 1999 I got involved with thinking ‘what is jazz’, began appreciating different sounds and concentrating on original music,” he says. Reed, who had been working and recording with musicians associated with the AACM such as saxophonists Roscoe Mitchell and Ed Wilkerson, cellist Tomeka Reid and flutist Nicole Mitchell, was asked to join the association in 2004. Besides putting his organizational skills to work, he explains that his musical work with all AACM members is on an equal footing, with them playing his compositions as well as him playing theirs. Reed, who devoted Proliferation, a CD with People, Places & Things, to Chicago hardbop classics plus CDs with Loose Assembly, The Speed of Change and Artifacts, a trio with Mitchell and Reid, to versions of AACM classics, feels there’s a lot more jazz created and played in Chicago that can be exposed nationally and internationally. His work in the studio, at his clubs, at concerts and with the local jazz festival is designed to help promote the city’s creative music scene any way he can. v

billy lester Solo piano concert

at the Drawing room, 56 Willoughby St. #3, Brooklyn nY 11201. Saturday, June 11th 7pM. $25 admission

[emailprotected]

new music. billylestermusic.com youtube.com/user/ billylestermusic

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

ON THE COVER

lester bowie brass memories

Chicago doesn’t have a history of being good to local heroes, but it does love a homecoming. While the city’s Association for the Advancement of Creative Musicians (AACM) has held strong in town for five decades and counting, it’s only when members leave and return again that they get the star treatment. Such was the case last summer, when AACM co-founder Muhal Richard Abrams reunited his Experimental Big Band for the Chicago Jazz Festival or in 1995 when association member Henry Threadgill brought an expanded version of his Very Very Circus to the lakefront stage. And such was also the case in 1992, when Lester Bowie appeared at the annual free festival with his aptly named Brass Fantasy. Bowie was among the first AACM members to break out of Chicago’s city limits. His international fame began with the Art Ensemble of Chicago (AEC), who set up residency in Paris in the late ‘60s and went on to become about as big a name as an avant garde jazz band can hope to be. The bespectacled trumpeter, in lab coat and pointed beard, charmed the AEC’s audiences. Drawing on his background with R&B acts Albert King, Rufus Thomas and Jackie Wilson, Bowie was never too proud to please the crowd. In the midst of percussion jams or free blowouts, Bowie could blow a few swinging notes and the band would stop on the dime he dropped. If they were there to inject tribal rhythm into jazz experimentalism, Bowie was going to make sure Broadway and Tin Pan Alley weren’t left out of the mix. That hot September night in 1992 was an unusually strong one for the historically hit-and-miss festival. The Brass Fantasy took the stage to close the night: trumpeters Earl Gardner, Eddie E.J. Allen and Gerald Brazel; trombonists Frank Lacy and Luis Bonilla; Vincent Chancey on French horn and Bob Stewart on tuba; and percussionists Vinnie Johnson and Famoudou Don Moye, all decked out in blue sequin jackets that hung well past their hips. After a star-denoting pause, the leader strutted out, his jacket sparkling in silver. They swung hard like only a brass band can. They played jazz standards and popular songs of the day, as a good entertainment review is wont to do. Near the end of the set, they played a haunting rendition of “God Bless the Child” during which Bowie staggered backwards, reached into his jacket, pulled out a pistol and fired into the air. They left the audience stunned and screaming when they left the stage and when they returned for an encore, the band was bedecked in silver and Bowie all a-glitter in gold. The band was there to put on a show and that’s just what they did. Years later, the band (without Bowie, who died at his home in Brooklyn in 1999 at the age of 58) is coming together again to play again. At the Tribeca Performing Arts Center, Brass Fantasy will take the stage once again as a part of the Lost Jazz Shrine series. While memories of the charismatic trumpeter will no doubt be thick in the air, the evening will actually celebrate the West Village club Sweet Basil, which enjoyed a run just down the street from the Village Vanguard from 1974-2001. It was one of the relatively few clubs the

band played in America. Ironically, according to Chancey, Bowie’s populist tendencies made the band a hard sell stateside. “It’s a band that didn’t play a lot in the States because a lot of club owners and festival promoters had the Art Ensemble in mind as to what Lester would do,” Chancey remembered. “But from the moment he formed the band he said, ‘This is going to be a show band.’ He wanted it to be in that kind of vein. We even had our costumes—that the musicians weren’t so excited to wear.” Chancey is one of the Brass Fantasy alumni returning for the reunion. Bonilla, Lacy and Earl McIntyre will be on hand, along with Steve Turre, noted for playing seashells along with his trombone. Trumpeter Stanton Davis will also return and holding down the bottom will be a trio of tuba players—Marcus Rojas, David Scheiman and Bob Stewart—all of whom played in Bowie’s original lineup. The evening will include a number of guests, including trumpeter Steven Bernstein, vocalist Renee Manning and students from the jazz big band Stewart directs at The Juilliard School. His son Curtis Stewart, who plays violin in the PUBLIQuartet, will also join in. Bringing in younger players is an effort to keep the band “fresh, both conceptually and musically,” he said. Letting new voices find a place in the band is in keeping with Bowie’s style of leadership, according to Stewart, who is serving as band director for the reunion show. “He was a bandleader in the tradition of Duke Ellington,” Stewart said. “Lester hired you because he trusted you and he let you go ahead and play. “Just about everyone who came through the Brass Fantasy has gone on to have their own ensemble,” he added. “It’s one of the first things that Lester encouraged. I remember at one point he said to me, ‘Don’t just do this and let it be over. Do this and make it mean something. Your own group has to be smoking or you’ll just be the tuba player in Brass Fantasy.’ It was liberating for me.” Perhaps a product of Bowie’s concept for the band—which, in short, may be described as giving everyone room to play and making sure you give the audience a show—is the fact that the Brass Fantasy was very much a live band. Whether it be in front of thousands at the Chicago Jazz Festival, any number of festivals across Europe, the cozy confines of Sweet Basil or augmented into a big band with rappers, playing the Celebrate Brooklyn festival in Prospect Park as the Hip-Hop Feel-Harmonic, the band fed off the energy of the audience. “It was a live band but Lester had a way of making everybody feel comfortable, even in the studio,” Chancey conceded when asked about the difference an audience made. An unfortunate byproduct of the band having been a living, breathing, organism may be that of the ten albums they released (including one posthumously), only two really show them in top form. The 1990 double-disc Live at the 6th Tokyo Music Joy ‘90 catches the band on their own and as a double band with the AEC (who also play their own set). It’s a good record but even better is 1992’s The Fire This Time, recorded

8 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

alan nahigian

by kurt gottschalk

live in Switzerland and easily the best they put out. Touching on Billie Holiday, Jimmie Lunceford, Rahsaan Roland Kirk, Ray Charles and Michael Jackson, the album shows how the Brass Fantasy may have exemplified Bowie’s notion of “Great Black Music— Ancient Into the Future” even better than the AEC, who routinely invoked Bowie’s credo. Stewart acknowledged that there was something about the band that only happened onstage.”Some of Brass Fantasy’s best recorded work was done live,” he said. “Certain things aren’t necessarily going to happen in the studio that happen live. There were no two performances that were alike. There were times that the horns would just levitate.” Beyond Bowie’s leadership and charm, of course, was his musicianship. Dave Douglas, the president and co-founder of the Festival of New Trumpet Music and a prolific artist in his own right, said he was slow to come around to Bowie’s unusual playing and choice in material, but once he did he learned a lot. “I listened to Lester Bowie in high school but the people I was really chasing in terms of style and sound were Miles Davis and Woody Shaw,” Douglas said. “The impact of what Lester was doing only came to me later in my career. The thing that struck me when I went back to listen was how his use of extended technique was all at the service of melody and how much he was able to draw from different styles and be free to explore different styles of music.” Bowie was “really brave” to “enter the realm of humor in music,” Douglas said. The costumes and pop covers all put him at risk of not being taken seriously by audiences. But then this was a man who, in 1989, gave a Brass Fantasy album the title Serious Fun. With covers of songs by James Brown, Bobby McFerrin and Sade alongside the more expected jazz tunes, the album epitomized Bowie’s belief that music doesn’t really live in the boxes people put it in—at least not if it’s played with purpose. “At the root of it, Lester was a great melody player,” Douglas said. “When he played a melody, like you can hear him play a Whitney Houston song and it’s the most beautiful song you’ve ever heard. The idea of freedom that I took away from him was the freedom to move in and out of different styles and do whatever you want at any given moment,” he added. “The freedom of Lester gave permission to all of us.” v A tribute to Bowie led by Bob Stewart is at Tribeca Performing Arts Center Jun. 4th as part of Lost Jazz Shrines. See Calendar. Recommended Listening: Roscoe Mitchell—Sound (Delmark, 1966) Lester Bowie—Numbers 1 & 2 (Nessa, 1967) AEC—Fanfare for the Warriors (Atlantic, 1973) David Murray—Live at the Lower Manhattan Ocean Club, Volumes 1 & 2 (India Navigation, 1977) • Lester Bowie’s Brass Fantasy— I Only Have Eyes For You (ECM, 1985) • Lester Bowie’s Brass Fantasy—The Fire This Time (In + Out, 1992) • • • •

JAZZ FESTIVAL

JUNE 1 - 30, 2016 • NEW YORK

WWW.BLUENOTEJAZZFESTIVAL.COM

AL JARREAU - SAT, JUNE 25 • THE TOWN HALL KAMASI WASHINGTON • ROBERT GLASPER MCCOY TYNER • ROY HAYNES • RON CARTER CHRISTIAN MCBRIDE • JOSHUA REDMAN SCOFIELD/MEHLDAU/GIULIANA ARTURO SANDOVAL • AVISHAI COHEN REBIRTH BRASS BAND • GILBERTO SANTA ROSA JASON MORAN • DIZZY GILLESPIE AFRO CUBAN ALL STARS TERRACE MARTIN • TAYLOR MCFERRIN • ROSA PASSOS SANGAM: CHARLES LLOYD, ZAKIR HUSSAIN, ERIC HARLAND AVERAGE WHITE BAND • BOBBY CALDWELL MICHAEL FRANKS • SONIA SANCHEZ • CORY HENRY HYPNOTIC BRASS BAND • GARY BARTZ • NIGEL HALL & MANY MORE! ®

Kate Previte

ENCORE

BOBBY PREVITE by john pietaro

Drummer Bobby Previte is preoccupied, “stuck in the composing shed”, working intensely on several new pieces while also planning a tour. To complicate life just a bit more there’s a special project, the performance of a “goth metal mass” he’s been consumed with for the better part of a decade. “It might be more accurate to call this composing hell,” he exclaimed, contemplating the need to get away from the manuscripts and back on stage. Though he’s into some pretty heady work, this month Previte can be also found behind the drumkit in more than one setting—and more than one city. “My quartet with guitarist Mike Gamble, bassist Kurt Kotheimer and saxophonist Michael Kammers will be playing the Red Hook Jazz Festival and also Club Helsinki [in Hudson, NY]. I’ve been splitting my time between NYC and Hudson, so it’s been great becoming a part of the scene in the Hudson Valley,” he stated. Previte built a studio in his upstate house and has already made good use of it. “And the New Standards Trio I have with Jamie Saft and Steve Swallow will record its second album up there in June as well. It will be very bluesy, simple. A radical departure from the music we are usually associated with—that was the whole idea.” The drummer ’s fame was built on his recording and performing with top-tier experimentalists like John Zorn, Elliott Sharp, Tom Waits, Wayne Horvitz, Bill Frisell, Anthony Coleman, Marty Ehrlich, Sonny Sharrock, Robert Quine, Jerome Harris, Tim Berne, Christian Marclay, punk auteur Lenny Kaye and a wide array of others. The magic is that, in addition to this encyclopedic list of collaborators, Previte stands out as a composer whose leader discography dates back almost as far as his career as an instrumentalist. From the start, his desire for change has been prevalent. While his abilities behind the kit brought him first-call status early on, Previte didn’t exactly escape the

frequent drummer issue of having to struggle for full acceptance by other musicians—or his own sense of self. “I had to prove to myself that I could write beyond a standard jazz lineup, so Claude’s Late Morning [Gramavision, 1988] featured a very disparate lineup and the parts were fully orchestrated. We recorded it all live after just a few days rehearsal. This was such an important album to me,” he recalls with pride. Not long after achieving global success as a leader, he was called on by the Moscow Circus to compose a score, one that strained traditional Russian brass sounds through very NYC-based improv. The powerful music he composed is only half of the story as Previte’s time in Moscow was concurrent with the tumultuous political change that felled the Soviet Union. “I had to ask my interpreter, as we looked out of the hotel window, if it was normal for tanks to flank the Kremlin!” Since that time, Previte the composer is as welcome to new music settings as Previte the drummer and sometimes it’s hard to differentiate the two. “Terminals” (Canteloupe Music), composed in 2015, unites the celebrated percussion ensemble Sō Percussion with several noted improvisers in as many concertos: Zeena Parkins, Greg Osby, Nels Cline and John Medeski; Previte himself is the featured soloist on another. These days, he’s deep into writing the followup to this: “It’s a commission from the Greenfield Foundation, wherein the singular improvisers will function as an ensemble. I added vocalist Jen Shyu to make it a sextet.” And what of his goth metal mass? “It’s a ninemovement work comprising an early music ensemble with an organist, plus an electric quartet of heavy metal guitar and bass with my drumset. The early music is based on ‘Missa Sancti Jacobi’ by 15th century composer Guillaume DuFay. I’ve arranged it and written the crush metal in Messiaen-inspired graphic notation,” he explained excitedly. “I’ve been fascinated by DuFay’s music since college and began to conceive of this project a decade ago. Last year I began the real work on it. I’m pleased that RareNoise will release this in 2017.” With all of the far-edge music Previte has driven for decades, a close look at his technique as a drummer

reveals something not quite as radical. His chops and sense of swing indicate a connection to Gene Krupa, Louie Bellson and Cozy Cole. For all of his Lower East Side street cred, Previte harkens back to those drummers of the Swing Era, right down to his preference for white marine pearl finishes on his fourpiece kits. “I don’t have that kind of self-reflection and I try to never look at videos of my own performances,” he added, “but I’ve been told about the Gene Krupa connection before. I don’t know but I do love that oldstyle swing, R & B and rock. That’s where I come from.” When asked to look back on the Downtown new music scene that launched his notoriety, Previte stated: “I was extremely lucky. I landed here in NYC in 1979, the last possible moment to get into the scene. So much was going on, there were so many places to play then, so many friends to make—but all things must pass. A few of the musicians from then carry the torch, but young people today will find their own way, their own ‘Downtown’, metaphorically and physically. They’re following their generation’s path. With gentrification and artists being priced out this may not be the New York I knew and that’s sad, but musicians will always find each other. Something will be happening in basements and garages. Something will always happen to change everything.” v

and Buddy Rich, which boosted his career with its brilliant blend of big band jazz and Cuban music. Producer Norman Granz was impressed and signed him to record a series of albums for his Clef and Norgran labels over the next several years. O’Farrill returned to Cuba in 1955 then relocated to Mexico two years later, where he worked in both studios and television. In 1965, O’Farrill returned to New York City where he served as the arranger and music director for the television series Festival of Lively Arts. He continued to write arrangements for various leaders, including Count Basie (the hip but overlooked Basie Meets Bond), Clark Terry (Spanish Rice), Art Farmer (The Aztec Suite), Cal Tjader and Gato Barbieri, but he was frustrated with being restricted to AfroCuban jazz as he had wider interests. Aside from a 1975 reunion session with Dizzy Gillespie and Machito, AfroCuban Jazz Moods (Pablo), his focus was almost exclusively outside of jazz, O’Farrill opting to write for symphony orchestras, television, commercials and only the occasional jazz chart for the Mingus Big Band, Mario Bauza, Willie Bobo and others. For nearly three decades O’Farrill made no new jazz recordings under his own name and his jazz exposure remained limited until he was signed by Milestone in 1995. The magic in his writing was still present and he assembled a top-notch AfroCuban orchestra. O’Farrill’s sophisticated, often fiery charts brought him critical acclaim for the three CDs that he

made for the label, two of which were nominated for Grammys. He also was featured in Calle 54, the first full-length film dedicated to Latin jazz. In addition to being commissioned to write for Jazz at Lincoln Center, he had a regular booking at Birdland during his final years with his son, brilliant pianist/composer Arturo, as a part of his orchestra (Arturo now leads the band Sundays at Birdland). In a 2015 interview for this paper, Arturo said: “My father was a forward-looking musician. He wasn’t content to sit on what made his bread and butter. He wasn’t content to write mambos for Count Basie records... My father was a searcher, he was a wanderer, he spoke the truth. He sought art over commerce and that’s the legacy that I want to continue.” Chico O’Farrill died Jun. 27, 2001 in New York City. v

For more information, visit bobbyprevite.com. Previte is at Cornelia Street Café Jun. 5th with Jane Ira Bloom and Urban Meadow Jun. 19th as a leader as part of Red Hook Jazz Festival. See Calendar. Recommended Listening: • Bobby Previte—Pushing the Envelope (Gramavision, 1987) • Bobby Previte—Weather Clear, Track Fast (Enja, 1991) • John Zorn/Bobby Previte—Euclid’s Nightmare (Tzadik, 1997) • Bobby Previte—The 23 Constellations of Joan Miró (Tzadik, 2001) • Bobby Previte & BUMP—Counterclockwise (Palmetto, 2002) • Groundtruther (Charlie Hunter and Bobby Previte)— Longitude (with DJ Logic) (Thirsty Ear, 2004)

LEST WE F ORGE T

CHICO O’FARRILL by ken dryden

Chico O’Farrill, born Arturo O’Farrill, was one of the

main contributors to the development of Afro-Cuban jazz in the late ‘40s and early ‘50s. Born in Cuba on Oct. 28th, 1921 to an Irish father and German mother, he came to the U.S. to attend military school in Georgia between 1936-40, where he learned trumpet and became a fan of big bands. After returning to Cuba, O’Farrill pursued classical studies and composition, in addition to playing in Havana clubs and leading his own big band. Initially, O’Farrill considered a lot of Cuban music to be somewhat simplistic. He found that integrating its infectious rhythms with bebop’s intricate harmonies produced compelling results. Following his move to New York in 1948, he ghost-wrote charts for the busy arranger Gil Fuller and was recommended by clarinetist Stan Hasselgard to Benny Goodman for the clarinet’s brief venture into bop. Goodman dubbed O’Farrill “Chico” and O’Farrill contributed the memorable original “Undercurrent Blues”. The Cuban also wrote for Stan Kenton (“Cuban Episode”), Dizzy Gillespie (“Manteca Suite”) and many others. It was “AfroCuban Jazz Suite”, written for a 1950 session by fellow Cuban Machito and that featured Charlie Parker, Flip Phillips

10 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Recommended Listening: • Machito—Afro-Cuban Jazz Suite: The Music of Chico O’Farrill (Clef-Verve, 1950) • Dizzy Gillespie and his Orchestra—Afro [Manteca] (Verve, 1954) • Art Farmer and his Orchestra—The Aztec Suite (United Artists, 1959) • Count Basie and His Orchestra—Basie’s Beatle Bag (Verve, 1966) • Chico O’Farrill & New York Latin All-Stars— Latin Roots (Philips, 1976) • Chico O’Farrill and His Afro-Cuban Jazz Orchestra— Pure Emotion (Milestone, 1995)

L ABEL SPOTLIGHT

EL NEGOCITO by ken waxman

Two words that sum up the appeal of the Ghent, Belgium-based label El Negocito (EN) are organic and street-wise. “Our label is run from a collective of musicians by somebody that isn’t a musician,” explains Rogé Verstraete, describing himself as EN’s “instigator” and who prefers to be known by his first name. The label’s street-wise reputation comes from mostly documenting the work of a couple of generations of local musicians in Belgium’s third largest city. The label is organic as well as one part of Rogé’s activities alongside concert and festival promotion. The label started and grew organically as well. A little more than a decade ago Rogé, who had spent a year traveling around South America, decided to open a Chilean restaurant called El Negocito, which in Spanish means, “little corner store with the understanding that some negotiation is possible,” explains Rogé. Soon he “decided to put a touch of myself into it.” That touch involved live concerts, which quickly multiplied from a few every month to around 150 a year. “El Negocito became a place where improvisation and jazz was heard daily even though it was pretty much a Latino bar where quite a few regulars had to endure the sometimes experimental music,” he recalls. Rogé first gave carte blanche to local musicians like trumpeter Bart Maris, drummer Giovanni Barcella and tenor saxophonist Jeroen Van Herzeele, but the

Bums Feecho

twice left handed / shavings Ifa Y Xango Tentet

space soon attracted international guests like saxophonist Marshall Allen and trumpeter Jean-Luc Cappozzo. With Rogé friendly with musicians from nearby Holland, the café also became a regular part of their touring circuit. “It was music that had to be heard,” Rogé insists. Eventually, hearing it involved starting the record label in 2009. With Barcella and Van Herzeele playing the café weekly, Monday Nights Live at El Negocito became EN 001. Other discs followed quickly. “We used to perform a lot in the El Negocito bar and later in the bar La Resistenza,” remembers Maris, who is featured on five EN releases. “So when Rogé started to focus on records, we were first in line to come up with material. Rogé would hear the music being played live in the bar and judge on that to give it ‘a go’ for recording. He even invested in high-end equipment for our recording sessions. He’s the one dealing with money, so he finds the budgets needed for the production and releases it, a miracle these days of restrictions in many cultural domains.” “It didn’t feel like a label in the beginning but more as an appreciation for music by interesting musicians,” confirms Rogé. Sessions moved to La Resistenza, a larger club, for another three years until the landlord sold the building. Live at La Resistenza by saxophonist John Dikeman, bassist William Parker and drummer Hamid Drake is a souvenir of the final concert. Nowadays Rogé, as Citadelic, hosts monthly concerts at contemporary art museum S.M.A.K. and organizes a summer festival in the city’s Citadel Park. By now the café is on a firm financial footing, with Rogé mostly overseeing such tasks as preparation, bookkeeping and promotion. “The café has maybe 10

Drop Your Plans Bambi Pang Pang w/ Andrew Cyrille

concerts a year at least,” he states. “But that’s nothing in comparison with the early years. Today I almost do two full-time jobs, with maybe a bit more time put into music.” Meanwhile EN has become a full-fledged label. “To decide what the label puts out there are two thought patterns,” elaborates Rogé. “One, the musician closely involved get full artistic freedom. We make a strategy together and decide what path is the most effective or efficient for the project. Two, other music is heard by what I call the circle of ‘wise men’, who tell me what they think. Because I’m funding the operation, I make the end decision taking in cost, artistic validity, exposure, relevance for the label, etc. I look at an idea and try to make it happen with a lot of patience as my partner.” Pianist Seppe Gebruers, who has been featured on three EN discs and with three in the works, had selfreleased his first CD with the Ifa y Xango band and helped form Troika, a musicians’ collective, when he moved from Antwerp to Ghent. “I met Rogé, played in his clubs and got closer to him after I moved. He became interested in the piano duo with Erik Vermeulen and opened the door for me to be part of the label. I can bring out upcoming projects on EN and, more importantly, we talk about the label, concerts and strategy for our collective to make music as accessible as possible. Rogé is sufficiently realistic to see that a CD label is not financially very viable. He’s just looking for ways to present this music, based on improvisation, to the largest possible audience.” That means outsiders are recording for EN. “All circumstances are possible,” Rogé relates. “We invited

Live at La Resistenza Dikeman Parker Drake

(CONTINUED ON PAGE 50)

The First Sound Basssss

VOX NEWS

JAZZ HARBINGERS by suzanne lorge

Harbinger Records specializes in artists who interpret

the Great American Songbook, though typically Broadway stars rather than jazz stylists. The catalogue stretches back to 1983, almost two decades after the popular ear had turned away from vocal jazz. Even so, co-founders Ken Bloom and Bill Rudman saw an opportunity in Francis Ford Coppola’s 1985 film The Cotton Club and set out to make an album with Maxine Sullivan, one of the few remaining Cotton Club singers still actively performing at the time. (She was 73.) Maxine Sullivan: Great Songs from The Cotton Club, now stands as a historical record of one of the most influential singers from the formative years of jazz history. Harbinger, under the auspices of its parent, Ohiobased The Musical Theater Project (TMTP), has rereleased this Grammy-nominated album of 15 tunes by composer Harold Arlen and lyricist Ted Koehler, the preeminent writing duo during The Cotton Club’s heyday. The liner notes contain little information about Sullivan’s contribution to the recording—or the club’s history, for that matter. But the vocals give us a better understanding of the unerring, unadorned swing of the ‘30s than the printed word ever can. On each tune

Sullivan holds the groove tight to her chest, placing each note, each lyric, just so in pianist Keith Ingham’s arrangements. Her performances are an object lesson in musical economy. Beyond some of the well-known tunes (“Stormy Weather” and “I’ve Got the World On a String”), the recording contains three never-beforerecorded, now-forgotten Arlen-Koehler compositions: “’Neath the Pale Cuban Moon” (1931), “In the Silence of the Night” (1932) and “Primitive Prima Donna” (1934). These tunes don’t have the appeal of the pair ’s more celebrated pieces, but they give us a glimpse into The Cotton Club’s stock-in-trade: savvy singers, hip musicians and romanticized exoticism. Harbinger has also just released an intriguing recording of singer Mark Murphy from 2008, Live in Athens, Greece. Electric guitarist/producer Spiros Exaras had invited Murphy to perform in Athens for three days, two shows a day. The indefatigable Murphy, who had just turned 76, charmed the Greek fans with intelligence, wit and sheer, churning force of his vocal ideas. In these performances Murphy sticks to standards (“My Funny Valentine”, “Summertime”, “Autumn Leaves”), feeling his way through with long stretches of melody sung acappella, calls and shouts, vocal percussion and his inimitable scats. This CD— vocal improv at its purest—is a departure for Harbinger but a welcome one, so soon after Murphy’s passing. It’s easy to imagine that we’re in Gazarte Club with him, just a short walk from the Parthenon, both

seeming to defy time itself. Even while Murphy was scatting away in the world’s top jazz clubs, singer Al Jarreau was the one who managed to revive some popular interest in scat singing with his chart-topping hits, each a fusion of R&B, jazz and pop. Jarreau has retained his popular audience and is a dependable headliner at jazz festivals. Eagle Rock has just released one of his Montreux performances on CD, Live at Montreux 1993. This concert was the run-up to his 1994 album Tenderness and contains much the same material (“Mas Que Nada”, “Try A Little Tenderness”, “Your Song”) mixed in with some perennial favorites (“We’re In This Love Together”, “Alonzo”). Local fans can catch him at the Blue Note Jazz Fest at Town Hall (Jun. 25th). Svetlana and The Delancey Five will also appear in the Blue Note Jazz Fest at Lucille’s at B.B. King’s (Jun. 24th). They’ll be working their swing with trombonist Wycliffe Gordon in an “Ella & Louis” tribute to the 60th anniversary of the eponymous Verve recording featuring the Oscar Peterson Quartet. Most likely they’ll play some selections from their first album together, Night at the Speakeasy (OA2)—modern, horn-resplendent interpretations of some highly danceable swing tunes (Gershwins’ “Lady Be Good”) and deeply affecting pop tunes (The Beatles’ “Because” and The Beach Boys’ “God Only Knows”). One spin of this disc and you’ll understand why this group is everywhere these days. v

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

I N MEMORIAM

GATO BARBIERI by andrey henkin

EVERY THURSDAY JAZZ JAM – NO COVER 6/3 – Skip & Dan Wilkins with Larry McKenna 6/4 – Five Play 6/5 – Bill Mays & Tommy Cecil 6/10 – Denny Carrig, Skip Wilkins & Friends 6/11 – Michael Stephans’ Quartette Oblique 6/12 – Joanie Samra & Friends 6/17 – Vicki Doney, Walt Bibinger, Zach Brock 6/18 – Bob Dorough Trio 6/19 – Michele Bautier 6/24 – Marianne Solivan Quartet 6/25 – Sue Terry: Meeting of Muisical Minds, featuring Rachel Z 6/26 – Randy Napoleon 6/27 – Phil Woods’ COTA Orchestra – an 18 piece jazz ensemble JAZZ PACKAGES AVAILABLE — includes music, lodging, dinner, breakfast Serving breakfast & lunch at The Morning Cure on Fridays, Saturdays, and Sundays DEER HEAD INN • 5 MAIN STREET • DELAWARE WATER GAP • PA • 18327 • 570-‐424-‐2000 WWW.DEERHEADINN.COM

“LIVE AT THE DEER HEAD INN” RECORDINGS Phil Woods Quintet Five Play Nancy Reed & John Coates, Jr. Guitar Trio: Bucky Pizzarelli, Ed Laub, Walt Bibinger • Quartet: Joe Locke, Bill Goodwin, Jim Ridl, Tony Marino • “Sweet” Sue Terry & Friends • • • •

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BILL HENDERSON (Mar. 19th, 1926— Apr. 3rd, 2016) The vocalist (also prolific actor) began his career in the late ‘50s on Blue Note backed by the Jimmy Smith Trio and a star turn on Horace Silver Quintet’s recording “Señor Blues”, made albums for MGM (backed by the Oscar Peterson Trio) and Discovery, had a brief spell with Count Basie and, many years later, was featured on Charlie Haden Quartet West’s The Art of the Song. Henderson died Apr. 3rd at 90.

Photo courtesy Blue Note Club

OLDEST CONTINUOUSLY RUNNING JAZZ CLUB IN THE COUNTRY JUNE SCHEDULE

DENNIS DAVIS (Aug. 28th, 1951— Apr. 6th, 2016) The drummer was known for his association with David Bowie but had ‘70s jazz credits with Roy Ayers, Ronnie Foster and George Benson. Davis died Apr. 6th at 64.

G ato Barbieri, arguably the most famous jazz player to come from Argentina and whose career as a saxophonist went from avant garde excursions to more culturally specific work, especially with his soundtrack to Last Tango in Paris, for which he won a Grammy award, died Apr. 2nd at 83. Barbieri was born Nov. 28th, 1932 (as Leandro) in Rosario, Argentina. His love of jazz came early, as he related to our own Brad Farberman in a 2012 interview: “When I was 12 years old, I listened to my first record of Charlie Parker. For me, something opened. I was waiting for something and it came.” Several years later, Barbieri relocated to the Argentine capital of Buenos Aires where he became a soloist in the orchestra of Lalo Schifrin, a noted composer of music for film and television. Within a few years, the saxophonist moved to Europe and, in Rome, met trumpeter Don Cherry, who would strongly influence Barbieri’s career. “Working with Don Cherry was an incredible experience...I already listened to the quartet with Don Cherry, Ornette Coleman, Charlie Haden and Ed Blackwell... Don Cherry—you never know what’s happening. So I started to learn to listen.” In 1965-66, Barbieri appeared on Cherry’s Complete Communion and Symphony For Improvisers (Blue Note) and Togetherness (Durium) before making his debut as leader with In Search Of The Mystery (ESP-Disk’, 1967), recorded after Barbieri had moved to New York. In the late ‘60s-early ‘70s, he worked with the Jazz Composer ’s Orchestra, Gary Burton, Alan Shorter, Charlie Haden’s Liberation Music Orchestra and Carla Bley on her three-LP Escalator Over The Hill. As the ‘70s progressed, Barbieri made albums for Flying Dutchman, Impulse and A&M, with more overt connection to the music of his homeland, smoothing out the rougher edges of his earlier sound. This was exemplified by the music he wrote for Bernardo Bertolucci’s 1972 film Last Tango in Paris, starring Marlon Brando. As Barbieri told Farberman, “I was a friend of Bernardo Bertolucci. And he knew I made a lot of records...some records I do some tango. Different tangos. And one day he called me and he said, ‘It’s time to write a beautiful melody, because I want you to make the music for Last Tango in Paris.’... It was a really good experience. Bernardo told me, ‘I don’t want a Hitchcock movie. I don’t like European music. I want in between.’ So what I did was that.” Throughout his career, Barbieri’s lush tone and epic playing was unmistakable, no matter the context. But the saxophonist was self-effacing when discussing it, comparing it to something very important in his native country: “I don’t like to make big solos. I like to have, like, when you play soccer—you give the ball to another one, to make an assist. I played a lot of soccer when I was young.”

12 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

GÉTATCHÈW MÈKURYA (Mar. 14th, 1935—Apr. 4th, 2016) The saxophonist’s recordings are hard-to-find releases from his native Ethiopia in the ‘50s-70s but he came to international prominence via collaborations with Boston’s Either/ Orchestra in 2004 and Holland’s The Ex in 2006-12. Mèkurya died Apr. 4th at 81. PETE YELLIN (Jul. 18th, 1941—Apr. 13th, 2016) The saxophonist led albums for Mainstream in the ‘70s and then a pair for Mons and Metropolitan in the ‘90s and had sideman credits starting in the mid ‘60s with Buddy Rich, Eddie Palmieri, Joe Henderson, Sam Jones and Bob Mintzer. Yellin died Apr. 13th at 74.

F ESTI VAL REPORT

OPEN PLAN: CECIL KATOWICE JAZZART DOEK ABC by ken waxman

Radosław Kaźmierczak

by andrey henkin

by clifford allen

Cecil Taylor & Min Tanaka @ Whitney Museum

AUKSO & Motion Trio @ NOSPR

Axel Dörner @ Café de Ceuvel

There is the assumption that once an artist reaches the academy, the work is already beyond what institutions can properly codify and disseminate—if it isn’t already over. The latest incarnation of the Whitney Museum, in the “Meatpacking District”, is a large and airy building jutting out in glassy overcrops that stretch over the Hudson River. In 2016, the Whitney began its Open Plan series, which gives over the museum’s lengthy fifth floor to rotating installations cycling through a range of contemporary artists in a variety of media. Curated by Whitney’s Jay Sanders and Lawrence Kumpf (Issue Project Room), pianist Cecil Taylor ’s 60-year career arc was the subject of an ambitious schedule (Apr. 15th-24th). The approach was to pivot Taylor somewhat from his place in the modern jazz canon and into the context of trans-media developments from mid ‘50s onward. Concerts were interleaved with readings, movement, archival footage, symposia and a rare performance of playwright Adrienne Kennedy’s A Rat’s Mass (1968). The latter was cast as an operatic work in 1976, with Taylor ’s Unit providing music—in the Open Plan, this was partly recalled by prerecorded piano, though Hilton Als’ austere direction gave the work a likely different, mercurial imprint. A makeshift stage was installed with river views, the remainder of the floor occupied by vitrines and wall mounts holding archival material and dotted by TVs screening rare performance footage. Taylor’s musical segment from the 1981 documentary Imagine the Sound was on a canted large screen on a loop. It should be noted that while not Taylor’s first Whitney rodeo, this was certainly the largest: he warmed up his 1969 Unit for their famed European tour at the old Whitney Breuer building on Madison and returned in 1975 opposite pianist Mary Lou Williams. There was the hope that Taylor would perform often and the schedule was left flexible enough that he could play nine nights or not at all—thus, the musical component included a number of musicians either in his bands (drummer Andrew Cyrille; bassists Henry Grimes and William Parker; trumpeter Enrico Rava) or directly influenced by his music (i.e., Ensemble Muntu; poets Nathaniel Mackey, Fred Moten and Steve Dalachinsky; drummer Susie Ibarra). The opening fête, with a massive standing ovation as the diminutive Taylor was walked out to the stage, heralded a curious trio of Butoh-schooled dancer Min Tanaka and English percussionist Tony Oxley, who had traded his customary metal armatures for live sampling devices. Oxley and Tanaka are longtime collaborators with Taylor, the drummer since 1988 and the dancer since the early ‘90s, though they’d never shared the stage as a trio. Tanaka often seemed to be leading the group; in a green canvas suit, he crept across the risers,

The Polish city of Katowice is a metropolis of competing identities. Its resource-rich region of Upper Silesia was a wartime prize passed between Prussia and Austria in the 18th Century and then Germany and Poland during the World Wars. Incorporated as a mining town in 1865, Katowice is a relatively modern city in a country with a complicated, centuries-long history; as such, its architecture is capped by the futuristic Spodek Sports Arena rather than the Gothic Wawel Castle in Kraków an hour to the east. With a population of just over a quarter-million, its small-city vibe has been thrust onto the world stage as the first Polish City of Music in the Creative Cities Network of UNESCO. And, as happens with many cities whose existence relied upon heavy industry, it has had to reinvent itself in the 21st Century, coal mines replaced by cultural institutions, dusty miners with hip nightgoers filling the 24-hour bars of Mariacka Street. The JazzArt Festival (Apr. 25th-30th), now in its fifth year, reflects this multi-facetedness. International stars such as Jack DeJohnette and The Thing are presented alongside regional performers like the RGG Trio and Raphael Rogiński. Concerts are held in the beautiful environs of the recently built concert halls of the National Polish Radio Symphony Orchestra (NOSPR) or the gritty upstairs Jazz Club Hipnoza. Sedate afternoon film screenings complement the energetic evening performances. World-class branding is applied, grass-roots style, to store windows, novelty cars and oversized three-dimensional displays dragged through the city streets by employees of Katowice Miasto Ogrodów, which also runs the Street Art and World Music festivals. And there was as much enthusiasm—as shown by consistently full houses— for the music on offer as for the World Hockey Championship Division I-Group A qualifier happening concurrently (sadly, Poland did not advance). JazzArt is unusual in that its programming runs from Monday-Saturday with either one concert per evening (Monday, Wednesday and Thursday) or two (Tuesday, Friday and Saturday). For those worrying about getting bang for your złoty, it is refreshing to have time to reflect upon a performance without rushing off to ten more in the same night. This approach also allows for the programming to take on a discernible narrative arc. The 2016 edition opened and closed at Hipnoza to standing-room-only crowds with twin Scandinavian explosions The Thing and Selvhenter. The former should have dedicated their set to Lufthansa, which prevented Ingebrigt Håker Flaten’s upright bass from arriving in time for the show; it was a rare instance where he was heard exclusively on electric bass.

