Your FREE Guide to the NYC Jazz SceneSeptember 2012 | No. 125

JERRY GRANELLI

DAN TEPFER

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BOBBYMCFERRIN STILL UNPREDICTABLE

THE NEW YORK CITY JAZZ RECORD | September 2012 3

As you read this intro, you’re probably unconsciously humming “Don’t Worry, Be Happy”. Well, stop! Just as Louis Armstrong is hardly just “What a Wonderful World”, the career of vocalist Bobby McFerrin (On The Cover) encompasses far more than that 1988 hit song. His career as a virtuoso vocalist began in the early ‘80s and, besides his many albums as a leader, includes work with Pharoah Sanders, Chick Corea, Weather Report, Jack DeJohnette, Dizzy Gillespie and Wynton Marsalis. McFerrin performs this month to kick off Jazz at Lincoln Center’s 25th Anniversary Celebration. In sadder news, we take two pages to remember the life of saxophonist Lol Coxhill, who passed away Jul. 9th at age 79. We have a number of remembrances from his friends and colleagues, all who describe a rare musical spirit. Drummer Jerry Granelli (Interview) may have gotten his start back in the ‘60s with pianist Vince Guaraldi (he played on A Charlie Brown Christmas) but he has moved into much deeper territory in the decades since, releasing numerous albums as a leader and solo performer. Granelli plays solo and with a trio at I-Beam this month. Pianist Dan Tepfer (Artist Feature) recently released an album of variations on the famed Goldberg Variations, an ambitious project for this 30-year-old but just another stop in what is shaping up to be an impressive jazz career. Tepfer plays those Goldberg Variations variations at Greenwich House Music School this month as well as takes part in a Bud Powell tribute at Birdland. We also have features on Rahn Burton (Encore), performing at Cleopatra’s Needle, bassist Wilbur Ware (Lest We Forget), fêted at Merkin Hall this month by an allstar lineup, a Megaphone from bassist/composer Mario Pavone (appearing with various groups at Cornelia Street Café), saxist Greg Osby’s imprint Inner Circle (Label Spotlight, with a roster festival at Cornelia Street Café) and ShapeShifter Lab plus Festival Reports from Spain, Portugal and Rhode Island. Don’t Worry, Be Happy...aw, shoot.

On the cover: Bobby McFerrin (© Carol Friedman)

Corrections: We are now able to provide the death date of drummer Gerryck King. He died Sep. 11th, 2011. Also regarding In Memoriam, pianist Fritz Pauer’s death age was inflated. He was 68, not 78. In last month’s Encore, we incorrectly implied that Music and Art High School in Harlem was a local school rather than a city-wide elite high school. And finally, the photo from the Vision Festival report was taken by Alan Nahigian.

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Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director

The New York City Jazz Recordwww.nycjazzrecord.com / twitter: @nycjazzrecord

Managing Editor: Laurence Donohue-GreeneEditorial Director & Production Manager: Andrey Henkin

Staff WritersDavid R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,

Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman,

Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts,

John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken WaxmanContributing Writers

George Kanzler, Matthew Kassel, Mario Pavone, Sam SpokonyContributing Photographers

Geoffrey Creighton, Eckhart Derschmidt, Gary Firstenberg, Scott Friedlander, Carol Friedman, Peter Gannushkin, Phillippe Marchin, Alan Nahigian,

Nuno Martins, John Rogers, Jack Vartoogian, Lolo Vasco

To Contact:The New York City Jazz Record116 Pinehurst Avenue, Ste. J41 New York, NY 10033United States

Laurence Donohue-Greene: ldgreene@nycjazzrecord.comAndrey Henkin: ahenkin@nycjazzrecord.comGeneral Inquiries: info@nycjazzrecord.comAdvertising: advertising@nycjazzrecord.comEditorial: editorial@nycjazzrecord.comCalendar: calendar@nycjazzrecord.com

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New York@Night

Interview: Jerry Granelliby Ken Waxman

Artist Feature: Dan Tepferby Ken Dryden

On The Cover: Bobby McFerrinby Alex Henderson9

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Megaphone VOXNewsby Mario Pavone by Katie Bull

Label Spotlight: Listen Up!: Inner Circle Douglas Detrickby Alex Henderson & Adam O’Farrill

Encore: Lest We Forget: Rahn Burton Wilbur Wareby Matthew Miller by Donald Elfman

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Event Calendar

Club Directory

Miscellany: In Memoriam • Birthdays • On This Day 514942

CD Reviews:

Festival Report: Heineken Jazzaldia • Newport • Jazz Em Agosto

In Memorian: Lol Coxhill (1932-2012)

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4 September 2012 | THE NEW YORK CITY JAZZ RECORD

An eight-week run of free concerts in the Whole Foods café at Union Square was more impressive in its programming than for its publicity efforts, but nevertheless the Wednesday evening shows enticed small cadres of the faithful for sets by Steve Berrios, Cooper-Moore, Bern Nix, Steve Swell and, on Aug. 15th, William Parker’s Summer Songs with Charles Gayle and Marvin “Boogaloo” Smith. And if free jazz in the supermarket doesn’t make New Yorkers’ nonplussed heads turn, perhaps nothing would. The first set Parker’s trio played was standards, though through the voice of Gayle’s hard-bitten tenor they might not have been recognized as such by many in the room, most of whom were typing on smartphones and sipping lattes. They played an impassioned set nonetheless, working through “Lady Bird”, “I’ll Remember April” and other chestnuts and if it might have been a bit cacophonous for the environs, it was still a far cry from By Any Means, the Gayle/Parker trio with drummer Rashied Ali - not just for Smith’s lighter touch but the relative restraint the other two musicians displayed. Any such bets were off for their second set, though. Gayle let the young Buffalo saxophonist James Brandon Lewis open and on the small stage area listened intently before picking up his horn and laying an appreciative squall over the mix. And it was this, not the fractured standards, that got the room’s attention: gazes of disbelief to be sure but generally topping off smiles. - Kurt Gottschalk

Kimmo Pohjonen’s appearance at Lincoln Center Out-of-Doors on Aug. 3rd opened in familiar small-world-after-all fashion with a procession by the Chinese Chio-Tian Folk Drums and Arts Group before the Finnish accordionist and his troupe of wrestlers took the Damrosch Park stage. Pohjonen’s thoroughly entertaining Accordion Wrestling was a good bit of scripted hilarity, but it was borne of a longstanding Finnish tradition of bouts with musical accompaniments. They pantomimed weighing in, they displayed moves, they waltzed, played like airplanes and flipped each other about, all to the booming live accordion soundtrack, dramatically processed and amplified by Helsinki Nelson. The carefully choreographed show elicited laughs but at the same time was an athletic and a musical display. Pohjonen is a new music hero in his homeland, having worked with the Kronos Quartet and King Crimson guitarist Trey Gunn. He is a striking figure, muscle-bound and mohawked and his commanding presence was a big part of the stageshow. He unstrapped his instrument at one point to assume the role of coach in a gravelly voice somewhere between Tom Waits and Donald Duck. Later he was quite literally caught up in the action as one wrestler lifted him and carried him off, his accordion falling over him with a moan. Ultimately the much maligned instrument was sacrificed, along with its player, in a ritual killing, closing the book on a most unusual chapter in musical history. (KG)

There is something about Roulette’s newish Brooklyn space that inspires grandeur. Maybe not in the most traditional sense of the word but an actual stage under a lovely proscenium arch makes the music played there seem especially impressive. Clarinetist Jeremiah Cymerman, leading his amplified quartet (Aug. 9th), was a beneficiary of this effect. While his grouping of like-minded conceptualists - trumpeters Nate Wooley and Peter Evans and saxophonist/clarinetist Matt Bauder - would feel at home at the city’s more prosaic venues, at Roulette the 42-minute piece conceived by Cymerman had greater impact, if only because it was not constrained by low ceilings, close walls or inattentive listeners. The Amplified Quartet is just that, the natural timbres of brass and woodwinds transmogrified through various forms of manipulation: electronic processing; feedback and microphone placement; amplifier settings. Except for Cymerman presenting melodic fragments in a relatively straightforward manner, all the players trafficked in extended techniques and Bauder also integrated separate electronics. Heard on CD the sounds would have been unidentifiable (a factory during an air raid or small unmanned drones killing even smaller insects) but in person became logically impressive as concentrated gestures fed into the whorled whole. Most fascinating, however, was a 10-minute acoustic encore, more staccato and unadorned, a fanfare that seemed to come from a different group. - Andrey Henkin

In today’s ‘modern mainstream’ (Who came up with this awful term? Is there an ‘antiquated avant garde’? Actually, yes there is.) players take less from the compositional lessons of their forbears in lieu of individual instrumental prowess. Blowing sessions with interchangeable and forgettable melodies abound - as long as everyone can solo and solo often. Hammond organist Brian Charette - possibly modern mainstream, maybe more main modernstream - is a delightful exception, as evidenced by a set at Smalls (Aug. 9th) by his Sextette. Charette can burn as can his interesting frontline of Itai Kriss (flute), Seamus Blake and Mike DiRubbo (saxes) and John Ellis (bass clarinet) but his music is not about blowing for blowing’s sake. He writes interesting and unique compositions (a step above ‘tunes’), his currency inventive little twists, and works from behind the keys as an active arranger. Much of the music from the first set (slightly marred by a loud early evening crowd, which included many soon-to-be-playing musicians) came from Charette’s recent SteepleChase disc Music for Organ Sextette and displayed an advanced whimsy. So Charette is a good composer yet doesn’t take himself too seriously? Call the police (jazz or otherwise). “Fugue For Katheleen Anne/Ex Girlfriend Variations” and “The Elvira Pacifier”, classical and reggae respectively, were the highlights mainly because Charette’s sidemen believed in his music, playing their features with concision - run-scoring singles instead of solo home runs. (AH)

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NEW YORK @ NIGHT

Wednesday, Sep 12

Chris Bergson & Band

Wednesday, Sept 5

Nat Adderley Jr. Quartet

Wednesday, Sept 19

Ken Fowser Sextet

Wednesday, Sept 26Pepper Adams Festival:

Alexis Cole Quintetfeaturing Eric Alexander

Sundays Sept 2, 16

Allan Harris BandAllan Harris (v & g) • Pascal LeBoeuf (p & k) •

Leon Boykins (b) • Jake Goldbas (d)

Sundays, Sept 9, 30

SaRon CrenshawGeorge Papageorge (o) • Thomas Hutchings (s) •

Richard Lee (t) • Cliff Smith (b) • Damon Due White (d)

Tuesdays, Sept 4, 11, 18, 25

The Groover QuartetEric Alexander (a s) • tba (g) • Mike LeDonne (B3) •

Joe Farnsworth (d)

Saturdays & Sundays Jazz Brunch

Vocalist Annette St. Johnand her Trio

Friday & Saturday Sept 7, 8

George Coleman Quartetfeaturing Harold Mabern

Friday & Saturday Sept 14, 15

Renee Rosnes QuartetSteve Nelson (v) • Peter Washington (b) • Lewis Nash (d)

Friday & Saturday Sept 21, 22

Wallace Roney QuintetBen Solomon (t s) • Victor Gould (p) •Darryl Johns (b) • Kush Aberdey (d)

Friday & Saturday Sept 28, 29

Mike Le Donne’s 5LIVEEric Alexander (t s) • Jeremy Pelt (t) • John Webber (b) •

Joe Farnsworth (d)

Mondays, Sept 3, 17

The SMOKE Big BandA 16-piece Jazz Orchestra directed by Bill Mobley

Mondays, Sept 10, 24

Captain Black Big BandA 14-piece Jazz Orchestra conducted by Orrin Evans

Thursdays Sept 6, 13, 20, 27

Gregory Generet

SMOKE®JAZZ&SUPPER CLUB2751 BROADWAY • NEW YORK • NY 10025 • 212 864 6662 • WWW.SMOKEJAZZ.COM

2751 Broadway • New York NY 10025 212-864-6662

www.smokejazz.com

Jazz & Supper Club

THE NEW YORK CITY JAZZ RECORD | September 2012 5

The World Yacht sailed into Pier 81 on Aug. 3rd, propelled not only by its engines, but also by the Hot Club of Detroit’s gypsy jazz sound. The quintet assembled gauntlet-style on the vessel’s makeshift stage, resembling the Django Reinhardt band model with guitarists Paul Brady and Evan Perri in the frontline. The former shined as lead instrumentalist throughout the evening, strumming full-bodied notes in unison with the latter ’s rhythmic accentuation. Their spirited approach rejuvenated the set of classic boleros, reaching full-bodied harmony both in upbeat and reflective tunes. “Troublant Bolero” featured another poignant duo, with Andrew Bishop on bass clarinet and Shawn Conley on bass. Bishop’s buzzing notes lent the air an electronic feel - but once Conley joined, the vibe rippled into exhilarating territory. Accordionist Julien Labro stirred up a subtler dynamic in his “Chutzpah”. His acerbic notes sparked a rich contrast with Brady and Perri’s acoustic vibe. Bishop’s soprano sax solo, however, proved most intriguing of all. His slurs ranged from slow and methodical to assertive and blaring, emerging in a nearly free-form manner. On another band original, Labro paired with Bishop (on clarinet) in a shrill battle of musical wills, exuding an off-putting astringency that soon yielded to smooth cohesion. And as the yacht rolled into the pier after its two-hour voyage, the Hot Club of Detroit clinched the set with a final Reinhardt piece, coasting forward into vibrant horizons. - Sharon Mizrahi

The dusky-lit Zebulon might have found its soulmate on Aug. 15th in the likeness of Sam Mickens. This experimental pop-turned-jazz vocalist is more than just a singer - Mickens turns the vocal craft into a transcendent art-form. His raspy, soulful wail filled the dark confines of the hip Williamsburg venue, beckoning the ears to abandon all preoccupations and enter a trance-like stupor. His sound emerged as neither song nor instrument, slinking along like a forlorn romantic. Mickens’ band heightened the hypnotic appeal by crafting a slow yet chaotic scene of brass, percussion and electronics. Alexis Marcelo’s electric Rhodes harmonized with Mickens’ glimpses of falsetto, brought to full-fledged radiance by Jonathan Moritz’ pitchy tenor saxophone. Drummer Mike Pride stirred about cinematic fireworks during the vocalist’s more pensive moments, shrouding the sultry momentum with energetic nuances. Once Mickens returned to the microphone in one swift motion, bassist Peter Bitenc kept him company, seeping out a rich hum that resonated across the space. Throughout the evening, Mickens also hearkened back to his roots in the avant-pop scene (Seattle’s The Dead Science), Marcelo drenching the air in an electronic haze, echoing Mickens’ vocals in a futuristic context. With every evocative inflection and rise in pitch, Mickens charmed the hipster audience with his mysterious mask of romance and darkness, morphing entropy and drear into sources of light. (SM)

One of the most distinctively original voices in music today, Rebecca Martin transcends the boundaries between jazz vocalist and singer/songwriter in her performances, alternating original compositions with an eclectic mix of classic pieces from the standards songbook. At The Jazz Gallery (Aug. 3rd), with only the spare accompaniment of her own acoustic guitar and bassist Larry Grenadier, the individuality of her approach was all the more clear. From the opening strains of her “Don’t Mean A Thing At All”, Martin marked herself as a modern-day troubadour, a musical storyteller possessed of a daring willingness to bare her soul in the telling of tales fraught with both personal and universal meaning. Alternately exuding bold confidence and delicate fragility in tone, her renditions of “Willow Weep For Me”, “Brother, Can You Spare A Dime”, “Sophisticated Lady” and “Everything Happens To Me” were thoroughly fresh, full of new intrigue despite their well-known words while the originals “Beyond The Hillside”, “Some Other Place, Some Other Day”, “To Up And Go” and “God Is In The Details”, in spite of their newness, had an air of familiarity resulting from the convincing honesty of her delivery. Throughout the evening Grenadier was typically masterful, his supple chords accompanying sensitively while his lyrical introductions and solos offered refreshing contrast, right through the final notes of the closing “Born To Be Blue” and “The Sweetest Sounds”. - Russ Musto

During the course of her 15 years on the New York music scene, Kendra Shank has progressively expanded the role of the improvising vocalist in a jazz ensemble. Taught in Seattle by Jay Clayton, introduced here by Shirley Horn and championed by Abbey Lincoln, she has blazed her own incomparable trail, demonstrating a deep respect for tradition while still daring to be different. At Jazz at Kitano (Aug. 15th), Shank served up a courageous set, leading her longstanding quartet of Frank Kimbrough at the piano, Dean Johnson on bass and Tony Moreno on drums, through a kaleidoscopic assortment of music old and new. Beginning with a dramatic intoning of her poem “Reflections In Blue”, which climaxed in an unusually free reading of Irving Berlin’s “Blue Skies”, the singer embarked on an intrepid journey filled with rewarding surprises. On two selections from the Norma Winstone songbook, “Some Time Ago” and “Songs and Lullabies”, she exhibited a virtuosic range while on Jeff Johnson’s ironic “I’m Never Sure” she affected an easy conversational tone recalling Betty Carter. Coupling Abbey Lincoln’s lyric to “Blue Monk” with her own improvised chorus, she paid tribute to her mentor while remaining true to herself. Shank further enhanced the multi-hued panorama of her performance, singing wordlessly on Kimbrough’s “November” and in French on “Papillion de Nuits”, then ended by revisiting her folk roots, with transformations of “Lonesome Road” and “Black Is The Color”. (RM)

A city-wide celebration of the life and music of baritone saxophonist Pepper Adams will take place this month in conjunction with the Motéma Music release of Joy Road: The Complete Works of Pepper Adams (Volumes 1-5), organized by jazz historian Gary Carner. Events include the Vanguard Jazz Orchestra Honors Pepper Adams (Village Vanguard, Sep. 24th); The Hammond B3 Meets Pepper Adams (Smoke, Sep. 25th); Alexis Cole Sings Pepper Adams (Smoke, Sep. 26th); Frank Basile Sextet Plays the Compositions of Pepper Adams (Smalls, Sep. 28th); The Three Baris (Ginny’s Supper Club, Sep. 29th) and Urban Dreams and String Quartets (Birdland Sep. 30th). For more information, visit PepperAdams.com.

The dates for the Jazz Connect Conference, organized in conjunction with Association of Performing Arts Presenters (APAP) conference, have been announced. It will be held Jan. 11th-13th at the Hilton New York and Sheraton New York Hotels in midtown Manhattan and include panels, workshops and presentations. Admission will be free. For more information, email jazzconnectnyc@gmail.com.

Historian/radio personality Phil Schaap has signed a deal with Jazz at Lincoln Center to pen two history books, compiling the exhaustive information presented on his daily radio program Bird Flight.

Every Thursday night, Jazz at Lincoln Center webcasts that night’s Dizzy’s Club set. For more information, visit jalc.org/live.

Vibraphonist Gary Burton has begun teaching an online course through Berklee College of Music called “Jazz Improvisation” as part of the school’s online music courses and certificate programs. There are over 150 courses available for the Fall Semester beginning Sep. 24th. For more information, visit berkleemusic.com.

As a followup to last month’s item about Rome Neal’s daughter Lia Neal’s participation in the US Olympic swim team, we can now report that Ms. Neal won Bronze in the Women’s 4x100m Freestyle Relay.

As part of the festivities surrounding the 25th annual Thelonious Monk International Jazz Competition (this year spotlighting drummers), taking place Sep. 22nd-23rd, a “Women, Music and Diplomacy” Gala will be held at which former US Secretary of State Madeleine Albright will be honored. Judges for the competition will be Carl Allen, Brian Blade, Terri Lyne Carrington, Peter Erskine, Roy Haynes and Ben Riley. For more information, visit monkinstitute.org.

Memphis native saxophonist George Coleman has been named among the inaugural class of the Memphis Music Hall of Fame.

Submit news to info@nycjazzrecord.com

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Rebecca Martin & Larry Grenadier @ The Jazz Gallery

W H A T ’ S N E W S

INTERVIEW

Percussionist Jerry Granelli, now 72, has been involved in so many different projects over the years that he would seem to be several drummers. A San Franciscan, Granelli was the drummer on Vince Guaraldi’s popular series of Peanuts LPs and TV music specials. He has played on hit records and with psychedelic rock bands while his jazz gigs encompass work with Denny Zeitlin, Jane Ira Bloom and Mose Allison. Granelli, who moved to Canada in the late ‘80s, has taught music in three countries and recorded a spate of CDs under his own name.

The New York City Jazz Record: Although you were already working steadily at the time, you’ve said that it wasn’t until you studied with Joe Morello that you finally formed your idea of how to play the drums.

Jerry Granelli: The Morello relationship was very important in my life. I had been, like you say, basically working professionally since I was 15. I guess I was about 17 when I met Joe. Before that I felt there was so much more to playing the instrument than I knew, but no one around San Francisco at that time could help with the technical aspects. Then I heard Morello and was lucky enough to meet him and he became a great mentor. His greatest gift was that he really opened up another whole level of technical skill to me. That continues to be of value, even at this age. I think the most important part of his teaching was that he never tried to get me to play like him. He just kept saying, ‘find your voice’ and all the technical teaching was just to serve the music. He was first a great mentor and later a dear friend.

TNYCJR: When you joined pianist Vince Guaraldi’s trio he already had recorded the Charlie Brown TV show albums around that time. Did you figure people would still remember those sessions, especially the Christmas album, nearly 50 years later?

JG: Ah, the great Peanuts question. Well, when we did it we had no idea what a cultural phenomenon it was going to turn into. No one can know those kinds of things. It was just the right time, right project, right people and right music. I’m just happy that it has touched so many people. People don’t know, but the recordings with Vince were the tip of the iceberg. Vince came to play, really play, every night and he demanded that you do the same. It was great training.

TNYCJR: You were also playing with saxophonists Dewey Redman and Pharoah Sanders at the same time and in pianist Denny Zeitlin’s trio with Charlie Haden. What distinguished those gigs from more mainstream ones with Guaraldi or Mose Allison, for instance?

JG: Like I said, that was a great time, having the ‘real gig’ [with Guaraldi]. But [bassist] Fred Marshall was in Vince’s trio, so after the gig we would go to [famous San Francisco after-hours club Jimbo’s] Bop City and

play. Yes, Dewey was there and Pharoah and others, but more importantly was a piano player, Joseph Nunez. Flip as he was called, was one of those legends in the music, who only the players know about. The really out playing that I did was with him and Fred. All that playing was for no money, but was so exciting for all of us. The music was raw, new and in those days it really got people upset, because they thought we were trying to destroy bebop. But we figured we were just going where it led. All of this playing, the non-paying and the paying gigs, enabled me to find a voice. It was confirmation of what I had heard in terms of stating the time, new ways to generate time and form and to enter the world of spontaneous composition. Later, when I played with Denny and Charlie, we were really interested in approaching the trio as a three-way relationship, which was a different approach at the time. The work with Mose has always been one of my favorite things. Mose is really pretty out and, again, he comes to play all the time. During this whole period I played with a lot of different people, but as part of the ensemble. Still, I was always pushing forward towards getting into creating a larger drum set or playing electronics. I think I began to more and more see myself as a sound artist rather than a drummer, per se.

TNYCJR: Jazz people may not know that you’ve actually been inducted into the Rock and Roll Hall of Fame as a pioneer of the psychedelic scene. What was the Light Sound Dimension collective?

JG: I think the time period we’re looking at was late ‘60s. I’d started working with the big drum set and having more sounds and amplifying the instrument. Then Frank Werber, who owned the Trident, where I had worked with Vince and Denny, somehow got the idea of putting us together with the great light painters Bill Ham and Bob Fine. They had been innovating with light painting at the Avalon and Fillmore [Ballrooms], but also loved improvisation. So we started to play together and explore the form of a light and sound band, playing spontaneous audiovisual work. It was pretty underground. We played at Bill’s studio and people started showing up; then at the Museum of Modern Art in San Francisco. I guess at that time – ‘68, ‘69, ’70 – we were way ahead of the curve, but that work kept growing.

TNYCJR: Even though you seemed to be established in the Bay area in the ‘60s and ‘70s, shortly afterwards you moved first to Boulder then Seattle, then Berlin and finally Halifax. Was it primarily to teach music? You also recorded with people like Gary Peacock, Jane Ira Bloom during that period.

JG: Well, since life always changes that period came to its natural conclusion. I, like a lot of folks, began to

look around for some other ways to live. I was fortunate to meet my Buddhist teacher, Chögyam Trungpa, the great Tibetan master, who introduced me to meditation and another amazing time of life. Trungpa really encouraged me to teach and I helped start Naropa Institute, in Boulder, particularly the creative music program, with [percussionist] Colin Walcott. So San Francisco was pretty much over for me. I moved to Colorado to teach at Naropa. During the summers we were able to invite some of the greatest jazz improvisers to inspire new ways of teaching. Each move in my life from that point on seemed to involve teaching, fortunately from one great innovative program to (CONTINUED ON PAGE 41)

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6 September 2012 | THE NEW YORK CITY JAZZ RECORD

Junior Mance…Jazz pianist

Hidé Tanaka…BassistMichi Fuji...violinist

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EVERY SUNDAY6:30 - 9:30 pm

NO COVER, JUST AWARD WINNING JAZZ AND FOOD

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www.juniormance.com

ARTIST FEATURE

Though he only turned 30 earlier this year, Dan Tepfer already has an impressive resumé. The pianist has played duo gigs with Lee Konitz, Paul Motian and Gary Peacock, recorded acclaimed CDs in duo, trio and solo settings and won several jazz piano competitions. He has a fascinating background: an American raised in Paris. “My mom is an opera singer, so music was always around the house. My granddad, Chuck Ruff, was a jazz pianist in Eugene, Oregon. My dad’s a biologist, which probably explains why I got into science, too. I started reading books about astrophysics when I was a teenager. I still find the subject fascinating.” Music came first, Tepfer recalled, “I started studying classical piano at six. I went through the Paris conservatory system, but also started improvising and never really thought of myself as a classical pianist. I played a lot of boogie-woogie - I was into James P. Johnson and Jerry Lee Lewis. I taught myself jazz: I put together a trio in high school and played with local French guys in my teens.” Tepfer studied astrophysics at the University of Edinburgh, though his interest in music remained. “I was genuinely passionate about astrophysics: it’s the science that deals with the biggest things we can possibly imagine, the origin of the universe, the nature of time. But I was playing gigs on the jazz scene there two or three times a week and I realized that music was where my heart really was.” After graduating, Tepfer switched to a Masters in Music at the New England Conservatory (NEC). “Danilo Perez, Bob Brookmeyer, Charlie Banacos, Jerry Bergonzi, Bob Moses were all there. I found that they had an open-minded curriculum that allowed you to check out other forms of music and integrate them into your work. I studied composition with Brookmeyer - it was almost like a meta-deconstruction of what composing is. He would break things down to their bare essentials.” Tepfer credits additional artists with helping his development. “Fred Hersch has been a great mentor to me, starting when I was at NEC and I would take the bus down to New York to take lessons with him. He helped me get a foothold in the city by referring me for some great gigs when I first moved here.” In Paris, Tepfer also got to know French piano icon Martial Solal. “I only took a few lessons with him; he’s been more of a mentor than a teacher. I still go to his house to play for him and talk about music.” One of his greatest learning experiences has been working with the demanding Lee Konitz. “I was listening to Lee’s duo CD with Martial (Star Eyes, Hamburg 1983, hatOLOGY) right after I moved to New York and had a sudden urge to play with him. I asked Martial for an introduction. I went over to Lee’s house; we played and hit it off right away. He invited me to sit in with him at The Jazz Gallery, then we did a few duo gigs. We’ve ended up playing quite a bit over the last five years around the world. Every gig with him is

absolutely different. Every time we’re feeling our way, because we want to be precisely connected at that exact moment and not just recreating some memory of where the music might have been last time.” Asked about his composing method, Tepfer explained, “I’ve gotten a lot of perspective on writing in the last few years. I wrote and orchestrated a piano concerto in 2010, which is a very labor-intensive process, since you’re writing out so many notes for the orchestra. I sometimes used to overwrite my jazz compositions; I was confusing jazz writing with classical writing. Jazz writing is a very minimalist framework, like the difference between writing a novel and a poem. There’s no point in playing with master improvisers if you’re going to micromanage them: the goal is to guide them into a vibe and let them work their magic. Nowadays, my jazz writing process is pretty quick.” The pianist has several recordings in the works or recently completed. A duo led by bassist Gary Peacock is scheduled for tracking in December. There are two Sunnyside releases due next year. “I just made a new trio record [after three previous trio albums: Five Pedals Deep, with Thomas Morgan and Ted Poor, and OXYGEN and Before the Storm, both with Jorge Roeder and Richie Barshay], which will be out in January. And I have an ongoing collaboration with [saxist] Ben Wendel; we’re excited about the duo record we made this summer. It’s coming out in March.” Tepfer’s latest recording is Goldberg Variations / Variations, also on Sunnyside. “I discovered the ‘Goldberg Variations’ in junior high school; I thought it was some of the most beautiful music I’d heard. I played a lot of Bach growing up, but I only bought a score of the Goldbergs after I got to NEC in 2003. I realized I could learn the first few variations, so I kept moving on. As I learned them, it felt natural for me to grab ideas and improvise with them. It was just something I did for fun until I was on a solo tour of the Czech Republic about four years ago, doing free improvisations along the line of my record Twelve Improvisations in Twelve Keys. I decided to play a few of the ‘Goldberg Variations’ one night and improvise on them. The audience reacted to it and I realized it would be a fun thing to keep doing. Over the last four years I’ve gotten more serious about playing the Goldbergs better and the project has evolved into a more rigorous framework where I play all 30 variations and improvise off of each one.” Tepfer’s solo performance this month at Greenwich House will be somewhat of a milestone for him: “This will be my first performance of the Goldberg Variations where I do all 30 of them, with improvisations, live. It’ll be around 80 minutes of playing. I’m excited about the challenge.” v

For more information, visit dantepfer.com. Tepfer plays solo at Greenwich House Music School Sep. 14th, ShapeShifter Lab Sep. 17th, Smalls Sep. 24th with Alexis Cuadrado and

Birdland Sep. 25th-29th as part of a Bud Powell Tribute. See Calendar.