W ith many parts of the Netherlands reclaimed from

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the sea over the centuries, the Dutch have long been adroit at recycling and repurposing. So it’s no surprise that, except for the Bimhuis, with its magnificent waterfront view, most venues for this year ’s Doek ABC Improvisation Festival in Amsterdam (Apr. 29th-May 4th) had been built as schools, warehouses and even a dungeon. These locations were particularly pertinent for this year ’s fest, which united local improvisers (A) with visitors from Berlin (B) and Chicago (C). The festival also demonstrated how different musicians repurpose the jazz and improvised traditions. Probably the most spectacular instance of this came in the three ‘round midnight performances by Hook, Line & Sinker (HLS) at the Spinhuis. A former dungeon located beneath the Multatuli Bridge, the cramped, subterranean space was an ideal setting for the unique sensibilities of slide trumpeter Axel Dörner, tenor saxophonist/clarinetist Tobias Delius, cellist Tristan Honsinger and bassist Antonio Borghini. Seeming at times either performance of Waiting for Godot or vaudeville act, the concert relied as much on verbal as instrumental improvisation. The wordplay, usually sparked by Honsinger, often devolved into skits, with the foursome continuously changing places in the room, singing pseudo-sea shanties or acting out neo-Dadaist playlets. Euphonious as well as entertaining, innate musical sophistication allowed Delius to slurp pre-modern styled balladry and postmodern screeches with the same conviction he used to deflect the cellist’s puns and Dörner to growl split tones from his bell or rhythmically advance a tune blowing raspberries sans trumpet. Another musician who epitomized rhythm and humor was South African reed player Sean Bergin (1948-2012), an Amsterdam resident from 1976 until his death. His music was celebrated as the climax of the festival’s five-stop bicycle tour at De Ruimte, an abandoned factory converted to a café. The packed house swayed and sometimes danced along to Bergin tunes that transmuted kwela jive into swinging jazz. Celebrants represented all three cities: cornet players Eric Boeren and Josh Berman; trombonists Jeb Bishop and Wolter Wierbos; tenor saxophonists John Dikeman and Delius; vibraphonist Jason Adasiewicz; bass guitarist Jasper Stadhouders; and drummer Frank Rosaly. Contrasts between Bishop’s contemporary gutbucket and Wierbos’ polished emotionalism were clear, as was Delius’ creamy tone stacked up against Dikeman’s frenetic New Thing-like textures. Adasiewicz’ energetic clanking sparked the ensemble while Rosaly cannily suggested steel pan vibrations and African drum beats. (CONTINUED ON PAGE 51)

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

CD REVIEWS

The Silver Lining (The Songs of Jerome Kern) Tony Bennett/Bill Charlap (RPM-Columbia) by Andrew Vélez

W ith Tony Bennett singing some of the very greatest

songs from the Great American Songbook, of which he is arguably the current premier custodian, this collaboration with pianist Bill Charlap is popular music artistry at its finest. Not since the now-classic 1975-76 sets with Bill Evans has Bennett had quite so perfect a partner as he does in Charlap, who is perhaps the leading mainstream jazz pianist of his generation. As Bennett approaches his 90th birthday in August, his baritone pipes remain as gravelly golden, virile and expressive as ever. From the contemplative opening lines of “All the Things You Are” until the last piano notes on “Look for the Silver Lining”, Bennett and Charlap are in sync on every level for this celebration of the music of Jerome Kern. When Charlap takes a solo, he, like Bennett, puts the story of the song first. Together they are emotionally expressive and yet, when given the opportunity, as with “Pick Yourself Up”, their swinging is infectious. The fun they are having is apparent in the finale when Bennett exuberantly ad-libs, “take me home” and Charlap does just that with a rollicking finale. Mention must be made of the other stars of this production. Ace pianist Renee Rosnes joins Charlap for several rich double piano numbers. There is rock-solid support from bassist Peter Washington and drummer Kenny Washington, Charlap’s longtime trio members, completing the orchestrations. And, of course, with lyrics by Ira Gershwin, Johnny Mercer and Oscar Hammerstein II, among others, it’s the crème de la crème of American songwriters. Bennett has a unique way of highlighting a word or a phrase. With “The Song is You”, he and Charlap build together to a stirring climax with the final statement of “the song…” and then follow it with another and still higher moment with the final “is YOU”. Still later on “Yesterdays”, Bennett’s final shout of “yesterdays!” is triumphant. It’s basic to Bennett’s unique way with music and lyrics. So when he delivers a deeply moving “The Way You Look Tonight”, how he achieves such profound eloquence without an iota of emotional excess is a fine mystery to be savored. For more information, visit columbiarecords.com. Charlap is at Birdland through Jun. 4th. See Calendar.

Montage Luis Perdomo (Hot Tone Music) by Elliott Simon

Luis Perdomo arrived in NYC from Venezuela in 1993

but it took the pianist a while to make his first CD as a leader (Focus Point, RKM Music, 2004). It was an ambitious outing that gave glimpses, in the context of the powerful septet, of his developing voice. As with that first release, Perdomo has purified the elements of

his style over the past decade. He distills Latin and classical leanings as well as avant garde into his work— all in evidence on Montage, his first solo release. Five of these 15 pieces are titled “Montage” followed by a descriptor (Fleeing, Sleepwalker, Angst, Air, The Ascent). Each serves as an opportunity for Perdomo to express himself without the constraints of tight arrangements. Taken together they form a stunning suite translating sensation, emotion and feelings through exquisite touch and lines. This effect is greatly enhanced by listening to them in sequence. Originals and tunes from different parts of Perdomo’s development make up the more structured material and show his breadth and adaptability: it is intriguing to hear the angles in “Monk’s Dream” smoothed out; a sophisticated cocktail piano take on “Thinking of You”; the intense emotional aspect of “Body and Soul” purified; a buoyant yet touching “Mambo Mongo”; “La Revuelta de Don Fulgencio”, composed by Perdomo’s first teacher Gerry Weill, openly melding classical with Latin; the big band trappings stripped away from “Si Te Contara”; and the underappreciated contributions of “Cal Massey” by pianist Stanley Cowell reflected. The three originals present a side of Perdomo that is gracefully melodic. “Amani” flows peacefully through warm changes while “The Sky Beyond” is meditative and “The Boundary Law” is an extended exploration that elegantly ebbs and flows. Montage is aptly titled as head, heart and hands come together for a carefully planned, diverse and entertaining release.

before Morrissey enters with a figure that anchors the structure of the song. The lone cover is “Johnny Was”, originally performed by Bob Marley under the title “Johnny Was a Good Man”. The quartet does its best to translate the original feel but it ultimately sounds a little aimless, more of a rendering than an interpretation. Guiliana’s near-mastery of the musical sleight of hand is what makes Family First so appealing. It zags more than it zigs and eagerly kicks sand in the face of expectation. For more information, visit markguiliana.com. Guiliana is at Blue Note through Jun. 5th. See Calendar.

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For more information, visit hottonemusic.com. Perdomo is at Jazz Standard Jun. 1st, Terraza 7 Jun. 9th, Smalls Jun. 15th with Marc Miralta and The Jazz Gallery Jun. 16th with Ricky Rodriguez. See Calendar.

Family First Mark Guiliana Jazz Quartet (Beat Music Prod.) by Eric Wendell

Whether sideman to bassist Avishai Cohen or Donny

McCaslin or leader of his genre-bending Beat Music, drummer Mark Guiliana’s precise way of using drums to export his musical ideas is both keen and exact. Such precision is on display with his latest release. What makes Family First successful is the control Guiliana and Co. maintain as tempos, dynamics and moods shift and sway throughout the nine tracks. From the opening serrated rhythms of “One Month” to hardbop resonance of “Long Branch”, Guiliana maintains an ordered sense of control his quartet of saxophonist Jason Rigby, pianist Shai Maestro and bassist Chris Morrissey reflect beautifully. That’s not to say that Family First is all twists and turns but rather expertly constructed to undermine listener expectations. “Abed” begins as an eventempoed piece before a mid-song tug of war between saxophone and piano pulls it towards a faster postbop encounter. “The Importance of Brothers” spends much of its duration feeling like a static march before deconstructing to a solo piano interlude where Maestro offers a contemporary classical exercise before the band resumes the march feel. What is most congratulatory is Guiliana’s ability to shape a melody, carefully constructing each note to fit the character at hand. This is featured most prominently on “Welcome Home”, where Rigby employs long dulcet tones reflecting an abstract ballad

14 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

R e c o m m e n d e d n e w r e l e a s e s

Updated daily New/Reissues listed by date for 31 days Search and sort leaders, musicians, tunes, record labels, etc. Catalogue your record collection easily

www.lordisco.com

• Idris Ackamoor & The Pyramids— We Be All Africans (Strut) • JD Allen—Americana (Savant) • Jane Ira Bloom—Early Americans (Outline) • Cadentia Nova Danica— August 1966 Jazzhus Montmartre (Storyville) • Katja Cruz—I Am The Wind (Unit) • Tomasz Dabrowski— S-O-L-O: 30th Birthday/30 Concerts/ 30 Cities (Barefoot) • Erwin Ditzner/Lömsch Lehmann Duo— II (Fixcel) • Jungle: Mat Walerian/Matthew Shipp/ Hamid Drake—Live at Okuden (ESP-Disk’) • Masabumi Kikuchi—Black Orpheus (ECM) • Pat Metheny—The Unity Sessions (Nonesuch) Laurence Donohue-Greene, Managing Editor • Duke Ellington & His Orchestra— Rotterdam 1969 (Storyville) • Fire!—She Sleeps, She Sleeps (Rune Grammofon) • Jungle: Mat Walerian/Matthew Shipp/ Hamid Drake—Live at Okuden (ESP-Disk’) • Jemeel Moondoc/Hilliard Greene— Cosmic Nickelodeon (Relative Pitch) • LOK 03 +1 (Aki Takase/Alexander von Schlippenbach/DJ Illvibe/Paul Lovens)— Signals (Trost) • Glenn Spearmann— Blues for Falasha (Tzadik) • Starlite Motel—Awosting Falls (Clean Feed) • Thumbscrew—Convallaria (Cuneiform) • Tiziano Tononi/Daniele Cavallanti— The Brooklyn Express: No Time Left! (Long Song) • Finn von Eyben—Plays Finn von Eyben/ Finn von Eyben Workshop & Radiojazzgruppen (1966-1967) (Storyville) Andrey Henkin, Editorial Director

Groundwork Willie Jones III (WJ3) by Scott Yanow

W illie

Jones III has been a major straightahead drummer ever since the early ‘90s when he was a co-founder of the Los Angeles-based group Black Note. His seven years (1998-2005) as a member of the Roy Hargrove quintet helped gain him fame and he has since worked with many in the Who’s Who of jazz. He can be relied upon to add swing, excitement and creativity to every bandstand. Jones has led his own record dates since 2000 when he started the WJ3 label. On Groundwork, Jones heads a septet full of bandleaders. His trio with pianist Eric Reed and bassist Buster Williams is joined by vibraphonist Warren Wolf and tenor saxophonist Stacy Dillard on six of the eight selections (four include both of them), with veteran trumpeter Eddie Henderson on four numbers and trombonist Steve Davis on two of those. The constant changing of instrumentation, along with mood and tempo shifts, gives Groundwork plenty of variety. The eight selections are concise, clocking in between 3:58 and 6:44. The playing is excellent although there are times when the solos could have been greatly extended. The repertoire includes two songs apiece by Cedar Walton and Reed and numbers from Williams, Sherman Irby, Ralph Penland and Floriaan Wempe. While none are destined to become standards, they have viable chord changes to challenge the soloists. Wolf and Reed, in particular, make many fine (if brief) statements with other memorable moments being contributed by Williams on his own midtempo blues “Toku Do” and Dillard on the moody “Charity”. Reed’s “Git’Cha Shout On” is probably the most stirring performance of the set. It would benefit this allstar group to make a live album where they can stretch out away from the studio. For more information, visit williejones3.com. Jones is at Village Vanguard through Jun. 5th with Russell Malone and Smoke Jun. 8th-9th with Steve Turre. See Calendar.

Blues and Ballads Brad Mehldau (Nonesuch) by Joel Roberts

While

Brad Mehldau has been heralded for his impressionistic solo piano work and experimental efforts involving everything from chamber orchestras to electronics, the piano trio has remained his bread and butter for more than two decades. Starting with his 1995 debut and many Art of the Trio albums, Mehldau’s long-running group with bassist Larry Grenadier and drummer Jeff Ballard (replacing Jorge Rossy a decade ago) has earned a spot as one of the top trios this side of Keith Jarrett. It’s a noteworthy event then when Mehldau and his deeply empathic trio return with a new recording, their first in four years. While Mehldau is an established

composer, the new release, like its predecessor, Where Do You Start, is comprised entirely of covers. As the title implies, the focus here is on ballads and blues. While his classical background, lyricism and romanticism would tend to suggest he’s more attuned to the former than the latter, Mehldau sets a convincingly bluesy tone on the opener, an intensely soulful, almost down-and-dirty take on “Since I Fell For You”. And even if you’ve heard “These Foolish Things” a thousand times before, Mehldau’s slow, patient, picture-perfect version is worth a listen. As has been his wont for many years, Mehldau deftly mixes standards with more contemporary nonjazz material drawn from the worlds of rock and pop. So we get reimaginings of familiar fare from Cole Porter (“I Concentrate on You”) and Charlie Parker (“Cheryl”) alongside a sweet ballad (“Little Person”) by pop producer and frequent collaborator Jon Brion. And, as he often has in the past, Mehldau digs into The Beatles catalog, turning the seemingly slight “And I Love Her” into a rich, melancholic excursion and one of the album’s highlights, along with a little-known (at least to these ears) but exquisite recent Paul McCartney composition, “My Valentine”. The Mehldau trio is one of those groups with the seeming ability to anticipate one another ’s moves and all three musicians here are in stellar form and always in sync. It’s a welcome return and a fine outing filled with some hauntingly beautiful moments. For more information, visit nonesuch.com. Mehldau is at Blue Note through Jun. 5th. See Calendar.

Ballads and Standards Marc Mommaas/Nikolaj Hess (Sunnyside) by Terrell Holmes

Standards are welcome signposts on the jazz landscape

to help players and listeners navigate its frequently exhilarating and often challenging terrain. Pitfalls can occur when a standard is played too close to its original form, with neither the imagination nor risk to make the journey more compelling. Tenor saxophonist Marc Mommaas and pianist Nikolaj Hess’ new project has more substance than the elemental title suggests. They examine the harmonies of each song and then use their expansive improvisational skills and opulent tonalities to enrich its sound and structure. They establish their approach on “The Peacocks”, Mommaas fixing his perch at the high end of the tenor ’s register; Hess has such strength and resonance it sounds like piano and bass simultaneously. Bassist Thomas Morgan joins the duo on “Ask Me Now”, giving the tune more depth and color. Interpreting Monk can be a tricky proposition but this reading is filled with Mommaas’ sure-handed and exclamatory arpeggios and Hess eschews any overt suggestions of Monk’s angularity in favor of his own crisp, more linear approach. Morgan’s pulse also gives an added dimension to “The Shadow of Your Smile” and “Never Let Me Go” while guitar master Vic Juris’ warm phrasing and silky texture underscore the eternally hopeful “Over the Rainbow”. Perhaps the most striking is “In a Sentimental Mood”. It begins unsettlingly somber and dark, with Hess’ saturnine, metronomic intro downshifting the theme from wistful to dark. With Mommaas’ impassioned wailing in the soprano range and breathiness at the end, this duo expresses not sentimentality but despair. And while

Mommaas and Hess clearly relish their explorations they also know their limits. It’s surely no coincidence that “Body and Soul”, an oak tree among chestnuts, is the shortest, most-played-straight song on the album. Mommaas and Hess deconstruct these songs like scientists. The experiments aren’t always seamless; at times, there are residual moments of discord in the search for balance and common ground. But these are small missteps on the tightrope. Mommaas and Hess invigorate some of jazz’ most enduring and often played songs with vibrant new perspectives. For more information, visit nonesuch.com. This project is at Jazz at Kitano Jun. 1st. See Calendar.

UNEARTHED GEM

Reincarnation Sonny Simmons (Arhoolie) by Clifford Allen

Born in Louisiana in 1933, alto saxophonist Sonny

Simmons paid dues on the West Coast before moving, along with fellow reed player Prince Lasha, to New York in 1963 at Eric Dolphy’s behest. Simmons worked alongside Dolphy, Clifford Jordan, Sonny Rollins, Elvin Jones and McCoy Tyner, eventually forming his own group with trumpeter Barbara Donald (they also married). They recorded two dates for ESP-Disk’ and recruited progressive improvisers to come east from the Bay Area. By the end of the decade, they and most of their peers had returned west. Though part of a coterie of musicians playing barreling and harmonically advanced postbop in California, Simmons and Donald struggled to find work, based partly on the fact that their interracial musical and romantic partnership caused strife. In the ‘70s, the pair relocated to Olympia, Washington to raise their young son Zarak, though they fared little better and eventually divorced— Simmons was playing on the streets of Oakland as “Blackjack Pleasanton” by the following decade and battling addiction. In the early ‘90s, Simmons’ fortunes started to turn around and by 1994 he’d sign to Quincy Jones’ Qwest label (a rare major-label turn for uncompromising music). By the time that this live Simmons-Donald reunion disc was recorded 25 years ago this month, Zarak Simmons had become an ebulliently swinging and fiery drummer. The family band is fleshed out here by bassist Court Crawford and pianist Travis Shook (who would also appear on Simmons’ American Jungle in 1997) on a program of three originals and renditions of the standards “Body and Soul” and “Over the Rainbow”. Simmons’ acrid flywheels are Bird-like (or Dolphyesque) in scope, yet with a deep, searching tonic that responds to the modal depths plumbed by John Coltrane. In tandem with the crackling waves of energy that Donald puts forth and the rhythm section’s insistent, dense chug, Simmons’ driving compositions are rendered with explosive, glorious immediacy. Zarak has only appeared on one other recording, 1994’s Ancient Ritual, so it’s a treat to hear more of his playing, especially in dialogue with his parents’ vast inside-outside conception. For more information, visit arhoolie.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

G LO B E U N I T Y: M O R O CCO

53rd Street Robert Kaddouch/Gary Peacock (Odradek) Kind of Violet Abdelhaï Bennani Trio (JaZt TAPES) Zarabi Oum (Lof Music/MDC) by Tom Greenland

It’s

continually surprising how musicians from all over the planet take inspiration from jazz, adopting and adapting it according to their cultural awareness and esthetic affinities. This month shows this globalization through the lens of Moroccan musicians. Using the concept of ‘conductivity’, Casablancaborn pianist Robert Kaddouch has taught children all over Europe to improvise. More recently, he is using what he has learned from teaching—how to play in a more ‘ductile’ (i.e., creative and personal) way—in a series of duo recordings. 53rd Street is an intimate set with bassist Gary Peacock, which includes standards, originals, a French anthem and Hebrew songs. Kaddouch’s style is lush and lyrical, utilizing slightly unusual chords and harmonic modulations to revitalize standbys like “A Foggy Day”, “Lover Man” and even “Jingle Bells”. His radical reharmonization of the latter, coupled with the extreme independence of his left hand, show off his individuality. Peacock, an almost subliminal presence, anchors the harmonies and pulse against the pianist’s constant ebbs, flows and upwellings, becoming more interactive during “What Is This Thing Called Love?”, perhaps the most satisfying track. Recently deceased tenor saxophonist Abdelhaï Bennani was born in Fez and spent most of his life in Paris. Kind of Violet, recorded live at Lille’s Muzzix Festival in 2011, is now available through the artistcontrolled JaZt TAPES. The highly collaborative trio performance balances Bennani’s mercurial tenor— usually subdued but prone to gruff outbursts— against Alan Silva’s wide canvas of synthetic keyboard textures and tones, ranging from full-blown tutti sections of digital string, brass and wind sections and warmer Rhodes piano sounds to eerie metallic patches with micro-chromatic pitch-bends. Drummer Didier Lasserre favors thin sticking and light brushwork, low kettledrum rumbles, shimmering cymbals, Chinese-style gongs and marching rolls. The improvisations breathe, as if the musicians are waiting to hear each other’s unfinished thoughts. Marrakesh-raised vocalist/songwriter Oum El-Ghaït Benessahraoui, better known as Oum, melds multiple elements of her Moroccan heritage (including Sahrawi, Gnawa, Hassani and Berber cultures) on Zarabi, her fourth album, aptly named for the ‘carpet’-like headdresses of local weavers made from recycled fabrics. Recorded in a makeshift studio in southern Morocco at the edge of the Sahara desert with oud player Yacir Rami, percussionist Rhani Krija, bassist Damian Nueva and trumpeter Yelfris Valdés, the latter two from Cuba, the album is bright and punchy, fired by Oum’s keening vocals, sung in the Maghrebi Arabic dialect of Darija, and by her catchy songs set to danceable beats. Improvisational interest is supplied by Rami’s deft playing, which often ornaments the vocal lines before and after extended solos, and by Valdés’ trumpet, a mellower counterpoint to Oum’s crystalline voice. For more information, visit janstrom.se and music-mdc.com

odradek-records.com,

Parallel States Matthew Fries (Xcappa) by Donald Elfman

F rom the first notes of this extraordinary recording, it is clear that the relationship between music and art is what inspired the project. Each of the works by pianist Matthew Fries and his sister, mixed media artist Loryn Spangler-Jones, is individual and exquisite. On opener “Muse”, Fries starts elegantly with a chordal voicing expanded upon during the course of the tune’s development. Motifs grow and intertwine yet the central chord is ever-present. It’s a piece about the graceful expression of ideas and how they mature. Spangler-Jones took inspiration from this sense and the album’s concept first took shape. The music reflects a quiet passion for how artistic ideas grow. The feel of “Positive Attitude” is a slow blues and is a case of the music being inspired by the art. Fries sees those blues as a powerful yet simple statement. He digs down into some truly deep feelings but they are never overwhelming. Instead the lines roll out steadily and surely. That quiet subtlety informs both the music and the art here even when the title, the ‘subject’ of the tune, seems to lead towards a narrative. “Just Keep Swimming” opens with a repeated riff suggesting the relentlessness of what?—evolution? persistence?—but thanks to the economy of the artistry what is suggested instead is space and peacefulness. It ends up not really mattering who inspired whom or which form came first. The closing tune, the simple hymn-like “Kerrie”, tells us in a minute and a half that this recording is simply about the magic of creation. For more information, visit matthewfries.com. Fries is at Hillstone Jun. 2nd, 6th, 16th, 27th and 30th and An Beal Bocht Café Jun. 3rd. See Calendar.

Christ Everlasting Charles Gayle Trio (ForTune) Live at Jazzwerkstatt Peitz Charles Gayle/William Parker/Hamid Drake (Jazzwerkstatt) Gayle Force Buell Neidlinger (K2B2) by Clifford Allen

sentinel-like between the opposing storms of tenor, piano and drums. “Well You Needn’t” begins with florid stabs from piano and bass before Kugel’s brash stammers enter and the tune volleys through a tensile display of stridence and clustered fireworks, then moves into the freer juggernaut of “Thy Father ’s Will”. A scumbled run through “Giant Steps” finds Gayle working his fingers and breath into a blur, regularly making blatting sidesteps as the rhythm section charges through heated tempi. The opening “Joy in the Lord” is an affirmation of Gayle’s command, upperregister twirls and hot, emphatic staccato blasts rendered with clear linkages and graceful execution. Just over a month later, Gayle teamed up with bassist William Parker and drummer Hamid Drake for a concert in Germany as part of the Jazzwerkstatt Peitz series. This disc contains a program of four original improvisations plus a ten-minute encore. The lengthy first segment, “Fearless”, is a vehicle for tenor though much stretching room is given for Parker and Drake to spar on their own, breaks and bouncing Highlife flecks nudging Gayle’s flights from braying, pathos-laden cries to supple, jubilant runs. Much of the set, however, features the leader on piano in bluesy fragments, glinting boppish roil and elemental nods to boogiewoogie, which while executed with conviction also change form on a seeming whim. Parker and Drake ably keep up with Gayle’s impulses but experiencing from the easy chair is a furrowed challenge. While his ostensible first studio recording for ESPDisk’ has never surfaced, Gayle did make some rehearsals while living in Buffalo and performing with bassist Buell Neidlinger, who was then associated with SUNY-Buffalo and the Center for the Creative and Performing Arts. Neidlinger ’s regular trio was with drummer John Bergamo and saxophonist Andrew White and Gayle’s first sit-in with that group is the stuff of local legend. Gayle Force captures a fall 1965 session sans White and, while brief at a hair over 30 minutes, it is impactful, including four original pieces and a version of Ornette Coleman’s “Lonely Woman”. Certainly low fidelity, the music here is essential for completists, but beyond the tape hiss and pieces’ abrupt beginnings and endings Gayle’s piercing, voluminous wail is fully-formed and, if not a complete phraseology in all cases, makes up for that in gobs of temperature-raising energetic action. Bergamo’s dry, allover shimmy and Neidlinger ’s perfect intonation and robust invention (in glorious evidence on “Lonely Woman”) make for a fascinating partnership and it would have been something to get this trio properly documented. For more information, visit for-tune.pl, jazzwerkstatt.eu and k2b2.com. Gayle is at Judson Memorial Church Jun. 7th NYCJR12thPageAd0616.qxp_Layout 4/6/16 5:06 PM Page 1 with Henry Grimes as part of Vision1Festival. See Calendar.

Tenor saxophonist/pianist Charles Gayle has been an

imposing force on New York’s improvised music community for over 40 years, though documentation of his work didn’t really take off until 1988. Deep religious convictions, intensely ascetic lifestyle, theatrical personae and a very personal language traversing postColtrane freedom with a curious affection for bebop contribute to Gayle’s enigmatic perception. Christ Everlasting captures an April 2014 Gayle concert at Poznań’s Dragon Club with Polish bassist Ksawery Wójciński and German drummer Klaus Kugel on open-form originals and a few standards or semistandards from the books of Coltrane, Monk, Rollins and Ayler. Far from a pickup rhythm section, Kugel’s airy constance and glinting temporal stirs are a rugged platform and Wójciński continually chomps at the bit, blocky pizzicato and sinewy arco occasionally stiff but

16 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Photo: Chris Drukker

Diane Moser’s Composers Big Band w/guest composer Timothy Miller and the Elizabeth High School Upper Academy Jazz Band, directed by Wayne Dillon

Wednesday, June 8th • 7–11 p.m.

For more info: dianemosermusic.com

TRUMPETS J A Z Z C L U B

6 Depot Square Montclair, NJ 07042 For reservations, call 973-744-2600 www.trumpetsjazz.com

Row for William O. Michael Bisio/Kirk Knuffke (Relative Pitch) by John Sharpe

Wed, Jun 1

MARTIN NEVIN GROUP 8PM Immanuel Wilkins, Sam Harris, Craig Weinrib

Thu, Jun 2

BEN VAN GELDER QUINTET 8PM Mark Turner, Matt Brewer, Craig Weinrib

Fri, Jun 3

LAGE LUND 3 9PM & 10:30PM Matt Brewer, Justin Faulkner

Sat, Jun 4

PETROS KLAMPANIS 9PM & 10:30PM Julian Shore, Keita Ogawa, Rogério Boccato, Maria Im, Eylem Basaldi, Lev Zhurbin, Colin Stokes, Magda Giannikou

Sun, Jun 5

JANE IRA BLOOM EARLY AMERICANS 8:30PM Mark Helias, Bobby Previte

Mon, Jun 6

DAVID AMRAM & CO 8:30PM Kevin Twigg, Rene Hart, Elliot Peper

Tue, Jun 7

VOXECSTATIC: VALENTINA MARINO QUARTET CD RELEASE 8PM Alberto Pibiri, Cameron Brown, Anthony Pinciotti, Maximilian Zooi JOHN HART TRIO “EXIT FROM BROOKLYN” CD RELEASE 9:30PM Bill Moring, Tim Horner; Deborah Latz, curator

Wed, Jun 8

NEW BRAZILIAN PERSPECTIVES: Q MORROW GROUP 8PM Evan Francis, Sam Bevan, Rogerio Boccato NEW BRAZILIAN EXPRESSIONS: KATHRYN CHRISTIE 9:30PM Matt Aronoff, Ross Pederson; Billy Newman, host

Thu, Jun 9

SOFIA RIBEIRO GROUP 8PM Sofia Ribeiro, Juan Andrés Ospina, Petros Klampanis, Marcelo Woloski

Fri, Jun 10

JON IRABAGON TRIO 9PM & 10:30PM Gary Versace, Tom Rainey

Sat, Jun 11

KEVIN HAYS, NEW DAY TRIO 9PM & 10:30PM Rob Jost, Greg Joseph

Sun, Jun 12

DJANGO AT CORNELIA STREET: ULTRAFAUX 8:30PM Michael Joseph Harris, Sami Arefin, Eddie Hrybyk; Koran Agan, host

Mon, Jun 13

DAVID LOPATO QUARTET 8:30PM Lucas Pino, Ratzo Harris, Mike Sarin

Tue, Jun 14

THE OUT LOUDS 8PM Tomas Fujiwara, Ben Goldberg, Mary Halvorson

Wed, Jun 15

MARIO PAVONE/MIXED QUINTET 8PM Tony Malaby, Dave Ballou, Oscar Noriega, Peter McEachern, Michael Sarin

Thu, Jun 16

JOHN HADFIELD: SAINTS OF PERCUSSION 8PM Billy Drewes, Matt Kilmer, Tim Keiper, Shane Shanahan

Fri, Jun 17

JOHN HÉBERT QUARTET 9PM & 10:30PM David Virelles, Tim Ries, Billy Drummond

Sat, Jun 18

JASON RIGY: DETROIT-CLEVELAND TRIO 9PM & 10:30PM Cameron Brown, Gerald Cleaver

Sun, Jun 19

JIM BLACK TRIO 8:30PM Elias Stemeseder, Thomas Morgan

Tue, Jun 21

Mostly Other People Do the Killing 8 & 9:30PM Ron Stabinsky, Moppa Elliott, Kevin Shea with special guest Matt Nelson

Thu, Jun 23

DAN WEISS TRIO 8PM Jacob Sacks, Thomas Morgan

Fri, Jun 24

SCOTT DUBOIS QUARTET 9PM & 10:30PM Jon Irabagon, Thomas Morgan, Kresten Osgood

Sat, Jun 25

JAZZTOPAD FESTIVAL: PIOTR DAMASIEWICZ QUINTET 9PM Tony Malby, Maciej Obara, Dominik Wania, Max Mucha, Krzysztof Dziedzic JAZZTOPAD FESTIVAL 10:30PM Tony Malaby, Gerard Lebik, Artur Tuźnik, Max Mucha, Krzysztof Dziedzic

Sun, Jun 26

PATRICK CORNELIUS OCTET 8:30PM Matthew Jodrell, Sam Sadigursky, Nick Vayenas, Alex Wintz, Fabian Almazan, Thomson Kneeland, Eric Doob

Tue, Jun 28

PAUL JONES/CURTIS OSTLE GROUP 8PM David Berkman, Eliot Zigmund ALEX LORE 4 9:30PM Nick Sanders, Martin Nevin, Mark Whitfield Jr

Wed, Jun 29

ISRAELI JAZZ SPOTLIGHT: NOAM WIESENBERG 8PM Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro, Tommy Crane HAGGAI COHEN-MILO TRIO 9:30PM Ben Wendel, Haggai Cohen-Milo, Ziv Ravitz; Or Bareket, host

Thu, Jun 30

MATT BREWER QUINTET 8PM Ben Wendel, Lage Lund, Tommy Crane

Bassist Michael Bisio has waxed acclaimed duets in his career—those with pianist Matthew Shipp come to mind while going further back, a brace with multiinstrumentalist Joe McPhee also hit the sweet spot. To this list must now be added Row for William O., which pairs the bassist with in-demand cornet player Kirk Knuffke, a member of Bisio’s Accortet foursome (whose well-received debut appeared on the same label last year). The 37-minute program comprises four Bisio originals, one joint confection and one by William Overton Smith, the 90-year old dedicatee of the album, who is perhaps best known as the clarinetist in Dave Brubeck’s seminal octet, as well as being both a mentor and teacher to Bisio in Seattle, Washington. The pleasing contrast between Knuffke’s floating lyricism and Bisio’s brawny growling resonance, whether in counterpoint or partnership, is evident from the start. A jerky spacious unison engenders freewheeling interplay on Smith’s “Drago”, notable for Knuffke’s breathy insouciance. They draw ample inspiration from the compositions, as is obvious in “Oh See O.C.” where Bisio’s solo plays off motifs in the head, with some of those insistent figures that mesh so tightly with Shipp, while Knuffke is at his most punchy and incisive. On Bisio’s appealing “I Want To Do To You What Spring Does To Cherry Trees”, Knuffke hews close to the tune while Bisio extrapolates in spirited abandon. On the improvised “December”, the stimulation stems from one another. Emphatic pizzicato slurs slither down the fretboard, prompting plaintive cornet exhalations. Such fluid interchange exemplifies the set, heard nowhere better than on the title track, where Bisio shows how tone rows can generate not only breezy unsentimental melody, but also dramatic give and take. Finally, after a trilling acappella cornet intro, the intimately choreographed dance of “To Birds...” provides a fittingly accomplished end to a fine disc. For more information, visit relativepitchrecords.com. Bisio is at Judson Hall Jun. 8th with Connie Crothers and 9th as part of Vision Festival and Ibeam Brooklyn Jun. 13th with Darius Jones. Knuffke is at Urban Meadow Jun. 19th with Jeff Davis and Matt Pavolka as part of Red Hook Jazz Festival.

What would appear to be a triangular relationship in theory turns into a pyramidal one in practice. The atmosphere is joyful and exciting and finds each musician grabbing the wheel in succession with idiosyncratic vigor. It’s a formula that leads to consistent piquancy in the remaining tunes, if at times dulled by the compactness of the engineering, which suffocates tunes like “Peliel” and “Katzfiel”. Other places it works beautifully, however, as in “Shoftiel”. Here Taborn balances sacred and secular impressions, launching into his solos with territorial wanderlust. But not even a few misfires at the mixing board can reign in a double take on “Talmai”, of which the landscape is vast and the rhythm sectioning robust. As may be expected in anything branded Zorn, abstractions are never too far away. Their wonders enliven “Katzfiel” and “Rogziel”, the latter recalling its composer’s fascination with the cartoon music of Carl Stalling. In this respect, the trio allows the spirit at hand to take the music where it needs to go, even if, like sand in an hourglass, every particle of improvisation eventually funnels into a steady passage of time. Which is not to say that reveries are absent: “Agbas” and “Harbonah” show sensitivity in kind, the latter an atmospheric gem that draws an arco bass thread through a stormy patchwork of piano and cymbals, teasing out the indestructible heart of the whole enterprise. The way these veterans ease into and out of such eclectic themes is masterful, yielding a fresh take on Zorn that may just be the standout disc of the series and one that reasserts his position in the modern jazz canon. For more information, visit tzadik.com. Taborn is at The Stone Jun. 8th. McBride is at Blue Note Jun. 14th-19th. Sorey is at JACK Jun. 12th with Charmaine Lee and The Stone Jun. 25th. See Calendar.

FREE PERFORMING ARTS IN ALL 5 BOROUGHS MAY – SEPTEMBER

John Zorn: Flaga Craig Taborn/Christian McBride/Tyshawn Sorey (Tzadik) by Tyran Grillo

Eight tunes from The Book of Angels make up Flaga, the 27th installment in a series exploring the parallel opus to John Zorn’s popular Masada series. His interpreters this time are pianist Craig Taborn, bassist Christian McBride and drummer Tyshawn Sorey. “Machnia” puts listeners into the thick of things, highlighting the playing as much as Zorn’s prolific gift for melody. 18 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

The season will feature more jazz performances than ever before, including opening night on June 4 in Central Park, featuring living legends McCoy Tyner, Roy Haynes, and Ron Carter. Season highlights include Kamasi Washington and Henry Butler in Central Park, Terence Blanchard in Clove Lakes Park, Dianne Reeves in Queensbridge Park, a tribute to Dave Valentin in Crotona Park, and a screening of What Happened, Miss Simone? in Von King Park. And, of course, our annual Charlie Parker Jazz Festival, which assembles some of the most important legends of jazz alongside the next generation of innovators, will feature Jack DeJohnette, Donny McCaslin, Randy Weston, and Cory Henry. Join us as we celebrate jazz all summer long! Visit www.SummerStage.org for the full 2016 schedule. @SummerStage

05-18-16A_NYCJazzAd.indd 1

@SummerStageNYC

@SummerStage

5/18/16 4:53 PM

Roots & Transitions Alan Ferber Nonet (Sunnyside) by George Kanzler

The eight parts of trombonist Alan Ferber ’s suite Roots & Transitions “functions as a modern theme and variations”. Ferber wrote the music on trombone rather than piano to emphasize the predominance of singleline instruments. The nonet is Scott Wendholt or Shane Endsley (trumpet), Jon Gordon (alto saxophone), John Ellis (tenor saxophone), Charles Pillow (bass clarinet), Nate Radley (guitar), Bryn Roberts (piano), Matt Clohesy (bass) and brother Mark Ferber on drums. At times the nonet resembles a modern version of classic jazz polyphony, as each instrument plays distinct lines in tandem with others, as on “Flow” and “Cycles”, sections that also eschew conventional time signatures and rhythms for a looser or more jangled beat. Rarely are there sustained ensemble passages with sectionalstyle harmony, Ferber preferring to pit instruments against or mirroring each other. This is how the CD opens, as “Quiet Confidence” begins with solo trombone soon echoed by bass clarinet (its use instead of a baritone saxophone is one of the nonet’s aural signatures), followed by thematic strains from brass and reeds, segueing into weaving instrumental voices ushering in deliberately paced

solos by piano and trombone. Although Pillow has only one feature solo, his bass clarinet is an important part of the overall sound, contributing to the chorale quality of the two short ensemble pieces “Hourglass” and “Echo Calling”. The former is followed by two of the strongest tracks: “Clocks” begins with a tick-tocking rhythm that breaks up as horn riffs dominate; Endsley solos over suspended beats, then horns and guitar contest in a controlled chaos reminiscent of Charles Mingus before time returns with a piano solo and coda. “Wayfarer” is the closest track to a traditional swinger, recalling Miles Davis’ Birth of the Cool band, with a traditional AABA format and muted brass, but a surprisingly long, convoluted vamp-coda. Themes and variations explored on the first seven tracks are reprised in the concluding “Cycles”. For more information, visit sunnysiderecords.com. This project is at Threes Brewing Jun. 9th and Smalls Jun. 16th. See Calendar.

Live at Okuden Jungle: Mat Walerian/Matthew Shipp/Hamid Drake (ESP-Disk’) by Mark Keresman

P olish reed player Mat Walerian is one of those rare

musicians whose approach seems to span several eras

of jazz history, sometimes even within the same solo. The alto saxophone is his main axe and he plays in a deliberate, measured manner; while some noodle and doodle until an idea alights, Walerian takes his time yet never comes off as ponderous or tentative. This double-CD set, recorded live in November 2012 at Toruń, Poland’s Okuden performance space, is the recorded debut of Jungle, the trio of Walerian, piano ace Matthew Shipp and drummer supreme Hamid Drake (Walerian, while mostly self-taught, studied under both; he recorded a duo album with Shipp, also live from Okuden, in May 2012). Like Walerian, Shipp is primarily an outside/free player, but both are of the generation of ‘out cats’ that can embrace rhythmic impetus, congenial inside playing and influences outside jazz. The angular “Gentle Giants” features Walerian alternating tart, sleek blues phrasing with some gloriously agitated, slightly vocalized runs, Shipp’s percussive clusters and Drake’s clattering yet supportive drumming. “One For” begins with some luminously lyrical Shipp, then Walerian gets furious and cathartic, adding smooth, harmonious and even suave bits along the way, Drake matching each gent in intensity. The 18-minute suite-like “Coach On Da Mic” begins with Shipp playing free(ly), spiky notes flying out of the speakers (or earbuds)—enter Walerian with some gorgeous bluesy clarinet that grows to growl, groan and shriek to the heavens. Jungle juxtapose the cool with the hot, wild ‘n’ wooliness with elegance and gentle introspection with purifying proclamations. For more information, visit espdisk.com. Shipp is at Judson Church Jun. 9th with Jemeel Moondoc and Drake is there Jun. 7th, 9th and 11th, all as part of Vision Festival. See Calendar.

The Austrian Cultural Forum New York presents:

Austrian Jazz Guitarist

Andy Manndorff solo acoustic guitar

performing music from his forthcoming album, Pandora.

Thursday, June 2, 2016 07:30 PM at the ACFNY

(11 East 52nd Street, New York, NY 10022)

“Manndorff’s virtuoso technique is both spontaneous and earthy, bringing forth a multitude of colors and diversity of moods.” get your free ticket at www.acfny.org

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

The Distance Michael Formanek Ensemble Kolossus (ECM) by Stuart Broomer

Michael Formanek is best known as a bassist, whether leading his own quartet with saxophonist Tim Berne or in cooperative groups like Thumbscrew with guitarist Mary Halvorson and drummer Tomas Fujiwara. However, he also has a significant interest in large ensembles and large-scale composition. His duties at the Peabody Conservatory in Baltimore include directing the Peabody Jazz Orchestra and he has performed his Open Book there, a composition for symphony orchestra and jazz soloists. The Distance brings this side to the fore, introducing his Ensemble Kolossus, an 18-member group that follows the traditional big band model of five reeds, four trumpets and four trombones then complements it with the strings and percussion of Halvorson, Fujiwara and Formanek as well as pianist Kris Davis and Patricia Brennan on marimba, lending an orchestral breadth to the traditional notion of a rhythm section. To devote himself to his role as bassist, Formanek enlists another bassist, Mark Helias, to act as conductor. The scale of the band is no greater than the scale of the work. The CD begins with the brief title piece, an aptly named work that is filled with space, matching

airy held notes with a mysterious and dissonant melody and a moody, reflective solo by tenor saxophonist Brian Settles. Then follows an “Exoskeleton Prelude”: it’s initially a similarly impressionistic piece, which builds from deeply resonant unaccompanied bass, through lyrical orchestration to the improvising trio of Formanek, Davis and Fujiwara and increasingly tense and anticipatory lines from the brass. These two works serve almost as meditations, preparing the listener for what’s to come, the eightpart “Exoskeleton”, a work that is sometimes intense, sometimes relaxed, exploring in myriad ways the title’s notion of reversal, mixing compositional styles and traditions while providing solo spots for a wonderful collection of improvisers, ultimately turning increasingly to collective improvisation. The brassy punctuations of “Impenetrable” may suggest something from Anthony Braxton’s Creative Orchestra Music 1976 while “Beneath the Shell” owes a certain debt to the slippery sounds and harmonies of Olivier Messiaen’s Turangalîla; there are more than passing allusions to Charles Mingus’ methodology while “Echoes” may not sound out of place in a Maria Schneider performance. “@heart” and “Without Regrets” are highlighted by the transformative individual contributions of trombonist Ben Gerstein and Halvorson, respectively. With Part 6, the happily titled “Shucking while Jiving”, group improvisation becomes a key component, both with and without composed components, initially with a brawling ensemble of Settles, Berne on baritone saxophone, trombonist Jacob Garchik and bass trombonist Jeff Nelson. “A Reptile Dysfunction” includes a bright, chirping maze of marimba, drums, piano and Oscar Noriega’s clarinet while the concluding “Metamorphic” has an improvised passage by the full orchestra, a standout solo by trumpeter Dave Ballou and dense, composed conclusion appropriate to the work’s breadth and ambition. This is a remarkable debut for Formanek as orchestra leader and composer. He has put together a work in which the compositions and the band fuse multiple voices into a singular entity. For more information, visit ecmrecords.com. Formanek is at The Jazz Gallery Jun. 10th-11th with Mary Halvorson, Urban Meadow Jun. 12th with Tomas Fujiwara as part of Red Hook Jazz Festival and Ibeam Brooklyn Jun. 17th-18th with Devin Gray. See Calendar.

June 14th Mike Longo Trio annual Oscar Peterson Celebration June 21st Bill Warfield Band

June 28th Rosemary George Ensemble 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

Behind the Vibration Rez Abbasi & Junction (Cuneiform) by Ken Micallef

Back in fusion’s heyday Frank Zappa was quoted as saying, “Jazz isn’t dead—it just smells funny.” Rez Abbasi’s latest release could be called a fusion record, but it’s also a serious jazz recording and it thankfully has no odor. Of late, Abbasi has changed hats more often than the Queen of England. 2014’s Intents & Purposes turned ‘70s fusion on its ear, Abbasi reimagining classics from Weather Report, Return To Forever, The Headhunters, The Eleventh House and others with an entirely acoustic palette. Prior to that Abbasi investigated all manner of contemporary electric improvisation. Behind the Vibration peeks into a different fusion era, one without definitive roads to its destination. Joined by Mark Shim on tenor and MIDI wind-

20 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

controller, Ben Stivers on gritty Hammond B3, Rhodes and additional keyboards and rising drum star Kenny Grohowski, Abbasi rips his liquid D’Angelico semihollow body guitar through material recalling Allan Holdsworth’s Secrets, Bill Connors’ Step It and even further back to The Headhunters and, if stretching the reference, Brand X. Abbasi and Co. perform his originals with feet planted in fusion’s past while carving out a brave new future. The rhythmic burn can be credited to 25-year-old Grohowski, who pours his influences—including Vinnie Colaiuta, Chris Dave and Jon Christensen—through a uniquely kinetic vision. Abbasi’s tunes fly and soar, sail around corners and bang upside your head. For all its acetylene burn, Abbasi’s band is graceful and the melodies sustainable and engaging. “Holy Butter” opens with an itchy unison guitar and wind-controller melody juggled over a displaced groove. Hammond B3 steam and lyrical guitar drive the humid pulse of “Groundswell”, followed by the intimate ballad “Inner Context”, which recalls a lost gem from John McLaughlin’s Extrapolation. “Uncommon Sense” begins slowly, then lifts off into metric-modulation hyperspace. The cerebral chiming of “New Rituals” slips and slides, glowing like shooting stars, saxophone and guitar tracing its circuitous melody over multi-rhythmic groove. Closer “Matter Falls” rages like an electric shark, splitting waves, surfing whitewater, sleek in its mission as king of the sea. Similarly, Behind the Vibration cuts a swift course through contemporary jazz with style and substance. For more information, visit cuneiformrecords.com. This project is at Greenwich House Music School Jun. 11th and Urban Meadow Jun. 12th as part of Red Hook Jazz Fest. See Calendar.

PHOTO BY MARCO GLAVIANO

EX-SS World-renowned guitarist and composer Fabrizio Sotti with his signature D’Angelico EX-SS. His trio, featuring Peter Slavov and Francisco Mela, releases their highly-anticipated new album, “Forty,” on June 10th, 2016. Available everywhere. WWW.DANGELICOGUITARS.COM

A cosmic rhythm with each stroke Wadada Leo Smith/Vijay Iyer (ECM) Celestial Weather Wadada Leo Smith/John Lindberg (TUM) by Philip Freeman

Trumpeter Wadada Leo Smith is a brilliant arranger, having created works for small groups and large ensembles, as well as solo albums, but some of his most emotionally potent and beautiful work has been when paired with just one other musician. In recent years, he’s recorded duos with saxophonist Anthony Braxton (Organic Resonance and Saturn, Conjunct The Grand Canyon In A Sweet Embrace), pianists John Tilbury (Bishopsgate Concert) and Angelica Sanchez (Twine Forest), bassist Bill Laswell (Akashic Meditation) and drummers Jack DeJohnette (America) and Louis Moholo-Moholo (Ancestors), among others. Each pairs his uniquely dry, introspective horn playing with an improvising partner of thoughtful and generous temperament. These latest discs are further demonstrations of Smith’s empathy. His collaboration with pianist Vijay Iyer, A cosmic rhythm with each stroke, is an extension of their work together in the final iteration of Smith’s Golden Quartet on the album Tabligh (Cuneiform, 2005) and the Golden Quintet split release Spiritual Dimensions (Cuneiform, 2008-09). The bulk of the album is taken up by the 52-minute title piece, a suite broken up into seven movements. Smith’s trumpet, often muted, wanders to and fro as Iyer creates an ominous, melancholy atmosphere, exploring the low end of the keyboard almost like Matthew Shipp at times. When Smith plays open horn, though, his slightly smeared tone and long, wavering but expertly controlled notes, with frequent lunges into the upper register, are matched by flurries from the keyboard. This isn’t a purely acoustic album, either; Iyer contributes subtle electronics in places where they’ll create maximum impact with minimal input, mostly background hums and rumbles. On the third movement, “A Divine Courage”, there’s an almost subsonic reverberation, which slowly develops into a minimal bassline recalling John Carpenter ’s movie soundtracks; it gives the main instruments an additional resonance, like a layer of reverb. Smith teams up with another Golden Quartet/ Quintet member, bassist John Lindberg, on Celestial Weather. Unlike the more structured, if still free, duos with Iyer, these pieces—which, like the other album, include a multi-part title suite—are fully improvised. The energy level is much higher throughout and the music is slightly more raw and unadorned, with no electronic instruments present. Lindberg bows the bass with a fierce vigor, squealing into the instrument’s upper register and diving deep into its low notes; Smith responds with fast, flickering runs and dense bursts of notes. When the bassist plucks the strings, the trumpeter ’s playing grows slower and more spacious, but his trademark piercing power is always present, even when he’s growling at the very bottom of the trumpet’s range, as he does on the two-part album closer “Feathers and Earth”. Taken individually, these two albums are stark, beautiful statements. Taken together, they’re a reminder of the staggering power of the nowdisbanded groups that featured all three of these men working together. For more information, visit ecmrecords.com and tumrecords.com. Smith is at Judson Church Jun. 11th as part of Vision Festival. See Calendar.

22 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

The Puzzle Expansions: The Dave Liebman Group (Whaling City Sound) by Ken Dryden

Dave Liebman has so many diverse projects underway in his career he is like the man balancing spinning dishes on poles on The Ed Sullivan Show. Expansions is one of his most fascinating bands, as it features two talented young men he mentored as they grew up with him in the Poconos: keyboardist Bobby Avey and reed player Matt Vashlishan. The rest of the band is also of high caliber with veteran bassist Tony Marino (a frequent collaborator) and drummer Alex Ritz. One of the joys of Expansions is its continuous ability to surprise the listener, whether via challenging originals or a jazz standard. Marino’s “For J.A.” is dedicated to the late pianist Jimmy Amadie. It evolves from a tense vamp into free territory with Vashlishan’s expressive alto saxophone and Liebman’s darting, eerie soprano, with Avey adeptly alternating between piano and electric keyboard and a superb undercurrent by the composer and Ritz. Liebman’s playful setting of Tadd Dameron’s “Good Bait” provides some comic relief from the earlier intense tracks, though the solos are every bit as adventurous, particularly Avey’s galloping exploration, which detours far from the

usual path. Vashlishan’s “Sailing” is a richly textured feature for his ethereal flute, Liebman making a delayed entrance on soprano, providing a bit of contrast, while sublime electric keyboard, nimble bass and whispering percussion provide the perfect backdrop. Liebman’s title track is the CD’s centerpiece, a mysterious, dramatic workout with strong contributions from the rhythm section as they fuel the intriguing harmonic interaction between the leader and Vashlishan. Avey’s “Continues to Ignore” is a powerful protest song about U.S. treatment of Haiti, incorporating Haitian-inspired rhythms to accompany the melancholy lines of the reed players, with the composer ’s pensive, often sparse piano used to great effect. Expansions is a band that demands total focus, not for background listening but rather intellectually stimulating music revealing new facets with every hearing. For more information, visit whalingcitysound.com. Liebman is at Judson Church Jun. 12th as part of Vision Festival and Mezzrow Jun. 17th-18th. See Calendar.

Blue Dialect Mario Pavone (Clean Feed) by Ken Waxman

GUILLERMO KLEIN LOS GUACHOS V SSC 1414 - IN STORES 6/3/16

or 20 years, Guillermo Klein has been creating some of the most singular and exciting music for his highly adept 11-piece ensemble, Los Guachos. His compositional style has been evolving over the years, though always utilizing elements of jazz, folkloric music of his native Argentina, rock and modern classical music. Klein’s musical voice has established a number of unique composing concepts. His new recording, Guachos V, heralds his use of a new method: symmetries. To highlight this work, Klein has created two suites, Suite Indiana and Suite Jazmin, that use familiar works of the jazz canon and his own material reworked using mirroring, inversions and retrogrades of harmonies and melodies to create new compositions.

P rose masters such as Ernest Hemingway wrote with

an economy of style, with not a word out of place. In a musical context the concept can be applied to the playing and composing of bassist Mario Pavone. That’s because nine originals that make up Blue Dialect mostly feature his trio members, pianist Matt Mitchell and drummer Tyshawn Sorey. When Pavone steps forward for a brief solo or to add pinpointed phrasing or motion to a line, he strengthens the performance without bringing attention to himself. Pavone, 75, has been a proponent of this philosophy for years, having honed his skills with such masters of understatement as pianist Paul Bley and trumpeter Bill Dixon. This adherence has marked most of Pavone’s recording career, which dates to 1979, when Mitchell was just four years old and Sorey was a year away from being born. Symbolically dedicating a session to propelling the musical equivalent of le mot juste doesn’t mean abject seriousness, however. The playing is frisky and effervescent. Mitchell, responsible for most theme statements, mates a light touch with brisk invention: his crinkling and skittish timbres on a tune like “Suitcase in Savannah” could pass for Bley; a logical build up leads to thrilling, but understated Herbie Nichols-like swing on compositions such as “Blue”; and, on “Trio Dialect”, a joint improvisation, his agitated staccato flow borders on Cecil Taylor-like freedom. He and Pavone function like a reporter and editor. With the pianist storytelling at a midrange tempo, string plucks and stops provide the breaks and punctuation to the yarn. There are places where Sorey rockets the tempo, but his percussive jabs are constantly edited to marvelous restraint. Blue Dialect upholds the virtues of economical timbre placement while showing that sparse yet focused improvising is as fulfilling as dense extended performance. For more information, visit cleanfeed-records.com. Pavone is at Cornelia Street Café Jun. 15th. See Calendar.

CHRIS CHEEK

SATURDAY SONGS SSC 1453 - IN STORES 6/24/16

n his new recording, Saturday Songs, Cheek has utilized a multitude of techniques and influences to generate compositions that are stimulating to musical theorists and foot tappers alike. uch of his compositional style’s effectiveness stems from his love and use of the guitar. Cheek has always been drawn to the instrument and its openness of sound, the plugged-in aspects of the electric guitar and bass being literal driving elements of his ensemble’s sound. The fret masters that he enlists for the recording include guitarist Steve Cardenas, pedal steel expert David Soler and electric bassist Jaume Llombard. The musical polymath Jorge Rossy rounds out the ensemble on drums, vibes and marimba. The addition of the vibes and marimba added a certain flexibility that Cheek enjoyed, these fixed pitch instruments blended well with the non-fixed pitch of the pedal steel.

iTunes.com/GuillermoKlein iTunes.com/ChrisCheek www.sunn ysiderecords.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

was written, as not only a bandleader and arranger, but also as a pianist. Hyman has lived through a lot of jazz piano history: he reached adolescence during the Swing Era and was a young adult when Thelonious Monk and Bud Powell became influential in the bop world. His love of a broad range of piano styles continues to serve him well on House of Pianos. House of Pianos Dick Hyman (Arbors) by Alex Henderson

For more information, visit arborsrecords.com. Hyman is at Saint Peter’s Jun. 15th and at Tribeca Performing Arts Center Jun. 16th as part of Highlights in Jazz. See Calendar.

Dick Hyman, now 89, has not been an easy artist to categorize throughout his career. Jazz of the prebop variety (mainly stride piano and swing) has played a prominent role in his recorded output, yet he has hardly been oblivious to bop. Hyman’s versatility is very much in evidence on House of Pianos, recorded live at Farley’s House of Pianos in Madison, Wisconsin on Jun. 1st, 2014. Farley’s is not a jazz club but, rather, a store that sells and repairs pianos. Farley’s also offers educational clinics as well as concerts and Hyman lectured there the day before he performed. Hyman, playing unaccompanied, tackles everything from Stephen Sondheim’s “Send in the Clowns” and three Thelonious Monk gems (“Blue Monk”, “Ugly Beauty” and “Misterioso”) to the Jerome Kern standards “Yesterdays” and “All the Things You Are”. Hyman plays two originals as well: his theme from Woody Allen’s 1985 film The Purple Rose of Cairo and music (originally played on organ) from a late ‘60s-early ‘70s version of the game show Beat the Clock. Listening to Hyman’s spirited six-minute version of Billy Strayhorn’s “Take the ‘A’ Train”, one can hear that he admires Duke Ellington, for whom the song

30 Trio Da Paz (ZOHO) by Marcia Hillman

In this age of instant stardom and obsolescence, it is a miracle when a group stays together for 30 years. Trio Da Paz celebrates this event with their newest, aptlytitled album. The trio—Romero Lubambo (guitar), Nilson Matta (bass) and Duduka Da Fonseca (drums)— are virtuoso musicians from Brazil now based in New York City. This album not only features their musicianship but also demonstrates their talent as composers with four songs by Lubambo, three by Matta and a pair by Da Fonseca. The only non-original is “Samba Triste” by legendary guitarist Baden Powell, an early virtuoso of Brazilian jazz. Uptempo items such as Lubambo’s “Sweeping The Chimney” and “Samba Triste” spotlight the guitarist’s chord voicings and lightning-speed runs while Matta’s command of both the high and low registers of his instrument and Da Fonseca’s pulsing drumwork and playing of complex rhythms (as in “Alana” where he changes meter from 15/8 to 6/8 to a double 4/4 time and back to 15/8 with incredible ease) is featured throughout. 30 years of working together has produced a group that is of one musical mind. A prime example of this is on Matta’s “Aguas Brasileiras” where Lubambo’s solo is picked up by Matta for his lead in his highest register so seamlessly that it takes a few seconds before you realize that you are no longer listening to the guitar but to the bass. Kudos to Trio Da Paz for capturing the sheer joy they feel when making music together. For more information, visit zohohomusic.com. This group is at Tribeca Performing Arts Center Jun. 16th as part of Highlights in Jazz. See Calendar.

The Three Voices Victor Prieto (s/r) by Matthew Kassel

The accordionist Victor Prieto, instruments in hands, looms large and jubilantly over a city skyline on the cover of his new album. The skyline is actually two cities mashed together, which is easy to miss if you aren’t looking closely: New York and Ourense, Prieto’s 24 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

home city in northwestern Spain. The cover, Prieto said in an email, represents his music and his life between two cities, two continents and two cultures (Galician Celtic and urban American). Prieto now lives in New York, where you don’t find too many jazz accordion players. That gives him a secret advantage: he can assert himself on the scene as a leader and establish an easily recognizable voice. That comes out in more ways than one on his fifth release as a leader, as the name suggests. Prieto uses the record to showcase, in the last couple of tracks (the title track and “The Vibration”), a style of Mongolian throat singing in which he manipulates his vocal chords independently to make a multi-tonal braid of sound. While intriguing, this is hardly the highlight of the disc, which mostly features Prieto’s own sprightly, dance-based compositions. (There are two covers: “Michelangelo 70”, by Argentine composer Astor Piazzolla, and “Two Door”, by jazz guitarist Brad Shepik, who doesn’t appear on the record.) Prieto’s voice is most impressive when he puts his incredibly dexterous fingers to his instrument and you can hear, as in the first track “Chatting With Chris”, the physicality of the act. At one point, he makes his accordion wheeze with the intensity of a full church organ while in the last few seconds of “Recuerdos”, he elongates a high note that sounds strikingly similar to a violin. Guests include pianist Arturo O’Farrill (his appearance on the plaintive ballad “Papa Pin” is particularly lovely), saxophonist John Ellis, violinist Meg Okura and Cristina Pato on gaita, a kind of Spanish bagpipe. Jorge Roeder on bass and Eric Doob on drums round out the rhythm section. For more information, visit victorprieto.net. This project is at Symphony Space Leonard Nimoy Thalia Jun. 21st. See Calendar.

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member ’s surname—playful, cryptic, philosophical. For more information, visit for-tune.pl and doublemoon.de. Dominik Wania is at Jazz Standard Jun. 21st with Obara International and Cornelia Street Café Jun. 25th, both as part of Jazztopad Festival Presents. See Calendar. Live in Mińsk Mazowiecki Obara International (ForTune) The Other Side Of If NAK Trio (Doublemoon) by Fred Bouchard

P oland

has stood firm in the vanguard of jazz in Eastern Europe since the ‘50s, in the wake of enthusiastic swing bands like Melomani, with gleeful anti-Soviet fervor embracing ‘decadence’ and strong boosts from Willis Conover ’s “Voice of America” radio programs. There’s way too much history to go into here so let’s fast forward to today. Drummer Jacek Kochan writes NAK Trio’s book and alto saxophonist Maciej Obara writes all but two for his band’s live set at the House of Culture in Mińsk Mazowiecki, a Warsaw suburb. Their common thread is the commanding piano of Dominik Wania, a canny wild-man with classical chops, adventuresome fluidity and dramatic flair, skills he honed studying on scholarship in Boston with Danilo Pérez. Wania anchors Obara International’s linear wanderings as “Sleepwalker” gathers momentum and applies chordal glue as horn lines dip and fray on “Magret” but he also flies untethered in widening gyres of Cecil Taylor-esque lightning arpeggios on “M.O.” and clambers through thorny horn harmonies to illuminate the aforementioned “Magret” with Bartók-ian winking fireflies. Obara’s lyrical alto has roots in Herb Geller and Charlie Mariano, which bear fruit in free-blown sections, of which there are many, as the set evolves in a languid flowing jam. British trumpeter Tom Arthurs’ tart tone and lean technique make for a modest counterfoil, especially as horn solos often overlap. A Norse rhythm section fills out the band: bassist Ole Morten Vågan goes from energetic pizzicato into meditative arco on “M.O.” and drummer Gard Nilssen scores atypical solos with long, quiet rolls early on and pensive brushes on the closing ballad “Joli Bord”, reminiscent of the world-weary style of trumpeter Tomasz Stanko, a revered ex-boss. Wania doublehandedly turns “One For…” from somnolent dirge into frisky swagger with dominant technique and runaway ideas; the horns stand tall to witness his rolling into an extended coda. And Wania powers the lively climactic “Idzie Bokiem” with aggressive lockhand chugging, then storms into a commanding, tumbao-flecked solo over tight bass and chattering kit; when the horns falter, he comes back for more, firing off new-world heat into old-world languor. Voices are in better balance in the NAK Trio, where the creative exhilaration is mutual and the intimacy immediately apparent in the highly synchronized “Fortitude”. The title track rises amiably in 6/8, its jagged cross-rhythms played tautly yet at their ease. “Everything Is A Good Sign” emerges as a relaxed, melodic ballad that confidently gathers speed and raises body temperature. “Wooing to Woo” plays with short phrases with beats added, cheerful accelerations, careful attention paid by all while tumbling headlong, as Kochan slips from sticks to brushes for Michal Kapczuk’s bass solo. “Between Now and Never” begins as an introspective piano ballad then builds steam with marvelous cross-rhythms. Kapczuk opens “I Have Two But One Is Not Mine”—jumpy left-handed funk with a shuffling sidestep and dry dialogue between piano and electric keyboard. “Illegal Sleeping” wraps this three-way conversation with more natty polyrhythmic games and speedy, elliptical free-play. Whee, baby. NAK? It’s just the last letter of each

Live at Montreux (1993) Al Jarreau (Eagle Rock Entertainment) by John Pietaro

Al Jarreau is an icon of crossover jazz. Far from a slight, as the vocalist is one of the true talents of the genre, an auteur of quality material in the company of leading instrumentalists, he wears the honor well. For the uninitiated, Jarreau was a staple of programming on New York’s long-lost WRVR-FM jazz radio due to his unique reimagining of jazz vocals. His abilities are on fine display on this live recording from 1993. Though he appears to revel in faithfully reproducing the hits, Jarreau leaves just enough space for improvisation to keep the music fresh. His dreamy, reaching sound, riding on subtle funk propelling the rhapsodic, gospel-like turns of phrase, is only enhanced with scat vocals to elevate the listener further still. Super-star studio/fusion musicians like drummer Steve Gadd, guitarist Eric Gale, keyboardist Joe Sample, bassist Marcus Miller, synthesizer player Philippe Saisse, percussionist Paulinho Da Costa and horn player Patches Stewart lay it down well, though many may wish they got to open up more. Still, there are moments: check out a very hip Sample piano solo on “Mas Que Nada” (yes, the wonderful old Sergio Mendes hit) or Miller ’s hyper-funky flight on the closing cut. Sample, Stewart and Gale also color The Beatles’ “She’s Leaving Home” beautifully blue. The selections cover a swath of Jarreau’s early discography, beginning with 1975’s “We Got By”, but he throws in a few surprises. Highlights include the aforementioned titles, Gershwins’ “Summertime”, Jarreau’s “Alonzo” and a slow take on Sample’s “Put It Where You Want It”. If Jarreau had closed the set with his noted version of “Take Five”, all may be well in the world, at least for a while. For more information, visit eagle-rock.com. Jarreau is at Town Hall Jun. 25th as part of Blue Note Jazz Festival. See Calendar.

While We’re Still Young Patrick Cornelius (Whirlwind) by Thomas Conrad

Since

2006, Patrick Cornelius has released a good record roughly every two years. He is a little late with his new one, probably because it is the most ambitious undertaking of his career. His first five albums showed a top-tier alto saxophone improviser. While We’re Still Young is his breakout as composer, arranger and auteur. It is a six-part suite inspired by the poetry of A.A. Milne. It is initially paradoxical that Cornelius

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describes his tribute to another artist as “a musical self-portrait” but in Cornelius’ family, the verse of Milne has been inseparable from childhood. His grandmother read Milne’s poems to his mother. His mother read them to him. When his own daughter was born, the family copy of the book that gives this album its name was passed on to Cornelius. This music about the joy and wonder of youth is affirmational but never sentimental and only sometimes tender. The band is Jason Palmer (trumpet), John Ellis (tenor saxophone/bass clarinet), Nick Vayenas (trombone), Miles Okazaki (guitar), Gerald Clayton (piano), Peter Slavov (bass) and Kendrick Scott (drums). Cornelius writes graceful melodies and then sets his adept ensemble into motion to take his themes through many shapes and colors. His arrangements, intricate with secondary motifs and contrasting counterlines, create vivid musical counterparts for Milne’s imagery. On “Water Lilies”, Okazaki portrays quiet pools; Clayton bathes them in light; Palmer introduces the action of the winds. All eight individuals contribute compelling input, but their solos are organic to the suite. They slip seamlessly into and out of Cornelius’ evolving forms. “Vespers” is probably Milne’s best-known poem. (“Hush! Hush! Whisper who dares!/Christopher Robin is saying his prayers”) Okazaki opens it, his notes glittering like stars in a night sky. Clayton, Palmer and Cornelius each take the rapt moment away, expanding and intensifying the story. “Vespers” fades away as it began, with peaceful nocturnal guitar. By the end, Cornelius’ self-portrait belongs to all of us. In art, the universal always begins with the personal. For more information, visit whirlwindrecordings.com. This project is at Cornelia Street Café Jun. 26th. See Calendar.

Oscar, with Love “His piano, his friends, his music, their way…”

To commemorate the 90th birthday of jazz piano legend, Oscar Peterson, Kelly Peterson has produced a world premiere recording of never-before heard original Oscar Peterson compositions, by some of the most celebrated jazz artists in the world. Oscar, with Love is available as a three-CD boxed set, a Deluxe Edition CD with a 100-page commemorative book, a five-LP Limited Edition Vinyl set and a very special Collector’s Edition.

“This recording easily ranks among the best of the year.” Chicago Tribune

“A one-of-a-kind tribute.” The New York Times

“Oscar, with Love is an album to be applauded and treasured.” All About Jazz

Exclusively available at www.oscarwithlove.com

Father’s Day Jazz Brunch Featuring

Black Art Jazz Collective Co-Presented by the brooklyn Conservatory of MusiC & exCelsior MusiC studio

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Early Americans Jane Ira Bloom (Outline) by Elliott Simon

Sidney Bechet, Steve Lacy and fond memories of John

Coltrane’s version of “My Favorite Things” aside, the soprano saxophone had not been among this reviewer ’s favorite listening experiences. That is until Jane Ira Bloom. Her warm, mellow tone (yes, I am speaking of a soprano saxophone), bluesy swing, smooth phrasing and spot-on intonation shatters all misconceptions. Early Americans, surprisingly her first trio release, presents these essentials of her sound and more in an intimate setting. Bloom’s mastery of the lower registers is on display early with opener “Song Patrol”. Wonderfully understated, bassist Mark Helias and drummer Bobby Previte combine for a rhythm section that doesn’t overpower the more delicate aspects of Bloom’s approach. With the exception of a poignant solo version of Leonard Bernstein’s “Somewhere” to close out the session, the remaining 12 tunes are Bloom originals and traverse an array of styles. The Native American cadence of “Dangerous Times” does support some judicious nasal snake-charming but Bloom is at her best as the session heats up. The band changes direction immediately after with “Nearly”, a beautiful tribute to late trumpet player Kenny Wheeler. “Hips and Sticks” has a soulful spirituality reminiscent of vintage Pharoah Sanders while “Singing the Triangle” is a bluesy adventure prominently featuring Helias’ hip approach. Things get Sly Stone funky with “Rhyme or Rhythm” and then abruptly calm down as “Mind Gray River” washes over you like a hot Southern rain. Previte makes sure the soundscape stays loose on “Cornets of Paradise” and Bloom uses shades of Bechet for a nod to both freedom and Dixieland. “Gateway to Progress” and “Big Bill” revel in the aforementioned roominess and Bloom and Co. cook in these environs. While there are some lighthearted moments, Bloom’s soprano saxophone mainly speaks in serious sentences on Early Americans. For more information, visit janeirabloom.com. This project is at Cornelia Street Café Jun. 5th. See Calendar.