Recommended Listening: • George Schuller - Life’s Little Dramas (Fresh Sound New Talent, 2008)• Lee Konitz/Dan Tepfer - Duos with Lee (Sunnyside, 2008-09)• Rob Garcia 4 - Perennial (Brooklyn Jazz Underground Records, 2009) • Billy Hart - Sixty-Eight (SteepleChase, 2009)• Dan Tepfer - Five Pedals Deep (Sunnyside, 2010)• Dan Tepfer - Goldberg Variations / Variations (Sunnyside, 2011)

THE NEW YORK CITY JAZZ RECORD | September 2012 7

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30 years have passed since Elektra Records released Bobby McFerrin’s self-titled debut album. From the beginning of his recording career, it was evident that the Manhattan-born singer was not an easy artist to pin down stylistically. McFerrin demonstrated that he was primarily a jazz vocalist, yet he was far from a purist and also influenced by soul, funk, classical, gospel, African music and the blues. And at 62, McFerrin is no easier to pigeonhole now than he was then. In 2012, a McFerrin concert is still likely to include anything from jazz standards, soul and rock songs to spirituals and European classical compositions. McFerrin, in fact, is working on a forthcoming album titled SpiritYouAll, which he says will pay tribute to the African-American spiritual tradition but will do so on his own improvisatory terms. “So much of what I’m striving for is the same as it was 30 years ago,” McFerrin explains. “I can look back and see the seeds of things that took years to bear fruit. But there they are, early on.” Some artists find one style of music and excel by sticking to it but McFerrin’s strength has been his flexibility. Along the way, journalists have wondered, who is the real Bobby McFerrin? Is he the jazz improviser who has performed with the likes of Chick Corea, Dizzy Gillespie, Herbie Hancock, Wynton Marsalis and the Yellowjackets? Is he the Top 40 star who enjoyed a #1 hit with his good-natured pop-reggae single “Don’t Worry, Be Happy” back in 1988? Or is he the classical vocalist who has performed with cellist Yo-Yo Ma? McFerrin is all of those things. “My world has always been full of music of all kinds,” McFerrin observes. “It’s only natural that the music I hear in my head is inclusive. I’ve met artists who’ve been exposed to lots of different music but who are specialists, who know in their hearts that playing Bach is the true expression of everything they want to say. I understand that; it makes sense to me. But for me, there are no hard lines around genre or style or language or culture. It all comes together. Some people have written that I’m coming up with new languages; I love that idea, but I’m not working towards it consciously. And I don’t try to speak for everyone everywhere. I just try to sing the music I hear in my head.” McFerrin says that his broad-minded outlook can be traced back to his childhood and exposure to a wide variety of music by his parents Sara Copper (an opera and Broadway vocalist) and the late operatic baritone Robert McFerrin, Sr. (the first African-American vocalist to perform with the Metropolitan Opera). “Many people know that my parents were incredible singers and I grew up with their practice, their listening, their friends,” McFerrin recalls. “I absorbed a lot. There was a constant background of symphonies and blues and arpeggios and silly made-up songs. I’m sure that had an enormous impact. I remember standing in front of the stereo pretending to conduct the orchestra, hiding under the piano listening to my father teach. But for me, there are a series of thunderbolt moments - times when I heard something and felt

changed by it. A Judy Garland song. A spiritual. The Miles Davis electric band. Herbie Hancock’s Mwandishi project. Mathis der Maler. Mancini. A recording of an African marriage ritual. Keith Jarrett solo. Who knows why something hits you like a ton of bricks? But sometimes, it does - and then, everything is different.” McFerrin, however, didn’t start out wanting to be a singer. There was a time when he considered himself a pianist more than a vocalist and he was a bit of a late bloomer in making singing his primary focus. “It wasn’t until I was 27 and had been working as a pianist for a dozen or more years that I realized I was actually a singer,” McFerrin remembers. “But by then, I was used to taking responsibility for the harmony and the rhythm. I think that’s given me an interesting perspective. I enjoy exploring all the different functions the voice can serve, communicating melody and harmony and rhythm and emotions and ideas. That’s always been part of what I wanted to do as a singer. It’s easier than it used to be, but it’s the same idea. Part of my inspiration was that the voice is so immediate, so unquestionably personal. I wanted to do what Keith Jarrett was doing and give solo concerts that invited the audience on my own internal journey into the music. I spent years trying to learn how to do what I heard in my head so that I could make that a reality.” McFerrin was also a late bloomer to recording; he was 32 when his debut album came out. But McFerrin has kept busy since then, hurling himself into a variety of musical situations. McFerrin’s groundbreaking second album, The Voice (Elektra, 1984), marked the first time that a jazz singer recorded an entire album unaccompanied (without any overdubbing at all). Early McFerrin albums like Spontaneous Inventions (Blue Note, 1986) underscored his ability to use his voice to emulate different musical instruments in an improvisatory way. But while those early albums established his jazz credentials, they also demonstrated that funk, soul, the blues and African pop were a part of his musical vocabulary. McFerrin’s musical heritage included Jon Hendricks, King Pleasure, Eddie Jefferson and Babs Gonzales, but also James Brown, Earth, Wind & Fire and The Beatles. Asked to reflect on some of his fondest musical memories, McFerrin replies: “Oh, my goodness. There are too many to choose from. It’s hard to talk about the deepest musical ones, hard to put into words. There have been some crazy star-struck moments: the time - before we ever played together - when Chick Corea slapped my shoulder backstage and said ‘nice tune’ then walked onstage himself while I tried to keep myself from jumping up and down yelling ‘Chick Corea liked my tune!’ The time I won my first Grammy and had to accept it standing in front of Miles in a sequined keyboard suit. Yo-Yo Ma congratulating me after my conducting debut at the San Francisco Symphony on my 40th birthday.” In 2012, the veteran singer plans to look back on his long career with My Audio Biography, a three-night appearance inaugurating Jazz at Lincoln Center’s 25th Anniversary Celebration with trumpeter Wynton

Marsalis and the Jazz at Lincoln Center Orchestra. My Audio Biography is not being billed strictly as a jazz concert, but as an event that also acknowledges other parts of McFerrin’s artistry, including gospel, soul, European classical and the blues. “I’ve been thinking a lot about what shaped my point of view,” McFerrin explains. “That’s why I’m so excited about this My Audio Biography program coming up with the Jazz at Lincoln Center Orchestra. Some things I heard early on just hit me like a ton of bricks, changed me on a molecular level. Those early influences made me who I am and all the evolution in the world hasn’t altered my DNA.” McFerrin says of My Audio Biography: “I listed a bunch of the pieces I loved most and felt most deeply influenced by and the arrangers in the band picked their favorites. So we’ll reinterpret those pieces together and take the audience on a journey through my formative years. Not so much nostalgia as reclamation; the reasons I love those pieces are alive and well.” These days, McFerrin says, he finds himself giving a lot of thought to things that shaped him musically over the years. But if one asks McFerrin to evaluate contemporary artists, he responds that he would rather leave music criticism to professional music critics. “There are so many wonderful vocalists and artists carrying traditions forward, making new sounds, finding their way toward the future - my incredibly talented kids among them,” McFerrin asserts. “I trust them to get there. And of course, sometimes random things find their way into my consciousness: my daughter loved Avril Lavigne’s first record and I heard it so much that I learned to love it too. But please don’t ask me to evaluate them or make critical pronouncements. I’m in a very introspective, reflective phase. I’m listening to the things I loved 30 or 40 or 50 years ago - when I was a child - thinking about why I loved them so much and how they changed me. There are so many gifted people in the world, old and young, from so many points of reference. Whatever I hear influences me - and then, my job is to keep finding my own way forward no matter how old I am.” McFerrin concludes: “All of life is improvisation. It’s not just beneficial, it’s necessary. I always tell people I graduated from MSU: Making Stuff Up.” v

For more information, visit bobbymcferrin.com. McFerrin is at Rose Hall Sep. 13th-15th with the Jazz at Lincoln Center Orchestra. See Calendar.

Recommended Listening: • Bobby McFerrin - Bobby McFerrin (Elektra, 1982)• Bobby McFerrin - The Voice (Elektra/Musician, 1984)• Bobby McFerrin - Spontaneous Inventions (Blue Note, 1986)• Bobby McFerrin - Simple Pleasures (EMI-Manhattan, 1988)• Bobby McFerrin/Chick Corea - Play (Blue Note, 1990)• Bobby McFerrin - Circlesongs (Sony, 1996)

ON THE COVER

THE NEW YORK CITY JAZZ RECORD | September 2012 9

BOBBYMCFERRIN

STILL UNPREDICTABLEby Alex Henderson

© C

arol Friedman

10 September 2012 | THE NEW YORK CITY JAZZ RECORD

Rahn Burtonby Matthew Miller

“I’m just amazed at the way destiny works,” Rahn Burton explained, midway through a conversation that traced his musical journey from part-time

pianist in the clubs, beer halls and juke joints of ‘50s Louisville to the world stage as a long-standing member of multi-instrumentalist Rahsaan Roland Kirk’s ensemble. “I’m sure that if I had tried to plan all of this,” he continued, “it would have been a big flop.” Born in 1934, Burton’s interest in music developed early, fostered through the myriad sounds wafting from open windows throughout his community. “I asked my mother if I could take piano lessons, just so I could learn to read music - that was all I wanted to do - so I did that and it paid off.” The teenage Burton began haunting clubs like the Top Hat, one of Louisville’s premier music venues in the ‘40s-50s. By the time he completed high school, Burton was an in-demand pianist with a wide cross section of Louisville musicians. “It was a music scene,” Burton recalled with emphasis on the word “music”, “because we didn’t make any designation between Jazz and Rhythm and Blues and Gospel, you know, it was just entitled black music, or some other term.” Burton soon settled down in Louisville. “I was a mailman at the time,” he recalled, “because it never occurred to my mind that I would be able to raise a family playing music.” That would change when he heard an exciting new saxophonist on a visit to Columbus, Ohio. “He was known as Ronnie Kirk,” the pianist recalled. “He was playing with the singer Big Maybelle and they had a little jam session, so Roland got on the mic and said ‘are there any musicians who would like to come up and play?’ And I - after some apprehension - put my hand up. We played ‘Pennies From Heaven’. Nothing much was said and the next day, I drove back to Louisville.” As the pianist recalls it, destiny reasserted itself a year later when his mail route took him by the Top Hat and he recognized a familiar face. “I saw this sign in the window, ‘Jazz Phenomenon Ronnie Kirk, playing two horns at one time’ and it had a picture of him and I said ‘oh, I know him.’ I think I went probably three or four nights in the two-week stint,” Burton remembered. One night, after a late show, the pianist was hanging

around with Kirk and his band when an argument broke out. “It was a falling out over some money,” the pianist recalled, “and in the end, the band quit right in the middle of the engagement.” The band’s departure was a setback for Kirk, but a remarkable opportunity for the young Burton. “He [Kirk] asked me on the night they quit if I would go with him to Nashville, TN,” Burton recalled, “so I took a leave of absence from the Post Office and went with him.” Unfortunately, the newly formed band with Burton in the piano seat only got to play one gig in Nashville before the tour came to an abrupt end at the hands of Jim Crow, when the entire band was arrested for consorting with a group of white women. Despite the briefness of the tour, Burton made a lasting impression on Kirk and the two toured extensively throughout the ‘50s. In the early ‘60s, Burton made the move to New York City after the Kirk group recorded a session for Argo records, released as Introducing Roland Kirk (1960). Following a string of well-received gigs in New York, Kirk left for Europe without the band and Burton was back to a freelance life. “I played with a guy named Chris Powell in Syracuse before heading back to Louisville,” the pianist explained, to work with touring musicians coming through town. One of those was the great saxophonist George Adams, who enlisted Burton in his band and convinced him to move to Atlanta in the mid ‘60s. By 1968, Burton was back in New York City and “got a call from Rahsaan Roland Kirk to come to Kongsberg, Norway to play with him. After that tour, I was a member of the nucleus of his rhythm section with the bassist Steve Novosel and drummer Jimmy Hopps.” As a core member of Kirk’s band well into the ‘70s, Burton recorded on seminal Kirk albums like Volunteered Slavery, The Inflated Tear and others. Following the extended stint with Kirk, Burton returned to New York to play with Marvin Hannibal Peterson, Beaver Harris, Michael Carvin, Charlie Rouse, Archie Shepp and Art Blakey among other jazz luminaries over the ensuing decades. The pianist also began leading ensembles, including a group with bassist Walter Booker and drummer Jimmy Cobb that recorded the pianist’s stunning album The Poem. After more than 40 years, Burton continues to call New York home, spreading the jazz gospel with every bracing run and propulsive phrase. “Nothing will ever take away from my desire and love for the music, because I know the importance of it,” Burton intoned. “That’s enough for me.” v

Burton is at Cleopatra’s Needle Sep. 29th and 449 Lounge Thursdays, Saturdays and the third Sunday of each month.

See Calendar and Regular Engagements.

Recommended Listening: • Roland Kirk - Introducing Roland Kirk (and featuring Ira Sullivan) (Chess-GRP, 1960)• Roland Kirk - The Inflated Tear (Atlantic, 1967)• Dick Griffin - The Eighth Wonder (Strata-East, 1974)• Beaver Harris 360 Degree Music Experience - Beautiful Africa (Soul Note, 1979)• Rahn Burton Trio - The Poem (DIW, 1992)• Michael Marcus - Sunwheels (Justin Time, 2000)

ENCORE

Wilbur Ware (1923-79)

by Donald Elfman

Bassist Wilbur Ware’s art consisted of rock-solid time, natural and authoritative swing and an inspired sense of harmony. He supported many of the most original and complex soloists in bebop and beyond and did so being somehow both unflagging and flexible. He was born in Chicago on Sep. 8th, 1923. One of Ware’s earliest professional musical contacts was saxophonist Von Freeman. Ware was playing gigs around Chicago by the time he was 10 and then worked around the Midwest through his teenage years. At 15, Ware recorded with blues artist Big Bill Broonzy. After a brief stint in the military, the bassist returned to Chicago in 1946 and soon was playing with Stuff Smith, Roy Eldridge, Hot Lips Page and Sonny Stitt. Ware came to be known as a musician who loved

to play and sit in with bands whenever he got the chance. His enthusiasm and tenacity earned a spot leading the house band at the famous Beehive Club. In 1955 Ware first performed with Thelonious Monk. This led to an association in the later ‘50s with the pianist - notable is the 1957 live recording at the Five Spot for Riverside - as well as work on the Blue Note label with Sonny Rollins and others. It was during this period that there was some question about Ware’s reliability (there were drug issues) but he did make it for the Great Day in Harlem photo shoot in 1958. The early ‘60s seemed promising - the bassist played with Kenny Dorham, in a group led by Charles Mingus, with John Coltrane and Eric Dolphy and with a number of the avant garders including Albert Ayler and Don Cherry - but moved back to Chicago in 1963 to contend with tuberculosis. His poor health - aggravated, it seems, by his drug use - kept him off the scene for much of 1963-68. By 1968, Ware was back, meeting up with some of

Chicago’s New Music folks - Andrew Hill, Roscoe Mitchell, Thurman Barker - and then moving to New York where he joined Archie Shepp’s group. He also worked with Clifford Jordan, Elvin Jones, Philly Joe Jones and Hank Mobley. As the ‘60s closed, Ware found it harder to get work; some, including Ware himself, noted that his inability to read was the root of the problem. He moved to Philadelphia in 1972 and did some work with members of Sun Ra’s Arkestra but he had an advancing case of emphysema and, on Sep. 9th, 1979, died in the Germantown section of Philadelphia. The encyclopedia of great names Ware played with attests to his brilliance. Listen to his playing with Rollins (Blue Note) to Monk (Riverside) or Chicago Sound (Riverside), his leader debut. The bassist’s second session as a leader, a 1968 date with Clifford Jordan, Don Cherry and Ed Blackwell, will be released for the first time this month. v

A Ware Tribute is at Merkin Hall Sep. 8th. See Calendar.

LEST WE FORGET

September 11th Russ Kassoff Orchestra with Catherine Dupuis

September 18th Warren Chiasson

September 25th Santi Debriano Quartet

New York Baha’i Center53 E. 11th Street

(between University Place and Broadway)Shows: 8:00 & 9:30 PM

Gen Adm: $15 Students $10212-222-5159

bahainyc.org/nyc-bahai-center/jazz-night

THE NEW YORK CITY JAZZ RECORD | September 2012 11

MEGAPHONE

Composing...always forward, but looking back by Mario Pavone

In the last 18 months or so, I have been getting out and hearing music all over Manhattan and Brooklyn. It’s been wonderful and enlightening. And while our small part of the music industry may be experiencing paradigm shifts, downturned economics and possibly decreased opportunities to perform, I am happy to report that the MUSIC itself is in great shape and is being performed at a very high level. Today, almost all young and mid-career creative musicians also compose and the playing and the writing together make for unique and successful performances. It wasn’t always this way! I have been a bassist in the music for almost 48 years now (beginning at the relatively late age of 24 in 1964). Before that, I spent eight years pursuing an engineering degree, fulfilling my military service obligation and falling in love with jazz. I was a fan, an avid listener. In my early years of playing I was aware of the Jazz Composers Orchestra Association (JCOA), yet it had not occurred to me to write music. I was too busy playing 8 to 10 hours a day and all night long, at what was to be called the “first wave” of Loft-Era jam sessions. The music was totally open and free with an endless array of musicians jumping in and out of the music. It was somewhat of an endurance test (there were no bass pickups yet invented), incredible fun and, partly due to the political protest climate in the country at the time, somewhat angry and rebellious in tone. No compositions were brought in, no composing was involved. Then, 13 years into my bass playing life, I began to write down some short, horizontal lines, little sketches and ideas about texture, sounds and silence. The inspiration to ‘start composing’ came about through the direct power and influence of trumpeter/composer Wadada Leo Smith. During this time frame (1977-83) I was deeply involved in an organization formed in New Haven called the Creative Musicians Improvisers Forum (CMIF), a self-generating musicians collective spearheaded by Leo and modeled on some of the precepts of the Association for the Advancement of Creative Musicians (AACM), which came into being in Chicago some 15 years earlier. The AACM’s importance in musical history has been well documented by composer/improviser/technologist (and amazing

trombonist) George E. Lewis in his great book A Power Stronger Than Itself. The New Haven offshoot, however, remains undocumented and under the radar, but recently there are stirrings of interest in writing the CMIF story. In the 1977-83 era, New Haven was a cauldron of creativity. The original members of the CMIF - Leo, Gerry Hemingway, Bobby Naughton, Wes Brown, Dwight Andrews, myself and others - organized many concerts at Yale and other venues, providing me with opportunities to develop my compositional skills. I constantly recorded myself playing open and free and played the tapes back repeatedly, to discern and develop my personal voice. I was unencumbered by preconceptions; the blank sheet of music paper was a wide-open invitation to create a world of notes and/or symbols and pictures for musicians to play. The influences that were present came from watching Leo conduct his pieces, studying the unusual and visually colorful graphic scores written by Leo and Anthony Braxton. The cauldron of creativity taking place with musicians living in and around New Haven and/or attending Yale University at the time was extremely stimulating (they included, among others, Jane Ira Bloom, Mark Helias, Anthony Davis, Pheeroan akLaff and Ray Anderson). 20 minutes up the road in Middletown at Wesleyan University lived Mr. Braxton, Marion Brown, Bill Barron, Joe Fonda and Bill Lowe. Among the more significant events organized by the CMIF in 1981-82 were several 25-piece large orchestra concerts, with veteran masters conducting their own compositions. They included Muhal Richard Abrams, Leroy Jenkins, Braxton, Carla Bley, Wadada, Slide Hampton and others. The members of the orchestra included virtually all of the musicians mentioned above as well as New York stalwarts Andrew Cyrille, Oliver Lake, Amina Claudine Myers, Frank Gordon, Marty Ehrlich and JD Parran. These epic events were sponsored by one of the oldest mainstream jazz organizations in the country - The Hartford Jazz Society. One wonders if such collaboration could occur today. Throughout the existence of the CMIF organization and particularly during the extensive preparation for these large orchestra concerts, I experienced what I believe was a unique process. To quote a recent Nate Chinen article in the New York Times – “jazz’ natural cycle of mentorship and apprenticeship, that guidelike process, by which young musicians absorb invaluable lessons from their elders.” Our process offered mentoring and apprenticeship within a musicians collective! In describing why jazz apprenticeships are so vital, Mr. Chinen has captured the essence of this

CMIF experience - “…a community with every ensemble thriving on communication, a code of ethics and an implicit grasp of roles.” Today I am looking back at having written music for some 23 CDs over the last 30 years. It’s great to have a body of work. Recently I have gone back to some of my early and mid-career writing to remind myself of the basic elements that laid the foundation. Often I will deconstruct some of the components of these early works, reversing the order of written notes, stacking one line on top of the other, as well as writing new pieces. I still write exclusively from the bass and have also been blessed to collaborate with wonderful arrangers, whose great musicianship and generosity have colored my work. They include saxophonist/composer Marty Ehrlich, trumpeter/bandleader Steven Bernstein and more recently trumpeter/educator Dave Ballou and guitarist/composer Michael Musillami. Finally, it’s always been about the work - and composing is hard work. Writing has saved my life as a musician, providing a framework for my performances. To young players entering this music world: I believe we have an obligation to contribute something to the music by adding to it. Write early and often. v

For more information, visit mariopavone.com. Pavone is at Cornelia Street Café Sep. 29th. See Calendar.

Bassist/composer Mario Pavone has collaborated with both legendary innovators and today’s most respected young musicians to define the cutting edge of jazz for the past 40 years. He has anchored the trios of Paul Bley (1968-72), Bill Dixon (‘80s) and the late Thomas Chapin (1990-97) and co-led a variety of notable ensembles with Anthony Braxton, Wadada Leo Smith, Marty Ehrlich and Michael Musillami. His list of sidemen past and present includes Steven Bernstein, Dave Douglas, Tony Malaby, Joshua Redman, Craig Taborn and Matt Wilson among many others. And, unlike most artists whose careers span five decades, his most recent recordings are his most widely acclaimed, appearing on best-of-the-year lists from AllAboutJazz.com, Slate.com, Coda, Village Voice and New York Times, among others. Since 1998, Pavone has recorded almost exclusively with his own bands. His discography now features numerous recordings as a leader/co-leader, including seven on Playscape Recordings, the label he has called home since 1999. In addition, Pavone’s artwork and photography have graced the covers of dozens of recordings since the mid ‘90s and he currently serves as an educator, administrator and board member for the Litchfield Jazz Festival and Litchfield Summer Jazz Camp.

by Katie Bull

If you are walking down a New York City street on a balmy September night of jazz listening, a kiss of sharp cool air might brush against your skin. As you feel it you might say, “Oh, here’s the fall again.” Stop in your tracks. Look up. The stars are the same yet not the same. The displays are familiar, yet within the familiar, the sky is evolving. That’s true in vocal jazz; there is invention, nuanced reinvention and everything in between. This September, let’s enjoy vocal projects that are rooted in the familiar yet are their own constellations. “We’ve always believed that if Django Reinhardt were alive today, he wouldn’t play the same way he always did. In his short lifespan you can see how much evolution and vision he had. To pay tribute to him is to continue pursuing our own ideas.” This statement about the familiar and the new comes from guitarist Evan Perri, as the Hot Club of Detroit releases the

Reinhardt-inspired, multi-genre-influenced Junction (Mack Avenue). The lively album features the spritely young French singer Cyrille Aimée on three tracks. Aimée has lightning fast, pitch-perfect chops, yes. She’s shining bright, however, because she is her own jubilant self in Django’s songs. Hear Aimée at Iridium (Sep. 7th-8th), Birdland (Sundays, starting Sep. 9th) and The Cupping Room (Saturdays). “Life’s a repetition. It’s an action of repeat. Act of doing. Act of saying. Something bitter. Something sweet...” Abbey Lincoln’s lyrics say it all. Hear Lincoln’s songs sung in tribute by the deeply relaxed, beautifully swinging Teri Roiger on Dear Abbey (Inner Circle); the CD release is at Dizzy’s Club (Sep. 3rd). Lincoln’s familiar unrushed phrasing and fluid note bending is embodied in Roiger’s own temperament and vocal nuance; through Roiger, kindred Abbey lives on. Speaking of relaxed, the flowingly layered Luciana Souza revisits her Brazilian duos format with Duos III and reanimates Chet Baker on The Book of Chet (both on

Sunnyside), capturing his luscious internal solitude with her nearly hushed, long and gentle tones. Hear Souza’s dual release at Joe’s Pub (Sep. 12th). Now, if you are more avant-leaning, the vocal comet named Shelley Hirsch is streaking through the skies yet again. On her new CD, Where Were You Then? (Tzadik), Hirsch has created a powerfully personal sung/spoken story arc in a semi-absurdist style; a passionately delivered elegant fusion of avant-Victorian/new-jazz/art-songs - all originals. The exciting album is co-composed and arranged with Simon Ho and is in its own jazz galaxy. Hear Hirsch collaborate with choreographer Melanie Maar and visual artist/performer Kenta Nagai at Roulette (Sep. 29th). From Aimée’s Django to Roiger’s Abbey to Souza’s Chet, to the Hirsch ghost of “Then” - the night is like a lovely tune and the singers croon under a constant moon. In the New York City vocal jazz dome, the sky’s the limit. v

VOXNEWS

DOUGLAS DETRICK is a trumpeter and composer whose work straddles the worlds of jazz, contemporary classical and folk music. His chamber-jazz quintet AnyWhen Ensemble will release its third album in 2013, the 10-movement suite The Bright and Rushing World commissioned by Chamber Music America’s 2011 New Jazz Works program. Teachers: Too many to name, but Brian McWhorter helped me to focus on my own aspirations for my work and stop worrying about anyone else’s. Influences: Living People: Nate Wooley, Arve Henriksen. Dead people: Duke Ellington, Thomas Tallis, Roscoe Holcomb, Son House, Morton Feldman. Current Projects: AnyWhen Ensemble is my primary focus as a composer and performer. In addition to our upcoming FONT performance, we’ll be touring the Midwest and the West Coast this season and collaborating with lots of great performers along the way. I’m also playing with lots of musicians in New York and I hope to have a new band formed soon. By Day: I’m a grant writer for a group that teaches creative writing to kids. I knew I wanted to be a musician when... I was very young and was amazed to hear my older sister ’s middle school band, kids who were just a few years older playing music together.

Dream Band: Playing new music by Christian Wolff with the composer and the Merce Cunningham Dance Company at their final performances was a dream come true. Did you know? When I was picking an instrument, my sister tried desperately to convince me to play the saxophone because I’d get “trumpet lips”.

For more information, visit douglasdetrick.com. Detrick is at The Jazz Gallery Sep. 13th as part of FONT. See Calendar.

ADAM O’FARRILL was born in 1994 in Brooklyn to a musical family. His grandfather, Chico, was the legendary AfroCuban composer and his father, Arturo, is a Grammy-award-winning pianist. He has performed with Stefon Harris, Joe Lovano, Wynton Marsalis, Lee Konitz, Donald Harrison, Christian Scott and DJ Logic. O’Farrill is entering his freshman year at the Manhattan School of Music, on full scholarship.

Teachers: Jim Seeley, Nathan Warner, Laurie Frink, Vincent Penzarella, Robert Apostle, Ambrose Akinmusire, Jason Moran, Michael Rodriguez and Bobby Shew.

Influences: Vijay Iyer, Maurice Ravel, Francis Poulenc, Venetian Snares, John Coltrane, Ambrose Akinmusire, Steve Reich, Jason Moran, Christian Scott, Tool, Radiohead, The Beatles, Jimi Hendrix and many more.

Current Projects: Music for the FONT show, half of which is inspired by land, architecture and construction and the other half which is inspired by more personal things inside my twisted mind, etc.

By Day: I walk to Prospect Park to get some fresh park air and sunlight. I get back and practice and/or compose, or watch Louie or Mad Men on Netflix, etc.

I knew I wanted to be a musician when... I used to sit behind the trumpet section in my dad’s band.

Dream Band: My dream band is...not to be disclosed...but I do know that I would love to play with these four people I have in mind for a band and that I’ll make sure that dream comes true.

Did you know? I have a bit of a balloon phobia.

For more information, visit ofarrillbrothers.com. O’Farrill is at The Jazz Gallery Sep. 14th as part of FONT. See Calendar.

12 September 2012 | THE NEW YORK CITY JAZZ RECORD

LISTEN UP!

Inner Circleby Alex Henderson

Greg Osby has worn many different hats during his long career in jazz, including saxophonist, composer, bandleader, producer and educator. In 2007, he added another to the list: record label owner. Osby has been operating Inner Circle Music for five years now and the New York City-based label has earned a reputation for being a place where musicians are not a mere afterthought in the creative process. Often jazz labels and their A&R representatives have a lot of say over what an album will sound like; at Inner Circle, however, the musicians themselves ultimately make that decision. “As a veteran recording artist with two major labels - JMT/Polygram for four years and Blue Note Records for 16 years - I took it upon myself to carefully observe how the underpinnings of the business structure affected how my music was packaged, promoted and distributed,” Osby explains. “When I organized our label, I wanted to insure that we would do everything within our means to make the artists’ perceptions of themselves our primary concern. We do not aim to mold nor shape anyone into what we think they should be. I have chosen to seek out individuals who already have a stockpile of compositions at hand and have had some experience in leading their own ensemble already.” Inner Circle has a diverse roster that includes younger artists as well as veterans such as Osby and

pianist James Weidman. The Inner Circle roster ranges from trumpeters (Evan Weiss), saxophonists (Logan Richardson, Meilana Gillard, Russell Kirk, Jacob Yoffee) and flutists (Yukari) to vibists (Michael Pinto), guitarists (Ben Azar) and vocalists (Aubrey Johnson, Sara Serpa, Tammy Scheffer, Akiko Pavolka). Jason Yeager is a pianist whose CD, Ruminations, was released by Inner Circle in 2011. “We are not solely developing virgin artists,” Osby points out. “We also have some established veterans and there are more in the works. However, I have made it my mission to give the younger artists a more pleasant and hands-on experience than most new deals, which are set up in the best interests of the company. Our artists are first selected based upon their spirit and individuality and all decisions - unless they would be decidedly detrimental to the project - are theirs alone. I function as a guide and a second set of ears. I also make myself available to give professional business counsel or be a sounding board for ideas and direction. Ours is a slowly developing family and I’d prefer to keep things small and not allow numbers of our ranks to swell out of control.” Musicians on the Inner Circle roster come from different parts of the world; some are American while others are originally from Israel (Azar), Japan (Pavolka), Italy (bassist Joseph Lepore), Portugal (Serpa, guitarist André Matos), Colombia (bassist Juan Garcia-Herreros), Chile (tenor saxophonist Melissa Aldana), Greece (bassist Petros Klampanis), Slovakia (vibist Ludmila Stefanikova) and South Korea (pianist Jangeun “JB” Bae). Scheffer was born in Belgium and raised in Israel.

Another thing that makes Inner Circle stand out is the abundance of female artists recording for the label like vocalists like Serpa, Johnson, Pavolka and Scheffer and instrumentalists Aldana, Yukari, Stefanikova, Bae and baritone saxophonist Lauren Sevian. Osby asserts: “I’ve found through careful observation that my musical ideas and intentions fare better when there is some female involvement. I’ve worked with many talented women throughout my career and in my life, so it would only be natural to include them on our roster. It shows balance and the natural order of how all things should be. Jazz has long embraced the ‘forbidden boys club mentality’, where even capable women have been dismissed and not included in many creative circles. In order for our music to flourish and reach a broader demographic, it is absolutely imperative that all creative output by concerned artists be reflective of a woman’s involvement. Too much testosterone has hurt the music, in my opinion.” Original composition is among the things that Inner Circle has been encouraging. Osby observes: “So much of the so-called standard repertoire does not connect with potential new patrons, as it sounds dated and is reflective of older societal tendencies and perspectives. This is why Inner Circle is largely international: because the potential for a realistic portrayal of the global creative music landscape is increased when artists of such a vast array of backgrounds are involved.” When one talks to artists who have recorded for Inner Circle, the word “community” often comes up. “One of the most unique things about Inner Circle is (CONTINUED ON PAGE 41)

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San Sebastián, in the Basque region of northern Spain, is a spectacular setting for a jazz festival. The town curls around Concha Bay, between Monte Igueldo and Monte Urgull. You can walk for two miles on a promenade along one of Europe’s most beautiful beaches. This year’s Heineken Jazzaldia (Jul. 19th-23rd) was the 47th edition, which makes it the second-oldest jazz festival in Europe, after Jazz à Juan in Antibes. In 2012 there was a disconnect between life inside and outside your hotel room. Inside, International CNN telecast continuous coverage of massive demonstrations in Madrid and other major Spanish cities, protesting the government’s cutbacks and tax increases. Outside, the golden sand of Concha Beach was black with thousands of sun worshipers and young, well-dressed Spaniards overflowed the tapas bars of the Old Town. Spain’s economic crisis did not seem to affect Jazzaldia. Attendance was up 6% this year. The bigger names played in Kursaal, an 1,800-seat auditorium in an avant garde structure on the Río Urumea, or Teatro Victoria Eugenia, an elegant 900-seat horseshoe with three tiers of opera boxes, or outdoors in Plaza de la Trinidad, a stone and brick medieval public square. They included Melody Gardot, Antony and the Johnsons, Bobby McFerrin, the Yellowjackets and Madeleine Peyroux. The best of the headliners were Ninety Miles and Miles Smiles. Both bands played nothing more ambitious than head-solos-head, but the soloists (Stefon Harris/Nicholas Payton/David Sanchez for Ninety Miles; Wallace Roney/Joey DeFrancesco/Rick Margitza/Robben Ford for Miles Smiles) were strong enough to light up the Plaza. As often happens at jazz festivals, most of the memorable moments came from artists further down the list, usually playing in smaller venues. No one was prepared for L’Orchestre d’Hommes-Orchestres, six musicians and performance artists from Quebec. Their tribute to Tom Waits was wildly bizarre, fascinating and hilarious. It took three people to play an accordion, none of whom was the person to whom the accordion was attached. They were so pitch-perfect and true to their strangeness that they became the buzz of the festival. A third, unscheduled, performance had to be added to the program. Enrico Rava’s Tribe Quintet played high-class lunch music in the early afternoon at the Basque Culinary Center. Rava’s trumpet still erupts in startling lines and he surrounds himself with some of the hottest young players Italy has to offer. Spearing the air with his trombone slide, Gianluca Petrella struck like a cobra. Pianist Giovanni Guidi smashed chords at both ends of the keyboard. It was powerful stuff for so early in the day. (CONTINUED ON PAGE 50)

Newport Jazz Festby Terrell Holmes

Every year thousands of jazz enthusiasts armed with lawn chairs, water bottles and sun block make their way to Fort Adams State Park in Rhode Island for the Newport Jazz Festival (Aug. 3rd-5th, with opening night at the International Tennis Hall of Fame), America’s premier jazz fest and the blueprint that others have followed since impresario George Wein presented the inaugural edition in 1954. The festival’s three stages were pulsating with jazz of many different genres, concertgoers dashing among the venues to check out as much of the great music as possible. On Saturday, drummer Jack DeJohnette led a band of guitarist David Fiuczynski, alto saxist Rudresh Mahanthappa, keyboardist George Colligan (also pocket trumpet) and bassist Jerome Harris. Colligan’s soulful trumpet underscored the languor of “Blue”, the Ornette-ish “Ahmad the Terrible”, written for pianist Ahmad Jamal, featured a cyclonic statement by Mahanthappa and he and Fiuczynski later had a lively call and response on “Priestesses of the Mist”. “Miles” was an ultra-funky throwdown that sounded like a blend of “Chameleon” and “Birdland”. The Bad Plus, with Bill Frisell, followed DeJohnette, playing what was essentially a tribute to the late Paul Motian since most of the songs were penned by the late drummer (the only exception a surprisingly straight reading of Sonny Rollins’ “No Moe”). From the first notes of “Owl of Cranston” it was clear that Frisell’s guitar added a compelling dimension to a trio known for its elliptical musings. Pianist Ethan Iverson frequently rose from his piano bench as if enraptured by what he played. The irrepressible Dave King, who always plays like he’s discovering the drum kit for the first time, laughed out loud during his blistering solo on “Mumbo Jumbo”. He and Frisell opened “It Should’ve Happened A Long Time Ago” with a beautiful guitar/percussion intro, followed with subtle shadings by Iverson and bassist Reid Anderson. ”Ramblin’” ended this splendid, heartfelt tribute to one of jazz’ all-time greats. Pat Metheny and his Unity Band - Chris Potter (saxes, flute and bass clarinet), Ben Williams (bass) and Antonio Sanchez (drums) - closed the day’s festivities at the Fort Stage, the festival’s largest. After Metheny opened with a solo acoustic version of the tender “Sound of Water”, the band launched into “Come and See” with the leader playing fiery licks on the synth-guitar and Potter weaving intricate, spiraling lines on soprano. The uptempo “Police People” had a crisp solo by Sanchez, whose timekeeping was economical throughout. Potter blew tenor like a madman on “Folk Song #1”, the band’s tribute to Michael Brecker. Metheny’s encore was his signature tune “Are You Going With Me”. (CONTINUED ON PAGE 50)

Jazz em Agostoby Stuart Broomer

Lisbon’s Jazz em Agosto is a very special festival, founded in 1984 and devoted largely to free jazz and its legacy. It’s presented by the Gulbenkian Foundation with most concerts in an outdoor amphitheatre surrounded by trees, ponds and art galleries. In recent years the festival has presented some senior innovators - Ornette Coleman, Cecil Taylor and Bill Dixon - and has also mounted large-scale projects you’ll seldom find elsewhere, like Evan Parker’s Electro-Acoustic Ensemble, OrchestRova and John Hollenbeck’s Large Ensemble. The 29th edition of the festival (Aug. 3rd-12th) had veterans as well as newcomers, but it emphasized compact ensembles ranging from duos to a sextet, some intimately conversational, some driven by infernal energies. The festival began with a trio led by Sunny Murray, a founder of free jazz drumming whose broken rolls, unpredictable accents and shimmering cymbals can launch or cushion a soloist. That floating, layered soundscape seemed to embrace the ricocheting lines of English tenor saxophonist Tony Bevan and bassist John Edwards, who often provided the drive of a more conventional drummer. The performance ended with Murray turning from free improvisation to sing “Nature Boy”, in the process making it - like composer eden ahbez had before him - an ode to himself. Murray’s whimsy was matched by Dutch pianist Misha Mengelberg, the 77-year-old founder of the very specifically Dutch school of free improvisation. Here he fed tremolos, random flutters, non sequiturs and one-liners to British saxophonist Evan Parker, who usually managed to create continuity and coherence in a fraternal bout of catch-as-catch-can and occasionally burst forth in cadenzas the phrases of which had bits of Coleman Hawkins-esque bluster shouldering aside wisps of Stan Getz-ian luminosity. It was as if this duo might have others, like Parker and Parker (or Mengelberg and Mengelberg), secreted within. In contrast, the festival’s other duo, pianist Marilyn Crispell and percussion Gerry Hemingway was strikingly direct, two players engaged in continuous dialogue based on nearly three decades of working together. Empathy was always evident, whether the music was an explosion of percussive runs and polyrhythms, a rhapsody on a theme by Coltrane, an airy flight into an eerie pointillist beauty. The same heads-down commitment to the long-form was evident in Matthew Shipp’s trio with bassist Michael Bisio and drummer Whit Dickey, with Shipp and Dickey developing monolithic blocks of sound that launched Bisio’s more out-going flights. Deviating from a continuum of Shipp’s originals to play “On Green Dolphin Street”, the trio maintained the same sense of sculptural mass. (CONTINUED ON PAGE 50)

FESTIVAL REPORT

THE NEW YORK CITY JAZZ RECORD | September 2012 13

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14 September 2012 | THE NEW YORK CITY JAZZ RECORD

IN MEMORIAM

Lol always had his own values - busking solo in the streets and underground of London had, to him, no less challenge and satisfaction than the most prestigious venues and festivals. He had the ability to cut to the kernel of the situation and not be absorbed into the hype. Whenever I face a lack of confidence or uncertainty, I say to myself “What would Lol do?” God bless him!