BKCM.ORG/EVENTS $25 Food & drinks included Covered Robert Glasper (Blue Note) Everything’s Beautiful Miles Davis & Robert Glasper (Columbia-Legacy) by Eric Wendell

P ianist Robert Glasper has been the cupid to the “will 58 Seventh Avenue, Brooklyn NY 11217 718-622-3300 This program is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

they, won’t they?” flirtation that has existed between jazz and hip-hop for years. He has kept a foot in each art form with brilliant results in both genres. On his most recent outings Covered and Everything’s Beautiful, Glasper establishes that jazz may be his language, but hip-hop is his voice. Covered is an interesting take on both the live album and covers album. Recorded in an intimate

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setting at Capitol Records Studios in Los Angeles, Covered features his trio of bassist Vicente Archer and drummer Damion Reid, the rhythm section from his previous albums Canvas and In My Element (Blue Note 2005 and 2007, respectively), as they interpret several notable covers as well as selected material from Glasper ’s catalogue. Glasper immediately hits his stride on “I Don’t Even Care”, plaintive piano performing against a frenetic drumbeat creating a sprawling dynamic. Glasper ’s take on Victor Young’s “Stella By Starlight” is both raucous and sentimental, torn between sudden melodic outbursts and ornate passages. The covers on the record attempt to canvas a wide array of material, including Radiohead’s “Reckoner” and Joni Mitchell’s “Barangrill”, both unfortunately feeling way too straightforward coming from Glasper ’s fingertips. The album is at its most successful when it attempts to dig deep for emotions. Glasper aims for the funny bone on “In Case You Forgot”, where he quotes both Cyndi Lauper ’s “Time After Time” and Bonnie Raitt’s “I Can’t Make You Love Me”, delighting the audience. On the other side is the closer “I’m Dying of Thirst”, which features a spoken word section of a child reading a list of people that have died at the hands of police brutality. It’s a meditative end to an album showing that Glasper doesn’t just want to entertain but leave the listener to contemplate. On the other side of the spectrum is Everything’s Beautiful, a reimagining of several Miles Davis master takes and outtakes featuring notable contemporary R&B and hip-hop artists like Illa J, Erykah Badu and Phonte as well as one-time Davis guitarist John Scofield. Glasper and his guests beautifully weave a tribute to the legendary trumpeter. What is so noteworthy about Everything’s Beautiful is how consistently groove-oriented the music is, with every beat inviting a bounce, every note adding nuance and every song resulting in a smile. From the breathy succulence of vocalist Bilal’s performance on “Ghetto Walkin’” to Phonte’s rhymes on “Violets”, the sheer joy and love that permeates from Glasper and his guests is hard to resist. A highlight is “Maiysha (So Long)”, Glasper ’s electric piano solo from 2:50-3:20 providing a juicy, lively tone that springs off the static drumbeat. “Little Church” feels dream-like as the swells of sound become transcendent. The most direct link to Miles is Glasper ’s take on “Milestones”, which features a beautifully steadfast performance from singer Georgia Anna Muldrow, taking the Miles standard to new heights. For more information, visit bluenote.com and legacyrecordings.com. Glasper is at Blue Note Jun. 21st-26th. See Calendar.

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The Mood I’m In

Miles And Miles Of Swing

ft: Warren Chiasson, Jay Leonhart and Ronnie Bedford

ft: Roland Hanna, George Mraz and Richie Pratt

ft: John Pearce, Paul Morgan, Mark Nightingale, Bobby Worth and Andy Panayi

ft: Marky Markowitz, Al Cohn, Scott Hamilton, John Bunch and Milt Hinton

PCD-7038

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Walter Norris Trio Stepping On Cracks ft: George Mraz & Ronnie Bedford

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Bill Watrous Quartet

Mal Waldron

Coronary Trombossa!

Run About Mal / Mal ‘81

ft: Jim Cox, Chad Wackerman, Tom Child and Dave Levine

ft: George Mraz & Al Foster

George Mraz Trio Plucking & Bowing ft: Tom Garvin and Peter Donald

Tickets & Info 914.232.1252 caramoor.org High art. Casual fun. Presented in Collaboration with Jazz at Lincoln Center

July 9 / Fred Hersch & Friends July 23 / Jazz Festival Featuring CHICK COREA TRIO August 6 / Cécile McLorin Salvant and The Aaron Diehl Trio Free Metro-North Katonah Shuttle Supported by

CHICK COREA TRIO / Photo by Andrew Elliot

La Zorra Bill Watrous Quartet (Famous Door-Progressive) by Scott Yanow

Trombonist Bill Watrous, who turns 77 this month, first gained attention for the two albums recorded with his Manhattan Wildlife Refuge Big Band for Columbia in 1974-75. He made some of his finest small group sets for the Famous Door label, leading five impressive albums during 1973-83. After moving to Los Angeles in the late ‘70s, Watrous became involved in jazz education. While Watrous has worked in the studios and appeared in local jazz clubs in the years since, he has recorded much less frequently and tends to be overlooked despite his continuing excellence. Watrous has long had the ability to play boporiented music as fast as any other trombonist while always displaying a beautiful tone. La Zorra, originally recorded for Famous Door in 1980, features him in top form leading a quartet/quintet of Jim Cox on acoustic and electric pianos, bassist Tom Child, drummer Chad Wackerman and occasionally Dave Levine on percussion and vibraphone. The opening title track is ironically the most dated performance due to the Fender Rhodes (Cox is much stronger on piano) and the period rhythms. However, despite that, the opening four-minute trombone solo is a bit wondrous. “Jitterbug Waltz” would have made a better opener; it is a true rarity in Watrous’ discography as an unaccompanied trombone solo. He alternates his melodic improvising with some low-note multiphonics used for punctuation. “Mudslide Solly”, an uptempo original, has rewarding solos from the trombonist, Cox (this time on piano) and Child. Harry Warren-Al Dubin’s “Shadow Waltz”, an obscure tune from the film Gold Diggers of 1933 worth reviving, is given a rollicking treatment. “How About You?” begins with a slow melody chorus and then, after Watrous takes an explosive break, is taken at a swinging pace. Watrous tosses in an unaccompanied chorus in the middle of his solo. Both “The Song Is You” and the bonus cut “There Is No Greater Love” are taken at burning tempos Watrous handles effortlessly. La Zorra is one of Bill Watrous’ finest recordings and serves as a perfect introduction to the playing of the brilliant trombonist. For more information, visit jazzology.com

Talk Thelonious Terry Adams (Clang) by Joel Roberts

A lot of pianists have recorded tributes to Monk but few are as unique and personal as Talk Thelonious, the new release from Terry Adams, longtime keyboard maven for the hyper-eclectic rock band NRBQ. Adams is no newcomer to Monk’s music. He befriended Monk in New York in the early ‘70s and has been playing Monk tunes with NRBQ for years, 30 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

alongside the band’s high-spirited mix of rock, pop, blues and just about everything else. It’s a quirky formula the group has been honing since it was formed way back in 1966. Talk Thelonious, recorded live in a Vermont club in 2012, features Adams’ idiosyncratic arrangements of a dozen Monk compositions, performed with current members of NRBQ (Adams is the last original member still with the group) and some guests. The album opens dramatically, Adams playing “Reflections” on pipe organ, before switching to acoustic piano, where he proves his chops in a traditional trio setting. Elsewhere, “Hornin’ In” gets a rollicking, rockabilly treatment with a terrific turn from guitarist Scott Ligon. “Monk’s Mood” is appropriately moody with multiinstrumentalist Jim Hoke doubling on harmonica and pedal steel guitar while “Ask Me Now” is performed as a tender duet for Adams on piano and Ligon (another accomplished multi-instrumentalist) on Hammond B3 organ. Adams even revisits Monk’s take on the children’s song “This Old Man” (retitled “That Old Man”) featuring, naturally, Hoke on ocarina. The two standout cuts come at the end and typify Adams’ eccentric approach and willingness to cross any and all musical boundaries. “Straight No Chaser”, one of Monk’s most familiar tunes, is reimagined as, of all things, a slice of Bob Wills-inspired Western swing, replete with pedal steel guitar, slap bass and saloonhall piano. That’s followed by something completely different and unexpected: a lush, beautiful studiorecorded version of “Ruby, My Dear” with strings. It’s a fitting end to Adams’ heartfelt, entertaining and utterly original spin on the music of Monk. For more information, visit nrbq.com. Adams is at The Stone Jun. 17th with Hal Willner. See Calendar.

JULY 19–28

ReNew Shunzo Ohno (Special Sessions Music) by Terrell Holmes

Trumpeter Shunzo Ohno presents songs with a striking blend and balance of musical and cultural influences on his excellent new album ReNew. From the drop of the bass and drums, opener “Easy Does It” confirms Miles Davis as Ohno’s main stylistic influence. With its funky street-corner cool and Ohno’s smooth, measured lines, this song is like the guy who knows he’s cool but doesn’t need to say it. Ohno builds solid harmonies with clear logic and rock-steady tonality. Miles is his muse but Ohno has his own style, playing with crisp rhythm and spacing, occasionally underscoring his ideas with clustered trills. The title cut is an emotive ballad, contemplative and developed gradually, unfolding like one of those elapsed-time films of flowers blooming. Ohno, guitarist Paul Bollenback and keyboardist Clifford Carter complement each other perfectly (Ohno’s daughter, Sasha, a cellist, joins her dad for the lovely reprise of the tune). Another ballad, “Alone, Not Alone”, which sounds like it has “’Round Midnight” somewhere in its lineage, is spare throughout and melancholy at its edges, with Ohno overdubbed on trumpet and Carter mimicking flute on the keys. Ohno is admirably fluent in several subsets of jazz, as he proves with “Musashi” and “Lea’s Run”, forays into so-called acid jazz fueled by the passionate vocals of slam poet George Yamazawa. His words are inspirational and the pace is upbeat and urgent. Returning to Miles, one may think of Doo-Bop or, perhaps, hip-hop meets hagakure. Ohno is quite adept at playing in the classic style. “Song for Sensei”, written by bassist Buster Williams, is a perfect study in hardbop execution, sparked by Ohno’s soaring play and a fantastic solo by Bollenback. “First Step” is a similarly fierce race to the finish, relentless drumming setting the pace. The percussive genius of Cyro Baptista, tabla work of Ray Spiegel and more of Carter ’s keyboard wizardry fuel the wonderful “Tairyo Bushi”, a Japanese folk song Ohno translates nicely into the jazz idiom. ReNew will have something for everyone. All of the songs are on point and the energy and enthusiasm that Ohno and his fellow players bring to this project is palpable throughout.

JIMMY GREENE Tenor Sax

DON’T MISS A BEAT of summer’s hottest jazz festival — with artistic director BILL

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FREDDY COLE DICK HYMAN JIMMY GREENE HOUSTON PERSON CAROL SLOANE TED ROSENTHAL GENE BERTONCINI ANAT COHEN and many more! Featuring

SPECIAL EVENT!

Screening of feature documentary

For more information, visit shunzoohno.com. Ohno is at Club Bonafide Jun. 25th. See Calendar.

VINCE GIORDANO —

THERE’S A FUTURE IN THE PAST

Sun, Jul 10, 6 pm

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Join Vince Giordano, Bill Charlap and filmmakers Dave Davidson and Amber Edwards in conversation followed by a performance from Vince Giordano and the Nighthawks. One for Marian: Celebrating Marian McPartland Roberta Piket (Thirteenth Note) by Donald Elfman

Roberta Piket first met fellow pianist Marian McPartland in 1994 and a lasting friendship was developed. Piket’s new album is a remarkable tribute to her late friend, celebrating McPartland as a composer

32 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

and Piket’s own composing, arranging and playing. McPartland, who died in 2013, composed six of the eight tunes. The opener is “Ambiance” and this arrangement realizes McPartland’s interest in Herbie Hancock and Wayne Shorter. The impressionistic melody is fueled by the horn section of Steve Wilson (flute and alto), Virginia Mayhew (tenor saxophone) and Bill Mobley (trumpet). Wilson and Piket solo impressively over the distinctive mood of the changes spurred on by the rhythm section of bassist Harvie S and drummer Billy Mintz. Of special note here is the inclusion of McPartland’s ballad “Twilight World” with lyrics by Johnny Mercer. After a poignant introduction, with what sounds like Piket playing inside the piano, guest vocalist Karrin Allyson beautifully intones the luscious melody with only Piket as accompaniment. (The idea for the duet was suggested by producer Todd Barkan.) McPartland is shown as an open-minded composer on four other tunes: bittersweet ‘In the Days of Our Love”; mournful and soulful “Threnody” (McPartland’s recollection of Mary Lou Williams); exotic “Time and Time Again” and “Kaleidoscope”, the ever-changing tune that served as the theme for Piano Jazz. The title track and “Saying Goodbye” are Piket tunes and they touch on the broad interests of McPartland the musician and the person. The former is a cooker with an intriguing melody and brief pointed solos by Mayhew, Piket and Wilson while Piket played the latter on McPartland’s last Piano Jazz show and the host liked its expression of positive sense of loss. Piano, bass and trumpet solo and help express ongoing love for this great woman of music. For more information, visit thirteenthnoterecords.com. This project is at Ibeam Brooklyn Jun. 4th. See Calendar.

Erik Friedlander

@ The Stone June 7 - 12

12 Sets / 11 Different Bands / 6 Premieres* Sets are at 8p & 10p The Stone is located at Avenue C and 2nd Street June 7 8 pm - John Zorn’s Bagatelles: Mike Nicolas/Erik Friedlander 10 pm - Claws & Wings: Erik Friedlander, Sylvie Courvoisier, Ikue Mori June 8 *8 pm - 50 Miniatures for Improvising Quintet: Jennifer Choi, Sylvie Courvoisier, Trevor Dunn, Michael Sarin, Erik Friedlander *10 pm - Vanishing Point: Craig Taborn/Erik Friedlander (cello)

June 9 *8 pm - Black Phebe "RINGS": Shoko Nagai, Satoshi Takeishi, Erik Friedlander *10 pm - Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith June 10 8 pm - Broken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander *10 pm - Arrullo de la Noche Honda: Erik Friedlander, Lucia Pulido

June 11 *8 pm - The Time Quartet: Erik Friedlander, Mark Helias, Uri Caine, Ches Smith 10 pm - Oscalypso: Michael Blake, Erik Friedlander, Michael Sarin, Trevor Dunn June 12 8 pm - Illuminations: Erik Friedlander 10 pm - Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander

For more info visit: erikfriedlander.com/calendar We the Artists Ask YOU to Help Sustain Vision Festival at artsforart.org/support An Open Letter FOR YEARS, We Artists have looked forward to presenting our work at Vision.

AFA runs programs that bring Improvisation to underserved children. We hold meetings and panels to voice our concerns.

Because the Arts For Art Vision Festival is unlike any other festival.

Arts for Art has achieved an important place in the global cultural landscape.

It is run by artists for artists—to help build community and forge alliances and make sure that the contributions of important FreeJazz Artists will be Visible and Celebrated.

This year several of their major donors find themselves unable to donate at a loss to AFA of over $30,000.

AFA receives no support from major corporations. It is unique in presenting the Founders as well as the new generation of creative improvising artists.

the creative option

June 7 - 12, Judson Church, NYC

AFA works to pass on the ideals to new diverse generations of artists. AFA stands for idealism and SOCIAL RESPONSIBILITY.

This year the city, after 18 years of consistent support, cut funding to many small organizations, including AFA.

This is an emergency Vision Campaign and the donations will help stabilize Arts for Art and cover festival costs. We the Artists ask that you JOIN US in Support of this important festival.

signed William Parker

Henry Grimes

Bob Holman

Hamid Drake

Rob Brown

Karen Borca

Cooper-Moore

Roscoe Mitchell

Chris Dingman

Michele Rosewoman

Ras Moshe

Alvin Fielder Larry Roland

Michael Bisio

Mike Reed

Jen Shyu

Matthew Shipp

William Hooker

Wadada Leo Smith

Steve Swell

Andrew Cyrille

Jason Hwang

Dave Burrell

Jo Wood-Brown

Oliver Lake

Jemeel Moondoc

David Mills

Hill Greene

James Brandon Lewis

Joel Futterman

Fay Victor

John Zorn

D.D. Jackson

Newman Taylor Baker

Marc Ribot

Andrew Cyrille

Milford Graves

Hamiet Bluiett

Quincy Troupe

Connie Crothers

Elektrotropizm Zbigniew Chojnacki (ForTune) Lungfiddle Adam Matlock (Off) by Clifford Allen

While accordion has a lengthy history in jazz, it’s far from a common instrument. Indeed, it probably has far more detractors than supporters, which is unfortunate because the accordion is an incredibly versatile axe. The most visible contemporary practitioners fall squarely in the avant garde realm, building on expanded palettes and a clear understanding of the instrument’s rich preexisting vocabulary. On the young Polish accordionist Zbigniew Chojnacki’s unaccompanied debut Elektrotropizm, he supplants a grimy Hammond B3-like insistence with an array of pedals and a laptop (as well as occasional wordless vocals). The music ranges from bright, folksy melodies, like the closing “Tuwim”, to the fantasia of measured blurts and sine-abetted darts that begins the four-part “Suite” central to the disc. By its third section, Chojnacki’s deft keyboard work and supple bellows are in full view, creating intricate chordal patterns advancing and receding in relation to dramatic melody fragments, halting in curtailed blows as he builds an emphatic slink into the lengthy fourth part’s honking minimalism. Elektrotropizm is a flawless, vast exploration arrived at through singular means. Accordionist, vocalist and composer Adam Matlock is based in New Haven and is mostly known for his work in the Tri-Centric orbit of composer Anthony Braxton and related ensembles (Broadcloth; Dr. Caterwaul’s Cadre of Clairvoyant Claptraps). Lungfiddle is his latest acappella effort, a seven-tune outlay of driving button-flecks, chewy particulars and whirling drone. Matlock is a harried technician with frenzied clarity and, unlike some of his peers, he avoids electronics entirely. In hearing the controlled panoply exhibited on this set, it’s hard to believe this constant amalgam of breath and finger motion is unadulterated— yet the music shouldn’t be entirely prized for physique, as out of pure, shapely emotion and breathtaking runs occasionally emerge fully realized structures. In the pantheon of solo recordings of any stripe, accordion or otherwise, Lungfiddle is a stunning achievement. For more information, visit for-tune.pl and off-recordlabel. blogspot.com. Matlock is at Soup & Sound Jun. 25th. See Calendar.

Buoyancy Ingrid Laubrock/Tom Rainey (Relative Pitch) by John Sharpe

It should come as no surprise that a duet by a husband

and wife team may be described as deeply personal. What may be less of a given is the freshness of response saxophonist Ingrid Laubrock and drummer Tom Rainey conjure from their extensive experience, both together and separately. Recorded live at the end of a 17-date North American tour, Buoyancy finds the pair in relaxed but still vigilant mode. The album comprises four jointly

extrapolated confections. Each takes the listener on a journey distinguished by the principals’ fondness for twists in the road. There’s often a bracing sweetness to Laubrock’s progressions, perhaps reflecting the intimate context. Both are masters of textural invention, allied in the drummer’s case to an expansive rhythmic wit. That’s demonstrated by the considered exchange that opens the title track, where tenor banters conversationally against pulsing cymbals. Charged animation comes when an episode of staccato saxophone prompts martial drum cadences, ramping up the intensity, until a return to the initial gambit. And both know how to defy expectations as exemplified by “Twenty Lanes”, which generates a more discursive trip than most. After a start of pattering percussion like lapping waves against barely audible soprano tones, Laubrock’s foghorn blurts shatter the mood. In empathy Rainey’s abrupt drumbeats erupt from a low-volume crackle. An unforced evolution common to each of these pieces finally leads to a sprightly folk dance, illuminated by skronk over a snappy tattoo. A similar trajectory holds sway on the briefer “The Museum Of Human Achievement”, where a gentle ruminative opening suddenly pivots on a contorted phrase to take a darker turn with rumbling toms and overblown squawks. “Thunderbird” shows some of the unexpected destinations where such capers can lead. It features droney tenor and furtive percussive rustlings, set amid lots of space. Rainey contributes an emphatic unaccompanied flourish, before the piece finishes with a steady pulse fading to silence. For more information, visit relativepitchrecords.com. This project is at Barbès Jun. 15th and Zürcher Gallery Jun. 30th. See Calendar.

Escape Velocity Theo Croker (OKeh) by George Kanzler

Trumpeter

Theo Croker and his band DVRK FUNK bring a decidedly pop-funk electric orientation to his sophomore recording, one not quite as eclectic as his debut AfroPhysicist. The 15 tracks range from just over the two minute mark to a couple that barely broach five. With heavily layered rhythms and textures and emphasis on ensemble themes over improvised solos, many of these tracks resemble funk-jazz tunes suitable for commercial radio stations. Croker is front and center as trumpet lead and soloist, often layering his playing with reverb and/or overdubbing lines from open trumpet and wah or Harmon-muted trumpet. His open sound is tart and low vibrato, capable of growls and clean high, long notes as on “Meditations”, one of the few acoustic (sextet) tracks, a recollection of hardbop with an elongated tag finale. He displays creative flair on the duo track “A Call to the Ancestors”, soloing over African percussion with open trumpet reminiscent of Hugh Masekela, but layered with bleats from trumpet mouthpiece. At the center of the album is a pair of tunes with Black Lives Matter inspiration: “We Can’t Breathe” evokes the killings of Trayvon Martin and Eric Garner, powered by churning rhythms and emotive organ and tenor saxophone solos, followed by “It’s Gonna Be Alright”, an upbeat response over chattering beats, which includes a vocal chorus of the title phrase. A highlight is “Love from the Sun”, featuring Dee

34 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Dee Bridgewater, Croker’s early mentor, wherein the earnest vocal and echoing trumpet triumph over the synth-heavy backgrounds. However, other tracks seem too abrupt or unfinished. “Because of You” is a promising power ballad, which, despite being one of the longer tracks, ends before any soloing really starts. And although just over two minutes long, the closer, “Rahspect (Amen)”, resonates as a completely satisfying duo (trumpet-piano) ballad. For more information, visit okeh-records.com. Croker is at Jazz Standard Jun. 7th-12th with Dee Dee Bridgewater and Herbert Von King Park Jun. 29th as part of SummerStage. See Calendar.

finding love in an oligarchy on a dying planet Joe Lovano Kate McGarry Noah Preminger Gary Versace Masa Kamaguchi Brendan Burke Available now on Brooklyn Jazz Underground Records www.bjurecords.com www.robgarciamusic.com

In My View Michael Gibbs & The NDR Big Band (Cuneiform) by Mark Keresman

Michael

Gibbs, composer, arranger, conductor and educator, has long been one of jazz’ most prized assets. That lovely song “Sweet Rain” from the Stan Getz album of the same name? His tune. He’s also collaborated with Gary Burton and The Mahavishnu Orchestra and while based in the UK Gibbs’ orchestras featured the cream of British jazz (and occasionally rock) talent. In My View, Gibbs directing the estimable NDR Big Band of Germany, is an album split almost evenly between Gibbs originals and choice (and none too obvious) standards. In My View is in the tradition of Toshiko AkiyoshiLew Tabackin, Gil Evans, late-period Duke Ellington and Woody Herman circa 1970-75—a swinging modern big band with a brassy style, imaginative arrangements and concise but inspired soloing. But Gibbs keeps it fresh and unpredictable. His “’Tis As It Should Be” opens with a Latin-tinged cha-cha-cha rhythmic lilt, bright, yearning brass lines and the buttery swagger of Claus Stötter’s flugelhorn. Carla Bley’s “Ida Lupino”, an elegant homage to the late actress and director, evokes a J.S. Bach chorale, then the soundtrack to a film noir (such as Lupino directed) thanks to the moody, blues-hinted piano solo by Vladyslav Sendecki and warm, fluid clarinet of the recently passed Lutz Büchner. Monk’s “Misterioso” gets a sumptuous Ellington-like treatment until it takes a punchy, darting tone, followed by burlesque-like orchestral backgrounds over which the trombone section goes to town with aggrieved growls, mock-tortured wails and suavely agreeable bluster. Gibbs maintains Ornette Coleman’s “Ramblin’” country and blues undertones while adding some offkilter old-school riff-heavy swing à la Count Basie. Attention, big band fans—Gibbs finds a middle path between the creative approaches of Evans and Bley and the visceral drive of Thad Jones-Mel Lewis and Herman and traverses that path with plenty of distinctive class and top-shelf technique. For more information, visit cuneiformrecords.com. Gibbs is at The Stone Jun. 14th with Hal Willner. See Calendar.

The Out Louds Ben Goldberg/Mary Halvorson/Tomas Fujiwara (Relative Pitch) by Stuart Broomer

The Out Louds is a new formation of three accomplished

improvisers: clarinetist Ben Goldberg, guitarist Mary Halvorson and drummer Tomas Fujiwara. While improvising ensembles usually work within a style, The Out Louds seem to be living up to their name, literally “thinking out loud”, seeking different ways to meld their musical thoughts. Distinct approaches arise everywhere here, whether it’s a lead voice establishing a distinctly odd tack or supportive bits that wander far afield, sometimes almost

immediately. It’s apparent from the first track, as Goldberg initiates “Starry/False” with an ascending phrase around which Halvorson begins to present lines that initially agree then diverge. “False Goat’s Beard” covers tremendous ground, ultimately arriving at mere wisps of evanescent sound when Goldberg lowers the volume to the point where his clarinet seems to be whispering secrets. “Yellow Queen” has Halvorson playing tentatively, sounding like she’s literally looking for something she hasn’t heard yet; when Goldberg enters, his sound is so liquid as to suggest the sound may be found underwater and Fujiwara’s distinct taps seem to be measuring depths. “Obedience” is a gentle tangle of overlapping repeating phrases that eventually becomes a throbbing field of dense, buzzing guitar and drums. “Pink Home Run” demonstrates Goldberg’s knack for pure spontaneous melody, setting it in a woody lower register suggesting Jimmy Giuffre; cymbals and snare provide a frame while the guitar’s pitches bend off into space. Sometimes consistent patterns emerge and strong continuous play develops, presenting another dimension. “Trout-Lily” begins as a kind of free ‘cool jazz’ only to become increasingly chromatic and agitated; Goldberg and Fujiwara generate intense free jazz on “Nearly Wild”. Those titles are the names of flowers (“False Goat’s Beard” is a species of astilbe common in woodlands; “Pink Home Run” is a rose) and it’s an inspired match for music that seems to be playing with its own genetic codes, from things as they are to mixes of unconscious patterns, new hypotheses and sudden interventions.

Magnarelli’s powerful opening title track is postbop at its best while Davis’ “Easy” has the laid-back feeling of a walk on a spring day. With its many twists, DiRubbo’s “The Step Up” is infectious, with terrific call-andresponse and tight harmonies. The quintet is up to tackling two Coltrane works, a boisterous rendition of “26-2” and a thoughtful treatment of “Central Park West”, showcasing expressive trumpet and creative organ. French Impressionist Claude Debussy’s music has been explored by jazz groups though rarely as focused as Magnarelli’s swaggering arrangement of the ballad “My Reverie”. This consistently high performance practically demands a follow-up session. With over three-and-a-half decades in the New York jazz scene, beginning with Buddy Rich and Toshiko Akiyoshi, Walt Weiskopf is long established as a hardblowing tenor saxophonist and creative composer. Accompanied by Charette, up-and-coming vibraphonist Behn Gillece and Fidyk, most of The Way You Say It focuses on Weiskopf’s potent originals, starting with the percolating blues “Coffee and Scones”. The catchy unison theme of “Blues Combination” is negotiated with the confidence of a working band, Fidyk providing a strong undercurrent. Alex Kramer-Joan WhitneyMack David’s “Candy” was long favored by soul jazz saxophonists and this understated interpretation pays homage to past greats, with sublime organ and soft brushwork supplying the perfect backdrop. There’s a change in direction with the dramatic setting of Weather Report’s “Scarlet Woman”, then an effortless galloping through Charlie Parker’s bop gem “Segment” before cooling off the listener with the lush title ballad.

For more information, visit relativepitchrecords.com. This project is at Cornelia Street Café Jun. 14th. See Calendar.

For more information, visit posi-tone.com. Charette, Magnarelli and Weiskopf are at Club Bonafide Jun. 24th with the Posi-Tone Allstars. See Calendar.

Once & Future Brian Charette (Posi-Tone) Three on Two Joe Magnarelli (Posi-Tone) The Way You Say It Walt Weiskopf (Posi-Tone) by Ken Dryden

Brian

Charette has been a rapidly rising star of the Hammond B3 organ for the past few years and his latest CD is a salute to his fellow players, ranging from greats of the Swing Era to current players. Well accompanied by guitarist Will Bernard and drummer Steve Fidyk, Charette is interested in modernizing vintage tunes while putting his stamp on them. Starting with Fats Waller’s “Jitterbug Waltz”, Charette swings but the peppy rhythm section gives this jazz favorite a new flavor. His funky take of Larry Young’s blues “Tyrone” downplays John Coltrane’s influence on its composer and turns it into a percolating number for partying. The band engages in shout-outs of the title to Jack McDuff’s engaging funky blues “Hot Barbecue”, though Charette’s keyboard fireworks merit the real attention. Bud Powell’s “Dance of the Infidels” isn’t commonly heard on organ, but this imaginative treatment may open the door for others to conduct further explorations. Charette wraps the session with his hip “Blues For 96”. The future of Hammond B3 is in great hands. Trumpeter Joe Magnarelli relocated from Syracuse to New York City in the mid ‘80s and has steadily built a solid reputation as a leader and sideman. On Three on Two, his ninth CD, he is joined in the frontline by trombonist Steve Davis and alto saxophonist Mike DiRubbo, with the “two” being Charette and drummer Rudy Royston. This release has an engaging vibe that makes it sound like a working group rather than musicians who rehearsed a few tunes for a record date.

36 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

uly 29 - 31, 2016

Norah Jones • Chick Corea trilogy w/ Christian McBride & Brian Blade • Gregory Porter • Kamasi Washington Robert Glasper Experiment • Joey Alexander Trio • Nels Cline: Music from Lovers • Angélique Kidjo Charles Lloyd New Quartet w/ Jason Moran, Reuben rogers & Eric Harland • John Scofield/Joe Lovano Quartet The Bad Plus performs Ornette Coleman’s Science Fiction • Galactic • Potter, Holland, Loueke & Harland • José James Donny McCaslin Group • Lizz Wright • Christian Scott aTunde Adjuah Presents Stretch Music • Kneebody Darcy James Argue’s Secret Society • Tierney Sutton: “After Blue” The Joni Mitchell Project • Mary Halvorson Monty Alexander Harlem-Kingston Express • Kenny Barron Trio • Steve Coleman & Five Elements • Anat Cohen Tentet Dave Liebman Expansions Group • Edmar Castañeda World Ensemble • The Heath Brothers • Toshiko Akiyoshi Etienne Charles & Creole Soul • Butler, Bernstein & The Hot 9 • Marc Ribot & The Young Philadelphians Stefon Harris Sonic Creed • Django Festival All Stars • Yosvany Terry Quintet • Peter Apfelbaum’s Sparkler Tyshawn Sorey & Alloy • Ben Williams & Sound Effect W/ Gilad Hekselman & Christian Sands • The Hot Sardines Sullivan Fortner Quartet • Eric Revis Parallax W/ Ken Vandermark, Kris Davis & Nasheet Waits • The Westerlies Kris Davis • Terry Waldo • Rossano Sportiello • Cory Smythe • Roxy Coss Quintet: 2016 ASCAP Herb Alpert Composer Berklee Global Jazz Ambassadors featuring Danilo Pérez • University of Rhode island Big Band Massachusetts & Rhode island Music Educators Associations All-State Jazz Bands

n e w p o r tj a z z f e s t.o r g NEED A R I D E f ro m NYC ? TA K E T H E W B G O N E W PO R T J A ZZ E X PR E S S B U S. VI S I T NEW PORTJ AZ Z .ORG/ TRAVEL

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5/12/16 11:53 PM

Solidarity Matt Lavelle’s 12 Houses (Unseen Rain) by Ken Waxman

Multi-instrumentalist Matt Lavelle, true believer in the latitude of free jazz, has worked in ensembles with such advanced figures as William Parker and Butch Morris. Now, like a post-doctoral fellow ready to take his mentors’ research in new directions, Lavelle has organized a 16-piece band, whose in-the-moment unity splendidly reflects the experiences designated by the horoscope’s 12 houses. The six tracks are satisfying because Lavelle has blended additional currents into the program. Building on the large-group acumen in Parker ’s bands and utilizing conduction Morris initiated, Lavelle, who plays cornet, flugelhorn and alto clarinet here, moves beyond expected jazz tropes and instrumentation. Besides the usual saxophones, piano, guitar, bass and drums, 12 Houses is inhabited by piccolo, bassoon, violin, cello, percussion, banjo and mandolin plus the wordless vocalization of Anaïs Maviel. The result is chameleon-like themes, which, for example, have pianist Chris Forbes cracking out dynamic kinetics in “Brooklyn Mountain” as if he was Cecil Taylor on Unit Structures, yet playing so straightforward on “Faith” that the linkage is to 19th Century Romantic tropes, with a detour into a devotee’s parlor for a church hymn. Besides Lavelle, the standout soloists are alto saxophonist Charles Waters and tenor saxophonist Ras Moshe, especially during those moments of altissimo ecstasy on the title track and elsewhere as if they were Archie Shepp and John Tchicai on Ascension. Maviel too has the ability to alter her tessitura to blend with the strings or double the reed parts. Lavelle harmonizes the bowed and plucked strings to provide interludes of delicate reserve. It’s an indication of his wit and the group’s freedom that on “Cherry Swing”, prodded by bassist François Grillot’s symmetrical pulse, cadence turns to cacophony when banjo player Jack DeSalvo uncorks a salvo of twangs as if Earl Scruggs has pushed his way into a Count Basie jam. Solidarity is the equivalent of research that builds on its antecedents to affect a breakthrough. But it’s a lot more fun than an academic paper—dig the gospellike handclapping at the climax to “Faith”. For more information, visit unseenrainrecords.com. This project is at Nublu Sundays. See Regular Engagements.

Quintessential Birthday Trio, Vol. II Fred Anderson (Asian Improv) by George Kanzler

Tenor saxophonist Fred Anderson, who died six years ago this month at 81, was one of those formidable musicians who fall through the cracks, never garnering the reputation he deserved because he spent his working life in Chicago, much of it operating his own

jazz club and mentoring local talent. He was a founding member of the AACM but, unlike its members, rarely ventured far from his Midwest base. Presumably—the CD lacks discographical information—this album was recorded at the same concert as Vol. I, March 22, 2000 (his 71st birthday), at his Chicago club The Velvet Lounge with bassist Tatsu Aoki and erstwhile Chicago drummer Chad Taylor. For a point of reference, the pianoless trios of Sonny Rollins from the ‘50s-60s are a good start. Like Rollins, Anderson exhibits an orotund tone and copious, proliferating ideas in solos that pour out with fertile, seemingly boundless imagination. Opener “It’s Us” finds him reeling off dozens of choruses in an initial ten-minute-plus solo, all constructed over a teeming background with bass suggesting half-time and drums double-time to his intrepid swing pace. Then he returns with another long solo over slower, more syncopated rhythms. For a bare-bones trio performance, there’s a lot of variety here, with each of the four tracks quite distinctive and developing in multiple sections with changed-up rhythms and textures. “Prime Moment” begins with Aoki’s fluttering, vibrating arco ostinato, tenor intimately fashioning lines on top as Taylor enters playing drum heads with his hands. Then tone and texture shift as saxophone creates a staccato rhythm picked up by sticks for the second part. “Hoistin’” begins with a walking bassline introducing a slow drag shuffle beat from drums, tenor deliberate and bluesy. But the piece keeps evolving, the beat accelerating to a fast clip à la Mingus romps. Anderson’s late ‘70s composition “Wandering” closes, beginning with a long cadenza from tenor, first acappella, then joined by rubato bass and brushes. That too morphs from the initial expansive ballad into a rolling toms tattoo under a climactic solo to end it. For more information, visit asianimprov.org

Zurich (1979) Joe McPhee (Astral Spirits) by Stuart Broomer

Zurich

(1979) is a work that immediately insists on your attention, a single-sided LP with a hand silkscreened jacket. It’s a direct invocation of Albert Ayler ’s Bells, his single-sided, white vinyl LP with a silk-screened blank side and jacket, the latter in barely legible yellow print on a black field. More than any other living musician, Joe McPhee has carried forward the Ayler legacy. Though he seems to play alto saxophone and pocket trumpet more often these days, McPhee’s tenor sound, like Ayler ’s, has a certain sweetness that weaves in and out of the harshest blasts, sometimes rising to become the dominant sound. The piece—called simply “Tenor solo” and originally recorded on cassette—stands isolated here in a kind of glory, reminding one of how much musical substance can be pressed into 19 minutes. The music is free jazz, its improvisations hinged to an initial motif to which McPhee returns, a few hymn-like notes suggesting a late Coltrane melodic figure. At the outset it’s hesitant, the sound is breathy and there are pauses between the phrases as the tune takes shape, gathering force and determination until it begins to break free. It is as if McPhee is calling up the tune from the greatest depth of memory, as if the work is a collective act that includes Ayler and Coltrane and the anonymous gospel

38 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

composers of the 19th Century. Throughout the solo, McPhee leaves the melody for a series of distinct improvisations: leaping registers; speeding up and playing freely; adding honking rhythm ‘n’ blues; baring sounding notes to the rhythmic accompaniment of his key pads; or exploring abrasive multiphonics that link low-end roar to squealing highs in a single, complex, massed sound, each time returning to the original material and mood for sustenance and inspiration. It’s work of rare and special power. For more information, visit monofonuspress.com/astral-spirits. McPhee is at The Stone Jun. 21st as a guest of the Flow Trio. See Calendar.