- GEORGE HASLAM, SAXOPHONIST

Without Lol, everything to do with jazz and improvisation in London would be different. The way he played, the way he focused on music. Whenever we heard that he was coming to play at the Vortex, it was always something to look forward to with anticipation because there would always be an (impish) twist. And isn’t that a reason why we support such musicians?

- OLIVER WEINDLING, VORTEX CLUB

Lol was doing things that sometimes were happily seen as eccentric but in fact were a manifestation of an incredible courage, a deep way to increase the power of life, to indicate a possible and strong independence of the mind, never far from the one of the body - Lol was also a great dancer. Lol was one of those creative beings, one of those major musicians, improving humanity and relations, showing us always a real way not only for free music, but for freedom, generosity and autonomy. Thank you! - JEAN ROCHARD, NATO RECORDS

Lol was a great figure of the improvised music. We met and played twice - that was a long time ago. Lol had a very rich artistic life. He played with so many different people and not only musicians! We will all remember him, of course! See you on the notes, Lol!

- RAYMOND BONI, GUITARIST

I first met Lol Coxhill when Henry Cow shared a bill with Kevin Ayers’ Whole World in 1971. He was an extraordinary character, shy but very direct, combining warm enthusiasm with an inimitably eccentric humor and a vast knowledge that seemed to encompass pretty much everything that was going on in music that was worth listening to. For the next ten years or so, until I emigrated to New York, our paths crossed more or less constantly and he became an important mentor and a valued friend. We played together a lot at a time when I was trying to figure out who I was and what I wanted to do. Lucky for me! Lol strongly reinforced the idea that playing in a wide range of musical contexts is a sign of strength and not weakness (he liked to compare the way actors are praised for their skill and range when they take on different kinds of roles while musicians are questioned for indecisiveness or lack of commitment). More importantly, he was an uncompromising player with an instantly recognizable sound who could deflate the most tenacious egos with charm and efficiency and could hold his own with anyone, as those who heard him perform with Steve Lacy and Evan Parker can readily attest. There was - is - so much music and so much history in Lol’s playing that it takes your breath away. I was lucky enough to perform with him as recently as two years ago and his mastery as an improviser was still intact, his playing as intense and deeply felt as always. Perhaps his most obvious and humbling attribute, however, is that he inspired a fierce and loyal affection in all who knew him. We are many, to say the least.

- FRED FRITH, GUITARIST

Lol Coxhill - a great individual, secure in his individuality. An unmistakable sound and a warm human presence in every one of the many diverse music making situations in which he lived. From solo to one voice inside the 40-strong London Improvisers Orchestra he was always there, in the moment, in the music. Thanks Lol.

- EVAN PARKER, SAXOPHONIST

Lol Coxhill, the personification of improvising. Some years ago the two of us were about to get on a train at King’s Cross Station for a gig in Newcastle, but the guard closed the gate and said we were too late. Faster than giant steps, Lol pointed to his hat, a scruffy nonspecific officer type peaked one with an anchor on it and said, “We must get on this train, I am the captain of a ship that will sail on the next tide from Newcastle” and I was his first mate. The guard opened the gate and off we went.

- PHIL MINTON, VOCALIST

Lol’s soprano saxophone playing was instantly recognizable. His free improvisations were endlessly inventive. Solo saxophone playing was his speciality. When he played in other genres he still retained his own character but worked within the ensemble, respecting the players and the music. He was enormously loved and he was one of the funniest people I ever met.

- STEVE BERESFORD, PIANIST, ET AL

I started to play with Lol in the ‘80s in Paris at Théâtre Dunois, the place where all the creative music was happening. I have a wonderful memory of Lol, his very special sound on sax, his humor, his eccentricities. I was young but he gave me the musical adventure of European free music and also generosity and love so I could be free to be me. Thanks Lol.

- JOËLLE LÉANDRE, BASSIST

I first heard Lol busking outside the National Portrait Gallery in London’s Trafalgar Square. Somehow I remembered his unique sound quality on the soprano from that occasion when I did a concert with John Stevens in Lol’s then-home town of Aylesbury with the Spontaneous Music Ensemble a few months later. He always said that I was the first sax player he heard play freely and he remembered my shiny shoes that I wore on that occasion and always with a wry smile. He was one of the first musicians I invited to join my Moire Music Group (1980) as I knew that whatever settings I gave him he’d make beautiful mincemeat out of them. I remember a recording session when the deck kept breaking down and everything was delayed. It was the middle of the night, he was asleep in the studio and I woke him up to do his solo, which he took with aplomb and went back to sleep. I was lucky to get a last chance to play together during a recording of a film being made about the British “improv” scene called Just Not Cricket. It was in a Berlin club in October 2011, which was the first time I’d played with him in years. A nice way to say goodbye if that was how it was to be. He was a large presence on the scene, not only as a player with a unique sound and approach, but as a performer too. I considered him a friend and always loved the chance, if it happened, to have a drink and chat together. He will be sadly missed for all those reasons. He was a lovely human being and great player who understood all the traditions of music as well as having the ability to play through them in his own way. - TREVOR WATTS, SAXOPHONIST

The inimitable sound of his soprano saxophone, like Lol himself, was full of humor and wit. Always bringing joy to those who, like myself, had the opportunity to play with him and to listen. He spoke, through his soprano, a language that all could understand. Lol’s contribution to the London improvised music scene is immense and his presence will be sadly missed by all.

- MARCIO MATTOS, BASSIST

A unique musician, sometime singer, sometime actor, raconteur, wit and gentleman geezer, “The Bald Soprano”, a man whose shirts often matched his looping, colourful playing style. The inimitable Lol Coxhill. I played in many different situations with Lol. It was always a great pleasure to hear him negotiate his own unique path through any music that he was involved with - and I’ve seen the old TV clip of him playing tenor sax on “Walkin’ The Dog” with Rufus Thomas. I was once offered a residency on a mock steamboat on a quayside in Southampton. They wanted us to play Dixieland music, the money was good, so I asked Lol and Roger Turner. We played stuff like “Buddy Bolden’s Blues” and “Just A Closer Walk”. After a few nights they asked us if we could play more popular stuff like The Saints or, better still, The Beatles. Lol sang “Ain’t Misbehavin’” and though there were vocal mics, he dropped to his knees and sang through his soprano mic - in pretend German. The management saved us the decision to quit. On tour and rummaging through the vinyl in a jazz record shop, I found a copy of Jazz Reunion with Pee Wee Russell and Coleman Hawkins. Lol was quite envious, until he remembered that he had it lurking somewhere in his collection. I have always thought that there is something of Pee Wee in Lol’s playing: the surprises, the wit and the nod to tradition. He was modest and quick to praise. A very English man, he will always be, the one and only Lol Coxhill.

- NICK STEPHENS, BASSIST

In my 40–year career, I have been lucky to play with some of the best soprano players in the world but a very peculiar collaboration was the one with Lol Coxhill from 1977-83. Lol, beside being a stellar soprano player and one of the few to develop an original language on the instrument, was one of the funniest people I ever met in my life. I remember the first time I went to pick him up at the airport in Florence. I immediately identified the man: a big guy with a military kind of coat and a soprano case in his right hand. When I said, “Let’s go to the baggage claim,” he replied, “Oh, no. I have all I need here.” As matter of fact, he had his toothbrush on the soprano’s bell and that really was all!!! What really was striking in Lol’s personality was his openness to explore any form of music he discovered, blending it into his own language. In concert (both in duo or later in trio with Franz Koglmann or Giancarlo Schiaffini) it was a continuous flow of quotes from pop songs to jazz standards to folk music. And all with his signature mark. He also had the ability to pick the most trashy kind of stuff and turn it in shining gems. I remember once in my house when Lol found the Evel Knievel LP…. he went wild listening to it over and over. The next duo concert featured “The Ballad of Evel Knievel” (certainly not a memorable piece of art), turned into a spectacular soprano performance. We had five CDs released in duo and in trio and each has new elements to discover since he never repeated himself. I’ll miss dear Lol, a genius of the instrument but especially an incredible human being.

- ANDREA CENTAZZO, PERCUSSIONIST

THE NEW YORK CITY JAZZ RECORD | September 2012 15

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My first released recording was with Lol. We lived in the same artists community for eight years. I learned an enormous amount about music and life from Lol. There are many different tunes that I learned because of Lol. We played them at social events and gigs and he never used sheet music. I have a feeling of great loss now he has gone. Something enormous is missing. He was very funny and would use this humor often to make a subtle point sometimes about very important issues, often very personal. The sound of that soprano saxophone was incredibly characterful in any situation, whether playing a simple little ditty through to his full-on, hard-edged improvising. It was always ‘that sound’. The inimitable Lol Coxhill, laid to rest, but his music lives on in a huge diversity of recordings thankfully. But most important of all – thank YOU Lol.

- VERYAN WESTON, PIANIST

Lol Coxhill… the name forever conjures up a warm glow of generosity - yes, that’s the word - generosity. Such a great and diverse contributor, so many angles, for me memorably Lol as a narrator in Tom Philip’s opera Irma, the performance in Raleigh North Carolina 1992, his fantastic balanced performance of deadpan narration, hint of humor, quirky twist and turns, the seamless transition from speech to saxophone brilliant. Also on that occasion, in Raleigh, while queuing to pay at a fast food diner, Lol heard the woman at the till repeat in a robotic manner “Thank you all…come back and see me again you all…have a nice day!”. When it was Lol’s turn to pay, the woman duly repeated her line, to which Lol responded by placing his face closer to hers, fixing her gaze and in a deep East End London gruff gangster accent said, “I’ll decide if I have a nice day, thank you very much!” and exited, the woman’s face in utter shock. Lol’s ability to place the saxophone in to his mouth and just play, without an agenda, without a formula, just playing… wonderful.

- KEITH ROWE, GUITARIST

If music derives its power from reflecting the patterns and rhythms of human consciousness and time-perception and if part of the point of improvisation is to access this potential in its most direct form by presenting music as an outcome of real-time thought and response, then Lol Coxhill exemplified this aspect of instrumental improvisation in his playing to a higher degree than possibly anyone else I have ever heard. What one heard was the sound of a mind doing what a mind does: moving at its own ever-changing pace in unpredictable counterpoint to the unceasing flow of the time-stream, rifling through its own contents - lingering over one, summarily dismissing another - and watching intently as its components are constantly transformed both by each other and by the influence of external perceptions. Of course, it helps that the contents of that mind as manifested in Lol’s musical vocabulary were so captivating in themselves - a phraseology, harmonic language and concept of tone that were completely individual and recognizable, even as they alluded to whole swathes of musical history. But while his musical personality was too strongly imprinted into everything he played for there to be any question of it ever appearing arbitrary, at the same time his unconcernedness with making his flow of ideas exhibit the traditional signifiers of ‘musical logic’ gave rise to a phrase-to-phrase unpredictability of direction in his playing that is practically unmatched. This made both listening to Lol and playing with him a completely unique experience for me and I will miss him like hell.

- ALEX WARD, MULTI-INSTRUMENTALIST

Percussionist Duduka Da Fonseca has found the perfect mix between his native Brazilian music and American jazz. Whether working with the cooperatives Trio da Paz and the Brazilian Trio, appearing as a sideman or leading one of his own groups, Da Fonseca has been in the forefront of the growth of samba jazz in the US since his arrival in 1975. It isn’t surprising that Da Fonseca would be drawn to the music of countryman Toninho Horta, as the guitarist has been a friend for several decades and excels as a songwriter. During a visit to Brazil, the drummer took part in a record date by saxophonist Paulo Levi, where he met two talented young musicians, pianist David Feldman and bassist Guto Wirtti. Da Fonseca was so pleased working with them that he decided to form his Brazilian Trio, working with them whenever he returns to Rio de Janeiro. Horta’s music is greatly appreciated among Brazilian jazz aficionados, though the general jazz public isn’t as familiar with his works. Yet there are many songs on Plays Toninho Horta that deserve to become standards. As with many piano trios, the focus can’t help but center around Feldman, though Wirtti and Da Fonseca make their presence felt throughout the session. The delicate ballad “Moonstone” is beautifully interpreted by the trio, with subtle backing for lyrical, spacious piano. The easygoing “De Ton Pra Tom” conjures the spirit of Antonio Carlos Jobim, with Da Fonseca’s articulate drumming prominent in the mix. The band wails in the frenzied bossa nova “Aquelas Coisas Todas” and in the energetic finale “Retrato Do Gato”, the latter in which Da Fonseca takes an extended solo. For the quintet session Samba Jazz - Jazz Samba, Da Fonseca is joined by tenor saxophonist/clarinetist Anat Cohen, pianist Helio Alves, guitarist Guilherme Montero and bassist Leonardo Cioglia, a band he formed in 2002, which rehearsed regularly even though bookings were infrequent. The primary soloists are Cohen and Montero, with most of the music written by Brazilian composers, with two exceptions. Ornette Coleman’s “Blues Connotation” is arranged by Cohen into a lively samba, spotlighting fleet guitar and down-home, gritty tenor, along with potent solos by Alves and Cioglia. Cohen’s clarinet, alongside the leader’s whispering brushwork, provides the perfect mix of melancholy and nostalgia in Jimmy Rowles’ timeless ballad “The Peacocks”. The other songs are all by Brazilian composers, many of whom have played alongside Da Fonseca in various bands: Dom Salvador penned the brisk “Depois Da Chuva”; the quintet could easily conjure a Carnaval parade with their infectious playing of Raul Mascarenhas’ intense “Sabor Carioca” and bittersweet clarinet is central to Antonio Carlos Jobim’s “Rancho Das Nuvens”, a complex work that deserves to be more widely known. The leader’s superb drumming is prominent behind the soloists in his breezy “Flying Over Rio” while Toninho Horta’s “Dona Olympia” is another fine showcase for Cohen’s tenor.

For more information, visit zohomusic.com and anzicrecords.com. Da Fonseca is at Dizzy’s Club Sep. 1st-2nd, Jazz Standard Sep. 11th and Jazz at Kitano Sep. 28th-29th. See Calendar.

Like its extraterrestrial namesake, this Plutino is rhythmically adventurous yet systemically grounded, due in large part to drummer Bobby Previte’s solid control of these nine semi-structured musical commentaries on Planet Earth’s structured financial system. An odd concept, but in a post-bubble-burst economy, viewing collateralized debt obligations from the outermost reaches of the solar system provides a unique and at times clarifying perspective. Previte employs his own celestial musical mechanics to fill out this power trio with two superb young Italian musicians. Baritone saxophonist Beppe Scardino is a wonderfully melodic player in touch with Previte’s rhythmically complex compositions. He invokes the bari’s power to lead the no-frills march forward that is “Austerity” but also uses an exquisite tone and elegant feel to provide just the right amount of despair for “Downgrading”. Guitarist Francesco Diodati is a beautiful stylist and his chordal expressiveness in the context of this bottom-heavy trio is responsible for the brighter colors in what can sometimes be a fairly bleak picture. He adds an off-center counterpoint to the ups and downs of “Volatility” and colorizes “Default” into a surreal experience. Previte’s rhythmic inventiveness is at the heart of these tunes. He turns “Rollover” into a full-speed-ahead rocker and comes up with an infectious Latin rhythm that emphasizes the contagious in “Contagion”. “Tranche”, a treatise on the complex world of bond credit ratings, is a vehicle for the band to blow over Previte’s driving rhythms while “Contango” delicately dances through the ethereal futures trading market. Fear not though, it appears that Planet Earth is saved yet again through another dirge-like “Bailout”.

For more information, visit bobbyprevite.com. Bobby Previte is at Cornelia Street Café Sep. 2nd with Jane Ira Bloom and The Paper Box Sep. 13th. See Calendar.

Many jazz purists and bop snobs believe that rock and R&B material cannot possibly work in a jazz setting. But a variety of broad-minded improvisers, from The Bad Plus to the late Charles Earland, have demonstrated the fallacy of that thinking. On this ambitious CD, the Wee Trio (vibist James Westfall, bassist Dan Loomis and drummer Jared Schonig) has no problem putting an instrumental jazz spin on songs that span about 32 years of David Bowie’s career. Ashes to Ashes doesn’t limit itself to major hits. Missing are “Fame”, “Let’s Dance”, “Ziggy Stardust” or “Changes”. Instead, Westfall, Loomis and Schonig make unlikely choices that range from “Queen Bitch”

from 1971’s Hunky Dory to “Ashes to Ashes” from 1980’s Scary Monsters to the title track of 1970’s The Man Who Sold the World and also acknowledge more recent efforts, like “Sunday” from 2002’s Heathen and “Battle for Britain” from 1997’s Earthling. Anyone familiar with all of these songs is a real fan but even if one does know the songs, there is plenty of intrigue on Ashes on Ashes: the instrumentation is totally different, no vocals are used and a considerable amount of improvisation occurs, blending postbop with jazz-funk and, at times, avant garde elements. For more information, visit theweetrio.com. This group is at Cornelia Street Café Sep. 4th. See Calendar.

16 September 2012 | THE NEW YORK CITY JAZZ RECORD

CD REVIEWS

• Riccardo Fassi/New York Pocket Orchestra - Sitting in a Song (Alice)• Jürgen Friedrich - Monosuite (Pirouet)• Fred Hersch Trio - Alive at the Vanguard (Palmetto)• François Houle 5 + 1 - Genera (Songlines)• Hafez Modirzadeh - Post-Chromodal Out! (Pi)• Arturo O’Farrill - The Noguchi Sessions (Zoho) David Adler, New York@Night Columnist

• Bill Barron - The Tenor Stylings of Bill Barron/ Modern Windows/Hot Line (Savoy-Fresh Sound)• Josh Berman & His Gang - There Now (Delmark)• Pat Martino - Alone Together (with Bobby Rose) (HighNote)• Hafez Modirzadeh - Post-Chromodal Out! (Pi)• Stephen Riley - Hart-Beat (SteepleChase)• Teri Roiger - Dear Abbey (Inner Circle) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record

• Rodrigo Amado Motion Trio & Jeb Bishop - Burning Live at Jazz ao Centro (JACC)• Marco Cappelli’s Italian Surf Academy - The American Dream (Mode)• Darth Vegas - Brainwashing for Dirty Minds (Romero)• Gato Libre - Forever (Libra)• Fred Ho & The Saxophone Liberation Front - Snake-Eaters (Big Red Media-Mutable)• New Zion Trio - Fight Against Babylon (Veal) Andrey Henkin Editorial Director, The New York City Jazz Record

R E C O M M E N D E DN E W R E L E A S E S

Ashes to Ashes (A David Bowie Intraspective)

The Wee Trio (Bionic)by Alex Henderson

Plays Toninho Horta Duduka Da Fonseca Trio

(ZOHO)

Samba Jazz - Jazz Samba Duduka Da Fonseca

Quartet (Anzic)

by Ken Dryden

Eponymous

Plutino (Spacebone)by Elliott Simon

Abbey Lincoln is nearly alone among the late great divas of jazz singing - the ones instantly identifiable by first name alone, like Ella, Sarah, Billie, Carmen, Betty - in that she wrote much of her own material and left behind as rich a legacy as a composer as she did as a vocalist. There have been a handful of recorded tributes to this much beloved artist but not many, which is a surprise given what a fertile ground for exploration and improvisation her compositions provide. Veteran vocalist Teri Roiger answers the call to keep Lincoln’s music alive on her new CD, which revisits 13 of Lincoln’s best tunes, including “Wholly Earth”, “Bird Alone” and “You Gotta Pay the Band”. It is an obviously heartfelt effort that’s helped immeasurably by Roiger’s impressive musicianship and a vocal timbre that in many ways recalls Lincoln’s. Like Lincoln and their mutual influence Billie Holiday, Roiger doesn’t have a big voice, but she makes up for it with a delicate, sultry, sure-handed touch and a flair for drama. Also like Lincoln, she surrounds herself with superb sidemen and gives them plenty of room to roam. Her fine quartet includes husband John Menegon (bass), Frank Kimbrough (piano) and drummer Steve Williams. Alto master Greg Osby appears as a guest soloist on five tunes and guitarist Mark Dziuba on one. If there’s a complaint here, it’s that the arrangements, while handled expertly and enthusiastically, stick pretty close to Lincoln’s originals, a shame given the opportunities her open-ended tunes provide for fresh treatments. Still, this is an enjoyable hour spent with a delightful vocalist and some wonderful tunes. Kudos to Roiger for doing her part to ensure that Lincoln’s still underappreciated songs earn their rightful place in the jazz canon.

For more information, visit innercirclemusic.net. This project is at Dizzy’s Club Sep. 3rd. See Calendar.

Widely known for her work with composer Anthony Braxton and longstanding duet with guitarist Mary Halvorson, violist Jessica Pavone seeks boundary-blurring music. In her own projects, she’s infused folk-like song forms into classical chamber settings and improvising groups. On her Tzadik debut Songs of Synastry and Solitude, Pavone composed for a string quartet with bass supplanting 2nd violin. On the followup Hope Dawson is Missing, she augments the chamber group with Halvorson’s guitar, Tomas Fujiwara’s drums and Emily Manzo’s voice. The song-cycle explores contradictions - deprivation and nourishment, demolition and reconstruction, falsity and truth - and the music similarly works in

contrasts of instrumentation and style with dramatic results. The prelude “Hope” boasts the Toomai String Quartet introducing recurring melodic motifs, including one spurred by insistent but spare percussion. A clipped guitar phrase opens “Providence”, as bass and percussion pulse sweeping string movements and short call-and-responses for Manzo to sing against. Her almost liturgical delivery on “Dawn to Dark” matches the strings’ emotively soaring highs and rumbling lows, suggesting both spiritual and physical longing. “If You Can’t”, an uncomplicated song interestingly introduced by plucked strings, gains momentum as the voice mirrors the string cadence and percussion punctuates the phrases. Halvorson provides textural relief after classical strings open “Plutonium”, as bass and cello pulsate with supporting minimalist touches. Fujiwara’s unwavering percussion paces “Jump to the Thunder” as the piece morphs into a colloquial song from its classically structured beginning and he powers the concluding “And at Last” with a forceful and melodic solo before a dynamic middle passage of guitar and cropped pizzicato retorts recede to a moody atmosphere and brief vocal denouement. A phrase from “Deconstruction, Reconstruction” may best summarize Pavone’s maturation as a composer: “confidence results in migration from what’s familiar.”

For more information, visit tzadik.com. This project is at I-Beam Sep. 4th. See Calendar.

There’s a thin line between low-key and listless and sadly much of this otherwise lyrical CD crosses it many times. For some reason the five seasoned musicians decided to pitch most of this program of all-originals at tempos that range from gloomy to lugubrious, only occasionally lively enough to sound cheerful. Certainly the talent is here. New York-based session co-leader guitarist Joel Harrison, whose previous CDs have featured the likes of saxophonist Dave Liebman, manages to work in trebly tone distortions and spidery reverb in some of his solos, but otherwise stays more linear than a super highway. Italian bassist Lorenzo Feliciati, the session’s co-leader, was influenced by King Crimson and worked with saxophonist Bob Mintzer, but his writing on three tracks seems more noteworthy than his stolid playing. British keyboardist Roy Powell, who now lives in Norway, has played with figures such as guitarist Terje Rypdal and manages to inhabit many piano styles from supper-club comping to bop chording. Drummer Dan Weiss, sideman of choice for saxist David Binney among others, plays spaciously and rhythmically, but never seems to dig into the material. Probably the biggest surprise is Seattle-based trumpeter Cuong Vu, whose harmonizing with Harrison provides many of the CDs defining moments, closer to his discreet contributions to guitarist Pat Metheny’s group. That said the trumpeter’s best soloing occurs on the Harrison-composed “North Wind (Mistral)”, where his flutter-tonguing and vibrating triplets join Feliciati’s slap bass and the composer’s rock-tinged licks to toughen the initially moderato theme. “Small Table Rules”, composed by the bassist, is a spirited

stand-out, although its soul-jazz vibe sounds a bit strained. With the chromatic line pushed along by Weiss’ rolls and pops, the piece gains in intensity as it careens forward, goosed by sustained triplets from Vu, until Harrison’s steady blues progression calms things down to eventual diminuendo. With artful composing and playing evident at points, Holy Abyss isn’t in a complete void. But next time out more variety in the writing and liveliness in its execution could move the band closer to producing something (w)holy satisfying.

For more information, visit cuneiformrecords.com. Harrison is at ShapeShifter Lab Sep. 6th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 17

By 1975, when this concert was recorded, alto saxophonist Noah Howard had already logged six years as an expatriate, residing in France. In the late ‘60s, as a member of the second wave of free jazzers, with a brace of ESP albums to his credit but with dwindling live venue options and very little press, he had little choice but to leave the US to find an audience. It’s somewhat surprising since, among the vanguardists, his style was more accessible than most. His tone was lyrical but with a tart edge and his solos could pack heat. But he was just as likely to bask in a lyrical glow as he was to scream his piece. Recordings from this time period featured a quartet that usually included pianist Takashi Kako, bassist Kent Carter and drummer Oliver Johnson. The Bremen Concert is with that group and is the third recording to be released from Howard’s European tour of early 1975. (Berlin Concert and In Europe, Vol. 1 are the others.) One has to question this release, however. It’s a copy of a radio broadcast and the sound is less than optimal. The first minute is practically inaudible due to what sounds like a crinkled tape. When it does finally settle into what seems like a reasonable sound, the bass is boomy and overpowering, the drums are muffled and the piano is underrecorded. Additionally songs and musicians are mislabeled. But all that said, this is a prime Noah Howard performance. The opening track, listed as “Ole Negro”, a Noah Howard tune found on his Black Ark, has nothing to do with what is played. It’s actually Coltrane’s “Olé”, a piece Howard frequently used as an opener around this time. It’s a stirring performance and Howard tears through it with verve. “Pearl Stream” has a skeletal theme that is quickly discarded as the band navigates into free territory. Howard’s passionate, searing sound spits out shredding lines while Kako’s peculiar mix of Cecil Taylor and McCoy Tyner scurries after him. “New Arrival” is a feature for Howard’s limpid lyricism and “Ziki” closes the set with Coltrane-ish meditative calm. The Bremen Concert is as good as any example of Howard’s music of this period. Just wish it sounded better.

For more information, visit janstrom.se

U N E A R T H E D G E M

The Bremen Concert

Noah Howard Quartet (JaZt TAPES)by Robert Iannapollo

Holy Abyss

Joel Harrison/Lorenzo Feliciati (Cuneiform) by Ken Waxman

Hope Dawson is Missing Jessica Pavone (Tzadik)

by Sean Fitzell

Dear Abbey: The Music of Abbey Lincoln

Teri Roiger (Inner Circle)by Joel Roberts

18 September 2012 | THE NEW YORK CITY JAZZ RECORD

In these three albums, we find each piano/bass duo approaching the world of free improvisation with different modes of thought and intensity. Patience, by French bassist Stéphane Kerecki and British pianist John Taylor, reveals the strong influence of the classic dynamic that once existed between pianist Bill Evans and bassist Scott LaFaro. After an improvised “Prologue” (followed later by a similar “Interlude” and, finally, an “Epilogue”) the title track is darkly moody, but not tense, as Kerecki’s basslines have room to breathe beneath Taylor’s searching melodies. “Gary” follows in this same vein, introducing more particularly good interplay amidst the tune’s swift motion. Taylor tends to display his virtuosity while maintaining a wonderfully light touch in the upper register, which is expertly balanced by Kerecki’s spirited runs up and down the neck of his instrument. “La Source” opens with a beautifully bowed introduction from the bassist, the fluid, singing quality of which seems to epitomize much of what he aimed to accomplish with this session. The most successful track is the only composition not by Kerecki, LaFaro’s “Jade Visions”. Kerecki and Taylor combine their own voices with those of the past greats to provide a deep, introspective take on that beautiful tune. After experiencing that aura, All Strung Out feels like a polar opposite. In nine improvisations, American pianist Denman Maroney and British bassist Dominic Lash release their energy in hectic, fast-paced bursts while also exploring the sonic limits of their instruments. Maroney utilizes his own “hyperpiano” technique, in which he strikes, plucks and bows the strings of the piano to create strikingly unusual tones. On “Air Wheel”, he achieves a dry, acidic cymbal-like sound, as Lash follows with his own untraditional bowing. “Bowled Under” is wildly ambient, building slowly out of tinny scrapes and lightly jarring punches. Phrases are introduced and sometimes repeated, but are rarely developed very far beyond their basic stages. The layered scratches and metallic screams that swell in “Case in Area” remind one, alternately, of a jet engine and a frantic ensemble of violinists. It is intriguing and impressive that Maroney can even express these tones fluently - not to mention discovering them in the first place - but they do not always inspire much in the way of emotion. While the first two albums in this group are constructed within two opposing atmospheres, Duetto displays ranges of dynamics and insight that are wide enough to span across both ends of that spectrum. Pianist Diane Moser and bassist Mark Dresser, who both contributed compositions to the effort, have the strongest and most affecting album of this group - not because they display more skill, but simply because their free jazz explorations are, well, freer. From the first track, Moser’s tune “Hello”, both players exude a boundless feeling of self-expression that reveals itself in every note they play. What results is a very rare balance of wildly atonal improvisation and consonant harmonic lushness - one that is born of arrangements, but is truly spontaneous in its development and

execution. Added inventiveness is found on Dresser’s composition “Yeller Grace”, which blends “Yellow Rose of Texas”, “Amazing Grace” and the National Anthem into a barely recognizable yet fully engaging mix. And they show plenty of versatility, as piano and bass converse equally well within the sweeping, legato passages of “For My Mother” or the jarring, playful bounces of “Big Mama”. But the true highlight is their interplay on Dresser’s composition “Mattress on a Stick”, which leads with a breathtakingly lyrical bass introduction, over Moser’s sparse and haunting choice of chords. Each tune was recorded straight to two entirely clean, un-mixed tracks, the depth of the tones astounding, providing a truly intimate experience.

For more information, visit outhere-music.com/zigzag, kadimacollective.com and cimprecords.com. Moser and Dresser are at Cornelia Street Café Sep. 6th. See Calendar.

Big Sackbut was born as an idea some 25 years ago although it only emerged in the physical realm in the past couple of years. The genesis came when Joe Fiedler first saw the World Saxophone Quartet (WSQ) and wanted to devise a similar setting for his trombone. But there’s another landmark avant-bop band of the ‘80s that seems at least as much a forebear. It’s not just the instrumentation that invites parallels with Lester Bowie’s Brass Fantasy, it’s the music and in the spirit it invokes. WSQ aimed at being as huge as possible, both in sound and in the conquistadorial cultural aspirations its name implied, whereas Bowie already had a world takeover ensemble (even if it modestly only geographically namechecked Chicago). His Brass Fantasy (coming along a half-dozen or so years after the WSQ) only sought to prove that the horn section was self-sufficient. It wasn’t that they could sound like a whole band, just that they could sound like all you needed. It was about - deeply about - the love of a horn and the love of music, all music. Likewise, Big Sackbut is a defiantly naked horn section. And just as Bowie fished in diverse musical ponds, Fiedler has arranged Captain Beefheart, Willie Colon and Sun Ra for the first album by his trombone-trio-plus-tuba group, as well as penning some new tunes and rearranging a couple from past projects. The diversity is no surprise; Fiedler’s work has ranged from playing with Celia Cruz and Wyclef Jean to Anthony Braxton and Cecil Taylor. But the range of styles makes for a roundly enjoyable record. (But let us also remember Sun Ra’s traditionalism and Willie Colon’s experimentalism before over-enthusing about radical programming.) Fiedler is a smart arranger, guaranteeing a nice fluidity to the set and his band - Ryan Keberle, Josh Roseman and Marcus Rojas - breathe warm life into the music. His own compositions hold the album together, something called “Ging Gong” being an especially sweet surprise. All of that said, then, in what chair does Big Sackbut sit? It is certainly in the tradition that the late Bowie liked to term “serious fun”. (Might we say “out for a good time?”) It is not experimental but it is inventive. Perhaps best put simply, it’s a job well done. For more information, visit yellowsoundlabel.com. This project is at The Jazz Gallery Sep. 8th. See Calendar.