IN PRINT

Music to Silence to Music (A Biography of Henry Grimes) Barbara Frenz (Northway Publications) by Tyran Grillo

In his foreword to Music to Silence to Music: A Biography of Henry Grimes, Sonny Rollins recalls his first encounter with the young bassist in Philadelphia: “He seemed to hear and immediately respond…in an unbroken circuit between muse and man.” Likewise, German historian Barbara Frenz’ lovingly penned biography wires an unbroken circuit between reader and subject. Frenz jumps improvisationally from reportage to interview. The resulting portrait is as multifaceted as the man himself. Grimes may not be interested in the anecdotal, but his memories yield a veritable résumé of iconic associations. By the early ‘60s he was swimming in the deep end of New York City’s jazz scene, where collaborations with the likes of Albert Ayler unlocked his evolutionary potential. In 1967, just two years after his first leader date, he left the East Coast for the west and wasn’t heard from for nearly four decades. Grimes was forced to sell his bass in Los Angeles, where he sustained himself through odd jobs until he was rediscovered in 2002. He has been playing ever since, much to the glee of listeners and journalists alike, playing hundreds of concerts and surpassing even his own exalted reputation in the process. During the silence, he didn’t so much as touch an instrument. And yet, as Frenz makes clear, the music was always germinating inside him, along with a literary worldview that would feed back into his reprisal endeavors. His poetry is dark yet insightful and, like his soloing, focuses its attention on human interaction. With this biography, Frenz has undone the misconception of Grimes as reticent ghost, arguing instead for his bold expressiveness while further emphasizing his versatility, go-with-the-flow attitude and inner growth. His past contributions are obvious, but, as Frenz is quick to point out, his importance to the future of jazz even more so. Rather than an introvert who almost faded into obscurity, she wants us to see him as someone uninterested in attachments, living as he has—and always will—in the immaterial. For more information, visit parkwestpubs.com. Grimes receives the Vision Festival Lifetime Achievement Award at Judson Church Jun. 7th. See Calendar.

Oscar, With Love Various Artists (Two Lions) by Ken Dryden

Following

the death of Oscar Peterson in 2007, his treasured nine-foot Bösendorfer Imperial grand piano sat unused in his home studio. Inspired by a technician’s comment that the great instrument needed to be played, Kelly Peterson (the composer’s widow) began planning a recorded tribute in his honor to celebrate what would have been his 90th birthday, inviting musicians of different age groups, many of whom Peterson knew and respected, along with young lions who have emerged in recent years. One of the joys of this three-CD set is the emphasis on Peterson as a composer, especially on a number of pieces not previously recorded or performed. Each pianist captures the essence of the composer’s gift for melody and even though there is no attempt to try to play like the master, a bit of influence can’t help but appear from time to time. With so many artists taking part, it is hard to give everyone sufficient space, though every track is of high caliber. Makoto Ozone’s elegant rendition of previously unrecorded “The Contessa” conveys Peterson’s lyrical side and is a perfect opener to the set. It’s a joy to hear veteran Canadian pianists who don’t get as much attention outside their homeland like Robi Botos, whose expressive rendition of “Blues For Smedley” sounds as if the composer is standing behind him, giving him encouragement. Delightful husband-wife team of Bill Charlap and Renee Rosnes romp through “Sushi” and bring back memories of Peterson’s two appearances on Marian McPartland’s Piano Jazz. Justin Kauflin, the young blind pianist mentored by the late Clark Terry, plays with the skills of a veteran for “On Danish Shore”, the Peterson influence coming to the surface in his blazing right hand. Kenny Barron’s sensitive, spacious arrangement of “Ballad For Benny Carter” makes it seem like a lullaby. Disc Two is full of gems as well. Benny Green, who Peterson honored with a special prize and invited to accompany him on a rare duo piano date back in the ‘90s, pays homage with his touching treatment of the ballad “If Only You Knew”. Monty Alexander and Dave Young, Peterson’s bassist for many years, join forces for “The Gentle Waltz”, which gradually transforms from a quiet setting into a robust, bravura performance.

Gerald Clayton debuts “Morning” as if he had rehearsed it with the composer. Michel Legrand, a noted composer and pianist himself, plays a shimmering rendition of “Harcourt Nights”, which best reveals the capabilities of Peterson’s treasured piano. The third disc begins with Chick Corea’s “One For Oscar”, an introspective portrait of the late jazz master. Lance Anderson, not as well known outside of Canada, makes the first recording of a piece Peterson wrote in his honor, “Sir Lancewell”; Anderson’s hip stride is not to be missed while his jaunty version of “OP’s Boogie” (which the two pianists co-wrote) recalls Peterson’s early career. Hiromi’s jaunty original “Oscar’s New Camera” recalls the pianist’s playful side, showcasing her tremendous technique and appreciation for Peterson’s wide stylistic range. “Goodbye Old Friend” was written by Peterson for bassist Niels-Henning Ørsted Pedersen when he left his quartet; performed often but never recorded, David Young’s unaccompanied bass pays a fitting tribute to both virtuosos. This package was issued in four different editions last November: a three-CD set and an expanded edition with a deluxe book containing extensive program notes and loads of delightful photographs of the artists and sessions by Tracey Nolan, along with others from the Peterson family archives, including numerous photos taken by the late pianist, who was a big camera buff. There is also a limited edition five-LP set and a special collector’s version (with just 20 numbered copies), which adds an LP of unissued performances by Peterson. No matter which version is purchased, it will become a treasured part of your collection. It seems unlikely for Oscar, With Love to be a one-off project, as additional players and other Peterson works deserve to become a part of forthcoming volumes. For more information, visit oscarwithlove.com. A Peterson tribute by Mike Longo is at NYC Baha’i Center Jun. 14th. See Calendar.

Portraits and Places Scott Reeves Jazz Orchestra (featuring Steve Wilson) (Origin) by Ken Dryden

Arranger/composer

Scott Reeves has only recorded under his own name on occasion over the past 20 years and though he has been leading a large ensemble since 2008, this is his first recording with it. Reeves makes good use of top-shelf instrumentalists, which include more than a few leaders and in-demand session players in New York City. His instrument, when he isn’t conducting, is the infrequently heard alto flugelhorn. “The Soulful Mr. Williams” is a tribute to the beloved late jazz pianist and educator James Williams. This fleshed-out postbop arrangement captures the spirit of its namesake, with a brooding undercurrent for a superb mix of horns and reeds, featuring the leader and pianist Jim Ridl’s darting, dramatic solo. The sophisticated “3 ’n 2” employs sudden changes in direction, infectious Latin rhythm and passionate solos by tenor saxophonist Tim Armacost and trumpeter Bill Mobley. “Osaka June” is initially a beautiful tone poem featuring Sara Serpa on wordless vocals, but the texture changes following the use of two Japanese speakers in a brief dialogue, turning the work into a lush aural landscape, showcasing Steve Wilson’s playful soprano sax in brief passages. Reeves’ modern setting of Antonio Carlos Jobim’s bossa nova gem “Águas de Março

(Waters of March)” takes its time to reveal itself, but this boisterous interpretation has terrific interplay between sections and effective use of more wordless vocals. “The L & T Suite” is a three-movement work dedicated to Reeves’ wife Jane: hard-driving “Wants to Dance” is bold and brassy, featuring Wilson’s effusive alto saxophone; somber yet at times whimsical “A Trombonist’s Tale” naturally showcases that horn, in this case, Matt McDonald; and Ridl takes center stage in the rousing finale “Hip Kitty”. Scott Reeves’ use of big band has enabled him to broaden his musical palette. For more information, visit origin-records.com. This project is at ShapeShifter Lab Jun. 17th. See Calendar.

ON SCREEN

A Man In A Hurry Tubby Hayes (Mono Media) by Ken Waxman

Tenor saxophonist Tubby Hayes, who died 43 years ago this month at 38, is acknowledged as the prefree music British player who could hold his own with any American innovator; we have the LPs he made with Clark Terry and Roland Kirk as proof. This documentary is a classic look at the musician, including performance footage plus interviews with 21 observers, who outline the circumstances that made him the musician he was, yet contributed to his early death. Hayes got his first saxophone at 12 and was playing professionally at 15. He looked young, stood five foot five and weighed close to 200 pounds. Yet, as tenor saxophonist Ronnie Scott, his partner in The Jazz Couriers says, the first time he played with him, he was nearly blown off the stand. Hayes formed his first group in 1954 and thrived during hardbop’s heyday. Dressed in sports jackets and narrow tie, the saxophonist projected a hip, Mod look in contrast with the scruffy Trad Jazz followers. Teaching himself flute and vibraphone, Hayes also did studio and movie work—there’s a clip of him camping it up during an on-screen appearance in Dr. Terror’s House of Horrors and at one point he hosted and played on two prime-time TV shows. Hayes was acclaimed in the U.S. as well, with featured gigs at The Half Note but musicians’ union exchange rules kept him home. Another drawback was Hayes’ habits. As Scott says, “he burned the candle at both ends and started working on the middle.” A prodigious drinker, Hayes was arrested for “hemp” possession in the early ‘50s and soon turned to heroin. The rock music explosion then upset his world as audiences turned away from jazz. While Hayes grew his hair and tried to keep up—there’s a clip of the sad looking saxophonist running the changes on “Hey Jude”— his addiction caught up with him. An arrest for possession coincided with his singer-girlfriend’s fatal overdose. His stretch in rehab revealed serious heart problems. Surgery corrected the defect for a while, but Hayes didn’t change his lifestyle. Finally so weak he couldn’t play, he was back in hospital and died during surgery. For more information, visit amaninahurry.london

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

B OXED SE T

The Complete Remastered Recordings on Black Saint & Soul Note Andrew Hill (CAMJazz) by Anders Griffen

Late pianist Andrew Hill, who would have turned 85 this month, recorded seven amazing albums for Blue Note from September 1963-June 1964: Joe Henderson’s Our Thing and Hank Mobley’s No Room For Squares along with his own visionary sides Black Fire, Smokestack, Judgment!, Point Of Departure and Andrew!. While the progress of jazz continued to fracture convention, Hill burst forth with a sound all his own. He is best known for this prolific period, but his later oeuvre is not to be missed. This set consists of two solo piano discs, one trio record and one quartet session. The album titles on the box appear in the order they were released, not the order they were recorded. Jun. 13th-14th, 1980 produced the music for Strange Serenade and Faces Of Hope, in that order, while Jul. 3rd-4th, 1986 resulted in Shades and Verona Rag was recorded on Jul. 5th, 1986. The group sessions were recorded prior to the

piano solos in each case. Hill’s music emphasizes group improvisation but demands attention to form and harmony. The Spring 2011 issue of Journal of Jazz Studies contains an insightful article by Jeffrey Lovell called “Out of the Ordinary” in which he points out: “Features of Hill’s style include shifting tempos and meters, expressive dissonances, percussive chords and angular melodic lines with elastic rhythmic phrasing.” He goes on to observe that, “Hill’s compositions tend to be wellconceived roadmaps, with specific (and quite taxing) parts and roles assigned and a definite sense of harmonic direction and climax…this compositional forethought hardly makes his performances safe or predictable.” These remarks can be applied to virtually all of Hill’s music. After 1975, with his Hommage (East Wind) and Live At Montreux (Arista/Freedom), solo piano is a recurring vehicle. Faces Of Hope opens with “Rob It Mohe” and exhibits Hill’s trademark language and percussive touch. Lee Morgan’s “Ceora” (from 1965’s Cornbread, Blue Note) is well obscured by reharmonization and changing rhythms. The softly geometric “Bayside 1” and “Bayside 2” call to mind Hill’s informal study with composer Paul Hindemith, about which Hill has said: “What we talked about was musical shapes and spaces more than harmony.” Alan Silva (bass) and Freddie Waits (drums) are phenomenal on Strange Serenade, one of Hill’s most ‘free’ group performances. Merriam-Webster defines “Serenade” as “a complimentary vocal or instrumental performance; especially one given outdoors at night for a woman being courted.” The record in hand, then, is indeed “strange”. The title track becomes rather boisterous and probably too

JUN 1–5

JUN 20

monty alexander

lucas pino’s no net nonet

JUN 6

JUN 21

jazz at lincoln center youth orchestra

the steve davis quintet featuring larry willis

JUN 7

J U N 2 2 –2 3

dan block quintet: mary lou wiliams and benny carter meet hard bop

jazztopad festival presented in partnership with the polish cultural institute of new york

JUN 8–9

dominick farinacci: short stories album release

J U N 2 4 –2 6

victor goines JUN 27

J U N 1 0 –1 2

dion parson & 21st century band

band director academy faculty band J U N 2 8 –2 9

J U N 1 3*–1 5

ali jackson trio *monday nights with wbgo

etienne charles JUN 30 –JUL 3

renee rosnes quartet

J U N 1 6 –1 9

tom harrell quintet: 70th birthday celebration swing by tonight

set times 7:30pm & 9:30pm

jazz.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

40 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

fraught for courtship. “Reunion” is a swinging affair and “Andrew”, written by Hill’s second wife, organist Laverne Gillette, is mellower than the other pieces. When listening to Verona Rag without first noting the content of the set, “Darn That Dream” and “Afternoon In Paris” are surprising and revelatory. The melodies are not as obscured as with “Ceora”, but these unique readings evince tradition in various guises. The aforementioned Lovell article contains a thorough analysis of Hill’s “Verona Rag”: “This employment of standard chord relationships makes ‘Verona Rag’ something of an anomaly among Hill’s compositions …standard chord relationships strengthen the link to the historical ragtime model.” Shades is a quartet with Clifford Jordan (tenor saxophone), Rufus Reid (bass) and Ben Riley (drums). “Monk’s Glimpse” consists of not only Monk’s rhythmic influence, but also features his three-note chromatic phrase ending from “Bye-Ya”. “Tripping” further demonstrates thematic development and rhythmic elasticity. Jordan tears apart the upbeat 12-bar blues of “Chilly Mac”. And, with its magnificent modulation from 4 to 3, “Ball Square” is illustrative of what Richard Cook and Brian Morton described in The Penguin Guide to Jazz on CD as tempos “too subliminal to be strictly counted.” In the ‘90s, returning to the East Coast and to Blue Note, Hill broadened his influence and solidified his place among the masters. As Anthony Braxton wrote, “These compositions are sonic gold and can be mined for musical secrets forever.” Andrew Hill resonates with vitality throughout. For more information, visit camjazz.com

M ISCELLANY ON THIS DAY by Andrey Henkin

Satin Doll Dexter Gordon (SteepleChase) June 29th, 1967

Walking Down Bennie Green (Prestige) June 29th, 1956

Trying

The trombonist’s star burned brightly

to pick one thing for which tenor saxophonist Dexter Gordon was most famous is tough but in the mix should be his ballad playing, much featured during a prolific relationship with his adopted home of Denmark’s SteepleChase Records between 196276. This particular album was released some 22 years after his death and documents a concert from Jazzhus Montmartre in Copenhagen with regular foil Kenny Drew on piano but the unusual rhythm section of Bo Stief and Art Taylor on a program of four standards including the title track.

but not for too long, beginning with 1950 sessions with Gene Ammons and Sarah Vaughan to his final appearances at the 1972 Newport Jazz Festival five years before his death. But he was a prolific leader with nearly 20 albums between 1951-64. This was his final Prestige session before moving to Blue Note, a date with, apart from Basie tenor Eric Dixon, a band of obscure players—Lloyd Mayers (piano), Sonny Wellesley (bass) and Bill English (drums)—playing four standards and Green’s “East of the Little Big Horn”.

Taro’s Mood Terumasa Hino (Enja) June 29th, 1973

The Classic Concert Live Tormé/Mulligan/Shearing (Concord) June 29th, 1982

Celebrated Blazons The Feel Trio (FMP) June 29th, 1990

After a series of albums made in his native Japan, trumpeter Terumasa Hino released two albums for Germany’s Enja Records in the early ‘70s (as well as appearing on LPs by Hal Galper and Mal Waldron later in the decade). Unlike the international cast of 1971’s Vibrations, this live album from Munich’s Jazzclub Domicile is an all-Japanese quintet of Mikio Masuda (piano), Yoshio Ikeda (bass), Motohiko Hino (drums) and Yuji Imamura (congas) playing three Hino originals: “Alone, Alone And Alone”, the title track and side-long “Predawn”.

This concert from Carnegie Hall brings

Pianist Cecil Taylor is the venerated elder ostensibly leading The Feel Trio, three players separated by some 23 years, on the second of its three releases during a brief existence. Completing the band was bassist William Parker, who began working with Taylor off and on in 1981, and British drummer Tony Oxley, who first worked with the pianist in a 1988 duo that continues to this day. Recorded live at the Workshop Freie Musik at Berlin’s Akademie der Künste, the performance is the 57-minute improvised title suite in five movements.

together three varied performers in vocalist Mel Tormé (aka The Velvet Fog), baritone saxophone legend Gerry Mulligan and blind British bebopping pianist George Shearing. Backing up the threesome—Shearing, 62; Tormé, 56; Mulligan 55—is the latter’s Concert Jazz Band (which included Laurie Frink, Rick Chamberlain and Rich DeRosa) on a program of Monk, Ellington, Basie, The Gershwins, songbook standards and Mulligan originals, the three leaders all singing on a couple of tunes.

BIRTHDAYS June 1 †Nelson Riddle 1921-85 †Herbie Lovelle 1924-2009 †Hal McKusick 1924-2012 Lennie Niehaus b.1929 Rossano Sportiello b.1974

June 6 †Jimmie Lunceford 1902-47 †Raymond Burke 1904-86 †Gil Cuppini 1924-96 †Grant Green 1931-79 Monty Alexander b.1944 †Zbigniew Seifert 1946-79 Paul Lovens b.1949 G. Calvin Weston b.1959

June 2 †Ernie Hood 1923-91 Gildo Mahones b.1929 John Pisano b.1931 Pierre Favre b.1937 Irène Schweizer b.1941 Matthew Garrison b.1970 Noah Preminger b.1986 June 3 †Carl Pruitt 1918-1977 †Al Harewood 1923-2014 Phil Nimmons b.1923 †Dakota Staton 1932-2007 †Bob Wallis 1934-91 †Ted Curson 1935-2012 Grachan Moncur III b.1937 Corey Wilkes b.1979 June 4 †Teddy Kotick 1928-86 †Oliver Nelson 1932-75 †Alan Branscombe 1936-86 Mark Whitecage b.1937 Ted Daniel b.1943 Anthony Braxton b.1945 Paquito D’Rivera b.1948 Winard Harper b.1962 June 5 †Kurt Edelhagen 1920-82 †Specs Powell 1922-2007 †Pete Jolly 1932-2004 Misha Mengelberg b.1935 Jerry Gonzalez b.1949

June 7 †Gene Porter 1910-1993 †Tal Farlow 1921-98 †Tina Brooks 1932-74 Norberto Tamburrino b.1964 Devin Gray b.1983 June 8 †Billie Pierce 1907-74 †Erwin Lehn 1919-2010 †Kenny Clare 1929-85 Bill Watrous b.1939 Julie Tippetts b.1947 Uri Caine b.1956

June 11 †Clarence “Pine Top” Smith 1904-29 †Shelly Manne 1920-84 †Hazel Scott 1920-81 †Bob Gordon 1928-55 Nils Lindberg b.1933 Bernard “Pretty” Purdie b.1939 Jamaaladeen Tacuma b.1956 Alex Sipiagin b.1967 Assif Tsahar b.1969 June 12 †Marcus Belgrave 1936-2015 Kent Carter b.1939 Chick Corea b.1941 Jesper Lundgaard b.1954 Geri Allen b.1957 Oscar Feldman b.1961 Christian Munthe b.1962 Peter Beets b.1971 June 13 †Charlie Elgar 1885-1973 †Doc Cheatham 1905-97 †Eddie Beal 1910-84 †Phil Bodner 1919-2008 †Attila Zoller 1927-98 †Buddy Catlett 1933-2014 Frank Strozier b.1937 Harold Danko b.1947 Mike Khoury b.1969

June 9 †Les Paul 1915-2009 †Jimmy Gourley 1926-2008 †Eje Thelin 1938-90 Kenny Barron b.1943 Mick Goodrick b.1945 June 10 †Chink Martin 1886-1981 †Willie Lewis 1905-71 †Dicky Wells 1907-85 †Guy Pedersen 1930-2005 †John Stevens 1940-94 Gary Thomas b.1961 Charnett Moffett b.1967 Jonathan Kreisberg b.1972 Ben Holmes b.1979

June 14 †John Simmons 1918-79 Burton Greene b.1937 Pete Lemer b.1942 Marcus Miller b.1959 Gary Husband b.1960 Diallo House b.1977 Loren Stillman b.1980 Ben Syversen b.1983

June 15 †Allan Reuss 1915-1988 †Erroll Garner 1921-77 †Jaki Byard 1922-99 Mel Moore b.1923 Tony Oxley b.1938 June 16 †”Lucky” Thompson 1924-2005 †Clarence Shaw 1926-73 Joe Thomas b.1933 Tom Harrell b.1946 Fredy Studer b.1948 Mike Baggetta b.1979 Ryan Keberle b.1980

June 21 †Dewey Jackson 1900-94 †Jamil Nasser 1932-2010 Lalo Schifrin b.1932 Jon Hiseman b.1944 Chuck Anderson b.1947 Eric Reed b.1970 June 22 Ray Mantilla b.1934 Hermeto Pascoal b.1936 Heikki Sarmanto b.1939 Eddie Prevost b.1942 Ed “Milko” Wilson b.1944

June 26 †Teddy Grace 1905-92 †Don Lanphere 1928-2003 †Jimmy Deuchar 1930-93 Dave Grusin b.1934 Reggie Workman b.1937 Joey Baron b.1955 Bill Cunliffe b.1956 Mathias Eick b.1979 June 27 †Elmo Hope 1923-67 George Braith b.1939 Todd Herbert b.1970

JULIAN PRIESTER

June 29th, 1935

June 18 †Sammy Cahn 1913-93 William Hooker b.1946

June 23 †Eli Robinson 1908-72 †Milt Hinton 1910-2000 †Eddie Miller 1911-91 †Helen Humes 1913-81 †Lance Harrison 1920-2000 †George Russell 1923-2009 †Sahib Shihab 1925-89 †Hank Shaw 1926-2006 Donald Harrison b.1960

June 28 †Jimmy Mundy 1907-83 †Arnold Shaw 1909-89 Gene Traxler b.1913 †Pete Candoli 1923-2008 Bobby White b.1926 John Lee b.1952 Tierney Sutton b.1963 Aaron Alexander b.1966 Jesse Stacken b.1978

June 19 †Joe Thomas 1909-86 †Jerry Jerome 1912-2001 †Al Kiger 1932-2013 Chuck Berghofer b.1937 Paul Nieman b.1950 Billy Drummond b.1959 John Hollenbeck b.1968

June 24 †Charlie Margulis 1903-67 †Manny Albam 1922-2001 †George Gruntz 1932-2013 †Frank Lowe 1943-2004 †Clint Houston 1946-2000 Greg Burk b.1969 †Bernardo Sassetti 1970-2012

June 29 †Mousey Alexander 1922-88 †Ralph Burns 1922-2001 †Ove Lind 1926-1991 Julian Priester b.1935 Ike Sturm b.1978

June 20 †Doc Evans 1907-77 †Lamar Wright 1907-73 †Thomas Jefferson 1920-86 †Eric Dolphy 1928-64 Joe Venuto b.1929 Anders Nilsson b.1974

June 25 †Jean Roberts 1908-81 †Johnny Smith 1922-2013 †Bill Russo 1928-2003 Joe Chambers b.1942 Marian Petrescu b.1970 John Yao b.1977

June 17 †Lorenzo Holden 1924-87 †Frank E. Jackson, Sr. 1924-2013 Chuck Rainey b.1940 Tom Varner b.1957

June 30 †Harry Shields 1899-1971 †Grady Watts 1908-86 †Lena Horne 1917-2010 †Andrew Hill 1937-2007 Chris Hinze b.1938 Jasper Van’t Hof b.1947 Stanley Clarke b.1951 Ken Fowser b.1982

The trombonist has been an unsung hero on his instrument for decades, partially because his leader output has been so sporadic. He made a pair of LPs in 1960 for Riverside and Jazzland in the heavy company of Jimmy Heath, Tommy Flanagan, Sam Jones and Elvin Jones (Keep Swingin’) and Walter Benton, Charles Davis, McCoy Tyner, Sam Jones and Arthur Taylor (Out Of This World); a pair of mid ‘70s albums for ECM; a smattering of obscure releases on either side of the new millennium; and, most recently, duo sets with David Haney or Jimmy Bennington. But his voluminous sideman credits include everyone from Dinah Washington to Max Roach to Sun Ra to Duke Ellington to Mwandishi to Art Blakey, to name just some of the highlights. (AH)

CROSSWORD 1

By Andrey Henkin

ACROSS 1. 1975 John Tchicai-Irene Schweizer-Group album Willi The ____: Live At The Willisau Jazz Festival 4. Stan Tracey received this honor in 2008 (abbr.) 7. Saxophonist Mark that will keep things steady? 9. Swiss saxophonist Yves who records for Unit Records 10. Yusef Lateef converted to this faith 12. Israeli pianist Fort 13. ____ of Jazz: Time Life Records series 15. John Coltrane performed the entire A Love Supreme suite at this French festival 16. Saxophonist Michael or trumpeter Randy 17. Orchestra founded by Russ Gershon in 1985 18. ____ Jones, vocal alter-ego of bassist Miriam Sullivan 19. Italian soundtrack composer covered by F.Hubbard, R.Galliano, M.Peyroux and others 23. Tokyo-based audio equipment manufacturer

24. 2002 Keith Rowe, Otomo Yoshihide, Taku Sugimoto album on Alcohol 25. ____ Nova, Philadelphia jazz concert series 26. British saxophonist Tony DOWN 1. Evan Parker label 2. Fifth tune from Alice Coltrane’s Huntington Ashram Monastery 3. Evans, Coggins or Goldstein 4. ‘70s free jazz label _____ of the World 5. Trumpets, trombones, tubas, etc. 6. Trio of Ido Bukelman, Daniel Davidovsky and Ofer Bymel 8. Attractive 1986 album from Steps Ahead? 9. Birthplace of guitarist Frank Gambale 11. Latin jazz saxophonist Frohman 14. Dorsey Brothers saxophone stalwart Jack 15. Keyboardist Susumu and clarinetist Yasuhiko 16. Accordion player Ludovic 18. Motéma Music catalogue prefix 20. Reissue series initiated by Fantasy (abbr.) 21. Steve Lacy/Andrea Centazzo Ictus album 22. “All The Things You ____”

visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

CALENDAR

Wednesday, June 1

• John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 • Brandon Bain Dizzy’s Club 11:30 pm $5 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êBill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 • Luis Perdomo and Controlling Ear Unit with Mimi Jones, Rudy Royston Jazz Standard 7:30, 9:30 pm $25 êMarc Mommaas /Nikolaj Hess Quartet with Vic Juris, Thomas Morgan Jazz at Kitano 8, 10 pm $17 • Eric Alexander Quartet An Beal Bocht Café 8, 9:30 pm $15 • Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector Smoke 7, 9, 10:30 pm $12 • Eugenia Choe Trio with Danny Weller, Alex Wyatt; Álvaro Domene’s Desvelo with Briggan Krauss, Josh Sinton, Devin Gray ShapeShifter Lab 8:15, 9:30 pm $8-10 • Flin van Hemmen, Brandon Seabrook, Pascal Niggenkemper; Caroline Davis/Greg Saunier Rye 9, 10:15 pm • Becca Stevens Rockwood Music Hall Stage 3 8:30 pm $12 • Art Hirahara/Walt Weiskopf Mezzrow 8 pm $20 • Jonathan Kreisberg Quartet with Dave Kikoski, Rick Rosato, Colin Stranahan; Jure Pukl Quartet with Matt Nowak, Matt Brewer, Johnathan Blake; Sanah Kadoura Smalls 7:30, 10:30 pm 1:30 am $20 • Katsuko Tanaka Trio; Groover Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am • Martin Nevin Group with Immanuel Wilkins, Sam Harris, Craig Weinrib Cornelia Street Café 8:30 pm $10 • Gracie Terzian; Hailey Niswanger PDX Soul Club Bonafide 7:30, 9:30 pm $10-15 • Mika with André Vasconcellos, Rafael Barata Zinc Bar 7 pm • Dark Mountains: Nicolas Letman-Burtinovic, Jacob Varmus, Benny Woodard Bar Chord 9 pm • Alan Kwan Duo Tomi Jazz 8 pm • Organ Trio Fuego; EJB Quartet Silvana 6, 7 pm • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm • Mike Alfieri Trio Shrine 6 pm • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano ShapeShifter Lab 1 pm $15 êDavid Chamberlain Band of Bones Saint Peter’s 1 pm $10 êBertha Hope Bryant Park 12:30 pm

Thursday, June 2

êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Jazz Standard 7:30, 9:30 pm $30 • Ben van Gelder Quartet with Matt Brewer, Mark Turner, Craig Weinrib Cornelia Street Café 8:30 pm $10 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman The Jazz Gallery 7:30, 9:30 pm $15 • Andy Manndorff solo Austrian Cultural Forum 7:30 pm • Tulivu Cumberbatch Harlem Safe House Jazz Parlor 8 pm $60 • Carte Blanche; Joe Breidenstine Quartet with Matthew Fries, Phil Palombi, Vince Cherico Club Bonafide 7:30, 9:30, 11 pm $10-15

圀攀搀渀攀猀搀愀礀 Ⰰ 䨀甀渀攀㠀琀栀Ⰰ ㈀　㄀㘀愀琀㜀㨀㌀　

• Andrew Suvalsky Quintet with Dan Zinn, Asen Doykin, Trifon Dmitrov, Pete Zimmer Jazz at Kitano 8, 10 pm $17 • Sebastian Noelle/Danny Fox Dominique Bistro 9:30 pm $10 • Ehud Asherie solo; Alex Claffy/Michael Stephenson; Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 • Jonathan Kreisberg Quartet; Dan Pratt Quartet with Michael Eckroth, Matt Clohesy, Allan Mednard Smalls 7:30, 10:30 pm $20 • Dan Aran; Saul Rubin Zebtet; Tadataka Unno Fat Cat 7, 10 pm 1:30 am • Dan Hartig Trio with Ari Kessler, Ben Silashi; Justin Lees Trio with Noah Jackson, Lawrence Leathers Bar Next Door 6:30, 8:30, 10:30 pm $12 • Jeff Warschauer, Deborah Strauss, Aaron Alexander and Friends Jalopy 8:30 pm $15 • Peter Maness Quartet Cavatappo Grill 9, 11 pm $8 • Luciana Menzes Tomi Jazz 9 pm $10 • Steve Elmer Duet Cleopatra’s Needle 7 pm • John Venezia Project Shrine 7 pm • John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 • Brandon Bain Dizzy’s Club 11:30 pm $10 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êBill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 • Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector Smoke 7, 9, 10:30 pm $12 êPete McGuinness Silvana 6 pm • Matthew Fries Trio with Phil Palombi, Vince Cherico Hillstone 6 pm êBertha Hope Bryant Park 12:30 pm êRoberta Gambarini Quartet Citigroup Center Plaza 12:30 pm

Friday, June 3

êFrank Kimbrough Trio with Jay Anderson, Jeff Hirshfield Jazz at Kitano 8, 10 pm $32 êBen Allison Trio with Ted Nash, Matt Wilson Neighborhood Church of Greenwich Village 8, 9:30 pm êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston Smoke 7, 9, 10:30 pm $38 • Lisle Atkinson’s Neo-Bass Ensemble Symphony Space Leonard Nimoy Thalia 8:30 pm $30 • Vinicius Cantuária Bar Lunàtico 8:30, 10 pm $10 êManuel Valera Trio with Hans Glawischnig, E.J. Strickland Terraza 7 8:30 pm $10 • Gregorio Uribe Big Band Ginny’s Supper Club 7:30, 9:30 pm $20 êLage Lund 3 with Matt Brewer, Justin Faulkner Cornelia Street Café 9, 10:30 pm $10 • Luis Bonilla, Jon Snell, Andy McKee Knickerbocker Bar and Grill 9, 10:15 pm $3.50 êChet Doxas/John Escreet Ibeam Brooklyn 8:30 pm $15 • Sacha Perry solo; Bill Mays; Johnny O’Neal Mezzrow 8, 9:30 pm 12:30 am $20 • Patrick Wolff Quartet with Glenn Zaleski, Christian Van Voorst Van Beest, Matt Wilson; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Sylvia Cuenca; Joe Farnsworth Smalls 7:30, 10:30 pm 1:30 am $20 êGuillermo Gregorio, Ratzo B. Harris, Omar Tamez The Firehouse Space 8 pm $10 • Paul Meyers Trio with Leo Traversa, Vanderlei Perreira Bar Next Door 7:30, 9:30, 11:30 pm $12 • Victor Gould The Jazz Gallery 7:30, 9:30 pm $22 • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano Sunset Park High School Theater 7 pm • 718 Electric Trio: Matthew Fries, Phil Palombi, Eric Halvorson An Beal Bocht Café 9 pm • Carlos Cuevas Trio; Jared Gold/Dave Gibson; Ray Gallon Fat Cat 6, 10:30 pm 1:30 am • Devin Bing and the Secret Service; Gin Fizz; Nomar Negroni with Jose Negroni, Josh Allen Club Bonafide 7:30, 9:30, 11 pm $10-20 • Craig Brann Trio Tomi Jazz 9 pm $10 • Masami Ishikawa Trio Cleopatra’s Needle 8 pm êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Jazz Standard 7:30, 9:30 pm $30 • John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $45 • Brandon Bain Dizzy’s Club 11:30 pm $10 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êBill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 êBertha Hope Bryant Park 12:30 pm

Saturday, June 4

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êLost Jazz Shrines: Sweet Basil—Remembering Lester Bowie: Bob Stewart,

Stanton Davis, Randall Haywood, Riley Mulherkar, Earl McIntyre, Nick Finzer, Marcus Rojas, David Scheiman, Vincent Chancey, Buddy Williams and guests Renee Manning, Steven Bernstein, Gerald Brazel, Luis Bonilla, Frank Lacy, Steve Turre Tribeca Performing Arts Center 8:30 pm $25 êSummerStage/Blue Note Jazz Festival—The Legends Honor McCoy: McCoy Tyner, Ron Carter, Roy Haynes Central Park SummerStage 6 pm êJamie Baum and Short Stories with Gregoire Maret, Gilad Hekselman, Andy Milne, Joe Martin, Jeff Hirshfield The Jazz Gallery 7:30, 9:30 pm $22 • Ronny Whyte Quartet with Sean Harkness, David Silliman Jazz at Kitano 8, 10 pm $32 • Ben Monder Trio with Matt Brewer, Johnathan Blake Bar Next Door 7:30, 9:30, 11:30 pm $12 • Tatran: Tamuz Dekel, Offir Benjaminov, Dan Mayo Iridium 8:30 pm $25 • Roberta Piket Band with Steve Wilson, Virginia Mayhew, Shunzo Ohno, Harvie S, Billy Mintz Ibeam Brooklyn 8:30 pm $15 • Petros Klampanis with Julian Shore, Keita Ogawa, Rogério Boccato, Maria Im, Eylem Basaldi, Lev Zhurbin, Colin Stokes, Magda Giannikou Cornelia Street Café 9, 10:30 pm $10 • Lummie Spann Quintet; Raphael D’lugoff Quintet Fat Cat 7, 10 pm • Brenda Navarette Trio with Melvis Santa; Simona Premazzi Quartet The Cell 8, 10 pm $15 • Monday Michiru; David Bixler Auction Project with Heather Martin Bixler, Arturo O’Farrill, Victor Prieto, Carlo De Rosa, Vince Cherico; Noé Codjia Club Bonafide 7:30, 9:30, 11 pm $10-15 • E.J. Decker Quartet with Claire Daly, Les Kurtz, John Lang Café Noctambulo 7, 9 pm $20 • Dorian Devins Trio with Lou Rainone, Jeff Dingler Symphony Space Bar Thalia 9 pm • Nich Mueller; Hsinwei Chiang Duo Tomi Jazz 8, 11 pm $10 • Phill Briggs Cleopatra’s Needle 8 pm • Nick Di Maria Silvana 7 pm • Verve Quartet; Valentina Marino Shrine 6, 7 pm êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston Smoke 7, 9, 10:30 pm $38 • Luis Bonilla, Jon Snell, Andy McKee Knickerbocker Bar and Grill 9, 10:15 pm $3.50

42 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

• Spike Wilner; Bill Mays; Jon Davis Mezzrow 8, 9:30 pm 12:30 am $20 • Eliot Zigmund Quartet with Matt Garrison, Allen Farnham, David Kingsnorth;

Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Sylvia Cuenca; Eric Wyatt Quartet Smalls 7:30, 10:30 pm 1:30 am $20 êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Jazz Standard 7:30, 9:30 pm $30 • John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $45 • Brandon Bain Dizzy’s Club 11:30 pm $20 • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $80-155 êBill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 • Kat Modiano/Adam Lane Morris Jumel Mansion 6 pm • Rosi Hertlein solo Gallery 440 4:40 pm $5

Sunday, June 5

êJane Ira Bloom Trio with Mark Helias, Bobby Previte

Cornelia Street Café 8:30 pm $10 êMichael Dessen Trio with Chris Tordini, Dan Weiss Ibeam Brooklyn 8:30 pm $15 • Adam Birnbaum/Cécile McLorin Salvant; David Wong/Martin Bejerano Mezzrow 7, 10:30 pm $20 • Ai Murakami Trio with Sacha Perry; Johnny O’Neal Trio; Bruce Harris Sextet with Frank Basile, Jeb Patton, Dmitry Baevsky, Clovis Nicolas, Peter Van Nostrand; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1:30 am $20 • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Sara Serpa/André Matos Rockwood Music Hall Stage 3 7 pm $10 • Kyoko Kitamura Tidepool Fauna with Ken Filiano, Ingrid Laubrock; Carate Urio Ensemble Downtown Music Gallery 6, 7 pm • Tamuz Nissim/George Nazos Band with Willie Applewhite, Danny Weller, Ronen Itzik ShapeShifter Lab 9:30 pm $8 • Stan Nishimura, Claire de Brunner, Evan Gallagher, Blaise Siwula; Alex Soreff solo ABC No-Rio 7 pm $5 • Valentina Marino Club Bonafide 7 pm $10 • Marcus Goldhaber with Gabrielle Stravelli, Ron Affif Symphony Space Bar Thalia 7, 8:30 pm $5 • Yako Eicher Tomi Jazz 8 pm • Shrine Big Band Shrine 8 pm • Alex Simon’s Gypsy Swing Ensemble Radegast Hall 7 pm êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston Smoke 7, 9, 10:30 pm $38 êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Jazz Standard 7:30, 9:30 pm $30 • John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 • Ike Sturm and Evergreen Saint Peter’s 5 pm êJohn Zorn’s Bagatelles: Matt Mitchell Trio with Kim Cass, Dan Weiss The Stone 3 pm $20 êGilad Hekselman Trio Blue Note 11:30 am 1:30 pm $35 • Catherine Dupuis Trio with Russ Kassoff, Jay Anderson North Square Lounge 12:30, 2 pm

Academy Records & CDs Contravening state, local and natural law, not to mention the advice of our attorney and the collective wishes of our upstairs neighbors, Academy Records proudly presents the GHOSTS OF THE HOLY GHOST SPERMIC BROTHERHOOD in a musical bloodletting, aka FREE Concert Sunday, June 12 at 5:30. (Tickets for the previously announced Budapest String Quartet recital will be honored)

Open 7 days a week 11-7

12 W. 18th Street NY, NY 10011 212-242-3000

Monday, June 6 • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão Blue Note 8, 10:30 pm $35 • Blue Note Jazz Festival: Supermambo! A Vibes Tribute To Tito Puente Subrosa 8, 10 pm $15 • Walter Smith III/Jason Moran; John Merrill Mezzrow 8, 10:30 pm $20 • Jordan Piper Trio with George DeLancey, Noel Sagerman; Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 • Malang Jobarteh; Behn Gillece Quartet; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper Cornelia Street Café 8:30 pm $10 êScott Neumann Trio with Michael Blake, Mark Helias Bar Lunàtico 8:30, 10 pm $10 • Kate Mohanty solo: Yes Deer: Sigourney Delmar/Avram Vestman Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Jazz at Lincoln Center Youth Orchestra Dizzy’s Club 7:30, 9:30 pm $35 • Dave Juarez Trio with Marty Isenberg, Rodrigo Recabarren; Marianne Solivan Trio with Ethan Mann, Matthew Parrish Bar Next Door 6:30, 8:30, 10:30 pm $12 • Wayne Batchelor/Miki Hayama Boudoir 7:30 pm • Julia Ehninger Silvana 7 pm • Matterhorn Shrine 6 pm • Matthew Fries Trio with Rusty Hollaway, Akira Tana Hillstone 6 pm • Dona Carter Bryant Park 12:30 pm

Tuesday, June 7

• Vision Festival—Heny Grimes Lifetime Achievement Celebration: Opening Invocation:

Hamid Drake, Whit Dickey, Patricia Nicholson; Henry Grimes Quartet with Graham Haynes, Geri Allen, Andrew Cyrille; Karma Mayet Johnson, Meshell Ndegeocello, Lisa Sokolov, Dwight Trible, Imani Uzuri, Henry Grimes; Henry Grimes Septet with Charles Gayle, Melanie Dyer, Nicole Mitchell, Tomeka Reid, Marc Ribot, Chad Taylor Judson Memorial Church 6:30 pm $40 êConcert for Clean Power: Mago: John Medeski/Billy Martin; Marco Benevento; Yuka C. Honda Brooklyn Bowl 8 pm êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Subrosa 8, 10 pm $25 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Birdland 8:30, 11 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 êJohn Zorn’s Bagatelles: Mike Nicolas/Erik Friedlander; Claws & Wings: Erik Friedlander, Sylvie Courvoisier, Ikue Mori The Stone 8, 10 pm $20 • PRISM Quartet and Sō Percussion Roulette 7:30 pm $20-25 • It’s DeLovely—A 125th Birthday Celebration of Cole Porter: Matt Baker, Spencer Day, Dawn Derow, Marcus Goldhaber, Kim Grogg, Jeff Harnar, Lindsey Holloway, Annie Hughes, Martha Lorin, Kristoffer Lowe, Tammy McCann, Beckie Menzie, Tom Michael, Carolyn Montgomery-Forant, Molly Pope, Julie Reyburn, Steve Ross, Josephine Sanges, Jacob Storms, Ronny Whyte, Amra Faye-Wright Weill Recital Hall 8 pm • Mary Lou Williams and Benny Carter meet Hard Bop: Dan Block Quintet with Godwin Louis, Adam Birnbaum, Jennifer Vincent, Alvester Garnett Dizzy’s Club 7:30, 9:30 pm $30 • Michela Marino Lerman Dizzy’s Club 11:30 pm $5 • Rob Clearfield with Marquis Hill, Caroline Davis, Curt Bley, Quin Kirchner The Jazz Gallery 7:30, 9:30 pm $15 • Camille Bertault Mezzrow 8 pm $20 • Jeremy Manasia Quartet with Peter Bernstein, Mike Karn, Charles Ruggiero; Smalls Legacy Band; Kyle Poole Smalls 7:30, 10:30 pm 1:30 am $20 • Saul Rubin Zebtet; John Benitez; Yoshi Waki Fat Cat 7, 9 pm 12:30 am • Voxecstatic: Valentina Marino Quartet with Alberto Pibiri, Cameron Brown, Anthony Pinciotti, Maximilian Zooi; John Hart Trio with Bill Moring, Tim Horner Cornelia Street Café 8, 9:30 pm $10 • Beekman: Kyle Nasser, Yago Vasquez, Pablo Menares, Rodrigo Recabarren Korzo 9, 10:30 pm • PLS.trio: Pier Luigi Salami, Martin Fowler, Shawn Crowder Club Bonafide 7:30 pm $10 • Yuto Kanazawa Trio with with Zack Westfall, Ray Belli; Paul Bollenback Trio with Nilson Matta, Rogério Boccato Bar Next Door 6:30, 8:30, 10:30 pm $12 • Stephen Fuller Trio Tomi Jazz 8 pm • Billy Test solo Jazz at Kitano 8 pm • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão Blue Note 8, 10:30 pm $35 • Peter Watrous Silvana 6 pm • Dona Carter Bryant Park 12:30 pm êDavid Murray Rendall Memorial Presbyterian Church 12, 1 pm $15

Wednesday, June 8

êVision Festival: Jen Shyu Song of Silver Geese with Satoshi Haga, Olivia De Prato,

Erica Dicker, Victor Lowrie, Mariel Roberts, Mat Maneri, Chris Dingman, Thomas Morgan, Anna Webber, Dan Weiss; Quincy Troupe; Connie Crothers Trio with Michael Bisio, Warren Smith; Sun Ra Arkestra 60th Anniversary led by Marshall Allen with Danny Ray Thompson, James Stewart, Cecil Brooks, Dave Davis, Vincent Chancey, Tyler Mitchell, Dave Hotep, Calvin Edwin Newborn, George Burton, Wayne Anthony Smith, Jr., Elson Nascimento, Atakatune, Tara Middleton Judson Memorial Church 7 pm $40 • Kirk Lightsey Group with Ed Cherry, David “Happy” Williams, Steve Williams; Nick Finzer Sextet; Aaron Seeber Smalls 7:30, 10:30 pm 1:30 am $20 • Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and Tedd Firth Big Band The Appel Room 7 pm $65-120 • The Great Jewish American Songbook: Ted Rosenthal, Randy Brecker, Joel Frahm, David Grossman, Tim Horner Riverdale Y 7:30 pm $15-30 • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am • Mike DiRubbo Quintet with Josh Evans, Brian Charette, Matt Dwonszyk, Jason Tiemann; Dor Sagi; Marko Churnchetz 4 with Mark Shim, Ricky Rodriguez, Ludwig Afonso Club Bonafide 7:30, 9:30, 11 pm $10-20 êThe Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis, Corcoran Holt, Willie Jones III Smoke 7, 9, 10:30 pm $12 • Dominick Farinacci’s Short StoriesDizzy’s Club 7:30, 9:30 pm $35 • Michela Marino Lerman Dizzy’s Club 11:30 pm $5 ê50 Miniatures for Improvising Quintet: Jennifer Choi, Sylvie Courvoisier, Trevor Dunn, Michael Sarin, Erik Friedlander; Vanishing Point: Craig Taborn/Erik Friedlander The Stone 8, 10 pm $20 • Jaimie Branch Quartet with Tomeka Reid, Jason Ajemian, Chad Taylor; Jooklo Duo with Brandon Lopez Rye 9, 10:15 pm • Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic; Marko Djordjevic Sveti with Isamu McGregor, Evan Marien ShapeShifter Lab 8:15, 9:30 pm $12 • Thaisa Olivia Quartet with John di Martino, Ed Howard, Vince Cherico Jazz at Kitano 8, 10 pm $17 • Leon Parker with Jazzmeia Horn, Lafayette Harris, Calvin Jones Mezzrow 8 pm $20 • Q Morrow Group with Evan Francis, Sam Bevan, Rogério Boccato; Kathryn Christie with Matt Aronoff, Ross Pederson Cornelia Street Café 8, 9:30 pm $10

• Rebecca Angel and Dennis Angel Band with Gottfried Stoger, Jon Werking, Gregory Jones, Nadav Snir Zelniker Metropolitan Room 7 pm $20 • Hironobu Honshuku Trio Tomi Jazz 8 pm • Hot Club of Flatbush Radegast Hall 9 pm êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Birdland 8:30, 11 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão Blue Note 8, 10:30 pm $35 • Paul Abler/James Weidman Whole Foods Market Bowery 6 pm • John Venezia Project Silvana 6 pm êToshiko Akiyoshi, Lew Tabackin, Steve Whipple, Tim Horner Saint Peter’s 1 pm $10 • Dona Carter Bryant Park 12:30 pm

Thursday, June 9

êVision Festival: Douglas Dunn Dancers/Bill Cole UnTempered Trio with Ras Moshe, Lisette Santiago, Jules Bakshi, Emily Pope, Paul Singh, Jin Ju Song-Begin; Jemeel Moondoc The Zookeeper’s House with Matthew Shipp. Nathan Breedlove, Hilliard Greene, Newman Taylor Baker; Tonya Foster; Steve Swell Quintet with Rob Brown, Connie Crothers, Larry Roland, Chad Taylor; Garland of Blessing: Hamid Drake, Kidd Jordan, Cooper-Moore, Michael Bisio Judson Memorial Church 7 pm $40 êArturo Sandoval Blue Note 8, 10:30 pm $45 êHenry Butler Bar Lunàtico 8:30, 10 pm $10 êDave Schnitter Quintet; Greg Glassman Quintet; Todd Herbert Fat Cat 7, 10 pm 1:30 am êBlack Phebe: Shoko Nagai, Satoshi Takeishi, Erik Friedlander; Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith The Stone 8, 10 pm $20 êBrian Drye Trio; Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby, Charles Pillow, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; Wing Walker Orchestra Threes Brewing 8 pm $10 êWater Birds: Darius Jones, Jaimie Branch, Brandon Lopez, Chad Taylor; Charles Rumback Quartet with Tony Malaby, Jason Stein, John Tate Manhattan Inn 10 pm $10 êBruce Gertz Quartet with Jerry Bergonzi, Gabriel Guerrero, George Schuller ShapeShifter Lab 8:15 pm $15 • Blue Note Jazz Festival: Fabrizio Sotti Trio with Peter Slavov, Francisco Mela Highline Ballroom 8 pm $20-40 êLuis Perdomo, John Benitez, Marc Miralta Terraza 7 8:30 pm $10 • E.J. Strickland Transient Beings Ginny’s Supper Club 7:30, 9:30 pm $15 • Spike Wilner solo; Rob Scheps Trio with Jamie Reynolds, Cameron Brown; Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman SEEDS 9 pm $10 • Rodrigo Recabarren Trio with Jeff Miles, Shin Sakaino; Rotem Sivan Trio with Haggai Cohen-Milo, Colin Stranahan Bar Next Door 6:30, 8:30, 10:30 pm $12 • Kalí Rodríguez-Peña Sextet with Kazemde George, Sami Stevens, Gabriel Chakarji, Nick Dunston, Amaury Acosta; Ralph Irizarry and Timbalaye with Adan Perez, Ivan Renta, Alex Ayala, Roberto Quintero, Dennis Hernandez, Hommy Ramos; Chip Shelton PeaceTime Ensemble with Tom Charlap, John Cotsonals, Jim Klein, Will Terrill Club Bonafide 7:30, 9:30, 11 pm $10-20 • Judimarie Canterino Quartet with Mark Shane, Steve Lamatina, Jerry Bruno Jazz at Kitano 8, 10 pm $17 • Sofia Ribeiro Group with Juan Andrés Ospina, Petros Klampanis, Marcelo Woloski Cornelia Street Café 8 pm $10 • Bass Holograms: Floyd Krouchi, Mark Bingham, Emilie Lesbros and guests The Firehouse Space 8 pm $10 • Keigo Hirakawa Trio Rockwood Music Hall Stage 3 7 pm $10 • Sam Raderman Trio Cavatappo Grill 9, 11 pm $8 • Brian Glassman’s Klezmer Jazz Alliance Jalopy 8:30 pm $15 • Blue Note Jazz Festival: Professor Cunningham and His Old School New York Jazz Band Lucille’s at B.B. King’s 7:30, 9:30 pm $15 • Shane Hampsheir Swing Band Metropolitan Room 9:30 pm $24 • The Highliners Tomi Jazz 9 pm $10 • Dan Furman Duet Cleopatra’s Needle 7 pm • Kirk Lightsey Group with Ed Cherry, David “Happy” Williams, Steve Williams; Nick Hempton Quartet Smalls 7:30, 10:30 pm $20 • Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and Tedd Firth Big Band The Appel Room 7, 9 pm $65-120 êThe Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis, Corcoran Holt, Willie Jones III Smoke 7, 9, 10:30 pm $12 • Dominick Farinacci’s Short StoriesDizzy’s Club 7:30, 9:30 pm $40 • Michela Marino Lerman Dizzy’s Club 11:30 pm $10 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Birdland 8:30, 11 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Sam Hoyt Silvana 6 pm • Dona Carter Bryant Park 12:30 pm êJohnathan Blake Band Citigroup Center Plaza 12:30 pm

Friday, June 10

• Vision Festival: William Hooker Triangle with Chris DiMeglio, Adam Lane, Mark Hennen,

Goussy Celestin; Fay Victor SoundNoise Quartet with Sam Newsome, Melvin Gibbs, Reggie Nicholson; Bob Holman/Todd Nicholson; Cooper-Moore Quartet with Alan Michael, Brian Price, Michael Wimberly; Michele Rosewoman’s New Yor-Uba with Alex Norris, Chris Washburne, Roman Filiu, Stacy Dillard, Yunior Terry, Robby Ameen, Roman Diaz, Mauricio Herrera, Rafael Monteagudo, Amma Mcken Judson Memorial Church 7 pm $40 • Dizzy Revisited: Jimmy Heath’s Queens Jazz Orchestra Flushing Town Hall 8 pm $42 êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, Dezron Douglas, Ronnie Burrage, Neil Clark Smoke 7, 9, 10:30 pm $38 • Ehud Asherie solo; Kirk Lightsey Trio with Ed Cherry, David Williams; Johnny O’Neal Mezzrow 8, 9:30 pm 12:30 am $20 • Tom Guarna Quartet with Jon Cowherd, Henry Cole, Ricky Rodriguez; Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter; Corey Wallace Smalls 7:30, 10:30 pm 1:30 am $20 • Tal Ronen; Full Circle; Paul Nowinski Fat Cat 6, 10:30 pm 1:30 am êLush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra with guest Johnny O’Neal Rose Theater 8 pm $40-135 êBroken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander; Arrullo de la Noche Honda: Erik Friedlander/Lucia Pulido The Stone 8, 10 pm $20 êMary Halvorson’s Code Girl with Amirtha Kidambi, Ambrose Akinmusire, Michael Formanek, Tomas Fujiwara The Jazz Gallery 7:30, 9:30 pm $22

êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, Reuben Rogers, Carlton Holmes, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $35 • Michela Marino Lerman Dizzy’s Club 11:30 pm $10 • Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb Jazz at Kitano 8, 10 pm $32 • John Raymond Trio with Chris Smith, Jochen Rueckert Bar Next Door 7:30, 9:30, 11:30 pm $12 • Daniel Freedman Bar Lunàtico 8:30, 10 pm $10 • Guillermo Gregorio/Nicolas Letman-Burtinovic Intersection 6et with Ernesto Llorens, Nick Jozwiak, Leonor Falcón Pasquali Spectrum 8:30 pm êJon Irabagon Trio with Gary Versace, Tom Rainey Cornelia Street Café 9, 10:30 pm $10 • Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold Ibeam Brooklyn 8:30 pm $15 • Infrequent Seams Spring Festival: Lucie Vitkova/James Ilgenfritz; Providence Research Ensemble; Red Desert Ensemble: Devin Maxwell/Katie Porter; Jen Baker’s Polyverse Ensemble with Ingrid Laubrock, Anaïs Maviel The Firehouse Space 7:15 pm $10 • Luiz Simas Trio with Itaiguara, Mauricio Zottarelli; ITA Jazz Competitions Club Bonafide 9:30, 11 pm $10-20 êRale Micic/Peter Bernstein Symphony Space Bar Thalia 9 pm • Yes Deer: Sigourney Delmar/Avram Vestman; The Ghost: Michael Foster, Henry Fraser, Connor Baker New Revolution Arts 8, 9 pm • Michael Mwenso and the Shakes Ginny’s Supper Club 7:30, 9:30 pm $15-20 • The Buffalo Band Trio: Geoff Countryman, Zack Eldridge, Chris Bonner The Cave at St. George’s Episcopal 7:30, 9:30 pm $10 • Wataru Uchida Quartet with Yago Vazquez, Kim Clarke, Lucianna Padmore Inkwell Café 7:30 pm • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Libby Richman Trio Cleopatra’s Needle 8 pm • The Valentine Quintet; Rebecca Sullivan Silvana 6, 7 pm • Jon Sheckler Trio Shrine 7 pm • Mark Sganga/Larry D’Albero Knickerbocker Bar and Grill 9, 10:15 pm $3.50 êArturo Sandoval Blue Note 8, 10:30 pm $45 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Ron Oswanski, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Birdland 8:30, 11 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 êIN/TER\SECT: Sandbox Percussion; Andy Lin and Kelly Lin; Andy Akiho and The Foundry; Jonathan Finlayson’s Sicilian Defense; Chris Potter Underground Orchestra Bryant Park 5 pm • Dona Carter Bryant Park 12:30 pm

Saturday, June 11

êBlue Note Jazz Festival: Charles Lloyd’s Sangam with Zakir Hussain, Eric Harland

Town Hall 8 pm $47.50-125 êVision Festival: Wadada Leo Smith/Miriam Parker; Hamiet Bluiett Quartet with DD Jackson, Bob Stewart, Hamid Drake; David Mills; Wadada Leo Smith Viola Quartet with Stephanie Griffin, Jason Kao Hwang, Hardedge; Paradox of Freedom: Dave Burrell/Hamid Drake Judson Memorial Church 7 pm $40 êTime Quartet: Erik Friedlander, Mark Helias, Uri Caine, Ches Smith; Oscalypso: Michael Blake, Erik Friedlander, Trevor Dunn, Michael Sarin The Stone 8, 10 pm $20 êRez Abbasi’s Junction with Mark Shim, Ben Stivers, Kenny Grohowski Greenwich House Music School 8 pm $15 êBilly Lester solo The Drawing Room 7 pm $20 • Kevin Hays New Day Trio with Rob Jost, Greg Joseph Cornelia Street Café 9, 10:30 pm $10 êMarc Cary’s Harlem Story Ginny’s Supper Club 7:30, 9:30 pm $15 • Rick Stone Trio with Harvie S, Joe Strasser Bar Next Door 7:30, 9:30, 11:30 pm $12 • Sammy Figueroa with Silvano Monasterios, Gabriel Vivas, Dennis Hernandes, Carlos Averhoff, Jr., Ludwig Afonso; Jeremy Warren and the Rudiment Club Bonafide 7:30, 9:30, 11 pm $10-120 • Ivan Renta Quintet Fat Cat 7 pm • Adam Birnbaum Trio with Matt Clohesy, Quincy Davis and guests Gillian Bell, Natalie Kress, Amy Galluzzo, Caitlin Lynch, Caleb van der Swaagh Canoe Studios 10 pm • Jay Rattman Quintet The Cell 8 pm $15 êColleen Clark Collective with Lauren Sevian, Adam Larson, Julian Shore, Bam Bam Rodriguez Rockwood Music Hall Stage 2 7:15 pm • Daniel Bennet Group; Chika Tanaka Tomi Jazz 8, 11 pm $10 • Richard Clements Trio Cleopatra’s Needle 8 pm • Mike Serrano Band with Stephen C. Josephs University of the Streets 8 pm $10 • Valentine Quintet; Rodrigo Bonelli Shrine 6, 7 pm êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, Dezron Douglas, Ronnie Burrage, Neil Clark Smoke 7, 9, 10:30 pm $38 • Spike Wilner; Kirk Lightsey Trio with Ed Cherry, David Williams; Anthony Wonsey Mezzrow 8, 9:30 pm 12:30 am $20 • Peter and Will Anderson Quintet with Jeb Patton, Clovis Nicolas, Phil Stewart; Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter; Philip Harper Quintet Smalls 7:30, 10:30 pm 1:30 am $20 êLush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra with guest Johnny O’Neal Rose Theater 8 pm $40-135 êMary Halvorson’s Code Girl with Amirtha Kidambi, Ambrose Akinmusire, Michael Formanek, Tomas Fujiwara The Jazz Gallery 7:30, 9:30 pm $22 êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, Reuben Rogers, Carlton Holmes, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $45 • Michela Marino Lerman Dizzy’s Club 11:30 pm $20 • Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb Jazz at Kitano 8, 10 pm $32 • Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold Ibeam Brooklyn 8:30 pm $15 • Infrequent Seams Spring Festival: Seth Parker Woods; Philip White solo; Hate Speech: Charlie Looker/Jeremiah Cymerman; Anagram Ensemble The Firehouse Space 8 pm $10 • Mark Sganga/Larry D’Albero Knickerbocker Bar and Grill 9, 10:15 pm $3.50 • Arturo Sandoval Blue Note 8, 10:30 pm $45 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $80-155 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Birdland 8:30, 11 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Thomas Music Study Club Concert: Chip Shelton/Dotti Anita Taylor Saint Peter’s 3 pm • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, Jay Rodriguez, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano PS 189 11 am

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

Sunday, June 12 êVision Festival: Breath through Stone: David Mills, Patricia Nicholson, Djassi Johnson,

Yoshiko Chuma, Jason Kao Hwang, Michael TA Thompson; Mike Reed’s Flesh & Bone with Ben Lamar Gay, Greg Ward, Tim Haldeman, Jason Stein, Jason Roebke, Kevin Coval, Marvin Tate; James Brandon Lewis Trio with Luke Stewart, Warren Trae Crudup III; Dave Liebman, Sam Newsome, Jeff Coffin, Tatsuya Nakatani; Kidd Jordan Ensemble with Joel Futterman, Harrison Bankhead, Alvin Fielder and guest Marlon Jordan Judson Memorial Church 6 pm $40 êErik Friedlander solo; Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander The Stone 8, 10 pm $20 êInternational Anthem Summer Showcase: Makaya McCraven with Junius Paul, Justefan, Greg Ward, Marquis Hill; Rob Mazurek/Chad Taylor; Jaimie Branch Quartet with Tomeka Reid, Jason Ajemian, Chad Taylor Le Poisson Rouge 9:30 pm $22 • Marshall Gilkes with Donny McCaslin, Adam Birnbaum, Matt Clohesy, Eric Doob Club Bonafide 7:30 pm $15 êNorthern Spy: Michael Bates, Michael Blake, Jeremy “Bean” Clemons; Charles Evans/Ron Stabinsky; VUDUnification: Paul Austerlitz, Alexis Marcelo, Jean-Marie Brignol Threes Brewing 8, 9, 10 pm $15 • Charmaine Lee with Tyshawn Sorey, Joanna Mattrey, Henry Fraser, Leila Bordreuil JACK 8 pm $10 • Ai Murakami Trio with Sacha Perry; Johnny O’Neal Trio; Behn Gillece Quartet with Nate Radley, Clovis Nicolas, Jason Tiemann; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1:30 am $20 • Ehud Asherie; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Simone Parker The Drawing Room 7 pm $10 • Constance Cooper Arc Welding Trio; Stone Arabia: Robyn Siwula, Michael Irwin, Dmitry Ishenko, Joe Hertenstein ABC No-Rio 7 pm $5 • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and guests Jim Saporito, Harrison Hollingsworth Symphony Space Bar Thalia 7 pm • Ken Kobayashi Tomi Jazz 8 pm êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, Dezron Douglas, Ronnie Burrage, Neil Clark Smoke 7, 9, 10:30 pm $38 • Kirk Lightsey Trio with Ed Cherry, David Williams Mezzrow 9:30 pm $20 êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, Reuben Rogers, Carlton Holmes, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $35 • Infrequent Seams Spring Festival: Anagram Ensemble The Firehouse Space 7 pm $10 êArturo Sandoval Blue Note 8, 10:30 pm $45 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Mari Koga Quintet Birdland 6 pm $25 • Ghosts Of The Holy Ghost Spermic Brotherhood: Michael Evans, David Grollman, Andy Haas Academy Records 5:30 pm • Chris Whittaker Quartet Saint Peter’s 5 pm êJohn Zorn’s Bagatelles: John Zorn/Dave Douglas Quartet with Brad Jones, Ches Smith The Stone 3 pm $20 êRed Hook Jazz Festival: Joe Fiedler’s Big Sackbut with Ryan Keberle, Luis Bonilla, Jose Davila; Tomas Fujiwara and The Hook Up with Mary Halvorson, Brian Settles, Jonathan Finlayson, Michael Formanek; Rez Abbasi’s Junction with Mark Shim, Ben Stivers, Kenny Grohowski; Judi Silvano’s Zephyr Quintet with Bruce Arnold, Kenny Wessel, Ratzo Harris, Bob Meyer; Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen Urban Meadow 1 pm $10 • Emilio Solla Tango-Jazz Quartet with Joel Frahm, Edward Perez, Ferenc Nemeth Blue Note 11:30 am 1:30 pm $35 • Roz Corral Trio with Howard Alden, David Silliman North Square Lounge 12:30, 2 pm

Monday, June 13

êMilford Graves/Deantoni Parks Park Avenue Armory 8 pm $45 êMarty Ehrlich’s Traveler’s Tales with James Brandon Lewis, Brad Jones, Ben Perowsky

Bar Lunàtico 8:30, 10 pm $10 • John Zorn’s Bagatelles: Secret Quartet: Cornelius Dufallo, Jennifer Choi, Ljova Zhurbin, Yves Dharamraj; A New Quartet: Pauline Kim, Conrad Harris, William Hakim, Okkyung Lee The Stone 8, 10 pm $20 • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura Dizzy’s Club 7:30, 9:30 pm $35 êMara Rosenbloom Trio with Adam Lane, Chad Taylor; Darius Jones Quintet with Ben Gerstein, Jason Stein, Michael Bisio, Jason Nazary Ibeam Brooklyn 8:30, 9:30 pm $15 • Calixto Oviedo with Bob Franceschini, Cesar Orozco, Robert Quintero, Ruben Rodriguez Subrosa 8, 10 pm $15 • Evan Christopher/Ehud Asherie; John Merrill Mezzrow 8, 10:30 pm $20 • Torben Waldorff Quartet with Ingrid Jensen, Drew Gress, Johnathan Blake; Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 • Ned Goold Quartet Fat Cat 9 pm 12:30 am êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • David Lopato Quartet with Lucas Pino, Ratzo Harris, Mike Sarin Cornelia Street Café 8:30 pm $10 êJeb Bishop/Josh Sinton; CROOKS: Jaimie Branch, John Welsh, Brandon Lopez, Sam Ospovat; Hero of Warchester: Anna Webber, Nathaniel Morgan, Liz Kosack Delroy’s Cafe and Wine Bar 9, 9:30, 10:15 pm $10 • Becca Stevens Band Rockwood Music Hall Stage 2 7 pm $12 • Philippe Crettien Quartet with Patrick Mottaz, Sean Farias, Mike Connors ShapeShifter Lab 8:15 pm $15 • David Kuhn Trio with Daniel Durst, Diego Maldonato; Elisabeth Lohninger Trio with Walter Fischbacher, Marco Panascia Bar Next Door 6:30, 8:30, 10:30 pm $12 • Tony Tixier/Damian Henderson Boudoir 7:30 pm • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai Tomi Jazz 8 pm • Danny Bacher Quartet Le Cirque 7:30 pm • DUBtrio+1; Benji Kaplan Sextet Silvana 6, 7 pm êJoel Forrester Bryant Park 12:30 pm

Tuesday, June 14

• National Jazz Museum in Harlem 2016 Annual Benefit Concert: René Marie; Monty Alexander and Harlem-Kingston Express Kaye Playhouse 7:30 pm $35-55 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Birdland 8:30, 11 pm $40 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 • Blue Note Jazz Festival: Terrace Martin; Keyon Harrold Highline Ballroom 8 pm $30-65 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Subrosa 8, 10 pm $25 êOscar Peterson Celebration: Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 êThe Out Louds: Ben Goldberg, Mary Halvorson, Tomas Fujiwara Cornelia Street Café 8 pm $10

• Darcy James Argue’s Secret Society with Dave Pietro, Rob Wilkerson, Peter Hess, Jon Irabagon, Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, Nadje Nooordhuis, Jason Palmer, Mike Fahie, Ryan Keberle, Jacob Garchik, Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan Jazz Standard 7:30, 9:30 pm $25 êAmarcord Nino Rota: Hal Willner, Giancarlo Vulcano, Steven Bernstein, Michael Gibbs, Karen Mantler, Doug Wieselman, Jane Scarpantoni, Jim White The Stone 8, 10 pm $20 êRenku: Michaël Attias, John Hébert, Satoshi Takeishi; Anna Webber, Teddy Klausner, Devin Gray Korzo 9, 10:30 pm • Deanna Kirk Mezzrow 8 pm $20 • Spike Wilner Trio; Brian Charette Trio with Steve Fidyk, Will Bernard; Jovan Alexander Smalls 7:30, 10:30 pm 1:30 am $20 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop Fat Cat 7, 9 pm • Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; Mike Robinson Trio with Dave Speranza, Connor Parks Bar Next Door 6:30, 8:30, 10:30 pm $12 • Matt McDonald Group; John Yao and His 17-piece Instrument with Alejandro Aviles, Aaron Irwin, Rich Perry, Jason Rigby, Andrew Hadro, John Walsh, Jason Wiseman, David Smith, Andy Gravish, Luis Bonilla, Matt McDonald, Eric Miller, Jennifer Wharton, Jesse Stacken, Robert Sabin, Vince Cherico ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Victor Rendón Bronx Conexión Latin-Jazz Big Band Nuyorican Poets Café 9:30 pm $10 • Jon Sheckler Trio with Steve Denny, Aron Caceras Club Bonafide 7:30 pm $10 • Paul Corn Duo Tomi Jazz 8 pm • Larry Corban Electric Trio Silvana 7 pm • Billy Test solo Jazz at Kitano 8 pm • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura Dizzy’s Club 7:30, 9:30 pm $35 • Benny Benack III Dizzy’s Club 11:30 pm $5 êJoel Forrester Bryant Park 12:30 pm êAdegoke Steve Colson Rendall Memorial Presbyterian Church 12, 1 pm $15

Wednesday, June 15

êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $30 êHarris Eisenstadt’s Recent Developments with Jeb Bishop, Eivind Opsvik, Dan Peck, Hank Roberts, Brandon Seabrook, Sara Schoenbeck, Anna Webber, Nate Wooley ShapeShifter Lab 8 pm $10 êTom Rainey/Ingrid Laubrock Barbès 8 pm $10 • Romain Collin Iridium 8:30 pm $27.50 êMario Pavone Mixed Quintet with Tony Malaby, Dave Ballou, Oscar Noriega, Peter McEachern, Michael Sarin Cornelia Street Café 8 pm $10 • Marlene VerPlanck Trio with Tedd Firth, Boots Maleson Jazz at Kitano 8, 10 pm $17 • Jon Irabagon/Juan Pablo Carletti; Curtis Hasselbring Trio with Simon Jermyn, Satoshi Takeishi Rye 9, 10:15 pm • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, Joel Mateo Smoke 7, 9, 10:30 pm $12 • Doing the Things We Want To: Hal Willner, Chloe Webb, Lee Ranaldo, Sim Cain, Doug Weiselman, Steven Bernstein, Don Fleming, Jacob Faulkner The Stone 8, 10 pm $20 • Ray Gallon Mezzrow 8 pm $20 • Marc Miralta Quartet with Luis Perdomo, Miguel Zenón, John Benitez; Harold Mabern Trio; Sanah Kadoura Smalls 7:30, 10:30 pm 1:30 am $20 • Raphael D’lugoff Trio +1; Ned Goold Jam Fat Cat 7 pm 12:30 am • Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino; Costas Baltazanis; Lucas Kadish Trio with Devon Gillingham, Connor Parks Club Bonafide 7:30, 9:30, 11 pm $10-20 • Matterhorn Rockwood Music Hall Stage 1 11:30 pm • Dragonflies: Nicolas Letman-Burtinovic, Douglas Bradford, Peter Kronreif Bar Chord 9 pm • Tsuyoshi Yamamoto Trio Tomi Jazz 8 pm • Roger Davidson Caffe Vivaldi 7:15 pm • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Birdland 8:30, 11 pm $40 • Christian McBride Quartet Blue Note 8, 10:30 pm $35 • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura Dizzy’s Club 7:30, 9:30 pm $35 • Benny Benack III Dizzy’s Club 11:30 pm $5 • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm • Mike Alfieri Trio Silvana 6 pm • Gioel Severini Shrine 6 pm êDick Hyman solo Saint Peter’s 1 pm $10 êJoel Forrester Bryant Park 12:30 pm

Thursday, June 16

êHighlights in Jazz—Trio Time: Dick Hyman Trio with Jay Leonhart, Howard Alden;