The world’s fifth largest country, home of bossa nova, samba and birthplace of Tom Jobim, Airto Moreira, Milton Nascimento and Hermeto Pascoal (to name only a few), Brazil has deeply impacted jazz. Recent releases show that the impact continues. Rio-raised Philippe Baden Powell (son of Baden Powell) is the second Brazilian pianist to go solo on the Piano Masters Series, recorded at Klavierhaus on a fabulous Fazioli grand, boasting a brassy, brawny bass register that vaults right out of the sounding box. On Vol. 2, Powell’s touch is gentle, with deft ornamentation and intricate two-hand figures. After a short prelude and two minor-keyed ruminations, he hits his stride on “’Round Midnight” with sprawling, hypnotic gestures. Other highlights are Egberto Gismonti’s “Lôro”, a funky samba recalling Keith Jarrett; “Canto Triste”, lush with contrapuntal harmonies and textures; “Garfield”, an elegant original that momentarily ventures off the beaten path; Coltrane’s “Giant Steps”, here in semi-modal guise; capped by “Ending”, the most harmonically adventurous piece. Pianist/vocalist Tania Maria, originally from northern Brazil, duets with bassist Eddie Gomez on Tempo, comfortable yet compelling, in-the-pocket but never predictable. Maria’s voice runs hot and cool, scatting along to her solos on “Sentado a Beira do Caminho” (where she also whistles amazingly) or else caressing the Portuguese lyrics of “Estate”, “Bronzes e Cristais”, a beautiful bossa, and the title track. Tempos are subdued, but rhythmic energy never drops. Maria’s originals are standouts: “Yeah Man”, a boogie shuffle; “Senso Unica”, which shifts between slow soul and spicy samba; “Dear Dee Dee”, a tricky yet catchy line rivaling Chick Corea’s “Spain”, and “Tempo”, featuring a rhapsodic opening, democratic repartee and surprise moments. Pianist Helio Alves, bassist Nilson Matta, both from São Paulo, and drummer Duduka Da Fonseca, from Rio, are all New Yorkers now, known collectively as Brazilian Trio. Constelação, their second release, contains an original from each member, three infrequently played Jobim songs (“Quebra Pedra”, “Luiza” and “O Boto”), Cedar Walton’s “Bolivia” and a few bossa-jazz standards. The threesome plays fast and loose, testy but tasty, synched like a six-armed spider. Alves’ “Bebe” fronts his fluid, filigreed style, broken chords punctuated by sudden exclamations. Da Fonseca trades dynamic choruses with bass and drums on “Embalo” and gently fleshes out the texture of “O Cantador”. Matta’s agile authority is evident throughout, notably on “LVM/Direto ao Assunto”.

For more information, visit adventure-music.com, naive.fr and motema.com. Nilson Matta and Duduka Da Fonseca are at Dizzy’s Club Sep. 1st-2nd (Brazil Day) and Jazz at Kitano Sep. 28th-29th. See Calendar.

Piano Masters Series, Vol. 2 Philippe Baden Powell (Adventure Music)

Tempo (feat. Eddie Gomez) Tania Maria (Naïve)Constelação Brazilian Trio (Motéma Music)

by Tom Greenland

GLOBE UNITY: BRAZIL

Big Sackbut

Joe Fiedler (Yellow Sound)by Kurt Gottschalk

Patience Stéphane Kerecki/John Taylor (Zig-Zag Territoires)

All Strung Out Denman Maroney/Dominic Lash (Kadima Collective)

Duetto Mark Dresser/Diane Moser (CIMP)by Sam Spokony

Alto saxophonist Angelika Niescier plays on a pair of new releases, solidifying her as a first-call player. The scope of the discs differs significantly, but Niescier ’s musical range and talent is such that she can work marvelously within these or any other frameworks. Niescier leads a high-energy trio on Quite Simply, with bassist Thomas Morgan and drummer Tyshawn Sorey. Morgan’s fluid plucked solo on the cyclonic “Diffractions” sets up a fierce dynamic between the thunderous Sorey and Niescier, who improvises with excellent tonal and rhythmic balance. Her intensity on other burners like “Level 3” and the pulsating “Untitled” proves that she can go mano a mano with any sax player around. The trio downshifts with “Mithra’s Despair”, built from elements like Niescier ’s breathy murmuring, Sorey’s hand-drumming and Morgan’s plucking alternating with a deep-blue arco. Her phrasing on “Uncertainty Principle” is melancholy but lovely. Niescier adds subtle harmonic punctuation and her brand of rhythmic intensity to Ornette Coleman’s “Congeniality” and the group’s wonderful interpretation of Anthony Braxton’s “69-0” is a perfect companion to “Mithra’s Despair”. This trio’s blend of straightahead and free jazz is pure dynamite. Niescier is also part of an outstanding quartet with Denman Maroney (piano), James Ilgenfritz (bass) and Andrew Drury (drums). Their album, Mind Games, is jazz from the inside out, a compelling damnation of theme-solos-theme conventionality. Drury’s high-pitched cymbal effects in tandem with Ilgenfritz’ moaning arco and bold plucking mark the listing-ship abstraction of “Ledig House”. Maroney makes his piano strings sing while trilling at the keys and Niescier ’s harmonic stridency rounds out the tableau. Maroney’s first excursion into what he describes as “hyperpiano” occurs on “Perplexia”, where he strums and uses other objects against the piano strings to produce a variety of textures and pitches. Indeed, Maroney is the furthest outside the box when he’s inside it. Drury, Niescier and Ilgenfritz join in on this free excursion, their harmonizing a beehive of color and elasticity. Ilgenfritz’ bass is the spindle around which “Social Hypochondria” revolves, as Maroney’s inspired string effects accompany Niescier ’s intense sax soliloquy. Niescier involves herself in the extra-instrumentality, as she did on Quite Simply, by blowing gently into her mouthpiece on “Innervista” while her braying harmonics move “Greene St.” to another level of creativity. Drury’s percussive solo on the brooding “Canter” is his signature moment on the album, where he uses hy-percussive implements such as bells and bamboo to produce his desired sonic textures. The epic “Warum Bist Du Gekommen?” is a tour de force that balances the abstract and the conventional perfectly. This music isn’t sound for sound’s sake but is built within a discernible harmonic and rhythmic framework. And this striking originality announces a formidable band with which to be reckoned.

For more information, visit enjarecords.com and outnowrecordings.com. Niescier is at Douglass Street Music Collective Sep. 8th and Spectrum Sep. 14th with the Mind Games project. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 19

9/20: Roy Eaton Pianist

9/27: George Gee Bandleader

9/21: Jonathan Batiste Trio

T H E N A T I O N A L J A Z Z M U S E U M I N H A R L E M P R E S E N T S

Time : 6:30 --- 8:30 pm Price : Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #4D

Harlem Speaks A S E R I E S D E D I C A T E D T O C A P T U R I N G T H E H I S T O R Y A N D L E G A C Y O F J A Z Z

$18 ADVANCE $20 AT DOOR

Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council

TICKETS: www.rmanyc.org/harleminthehimalayas

visitors center:OPEN M-F 10 AM - 4 PM

104 E. 126th Street, #4D, New York, NY 10035

(Take the 2/3/4/5/6 train)WWW.JMIH.ORG

J a z z f o r C u r i o u s L i s t e n e r sFree classes celebrating Harlem and its legacy

s a t u r d a y p a n e l s

September 15:Ray Charles in Performance

NJMH Visitors Center, 104 E. 126th St. #4D

12 PM – 4 PM FREE

RAY CHARLES: GENIUS & SOUL:

September 4:The Trio and Early Band Years

September 11: Live!Rare Films at Maysles Cinema

343 Lenox Avenue Between 127th & 128th(Donation Suggested)

September 18:

Classic Recordings with Milt Jackson

September 25:Big Band Classics with Quincy Jones & Basie

7 :00 PM | NJMH Visitors Center, 104 E 126th St., #4D | FREE

Hosted by:

Jonathan Batiste and Band

September: 5, 12, 19, 26

Jazz Is Now

Tuesdays 7:00 - 8:30 p.m.The NJMH Visitors Center, 104 E. 126th Street, #4D | FREE

Attend any individual classPresented with The Berklee College Of Music

9/20: Roy Eaton Pianist

9/27: George Gee Bandleader

9/21: Jonathan Batiste Trio

Quite Simply Angelika Niescier

(Enja)

Mind Games Maroney/Ilgenfritz/

Niescier/Drury (OutNow)by Terrell Holmes

The title of pianist Fred Hersch’s new album, Alive at the Village Vanguard, is a clever updating of two previous records he’s put out with similar names. There’s Live at the Village Vanguard from 2003 and Alone at the Vanguard, recorded in 2010. But the name goes deeper than that. Hersch, who has AIDS, fell into a pneumonia-induced coma for two months in 2008 and almost died. So the title comes with that extra baggage, which is not to say that you should appreciate the record more for that reason. Appreciate it because it is a superb statement from one of the most respected pianists in jazz. Recorded with bassist John Hébert and drummer Eric McPherson during a week-long run at the Vanguard back in February, the two-disc set is a balanced assemblage of Hersch originals, ballads and medium-swing standards. Perhaps most lovely are the ballads, particularly renditions of “I Fall In Love Too Easily”, lush and melancholy, and “The Song Is You”, usually played at a fast tempo but here sounding wonderful slowed down. Hersch solos rapturously throughout, drawing you in with his beautiful sound.The music feels soft and powerful at the same time and that’s due in large part to Hébert and McPherson’s sensitive accompaniment. Equally lovely, though different, is Da Vinci, an album Hersch recorded in a duo with the Italian clarinetist Nico Gori. Hersch is an inveterate solo pianist and this record gives him the chance, unaccompanied by drums and bass, to exhibit his strong rhythmic feel further. He and Gori have a tight connection; the pianist weaves intricate arabesques with his left hand around Gori’s concise phrases, as in “Lee’s Dream”, which Hersch wrote in dedication to the alto saxophonist Lee Konitz. It’s a format you’d like to hear Hersch in more often.

For more information, visit palmetto-records.com and beejazz.com. The trio is at Village Vanguard Sep. 11th-16th. See Calendar.

Roni Ben-Hur and Santi Debriano join with Duduka Da Fonseca to craft Our Thing, an album that transforms subtlety into an artform. The liner notes stress the fierce and fiery cross-cultural unity among the three artists - Ben-Hur hails from Israel, Debriano from Panama and Da Fonseca Brazil - but their sound emerges far more ethereal than anticipated. Thelonious Monk provides the trio’s opening inspiration in “Green Chimneys”. Ben-Hur is the narrator of the lightly tropical tale, counterpointing

Debriano and Da Fonseca’s earthy vibe with a cool electric flair. He evokes the sprightliness of jazz’ contemporary guitar generation, dripping away each intricate refrain like melodic water. Debriano’s bass proves just as acrobatic, through shrouded in far muskier overtones. Da Fonseca’s complex musical facets blossom in his own “Isabella”, a bittersweet piece threaded with hopeful layers. The percussionist demonstrates the full range of his cymbals, opening with assertive cascades before fading to metallic droplets - only to resurge in a wave of sparkling leaps. Ben-Hur harmonizes with his distinctive starry-eyed flair, setting forth a waterfall of pristine and pensive elaborations. “Earl’s Key” features Ben-Hur’s clever technique as he oscillates from a low-key breeze to a marathon of intricate riffs. Da Fonseca’s expressive cymbals slow down and fast-forward to keep the pace while Debriano’s subliminal bass fuels the action from afar. His solo, however, basks in the foreground, emerging bold and deeply exhilarating. The trio’s cross-cultural unity vibrantly courses through the spectral opposites “Afroscopic” and “Ela E Carioca”. Debriano’s former composition is a kaleidoscope of AfroLatin flavors, strung together by Da Fonseca’s innovative hand drums and shakers. The bass-guitar dynamic emerges particularly riveting, featuring zesty chords alongside thick plucks. The latter tune, composed by Antonio Carlos Jobim and Vinicius de Moraes, offers dynamism in a breezier context. Ben-Hur, Debriano and Da Fonseca sway across the air with the grace of palm trees, exuding a laidback introspection.

For more information, visit motema.com. This group is at Jazz Standard Sep. 11th. See Calendar.

20 September 2012 | THE NEW YORK CITY JAZZ RECORD

Alive at the Vanguard Fred Hersch Trio

(Palmetto)

Da Vinci Fred Hersch/Nico Gori

(Bee Jazz)

by Matthew Kassel

Our Thing (featuring Duduka Da Fonseca)

Roni Ben-Hur/Santi Debriano (Motéma Music)by Sharon Mizrahi

The four artists who make up this quartet of splendid new solo piano recordings are careful and thoughtful in their choice of both notes and spaces. The performances collected here are clearly about expression. In concert at Seattle’s The Triple Door, on Songs of Earth Jessica Williams’ concept and technique are grand and symphonic but fall, as she rightly says, into no category or genre. The individual pieces suggest a full spectrum of moods and colors as does, says Williams, the Earth. “Joe and Jane” is a kind of hymn in tribute to the men and women in the military, the mood sorrowful but also rhapsodic, working as a hopeful prayer for peace. The one tune not composed by Williams is John Coltrane’s “To Be”, where she avoids any particular stylistic approach but seeks what Coltrane means to her in terms of freedom and invention. Williams’ latest influence, she notes, is Spanish guitarist Carlos Montoya, disliked by critics for straying from traditional form; his daring and bravery in doing so inspires Williams on her dedicatory tune “Montoya”. The pianist’s understanding is revealed in her ability to suggest the mercurial passions of the guitar and the Spanish forms he both played with and transformed. Denny Zeitlin has come a long way since he was thought of as “the jazz psychiatrist”. He is a master interpreter of song and his approach has developed into one that is harmonically rich, intellectually reflective and deeply lyrical. On Wherever You Are, the notion of lyrical goes beyond its meaning of simply songlike and melodic to one that celebrates the words intoned by the human voice. These are the words of the writers of the Great American Songbook, the contemplative notions of love and longing that inform the human experience. Zeitlin takes familiar and not-

so-familiar ballads and invests them with his own very particular colors and shadings. He comes to us with a deeply reharmonized “Body and Soul”, a dark and mysterious reading, beautifully embellished to let the listener hear it anew. Be prepared for a surprise with Bobby Troup’s “The Meaning of the Blues” from the Miles Davis album Miles Ahead. Zeitlin, informed by a new reading of the lyrics, digs deep into the “tragedy of loss”, as he calls it, and fashions an achingly intimate rubato gem that unfolds with the slow and exquisite pace of a work of nature. The theme only makes itself evident as the piece winds to a close. Jobim also is reworked as the pianist fuses “Quiet Nights” and “How Insensitive” into one sensual poem of bittersweet melancholy. It’s the pianist’s smart and ever-thoughtful approach that finds new levels of expression in these most familiar bossa nova chestnuts. Zeitlin also revisits some of his originals - “Time Remembers One Time Once” and “Wherever You Are” - and continues to reveal insights about love and connection. On The Noguchi Sessions, Arturo O’Farrill pays tribute to the great Japanese-American artist Isamu Noguchi. The pianist set up his instrument in a gallery of the Noguchi Museum (in Long Island City) and played a celebration to the “fragility” and “transience” of our lives and even of our art in 12 affecting and compelling performances ranging from originals by the composer and works from the Spanish and Latin-American canon to an exploration of Americana and Irish roots and rarely performed tunes from the jazz repertoire. In Stephen Foster’s “Oh! Susanna”, the pianist takes the minstrel song, chock full of corny and even horrid stereotypes, and finds a way to reflect an American past honestly. One of the great and neglected composers from this hemisphere is Cuban-born Ernesto Lecuona. His “Siboney” is a tribute to an indigenous Cuban people and O’Farrill feels it his duty to celebrate that “before we got here, there were others”. The rhythms of Cuba are present but they take an organic role in the commanding power of the piano. O’Farrill’s approach is more meditative but no less artful on “Oh Danny Boy”, another look back at the past. O’Farrill is a gifted composer as well, as is manifest in his adventures with “simple chords and major triads” coming from “Once I Had a Secret Love”and becoming O’Farrill’s “Once I Had a Secret Meditation”. It’s a brief and lovely tune, a touching set of intriguing improvisations on the old tune. Swiss-born Gabriel Zufferey has made Contemplation, his first solo piano album, a grand, ambitious excursion – 18 tunes, many of them associated with some of the greatest names in jazz and jazz piano. Zufferey makes these performances his own thanks, in part, to brevity - none of these performances is much longer than five minutes. The five-four pulse of Paul Desmond’s “Take Five” is the starting and staying point of this improvisation, which never really states the melody except for the bridge. Zufferey also offers a number of very brief interludes, demonstrating his own adventurous work in miniature composition for the keyboard. The young artist discovers a new way to enter the world of Thelonious Monk, finding “Trinkle Tinkle” at the center of a maelstrom of sound, thus framing the melody in a way not quite seen before. The same might be said of “Giant Steps”, presented as a moody ballad in which the familiar and complex line is only revealed after some atmospheric soul-searching. Ellington’s “In a Sentimental Mood” finds the old standard constructed and deconstructed as if to make us think we’ve not heard it before but hearkening to something we’re sure we know. This pattern is indicative of the way Zufferey gets to the heart of great tunes.

For more information, visit originarts.com, sunnysiderecords.com, zohomusic.com and beejazz.com. O’Farrill is at Saint Peter’s Sep. 12th and Birdland Sep. 30th and Sundays. See Calendar and Regular Engagements.

THE NEW YORK CITY JAZZ RECORD | September 2012 21

Songs of Earth Jessica Williams (Origin)Wherever You Are (Midnight Moods for Solo Piano)

Denny Zeitlin (Sunnyside)The Noguchi Sessions Arturo O’Farrill (Zoho)

Contemplation Gabriel Zufferey (Bee Jazz)by Donald Elfman

22 September 2012 | THE NEW YORK CITY JAZZ RECORD

Brazilian vocalist Luciana Souza delivers a one-two punch with two new releases - one Brazilian material sung in her native Portuguese and the other her first recording exclusively of standards sung in English – showing the two sides of this talented songbird, or uirapuru if you prefer. Duos III is the last in the trilogy featuring only voice, guitar and song. Souza’s collaborators on this album are Romero Lubambo, Marco Pereira and Toninho Horta, each on four tracks apiece. The material is mostly from Antonio Carlos Jobim, Gilberto Gil, Dorival Caymmi and Djavan along with some originals by Horta and Pereira. The songs are either bossas or sambas, put together to achieve a well-paced album. Souza is in fine voice, sounding pure and clear and both Lubambo and Pereira are longtime collaborators, so there is a marvelous chemistry and while Horta is a new partner he also is able to attain a strong musical connection with Souza. Highlights include “Doralice”, where Souza and Lubambo both shine; “Pedro da Lua” (a Horta original) where the composer joins Souza on the vocal and “Dona Lu” (a Pereira original), which overflows with joy from both performers. But most notable is the version of the familiar song “Dindi”, treated almost as a blues. The Book of Chet offers Souza’s interpretation of material associated with the legendary trumpeter/vocalist Chet Baker, accompanied by Larry Koonse (guitar), David Piltch (bass) and Jay Bellerose (drums). The selections are all ballads, which does result in little contrast from track to track but does produce an almost hypnotic effect, reminiscent of Baker’s introspective singing style. Souza tackles the singing in a straightforward manner, including either one chorus or a chorus and a half on each song, Koonse’s guitar fills blending seamlessly. Piltch steps forward with his bass on “The Very Thought Of You”, a track that contains some wordless singing with guitar. Bellerose contributes drumwork that is almost a whisper. Notable tracks on this one are “The Touch Of Your Lips” and “I Fall In Love Too Easily”, the former dreamlike, the latter with outstanding work by Koonse.

For more information, visit sunnysiderecords.com. Souza is at Joe’s Pub Sep. 12th. See Calendar.

There’s a fine line between homage/tribute and exploitation in jazz. But wherever the line is, there can be no doubt that the concept - exploiting/honoring a jazz figure from the past - has become a plethoric

marketing strategy around which to build albums. It’s nothing new; Louis Armstrong put out an album of WC Handy tunes over half a century ago. But honoring composers and musician-composers is different than referencing musicians for their brand name value. Dear John C., an album titled when drummer Elvin Jones was still, just barely, a member of John Coltrane’s seminal quartet, was producer Bob Thiele’s nakedly exploitative way to cash in on the fame of Trane. The Elvin Jones Project, by bassist Michael Feinberg leans on the value of the Elvin Jones name and its associations with Coltrane, whose name as a marketing hook is of comparable value in jazz to that of Elvis or Marilyn (Monroe). In both cases, the names invoked by the album titles are not substantially reflected in the music. Dear John C., recorded in 1965, is as much or more a showcase for alto saxist Charlie Mariano as it is for Jones and the repertoire has little to do with Coltrane. The core group is Mariano, Jones and bassist Richard Davis, a trio heard on three tracks. Hank Jones and Roland Hanna join them on piano for three tracks apiece. Charles Mingus’ “Love Bird”, familiar to both Mariano and Hanna from their times with the composer, is a highlight, as is “Anthropology”, with pianist Jones joining his brother-leader, who begins on brushes and ends with sticks in a deft delineation of the Bird anthem. Elvin is eruptive at times, but is almost overshadowed by the ferocious intensity of rhythm-mate Davis’ absolutely compelling solos. The Elvin Jones Project name may be a good marketing tool for Feinberg, but the music can stand on its own. Sure, the tracks, save for an original purportedly inspired by an Elvin Jones/Dave Holland/Bill Frisell album, are all found on Jones or Coltrane recordings but Feinberg and his excellent band give them an original spin. Drummer Billy Hart, although influenced by Jones, is his own man, with his own distinctive sound. Pianist Leo Genovese, the junior member, is a welcome revelation, viscerally compelling as a soloist. Trumpeter Tim Hagans and tenor saxophonist George Garzone both fill ensemble and solo roles with winning panache. The musical styles range wide, from the eerie “Earth Jones”, a Jones original, with shimmering, wafting Fender Rhodes and slow ostinato bassline underpinning horn solos, to the evocation of the mid ‘50s Miles Davis Quintet on “Nancy with the Smiling Face”, melody begun by bowed bass, the bulk of it a trio performance, but capped off by Harmon-muted trumpet and keening tenor sax to take the theme out. Guitarist Alex Wintz guests on two tracks, including Frank Foster’s “The Unknighted Nations”, a funky hard bop flag-waver.

For more information, visit analogueproductions.com and sunnysiderecords.com. Feinberg’s project is at Birdland Sep. 13th. See Calendar.

Dear John C. Elvin Jones

(Impulse-Universal)

The Elvin Jones Project Michael Feinberg

(Sunnyside)by George Kanzler

Duos III Luciana Souza

(Sunnyside)

The Book of Chet Luciana Souza

(Sunnyside)by Marcia Hillman

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On Universal Mind, his fourth outing as a leader, pianist Luis Perdomo embraces a hard-swinging piano trio aesthetic, mixing it up with bassist Drew Gress and drummer Jack DeJohnette. It’s a logical move: his 2006 disc Awareness was also steeped in trio modernism, even avant gardism. His 2008 date Pathways, also with trio, combined originals with standards and a Bud Powell classic. This time the opener is Joe Henderson’s “Tetragon”, an angular midtempo blues from 1968, just the thing to break the ice. (DeJohnette played on Henderson’s album of the same name, but not on the title track.) There’s a polished virtuosity, a smoothness of execution, to be heard on Perdomo’s earlier efforts. The interplay on Universal Mind is lumpier, more off-centered, thanks largely to the rousing, relentless churn of DeJohnette’s drums. Keith Jarrett’s trio with DeJohnette is a reference point, although it has worked for decades; the Universal Mind session, by contrast, is Perdomo and the drummer’s first-ever encounter. The newness has musical benefits, of course. Two improvised piano-drum duets (“Unified Path” I & II) yield strong, semi-abstract results. “Tin Can Alley”,

originally a vehicle for DeJohnette’s band Special Edition, harks back to the midtempo strut of “Tetragon” but with a more complex written theme. Perdomo’s originals range from the lyrical, harmonically spare “Langnau” and “Just Before” to the waltz “Above the Storm” and polyrhythmic burners “Gene’s Crown” and “Doppio”. His “Rebellious Contemplation” seems to start in mid-thought with ferocious eight-bar trades, working up to a twisty and unexpected coda. It takes high skill to spar with DeJohnette and not get overpowered or upstaged. Perdomo thrives under the pressure. Whether or not his relationship with DeJohnette takes further root, he’s advanced his art considerably with this fine release.

For more information, visit facebook.com/RKMMusic. Perdomo is at The Jazz Gallery Sep. 14th with Adam O’Farrill as part of FONT. See Calendar.

Cornetist Taylor Ho Bynum has put funding from Chamber Music America’s 2010 New Jazz Works to excellent use in Apparent Distance, a four-part suite of nonlinear melodies, gripping improvisations and

brilliant ensemble playing. Bynum states his goal as “not just to blur the lines between composition and improvisation...but to try to upend the listeners’ expectations in other ways: circular melodies without beginnings or ends, disguised unisons and non-repetitive vamps, transitions that are simultaneously jarring and organic.” All of these elements play out as promised throughout the fluid, interconnected movements, acting as a catalyst for fearless improvisations from the sextet: saxist Jim Hobbs, bass trombonist/tubaist Bill Lowe, guitarist Mary Halvorson, bassist Ken Filiano and drummer Tomas Fujiwara. Bynum’s puckish cornet opens “Shift”, the first movement, with a brazen cadenza that hops from lip-splitting high notes and quivers to thudding, low exhortations and finally a series of dizzying runs before he’s joined by bass trombone and whispered alto. The horn trio’s melancholic polyphony lasts for two minutes before Filiano and Fujiwara enter with furious rhythms, marking the beginning of the second movement, “Strike”. The leader’s composing skills certainly rival his playing - an extended contrapuntal section in “Source”, the third movement, is a standout for the juxtaposition of guitar and cornet unisons against the often diametrically opposed bass, alto and bass trombone figures - but it is ultimately the improvisational virtuosity of the ensemble that takes the day. Halvorson’s vibrato-laden, turned bone-dry, turned blippy, trippy introduction to “Source”, is a high point from both a technical and improvisational perspective, but it is just one of many in this impressive outing.

For more information, visit firehouse12.com. This group is at The Jazz Gallery Sep. 15th as part of FONT. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 23

Apparent Distance

Taylor Ho Bynum Sextet (Firehouse 12)by Matthew Miller

Universal Mind

Luis Perdomo (RKM Music)by David R. Adler

24 September 2012 | THE NEW YORK CITY JAZZ RECORD

The debut release by Jasmine Lovell-Smith has so much to offer: an arrestingly wry and lyrical compositional style, a cohesive quintet comprised of talented emerging artists and, nestled comfortably at the center, a distinctive new voice on the soprano saxophone. This is clearly a band that has worked together and learned to live and breathe in the music, extending far beyond the ink and into the realm of a truly communicative ensemble of effusive musical cohorts. On compositions like “Confidence (One)” or “Let Go Be Free”, the band will establish a pervasive mood inspired by the folk-like melodies, only to take a surprising turn towards expressionism, navigating constant shifts of hues in the most logical and even-handed way. Sharing the frontline with Lovell-Smith is trumpeter Russell Moore, whose bright tone blends with the soprano, or darkens and widens in response to the shifts from ruminative sentimentality to impressionistic gestures. The rhythm section of pianist Cat Toren, bassist Patrick Reid and drummer Kate Pittman are in a constant state of ebb and flow, providing an ever-shifting framework. Pittman’s ability to integrate lyrical, almost melodic percussion with more frenetic gestures establishes a sense that the music will shift anywhere while Reid’s sense of melody and counterpoint are distinctive and Toren blends broad, lush harmonies with more plucky phrases. As a composer, Lovell-Smith’s penchant for counterpoint and distinctive blend of melodic phrasing, driving pulses and free jazz expressionism unfold throughout the record. Any given tune may favor one element or the other, but always reminding the listener that a few surprising changes to the color palette await around each corner. For more information, visit paintboxrecords.com. This group is at Korzo Sep. 18th. See Calendar.

With Claroscuro, Anat Cohen exceeds the orbital velocity of her rising star status, delivering an intelligent and infectious set with pianist Jason Lindner, bassist Joe Martin, drummer Daniel Freedman and guests clarinetist Paquito D’Rivera, trombonist Wycliffe Gordon and percussionist Gilmar Gomez. Cohen’s many strengths are immediately apparent on “Anat’s Dance”, where she spins out long, logical, rhythmically authoritative postbop lines; on “La Vie en Rose”, where she slips into a Sidney Bechet bag, constructing a liquescent, slightly sassy solo in five elegant phrases, and on “All Brothers”, where her

dense/light soprano spews out high-energy solos full of quicksilver ornaments, slurred tumbling sequences, non-harmonic interjections, expressive scoops and slides, colored with a light, mercurial vibrato. She plays light, cool clarinet over the Brazilian ballad “As Rosas Nao Falam”, channels Artie Shaw in a faithful rendition of “Nightmare”, weaves fluid arpeggios around Lindner’s piano on Jobim’s “Olha Maria”, matches the irrepressible Paquito D’Rivera note for note in a revved-up, jaw-dropping run on Pixinguinha’s choro “Um x Zero”, then brings it all home with some soulful gospel preaching on “The Wedding”. Lindner is excellent everywhere, mixing solo and comping styles seamlessly while Martin and Freedman are effortlessly at-ease in their pan-global grooves. Gordon’s “Tricky” Sam Nanton-style growls and “Pops” Armstrong-esque singing are welcome additions to “La Vie en Rose” and Dr. Lonnie Smith’s “And the World Weeps”, as is D’Rivera’s impeccable playing on these cuts (his solo turn on “Weeps” is dazzling), “Um x Zero” and “Kick Off”, where his clarinet percolates over the hypnotic Candomblé beat.

For more information, visit anzicrecords.com. This project is at Village Vanguard Sep. 18th-23rd. See Calendar.

Trumpeter Dave Douglas has released over 35 records under his own name in the last 20 years. Greenleaf Music, Douglas’ own label, has been a home to his recordings since 2005, including the overwhelming recordings of every note played during a six-night run at the Jazz Standard in 2006. Here the label has dug into Douglas’ back catalogue, releasing two albums originally on Arabesque, recorded in 1997 and 1998. Both sets feature the same tight quartet - Chris Potter (saxophone), James Genus (bass) and Ben Perowsky (drums) - with the 2-hour, 20-track collection entirely composed by Douglas. These two recordings are a fitting pair, highlighting the state of Douglas’ pursuits in such a brief timespan despite three other albums being released in between. “I was trying to see how much harmony I could get into the game with just three notes,” states Douglas in the liner notes. How much is a funny question. A lot isn’t quite an answer to it. Three melodic voices can just about make three harmonic relations but which and when is where Douglas makes it his own. Magic Triangle, which came out in 1997, was Douglas’ 11th album and opens with “Everyman”, a playful tune that has Douglas and Potter sharing the same breaths, almost finishing each other’s sentence, a trait that lasts throughout the recordings. “Padded Cell” gives Perowsky more room to splatter across his cymbals, taking things to the outer reaches of the record. “Kisangani” puts a mute in Douglas’ horn for a dirge-like spell aided by long saxophone tones and sputtering kit. The album closes with “The Ghost”; far from a wandering spirit, the track is a hard-hitting launching point for the entire band including a nice propulsive jaunt between Genus and Perowsky. Leap of Faith, Douglas’ 15th album, followed his major label release on RCA, Soul on Soul. The band picks up right where they left off, a little more aggressive and quickly digging into opening track “Caterwaul” with more disjointed harmony while the

title track is a furious clatter that features Perowsky fighting a swarm of bees behind his kit as Douglas provides a merciless solo. The fairly straightforward “Mistaken Identity” finds Douglas at his most gilded, twittering over Potter ’s engaging counterpoint. The album closes with the goofily titled “Euro Disney”, which offers up the classic Miles Davis “Theme” ending, a fitting closure to an album that embraces much of the bop crowd’s tight harmonic intimacy but takes it into a future of driving drums and greater harmonic freedom.

For more information, visit greenleafmusic.com. Douglas is at 92YTribeca Sep. 19th as part of FONT. See Calendar.

SEPTEMBER 2012 JAZZ VESPERS

Sundays at 5:00 P.M. — All Are Welcome — Free

2 Florian Höfner Group

9 Jimmy Owens Quartet

16 Ike Sturm Ensemble

23 Aaron Diehl Trio

30 Nadje Noordhuis Quintet

MIDTOWN JAZZ AT MIDDAY Sponsored by Midtown Arts Common

Wednesdays at 1:00 P.M. — ($10 suggested)

5 Anderson Twins Sextet Peter Anderson, tenor sax/clarinet William Anderson, alto sax/clarinet/flute Jon-Erik Kellso, trumpet Ehud Asherie, piano Kevin Dorn, drums Clovis Nicolas, bass

12 Sandy Stewart, singer Bill Charlap, piano

19 Ralph Hamperian’s Tuba D’Amore, Bob Albanese, piano

Will Woodard, bass

Jeff Brillinger, drums

26 Aaron Diehl, piano

JAZZ FOR ALL September 16 at 4:00

Free Improvisation Workshop for families and people of all ages

Remembering Sep. 11: Never Again!

Jazz CelebratesNew York

featuring Musicians, Singers and Tap Dancers, celebrating Jazz in

New York. Soft drinks and snacks available for purchase

September 11, 2012 7 p.m. to 12 midnight

Free!