Trio Da Paz: Duduka Da Fosenca, Romero Lubambo, Nilson Matta Tribeca Performing Arts Center 8 pm $50 êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan Blake Dizzy’s Club 7:30, 9:30 pm $40 • Benny Benack III Dizzy’s Club 11:30 pm $10 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers St. Paul’s German Lutheran Church 7:30 pm • Ben Allison Band with Joey Arias, Brandon Seabrook, Steve Cardenas, Allison Miller; Sivan Arbel with Shai Portugaly, Nadav Shapira, Yogev Gabay, Ron Warburg, Jack Sheehan, Ori Jacobson ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Whoops I’m An Indian: Martin Brumbach, Mocean Worker, Hal Willner and guest Professor Irwin Corey; Homage to Joel Dorn: Adam Dorn, Hal Willner, Martin Brumbach, William Eaton, William Fischer The Stone 8, 10 pm $20 êBobby Katz Trio with Perrin Grace, Tim Rachbach; Jon Irabagon Trio with Chris Lightcap, Gerald Cleaver Bar Next Door 6:30, 8:30, 10:30 pm $12 • Frank Vignola/Vinny Raniolo Cavatappo Grill 9, 11 pm $10 • Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby, Charles Pillow, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; JC Stylles Quartet Smalls 7:30, 10:30 pm $20 • Point of Departure Fat Cat 10 pm • Ayako Shirasaki Trio with Noriko Ueda, Lewis Nash Jazz at Kitano 8, 10 pm $17 • Ricky Rodriguez Group with Myron Walden, Adam Rogers, Luis Perdomo, Obed Calvaire The Jazz Gallery 7:30, 9:30 pm $15 • John Hadfield Saints of Percussion with Billy Drewes, Matt Kilmer, Tim Keiper, Shane Shanahan, John Hadfield Cornelia Street Café 8 pm $10 • Sumie Kaneko; Marcus Machado Club Bonafide 7:30, 9:30 pm $15 • Patrick Brennan’s Transparency Kestra with Eli Asher, Haruna Fukazawa, Michel Gentile, Brian Groder, Lloyd Haber, Thomas Heberer, Patrick Holmes, Jason Kao Hwang, Chris McIntyre, Dave Treut, David Sidman, Nico Soffiato, Justin Wood El Taller LatinoAmericano 7 pm $10 • Eden Bareket Rockwood Music Hall Stage 3 10 pm $5 • Ehud Asherie solo; Spike Wilner; Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 • Susan Leviton and Lauren Brody Jalopy 8:30 pm $15 • Scot Albertson Tomi Jazz 9 pm $10 • Lauren Lee Duet Cleopatra’s Needle 7 pm

44 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $30 • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, Joel Mateo Smoke 7, 9, 10:30 pm $12 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 • Sean Harkness Duo Birdland 6 pm $25 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Birdland 8:30, 11 pm $40 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 • New York Trombone Conspiracy Silvana 6 pm • Tsuyoshi Yamamoto Shrine 6 pm • Matthew Fries Trio Hillstone 6 pm êJoel Forrester Bryant Park 12:30 pm • Monika Herzig Citigroup Center Plaza 12:30 pm

Friday, June 17

êGabriel Alegría Afro-Peruvian Sextet with Laura Andrea Leguía,

Freddy “Huevito” Lobatón, Yuri Juárez, John Benitez, Franco Pinna; Corners of the World: Andres Malagon, Yuma Uesaka, Paul JB Lee, Tony Lannen, Diego Maldonado Club Bonafide 7:30, 9:30, 11 pm $10-30 • Sacha Perry solo; David Liebman; Johnny O’Neal Mezzrow 8, 9:30 pm 12:30 am $20 êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III Smoke 7, 9, 10:30 pm $38 • Jon Burr Quintet with Tim Ouimette, Steven Frieder, Michael Eckroth, Steve Williams; Donald Edwards Quintet with Ralph Bowen, David Gilmore, Manuel Valera, Ben Wolfe; Joe Farnsworth Smalls 7:30, 10:30 pm 1:30 am $20 • Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves, Nilson Matta Jazz at Kitano 8, 10 pm $32 • Hal Willner with Terry Adams, Art Baron and guests; Hal Willner with Janine Nichols, LeeAnn Brown, Nile Southern, Tony Torn, Steven Bernstein The Stone 8, 10 pm $20 • Gene Bertoncini The Drawing Room 7 pm $20 • John Benitez The Jazz Gallery 7:30, 9:30 pm $22 • Blue Note Jazz Festival: Williamsburg Salsa Orchestra Subrosa 8:30 pm $12 êDevin Gray’s Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek Ibeam Brooklyn 8:30 pm $15 • Steve LaSpina/Gary Dial Knickerbocker Bar and Grill 9, 10:15 pm $3.50 • John Hébert Quartet with David Virelles, Tim Ries, Billy Drummond Cornelia Street Café 9, 10:30 pm $10 • DIY Labels Festival: Joe Moffett solo; Yolt/Hero of Warchester: Weston Minissali, David Grollman, Nathanile Morgan, Anna Webber; Gordon Beeferman Trio with Michael Evans, Brandon Lopez; Michael Evans/Susan Hefner The Firehouse Space 8 pm $10 • Mark Cocheo Trio with Mark Zaleski, Brian Adler Bar Next Door 7:30, 9:30, 11:30 pm $12 • Vivian Reed Metropolitan Room 9 pm $35 • Erica Seguine/Shannon Baker Jazz Orchestra; Scott Reeves Jazz Orchestra ShapeShifter Lab 8, 9:30 pm $15 • Underground Horns Radegast Hall 9 pm • Julio Botti Trio Tomi Jazz 9 pm $10 • Gustavo Moretto Trio Cleopatra’s Needle 8 pm • Rachel Linkovsky Quintet Silvana 7 pm • Shigemasa Nakano Shrine 7 pm êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan Blake Dizzy’s Club 7:30, 9:30 pm $40 • Benny Benack III Dizzy’s Club 11:30 pm $10 êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $30 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Birdland 8:30, 11 pm $40 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 êJoel Forrester Bryant Park 12:30 pm

Saturday, June 18

êSummerStage/Blue Note Jazz Festival: Kamasi Washington

Central Park SummerStage 6 pm êJason Rigby Detroit-Cleveland Trio with Cameron Brown, Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $15 • Tord Gustavsen Trio with Simin Tander, Jarle Vespestad Saint Peter’s 8 pm • Melissa Aldana/Glenn Zaleski Sextet with Ben van Gelder, Philip Dizack, Rick Rosato, Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $22 • DIY Labels Festival: Brian Osborne solo; Flin Van Hemmen Trio with Eivind Opsvik, Christopher Hoffman; Dustin Carlson/Juan Pablo Carletti; Blood of the Stars: Dan Peck/ Erica Dicker The Firehouse Space 8 pm $10 êHal WillnerGarth Hudson The Stone 8, 10 pm $20 • Petros Klampanis Trio with Yotam Silberstein, John Hadfield Bar Next Door 7:30, 9:30, 11:30 pm $12 • Ali Bello and the Sweet Wire Band with Gabriel Chakarji, Bam Bam Rodríguez, Ismael “Maelo” Baiz and guest; Buyu Ambroise Blues in Red Band; Wataru Predawn Shenanigans Club Band with Abelita Mateus, Itaiguara Brandão, Vanderlei Pereira Club Bonafide 7:30, 9:30, 11 pm $10-20 • Scott Healy Ensemble with Brian Swartz, Andrew Lippman, Alex Budman, Rick Shaw, Bill Wysaske, Aaron Heick, Bob Magnuson, Frank Greene, Joël Vaïsse St. Paul’s German Lutheran Church 7:30 pm • Jackie Gage Siren Songs The Cell 8 pm $15 • Astoria Big Band Sunnyside Reformed Church 7 pm • Standard Procedures; Takafumi Suenaga Tomi Jazz 8, 11 pm $10 • Ken Simon Trio Cleopatra’s Needle 8 pm • Noshir Mody Sextet Shrine 7 pm • Spike Wilner; David Liebman; Jon Davis Mezzrow 8, 9:30 pm 12:30 am $20 êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III Smoke 7, 9, 10:30 pm $38 • Eddie Diehl Quartet with Joel Fass, John Beal, Taro Okamoto; Donald Edwards Quintet with Ralph Bowen, David Gilmore, Manuel Valera, Ben Wolfe; Brooklyn Circle Smalls 7:30, 10:30 pm 1:30 am $20 • Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves, Nilson Matta Jazz at Kitano 8, 10 pm $32 êDevin Gray’s Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek Ibeam Brooklyn 8:30 pm $15 • Steve LaSpina/Gary Dial Knickerbocker Bar and Grill 9, 10:15 pm $3.50 êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan Blake Dizzy’s Club 7:30, 9:30 pm $45 • Benny Benack III Dizzy’s Club 11:30 pm $20 êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $30 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Birdland 8:30, 11 pm $40 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 • The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey, Philip Harper, Alex Grassel, Dave Gibson Brownsville Heritage House 3 pm

All-Female Jazz Residency Artistic Director: Geri Allen

July 10 - 16, 2016 at Rutgers University-Newark Young women work alongside the most respected jazz musicians in the field. Linda Oh

Bruce Williams

Ingrid Jensen

Geri Allen

Tia Fuller

Photo: Norman DeShong

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To register visit njpac.org/getacceptd For more information: njpac.org/summer [emailprotected] • 973.353.7058 NYC Jazz Record All-Female Jazz Residency Ad_9.5x12_ad.indd 1

Financial aid available

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5/17/16 4:00 PM

Sunday, June 19 • Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz The Drawing Room 7:30 pm $15 • Jim Black Trio with Elias Stemeseder, Thomas Morgan Cornelia Street Café 8:30 pm $10 êDave Chamberlain Band of Bones Club Bonafide 7 pm $20 êDIY Labels Festival: Sean Conly solo; Booker Stardrum solo; Carlo Costa Quartet with Steve Swell, Jonathan Moritz, Sean Ali; Yoni Kretzmer, Jason Ajemian, Kevin Shea The Firehouse Space 8 pm $10 êUri Gurvich Quartet with Manuel Valera, Peter Slavov, Francisco Mela; Braxton Cook Quintet Rockwood Music Hall Stage 3 7, 10 pm $10-12 • Lezlie Harrison Quartet; Joe Magnarelli Quartet; Hillel Salem Smalls 7:30, 10:30 pm 1:30 am $20 • Ehud Asherie; Brandon Lewis/Renee Cruz Jam Fat Cat 6 pm 1 am êJosh Sinton/Guillermo Gregorio; Mike Sopko/Chris Pitsiokos Downtown Music Gallery 6, 7 pm • Eden Ladin Mezzrow 9:30 pm $20 • Scott May Ensemble; Evan Gallagher Ensemble ABC No-Rio 7 pm $5 • Luciana Menzes Tomi Jazz 8 pm êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III Smoke 7, 9, 10:30 pm $38 êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan Blake Dizzy’s Club 7:30, 9:30 pm $35 êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $30 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 êBucky Pizzarelli Birdland 6 pm $30 • David Love Trio Silvana 6 pm • Nadje Noordhuis and Cablework Saint Peter’s 5 pm êJohn Zorn’s Bagatelles: Jim Black Trio with Elias Stemeseder, Chris Tordini The Stone 3 pm $20 êBlack Arts Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, Victor Gould, Vicente Archer, Johnathan Blake Brooklyn Conservatory of Music 3 pm êEric Wyatt Band with Benito Gonzalez, Essiet Okon Essiet, Chris Beck First Baptist Church Of Crown Heights 3 pm êRed Hook Jazz Festival: Jeff Davis Authorities Trio + 1 with Kirk Knuffke, Eivind Opsvik and guest Jonathan Goldberger; Matt Pavolka Horns Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber; Ari Hoenig Group; James Brandon Lewis Trio with Luke Stewart, Warren G. Crudup III; Bobby Previte and the Visitors with Mike Gamble, Michael Kammers, Kurt Kotheimer Urban Meadow 1 pm $10 • Joe Alterman Trio Blue Note 11:30 am 1:30 pm $35 • Roz Corral Trio with Sheryl Bailey, Paul Gill North Square Lounge 12:30, 2 pm

Monday, June 20

êRebirth Brass Band êGeorge Braith êMingus Big Band

Blue Note 8, 10:30 pm $35 Fat Cat 9 pm 12:30 am Jazz Standard 7:30, 9:30 pm $25 • Lucas Pino’s No Net Nonet with Mat Jodrell, Alex LoRe, Nick Finzer, Andrew Gutauskas, Rafal Sarnecki, Glenn Zaleski, Desmond White, Jimmy MacBride, Vuyo Sotashe, Nancy Harms Dizzy’s Club 7:30, 9:30 pm $35 • Jerome Sabbagh/Danny Grissett; John Merrill Mezzrow 8, 10:30 pm $20 • Dan Cray Quartet with Dayna Stephens, Clark Sommers, Mark Ferber; The Humanity Quartet: Leon Parker, Joel Frahm, Sean Smith, Fred Nardin; Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 • Confirmed: Leonid Galaganov, Sana Nagano, Lester St.louis, Jordan Morton; Polyverse: Jen Baker, Ingrid Laubrock, Stephanie Griffin, Anaïs Maviel Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Jon Davis Trio Bar Lunàtico 8:30, 10 pm $10 • Henrique Eisenmann Trio with Jorge Roeder, Rogério Boccato ShapeShifter Lab 8:15 pm $12 • Sandy Gabriel Subrosa 8, 10 pm $12 • Mark Phillips Trio with Peter Amos, Sam Zerna; Daniela Schächter Trio with Marco Panascia Bar Next Door 6:30, 8:30, 10:30 pm $12 • Richard Sears/Karl McComas-Reichl Boudoir 7:30 pm • Erena Terakubo Tomi Jazz 8 pm • Roy Eaton Bryant Park 12:30 pm

Tuesday, June 21

êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond

Village Vanguard 8:30, 10:30 pm $30 • Robert Glasper Trio with Vicente Archer, Damion Reid Blue Note 8, 10:30 pm $45 êJazztopad Festival Presents: Obara International Quartet: Maciej Obara, Dominik Wania, Ole Morten Vågan, Gard Nilssen Jazz Standard 7:30, 9:30 pm $25 • Eliane Elias Birdland 8:30, 11 pm $40 • Steve Davis Quintet with Mike DiRubbo, Larry Willis, Gerald Cannon, Joe Farnsworth Dizzy’s Club 7:30, 9:30 pm $35 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 • Bill Garfield Band NYC Baha’i Center 8, 9:30 pm $15 êMidsummer Night Swing: Catherine Russell Septet Damrosch Park 7:30 pm $17 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Subrosa 8, 10 pm $25 êVictor Prieto The Three Voices with Arturo O’Farrill, Meg Okura, Daniel Blake, Xohan Manuel Xil Paxaro, Carlo De Rosa, Eric Doob Symphony Space Leonard Nimoy Thalia 8 pm $20 êFlow Trio: Louie Belogenis, Joe Morris, Charles Downs and guest Joe McPhee The Stone 8, 10 pm $20 • Mostly Other People Do the Killing: Ron Stabinsky, Moppa Elliott, Kevin Shea and guest Matt Nelson Cornelia Street Café 8, 9:30 pm $10 êMichael Blake Quintet with Marcus Rojas, James Carney, Chris Lightcap, Kresten Osgood; Ken Thomson Sextet with Anna Webber, Russ Johnson, Alan Ferber, Adam Armstrong, Daniel Dor Korzo 9, 10:30 pm • JC Sanford’s Triocracy with Chris Bacas, Andy Laster; Aaron Irwin Group with Marshall Gilkes, Pete McCann, Thomson Kneeland; JC Sanford 4 with Mike Baggetta, Dave Ambrosio, Russ Meissner ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Daryl Sherman Mezzrow 8 pm $20 • Spike Wilner Trio; Lucas Pino No Net Nonet; Kyle Poole Smalls 7:30, 10:30 pm 1:30 am $20 • Saul Rubin Zebtet; Cocomama Fat Cat 7, 9 pm • Tommy Holladay Trio with Josh Crumbly, Kush Abadey; Tom Finn Trio with Zwe Bell Le Pere, Bryan Carter Bar Next Door 6:30, 8:30, 10:30 pm $12 • George Dulin Tomi Jazz 8 pm • Billy Test solo Jazz at Kitano 8 pm • Lauren Lee Trio Silvana 6 pm • Roy Eaton Bryant Park 12:30 pm • Kahlil Kwame Bell Rendall Memorial Presbyterian Church 12, 1 pm $15

Wednesday, June 22

êJazztopad Festival Presents: Marcin Wasilewski Trio; Lutoslawski Quartet with Uri Caine;

Piotr Damasiewicz Quintet Dizzy’s Club 7:30, 9:30 pm $30 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 • Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar Jazz Standard 7:30, 9:30 pm $25

êConnie Crothers, Louie Belogenis, Ken Filiano, Michael Wimberly; Rob Brown, Louie Belogenis, Roberta Piket, Billy Mintz The Stone 8, 10 pm $20 • Kendra Shank/Frank Kimbrough Jazz at Kitano 8, 10 pm $17 • Victor Gould Sextet with Jeremy Pelt, Godwin Louis, Myron Walden, Ben Williams, E.J. Strickland Smoke 7, 9, 10:30 pm $12 • Samuel Torres Group with Alex Norris, Tom Guarna, Manuel Valera, Ricky Rodriguez, Pablo Bencid; Sandy Gabriel Club Bonafide 7:30, 9:30 pm $15-20 êGreg Lewis Organ Trio Bar Lunàtico 8:30, 10 pm $10 • Leon Parker Quartet Mezzrow 8 pm $20 • Rick Rosato Trio with Peter Bernstein, Craig Weinrib; Dave Baron Quartet with Lucas Pino, Bruce Barth, Aaron Kimmel; Aaron Seeber Smalls 7:30, 10:30 pm 1:30 am $20 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am • Martin Philadelphy, Trevor Dunn, Kresten Osgood; Jonas Kullhammar, Michael Blake, George Braith, Goran Kajfes, Johan Berthling, Kresten Osgood Ibeam Brooklyn 8:30, 10 pm $10 • BMI Jazz Composers Workshop Showcase Concert Christ-St. Stephens Church 7:30 pm • Hans Lüdemann solo; Koi4: Teo Vanovski, Paul JuBong Lee, Marcio Garcia, Zach Kirsimae ShapeShifter Lab 7, 8:15 pm $8-10 • Sam Weinberg Band; The Skellettes: Nathaniel Morgan, Angela Morris, Jason Ajemian, Booker Stardrum Rye 9, 10:15 pm • Shoko Igarashi Trio Tomi Jazz 8 pm • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, Dan Silverstone Caffe Vivaldi 8:30 pm • Gypsy Jazz Caravan Radegast Hall 9 pm êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Village Vanguard 8:30, 10:30 pm $30 • Robert Glasper Trio with Vicente Archer, Damion Reid Blue Note 8, 10:30 pm $45 • Eliane Elias Birdland 8:30, 11 pm $40 • Paul Abler/James Weidman Whole Foods Market Bowery 6 pm • Tom Blatt Project Silvana 6 pm • Benji Kaplan Sextet Shrine 6 pm • Eyal Vilner Big Band Saint Peter’s 1 pm $10 • Roy Eaton Bryant Park 12:30 pm

Thursday, June 23

êJazztopad Festival Presents: Piotr Damasiewicz Quintet; Lutoslawski Quartet with

Uri Caine; Marcin Wasilewski Trio Dizzy’s Club 7:30, 9:30 pm $30-40 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $10 êHenry Butler Bar Lunàtico 8:30, 10 pm $10 êDarius Jones, Louie Belogenis, Adam Lane, William Hooker; Louie Belogenis, Russ Lossing, Kenny Wollesen The Stone 8, 10 pm $20 êDean Johnson’s Triology with Joel Frahm, Jim Ridl, Tim Horner Jazz at Kitano 8, 10 pm $17 êDan Weiss Trio with Jacob Sacks, Thomas Morgan Cornelia Street Café 8 pm $10 • Brandon Seabrook Die Trommel Fatale with Marika Hughes, Eivind Opsvik, Dave Treut, Sam Ospovat, Chuck Bettis Greenwich House Music School 8 pm $15 • Unidentified Fusion Orangement: Alexander Anderson, Cosimo Boni, Connor Steck, David Milazzo, Bryant Jackson, Max Acree, Shin Sakaino, Tiago Michelin; Roman Filiu’s Quarteria with Ralph Alessi, Dayna Stephens, Maria Grand, David Virelles, Matt Brewer, Craig Weinrib, Yusnier Sanchez ShapeShifter Lab 7, 8:15 pm $10 êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens SEEDS 8:30 pm • Spike Wilner solo; Mike Longo; Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 • Carl Bartlett Jr. Quartet with Yoichi Uzeki, Marcus McLaurine, Sylvia Cuenca; Loren Stillman Quintet with Gary Versace, Nate Radley, David Ambrosio, Mark Ferber Smalls 7:30, 10:30 pm $20 • Roxy Coss Quintet with Alex Goodman, Miki Yamanaka, Rick Rosato, Craig Weinrib; Chiara Izzi/Kevin Hays; Swingatto: Alex Woods, Antonio Feula, Giacomo Tagliavia Club Bonafide 7:30, 9:30, 11 pm $10-15 • Guillermo Gregorio Group with Brandon Lopez; Dustin Carlson Largetet with Danny Gouker, Nathaniel Morgan, Eric Trudel, Adam Hopkins, Kate Gentile Manhattan Inn 10 pm $10 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman Jazz Museum in Harlem 7 pm $10 • Chris Turner/Killiam Shakespeare Ginny’s Supper Club 7:30, 9:30 pm $15 • Tribute to Sinatra: Perez Metropolitan Room 7 pm $20 • Isabella Lundgren and Carl Bagges Trio Scandinavia House 7 pm $15 • Sam Zerna Trio with Matt Marantz, Fabio Ragnelli; Mike Bono Trio with Jared Henderson, Roberto Giaquinto Bar Next Door 6:30, 8:30, 10:30 pm $12 • Mike Sailors Quartet Cavatappo Grill 9, 11 pm $8 • The Workshop Band Performance; Dave Levitt Trio Jalopy 8:30 pm $15 • Emi Takada Tomi Jazz 9 pm $10 • Patrick Poladian Duet Cleopatra’s Needle 7 pm • Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar Jazz Standard 7:30, 9:30 pm $25 • Victor Gould Sextet with Freddie Hendrix, Godwin Louis, Myron Walden, Ben Williams, E.J. Strickland Smoke 7, 9, 10:30 pm $12 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Village Vanguard 8:30, 10:30 pm $30 êRobert Glasper/Jason Moran Blue Note 8, 10:30 pm $45 • Pucci Amanda Jhones Birdland 6 pm $25 • Eliane Elias Birdland 8:30, 11 pm $40 • Beat Kaestli The Archway 6 pm • Eric Plaks Silvana 6 pm • Tom Blatt Project Shrine 6 pm • Roy Eaton Bryant Park 12:30 pm • David Weiss Sextet Citigroup Center Plaza 12:30 pm • Arturo O’Farrill Fat Afro Latin Jazz Cats Metrotech Commons 12 pm

• Stephen Gauci/Philip White; Briggan Krauss/Alvaro Domene; Nick Demopoulos/ Jeremy Carlstedt The Firehouse Space 8 pm $10 • Jazztopad Festival Presents: Piotr Damasiewicz/Gerard Lebik Duo Happylucky no.1 8, 9:30 pm $10 • Marc Cary’s Harlem Story Ginny’s Supper Club 7:30, 9:30 pm $15 • Midsummer Night Swing: Mint Julep Jazz Band Damrosch Park 7:30 pm $17 • Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda The Jazz Gallery 7:30, 9:30 pm $22 êScott Dubois Quartet with Jon Irabagon, Thomas Morgan, Kresten Osgood Cornelia Street Café 9, 10:30 pm $10 • Aaron Parks and Little Big with Greg Tuohey, Immanuel Wilkins, Spencer Murphy, Kush Abadey Greenwich House Music School 8 pm $15 • Dan Loomis Ibeam Brooklyn 8:30 pm $15 • Michael Sarian and The Chabones with Jim Piela, Ricky Alexander, Christopher Misch-Bloxdorf, Michael Verselli, Josh Bailey ShapeShifter Lab 7 pm $8 • Blue Note Jazz Festival: Svetlana and The Delancey Five with guest Wycliffe Gordon Lucille’s at B.B. King’s 7:30, 9:30 pm $20-25 • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9, 10:15 pm $3.50 • Jerram Original Network: Jerry Griffin, Tyler Mitchell, Jahn Davis Inkwell Café 7:30 pm • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Lluis Capdevila Trio Cleopatra’s Needle 8 pm • Gonçalo Leonardo Group; Brian Harrington Group Silvana 6, 7 pm êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens SEEDS 8:30 pm êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Village Vanguard 8:30, 10:30 pm $30 êRobert Glasper/Jason Moran Blue Note 8, 10:30 pm $45 • Ben Williams and Sound Effect Blue Note 12:30 pm $10 • Eliane Elias Birdland 8:30, 11 pm $40 • Roy Eaton Bryant Park 12:30 pm

Saturday, June 25

êSummerStage/New York Hot Jazz Festival: Butler, Bernstein and the Hot 9; The Hot Sardines; Bria Skonberg and the New York Hot Jazz Festival All-Stars with Anat Cohen, Vince Giordano, Wycliffe Gordon, Joe Saylor, Dalton Ridenhour Central Park SummerStage 3 pm • Blue Note Jazz Festival: Al Jarreau Town Hall 8 pm $45-130 êBlue Buddha: Dave Douglas, Louie Belogenis, Bill Laswell, Tyshawn Sorey The Stone 8, 10 pm $20 êSpecial Piano Extravaganza: Don Friedman, George Cables, Frank Kimbrough, George Mraz, Anthony Pinciotti Jazz at Kitano 8, 10 pm $32 êJazztopad Festival Presents: Tony Malaby’s Polish Quintets with Maciej Obara, Piotr Damasiewicz, Dominik Wania, Max Mucha, Krzysztof Dziedzic and Gerard Lebik, Artur Tuźnik, Max Mucha, Krzysztof Dziedzic Cornelia Street Café 9, 10:30 pm $10 • Shunzo Ohno; Kat Vokes Club Bonafide 7:30, 9:30, 11 pm $10-25 • Jeff Pearring The Drawing Room 7 pm $15 • Erik Deutsch Bar Lunàtico 8:30, 10 pm $10 • Rale Micic Trio with Steve LaSpina, McClenty Hunter Bar Next Door 7:30, 9:30, 11:30 pm $12 • Adam Matlock solo; Alexis Marcelo solo; Tom Blancarte Trio with Ron Stabinsky, Kevin Shea Soup & Sound 7 pm $20 • Underground Horns Nublu 11:55 pm • Monika Ryan Metropolitan Room 9:30 pm $24 • Sanah Kadoura Quintet Fat Cat 7 pm • Yuko Ito; Yusuke Seki Tomi Jazz 8, 11 pm $10 • Denton Darien Trio Cleopatra’s Needle 8 pm • B.J. Jansen Silvana 7 pm êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White Smoke 7, 9, 10:30 pm $38 êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, Kendrick Scott Jazz Standard 7:30, 9:30 pm $35 • Spike Wilner; Gary Smulyan Trio; Anthony Wonsey Mezzrow 8, 9:30 pm 12:30 am $20 • David Bixler Quintet; Freddie Hendrix Quintet with Abraham Burton, Theo Hill, Chris Berger, Chris Beck; Philip Harper Quintet Smalls 7:30, 10:30 pm 1:30 am $20 • Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak Feinstein’s/54 Below 9:30 pm $30-70 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Dizzy’s Club 7:30, 9:30 pm $45 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $20 • Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda The Jazz Gallery 7:30, 9:30 pm $22 • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9, 10:15 pm $3.50 êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens SEEDS 8:30 pm êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Village Vanguard 8:30, 10:30 pm $30 • Robert Glasper with guest Taylor McFerrin Blue Note 8, 10:30 pm $45 • Eliane Elias Birdland 8:30, 11 pm $40 • Giant Dwarf: Martin Philadelphy/Jeremy Carlstedt Downtown Music Gallery 6 pm • Sonia Sanchez/Gary Bartz Blue Note 4 pm $20

Friday, June 24

êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White

Smoke 7, 9, 10:30 pm $38 êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 • Ehud Asherie solo; Gary Smulyan Trio; Johnny O’Neal Mezzrow 8, 9:30 pm 12:30 am $20 • Freddie Hendrix Quintet with Abraham Burton, Theo Hill, Chris Berger, Chris Beck; Corey Wallace Smalls 10:30 pm 1:30 am $20 • Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak Feinstein’s/54 Below 9:30 pm $30-70 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Dizzy’s Club 7:30, 9:30 pm $45 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $10 êPosi-Tone Allstars: Brian Charette, Joe Magnarelli, Walt Weiskoff, Doug Webb, Peter Bernstein; Sivan Arbel Septet with Nick Hetko, Nadav Shapira, Yogev Gabay, Ron Warburg, Ori Jacobson, Jack Sheehan Club Bonafide 7:30, 8:45, 10, 11:30 pm $10-15 êTwice Told Tales: Tony Malaby, Louie Belogenis, Trevor Dunn, Ryan Sawyer The Stone 8, 10 pm $20 • Wayne Krantz/Gabriela Anders ShapeShifter Lab 8:15 pm • John Hart Trio with Bill Moring, Tim Horner Bar Next Door 7:30, 9:30, 11:30 pm $12 • Tony Middleton Birthday Celebration 80 + 2 with Brandon Wright, Joe Vincent Tranchina, Saadi Zain Jazz at Kitano 8, 10 pm $32

46 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Celebrate FATHER'S DAY

with

Dave Chamberlain’s

BAND of BONES CLUB BONAFIDE

June 19th, 7:00-8:15 (one set) $20 212 East 52nd St. between 3rd & Lex. #6 train to 51st St. “Tight and crisp, and almost Basie-esque!” DOWNBEAT

www.bandofbones.com www.clubbonafide.com

Sunday, June 26 êLouie Belogenis, Ikue Mori, Sylvie Courvoisier; Daniel Carter, Louie Belogenis, Andrew Bemkey, Dave Hofstra, Lou Grassi The Stone 8, 10 pm $20 êJazztopad Festival Presents: Lutosławski Quartet with Uri Caine National Sawdust 8 pm $25 • Ben Allison/Michael Wolff Mezzrow 9:30 pm $20 êNacka Forum: Jonas Kullhammar, Goran Kajfes, Johan Berthling, Kresten Osgood Nublu 7 pm êTerrence McManus/John Hébert; Thomas Heberer/Jason Stein Downtown Music Gallery 6, 7 pm • Patrick Cornelius Octet with Matthew Jodrell, Sam Sadigursky, Nick Vayenas, Alex Wintz, Fabian Almazan, Thomson Kneeland, Eric Doob Cornelia Street Café 8:30 pm $10 • George Gee Swing Orchestra; Johnny O’Neal Trio; Hillel Salem Smalls 4:30, 10:30 pm 1:30 am $20 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6 pm 1 am • Tali Rubinstein Quartet; Paola Quagliata Quartet The Cell 8, 10 pm $15 • Brad Linde’s Team Players with Billy Wolfe, Aaron Quinn, Deric Dickens Ibeam Brooklyn 8:30, 9:30 pm $15 • Dialogue: Dan Davis, Cole McCormick, Eli Marzano ShapeShifter Lab 7 pm $10 • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and guests Jim Saporito, Harrison Hollingsworth Symphony Space Bar Thalia 7 pm • Kengo Yamada Tomi Jazz 8 pm • Professor Cunningham and His Old School New York Jazz Band Silvana 7 pm êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White Smoke 7, 9, 10:30 pm $38 êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Dizzy’s Club 7:30, 9:30 pm $35 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Village Vanguard 8:30, 10:30 pm $30 • Robert Glasper with guest Taylor McFerrin Blue Note 8, 10:30 pm $45 • Kris Allen Quartet Saint Peter’s 5 pm • Yaala Ballin/Ari Roland The Drawing Room 4 pm $10 • John Zorn’s Bagatelles: Mark Feldman/Chris Otto Duo The Stone 3 pm $20 • Whitney Marchelle with Sweet Lee Odom, Willerm Delisfort, Lonnie Plaxico, Camile-Jones Gainer Richard Rogers Amphitheater 3 pm • Gregoire Maret/Kevin Hays Blue Note 11:30 am 1:30 pm $35 • Paul Jost Trio with Jim Ridl, Boris Kozlov North Square Lounge 12:30, 2 pm

Monday, June 27

êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Band Director Academy Faculty Band Dizzy’s Club 7:30, 9:30 pm $35 • Blue Note Jazz Festival: The Music Of The Buena Vista Social Club with Francois Wiss, Damian Quiñones, Danny Valdez Subrosa 7:30, 9:30 pm $15 êSheryl Bailey 3 with Ron Oswanski, Ian Frohman 55Bar 7 pm • Jake Henry solo; Aryeh Kobrinsky solo; Ton Trio: Aram Shelton, Kurt Kotheimer, Sam Ospovat Delroy’s Cafe and Wine Bar 9, 9:45, 10:30 pm $10 • Josh Davis Trio with Emmet Cohen; Ari Hoenig Trio with Or Bareket, Nitai Hershkovits; Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 • Saul Rubin Group Bar Lunàtico 8:30, 10 pm $10 • Chris Beaudry Trio with Timothy Norton, Ken Ychicawa; Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Marco Panascia/Mike Kanan Boudoir 7:30 pm • Ikiz Cabin Crew with Jonne Bentlöv, Joel Lyssarides ShapeShifter Lab 8:15 pm $10 • SlideAttack Quintet Silvana 6 pm • Matthew Fries Trio Hillstone 6 pm • Larry Ham Bryant Park 12:30 pm

Tuesday, June 28

êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake Jazz Standard 7:30, 9:30 pm $30 • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson Blue Note 8, 10:30 pm $35 • Blue Note Jazz Festival: Avishai Cohen Trio with Omri Mor, Daniel Dor Highline Ballroom 8 pm $29.50-60 êAnthony Coleman/Matt Wilson; Anthony Coleman/Eli Keszler The Stone 8, 10 pm $20 • Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel, John Davis Dizzy’s Club 7:30, 9:30 pm $35 • Kris Allen Quartet Dizzy’s Club 11:30 pm $5 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Rosemary George Ensemble NYC Baha’i Center 8, 9:30 pm $15 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Subrosa 8, 10 pm $25 • Eco-Music Big Band Roulette 8 pm $20 • Balázs Elemér Group with guest Tim Ries Drom 7:30 pm $20 • Jesse Stacken Quartet with Tony Malaby, Sean Conly, Tom Rainey; André Matos Trio with Tony Malaby, Billy Mintz Greenwich House Music School 7:30 pm $15 • Marianne Solivan Mezzrow 8 pm $20 • Ehud Asherie Trio; Josh Evans Group; Jovan Alexander Smalls 7:30, 10:30 pm 1:30 am $20 • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Fat Cat 7, 9 pm 12:30 am • Aaron Burnett and The Big Machine Korzo 9, 10:30 pm • A Tribute To Nat King Cole: Jerry Costanzo and His Orchestra Iridium 8:30 pm $30 • Paul Jones/Curtis Ostle Group with David Berkman, Eliot Zigmund; Alex LoRe 4 with Nick Sanders, Martin Nevin, Mark Whitfield Cornelia Street Café 8, 9:30 pm $10 • Kyle Nasser Quintet Club Bonafide 7:30 pm $15 • Sagi Kaufman Trio; Benny Benack Trio with Raviv Markowitz, Jimmy MacBride Bar Next Door 6:30, 8:30, 10:30 pm $12 • Billy Test solo Jazz at Kitano 8 pm • Marcos Rosa Silvana 6 pm • Larry Ham Bryant Park 12:30 pm êKali Z. Fasteau Quartet Rendall Memorial Presbyterian Church 12, 1 pm $15

Wednesday, June 29

êAnthony Coleman/Grant Calvin Weston; Michaël Attias’ Without Autumn Sonata with

Anthony Coleman, Mike Pride The Stone 8, 10 pm $20 • SummerStage—Soul in the Horn: Theo Croker; Maurice “Mobetta” Brown; Marcus Machado; Kendra Foster Herbert Von King Park 7 pm

• Marque “Inna Most” Gilmore and the Burnt Sugar Arkestra with David Gilmore, Mikel Banks, Greg Tate and guests ShapeShifter Lab 8:15 pm $10 • Kenny Warren Quartet with JP Schlegelmilch, Noah Garabedian, Satoshi Takeishi; Hearts And Minds: Jason Stein, Paul Giallorenzo, Chad Taylor Rye 9, 10:15 pm • Noam Wiesenberg with Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro, Tommy Crane; Haggai Cohen-Milo Trio with Ben Wendel, Ziv Ravitz Cornelia Street Café 8, 9:30 pm $10 • Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck Smoke 7, 9, 10:30 pm $12 • Yasser Tejeda and Palotré with Kyle Miles, Jonathan Troncoso, Ely Vasquez; 3D Rhythm of Life Club Bonafide 7:30, 9:30 pm $15 • Jane Irving Quartet with Paul Odeh, Kevin Hailey, Brian Fishler Jazz at Kitano 8, 10 pm $17 • Sofie Salonika with Jessica Lurie, Katie Down, Arthur Kell, Rich Stein Bar Lunàtico 8:30, 10 pm $10 • Rob Schneiderman Mezzrow 8 pm $20 • Randy Napoleon Trio with Rodney Whitaker, Quincy Davis; Lafayette Harris Quintet with Antoine Drye, Caleb Curtis, George DeLancey, Will Terrill; Sanah Kadoura Smalls 7:30, 10:30 pm 1:30 am $20 • Raphael D’lugoff Trio +1; Ned Goold Jam Fat Cat 7 pm 12:30 am • Kyle Hernandez Trio; Jao Martins Trio Tomi Jazz 8, 11 pm êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake Jazz Standard 7:30, 9:30 pm $30 • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson Blue Note 8, 10:30 pm $35 • Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel, John Davis Dizzy’s Club 7:30, 9:30 pm $35 • Kris Allen Quartet Dizzy’s Club 11:30 pm $5 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm • Patti Dunham/Gary Haberman Saint Peter’s 1 pm $10 • Larry Ham Bryant Park 12:30 pm

Thursday, June 30

êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $40 • Kris Allen Quartet Dizzy’s Club 11:30 pm $10 êAnthony Coleman, Doug Wieselman, Billy Martin; Anthony Coleman solo The Stone 8, 10 pm $20 êIngrid Laubrock/Tom Rainey Zürcher Gallery 8 pm $15 • Mats Eilertsen Trio Scandinavia House 7 pm $15 • Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz Michiko Studios 8 pm • Matt Brewer Quartet with Ben Wendel, Lage Lund, Tommy Crane Cornelia Street Café 8 pm $10 • Tim Hegarty Quartet with Mark Sherman, Essiet Okon Essiet, Carl Allen Jazz at Kitano 8, 10 pm $17 • Ehud Asherie solo; Colin Stranahan; Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 • Randy Napoleon Trio; Carlos Abadie Quintet Smalls 7:30, 10:30 pm $20 • Myriam Phiro with Hyuna Park, Elias Bailey, Rob Garcia and guests; Festejation: Christelle Durandy, Eric Kurimski, Mike Eckroth, Juan Felipe Mayorga, Kan Yanabe, Jeremy Smith, Edward Perez Club Bonafide 7:30, 9:30, 11 pm $10-15 • Midsummer Night Swing: Evan Sherman Big Band Damrosch Park 7:30 pm $17 • Schuyler Tsuda’s Instrument Builder Series with Lea Bertucci, MV Carbon, Tommy Martinez, Aaron Moore ShapeShifter Lab 7 pm $10 • Yvonnick Prene Trio Cavatappo Grill 9, 11 pm $8 • Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan Metropolitan Room 7 pm $24 • Peter Amos Trio with Michael Brownell, Sebastian Chiriboga; Tony Mata Trio with Jordan Ponzi, Tim Talavera Bar Next Door 6:30, 8:30, 10:30 pm $12 • Larry Newcomb Duet Cleopatra’s Needle 7 pm • Glen Crytzer’s Quartette Radegast Hall 9 pm • Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck Smoke 7, 9, 10:30 pm $12 êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake Jazz Standard 7:30, 9:30 pm $30 • Matt Baker Quartet with Jim Cammack, Montez Coleman, Joel Frahm Birdland 6 pm $25 • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson Blue Note 8, 10:30 pm $35 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Brian Harrington Group Shrine 6 pm • Matthew Fries Trio Hillstone 6 pm • Larry Ham Bryant Park 12:30 pm • Oxford University Jazz Orchestra Citigroup Center Plaza 12:30 pm • George Gray Groove Coalition with Jazzmeia Horn Metrotech Commons 12 pm

ANTHONY COLEMAN THE STONE RESIDENCY with: Eli Keszler / J. T. Lewis / Billy Martin / Mike Pride Tyshawn Sorey / Grant Calvin Weston / Matt Wilson Michaël Attias / James Brandon Lewis / Doug Wieselman John Zorn / Ted Reichman / Tanya Kalmanovitch Brad Jones / Survivors Breakfast and more…

JUN 28-JULY 3, 2016 Ave C, 2nd St. NYC, $20 per set

thestonenyc.com

48 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

RE G U L AR ENGAGE MENTS M O N D AY • Richard Clements and guests 11th Street Bar 9 pm • Orrin Evans Captain Black Band Smoke 7, 9 pm $9 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Grove Street Stompers Arthur’s Tavern 7 pm • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm • Jazz Foundation of American Jam Session Local 802 7 pm • Arthur Kell and Friends Bar Lunatico 8:30 pm • Renaud Penant Trio Analogue 7:30 pm • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm • Smoke Jam Session Smoke 10:30 pm • Svetlana and the Delancey 5 The Back Room 8:30 pm • Swingadelic Swing 46 8:30 pm • Gracie Terzian Bar Hugo 6 pm • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 • James Zeller Duo Spasso 7 pm (ALSO SUN)

T U E S D AY • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • George Gee Orchestra Swing 46 8:30 pm • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Joel Forrester solo Stop Time 7 pm • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Art Hirahara Trio Arturo’s 8 pm • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm • Mona’s Hot Four Jam Session Mona’s 11 pm • Annie Ross The Metropolitan Room 9:30 pm $25 • Bill Todd Open Jam Club Bonafide 9 pm $10 • Diego Voglino Jam Session The Fifth Estate 10 pm • The Westet Analogue 7:30 pm

W E D N E S D AY • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Les Kurtz Trio Cleopatra’s Needle 7 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Stan Rubin Orchestra Swing 46 8:30 pm • Eve Silber Arthur’s Tavern 7 pm • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm

T H U R S D AY • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10 pm $10 • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 • Harlem Renaissance Orchestra Swing 46 8:30 pm • Jazz Jam Session American Legion Post 7:30 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Sol Yaged Grata 8 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

F R I D AY • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Gene Bertoncini Ryan’s Daughter 8 pm • Birdland Big Band Birdland 5:15 pm $25 • Rick Bogart Trio New York Yankees Steakhouse 5 pm • The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka Barbès 5 pm • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Gerry Eastman Quartet Williamsburg Music Center 10 pm • John Farnsworth Quartet Smoke 11:45 pm 12:45 am • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Richard Russo Quartet Capital Grille 6:30 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am • Rob Anderson Jam Session University of the Streets 10 pm

S AT U R D AY • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) • The Candy Shop Boys Duane Park 8, 10:30 pm • Barbara Carroll Birdland 6 pm $30 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm • Nabuko and Friends Nabe Harlem 12 pm • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am • James Zeller Trio Spasso 1pm

S U N D AY • Avalon Jazz Quartet The Lambs Club 11 am • Rick Bogart Trio New York Yankees Steakhouse 12 pm • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 • The Candy Shop Boys The Rum House 9:30 pm • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Glenn Crytzer Group Pegu Club 6:30 pm • Stefano Doglioni Trio Analogue 7:30 pm • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Joel Forrester solo Grace Gospel Church 11 am • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Ian Hendrickson-Smith The Strand Smokehouse 7 pm • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm • Matt Lavelle’s 12 House Orchestra Nublu 9:30 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Tony Middleton Trio Jazz at Kitano 11 am $35 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm • Lu Reid Jam Session Shrine 4 pm • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm

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 • ABC Chinese Restaurant 34 Pell Street (212-346-9890) Subway: J to Chambers Street • ABC - No Rio 156 Rivington Street (212-254-3697) Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org • Academy Records 12 W. 18th Street (212-242-3000) Subway: F, M to 14th Street; L to Sixth Avenue www.academy-records.com • American Folk Art Museum 65th Street at Columbis Avenue (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • American Legion Post 248 West 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, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • The Archway Water Street Brooklyn Subway: F to York Street www.dumbo.is • 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 • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (212-319-5300) Subway: 6 to 51st Street www.acfny.org • The Back Room 102 Norfolk Street (212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street www.backroomnyc.com • Bar Chord 1008 Cortelyou Road (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Bar Hugo 525 Greenwich Street (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Bar Lunàtico 486 Halsey Street (917-495-9473) Subway: C to Kingston-Throop Avenues • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-281-0777) Subway: 2, 3 to 125th Street • Birdland 315 W. 44th Street (212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Boudoir 135 Atlantic Avenue Subway: 4, 5 to Borough Hall www.boudoirbk.com • Broadway Thai 241 West 51st Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Brooklyn Bowl 61 Wythe Avenue (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: F to Seventh Avenue, N, R to Union Street bqcm.org • Brownsville Heritage House 581 Mother Gaston Boulevard (718-385-1111) Subway: L to New Lots Avenue • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com • Café Noctambulo at Pangea 178 Second Avenue (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square www.caffevivaldi.com • Canoe Studios 601 W. 26th Street #1465 (212-924-9020) Subway: C, E to 23rd Street www.canoestudios.com • Capital Grille 120 Broadway (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard (917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com • Cavatappo Grill 1712 First Avenue (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com • The Cell 338 West 23rd Street (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • Central Park SummerStage, Rumsey Playfield 72nd Street and Fifth Avenue (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org • Charley O’s 1611 Broadway at 49th Street (212-246-1960) Subway: N, R, W to 49th Street • Christ-St. Stephen’s Church 120 W. 69th Street Subway: 1, 2, 3 to 72nd Street • Citigroup Center Plaza 53rd Street and Lexington Avenue Subway: 6 to 51st Street • 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 Café 29 Cornelia Street (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com • Damrosch Park at Lincoln Center Broadway and 62nd Street Subway: 1 to 66th Street • Delroy’s Café and Wine Bar 65 Fenimore Street Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries • Dewey’s Pub 135 W. 30th Street (212-685-7781) Subway: 1 to 28th Street www.deweyspub-hub.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.jalc.org • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • Dominique Bistro 14 Christopher Street (646-756-4145) Subway: 1 to Christopher Street www.dominiquebistro.nyc • The Downtown Club 240 E. 123rd Street (212-868-4444) Subway: 4, 5, 6 to 125th Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: F to East Broadway www.downtownmusicgallery.com • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Drom 85 Avenue A (212-777-1157) Subway: F to Second Avenue www.dromnyc.com • Duet 37 Barrow Street (212-255-5416) Subway: 1 to Christopher Street www.duetny.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 West 99th Street (212-665-9460) Subway: 1, 2, 3 to 96th Street

• Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) Subway: 1 to 145th Street www.farafinacafeloungeharlem.com • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • Feinstein’s/54 Below 254 West 54th Street (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue www.54below.com • The Fifth Estate 506 5th Avenue, Brooklyn (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org • First Baptist Church of Crown Heights 450 Eastern Parkway (718-778-1200) Subway: 2, 3, 4, 5 to Franklin Avenue www.myfbcch.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • 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 • The Graham 190 Graham Ave (718-388-4682) Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Grata 1076 1st Avenue (212-842-0007) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Greenwich House Music School 46 Barrow Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Happylucky no.1 734 Nostrand Avenue (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. Subway: 2, 3 to 125th Street www.harlembesame.com • Harlem Safe House Jazz Parlor 27 Mount Morris Park West (between W. 122nd and 123rd Streets) (212-662-7779) Subway: 2, 3 to 125th Street www.welcometoharlem.com • Herbert Von King Park 670 Lafayette Avenue (718-622-2082) Subway: G to Bedford-Nostrand Avenue www.nycgovparks.org • Highline Ballroom 431 W. 16th Street (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Hillstone 153 E. 53rd Street (212-888-3828) Subway: E, M to Lexington Avenue/53rd Street www.hillstone.com • 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 • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: 5 to Sterling Street www.plgarts.org • Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com • Issue Project Room 22 Boerum Place (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • JACK 505 Waverly Avenue (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Jalopy 315 Columbia Street, Brooklyn (718-395-3214) Subway: F to Smith Street www.jalopy.biz • 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 104 E.126th Street between Park & Lexington Avenues (212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Joe G’s 244 W. 56th Street (212-765-3160) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • 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.joespub.com • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com • Judson Memorial Church 55 Washington Square South Subway: A, B, C, D, E, F, V to W. 4th Street • Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207) Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue www.facebook.com/konceptions • The Lambs Club 132 W. 44th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Le Chéile 839 W. 181st Street (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Le Cirque One Beacon Court, 151 East 58th Street (212-644-0202) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.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 • Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Manhattan Inn 632 Manhattan Avenue (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) Subway: N, R to 23rd Street www.metropolitanroom.com • Metrotech Commons corner of Flatbush and Myrtle Avenues (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street www.mezzrow.com • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com • Minton’s 206 West 118th Street (between St. Nicholas Avenue and Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com • Mona’s 224 Avenue B Subway: L to First Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • National Sawdust 80 N. 6th Street (646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org • Neighborhood Church of Greenwich Village 269 Bleecker Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street www.jazzrightnow.com/new-revolution-arts-series • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • 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

• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • Opia 130 E. 57th Street (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com • Park Avenue Armory 643 Park Avenue (212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org • Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • Pegu Club 77 W. Houston Street (212-473-7348) Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Prime and Beyond Restaurant 90 East 10th Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • PS 189 1100 E. New York Ave, Brooklyn (718-756-0210) Subway: 3 to Sutter Avenue-Rutland Road www.schools.nyc.gov • Radegast Hall 113 North 3rd Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 (212-283-2928) Subway: 2, 3 to 135th Street • Richard Rogers Amphitheater at Marcus Garvey Park 120th Street between Mt. Morris Park and Madison Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • Riverdale Y 5625 Arlington Avenue (718-548-8200) Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org • 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, A, C, E, B, D, F to Columbus Circle www.jazz.org • Roulette 509 Atlantic Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • The Roxy Hotel 2 Sixth Avenue (212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Rubin Museum 150 West 17th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Rue B 188 Avenue B (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com • The Rum House 228 W. 47th Street (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Ryan’s Daughter 350 E 85th Street (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue www.ryerestaurant.com • St. Paul’s German Lutheran Church 315 W 22nd Street (212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.org • Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park Avenues (212-832-0888) Subway: 6 to 51st Street • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org • ShapeShifter Lab 18 Whitwell Place (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Silvana 300 West 116th Street (646-692-4935) Subway: B, C, to 116th Street • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 1,2,3 to 14th Street www.smallsjazzclub.com • Smoke 2751 Broadway between 105th and 106th Streets (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street www.spectrumnyc.com • The Stone Avenue C and 2nd Street Subway: F to Second Avenue www.thestonenyc.com • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) Subway: N, Q to Broadway www.thestrandsmokehouse.com • Subrosa 63 Gansevoort Street (212-997-4555) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com • Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997) Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org • Sunset Park High School Theater 153 35th Street, Brooklyn (718-840-1900) Subway: D, N, R to 36th Street www.sunsetparkhighschool.org • Swing 46 349 W. 46th Street (646-322-4051) Subway: A, C, E to 42nd Street www.swing46.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • Terraza 7 40-19 Gleane Street (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Town Hall 123 W. 43rd Street (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org • Threes Brewing 333 Douglass Street (718-522-2110) Subway: R to Union Street www.threesbrewing.com • Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org • Turnmill NYC 119 East 27th Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) Subway: B, D to 182-183 Streets www.universityofthestreets.org • Urban Meadow President and Van Brunt Streets Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus • Village Vanguard 178 Seventh Avenue South (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.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 • Whole Foods Bowery 95 East Houston Street Subway: F, V to Second Avenue • Whole Foods Union Square 4 Union Square East Subway: 4, 5, 6, L, N, R to 14th Street-Union Square • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY (718-384-1654) Subway: L to Bedford Avenue • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com • Zürcher Gallery 33 Bleecker Street (212-777-0790) Subway: 6 to Bleeker Street www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

(INTERVIEW CONTINUED FROM PAGE 6) RA: I practice expression. Scales, technique, etc. are all subservient to expression so even when I need to do them, it’s from a place of expression. I am, however, writing a guitar book for Hal Leonard that gets into some complex ideas that I’ll need to learn fluidly and record for the CD insert. TNYCJR: Can you detail your rig as heard on the new record? Guitar, amps, pedals, software? RA: Rather not because it’s the end result that matters. I’ll save that answer for Guitar Player magazine. TNYCJR: What advice can you give to jazz composers trying to break free of constraints or their own history? RA: I think if someone really wants to grow they should try to be as objective as possible and aware of being objective. This means not letting the ego do the steering. If you’re always right, how can you grow? More technically, maybe get away from your instrument as being the only source of expression. Obviously, listen to music that’s outside of your wheelhouse. TNYCJR: Backwards guitar in “Uncommon Sense”? Pedal used or what? How was this created? RA: It’s a delay pedal that I use usually to enhance my Indian phrasing. I never had the desire to sound like a sitar or sarod player but did want to reflect the subtlety of that phrasing. Effects allow me to phrase a little like them while still sounding unique. TNYCJR: “And I You” sounds like an outtake from a horror movie with the Hammond and the brushed drums. Spooky. What’s the message? RA: That’s interesting you hear it that way. People hear darkness differently. I think that is one of the most beautiful pieces I’ve written. One day long after I wrote it I started hearing the melody not knowing whose tune it was but also thinking what a deep feeling it carried. I was stoked when I realized it was one of mine! TNYCJR: With essentially three melodic instruments up front, are we hearing triple-played melodies? RA: Sometimes yes and sometimes it’s counterpoint with all three. I do like the feeling of a unison melody because, like in Qawwali music, it captures a spiritual strength that just can’t be found in a singular voice. TNYCJR: Why no bass player? RA: Why bass? But really, I have bass: it’s keyboard bass. The keyboard creates a wider sonic range plus it allows Mark to play occasional bass parts on his MIDI instrument. Keyboard bass and the MIDI instrument contributed in making this project unique, I believe. TNYCJR: What’s next as far as touring, recording, commissions, etc.? RA: We’ll tour more in October and November. I also have another album in the mixing stage. It’s a commissioned work by Chamber Music America for my Invocation group with Rudresh Mahanthappa, Vijay Iyer, Johannes Weidenmueller, Dan Weiss and Elizabeth Means. It concludes a trilogy I set out to do based on three types of South Asian musics: Hindustani, Qawwali and now Carnatic. That’ll hit in late 2017 and from what I’ve listened back to it’s pretty magical. I have two other projects in mind but what’s the rush, right? v For more information, visit reztone.com. Abbasi’s Junction is at

Greenwich House Music School Jun. 11th and Urban Meadow Jun. 12th as part of Red Hook Jazz Festival. See Calendar. Recommended Listening: • Rez Abbasi—Modern Memory (Cathexis, 1996) • Rez Abbasi—Snake Charmer (Earth Sounds, 2003) • Rudresh Mahanthappa’s Indo-Pak Coalition— Apti (Innova, 2008) • Rez Abbasi—Things to Come (Sunnyside, 2008-09) • Rez Abbasi’s Invocation—Suno Suno (Enja, 2010) • Rez Abbasi & Junction—Behind the Vibration (Cuneiform, 2015) (LABEL CONTINUED FROM PAGE 11) Charles Gayle to our festival a few years ago because I believed he would be great to perform with Barcella. Now they’ve already toured and will release an album before summer. Other musicians send a mail when they have a project. For example Feecho [pianist Kaja Draksler and drummer Onno Govaert] were touring and asked if I wanted to bring out something for the tour. In the end, time became too short, so we released the concert in La Resistenza because it was a good one. Naked Wolf was the first band I had no relationship with except that [Amsterdam drummer] Gerri [Jäger] played at my festival. Naked Wolf was a hard nut to crack even though the group came highly recommended. So I took it mostly with the vision of seeing what this would mean for the label. We just brought out a duo with [saxophonist] Yedo Gibson of Naked Wolf, so the story continues.” “All my projects were established organically,” notes Gebruers. “Ifa y Xango started as a bunch of friends jamming in the garage. Antiduo arose from improvisation sessions at piano lessons and Bambi Pang Pang featuring Andrew Cyrille was recorded after a concert at Jazz Middelheim where Ifa y Xango got carte blanche and invited [drummer] Cyrille. Rogé and I brainstorm a lot about what the label could be and also about my personal steps. He gives me his opinion about how I could better take care of my musical career without making artistic compromises.” Rogé is EN’s only employee. “Subsidy-wise our organization is too organic to get proper funding,” he reveals. “We’re perceived as a guerrilla music movement. Plus, if you want to write [grant applications] you need somebody to do that and there’s no possibility to pay somebody else a proper wage.” Referring to the Ancient Roman patron, he jokes, “I always say I’m a Maecenas without any money. The café works well, so EN and Citadelic surf on that wave.” Among the EN projects to be released in 2016 are a disc featuring five double bass players called Basssss; a trumpet-piano duo with Maris; and a double CD celebrating the 80th birthday of Belgian free jazz pioneering bassist Paul Van Gysegem. “My biggest motivation to work with Rogé is his vision of the Ghent community of alternative and young improvisers,” says Maris. “He creates opportunities for them to meet the established players and this really makes young musicians believe in what they’re doing and to look for their own voices. For most other labels the work we produce is too alternative.” Because of his organic business plan and links to ever-changing street-wise music, Rogé feels the musical situation will only get better in the future. “Time is on our side, like a steam train getting nearer and nearer.” v For more information, visit elnegocitorecords.com. Artists performing this month include Andrew Cyrille at Judson Church Jun. 7th with Henry Grimes as part of Vision Festival; Hamid Drake at Judson Church Jun. 7th, 9th and 11th as part of Vision Festival; and Simon Jermyn at Rye Jun. 15th with Curtis Hasselbring. See Calendar.

50 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

(TAYLOR CONTINUED FROM PAGE 13) hanging onto the windows overlooking the Hudson and centering his movements on slow revolutions as head and arms, stretched upward, accentuated the slowness of time and the somewhat reserved, narrower sound world Taylor chose to occupy. After an initial flurry, Oxley mostly sat out, observing the interactions between body and space, body and sound and body and room. There was gleeful drama in Tanaka’s movement—he’s like the Fred Astaire of Butoh—and at one point, he crept behind Taylor, wrapped his arms around the maestro, miming caress and embrace while resting his head on the pianist’s shoulder. Meanwhile, Taylor played elegant, dusky overlaps and quietly gnarled, small masses, eyes mostly locked on Tanaka. But there was a second set and it seemed like the Whitney staff were caught off-guard by the pianist showing up with several musicians in tow—drummer Jackson Krall, saxophonists Harri Sjöström, Elliott Levin and Bobby Zankel, cellist Tristan Honsinger, bassist Albey Balgochian and vocalist Jane Balgochian, billed as the Cecil Taylor New Unit. Whereas the first set was a gentle, floral unfolding, this was an oldfashioned blowout, to the extent that piano was almost inaudible under the mass. Balgochian’s vocal entreaties and raps (I’d hesitate to call them poetic) were doubly perplexing, as Taylor is an accomplished poet and text is a significant part of his aesthetic worldview—if it’s there, it should be done right. Clearly unrehearsed, it was a strange cap tacked onto a sublime evening. The 15th brought back Sjöström and Honsinger in trio with cellist Okkyung Lee; the Finnish soprano saxophonist has been one of Taylor ’s right-hand men since the early ‘90s and this trio had him in fine form, curling and popping with a present dance amid the grind and skirl of the two cellos. Honsinger ’s everpresent vocal soundings and caricatures of parlor tradition brushed up against Lee’s straight-edged grapple. A different aggregate of onetime collaborators followed—Grimes, dancer Cheryl Banks-Smith and poet Thulani Davis. The concentrated openness of dance was sometimes challenged by isolationist contrabass rumble, though Davis’ poetry seemed unencumbered (she also read one of Grimes’ pieces). On the 16th, longtime Taylor Unit drummer Cyrille presented a lengthy, gorgeous solo recital, ritual motifs drawing from AfroCaribbean and Central African traditions, coaxing micro-patterns out of his kit and building them into percussive chorales, gradually modulating forms into recognizable jazz elements that recalled Kenny Clarke, Max Roach and Art Blakey in a true master class on the drums in Black music. The closing performance on the 23rd was hotly anticipated—the band that emerged consisted of Taylor, Oxley, Lee, Sjöström and Krall in an explosive performance primed to blow the roof off the Whitney. Electronic palimpsests were fairly difficult to hear under the constant, churning dialogue of piano and percussion, Taylor spitting out furious runs as Krall stitched together a swinging wall with occasional J.C. Moses-like breaks and backbeats while cello and soprano barked and trilled over and around hurtling bricks and swiped fields. They stuck to one long set divided into piano-led and poetic-textual portions, the latter featuring a lengthy and somewhat William Burroughs-esque delivery on a thesis of systems, biology, botany, evolution, gender and ancient cultures. Brushy, delicate ensemble work limned this reading, which closed with Taylor ’s speech accompanied only by ghostly electronics and cello filaments, the phrase “gives amplitude to the leaf” ringing out in the hall. If this is the last time we get to see Taylor perform in public, we know that he gave us everything we need to move forward as a creative species. v For more information, OpenPlanCecilTaylor

visit

whitney.org/Exhibitions/

(JAZZART CONTINUED FROM PAGE 13) And Mats Gustafsson also added soprano saxophone to his arsenal (the military term is apt in his case) of baritone and tenor for only the second time in the group’s history. Alongside drummer Paal NilssenLove, the trio, recalling the just-about-to-fall-off-therails energy of ‘80s Corrosion of Conformity, played for 75 minutes, giving just what audiences expect of them yet constantly surprising, whether it be a lengthy and apocalyptic bass solo (making lemonade?); Håker Flaten and Nilssen-Love channeling Geezer Butler and Bill Ward; a celebration of seminal Japanese free jazz via Yosuke Yamashita’s “Chiasma”; or three minutes of scratch-and-sniff for their second encore after the bass amp finally gave out. Selvhenter was more unhinged. The quartet of Jaleh Negari (drums), Maria Bertel (trombone), Sonja LaBianca (saxophone) and Maria Diekmann (violin) played for just under an hour but packed ten tunes into that duration, each stopping suddenly in glorious punk fashion. Sounding like Led Zeppelin passed through a meat-grinder or Ministry without the dance hooks, the unusual instrumentation was rendered even more abstract via doom-laden effects, so much so that you could be excused for thinking you were listening to guitars and bass. Negari occupied the Gina Schock role, keeping the maelstrom grounded. The volume and intensity only occasionally overwhelmed the underlying complexity of these postjazz morsels. (As a postscript to the festival—putting other attempts at community outreach to shame— Selvhenter played an afternoon concert at the local detention center for female inmates in what was this correspondent’s most unique concert experience ever.) Tuesday night focused on Polish performers with Katowice’s RGG Trio at NOSPR’s smaller hall and Podkowa Lesna’s Rogiński in the wood-paneled coziness of the upstairs performance space Drzwi Zwane Koniem. RGG—Łukasz Ojdana (piano), Maciej Garbowski (bass) and Krzysztof Gradziuk (drums)— are one of many young groups adapting the standard piano trio to their needs. Ojdana is the newest member and the most interesting while Garbowski veers between folksiness and harmonic reinforcement of Ojdana’s musings. The weak link was Gradziuk; quite simply, he overplayed and trotted out every tired modern drumming trope there is, whether the music called for it or not. He became a distraction against the sensitive interaction between piano and bass. Rogiński’s solo guitar exposition had no such problem. For nearly 90 minutes, he held the audience entranced by his minimalist explorations of a vast array of styles: cowboy balladry; psychedelia; meditative koans. With his case open next to him like he was busking, Rogiński came across like a medieval lute player transported into the 21st Century, especially when he split his instrument in two via a pair of capos or inserted a stick by the guitar bridge to produce a wooden flute sound. Wednesday’s concert was the “world music” entry with Israeli-Spanish vocalist Yasmin Levy at Sala Teatralno-Kinowa Pałacu Młodzieży. Fronting a quartet of clarinet/duduk, piano/synthesizer, guitar and percussion, Levy warned, “it is going to be a sad concert because I love melancholia.” She was even appropriately dressed in black funereal crêpe. The warning was a bit of a czerwony śledź, however, as she introduced pieces about betrayed love or gravediggers—originals and traditional works sung in Spanish, Hebrew Ladino and even Polish—with charming dark humor. Levy’s gorgeous voice pleaded to the entire audience yet whispered in each ear. She narrowly avoided a riot by giving two encores. Thursday was a multi-media affair coinciding with the opening of the “Graphicology” exhibition: jazzinspired, comic-book-style drawings of Belgian artist Philip Paquet at Katowice Miasto Ogrodów’s headquarters. After the reception, the crowd moved to the Soviet-esque concert hall of the building for the

Polish debut of a collaboration between Paquet and the Brussels Jazz Orchestra (BJO). Paquet’s drawings are charming and lively and the BJO is a crack European big band yet it took a while for the mind not to split its attention between the visual and aural elements. Oddly, the multi-part title suite was the least successful pairing; far more compelling and connected was the mildly terrifying—both visually and musically—”The Blues” (both were commissioned by the BJO while the rest of the program repurposed earlier Paquet works). Friday night began at NOSPR’s smaller hall with Jack DeJohnette in a solo performance not behind his customary drumkit but at the keyboard of a Steinway Grand as part of a solo tour supporting his new subscription-only release on Newvelle Records. DeJohnette is a functional pianist who tended to stay within the framework of his repertoire, though he became more expansive as the concert progressed. Originals like “Ebony” or “Silver Hollow”, first done with bands, seemed thin in solo arrangements while DeJohnette had more fun deconstructing “Giant Steps” or “Flamenco Sketches” and inhabiting the child-like lullaby of Milton Nascimento’s “Ponta De Areia”. Afterwards it was back to Drzwi Zwane Koniem for another unusual CD release concert: the twin Oleś Brothers—bassist Marcin and drummer Bartłomiej— celebrating their Fenom Media album One Step From The Past. The obvious question was how does a ‘rhythm section’ exceed its role? The answer was by not trying to do too much. Marcin added variety through multiple techniques and Bartłomiej changed textures via sticks or brushes or mallets. The bass had the tone of a strongly brewed cup of tea while drums had a coffeelike jitteriness. The hour-long set was split into three medleys of varying length, melodies often looping in on themselves and a dirge-like open E string as the connecting motif. The effect was trance-like if a bit static; a shorter set may have shown fewer limitations. Prior to the closing Hipnoza concert on Saturday, JazzArt audiences in the marvelously sci-fi large hall at NOSPR (seating 1,800) were treated to the fascinating pairing of the 22-piece AUKSO Chamber Orchestra from Tychy, just south of Katowice, and Kraków’s Motion Trio, comprised of accordion players Janusz Wojtarowicz, Paweł Baranek and Marcin Gałażyn. That the audience kept encouraging the musicians for encore after encore and that they obliged (the show was two hours!) gives some sense of the success of the partnership. The virtuosity of the accordion players was featured in pieces just for the trio and leavened by the orchestra in the full ensemble works. The lighting reflected the mood: red for demonic; blue for solemn; green for bizarre. Founder Wojtarowicz composed most of the pieces, which had accordions chasing strings like cartoon cops and robbers; recalling Krautrock; soaring like hair-metal power ballads; or pounding like a construction site’s worth of jackhammers. Accordions functioned as piano, organ, harpsichord, brass and even percussion. It was a marvelous distillation of and exclamation point on the week’s programming. As the festival progressed, an unseasonable chill gave way to sunshine warm enough to defrost even the cold Slavic heart of your correspondent. But the music and atmosphere at JazzArt had done that already. v For more information, visit jazzartfestival.eu (DOEK CONTINUED FROM PAGE 13) Other drum distinctions were presented at a rare showcase in the Bimhuis bar the next night with Amsterdam’s Onno Govaert, Berlin’s Christian Lillinger and Chicago’s Mikel Avery. Lillinger, whose immense energy and jerky, marionette-like motions were prominently showcased with comfortable cohesion during an earlier Bimhuis set with his long-

running Hyperactive Kid trio, swept and slugged every implement in sight while chopping the beat into tinier particles. Avery, whose playing appeared fragmented and tame as part of Amsterdam pianist Oscar Jan Hoogland’s otherwise all-Windy City quartet of tenor saxophonist Keefe Jackson and bassist Josh Abrams, which ran through abrupt versions of Monk and Herbie Nichols tunes following the Hyperactive Kid set, was a revelation in the Bimhuis percussion discussion. His illusion of sluggishness was, in fact, restraint and Avery scored with modest motions: rubbing a mini-cymbal on the snare; balancing a small tin on a drum stick; shaking a bell; and intermittently setting up hypnotic press rolls. Govaert chose the middle course, using mallets, stick and brushes either to complement the German’s bluster or stimulate the American’s rhythmic latitude. Hoogland, who emceed most performances and participated in terpsichorean plus musical fashion in some of the meetings between instrumentalists and seven dancers during the festival, directed a salute to Sun Ra’s music during an earlier bicycle tour stop at a permanently moored boat converted into an arts space. Hoogland, playing mostly clavichord and synthesizer, was joined by Dörner, Lillinger, bass clarinetist Jason Stein, bassist Josh Abrams and drummer Mike Reed. The wiggling foot-tappers from Ra’s ‘50s-60s period were perfect melodies for a sunny afternoon and demonstrated that Dörner, who was seeing the charts for the first time, was as effective playing in a nearmainstream context as with experimental music. Experimental sounds were paramount at Zaal 100 on the festival’s penultimate day with a band of Bishop, Dikeman, Borghini, Lillinger and pianist Kaja Draksler. Barefoot and bellicose, with the exaggerated moves of an arena rock guitarist, Dikeman produced reed splutters and cries that at times may have seemed random and epileptic but relaxed into an unexpectedly melodious interlude during the set’s final minutes. Lillinger worked up a continuous sound barrage from behind his three-cymbal kit. Borghini vibrated a stick between his strings and whacked bridge with bow for maximum percussiveness and even Draksler used mallets to wham the piano’s string set sporadically when she wasn’t providing continuum with focused chording. Bishop was in his element, as he shook out elongated smears to match Dikeman’s expositions. More mannerly contemporary improvisation followed with a quintet uniting Chicagoans Reed, Adasiewicz and alto saxophonist Greg Ward with hosts Boeren and bassist Wilbert de Joode, whose every move nailed the compositions’ expositions. Tuneful where the previous band had been spiky, this quartet blended cornet, vibraphone and bowed bass tones, with Ward’s unexpected smoothness contrasting nicely with Reed’s rugged rim shots. The most memorable moment came when Boeren uncorked a perfectly constructed unaccompanied solo both audacious and admirable. Boeren and Draksler were two of the eight Amsterdam residents who provided a variant of new Dutch swing at the festival’s opening—flawlessly executed, if lacking an edge—Bimhuis concert. Featured was alto saxophonist/clarinetist Michael Moore’s Bigtet with Wierbos, baritone saxophonist Giuseppe Doronzo, guitarist Jorrit Westerhof, former Willem Breuker Kollektif stalwart bassist Arjen Gorter and ICP Orchestra co-founder/drummer Han Bennink. The latter epitomized the festival’s cooperative theme, adding a Big Sid Catlett-like momentum to Moore’s compositions. Transmitted by horn riffs to which Draksler sometimes added melodica harmonies, Moore alluded to Tin Pan Alley ditties, boogie blues, Ellington-like elegance and the “Battle Hymn of the Republic”. The presence of so venerable a Dutch improviser as Bennink and one as young as Draksler in the same band confirmed the continued vitality of the Dutch improvisational scene. v For more information, visit doekfestival.org

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

June 5 Anthology Film Archives June 7–12 Judson Memorial Church

Celebrating Lifetime of Achievement — the Legendary

Henry Grimes

A joy to perform with Henry I’m thrilled to be included in I am honored to be playing with Grimes at Vision 21 for his the celebration of this very Henry Grimes for his Lifetime Lifetime Achievement award. special artist, Henry Grimes! Achievement Award... —Geri Allen —Nicole Mitchell —Marc Ribot

Marshall Allen Celebrating the 60th Anniversary of the Sun Ra Arkestra

Photos: Hollis King (Grimes), John Rogers (G. Allen), Luciano Rossetti (Mitchell), Barbara Rigon (Ribot), Luciano Rossetti (M. Allen)

View entire schedule & purchase tickets:

bit.ly/vision-21

lester bowie - The New York City Jazz Record - M.MOAM.INFO (2025)