Frank Owens Singers: all proceeds

benefit the Frank Owens Workshops

Kumiko YamakadoJo Marchese

Ira Lee Collingswith the Frank Owens Trio

September 15, 20127 to 10 p.m.

$10

Cobi Narita presents

Zeb’s223 W. 28 Street (between 7th & 8th Avenues), 2nd Floor - 212-695-8081for more information: 516-922-2010 or cobijazz@optonline.net

Fortune Songs

Jasmine Lovell-Smith’s Towering Poppies (Paintbox)by Wilbur MacKenzie

Magic Triangle/Leap of Faith

Dave Douglas (Arabesque-Greenleaf Music)by Sean O’Connell

Claroscuro

Anat Cohen (Anzic)by Tom Greenland

THE NEW YORK CITY JAZZ RECORD | September 2012 25

Pianist Satoko Fujii and trumpeter Natsuki Tamura’s output is astonishing in scope and diversity. Fujii manages to lead several large ensembles while participating in a seemingly infinite array of others, skipping between continents as if simply going out to the store and back. Tamura is on board for many of these projects, as composer or performer, and these two releases represent a part of the duo’s ever-evolving transcontinental scene. KAZE is a fairly new project, graced by the heavy trumpet frontline of Tamura and Christian Pruvost while Fujii’s piano is complemented by Peter Orins’ drumming. On Rafale, you can hear the trumpets pushing each other to new levels of exploration and interplay on “Polly”, but that’s the tip of the iceberg. This is a stunning achievement from note one and, as might be inferred from the title of the first track, “Noise Chopin”, the quartet tosses Chopin quotations around, or maybe it’s better to say the etudes and sonatas referenced form the brew of the piece. It’s all amidst a rapidly changing dynamic climate, sudden and dizzying shifts in tension and volume keeping things fresh over nearly a quarter of an hour. The whole disc teems with life, blistering free jazz tempered by moments of composed introspection that roil with their own undercurrents, threatening to explode at any moment. If the arc-and-build formula so common to western music, freely improvised music in particular, rears its head a bit too often, it hardly seems to matter in the face of such excellent and committed musicmaking. The recording is spectacular and it needs to be, given the group’s interest in sound and its deployment. Gato Libre’s Forever is not nearly as pleasing on the ears, having been done live in less than ideal circumstances. However, it represents bassist Norikatsu Koreyasu’s last recording with the quartet, as he died a short time after the performance. His sound is rich and full, perambulating the group through its spacious music, serving as an excellent foil to Kazuhiko Tsumura’s guitar. Tamura and Fujii provide liquid support throughout, the dynamic peaks

and valleys softer and more malleable than that of KAZE, but a beautiful landscape nonetheless. The bass and guitar harmonics that punctuate the opening of “Court” while Tamura and Fujii emote coolly alongside give an idea of the group’s introspective sound yet the roles are switched on “Hokkaido”, where trumpet and guitar etch innocent lines as bass and accordion drone in sympathy. Were one forced to choose, KAZE maintains interest more completely. However, both discs project the Tamura/Fujii partnership’s interest in space, timbre and, above all, feeling. These releases are rife with conviction and that, peppered with the obvious abilities demonstrated by all involved, will carry any ensemble a very long way.

For more information, visit librarecords.com. Satoko Fujii and Natsuki Tamura are at Douglass Street Music Collective Sep. 22nd. Tamura is at Village Zendo Sep. 23rd as part of FONT. See Calendar.

There was a very interesting point raised in a recent post on the blog Running the Voodoo Down concerning the relevance of the standard repertoire in contemporary improvisation. From critic Phil Freeman: “This is a problem afflicting the music across the board and I think it may be time to lay down the law: Jazz musicians need to stop recording standards… Play the old standards live if you want, if you’ve got so little respect for your audience that you think they still want to hear ‘Body and Soul’ in 2012 (if you do still want to hear ‘Body and Soul’ in 2012, seek professional help).” He was referring to the present album by the quartet Enfants Terribles: altoist Lee Konitz, guitarist Bill Frisell, bassist Gary Peacock and drummer Joey Baron. Sure, their repertoire is based in a very specific sector of the book - “Body and Soul”, “I Can’t Get Started”, “I’ll Remember April” and, in a performance at the Blue Note last month, “All the Things You Are” and “Cherokee”, among others. The kick is that each musician starts the tune solo or in open dialogue, with the others falling into conversation. No discussion of the tunes or their order is supposed to color the proceedings. It’s meant to be spontaneous, insofar as the references are often oblique at first and the tunes are dealt with through a mutual love and respect for history as well as openness. Konitz brings to the proceedings a long, long relationship with these tunes and a ‘free’ conception of the repertoire is his blood and guts. He began his professional career six years before Frisell was born and a full decade before Baron, but that’s not to say their work isn’t integral: the joy and intellect shared between the guitarist and drummer is palpable on both recording and stage. Sure, nothing ‘new’ exists under the sun, but it’s enjoyable to hear Frisell’s muted, Americana-derived fragments weaving through the changes against loose, plastic rhythms and Konitz’ ebullient runs. Live at the Blue Note captures a 2011 run of the quartet and while not as wily with the same concept as, say, Ellery Eskelin’s Trio New York, Enfants Terrible’s approach shouldn’t necessarily be relegated to the bin of anachronism.

For more information, visit halfnote.net

Live at the Blue Note

Enfants Terribles (Half Note)by Clifford Allen

Rafale KAZE

(Circum-Libra)

Forever Gato Libre

(Libra)by Marc Medwin

26 September 2012 | THE NEW YORK CITY JAZZ RECORD

Chicago reedman Ken Vandermark has honed a knack for seeking out fruitful working relationships. Since moving to Chicago from Boston in 1989, he has been integral to the fertile Windy City scene, both as a performer and organizer. That solid foundation has allowed him to spread his reach wider. His introduction to Swedish saxophonist Mats Gustafsson led to successful interactions with an ever-widening sphere of young Scandinavian musicians. Furthermore, working opportunities in Poland have lately led to collaborations with other European musicians too, notably in his cosmopolitan Resonance Ensemble First convened in 2010, Side A neatly brings together two of the main strands in Vandermark’s career, comprising drummer Chad Taylor, best known as part of assorted Chicago Underground units, and Norwegian pianist Håvard Wiik, from supergroup Atomic and a colleague from Free Fall. Everyone writes for what is a cooperative venture on A New Margin. Quality is consistently high across the ten cuts captured in concert in Portugal at the end of a short tour. They have a slightly looser take on the inside/outside conundrum than the Vandermark 5, but trade in similarly elaborate arrangements, touching on both the free jazz and contemporary vernaculars, creating vehicles that launch spirited solos. Whether filling the role of the absent bass with rolling vamps, adding crashing percussive accents or embarking on sparkling two-handed runs, Wiik exploits the possibilities his piano affords to the full. The combination with Taylor’s pulsing polyrhythms and diverse timbral palette and Vandermark’s muscular baritone and soaring clarinet, creates a very full sound, belying the numbers involved. Among the many highlights are the folksy “Trued Right”, which finds the hornman in full spate over a roiling backdrop, suddenly cutting out to leave him floating over empty space, and the seething collective “Fold”, which pulls the reverse trick, where yelping baritone gradually retreats into its normal register while piano and drums continue to burn. Recorded live back on home turf, The Conversation finds the reedman in the company of longtime associate drummer Tim Daisy for a series of five expressive, spontaneously generated duets. That title gives an apt summary of proceedings as the pair maintain a robust dialogue, each highly attuned to variations in pace and pitch. An ongoing process of calibration means they repeatedly lock into each other’s phrase length. While built around unfettered two-way interaction, there is a strong connection to the tradition as each instrument performs its expected role. Vandermark moves from overblown harmonics on clarinet to squalling skronk on tenor saxophone and plosive keypad popping on bass clarinet, matched every step of the way by Daisy’s sensitive percussion. The first two tracks deal with a defined territory. With its boppish bass clarinet and relaxed loping drums, “Pasfoto” persuades as lyrical and songlike, with a

regular beat to satisfy the foot-tapper while on “4 North” the combination of Daisy’s multiple barrage and the saxophonist’s torrential tenor touches on free jazz. Thereafter the references are blurred, reaching their apogee on the lengthy “Fifty Cent Opera”, which incorporates elements from both bop and free, but then builds to a storming finish by way of an unlikely breathy interlude that might have been inspired by Stan Getz. More certain influences inform Mark in the Water, Vandermark’s second solo album after Furniture Music (Okka Disk, 2003), from an unaccompanied performance recorded in Poland. In the liners, Vandermark explains his strategy, which was to mix open pieces with portraits of the reed players who had inspired him most through using a loose interpretation of their creative aesthetics. The selections from the gig present three portraits alongside seven extemporizations dedicated to those same masters. In some ways the dedications are unfortunate, as they inevitably bring to mind a host of virtuoso improvisers. That’s not to say that the Chicagoan’s efforts are inferior, but as they don’t aspire to mirror the virtues of the dedicatees, the comparisons afford an unnecessary benchmark. For the ten-piece program, he assembles a varied collection of improvisations that follow their own inner logic, ranging from tightly coiled split-toned squeals all the way through to airy impressionistic lyricism. While Vandermark concludes the liners with the realization that it’s time to take the leap to walking on stage without a plan, this set convinces as a worthwhile milestone on that artistic journey.

For more information, visit cleanfeed-records.com, multikulti.com and nottwo.com

A New Margin Side A: Ken Vandermark/Havard Wiik/Chad Taylor

(Clean Feed)The Conversation

Tim Daisy/Ken Vandermark (Multikulti Project) Mark in the Water

Ken Vandermark (Not Two)by John Sharpe

Michael Feinberg’s “Elvin Jones Project” featuring Billy Hart, George Garzone, Leo Geonvese and Tim Hagans available

everywhere Sept. 2012 on Sunnyside Records.

“Hes one bad dude!” - Mike stern“A musical prodigy turned into an evil genius.” - spinner.com

9/7 The Blue Whale LA 8 and 10pm $10w/Larry Koonse, Dan Schnelle, Ryann Dragonn, Walter Smith III

9/13 Birdland NYC 6pm $20w/Donny McCaslin, Ian Froman,

Tim Hagans, Leo Genovese

9/15 Emory University Atlanta 7pm $10-15w/Billy Hart, George Garzone, Leo Genovese

9/21 An Die Musik Baltimore 8 and 10pm $10w/Leo Genovese, Dayna Stephens, Gregory Hutchinson

www.michaelfeinbergmusic.com

palmetto-records.com

________________________________________________________________________

recorded live at the Village Vanguard, NYC

“An Attitude For Gratitude’s excellence is partly due to the players - bassistMartin Wind, gorgeous-sounding trumpeter Terell Stafford, and the drollpianist and organist Gary Versace. The other reason the album’s so good

is Wilson’s knack for writing spry tunes and for picking ones by othercomposers that inspire his players....they all get on Matt Wilson’s slightly

warped wavelength.” - NPR Fresh Air

Matt Wilson’s Arts & Crafts appearing at the Village Vanguard 9/4 - 9/9

This specially priced 2-CD set is available everywhere on September 11

The Fred Hersch Trio appearing at the Village Vanguard 9/11 -9/16.

MATT WILSON’S ARTS & CRAFTS

A new trio recording by five-time Grammy nominee Fred Hersch offers the rare opportunity

Captured in the heat of creative ferment at the Village Vanguard, the sanctified venue thathas long served as the pianist’s second home, Hersch’s trio with bassist John Hébert and drummer Eric McPherson displays all the rhythmic daring, preternatural interplay, harmonicsophistication, and passionate lyricism that makes it one of the era’s definitive ensembles.

The double album features a diverse array of seven scintillating Hersch originalsfour American Songbook gems, and seven classic jazz tunes.

to recalibrate expectations about the most fundamental of all jazz settings.

February 7 - 12, 2012

FRED HERSCH TRIOALIVE AT THE VANGUARD

28 September 2012 | THE NEW YORK CITY JAZZ RECORD

New Orleans native Jesse Davis has been impressive since his debut recording back in 1991. The alto saxophonist, a former student of Ellis Marsalis, displays the influence of greats like Cannonball Adderley and Phil Woods without merely mimicking their work. His big tone, articulate phrasing and the ability, in the words of Lester Young, to tell a story in his solos have helped him to find his own voice on his instrument. This live recording was compiled from sets over three nights at Smalls, with trumpeter Ryan Kisor, pianist Spike Wilner, bassist Peter Washington and drummer Billy Drummond rounding out his quintet. The performances all allow for extended blowing, yet the band never runs out of steam in the process. Davis opens with the standard “I’ll Close My Eyes” at a loping tempo, alternately playing spacious lines and rapid-fire bop improvisations, followed by Kisor’s expressive yet whimsical solo. Critics keep claiming that “Body and Soul” has been exhausted with its many recorded versions, yet players keep coming back to it in search of new possibilities. This rendition is opened by Wilner’s elegant solo, followed by Kisor and Davis moving in and out of the spotlight as they

reinforce this standard’s lyricism with thoughtful solos, supported by the potent rhythm section. The other tracks are all Davis originals. “Piece of the Apple” is a brisk reworking of the chord changes to “Sweet Georgia Brown”, where the leader’s mastery of bop vocabulary is firmly established. A two-song medley begins with the bittersweet “Pray Thee”, a ballad infused with gospel roots and featuring some of Davis’ most emotional playing of the engagement, segueing into the boisterous soul jazz number “Beyond the Storm”. Closing the album is the jaunty “Journey From the Lighthouse”, highlighted by Wilner’s swinging solo. Intimately recorded with an attentive audience, Live at Smalls is a valuable document.

For more information, visit smallslive.com. This project is at Smalls Sep. 11th-12th. See Calendar.

Ornette Coleman’s “Lonely Woman” and his revolutionary piano-less quartet, certainly informs trumpeter Carol Morgan’s own similarly constructed foursome. The tune, here clocking in at over 10 minutes, features Matt Wilson’s lovely percussive colorations

and bassist Martin Wind’s bowed didgeridoo-like hypnotic undertones. Coupled with the paucity of female trumpeters that makes Morgan’s plaintive discourse on Coleman’s melody all the more believable, it certainly would qualify for title cut status. But Morgan is not one to latch on to the obvious, titling this release Blue Glass Music and tilting it toward intimate bluesy explorations of standards while adding a few wild card originals from saxist Joel Frahm and Wind. The former is integral to this group and although his tenor doesn’t soar and bop like Coleman’s alto, his blues is the perfect counterpoint to Morgan’s soul. In the context of such an inventive rhythm section, the rich tenor/trumpet voicings and delicate instrumental give and take between Morgan and Frahm would actually be less compelling if a piano was in this mix. Two chestnuts, Cole Porter ’s “I Love You” and Vernon Duke’s “April in Paris”, open the session. The former allows Frahm and Morgan to feel each other out while remaining true to the tune’s original tongue-in-cheek intent while the latter leisurely swings in a loose after-hours way. Likewise, “Booker’s Waltz” gently floats through its changes before Frahm’s “Glyph” has the band gelling on a peculiarly devolving little nugget to highlight how well Morgan and Frahm’s voices blend. “Where are You” revisits loneliness but with more astonishment than longing and Wind’s aptly titled session closer “Last Waltz” turns the lights down low but strays much further afield than trumpeter Booker Little’s aforementioned ode to 3/4. A stark unhurried beauty elevates each of these seven cuts and makes Blue Glass Music a stylish portrayal of Morgan’s influences and reach as a leader.

For more information, visit bluebamboomusic.com. Morgan is at Bar Next Door Sep. 11th. See Calendar.

Blue Glass Music

Carol Morgan Quartet (Blue Bamboo Music)by Elliott Simon

Live at Smalls

Jesse Davis (smallsLIVE)by Ken Dryden

30 September 2012 | THE NEW YORK CITY JAZZ RECORD

One of the premier trumpeters in jazz today, 45-year-old Jazz at Lincoln Center stalwart Marcus Printup offers up a mid-career tribute to some of his major influences on his latest SteepleChase release Homage. Most of the usual suspects are covered in this condensed trip through some 80 years of jazz trumpet, from Louis Armstrong and Roy Eldridge, Miles and Dizzy, Clifford Brown and Lee Morgan, Freddie Hubbard and Woody Shaw, right up to Printup’s contemporaries Wynton Marsalis and Roy Hargrove. Printup, with his clear, crisp tone, shines brightest on straightahead burners like Morgan’s “Mr. Kenyatta” and Hubbard’s “Mr. Clean”, which are smack in the center of his postbop comfort zone. He also does a valiant job on the classic “Weather Bird”, aping Armstrong’s historic version with Earl Hines with his own duo with up-and-coming piano star Aaron Diehl. Printup and Diehl team up again for an effectively tender duo reading of Dizzy Gillespie’s romantic standard “Con Alma”. Printup handles more modern material with flair, too, as on Shaw’s ethereal “Theme for Maxine”, where he’s ably abetted by Gregory Tardy’s intense, Coltrane-esque tenor saxophone. The fine quintet is rounded out by bassist Corcoran Holt and drummer Alvin Atkinson. Printup is such an accomplished and versatile player that he’s adept performing tunes from any point in the many decades of jazz dealt with here. But so much ground and so many styles are covered that the album can lose focus and at times feel a bit like a history lesson, even if it’s a hard swinging lesson taught by a master musician.

For more information, visit steeplechase.dk. Printup is at Rose Hall Sep. 13th-15th with Bobby McFerrin and the Jazz at Lincoln Center Orchestra. See Calendar.

Newest entry in Chicago-based cornetist Rob Mazurek’s ongoing Underground ensemble projects, this CD fuses American improv textures with the beats and melodies prevalent in Brazilian music. With both jazz and maracatu based on African roots, the other members of the São Paulo Underground - Mauricio Takara, who plays percussion and miniature Brazilian guitar, drummer Richard Ribeiro and keyboardist Guilherme Granado - find common ground with Mazurek through rock and samba beats plus the spirited use of samples and electronics. The end result is that the tracks on Três Cabeças Loucuras vary from those whose affiliation seems to be with delicate guitar-strummed pop, including mariachi brass-like echoes, to tough, percussion-hammered

near-rock, plus those tunes which could be taken up by the cornetist’s jazzier projects like the Exploding Star Orchestra, Starlicker or the Chicago Underground Duo/Trio with drummer Chad Taylor. “Just Lovin’” and “Six Six Eight” are fascinating representations of the latter, especially since Mazurek Chi-Town associates vibraphonist Jason Adasiewicz, bass guitarist Matthew Lux and drummer John Herndon are on board. Mazurek’s “Six Six Eight”, his most extensive cornet feature, balances on Adasiewicz and Herndon’s shuddering percussion pulse and includes sliding bass guitar runs and discursive time-shedding while the intervallic theme is advanced by flutter-tongued triplets from the brassman. Based on a loop from Granado, “Just Lovin’” is denser, with an avant-rock beat presaging measured vibe echoes and snaking guitar runs. For the jazz samba-familiar, some of the more lyrical tunes with delicate, almost slack-key guitar licks, gentle muted brass lines and rumbling dance-like beats may sound more South American. Don’t forget though that Brazil is home to Ivo Perelman as well as João Gilberto. Dragging percussion friction, off-center bell-ringing and high-pitched guitar licks on Takara’s “Lado Leste” plus the oscillating electronic grinds, overdubbed sound loops, rock-guitar-like distortions and processed cornet smears on “Pigeon” are as much a part of Brazilian music as ever-shifting inventive rhythms. Fusion in its best sense, Três Cabeças Loucuras is open-minded music that melds North and South American impulses without fissure.

For more information, visit cuneiformrecords.com. This project is at University Settlement Sep. 20th as part of FONT. See Calendar.

Sat, Sep 1 KIRK KNUFFKE, MARY HALVORSON, ROB GARCIA - AMERICAN SONGS 9PM & 10:30PM Sun, Sep 2 JANE IRA BLOOM QUARTET/WINGWALKER 8:30PM Dawn Clement, Mark Helias, Bobby Previte Mon, Sep 3 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram Tue, Sep 4 THE WEE TRIO 8:30PM James Westfall, Dan Loomis, Jared Schonig Wed, Sep 5 PILC-MOUTIN-HOENIG 8:30PM Jean-Michel Pilc, Francois Moutin, Ari Hoenig Thu, Sep 6 DIANE MOSER & MARK DRESSER - CD RELEASE: “DUETTO” 8:30PM DIANE MOSER QUINTET “MUSIC FOR THE LAST FLOWER” 10PM Anton Denner, Ben Williams, Mark Dresser, Michael Sarin Fri, Sep 7 JASON RIGBY QUARTET 9PM & 10:30PM Russ Lossing, Kermit Driscoll, Rudy Royston Sat, Sep 8 TONY MALABY PALOMA TRIO 9PM & 10:30PM Ben Monder, Nasheet Waits Sun, Sep 9 GLOBAL LIVING ROOM: SKYE STEELE’S RAILROAD RODIA 8:30PM Aram Bajakian, Josh Myers, John Hadfield; Jean Rohe, host Tue, Sep 11 VOXIFY: ROZ CORRAL 8:30PM Alan Broadbent, Boris Kozlov; Nicky Schrire, host VOXIFY: JUDI SILVANO 10PM Fred Jacobs, Frank Kimbrough, Ben Allison Wed, Sep 12 INNER CIRCLE MUSIC FESTIVAL: ANDRÉ MATOS QUARTET 8:30PM Jacob Sacks, Eivind Opsvik, Billy Mintz TAMMY SCHEFFER BAND 10PM Andrew Urbina, Dan Pratt, Chris Ziemba, Daniel Foose, Ronen Itzik Thu, Sep 13 INNER CIRCLE MUSIC FESTIVAL: SARA SERPA QUINTET 8:30PM André Matos, Kris Davis, Aryeh Kobrinsky, Tommy Crane JASON YEAGER TRIO 10PM Danny Weller, Michael Gleichman Fri, Sep 14 INNER CIRCLE MUSIC FESTIVAL: PETROS KLAMPANIS TRIO 9PM Lefteris Kordis, Ziv Ravitz GREG OSBY 6 10:30PM Sara Serpa, André Matos, Jaeung Bae, Joe Lepore, John Davis Sat, Sep 15 ELLERY ESKELIN QUARTET 9PM & 10:30PM Marc Copland, Drew Gress, Gerald Cleaver Sun, Sep 16 NEW BRAZILIAN PERSPECTIVES: ROGERIO SOUZA 8:30PM Billy Newman, Leonardo Lucini, Ranjan Ramchandani, Dennis Lichtman; Billy Newman, host Mon, Sep 17 CARL MAGUIRE - CD RELEASE: FAR FROM ALMOST ALWAYS 8:30PM Oscar Noriega, Stephanie Griffin, John Hebert, Dan Weiss Tue, Sep 18 HARRIS EISENSTADT AND SEPTEMBER TRIO 8:30PM Angelica Sanchez, Ellery Eskelin Wed, Sep 19 JIM BLACK TRIO 8:30PM Teddy Klausner, Thomas Morgan Thu, Sep 20 JULIAN SHORE 8:30PM Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, Alexa Barchini, Phil Donkin, Tommy Crane Fri, Sep 21 BEN WALTZER TRIO 9PM & 10:30PM Dwayne Burno, Gerald Cleaver Sat, Sep 22 NASHEET WAITS’ EQUALITY BAND 9PM & 10:30PM Logan Richardson, Craig Taborn, Mark Helias Tue, Sep 25 CONTINUOUS BREAK - THE LEIF ARNTZEN BAND 8:30PM Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis Wed, Sep 26 BILLY DRUMMOND’S FREEDOM OF IDEAS 8:30PM Dezron Douglas, Don Vega Thu, Sep 27 TOM CHANG QUARTET 8:30PM Jason Rigby, Sam Trapchak, Jeff Davis Fri, Sep 28 MARC MOMMAAS - LANDMARC: THE GUITAR PROJECT 9PM & 10:30PM Nate Radley, Vic Juris, Tony Moreno Sat, Sep 29 MARIO PAVONE 9PM Mike Dirubbo, Pete Robbins MARIO PAVONE’S QUARTET AXIS 10:30PM Michael Musillami, Craig Hartley, Tyshawn Sorey Sun, Sep 30 ERI YAMAMOTO/YVES LÉVEILLÉ QUARTET 8:30PM Yves Léveillé, David Ambrosio, Ikuo Takeuchi

Homage

Marcus Printup (SteepleChase)by Joel Roberts

Três Cabeças Loucuras

São Paulo Underground (Cuneiform)by Ken Waxman

THE NEW YORK CITY JAZZ RECORD | September 2012 31

Having recently turned 90, Belgian harmonica player and guitarist Toots Thielemans has been recording for over six decades and is one the few musicians whose playing has spanned the history of modern jazz up to the present day. This two-disc, 38-track set offers a selection of chronological tracks that are mostly rare or even unavailable on CD, providing a deep and insightful look at Thielemans’ incredible career, as well as his diverse cast of collaborators. The first tracks date back to the artist’s earliest records in the mid-to-late ‘40s and reveal his initial encounters with bop and the vital influence of Charlie Parker. From there, we can track the development of his playing as he moves to the US in 1951 and eventually performs with the George Shearing Quintet, a 1953 engagement from which two tracks are featured: “Love is Just Around The Corner” and an interesting take on Ellington’s “Caravan”. An early highlight is Thielemans’ 1958 recording of his own “Cool and Easy” over a heavily swinging rhythm section of Hank Jones, Doug Watkins and Art Taylor. Another star-studded track is his 1964 version of “Lullaby of Jazzland” with JJ Johnson, McCoy Tyner, Richard Davis and Elvin Jones. One can truly hear Thielemans’ vocabulary as a soloist grow and mature in this period. “Soul Bird”, a 1965 recording with an ensemble that includes Clark Terry and Grady Tate, also nicely spotlights Thielemans’ foray into Latin jazz. The second disc takes the listener into the ‘70s, during which time Thielemans took part on some interesting collaborations with Quincy Jones. Featured here is Jones’ tight and punchy arrangement of “Chump Change” as well as “Love Theme from ‘The Getaway’”. Following soon after that is a rare gem from a live recording in the Netherlands, as Thielemans plays his solo guitar version of Ellington’s classic “Black Beauty”. An even rarer cut will be “Fritiof Anderssons Paradmarsch”, recorded in 1978 in Stockholm with local Swedish musicians and never previously released outside of that country. This track, among several others in collection, also features Thielemans’ iconic whistling over his own guitar solo. After that point in the collection, passionate

ballads in smaller groups begin to replace the hard-driving, larger ensemble work that dominates those middle years. Two of the set’s most beautifully performed selections are ‘80s duets - first “Bye Bye Blackbird” with pianist Louis van Dijk in 1982 and then an extraordinarily lyrical and sensitive take on “Spartacus Love Theme” with bassist Marc Johnson. The final track, then, provides a fittingly emotional finish, as Thielemans figures in yet another duet - this time playing “What a Wonderful World” alongside the piano and synthesizer of Kenny Werner. By the end, one hears a very different Thielemans but the unexpected and well-ordered selections provide the listener with the perfect context to understand better the development of this truly unique musician. A detailed, explanatory liner essay and biography written by Jeroen de Volk also adds a nice touch to the collection.

For more information, visit naxos.com. Thielemans is at Rose Hall Sep. 28th-29th. See Calendar.

The Aych of this unusual trio’s name presumably connotes an “H” and stands for the common initial of the three members, Jim Hobbs, Mary Halvorson and Taylor Ho Bynum, but perhaps primarily for Hobbs, the underrated Boston saxophonist who convened this assemblage. Hobbs is the leader of the fine Fully Celebrated Orchestra, which counted Ho Bynum as a member and has worked with Fred Hopkins, Joe Morris and Matthew Shipp, to name a few. Here he is found in the curious position of what seems to be leader of a collective group. 5 of the 12 tracks are his compositions with the rest group improvisations. Hobbs here is, in a sense, first among equals. Hobbs is an impressive composer and arranger for larger groups (his Hobbettes, ranging from quintet to septet, is his smallest working unit) so As the Crow Flies is an uncommon opportunity to hear his horn up close. Not that it’s a standard sax trio. With Halvorson on guitar and Ho Bynum on cornet, there’s no traditional rhythm section. It’s a bit of everyone for themselves, except of course they are in it together. Halvorson and Hobbs also play together in Ho Bynum’s Sextet and Halvorson and Ho Bynum are half of the 13th Assembly, so the three are well conversant already. That’s the who and the what of Aych. The three other Ws fall in close proximity. The where is at Hummelvision Studio in Jamaica Plain, MA and the when is Dec. 27th, 2010. But what matters is the why. Against the sea of small label releases of open-form jazz, including plentiful issues by the three members, why does As the Crow Flies matter? The answer to that lies back in Jamaica Plain and with engineer Joe Stewart, who gave this recording a remarkable purity. The recording is distinct, direct, almost stark, the instruments austere against a backdrop of nothing. But it falls shy of being harsh. Instead it’s a remarkably honest recording, lacking in undue reverb and compression. Ultimately what stands out about this record is the unadulterated and superb musicianship.

For more information, visit relativepitchrecords.com. This trio is at The Jazz Gallery Sep. 15th as part of Bynum’s sextet as part of FONT. See Calendar.

As the Crow Flies

Aych (Relative Pitch)by Kurt Gottschalk

Yesterday and Today

Toots Thielemans (Out of the Blue)by Sam Spokony

32 September 2012 | THE NEW YORK CITY JAZZ RECORD

While there’s nothing extraordinary about Art Bailey’s new album Quiet As A Bone, it’s clear that the pianist (known for leading and also playing accordion for the experimental Jewish music ensemble Orkestra Popilar) and his bandmates, bassist Michael Bates and drummer Owen Howard, comprise a trio with considerable talent. Bates’ querulous arco and bas-relief plucking lie at the center of the evocative “Octopants”, which has fine interplay among the members. The straightahead “The Bread of Affliction” is a solid midtempo tune while Bailey’s deft piano weaving drives the uptempo “Malocclusion”. Bates’ plucked solo on the driving yet cool “Rebus” is also excellent, with Bailey adding bold rhythmic harmonic runs and trills to his solo and Howard laying down an intense drum groove. “O My Swineherd” is a thoughtful, carefully modulated tune and Bailey’s tender, reflective playing on the ballad “Regime Change” unfolds beautifully. The deft and clever “I See Your Little Head” is nicely rendered by the trio. “Coupes Are For Chickens” is another spirited straightahead bopper and the group stretches out nicely on “Ribofree”, with Bailey playing a measured

piano above the constantly shifting tempos of his rhythm section. Closing track “Ribofour” is probably the most realized song on the album; it almost sounds like this whole album is a warmup for this one song, one where the group is wholly committed to any kind of true musical ideal. With Bailey’s piano string-strumming, well-spaced trilling and internal dialogue, Howard’s cymbal play and more fine bass work from Bates, this is an inspiring finale to the album. There are no grand revelations on Quiet As A Bone, but there is a lot of really good jazz definitely worth a listen.

For more information, visit hrlrecords.com. This trio is at I-Beam Sep. 22nd. See Calendar.

There’s only one chance for a first impression, or so the adage goes. And Eyal Vilner’s big band debut takes an oddly discreet approach to the first impression. But on this album is the sound of a band so well versed that flashy allure emerges unnecessary; Vilner and his 14 musicians are thoroughly comfortable in their own

skin, tackling ten tracks with ease and finesse. Vilner’s arrangement of Bud Powell’s “Un Poco Loco” illustrates his rare counterbalance of boldness and tact. A dramatic brass sequence opens the piece, yielding to more nuanced mingling. Brandon Lee’s trumpet rises from the midst, zesting the air with his pungent spice. Tinged with an exploratory avant garde vibe, alto saxist Andrew Gould’s solos offer an angular contrast. The brass section reconvenes for a grand finale, clinching the piece with a thunderbolt of energy. Singer Yaala Ballin’s balmy vocals set a different scene on Irving Berlin’s “Remember”, hearkening back to the ‘cocktail party’ big band sound. Though Ballin’s appearance spans no more than a few lines, trombonist Kevin Cerovich carries her influence in every smooth, swinging note then passes on the lively spirit to alto saxist Pablo Castano, whose masterful delivery is both easygoing and emotional. Vilner’s tunes showcase the band’s sophisticated range, each revealing a new facet of their sound and inspiration. The ears can’t help but get lost in “Your Eyes”, a charming number led by Vilner’s slightly breathy clarinet. Bassist Alexi David and drummer Yonatan Rosen craft a crisp bounce that propels the piece through its rosy terrain. “New One” projects this quality through a brazen, brass-dominated lens. The subtler touches give the piece its flair, however, notably Rosen’s athletic cymbal- and drum-rolls. The album’s outlier initially appears to be the final track “Epilogue” - a procession of mournful horns and a lone clarinet. But before the air gets too heavy, the band gets into the swinging spirit once again, uniting their innate poise with the art of surprise.

For more information, visit gutstringrecords.com. This group is at The Garage Sep. 11th. See Calendar.

Introducing

Eyal Vilner Big Band (Gut String)by Sharon Mizrahi

Quiet As A Bone Art Bailey (HRL)

by Terrell Holmes

THE NEW YORK CITY JAZZ RECORD | September 2012 33

The piano-guitar duo format is versatile, two instruments equally assured at melody, rhythm and chordal harmony engaging in an intimate musical colloquy. Pianist Lenore Raphael, whose sobriquet is “Swingin’ Fox”, a name she more than lives up to, is joined here by the expansive guitarist Howard Alden. Although best known for his neo-swing associations, Alden is also well versed in bop, AfroLatin and postbop styles. Pianist and guitarist mesh well here, creating skeins of intertwining lines that never tangle or knot and swinging with a contagious brio. The program consists of six familiar standards and two Raphael originals, but the execution proves that even when you think you’ve heard it all with a standard, accomplished jazz musicians like these can reinvigorate it. Such is the case with opener “Wouldn’t It Be Loverly” from My Fair Lady. Raphael semi-abstractedly bounces into it with an intro right out of the Erroll Garner playbook, hide-and-seek playful, before laying down the theme with thick chords, backed by Alden’s strummed rhythm. Raphael introduces most of the tracks a cappella, employing rubato flourishes that glance at the melodies before

she’s joined by Alden at mostly swinging clips. “Alone Together” becomes suite-like, beginning with lush, swirling piano, then kicking into a faster tempo as Alden sidles into his solo in expounding variations of the melody, followed by a sleek, arpeggiated solo by Raphael. Then, instead of the expected - many of the tracks have them - four-bar trades, the two interlock in a fugue variation before taking the theme out in swinging, interactive bursts. Raphael has an admirable command of piano history, channeling Ellington’s distinctive chords on “Do Nothing Till You Hear From Me” and referencing Ray Charles, as well as Garner, on “Georgia On My Mind”. Alden enlivens the proceedings with a variety of approaches, from legato echoing tones to sharp, staccato bop cascades.

For more information, visit swinginfox.com. This duo is at NY Society for Ethical Culture Sep. 28th. See Calendar.

Trumpeter Wallace Roney offers an album of pulsating solo work and diverse moods with help from his younger saxophone-playing brother Antoine. Along with bassist Rashaan Carter, four drummers and three

keyboardists round out the rhythm section, trading spots over the course of eight tracks. Each has their own feel with a Fender Rhodes and an organ setting the mood amid straightahead piano sounds but the transition between tracks is fairly smooth. The album opens with Wayne Shorter’s “Utopia”. Although never recorded by him, it has the unmistakable horn harmonies of mid ‘60s Blue Note, with the Roney brothers staying in tight formation over the head before they both offer up twisting solos over drummer Kush Abadey’s slinky cymbal. The band plugs in for “Pacific Express” with Aruan Ortiz sneaking through the rhythm section with a clavinet-like keyboard sound. The album makes a stylistic leap forward with “Plaza Real”, giving George Burton a track over which to float his oscillating keyboards. Antoine dominates the melody before Wallace steps in with a rapid-fire solo on the 10-minute track, Antoine following quickly behind. Drummer Darryl Green provides much of the momentum. Organist Doug Carn joins the band for “Dawn”, implying a soul-jazz feel until the band gets going with Wallace’s sputtering trumpet over Carn’s clustered comping. “Evolution of the Blues” opens with a triumphant Charlie Parker reference before Wallace tears into the form with help from Abadey. Antoine muscles up on tenor to deliver a breathless honk. “Ghost of Yesterday” features Wallace in muted retrospection. Veteran Boston drummer Bobby Ward’s brushes flutter behind Ortiz’ spacious piano creating a soft palette over which the brothers stretch out. The album closes with a solo drum performance by Ward whose snare trembles over three rollicking minutes.

For more information, visit jazzdepot.com. Roney is at Smoke Sep. 21st-22nd. See Calendar.

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Loverly

Lenore Raphael/Howard Alden (Swingin’ Fox Music)by George Kanzler

Home

Wallace Roney (HighNote)by Sean O’Connell

34 September 2012 | THE NEW YORK CITY JAZZ RECORD

In a career that spanned the ‘50s into the mid ‘80s, Pepper Adams was one of the most in-demand baritone saxophonists, taking part in many memorable dates as a sideman, along with leading 20 albums of his own. Less attention has been paid to his compositions, which are the focus of Joy Road: The Complete Works of Pepper Adams, a five-volume set available as a digital download, though this fifth volume, featuring vocalist Alexis Cole, is available as a physical CD. This project was launched by Adams’ biographer and discographer Gary Carner. He honored Adams’ desire to have lyrics written to his songs by recruiting poet Barry Wallenstein, who does a remarkable job, particularly since it was his first time writing lyrics for jazz tunes. The producer also assembled a fine band of pianist Jeremy Kahn, tenor saxophonists Pat LaBarbera and Eric Alexander, bassist Dennis Carroll and drummer George Fludas. The seven ballads were all recorded in the previous volumes, but for the vocal interpretations, Carney asked Kahn to mix things up, making specific stylistic suggestions. “In Love With Night” proves to be an auspicious opener with Cole’s sublime vocal, Kahn’s sensitive accompaniment and the conversational tenor backing them (though it is unknown which saxophonist solos). “Now in Our Lives” begins as a slow ballad, but soon switches to a peppy postbop setting, with one tenor occasionally sounding like Adams’ gruff baritone. Cole’s spacious vocal in “Urban Dreams” is another session highlight. “Julian” is an infectious groover with Cole making a late entrance, first scatting in unison with the tenor, then digging into the lyric of this neglected tribute to Cannonball Adderley. Only one performance disappoints, the midtempo funk treatment of “I Carry Your Heart”, far better with Adams’ lush melody as the centerpiece instead of the quickly tiresome funk rhythm. Fortunately, the song is reprised as a duo ballad with Cole and Kahn to close.

For more information, visit motema.com. This project is at Smoke Sep. 26th. See Calendar.

The majority of people who know of keyboardist Don Preston only recall his tenure with Frank Zappa and Mothers of Invention and later involvement in Zappa tribute bands. But Los Angeles-based Preston, who turns 80 this month, has had a more varied career. As bassist, pianist and pioneering synthesizer player he gigged with people like trumpeter Don Ellis and clarinetist John Carter, consorted with rockers and also is featured on CDs with trumpeter Michael Mantler and pianist Carla Bley.

Percussionist/composer Andrea Centazzo, 15 years Preston’s junior, is a perfect partner. Centazzo has had a similarly fractured career, playing with saxophonist Steve Lacy, large orchestras and gamelan ensembles plus creating soundtracks and multi-media projects. Using electronic interface and sampling along with conventional instruments here, the two conjure up textures that suggest staccato cello and violin sweeps, positioned marimba pings, conga patting and bell-tree shakes. At the same time these acoustic approximations burble along beside or are involved with interaction from signal-processed whooshes, buzzing waveforms and loops. Tracks like “Escape #6” and “Escape #7” pinpoint the duo’s contrasting jazz-like or electronic-focused approaches. The exposition of “Escape #6” features Preston’s walking bass and Centazzo time-keeping on percussion. But the overdubbed cymbals and tam-tams confirm they’re not in the ‘50s. With thick voicing, Preston’s pressurized keyboard glissandi drag the tune into the 21st Century, as the drummer’s snaps, rattle and drags subtly accompany him. While rhythmically paced drumbeats underlie the head of “Escape #7”, the remainder of the narrative is defined by dial-twisting oscillations and watery synthesizer sputters. Yet other surprises are on tap at the finale. As Centazzo balances a resonating vibe-like tone produced by his MIDI-controlled malletKAT, Preston as pianist creates a skeletal note cluster that could fit seamlessly into any microtonal performance. Considering the talent displayed on this 2010-recorded concert, you wonder about the title. Surely high-quality improvisations like these shouldn’t be escaping from this year but celebrated with pride.

For more information, visit andreacentazzo.com

I Carry Your Heart

Alexis Cole (Motéma Music)by Ken Dryden

Escape from 2012

Don Preston/Andrea Centazzo (Ictus)by Ken Waxman

To sign the petition and learn more, visit:

JusticeforJazzArtists.org

New York City’s most famous jazz clubs profit from musicians every night—but they refuse to contribute a few dollars toward pensions that would allow older jazz musicians to retire with dignity.

Tell The Blue Note, Birdland, The Iridium, The Jazz Standard, The Village Vanguard and Dizzy’s Club Coca-Cola that hardworking jazz musicians deserve better.

Older jazz musicians are living in poverty while jazz club owners are getting rich.

NYCJazzRecord-J4JA-print-cej.indd 1 3/9/12 10:34 AM

36 September 2012 | THE NEW YORK CITY JAZZ RECORD

Shelley Hirsch is among the most honest of improvisers, direct and deeply in the moment. Where other performers are said to “work the room”, Hirsch works it like a fistful of modeling clay, using the décor, the temperature, maybe a hat someone in the audience is wearing or a song playing on a radio on the street as inspiration for her vocalizing. When she turns that candor and intimacy to composed works, the results can be revelatory in the strictest sense of the word. Her talent doesn’t stop at her singing. Hirsch is at heart a storyteller with a particular flair for bringing personal memories to the fore. She infuses her reflections with a sentimentality that invites rather than alienates and her talents as a vocalist allow her to fill simultaneously the roles of narrator and cast of characters. It’s a lot to balance, a sort of fictive schizophrenia and her musical associates have generally met that with an equally mad soundtrack. The Swiss composer Simon Ho has taken a very different approach to collaborating with Hirsch and in so doing has cast her in a theatrically austere light. Employing an ensemble of 17 musicians (heavy on the strings and percussion with the composer on piano, accordion, organ and electric keyboards and including drummer Tony Buck, violist Stephanie Griffith, tuba/bassist Dave Hofstra and cellist Tomas Ulrich), Ho has crafted an effective and sometimes quite beautiful soundtrack for Hirsch’s multi-tracked tales. Travel features prominently in the 16 storysongs as do lost loves and past acquaintances, aging parents and online dating. Some pieces fall into song form while others contain what seem to be full chapters of text. And at about the two-thirds mark, the repeated phrase “take down the wall” becomes an unexplained yet urgent call, an emotive pivot in Hirsch’s mysterious memoir.

For more information, visit tzadik.com. Hirsch is at Roulette Sep. 29th. See Calendar.

In art, abstraction is eyed suspiciously, cautiously tolerated and frequently frowned upon, like the shady relative who shows up uninvited at family holiday gatherings. Solo saxophonists are among the boldest abstractionists, baring their souls through a visceral rhapsodizing that to cynics is just (to quote The Talented Mr. Ripley) insolent noise. Two albums stare down those cynics and literally blow their notions away. David S. Ware is a saxophone conquistador whose creative genius is evident on Organica, a live album recorded in Brooklyn and Chicago, masterfully blending linear musical constructs with freer elements.

Ware plays sopranino on “Minus Gravity 1”, working off of what might be described as a blues-based raga, growling, moaning and shrieking with circular breathing to sustain the intensity. “Minus Gravity 2”, the Chicago version, was equally passionate and inventive. In both instances the flow of ideas is rapid and dynamic, supplemented with occasional lightness and humor. Ware’s tenor is ferocious on both versions of the title track. From cyclonic stridency to the soft, sweet blues, Ware pushes himself to the limit and the result is neither forced nor pretentious. His outstanding improvisational skills are transcendent in the way he swiftly builds and transforms the music. What’s important, however, is that the songs are anchored by a harmonic and melodic coherence and sophistication that goes beyond simple self-indulgent blowing. Neil Welch is a lively impressionist whose album Iron Creek is equally striking. Welch doesn’t just play the sax, he creates images. “Figure of Eight” begins with a tremulous whisper and ends with a raucous, triumphant growl. In between, the arresting aural effects within the tenor harmonies evoke a solitary voice in the distance, a ship’s horn blowing far away, the spinning beacon of a lighthouse. The gate in the wind sound of Welch’s soprano on “Hollow Braid” turns out to be a door opening onto the rudiments of the creative process: Welch modulating his breathing to create the various effects on the soprano; the urgent percussion of his fingers hitting the keys and the vibrations in the horn as he wails like an air-raid siren. The subtle melodies that emerge give the song a deeper meaning and power and underscore Welch’s overall technical excellence and creativity.

For more information, visit aumfidelity.com and tableandchairsmusic.com

Where Were You Then?

Shelley Hirsch/Simon Ho (Tzadik)by Kurt Gottschalk

OrganicaDavid S. Ware (AUM Fidelity)

Iron Creek Neil Welch

(Table & Chairs Music)by Terrell Holmes

Judi Silvano Trio“Word Games”Ratzo B. Harris, bass

Newman Taylor-Baker, drums/percussion

September 28, 2012The Stone, 8 pm

Premiers of new material withWord and Sound Improvisations

About Life and Love!

“Like tenor saxophonist John Coltrane’s tone, Silvano’s voice is

commanding and sublime. It is one that cannot be ignored.”

– C. Michael Bailey, AllAboutJazz.com

celebrates 20 years of recording with her 10th CD

Indigo Moods.

Available now at www.jazzedmedia.com &

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judisilvano.com

Though Greg Diamond’s new release Conduit falls under the Latin jazz genre, the distinction is more categorical than descriptive. The guitarist’s style is a smorgasbord of approaches both compositional and aural, each as rejuvenating as the last. Diamond collaborates with six musicians on the album, but each track exudes the intuitive musical chemistry of a trio or quartet. The introspective piece “Inertia” illustrates the band’s powerful harmony. A somber mood permeates the melody, first led by pianist Mike Eckroth and tenor saxist Seamus Blake. The latter ’s brassy cries are slightly acidic, providing a bright complement to Diamond’s mellower notes. And at a moment’s notice, Eckroth restarts the tune with a rock-inspired flair, set aflame by Diamond’s blaring riffs. Percussionists Henry Cole and Mauricio Herrera add an organic element to the mix, toning down the fire without fizzling it out. At a Joe’s Pub release concert last month, the vibe turned even more immersive, especially in “El Martillo”, Spanish for “the hammer”. The fast-paced tune channeled effortless fluidity amid impressive musical gymnastics, notably Diamond’s lightning duo

with tenor saxist Stacy Dillard (appearing in Blake’s place). The two invigorated the space with their sinus-clearing energy, leading into Edward Perez’ surprisingly fierce bass solo. Eckroth shines in the denser album version, where his chords agitate the melody to gripping effect. The band takes a few moments to meditate in “El Pozo” (or “the well”). Diamond particularly sparks an acoustic sensibility, stirring up a deep contrast to his powerhouse approach. He unites with Eckroth, Cole and Perez to craft a sublime aura that cleanses and stimulates the musical palate. Once “Turbulence” charges through, however, the band’s vivacity returns. Diamond streaks the air with bolts of guitar while Cole and Herrera shake up a percussive dust storm, intensified by Brian Hogans’ alto sax slurs, until the tempest settles several minutes later.

For more information, visit dottimerecords.com

Chris and Dan Brubeck have long made a powerful rhythm section, though their recordings as The Brubeck Brothers Quartet have been among their best work.

With honorary brothers guitarist Mike DeMicco and pianist Chuck Lamb, the Brubecks have achieved a tightly-knit group sound over their nine years together. It’s not surprising that much of the repertoire has come from their famous father’s band, as Chris and Dan both toured and recorded with him for significant stretches, in addition to being on call to fill as subs after going out on their own. The Dave Brubeck repertoire begins with his constantly shifting “The Duke”, which Lamb reshaped by adding a tense vamp and alternating between laid-back and uptempo sections. The quartet arranged the remaining tracks. “Jazzanians” is the first of several tunes to feature Chris overdubbed on bass trombone, though the solo spotlight is stolen by Lamb and Dan. The graceful rendition of “Kathy’s Waltz” (a salute to their sister) has a lighthearted touch with swinging solos by Lamb and DeMicco. Chris’ heartfelt bass trombone is back as the lead voice in the bittersweet ballad “My One Bad Habit”. The extended workout of Paul Desmond’s “Take Five” is highlighted by Dan’s skilled polyrhythmic solo, which he has perfected by playing this jazz standard for over four decades. The band also contributed originals to the date. DeMicco’s “Prezcence” is a cooking workout based upon the familiar “I Got Rhythm” chord changes, showcasing his superb bop chops, followed by Lamb, though Chris (on bass trombone) threatens to steal the composer’s thunder with his boisterous solo. Lamb’s two originals include the constantly shifting “Go Round”, a new piece debuted in the studio during the sessions, and the lively Latin-infused “The Girl From Massapequa”.

For more information, visit brubeckmusic.com. This project is at Iridium Sep. 30th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 37

LifeTimes

Brubeck Brothers Quartet (Blue Forest)by Ken Dryden

Conduit

Greg Diamond (Dot Time)by Sharon Mizrahi

Saxophonist Lol Coxhill - who died in July at the age of 79 after a period of illness - left behind a fascinatingly diverse discography, to be amended as more recordings surface. On the one hand, he was an immediately recognizable player, so dedicated to his horn of choice that he was often referred to as simply “the bald soprano” (following a 1989 cassette release, The Bald Soprano Companion). On the other, the groupings he entered into were wildly diverse enough nearly to defy comprehension. A free improviser at heart, he still toured with punk band The Damned, released a 10” record of TV theme show songs with a trio known as The Melody Four and worked with Jimi Hendrix, the Balanescu String Quartet and AMM. Coxhill was a part of the generation dealing with (and not trying to get over) Britain’s dance hall tradition, that quasi-Vaudevillian entertainment which, for example, allowed the Beatles to look back and come up with “Your Mother Should Know”. He was also of that country’s first generation of free improvisers. Between those two signposts, it seemed, anything was possible. He was a squawker and a crooner both and those tendencies are displayed quite nicely on the recently reissued Instant Replay from 1982. It’s a brilliant record born of a sequence of failures. The collection includes selections from a set of compositions Coxhill wrote for the French Bagad bro Kemperle orchestra (most of which they refused to play). There are tracks with another orchestra (La Chantenaysienne), which feature Coxhill improvising over them as he was inaudible in the original recordings. Those wonderful inventions aside, most of the album is duos and trios with a variety of other improvisers, including Louis Sclavis, Tony Coe, Joëlle Léandre and Raymond Boni. These become source material for another aspect of Coxhill’s inventive genius. The album is essentially four suites built from disparate sources and Coxhill’s editing and sequencing are wonderful. A typically scraggly duet with trombonist Paul Rutherford melds into an artsy exploration with percussionist Sven-Åke Johansson and vocalist Annick Nozati, which finds its way into a quick and charming vocal duet on “Embraceable You”. A tuneful improv with Misha Mengelberg resolves with a meandering “Caravan” and shapeshifts via sax solo into an organ trio. It’s uncommon to get to hear Coxhill from so many angles on one record, making this just a terrific title in the Coxhill canon. The Rock on the Hill is a very different affair, a straightforward free improv set recorded live in Paris in 2010. Bassist Barre Phillips is the guiding force here, at once serene and intensely focused. His spirit makes for an unusual (and beautiful) setting for the bald soprano. While generally a boisterous player, here Coxhill pulls back on the tempo while matching Phillips in the focus. The trio is rounded out by Minneapolis drummer JT Bates, who is versed in classical and country, giving him plenty to pull from for their quiet intricacies. If it even makes sense to call a Coxhill context surprising, his spot as one of two guest soloists with

the Glasgow Improvisers Orchestra (GIO) is another unexpected turn. Guitarist George Burt composed the large-scale structured improvisation “Improcherto (for HB)” in memory of trumpeter Harry Beckett, who died in 2010 at the age of 75, and recorded it the following year with the 18-strong GIO the following year at the Gateshead International Jazz Festival, adding to the lineup Coxhill and Evan Parker. That 40-minute piece takes up the whole of GN82 and it’s a wonderfully expansive chunk of music. The playing is deliberate and conscientious enough that it truly merits the term “orchestra” - to some ears it might even come off as an electronic soundbed for saxophones. True to the spirit of cheeky UK eccentricity, the piece was scored on sticky notes handed out to the ensemble immediately before the performance and was led by a rotation of conductors. And also true to that Brit spirit, the ends succeed despite the means. It’s a fine tribute to Beckett and the London community he fell into and as it happens an inadvertent tribute to Coxhill as well.

For more information, visit natomusic.fr and iorram.blogspot.com

More so than most brass instruments, the trombone has the structure to be used as a solo instrument, yet, as these choice examples of contemporary European solo trombone discs make obvious, careful planning as well as limitless chops is needed to make things work. Paul Hubweber decided to balance his improvisations on Loverman with some of Charlie Parker’s more familiar lines. Not only does he play six Bird tunes, but some of the other solos are actually contrafacts of contrafacts. For instance when he creates his version of “A Leu Cha”, he’s playing a piece which Bird manufactured from “Honeysuckle Rose” with a bridge based on the chord changes of “I Got Rhythm”. Contrast that with his reading of “Lover Man”, in which his rugged pitch-sliding and gargling cries make the piece even more dyspeptic and agitated. Furthermore, among dark guffaws, split tones and staccato runs, suggestions of contrafacts from pop tunes such as “The Girl from Ipanema” or “Love Me or Leave Me” sneak into his own compositions. Henrik Munkeby Nørstebø on the other hand creates 10 solo tracks which are microtonal and abstract. However, among the blustery guffaws and agitated glissandi, some surprisingly expressive timbres can be heard. For instance “s3” may have a finale based on doubling the brass tone with throat-murmured growls, but the exposition is dedicated to fully formed vibrations resulting from a blustery chromatic tone and tongue stops. Utilizing extended brass techniques ranging from wide-bore blowing to expansive throat tightening, Nørstebø produces any manner of textures from his horn. Christof Thewes takes a middle course on Trombonealone. His Ornette Coleman-mashup of “Free/Beauty is a Rare Thing/Ramblin’” is more dissonant than Hubweber’s tune strategy. Although the often-sprightly themes peak through, Thewes is more concerned with theme variations. Smooth, chromatic

glissandi are quickly replaced by disjointed deconstructions, spiced with verbal mumbles and shouts and studded with fuzzy triplets, gruff tonalities and even a bugle-like tattoo. Other times his capillary strategies include plunger cries and mouthpiece bubbling, bagpipe-like quivering and fortissimo plunger evacuations. Using his voice to create multiphonics, there are other instances when he executes speedy runs with the facility of a cornet player. Thewes simultaneously salutes and extends the jazz tradition on the disc without making it obvious.

For more information, visit cadencejazzrecords.com, creativesourcesrec.com and jazzhausmusik.de

Loverman Paul Hubweber (Cadence Jazz) Solo Henrik Munkeby Nørstebø (Creative Sources)Trombonealone Christof Thewes (JazzHaus Musik)

by Ken Waxman

Instant Replay Lol Coxhill (Nato)The Rock on the Hill

Lol Coxhill/Barre Phillips/JT Bates (Nato) GN82 (with Lol Coxhill & Evan Parker)

Glasgow Improvisers Orchestra (Iorram)by Kurt Gottschalk

38 September 2012 | THE NEW YORK CITY JAZZ RECORD

Coming on the heels of Thelonious Monk: The Life and Times of an American Original, Peter Pullman’s Wail: The Life of Bud Powell is a most valuable addition to jazz bibliography, an unsentimental examination of the 41-year existence of the other most important and enigmatic pianist in modern jazz. Also the result of over a decade of research, based upon “the public record and press on Powell… eyewitness accounts of his live performances and on personal opinions of his private life - in addition to subjective assessments of his studio recordings”, Pullman’s work is, in his words, “a political book”, one that “looks to explain how one of the most exciting art forms coexisted…with the harsh realities that its performers had to endure.” The life story of the person Elvin Jones called “the most mistreated man I ever knew”, this is for the most part not a happy tale. Pullman does a good job of recounting his subject’s earliest joy-filled days as a child prodigy pianist, first taught the stride idiom by his father, further soaking up the living history of his instrument looking over the shoulders of masters Willie “The Lion” Smith and James P. Johnson. He then took the music to another level in uptown after-hours clubs before becoming the acknowledged master of bebop piano, playing on 52nd Street and in Birdland, where he performed as a leader for the better (and worse) part of his career. Pullman examines the circumstances of Powell’s mental deterioration, his lifelong struggle with alcohol (and heroin), which resulted in the institutional abuse (including electroshock therapy) that only further exacerbated his fragile psyche. Pullman’s discovery of heretofore unseen medical and court records is most telling in just how terribly Powell was treated, not just by the establishment, but also by those purportedly trying to help him. Yet it is the ample quoting of those who knew Powell the best, in both his up and down days, first in New York, then Paris and Scandinavia and finally New York again, that brings him to vivid life (even if it is most often a predominantly depressing one) and sets this legend’s story, so full of myths, straight.

For more information, visit BudPowellBio.com. A Powell tribute is at Birdland Sep. 25th-29th. See Calendar.

Wail: The Life of Bud Powell Peter Pullman (Bebop Lives)

by Russ Musto

I N P R I N T

THE NEW YORK CITY JAZZ RECORD | September 2012 39

In the vast jazz animal kingdom, few instruments have as big a personality as the ever-temperamental organ. It has the power to transform trios and quartets into “organ bands” and concert halls into portals of funky soul. But it’s the organ’s transcendent, otherworldly musical presence that emerges most captivating of all. Jared Gold’s Golden Child illustrates this charm through a tangy mix of reinvented standards and creative originals. As soon as Gold belts out the opening notes to “A Change Is Gonna Come”, the air comes alive with groovy zest. Though the organist assumes a laidback vibe, his approach is laced with plenty of attitude in the Sam Cooke piece, growing ever more intricate and bold. Guitarist Ed Cherry’s coolly electric chords introduce some complex dynamics to the mix, acting as both a mellow foil and a fierce contender to the organ. And while Quincy Davis knocks out several sharp cymbal accents, Gold brings the tune to newfound acerbic heights. Gold takes a narrative approach on the Johnny Nash piece “I Can See Clearly Now”. The tune’s classic refrain resonates through the Hammond B-3, twisted with a magnetic edginess that persists even in the most

subdued moments. Gold’s musical fire meets its match in Cherry’s guitar, stirred along by Davis’ rolling momentum. “I Wanna Walk” further illustrates the band’s unity, propelled by Gold’s assertive chords. Even when the trio simmers down to a more introspective sound, their energy remains innately gripping. Gold’s own “Pensa Em Mim” unravels slowly and organically, shrouded in a ghastly hum of cymbals and guitar. Gold periodically pierces through the blur with fierce electric uprisings, making the piece as enthralling as the album’s fast-paced tracks. But whether the band is feeling energetic or pensive, this album can’t help but be absolutely golden with a bandleader as innovative as Jared Gold.

For more information, visit posi-tone.com. Gold is at Bar Next Door Sep. 8th with Dave Stryker, Jazz Standard Sep. 13th with Oliver Lake and Smalls Sep. 25th. See Calendar.

Rick Germanson has been part of the New York City jazz scene since the late ‘90s, arriving not long after winning the Grand Prize at The American Pianists’ Association Jazz Piano Competition. He served as a sideman with Pat Martino for several years, along with touring and recording as a part of The Cannonball Legacy Band featuring Louis Hayes. His lengthy resumé also includes record dates with Wayne Escoffery, Brian Lynch, Jeremy Pelt, Carolyn Leonhart and David Gibson. He’s shared the stage with George Coleman, Tom Harrell, Slide Hampton, Frank Morgan and Charles McPherson, to name only a few. Germanson has a self-confidence that proves infectious on the bandstand. His quartet includes several veterans of note: trumpeter Dr. Eddie Henderson, bassist Paul Gill and drummer Lewis Nash. The pianist launches this live set with a driving take of Bobby Timmons’ neglected hardbop gem “So Tired”, which features potent solos throughout its high-octane reading. Henderson adds a mute for the creative reworking of the standard “The Surrey With the Fringe on Top”, which only hints at its theme as the musicians explore endless variations. The pianist also

appreciates when less is more, as he plays Duke Ellington’s lovely “The Single Petal of a Rose” with minimal embellishment. Germanson’s writing is equally interesting. His dark, infectious “Interloper” is a driving postbop work that crackles with energy, His lyrical side is showcased in the wistful “Shorter Waltz”, Henderson’s expressive trumpet as its lead voice. Germanson’s rambunctious postbop vehicle “Edge” keeps the listener guessing with its many twists, the enthusiastic Smalls audience wanting more.

For more information, visit smallslive.com. Germanson is at Smalls Sep. 6th with Bill Cantrall. See Calendar.

In the spring of 1961 Ray Charles toured for the first time with an expanded, 17-piece band that for the next 40-plus years was part of his performance package. But when he went to Europe for the first time that summer, he led an octet, like his smaller band for much of the previous decade, when his records for Atlantic defined a new category of black pop music: Soul. This DVD, filmed for French TV at the Antibes Jazz Festival, captures one of the last instances of Charles working in concert with that smaller band. And without an electric instrument in sight - Charles plays only acoustic grand piano, Edgar Willis an upright double bass - the film is invaluable as a document of Charles’ concert style in the ‘50s. The black and white footage also captures a bygone era when jazz festivals were largely ad-hoc affairs. Charles is seen straddling a mic stand between his hands at the piano and on the first night the horns use chairs for music stands. The bulk of the DVD consists of shows on two nights, Jul. 18th and 22nd, the first notable for kicking off with three instrumentals: James Moody’s “The Story”, followed by Horace Silver’s “Doodlin’” and “One Mint Julep”, Charles playing the latter in a montuno Latin piano style very different from his B-3 organ recording of the piece. The two trumpets - Phillip Guilbeau and John Hunt - and three saxists - tenor David “Fathead Newman”, alto Hank Crawford and baritonist Leroy Cooper - all get to solo, but on most of the vocal numbers Newman and Guilbeau are the only horn soloists. Those vocals range from the then-recent-Grammy-winning hit “Georgia On My Mind” to quintessential, multi-layered call-response and stop-time soul classics like “Sticks and Stones”, “Hallelujah, I Love Her So” and “What’d I Say”. Joining Charles on some of them are the four Raelettes, with Margie Hendrix front and center on the gospel-testifying “Tell the Truth”, a perfect amalgam of sanctified soul and get down blues. And don’t miss Jul. 22nd’s only instrumental, “Hornful Soul”, the frame for a great, bluesy jazz piano solo.

For more information, visit eaglerockent.com. Ray Charles events are at Jazz Museum in Harlem Sep. 4th, 11th, 15th, 18th and 25th. Visit jmih.org for more information.

Live in France 1961 Ray Charles (Eagle Vision)

by George Kanzler

O N D V D

Live at Smalls

Rick Germanson Quartet (featuring Eddie Henderson) (smallsLIVE)

by Ken Dryden

Golden Child

Jared Gold (Posi-Tone)by Sharon Mizrahi

40 September 2012 | THE NEW YORK CITY JAZZ RECORD

Park Adams III already had a pretty great stage name set in place two generations before his birth. Pepper works too though. The baritone saxophonist’s great career has been thankfully getting the attention it deserves in the last few years. Adams passed away in 1986, less than a month shy of his 56th birthday but during that brief life, he managed to be a part of every major jazz scene of his time, working with the Detroit scene of the ‘50s, with Mingus in the early ‘60s, the birth of the Thad Jones/Mel Lewis big band, even the Lighthouse All Stars out on the West Coast. He was in-demand until his passing, managing to lug his baritone to over 600 sessions. Motéma Records with producer Gary Carner has compiled a five-volume tribute to Adams’ under-recognized talent as a composer. The recordings were done mostly in the 25th anniversary of Adams’ passing, covering all 43 of his tunes with bands led by pianists Jeremy Kahn and Kevin Bales, baritone

B O X E D S E T saxophonist Frank Basile and vocalist Alexis Cole. Volume 1 features a piano trio led by Kahn. They open with “Muezzin”, giving bassist Rob Amster and drummer George Fludas ample space to stretch out. The trio works gently and swinging with Adams’ compositions: “Etude Diabloque” and “Bossa Nouveau” finds the trio sprinting while “I Carry Your Heart” gives Kahn plenty of room to roll up and down the keyboard. “Doctor Deep” gets the most joyful pummeling with Kahn digging into the quartal bag. Volume 2 features Bales in a straightahead quartet amped by guitarist Barry Greene. The latter blasts off early, strutting over “Cindy’s Tune” but Bales is no slouch keeping up the pace, trembling on the low-end with precision. The band maintains the high energy throughout their set with a bouncing “Mary’s Blues” and the high harmonies of “Apothegm”, slowing down only for the graceful “Lovers of the Their Time”. Volume 3 finally brings some horns with Basile’s baritone-driven sextet. Trumpeter Joe Magnarelli and trombonist John Mosca bring a rich, bellowing frontline to the band. The bombastic “What Is It” tests the limits of the hornmen’s embouchure while “Joy Road” has an effervescent swing that provides a nice platform for Mosca’s breathless rip. They close out their disc with a striding ballad, imbuing “Urban Dreams” with a sound as ethereal as the title. Volume 4 brings back the Kahn trio with a boost from baritone saxophonist Gary Smulyan. He is in top form, providing rapid-fire Adams-like lines throughout the set. The lengthy “Patrice” and “Hellure” gets swinging turns from Smulyan and Kahn before trading popping phrases with drummer

George Fludas. The Strayhorn-esque “Julian” slows the pulse while “Jirge” is a playful, labyrinthine performance by the two leads. Volume 5 is the most curious. Here lyrics have been set to Adams’ tunes by poet Barry Wallenstein. It’s always a delicate task of adding lyrics to a tune long after the composer has passed. The group plays it safe by sticking to the ballad repertoire. Vocalist Alexis Cole gives very pure, straightforward readings of the tunes, handling Wallenstein’s puzzles with ease. Despite the addition of a vocalist, the band still manages to stretch out on the tunes, with the aforementioned “Julian” more upbeat and building to nearly 11 minutes with help from the horn crew. The set closes with an elegant duet between Kahn and Cole on “I Carry Your Heart”. The result of these five volumes is an unbelievably thorough tribute to a saxophone master. Clocking in at over five hours the box can get a little overwhelming but it is for a worthy pursuit, bringing a legend to the spotlight. It might be a strange place to start for someone unfamiliar with Adams’ work but its mere existence will do a lot to increase awareness of the overlooked baritone saxist.

For more information, visit motema.com. A celebration of the life and music of baritone saxophonist Pepper Adams will take place this month. Events include the Vanguard Jazz Orchestra Honors Pepper Adams (Village Vanguard, Sep. 24th); The Hammond B3 Meets Pepper Adams (Smoke, Sep. 25th); Alexis Cole Sings Pepper Adams (Smoke, Sep. 26th); Frank Basile Sextet Plays the Compositions of Pepper Adams (Smalls, Sep. 28th); The Three Baris (Ginny’s Supper Club, Sep. 29th) and Urban Dreams and String Quartets (Birdland Sep. 30th). See Calendar.

Joy Road: The Complete Works of Pepper Adams

(Motéma Music)by Sean O’Connell

TITO PUENTE JR.ORCHESTRA

Major funding for this series provided by NYC Councilmembers Leroy Comrie(27th-CD), Deputy Majority Leader NY City Council and Chair of Land UseCommittee, and Ruben Wills (28th-CD), Chair of Substance Abuse Sub-Committee.

YORK COLLEGEPERFORMING ARTS CENTERTickets available at the Box Office

94-45 Guy R. Brewer Blvd. Call: 718-262-2840 or online at

www.york.cuny.eduFor more information call

718-262-3750

$20.00 Adults / $10.00 Students & Seniors

Saturday, October 13, 2012

at 7:00PM

THE NEW YORK CITY JAZZ RECORD | September 2012 41

(INTERVIEW CONTINUED FROM PAGE 6)

another: the Cornish Institute of Arts in Seattle, the Hochschule der Kunst in Berlin, now Jazz Institute Berlin and the Maritime Conservatory of Performing Arts in Halifax. For two weeks each summer I also teach at the Creative Music Workshop, part of the Halifax Jazz Festival. In Seattle, Ralph Towner, Gary Peacock and I became a trio and toured and recorded for ECM. Also during this time I spent a lot of really great time with Jane Ira Bloom, touring and recording. She loved electronics and creating new sounds and the music she composed challenged me to go further with using more electronics, synths and octopads. In Europe I formed my double guitar band called UFB and worked on projects with Lee Townsend, the great producer. So it’s funny how teaching allowed me to find some new music and to begin producing work as a leader and composer - and now it’s something like 20 CDs later.

TNYCJR: Why move to Canada?

JG: I moved to Halifax, in, I guess, 1988 really because of Trungpa, who moved there along with about 1,000 people in the sangha [community] because he thought it was a good place for the dharma [natural law] to grow. ...I’ve been able to get projects presented here and to develop an ongoing relationship with [Vancouver’s] Songlines Records, for which I’ve recorded six CDs, including V16, Badlands and The Sandhills Reunion [a spoken-word cycle with music featuring writer Rinde Eckert]. You know, you can trace connections. Like getting to spend so much time at Naropa working with the great poets like Allen Ginsberg probably lead to recording A Song I Heard Buddy Sing based on Michael Ondaatje’s novel Coming Through Slaughter (The Life of Buddy Bolden), which led me to connect with Rinde years later for Sandhills. Now I’ve got the new trio with two Nova Scotians, [bassist/cellist] Simon Fisk and [tenor, soprano and baritone saxist] Danny Oore, brilliant young artists who I’ve kind of watched grow up musically. Wanting to play with them and to record Let Go [Plunge Records] came out of V16, the band I had with [guitarists] David Tronzo and Christian Kogle and [electric bassist] J. Anthony Granelli. I needed to take a rest after six years and three CDs and I wanted to explore trio playing again. Both [Fisk and Oore] play more than one instrument, so it was a chance to try to make the trio more diverse and orchestral. Right now that’s my working band, but I’m also doing some solo recording and playing. And I’m reforming a trio with David Tronzo and J. Anthony, which is also so much fun.

TNYCJR: Why did you wait until you were 70 to record

the solo album 1313 when other drummers have done so at an earlier age?

JG: I’ve always thought about doing a solo record, but I also love to play in the band context - and solo is a big leap even from working in a duo. The idea for 1313 came from Darcy Spindle at Divorce, a Halifax-based alternative music label. I had to push myself a little to do it since it was all spontaneous compositions. The real challenge came when I started doing solo concerts, what with just getting used to the compositional form, learning how to develop things with even more patience and space, since they’re so many different ways to play the drums not in a band context. One of the great benefits though is that I do these concerts in settings where there are new and young audiences. v

For more information, visit jerrygranelli.com. Granelli plays solo and in trio at I-Beam Sep. 7th. See Calendar.

Recommended Listening: • Denny Zeitlin - Shining Hour: Live at the Trident (Columbia, 1965) • Jay Clayton/Jerry Granelli - Sound Songs (Winter & Winter, 1985)• Jerry Granelli - Another Place (Intuition, 1994)• Jerry Granelli and Badlands - Enter, A Dragon (Songlines, 1998)• Jerry Granelli V16 - Vancouver ‘08 (Songlines, 2008) • Jerry Granelli Trio - Let Go (Plunge, 2011)

(LABEL CONTINUED FROM PAGE 12)

that it is a community as much as it is a business,” Evan Weiss says. “Although Greg gives a lot of support and guidance, the label is really in the hands of all the artists. We have complete freedom over our music and a great network of support from the other musicians. Rather than being told what to work on, we hold meetings and send constant streams of emails to discuss the next direction for the label.” Yeager explains: “Greg founded the label, but he likes to say it’s not ‘his’, but rather, a collective where each artist is independent and responsible for her or his own project and, at the same time, responsible for helping the label as a whole progress. Also, projects are primarily self-funded by each artist him/herself - the label serves as an artistic community, distributor and incubator of ideas on how to get new creative music out there to the public. It does not provide funds for each project. The result is that each artist owns his/her copyright and project.” Sara Serpa notes: “I like the fact that [Inner Circle] is a collective of people with different backgrounds who have the same goal, which is to be able to make and record the music they love and make it available to the public. What I appreciate about working with Greg Osby is the fact that he gives me a lot of freedom to find my own role - or to be myself - in his band, in his music and in this label.” Tammy Scheffer says that as a young artist, one of the things she appreciates about recording for Inner Circle is its “artist-run nature” and the fact that Osby and other participants are genuinely interested in her ideas. “Having a say and [being able to] collaborate on label initiatives means that anything is possible because it’s in our hands,” Scheffer notes. “In today’s changing music industry, I think it’s important to be proactive and learn the business side of things - and being on this type of label gives you a great support system without making you dependent.” v

For more information, visit innercirclemusic.net. Inner Circle showcases are at Cornelia Street Café Sep. 12th-14th and ShapeShifter Lab Sep. 16th. See Calendar.

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MEL MARTIN, DON FRIEDMANPHIL PALOMBI, SHINNOSUKE TAKAHASHI

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“Stripped-down music that is as organic as it is ethereal.”

— C. Michael Bailey, All About Jazz  

Saturday, September 1 êCharlie Parker Birthday Celebration: Brian Lynch, Vincent Herring, George Cables, Lonnie Plaxico, Victor Lewis Birdland 8:30, 11 pm $30-40• Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, Kenny Washington Jazz Standard 7:30, 9:30 pm $30• Kenny Werner Quintet with Lionel Loueke, Miguel Zenón Blue Note 8, 10:30 pm $35êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston Village Vanguard 9, 11 pm $25êJoanne Brackeen Trio with Adam Cruz Jazz at Kitano 8, 10 pm $25• Steve Turre Quintet with Billy Harper, Xavier Davis, Corcoran Holt, Dion Parson Smoke 8, 10, 11:30 pm $30• The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, Romero Lubambo, Nilson Matta, Duduka da Fonseca Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Bruce Harris Quintet Dizzy’s Club 12:45 am $20• Jonathan Saranga; Juini Booth plays McCoy Tyner with Norbert Stachel, Benito Gonzalez, Ronnie Burrage; Joe Magnarelli Quartet with Mulgrew Miller, Dwayne Burno, Jason Brown Smalls 4, 7:30, 10 pm $20êKirk Knuffke, Mary Halvorson, Rob Garcia Cornelia Street Café 9, 10:30 pm $15• Gelsey Bell; Shannon Fields The Stone 8, 10 pm $10• Sheryl Bailey 3 with Ian Froman, Ron Oswanski Bar Next Door 7:30, 9:30, 11:30 pm $12• Sam Trapchak’s Put Together Funny with Jason Rigby, Tom Chang, Christian Coleman; Jonathan Goldberger, Aryeh Kobrinsky, Satoshi Takeishi; Juan Pablo Carletti Trio with Michael Attias, Angelica Sanchez Douglass Street Music Collective 8 pm $10• Jaimeo Brown The Bar on Fifth 8 pm• Cartography Duo: Douglas Detrick/Mazz Swift I-Beam 8:30 pm $10• Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5• Banana Puddin’ Jazz: Devin Starks Trio Nuyorican Poets Café 9 pm $15• Roberto Pianca/Gabriele Donati Quartet with Greg Ruggiero; Olli Hirvonen with Frederick Menzies, Sam Anning, Philippe Lemm; Racha Fora with Hiroaki Honshuku, Rika Ikeda, Mauricio Andrade, Rafael Russi, Renato Malavasi Somethin’ Jazz Club 5, 7, 9 pm $10• Jacob Teichroew Trio; Kenji Yoshitake Trio Tomi Jazz 8, 11 pm $10• David Robinson Quartet Cleopatra’s Needle 8 pm• Larry Newcomb Trio; Evgeny Lebedev; Carl Bartlett Jr. Quartet The Garage 12, 6:15, 10:45 pm

Sunday, September 2êJane Ira Bloom Quartet with Dawn Clement, Mark Helias, Bobby Previte Cornelia Street Café 8:30 pm $10

• Object Collection: Devin Maxwell, John P. Hastings, Taylor Levine, Paula Matthusen, Daniel Allen Nelson, Kara Feely, Travis Just; Shoko Nagai/Satoshi Takeishi The Stone 8, 10 pm $10• The Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis Barbès 7 pm $10êRobin Verheyen, Michael Bates, Owen Howard Sycamore 8 pm êJohn di Martino/Warren Vache Smalls 7:30 pm $20• Elad Gellert Group ShapeShifter Lab 8 pm• Peter Leitch Duo Walker’s 8 pm• Simona Premazzi The Bar on Fifth 8 pm• Rubens Salles Quintet with Conor Meehan, Jon de Lucia, Ben Gallina, Pedro Silva Somethin’ Jazz Club 9 pm $10• Shrine Big Band Shrine 8 pm• Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, Kenny Washington Jazz Standard 7:30, 9:30 pm $30• Kenny Werner Quintet with Lionel Loueke, Miguel Zenón Blue Note 8, 10:30 pm $35êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston Village Vanguard 9, 11 pm $25• The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, Romero Lubambo, Nilson Matta, Duduka da Fonseca Dizzy’s Club 7:30, 9:30 pm $35• Florian Höfner Group Saint Peter’s 5 pm• NYU Jazz Brunch Blue Note 12:30, 2:30 pm $29.50• The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew BB King’s Blues Bar 12 pm $25• Roz Corral Trio with Gene Bertoncini, Sean Smith North Square Lounge 12:30, 2 pm• Joel Perry Trio; Rob Edwards Quartet; Masami Ishikawa Trio The Garage 11:30 am 7, 11:30 pm

Monday, September 3êThe Music of Abbey Lincoln: Teri Roiger Quartet with Frank Kimbrough, John Menegon, Steve Williams Dizzy’s Club 7:30, 9:30 pm $25• David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram Cornelia Street Café 8:30 pm $10• John Merrill solo; Ari Hoenig Group with Shai Maestro, Gilad Hekselman, Johannes Weidenmuller; Spencer Murphy Smalls 7:30, 9 pm 12 am $20• Aruan Ortiz The Bar on Fifth 8 pm• Jon Madof’s Zion80 The Stone 9 pm $10 • Chris Stover Big Band Tea Lounge 9, 10:30 pm• Mike Gamble’s Second Wind with Simon Jermyn, Tommy Crane; Igor Lumpert Innertextures with Chris Tordini, Tommy Crane Bar 4 8 pm• Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm Bar Next Door 8:30 pm $12

• Aimee Allen Zinc Bar 7 pm $8• Howard Williams Orchestra; Ben Cliness Trio The Garage 7, 10:30 pm• Arthur Vint and Quartet Premiere with Scott Colberg, Gordon Au, Adrian Cunningham Maison Premiere 3 pm• Deanna Witkowski Bryant Park 12:30 pm

Tuesday, September 4êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Birdland 8:30, 11 pm $30-40êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25êVernon Reid Trio Iridium 8, 10 pm $25• Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana Blue Note 8, 10:30 pm $30• Alfredo Rodriguez Trio with Ricardo Rodriguez, Henry Cole Jazz Standard 7:30, 9:30 pm $20• Sarah Elizabeth Charles Quintet with Obed Calvaire Dizzy’s Club 7:30, 9:30 pm $30êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10• Jack Jeffers and the New York Classics Zinc Bar 8, 10 pm• The Wee Trio: James Westfall, Dan Loomis, Jared Schonig Cornelia Street Café 8:30 pm $10êJames Carney Trio with Chris Lightcap, Ted Poor; Russ Lossing Trio with Masa Kamaguchi, Billy Mintz Korzo 9, 10:30 pm $5• Cage100@Stone Festival: The Noisy Toy Piano Orchestra directed by Miguel Frasconi; Samuel Clay Birmaher The Stone 8, 10 pm $10• Toomai String Quintet: Pala Garcia, Emilie-Anne Gendron, Erin Wight, John Popham, Andrew Roitstein; Jessica Pavone’s Hope Dawson with Pala Garcia, Erin Wight, John Popham, Andrew Roitstein, Emily Manzo, Mary Halvorson I-Beam 8:30, 10 pm $10• Spike Wilner solo; Dezron Douglas New Jazz Workshop with Lummie Spann, Josh Evans, Joel Holmes, Chris Beck; Frank Lacy, Josh Evans, Theo Hill Smalls 6:30, 9 pm 12 am $20• 1RIS + Hannah Read Band ShapeShifter Lab 8 pm• Ed Cherry Trio with Pat Bianchi, Jerome Jennings Bar Next Door 8:30, 10:30 pm $12• Jack Wilkins/Joe Giglio Bella Luna 8 pm• Steven Feifke solo Jazz at Kitano 8, 10 pm $25• Malcolm Parson Somethin’ Jazz Club 7 pm $10• Mike Dease Big Band with Sharel Cassity, Godwin Louis, Troy Roberts, Tony Lustig, Eric Miller, Stafford Hunter, Coleman Hughes, Nick Grinder, Seneca Black, Mat Jodrell, Benny Benack III, Bruce Harris, Miki Hayama, Russell Hall, Evan Sherman; Brandon Less Quartet \The Garage 7, 10:30 pm• Isaac Darche; Duke Bantu X Shrine 6, 9 pm• Aruan Ortiz The Bar on Fifth 8 pm• Deanna Witkowski Bryant Park 12:30 pm

42 September 2012 | THE NEW YORK CITY JAZZ RECORD

CALENDAR

InterpretatIons 24season 2012/13

Thursday, September 20, 2012 Tim Brady // david Behrman

Thursday, October 11, 2012John eckhardT // PeTer evans

Sunday, November 4 at 5 pm, 2012s.e.m. ensemBle Plays cage, koTik, & miTchell

Thursday November 15, 2012erik griswold // camilla hoiTenga & Taavi kerikmäe

Thursday, December 6, 2012 sTeve swell & omar Tamez // douglas r. ewarT & invenTions

Thursday, January 24, 2013ekmeles vocal ensemBle // Pheeroan aklaff

Thursday, February 21, 2013Thomas Buckner, wiTh ensemBle l’arT Pour l’arT

Thursday, March 21, 2013 anne leBaron // melvyn Poore & corT liPPe

Thursday April 11, 2013dioTima sTring quarTeT

Thursday May 9, 2013marTy ehrlich // Brandon ross

roulette

509 Atlantic Ave Downtown Brooklyn. 2, 3, 4, 5, C, G, D, M, N, R, B & Q trains & LIRR. General admission: $15 / $10 Roulette Members, Students, Seniors. Tickets can be purchased online: www.interpretations.info

THE NEW YORK CITY JAZZ RECORD | September 2012 43

Wednesday, September 5êPeter Brötzmann/Jason Adasiewicz Duo; Joshua Abrams Natural Information Society with Chad Taylor Le Poisson Rouge 8 pm $18êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong Dizzy’s Club 7:30, 9:30 pm $35êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10êReunion: Gene Bertoncini, Mike Manieri, Michael Moore, Joe Corsello Jazz Standard 7:30, 9:30 pm $25êValery Ponomarev “Our Father Who Art Blakey” Big Band Zinc Bar 8 pmêJean-Michel Pilc, Francois Moutin, Ari Hoenig Cornelia Street Café 8:30 pm $10êFrank Kimbrough Trio with Masa Kamaguchi, Jeff Hirshfield; Simona Premazzi with Melissa Aldana, Yasushi Nakamura, Shinnosuke Takahashi Smalls 9 pm 12 am $20• Eric Alexander Quartet with Harold Mabern, John Webber, Joe Farnsworth An Beal Bocht Café 8, 9:30 pm $15• Nat Adderley Jr. Quartet with Vincent Herring, Kenny Davis, Dion Parson Smoke 7, 9, 10:30 pm• Deanna Kirk Quartet with Harry Allen, John di Martino, Neal Miner Jazz at Kitano 8, 10 pm $10• Cage100@Stone Festival: The John Cage Variety Show Big Band directed by Miguel Frasconi with Daniel Goode, Gelsey Bell, Kathleen Supove, Chris McIntyre, Cristian Amigo, Richard Carrick, David Watson, John Zorn The Stone 8, 10 pm $10• Michael McNeill Trio with Ken Filiano, Andrew Drury Barbès 8 pm $10• Rob Scheps Core-tet with Jamie Reynolds, Cameron Brown ShapeShifter Lab 8 pm• Liz Wagener with Jacob Cohen, Eric Colman, Dimitri Moderbacher, Mike Johnson; Mac Gollehon Oddessey of Nostalgia with Ronnie Cuber, Robert Arron, Amina Claudine Myers, Ron McClure, Warren Smith, Olga Merediz Somethin’ Jazz Club 7, 9 pm $10• Teriver Cheung; Young Gu Kim Shrine 7, 9 pmêOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Birdland 8:30, 11 pm $30-40êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25• Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana Blue Note 8, 10:30 pm $30• Aruan Ortiz The Bar on Fifth 8 pm• Marc Devine Trio; The Anderson Brothers The Garage 6, 10:30 pm• Peter and William Anderson Sextet with Jon-Erik Kellso, Ehud Asherie, Kevin Dorn, Clovis Nicolas Saint Peter’s 1 pm $10• Deanna Witkowski Bryant Park 12:30 pm

Thursday, September 6êMulgrew Miller Trio with Ivan Taylor, Rodney Green Jazz Standard 7:30, 9:30 pm $25êJoel Harrison’s Infinite Possibility with Ned Rothenberg, Ohad Talmor, Ben Kono, Rob Scheps, Andy Laster, Michel Gentile, Nick Marchione, Dave Smith, Taylor Haskins, Justin Mullens, Jacob Garchik, Curtis Fowlkes, Alan Ferber, Jose Davila, Daniel Kelly; Kermit Driscoll, James Shipp, Rob Garcia, JC Sanford; Ohad Talmor’s Newsreel with Shane Endsley, Miles Okazaki, Jacob Sacks, Matt Pavolka, Dan Weiss ShapeShifter Lab 8, 10 pm • Meah Pace and the MAP Legends; Michael Kammers’ MK Groove Orchestra The Paper Box 9 pm $10• Nils Weinhold Quintet with Adam Larson, Fabian Almazan, Linda Oh, Bastian Weinhold The Jazz Gallery 9, 10:30 pm $15• Diane Moser/Mark Dresser; Diane Moser Quintet with Anton Denner, Ben Williams, Mark Dresser, Michael Sarin Cornelia Street Café 8:30 pm $10• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am• Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; Bill Cantrall’s Axiom with Freddie Hendrix, Stacy Dillard, Rick Germanson, Gerald Cannon, Montez Coleman; Bruce Harris/Alex Hoffman Group Smalls 4, 7, 9 pm 12 am $20• Jamie Fox Trio with Stephan Crump, Ches Smith Bar Next Door 8:30 pm $12• Vinnie Sperrazza, Mike McGinnis, Khabu Young; Jesse Stacken I-Beam 8:30 pm $10• Aryeh Kobrinsky’s Down to the Valley with Josh Sinton, Owen Stewart-Robertson, Jonathan Goldberger; Alex Wyatt Douglass Street Music Collective 8 pm $10• Broken Reed Saxophone Quartet ZirZamin 7:30 pm• Aubrey Johnson Quartet with Malcolm Campbell, Zach Brown, Lee Fish Jazz at Kitano 8, 10 pm $10• Cage100@Stone Festival: Ecstasy Mule: Kurt Gottschalk/Len Siegfried; Todd Reynolds and Friends The Stone 8, 10 pm $10• Jacaszek/Holly Herndon Roulette 8 pm $10• Amy Cervini Quartet with Michael Cabe, Mark Lau, Ernesto Cervini 55Bar 7 pm• Kozue Kuriyama Quartet with Zac Zinger, James Robbins, Oscar Suchanek; Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10• Mamiko Taira Trio Tomi Jazz 9 pm $10• Steve Elmer Trio Cleopatra’s Needle 7 pmêRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong Dizzy’s Club 7:30, 9:30 pm $35• Michael Pedicin Band with Johnnie Valentino, Jim Ridl, Andy Lalasis, Bob Shomo Birdland 6 pm $20êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Birdland 8:30, 11 pm $30-40êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25• Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana Blue Note 8, 10:30 pm $30• Aruan Ortiz The Bar on Fifth 8 pm• Natalie Cressman’s Secret Garden with Ivan Rosenberg, Chad Lefkowitz-Brown, Pascal LeBeouf, Ruben Samama, Jake Goldbas Drom 6:30 pm $15• Rick Stone Trio; Dylan Meek Trio The Garage 6, 10:30 pm• Deanna Witkowski Bryant Park 12:30 pm

Friday, September 7êJerry Granelli solo and Trio with David Tronzo, J. A. Granelli I-Beam 8:30, 10 pm $10

• Eugene Marlow’s The Heritage Ensemble with Bobby Sanabria, Michael Hashim, Frank Wagner, Oba Allende; Henry Grimes Quartet with Roberto Pettinato, Dave Burrell, Tyshawn Sorey Somethin’ Jazz Club 7, 9 pm $15-20êBig Satan: Tim Berne, Marc Ducret, Tom Rainey Greenwich House Music School 8 pm $12êMary Halvorson Septet with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock, Jacob Garchik, John Hébert, Ches Smith Roulette 8:30 pm $15êGeorge Coleman Quartet with Harold Mabern Smoke 8, 10, 11:30 pm $35• Victor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder Jazz at Kitano 8, 10 pm $25• Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, Luques Curtis, Henry Cole, Mauricio Herrera Blue Note 8, 10:30 pm $35êJason Rigby Quartet with Russ Lossing, Kermit Driscoll, Rudy Royston Cornelia Street Café 9, 10:30 pm $15êRebecca Martin/Larry Grenadier The Jazz Gallery 9, 10:30 pm $20• Sam Raderman, Luc Decker, Nial Djuliarso; Neal Miner Quartet with Alex Hoffman, Phil Stewart; Tim Green Group Smalls 4, 7:30, 10 pm $20• Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30• Dan Wilson Trio with Marco Panascia, Jerome Jennings Bar Next Door 7:30, 9:30, 11:30 pm $12• Tim Perkis, Han-Earl Park, Harris Eisenstadt; Kinda Green: Tom Djll, Tim Perkis, Andrew Drury The Stone 8, 10 pm $10• Ilusha Tsinadze with Richie Barshay, Chris Tordini, Rob Hecht, Liam Robinson and guest Jean Rohe Barbès 8 pm $10• Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25• Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5• Tomoko Omura Duo Tomi Jazz 9 pm $10• Rudi Mwongozi Quartet Cleopatra’s Needle 8 pmêMulgrew Miller Trio with Ivan Taylor, Rodney Green Jazz Standard 7:30, 9:30, 11:30 pm $30êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong Dizzy’s Club 7:30, 9:30 pm $40êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Birdland 8:30, 11 pm $30-40êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25• Aruan Ortiz The Bar on Fifth 8 pm• Federico Ughi Quartet with Kirk Knuffke, Dave Schnug, Max Johnson; Jonathan Scales Fourchestra Shrine 6, 8 pm• Hide Tanaka Trio; Jason Prover Quintet The Garage 6:15, 10:45 pm• Deanna Witkowski Bryant Park 12:30 pm

Saturday, September 8êRemembering Wilbur Ware: Louis Hayes/Juini Booth and Friends with Javon Jackson, Rodney Kendrick; Barry Harris Quartet with Ray Drummond, Leroy Williams, Kiane Zawadi; Rufus Reid/Russell Malone and Company with Jimmy Owens, Michael Carvin; guests Bill Crow, Larry Ridley Merkin Concert Hall 8 pm $35êJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Marcus Rojas The Jazz Gallery 9, 10:30 pm $20• Tony Malaby Paloma Trio with Ben Monder, Nasheet Waits Cornelia Street Café 9, 10:30 pm $15êRuss Lossing Trio with Masa Kamaguchi, Billy Mintz; Billy Mintz Two Bass Band with Tom Christiansen, John O’Gallagher, Dave Scott, Ron Horton, Brian Drye, Scott Reeves, Ben Street, Masa Kamaguchi I-Beam 8:30, 10 pm $10 • Billy White Group; Adam Kolker Group; Tim Green Group Smalls 4, 7:30, 10 pm $20• Dave Stryker Trio with Jared Gold, McClenty Hunter Bar Next Door 7:30, 9:30, 11:30 pm $12• Ha-Yang Kim and JACK Quartet Roulette 8:30 pm $15• Scot Gresham-Lancaster; Gordon Monahan with guest Pauline Kim Harris The Stone 8, 10 pm $10êBrad Henkel solo; Angelika Niescier, Florian Weber, Chris Tordini, Tommy Crane; Han-earl Park, Michael Evans, Louise Dam Eckardt Jensen Douglass Street Music Collective 8 pm $10• Roberto Pianca, Ben Syversen, Flin Van Hemmen Launch Pad Gallery 8 pm• New York Tokyo Connection: Dave Pietro, Jonathan Katz, Sam Minaie, Ross Pederson; Dani and Debora Gurgel with Jon Burr, Thiago Rabello Somethin’ Jazz Club 7, 9 pm $10• Yuko Okamoto Trio; Erisa Ogawa Trio Tomi Jazz 8, 11 pm $10• Hank Johonson Trio Cleopatra’s Needle 8 pm• Noah Kohut; Fractal Attraction; Freddy Fuego Shrine 6, 8, 9 pmêGeorge Coleman Quartet with Harold Mabern Smoke 8, 10, 11:30 pm $35êVictor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder Jazz at Kitano 8, 10 pm $25• Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, Luques Curtis, Henry Cole, Mauricio Herrera Blue Note 8, 10:30 pm $35• Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30• Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5êMulgrew Miller Trio with Ivan Taylor, Rodney Green Jazz Standard 7:30, 9:30, 11:30 pm $30êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong Dizzy’s Club 7:30, 9:30 pm $40êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Birdland 8:30, 11 pm $30-40êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25• Aruan Ortiz The Bar on Fifth 8 pm• Festival of New Trumpet Music (FONT): Stephanie Richards’ Rotations, Rotations Brooklyn Bridge Park 6:30 pm• Roulette Kids: Free Music Funhouse with Matthew Mehlan, Doron Sadja Roulette 1 pm $5• Daniela Schaechter Trio; Brooks Hartell Trio; Akiko Tsuruga Trio The Garage 12, 6:15, 10:45 pm

SEPTEMBER 7, 2012 DRUMMING LEGEND

JERRY GRANELLI Plays

BROOKLYN’S

IBEAM 168 7th Street

Brooklyn, NY 11215 www.ibeambrooklyn.com

WITH DAVID TRONZO

& J. ANTHONY GRANELLI

________________________________

AN EVENING OF SOLOS 8:30PM

AND THE JERRY GRANELLI TRIO

10:00PM

The IBEAM performances will

highlight work from JERRY GRANELLI’s

long-awaited solo drum project: 1313

-Divorce Records-

and his trio CD:

Let Go -Plunge Records-

Find both recordings

@

JerryGranelli.com

44 September 2012 | THE NEW YORK CITY JAZZ RECORD

Sunday, September 9êMark Helias’ Open Loose with Tony Malaby, Tom Rainey Greenwich House Music School 8 pm $12êBucky Pizzarelli/Ed Laub Duet Smalls 7:30 pm $20êNoah Preminger, Masa Kamaguchi, Rob Garcia Sycamore 8 pm• Ras Moshe, Fay Victor, Tom Zlabinger, Tor Yochai Snyder; Jen Baker/ Daphna Naphtali Brecht Forum 7 pm $10• Aki Onda/Raha Raissnia; Gina Leishman/Kenny Wollesen The Stone 8, 10 pm $10• Skye Steele Railroad Rodia with Aram Bajakian, Josh Myers, John Hadfield Cornelia Street Café 8:30 pm $10• Rebeca Vallejo; Hadar Noiberg ShapeShifter Lab 8 pm $15êPascAli: Sean Ali/Pascal Niggenkemper Ze Couch 7 pm• Peter Leitch/Harvie S Walker’s 8 pm• A Small Dream In Red: Nora McCarthy/Jorge Sylvester; Mossa Bildner, Blaise Siwula, Hill Greene and guest Gian Luigi Diana ABC No-Rio 7 pm $5• Takana Miyamoto Trio with Matt Penman, Ulysses S. Owens Jr. Somethin’ Jazz Club 9 pm $12• Swingadelic Swing 46 8:30 pm• Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, Luques Curtis, Henry Cole, Mauricio Herrera Blue Note 8, 10:30 pm $35êMulgrew Miller Trio with Ivan Taylor, Rodney Green Jazz Standard 7:30, 9:30 pm $25êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong Dizzy’s Club 7:30, 9:30 pm $35êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Village Vanguard 9, 11 pm $25• Aruan Ortiz The Bar on Fifth 8 pmêJimmy Owens Quartet Saint Peter’s 5 pm• David Berkman Trio with Ed Howard, Eric McPherson Blue Note 12:30, 2:30 pm $29.50• Michelle Walker Trio with Jason Ennis, Michael O’Brian North Square Lounge 12:30, 2 pm• Lou Caputo Quartet; David Coss Quartet; Maurício de Souza Trio with Benito Gonzales, Joonsam Lee The Garage 11:30 am 7, 11:30 pm

Monday, September 10êMingus Big Band Jazz Standard 7:30, 9:30 pm $25• Sammy Figueroa Blue Note 8, 10:30 pm $15• Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs and guests Luigi Grasso, Jesse Davis Feinstein’s at Loews Regency 7 pm $25êIngrid Laubrock, Dan Peck, Tom Rainey; Chris Hoffman’s Magic Wells with Stomu Takeishi, Sara Schoenbeck, Brian Chase Sycamore 8:30 pm $10êPeter Bernstein solo; Ari Hoenig Group with Shai Maestro, Johannes Weidenmuller; Spencer Murphy Smalls 7:30, 9 pm 12 am $20• Alphonso Horne/Jordan Pettay Quintet Dizzy’s Club 7:30, 9:30 pm $25• Zeena Parkins and Ne(x)tworks Ensemble, JACK Quartet Roulette 8:30 pm $15• Jon Madof’s Zion80 The Stone 9 pm $10 • Antonio Ciacca The Bar on Fifth 8 pm• Dani and Debora Gurgel with Thiago Rabello, Jon Burr ShapeShifter Lab 8 pm $10• Nathan Parker Smith Large Ensemble Tea Lounge 9, 10:30 pm• Vin Scialla/Eric Schugren’s World Elements with Leco Reis, Lars Potteiger LIC Bar 9:45 pm• Jocelyn Medina Trio with Dan Rochlis, Chris Tarry Bar Next Door 8:30 pm $12• Nancy Harms Zinc Bar 7 pm $8• John Snauwaert/Marcos Varela Quartet Somethin’ Jazz Club 7 pm $10• Howard Williams Jazz Orchestra; Tomas Janzon Trio The Garage 7, 10:30 pmêDaryl Sherman Bryant Park 12:30 pm

Tuesday, September 11êTarbaby: Eric Revis, Nasheet Waits, Orrin Evans with guests Oliver Lake, Marc Ducret Le Poisson Rouge 10:30 pm $15êDave Liebman Group Birdland 8:30, 11 pm $30-40• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25êResoNations - Breath of Peace: Jane Ira Bloom, Lety ElNaggar, Joe McPhee, Zafer Tawil, Erik Friedlander, Mark Dresser, Gerry Hemingway, Sarah Weaver Iridium 8, 10 pm $25• Roni Ben-Hur, Santi DeBriano, Duduka Da Fonseca Jazz Standard 7:30, 9:30 pm $20• Johnny O’Neal Trio with guests Dizzy’s Club 7:30, 9:30 pm $30• Paul Nedzela Quartet Dizzy’s Club 11 pm $10• Russ Kassoff Orchestra with Catherine Dupuis NYC Baha’i Center 8, 9:30 pm $15• Spike Wilner solo; Jesse Davis Quintet with Ryan Kisor, Spike Wilner, Peter Washington, Billy Drummond; Frank Lacy, Josh Evans, Theo Hill Smalls 6:30, 9 pm 12 am $20• Carol Morgan Trio with Corrin Stigall, Jackie Williams Bar Next Door 8:30, 10:30 pm $12• Secret Keeper: Mary Halvorson/Stephan Crump; Tyler Blanton Group with Donny McCaslin Korzo 9, 10:30 pm $5• Voxify: Roz Corral, Alan Broadbent, Boris Kozlov; Judi Silvano, Fred Jacobs, Frank Kimbrough, Ben Allison Cornelia Street Café 8:30 pm $10• Sasha Bogdanowitsch; Peter Whitehead The Stone 8, 10 pm $10• Mariel Vandersteel; Hannah Read Band ShapeShifter Lab 8 pm• Stan Killian Group with Mike Moreno, Benito Gonzalez, Corcoran Holt, McClenty Hunter 55Bar 7 pm• September 11th Tribute Zeb’s 7 pm• The Verge: Jon Hanser, Kenny Shanker, Brian Fishler, Danny Conga Somethin’ Jazz Club 7 pm $10• Eyal Vilner Big Band with Andrew Gould, Mike McGarril, Asaf Yuria, Lucas Pino, Jonah Parzen-Johnson, Cameron Johnson, Matt Jodrell, John Mosca, Nick Finzer, Yonatan Riklis, Tal Ronen, Joe Strasser, Yaala Ballin, Brianna Thomas; Mayu Saeki Trio The Garage 7, 10:30 pm• Jack Wilkins/Howard Alden Bella Luna 8 pm• Steven Feifke solo Jazz at Kitano 8, 10 pm $25• Zeena Parkins and Ne(x)tworks Ensemble, JACK Quartet Roulette 8:30 pm $15

• Antonio Ciacca The Bar on Fifth 8 pm• The September Concert: The Heart of Jazz Sugar Bar 6 pm• Antonio Mazzei Shrine 6 pmêDaryl Sherman Bryant Park 12:30 pm

Wednesday, September 12êInner Circle Festival: André Matos Quartet with Jacob Sacks, Eivind Opsvik, Billy Mintz; Tammy Scheffer Band with Andrew Urbina, Dan Pratt, Chris Ziemba, Daniel Foose, Ronen Itzik Cornelia Street Café 8:30, 10 pm $10• Celebrating Stanley Turrentine: Myron Walden Group with Jerry Weldon Dizzy’s Club 7:30, 9:30 pm $30• Paul Nedzela Quartet Dizzy’s Club 11 pm $10êLuciana Souza with Romero Lubambo, Scott Colley, Clarence Penn Joe’s Pub 7:30, 9:30 pm $20• John O’Gallagher’s Anton Webern Project with Matt Moran, Pete McCann, Russ Lossing, Johannes Weidenmuller, Tyshawn Sorey; Joe Branciforte and Friends I-Beam 8:30, 10 pm $10 • Annea Lockwood/Miguel Frasconi; Miguel Frasconi The Stone 8, 10 pm $10• Mike Moreno Quartet with Aaron Parks, Matt Brewer, Ted Poor and guest Warren Wolf Jazz Standard 7:30, 9:30 pm $20• Emilio Solla y La Inestable de Brooklyn with Terry Goss, Chris Cheek, Alex Norris, Ryan Keberle, Meg Okura, Victor Prieto, Jorge Roeder, Eric Doob Zinc Bar 7, 8:30 pm• Shirley Crabbe Quartet with Donald Vega, Jon Burr, Steve Johns Jazz at Kitano 8, 10 pm $10• Sheryl Bailey 4 with Jim Ridl, Tal Ronin, Joe Strasser Fat Cat 9 pm• Chris Cochrane with mbiraNYC, Manhattan Samba, Chris Rael Roulette 8:30 pm $15• Ben Gerstein, Mat Maneri, Garth Stevenson Barbès 8 pm $10• Tim Kuhl’s St. Helena with Grey McMurray, Joshua Valleau, Rick Parker, Ryan Ferreira Union Pool 9 pm• Michael Kammers’ MK Groove Orchestra 10th Anniversary The Paper Box 9 pm $10• Jamie Reynolds Trio ZirZamin 9 pm $5• Equilibrium?: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, Dan Silverstone Caffe Vivaldi 8:30 pm• David Ullmann with Chris Dingman, Karel Ruzicka Jr., Gary Wang, Vinnie Sperrazza Somethin’ Jazz Club 7 pm $10êDave Liebman Group Birdland 8:30, 11 pm $30-40• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25• Jesse Davis Quintet with Ryan Kisor, Spike Wilner, Peter Washington, Billy Drummond; David Bryant Trio with Dezron Douglas, Kush Abadey Smalls 9 pm 12 am $20• Antonio Ciacca The Bar on Fifth 8 pm• Sandy Stewart/Bill Charlap Saint Peter’s 1 pm $10• Joan Uttal Anderson Memorial with Arturo O’Farrill, Junior Mance, Barbara Carroll, Sandy Stewart, Bill Charlap Saint Peter’s 6 pm• Bobby Porcelli Quartet; Andrew Atkinson and Friends The Garage 6, 10:30 pm• Daryl Sherman Bryant Park 12:30 pm

Thursday, September 13êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120êAnthony Braxton Quartet with Dan Blacksberg, Ken Filiano, Mike Szekely; Diamond Curtain Wall Music Ensemble: Anthony Braxton, Taylor Ho Bynum, Josh Sinton, Maura Valenti, Amy Crawford, Michael Douglas Jones, Kyoko Kitamura, Anne Rhodes, Vince Vincent Roulette 8 pm $30êInner Circle Festival: Sara Serpa 5tet with André Matos, Kris Davis, Aryeh Kobrinsky, Tommy Crane; Jason Yeager Trio with Danny Weller, Michael Gleichman and guest Cornelia Street Café 8:30, 10 pm $10êOliver Lake 70th Birthday Celebration: Oliver Lake Organ Quartet with Jared Gold, Freddie Hendrix, Chris Beck Jazz Standard 7:30, 9:30 pm $25• FONT: Douglas Detrick’s AnyWhen Ensemble with Hashem Assadullahi, Steve Vacchi, Shirley Hunt, Ryan Biesack The Jazz Gallery 9, 10:30 pm $20• Misha Piatigorsky’s Sketchy Black Dog with Chris Wabich, Ugonna Okegwo, Katie Kresek, Kiku Enomoto, Surai Balbeisi, Agnes Nagy Zinc Bar 9, 10:30 pm 12 am• Bobby Previte; Michael Kammers’ MK Groove Orchestra; Zongo Junction; Josh Roseman’s Line of Swords The Paper Box 9 pm $10• Scott Henderson, Jeff Berlin, Mike Clark Iridium 8, 10 pm $30• Joshua Light Show with guests Dame Evelyn Glennie, Zeena Parkins Skirball Center 7:30 pm $20-68êMel Martin Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi Jazz at Kitano 8, 10 pm $10êLage Lund Trio with Orlando Le Fleming, Johnathan Blake Bar Next Door 8:30 pm $12• Sacha Perry Trio with Chris Mees, Ai Murakami; Jeremy Manasia Trio with Barak Mori, Charles Ruggerio; Helen Sung Group; Carlos Abadie Smalls 4, 7, 9 pm 12 am $20• Hunter/Gatherers: John Morton, David Simons, Denman Maroney, Lisa Karrer; Suzanne Thorpe The Stone 8, 10 pm $10• Mark Dresser; Dave Allen Quartet with David Binney, Drew Gress, Jeff Ballard ShapeShifter Lab 8 pm• SPOKE: Andy Hunter, Justin Wood, Dan Loomis, Danny Fischer; Pete McGuinness Jazz Orchestra with Dave Pietro, Charles Pillow, Tom Christensen, Jason Rigby, Dave Reikenberg, Tony Kadlek, Jon Owens, Bill Mobley, Chris Rogers, Bruce Eidem, Mike Christianson, Mark Patterson, Jeff Nelson, Mike Holober, Andy Eulau, Scott Neumann Somethin’ Jazz Club 7, 9 pm $10• Angela Davis Trio Tomi Jazz 9 pm $10• Dan Furman Trio Cleopatra’s Needle 7 pm• Celebrating Stanley Turrentine: Myron Walden Group with Jerry Weldon Dizzy’s Club 7:30, 9:30 pm $30êMichael Feinberg Quintet with Donny McCaslin, Leo Genovese, Tim Hagans, Ian Froman Birdland 6 pm $20êDave Liebman Group Birdland 8:30, 11 pm $30-40• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Dre Barnes Project; Randy Jonhston Trio The Garage 6, 10:30 pm• The Black Butterflies Shrine 6 pmêDaryl Sherman Bryant Park 12:30 pm

bobby mcferrin Photo by Platon

Preferred Card of Jazz at Lincoln Center

J A Z Z A T L I N C O L N C E N T E R

S E P 1 3 – 1 58 PM

S E P 2 8 – 2 97:30 PM

& 9 :30 PM

o p e n i n g n i g h t

b O b b y m C f E R R I N : m y A u d I O b I O g R A p h yJazz at Lincoln Center Orchestra with Wynton Marsalis

J A m E s C O T T O N ‘ s u p E R h A R p ’ b A N d

S E P 2 8 – 2 9 8 PM

T O O T s T h I E L E m A N s : C E L E b R A T I N g 9 0 y E A R swith Herbie Hancock, Kenny Werner, Oscar Castro-Neves, Eliane Elias, and Dori Caymmi

b O X O f f I C E B r o a d w a y a t 6 0 T h

C E N T E R C h A R g E 2 1 2 - 7 2 1 - 6 5 0 0

b R A d m E h L d A u : s O L O

K u R T E L L I N g

O C T 5 – 67:30 PM & 9 :30 PM

O C T 1 2 – 1 37:30 PM

& 9 :30 PM

O C T 1 2 – 1 38 PM

m A R C u s R O b E R T s : R O m A N C E , s w I N g A N d T h E b L u E s

j a lc .org

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THE NEW YORK CITY JAZZ RECORD | September 2012 45

Friday, September 14êDan Tepfer’s Goldberg Variations / Variations Greenwich House Music School 8 pm $12êInner Circle Festival: Petros Klampanis Trio with Lefteris Kordis, Ziv Ravitz; Greg Osby 6 with Sara Serpa, André Matos, JB Jangeun Bae, Joe Lepore, John Davis Cornelia Street Café 9, 10:30 pm $15êJoshua Light Show with guests John Zorn, Lou Reed, Bill Laswell, Milford Graves Skirball Center 10 pm $20-68êOliver Lake 70th Birthday Celebration: Oliver Lake Big Band with James Stewart, Mike Lee, Darius Jones, Bruce Williams, Jason Marshall, Freddie Hendrix, Waldron Ricks, Peck Allmond, EJ Allen, Aaron Johnson, Stafford Hunter, Al Paterson, Terry Greene, Yoichi Uzeki, Robert Sabin, Chris Beck Jazz Standard 7:30, 9:30, 11:30 pm $30êMarlena Shaw and The DIVA Jazz Orchestra with guests Dizzy’s Club 7:30, 9:30 pm $40• Stay Human Trio Dizzy’s Club 11:30 pm $20• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Smoke 8, 10, 11:30 pm $35êDena DeRose Trio with Dwayne Burno, Steve Williams Jazz at Kitano 8, 10 pm $25• Sam Raderman, Luc Decker, Nial Djuliarso; Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Anthony PinciottiSmalls 4, 7:30, 10 pm $20êFONT: Adam O’Farrill Group with Luis Perdomo, Burniss Traviss, Nasheet Waits and guest The Jazz Gallery 9, 10:30 pm $20êJason Rigby Double Drums with Mark Ferber, Jeff Davis; Jeff Davis Trio with Russ Lossing, Eivind Opsvik I-Beam 8:30 pm $10• International Contemporary Ensemble Roulette 8 pm $10êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5êAngelika Niescier, Denman Maroney, James Ilgenfritz, Andrew Drury Spectrum 9 pm• Nick Moran Trio with Brad Whitely, Chris Benham Bar Next Door 7:30, 9:30, 11:30 pm $12• NewBorn Trio: Katie Down, Jeffrey Lependorf, Miguel Frasconi; Band5: Chris Cochrane, Roger Kleier, Richard Carrick, Miguel Frasconi, Annie Gosfield The Stone 8, 10 pm $10• Andrew Sheron ShapeShifter Lab 8 pm• Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25• Luiz Simas/Freddie Bryant Duo; Jeff McLaughlin Trio Somethin’ Jazz Club 7, 9 pm $10• Wade Barnes Quartet Cleopatra’s Needle 8 pm• Moth To Flame Shrine 8 pmêMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120• Scott Henderson, Jeff Berlin, Mike Clark Iridium 8, 10 pm $30êDave Liebman Group Birdland 8:30, 11 pm $30-40• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Kyoko Oyobe Trio; Hot House The Garage 6:15, 10:45 pmêDaryl Sherman Bryant Park 12:30 pm

Saturday, September 15êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Geri Allen Jazz Standard 7:30, 9:30, 11:30 pm $30• John Zorn Improv Night The Stone 8 pm $25êEllery Eskelin Quartet with Marc Copland, Drew Gress, Gerald Cleaver Cornelia Street Café 9, 10:30 pm $15êFONT: Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano, Chad Taylor The Jazz Gallery 9, 10:30 pm $20êSam Newsome/Ethan Iverson Greenwich House Music School 8 pm $12êJoe Fonda/Michael Jefry Stevens Group with Herb Robertson, Harvey Sorgen The Loft of Thomas Rochon 8 pm • Marko Djordjevic Trio with Tivon Pennicott, Des White Bar Next Door 7:30, 9:30, 11:30 pm $12• Kris Bowers and Carson Adjacent Joe’s Pub 9:30 pm $15• Tommy Campbell’s Vocal-Eyes with Miles Griffith, Carolyn Leonhart, Helio Alves, Richie Goods ShapeShifter Lab 8 pm• Iron Eagle Pearring Knife: Jeff Pearring, Adam Caine, Brian Questa, Todd Capp I-Beam 8:30 pm $10

• Frank Owens Singers with Kumiko Yamakado, Jo Marchese, Ira Lee Collings Zeb’s 7 pm $10 • Aaron Ward’s NuGen Jazz Project with Keith Curbow, Joe Alterman, Jim Bloom; Luiz Simas/Freddie Bryant Duo; Arun Luthra Quartet with Steve Barry Somethin’ Jazz Club 5, 7, 9 pm $10• Scot Albertson/Keith Ingham; Benjamin Servenary Trio Tomi Jazz 8, 11 pm $10• Swingadelic Swing 46 8:30 pm• Larry Newcomb Quartet Cleopatra’s Needle 8 pmêMarlena Shaw and The DIVA Jazz Orchestra with guests Dizzy’s Club 7:30, 9:30 pm $40• Stay Human Trio Dizzy’s Club 11:30 pm $20• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Smoke 8, 10, 11:30 pm $35êDena DeRose Trio with Dwayne Burno, Steve Williams Jazz at Kitano 8, 10 pm $25• Tom Tallitsch with Dave Allen, Art Hirahara, Peter Brendler, Mark Ferber; Don Friedman Quartet with Mel Martin, Phil Palombi, Shinnosuke Takahashi; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Anthony Pinciotti Smalls 4, 7:30, 10 pm $20êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120• Scott Henderson, Jeff Berlin, Mike Clark Iridium 8, 10 pm $30êDave Liebman Group Birdland 8:30, 11 pm $30-40• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Larry Newcomb Trio; Mark Marino Trio; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

Sunday, September 16êInner Circle Festival: Aubrey Johnson Group with Malcolm Campbell, Zach Brown, Lee Fish; Evan Weiss Group with Matt Marantz, Michael Palma, Steve Pruitt; JB Jangeun Bae Trio with Daniel Foose, Ross Pederson and guest; Joseph Lepore with Lucas Pino, JB Jangeun Bae, Luca Santaniello; Melissa Aldana with Felix Lecaros, Pablo Menares ShapeShifter Lab 6 pm• The Prisoner: Ingrid Laubrock, Mat Maneri, Jeff Davis Barbès 8 pm $10êRalph Alessi, Kris Davis, Owen Howard Sycamore 8 pm• Jimmy Bruno/Howard Alden Smalls 7:30 pm $20• Rogerio Souza with Billy Newman, Leonardo Lucini, Ranjan Ramchandani, Dennis Lichtman Cornelia Street Café 8:30 pm $10• Peter Leitch Duo Walker’s 8 pm• Attention Screen: Liam Sillery, Bob Reina, Chris Jones, Mark Flynn; Francois Grillot Ensemble with Claire de Brunner, Brian Groder, Blaise Siwula ABC No-Rio 7 pm $5êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Geri Allen Jazz Standard 7:30, 9:30 pm $30êMarlena Shaw and The DIVA Jazz Orchestra with guests Dizzy’s Club 7:30, 9:30 pm $35• Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Blue Note 8, 10:30 pm $35êFred Hersch Trio with John Hébert, Eric McPherson Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Peter Whitehead; The Home of Easy Credit: Louise Dam Eckardt Jensen/Tom Blancarte Downtown Music Gallery 6 pm• Ike Sturm Ensemble Saint Peter’s 5 pm• Juilliard Jazz Brunch - The Voice of the Saxophone with Mike Thomas, Robert Haight, Chris Ziemba, John Tate, Jeremy Noller Blue Note 12:30, 2:30 pm $29.50• Carol Sudhalter’s Astoria Jazz Band with guest Sarah McLawler Grace Lutheran Church 2 pm• Emily Braden Trio with Theo Hill, Ryan Berg North Square Lounge 12:30, 2 pm• Maurício de Souza Quartet with Nancy Harms, Yotam Silberstein, Iris Ornig The Lamb’s Club 11:30 am• Evan Schwam Quartet; David Coss Quartet The Garage 11:30 am 7 pm

Monday, September 17êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êBucky Pizzarelli and Gene Bertoncini with Les Paul Trio Iridium 8, 10 pm $35• Young Lions Quintet: Stacy Dillard, Zaccai and Luques Curtis, EJ Strickland Dizzy’s Club 7:30, 9:30 pm $25êPeter Bernstein solo; Aaron Parks Group; Spencer Murphy Smalls 7:30, 9 pm 12 am $20êAndrew D’Angelo Group; Matt Garrison; Dan Tepfer Trio with Jorge Roeder, Ted Poor ShapeShifter Lab 8 pm• Carl Maguire’s Floriculture with Stephanie Griffin, Oscar Noriega, John Hébert, Dan Weiss Cornelia Street Café 8:30 pm $10• Jonathan Golberger/Harris Eisenstadt; Juan Pablo Carletti Trio with Michael Attias, Eivind Opsvik Sycamore 8:30 pm $10• Gato Loco ZirZamin 10 pm• Romain Collin Blue Note 8, 10:30 pm $15• Magos Herrera Trio with Nir Felder, George Schuller Bar Next Door 8:30 pm $12• Natalia Bernal Quartet; Samuel Torres Quartet Zinc Bar 7, 9 pm• Asuka Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm• Howard Williams Jazz Orchestra; Kenny Shanker Quartet The Garage 7, 10:30 pm• Antonio Ciacca The Bar on Fifth 8 pm• Dan Manjovi Bryant Park 12:30 pm

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Lighthouse/Lightning Rod and Griot New York (excerpts) sep 27—30

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BAM 30th Next Wave Festival Sponsor Lighthouse/Lightning Rod and Griot New York (excerpts) are part of Diverse Voices at BAM sponsored by:

BaM.orgBrooklyn, NY / Tickets start at $20

46 September 2012 | THE NEW YORK CITY JAZZ RECORD

Tuesday, September 18êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Andrew Cyrille Birdland 8:30, 11 pm $30-40• Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25êEd Cherry Trio with Pat Bianchi, Byron Landham Jazz Standard 7:30, 9:30 pm $20• Charenee Wade and Aaron Diehl Trio Dizzy’s Club 7:30, 9:30 pm $25• John Raymond Quartet Dizzy’s Club 11 pm $10• Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian NYC Baha’i Center 8, 9:30 pm $15• NuSkuMu - Three Generations of New School Alumni: Moon Hooch: Mike Wilbur, Wenzl McGowen, James Muschler; Corey King and Taffy with Takuya Kuroda, Max Siegel, Leo Genovese, Adam Agati, Vicente Archer, Adam Jackson; Peter Bernstein with Sam Yahel, Grégoire Maret, Dwayne Burno, Greg Hutchinson Highline Ballroom 8 pm $15êRespect Sextet: Eli Asher, James Hirschfeld, Malcolm Kirby, Ted Poor, Josh Rutner, Red Wierenga; Loadbang Le Poisson Rouge 7:30 pm $15êHarris Eisenstadt September Trio with Angelica Sanchez, Ellery Eskelin Cornelia Street Café 8:30 pm $10• Sean Sondregger; Pete Karp The Stone 8, 10 pm $10• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits Douglass Street Music Collective 8 pm $10• Spike Wilner solo; Rodrigo Villanueva Group with Adam Birnbaum, Eddie Gomez; Frank Lacy, Josh Evans, Theo Hill Smalls 6:30, 9 pm 12 am $20êJasmine Lovell-Smith’s Towering Poppies with Cat Toren, Russell Moore, Patrick Reid, Kate Pittman; Julian Pollack Trio with Noah Garabedian, Evan Hughes Korzo 9, 10:30 pm $5• Anders Nilsson Band with David Ambrosio, Daniel Kelly, Brahim Fribgane, Rob Garcia; Hannah Read Band ShapeShifter Lab 7:30 pm• Matt Marantz Trio with Sam Harris, Greg Ritchie Bar Next Door 8:30, 10:30 pm $12• Frank Vignola/Vinny Raniolo ZirZamin 7:30 pmêJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm• Steven Feifke solo Jazz at Kitano 8, 10 pm $25• Lou Caputo Not So Big Band; Bossa Brasil: Maurício de Souza, Ben Winkelman, Joonsam Lee The Garage 7, 10:30 pm• Antonio Ciacca The Bar on Fifth 8 pm• Tim Lancaster Shrine 6 pm• Dan Manjovi Bryant Park 12:30 pm

Wednesday, September 19êSonny Fortune/Sharel Cassity Quintet Dizzy’s Club 7:30, 9:30 pm $35• John Raymond Quartet Dizzy’s Club 11 pm $10• FONT: Dave Douglas Quintet with guest Aoife O’Donovan 92YTribeca 8 pm $15• Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project Harlem Stage Gatehouse 7:30 pm $30• David Kikoski Zinc Bar 8, 10 pmêRed Baraat Le Poisson Rouge 8:30 pm $20êNate Wooley/Mazen Kerbaj Issue Project Room 8 pm $10• Rob Garcia with David Liebman, Craig Taborn, Chris Lightcap; Jamale Davis with Shimrit Shoshan, Charles Goold Smalls 9 pm 12 am $20êJim Black Trio with Thomas Morgan, Teddy Klausner Cornelia Street Café 8:30 pm $10• David Orr with Roy Nathanson, Lloyd Miller, Curtis Fowlkes; Marc Ribot/Roy Nathanson The Stone 8, 10 pm $10• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Joe Dyson and guest Davell Crawford Jazz Standard 7:30, 9:30 pm $25• Jean-Michel Pilc/Perry Smith Caffe Vivaldi 8:30 pm• Jeff Davis’ Denver General with Kirk Knuffke, Jonathan Goldberger Barbès 8 pm $10• Tyler Blanton Group with Donny McCaslin, Matt Clohesy, Nate Wood ShapeShifter Lab 8 pm• Ken Fowser Sextet Smoke 7, 9, 10:30 pm• Iris Ornig Quartet with Mike Rodriguez, Helen Sung, Jerome Jennings Jazz at Kitano 8, 10 pm $10• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits Seeds 8 pm $10• Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber and guest Zach Brock 55Bar 7 pm• Jostein Gulbrandsen with Gian Tornatore, Rodrigo Villanueva, Eddy Khaimovich Somethin’ Jazz Club 9 pm $10êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Andrew Cyrille Birdland 8:30, 11 pm $30-40• Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45• Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Rob Edwards; Bryan Carter Trio The Garage 6, 10:30 pm• KARL 2000 Shrine 6 pm• Ralph Hamperian’s Tuba D’Amore with Bob Albanese, Will Woodard, Jeff Brillinger Saint Peter’s 1 pm $10• Dan Manjovi Bryant Park 12:30 pm

Thursday, September 20êRudresh Mahanthappa’s Codebook with Craig Taborn, Francois Moutin, Dan Weiss Brooklyn Conservatory of Music 7, 9 pm $25êFONT: The Spaces In Between with São Paulo Underground University Settlement 8 pm• Raya Brass Band; Michael Kammers’ MK Groove Orchestra; Natalie Cressman The Paper Box 9 pm $10• Curtis Fowlkes/Tracy Morris; Truth Thomas and Friends The Stone 8, 10 pm $10• Clarence Penn Quartet with Jaleel Shaw, Donald Vega, Yasushi Nakamura Jazz at Kitano 8, 10 pm $10• Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; Pete Zimmer Group with Mike Rodriguez, Peter Bernstein, Toru Dodo, David Wong; Bruce Harris/Alex Hoffman Group Smalls 4, 7, 9 pm 12 am $20• Colin Stranahan, Glenn Zaleski, Rick Rosato The Jazz Gallery 9, 10:30 pm $15• Intepretations: David Behrman; Tim Brady Roulette 8:30 pm $15• Julian Shore with Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, Alexa Barchini, Phil Donkin, Tommy Crane Cornelia Street Café 8:30 pm $10• Jake Saslow Trio with Linda Oh, Mark Ferber Bar Next Door 8:30 pm $12• Good Vibrations - Theremin x 4: Dorit Chrysler; Michael Evans; Rob Schwimmer; Allison Sniffin Joe’s Pub 9:30 pm $15• Joe Sanchez Group; Dean Brown Workshop ShapeShifter Lab 8 pm• Broken Reed Saxophone Quartet ZirZamin 7:30 pm• Bob Rodriguez with Lee Marvin, Bruce Ditmas; Christiana Drapkin/Charles Sibirsky; Straight Street: Sam Dillon, Nick Mauro, Shinya Yonezawa, Steven Mooney, Paris Wright Somethin’ Jazz Club 7, 9, 11 pm $10• Kay Matsukawa Tomi Jazz 9 pm $10• Justin Lees Trio Cleopatra’s Needle 7 pmêSonny Fortune/Sharel Cassity Quintet Dizzy’s Club 7:30, 9:30 pm $35• Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project Harlem Stage Gatehouse 7:30 pm $30• David Kikoski Zinc Bar 8, 10 pm• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Joe Dyson and guest Davell Crawford Jazz Standard 7:30, 9:30 pm $25• Andy Ezrin Quartet Birdland 6 pm $20êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Andrew Cyrille Birdland 8:30, 11 pm $30-40• Stanley Clarke/Hiromi Duo; Gadi Lehavi solo Blue Note 6:30, 8, 10:30 pm $45êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Harlem Speaks: Roy Eaton Jazz Museum in Harlem 6:30 pm• George Weldon Trio; Andrew Hadro Quartet The Garage 6, 10:30 pm• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Jeff Davis Shrine 6 pm• Dan Manjovi Bryant Park 12:30 pm

Friday, September 21êMuhal Richard Abrams solo and Quartet with Jack Walrath, Bryan Carrott, Brad Jones Community Church of New York 8 pm $25êErik Friedlander Barbès 8 pm $10êLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto Jazz at Kitano 8, 10 pm $25• Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, Kush Aberdey Smoke 8, 10, 11:30 pm $30• Sam Raderman, Luc Decker, Nial Djuliarso; Ralph LaLama’s Bop-Juice; Montez Coleman Group Smalls 4, 7:30, 10 pm $20êFONT: TILT Brass Ensemble University Settlement 8 pm• Wayne Krantz with Keith Carlock, Nate Wood Highline Ballroom 8 pm $25-55• Pedro Giraudo Jazz Orchestra with Will Vinson, Todd Bashore, Luke Batson, John Ellis, Carl Maraghi, Jonathan Powell, Tatum Greenblatt, Miki Hirose, Scott Wendholt, Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, Jess Jurkovic, Jeff Davis, Paulo Stagnaro The Jazz Gallery 9, 10:30 pm $20• Ben Waltzer Trio with Dwayne Burno, Gerald Cleaver Cornelia Street Café 9, 10:30 pm $15• Jonathan Batiste Trio Rubin Museum 7 pm $20• Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5• Melissa Aldana Trio with Joseph Lepore, Robert Gatto Bar Next Door 7:30, 9:30, 11:30 pm $12• Geoff Countryman and The Buffalo Band with Chris Bonner, Sean Fitzpatrick, Joe Ancowitz, Spencer Cohen, Tyler McDiarmid The Firehouse Space 8 pm $10• Beat Kaestli’s Vocal Summit with Melissa Stylianou, Elisabeth Lohninger, Magos Herrera, Clarice Assad, Jamie Reynolds; E.S.P.: Matthew Vacanti, John Magnante, Loraine Faina; Jeron White Quintet with Dimitri Nassar, Shannon Cottman, Sam King, Kevin Thornton Somethin’ Jazz Club 7, 9, 11 pm $10• Kayo Hiraki Tomi Jazz 9 pm $10• Masami Ishikawa Trio Cleopatra’s Needle 8 pm

• Joyce with Dom Salvador, Chico Pinheiro, Helio Alves Dizzy’s Club 7:30, 9:30 pm $40• John Raymond Quartet Dizzy’s Club 11:30 pm $20• Deidre Rodman and Friends; Sam Bardfeld/Napoleon Maddox The Stone 8, 10 pm $10• NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits; Ohad Talmor, Chris Benedict, Zack Lober, Dan Weiss I-Beam 8:30, 10 pm $10• Ron Jackson Group ShapeShifter Lab 8 pm $15• Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25• Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project Harlem Stage Gatehouse 7:30 pm $30• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Joe Dyson and guest Davell Crawford Jazz Standard 7:30, 9:30, 11:30 pm $30êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Andrew Cyrille Birdland 8:30, 11 pm $30-40• Stanley Clarke/Hiromi Duo; Gadi Lehavi solo Blue Note 6:30, 8, 10:30 pm $45êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• New Tricks; Kevin Dorn and the Big 72 The Garage 6:15, 10:45 pm• Dan Manjovi Bryant Park 12:30 pm

Saturday, September 22êFanfare Ciocărlia Schimmel Center for the Arts 7:30 pm $35êKaren Mantler with Kato Hideki, Doug Wieselman Barbès 8 pm $10êSotto Voce: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Tim Kiah, Napoleon Maddox with guests Jeff Friedman, Ross Gay, Judith Vollmer, Gerald Stern, Anne Marie Marcarie The Stone 8, 10 pm $10êSatoko Fujii/Natsuki Tamura; Colonic Youth: Kevin Shea, James Ilgenfritz, Philip White, Dan Blake Douglass Street Music Collective 8 pm $10êParadoxical Frog: Ingrid Laubrock, Kris Davis, Tyshawn Sorey The Jazz Gallery 9, 10:30 pm $20êNasheet Waits Equality Band with Logan Richardson, Craig Taborn, Mark Helias Cornelia Street Café 9, 10:30 pm $15• Marcus Miller with Alex Han, Federico Gonzalez Peña, Adam Agati, Louis Cato BB King’s Blues Bar 7:30, 10 pm $40• Antonio Hart Quartet Sistas’ Place 8, 10 pm $25• Jack Wilkins, Andy McKee, Mike Clark Bar Next Door 7:30, 9:30, 11:30 pm $12• Art Bailey Trio with Michael Bates, Owen Howard; Stephen Gauci Quintet with Kirk Knuffke, Art Bailey, Mike Bisio, Nathan Ellman-Bell I-Beam 8:30 pm $10• Matt DiGiovanna Group with Adam Kromelow, Jason Burger ShapeShifter Lab 8 pm• Alon and Words Beyond Trio with Francois Moutin, Dan Weiss and guest Donny McCaslin The Firehouse Space 8 pm $10• Donna Singer with Doug Richards Trio University of the Streets 8 pm $20• Sean Ali/David Grollman Fester 8 pm• Ross Kratter Big Band with Sam Torres, Robby Mack, Keith Curbow, Casey Berman, Lauren Wood, Enrique Sanchez, Dan Filstrup, Kate Amrine, Aaron Ward, Eric Iannucci, Kevin Virgilio, Kyle Molitor, Jason Silva, Rahm Silverglade, Eli Rojas; Eliane Amherd; Mike Treat Quintet with Adam Ramsay, Matt Podd, Willie Harvey, Chris Earley, Diana Yourke Somethin’ Jazz Club 5, 7, 9 pm $10• Shoko Amano Trio; Mayuka Ezure Tomi Jazz 8, 11 pm $10• Young Joo Song Trio Cleopatra’s Needle 8 pmêLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto Jazz at Kitano 8, 10 pm $25• Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, Kush Aberdey Smoke 8, 10, 11:30 pm $30• Falkner Evans with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson; Richie Vitale Quintet; Montez Coleman Group Smalls 4, 7:30, 10 pm $20• Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5• Joyce with Dom Salvador, Chico Pinheiro, Helio Alves Dizzy’s Club 7:30, 9:30 pm $40• John Raymond Quartet Dizzy’s Club 11:30 pm $20• Vijay Iyer/Mike Ladd’s Holding It Down: the Veteran’s Dreams Project Harlem Stage Gatehouse 7:30 pm $30• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Joe Dyson and guest Davell Crawford Jazz Standard 7:30, 9:30, 11:30 pm $30êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Andrew Cyrille Birdland 8:30, 11 pm $30-40• Stanley Clarke/Hiromi Duo; Gadi Lehavi solo Blue Note 6:30, 8, 10:30 pm $45êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Guilhem Flouzat Shrine 6 pm• Marsha Heydt Quartet; Champian Fulton Trio; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

Questionable Creaturesout 9.11.12 on DeSoto Sound Factorydesotoinc.com

matthewsilberman.com

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release PartyShapeShifter Lab Tues, Sept. 25th, 7pm with Ryan Ferreira Solo& Jeremy Udden‘s Plainville

18 Whitwell Pl, Brooklyn

Photo©Todd Weinstein

CORNELIA STREET CAFESaturday, Sept. 29th / 6pm29 Cornelia StreetReservations (212) 989 9319

Deborah Latz Trio SeriesDeborah Latz, voxJon Davis, pianoJohn Hart, guitar

“...few are in Deborah Latz’s league...” — L.A. Jazz Scene www.deborahlatz.com

THE NEW YORK CITY JAZZ RECORD | September 2012 47

Sunday, September 23êFONT: Natsuki Tamura/David Miller; Josh Deutsch/Nico Soffiato Village Zendo 7 pmêTony Malaby’s Novela with Michael Attias, Joachim Badenhorst, Andrew Hadro, Ralph Alessi, Ben Gerstein, Dan Peck, Kris Davis, Tom Rainey Greenwich House Music School 8 pm $12êMichael Sarin Quartet with Brad Shepik, Russ Lossing, Jerome Harris Sycamore 8 pm• Two of Anything: JP Schlegelmilch, Jeremy Viner, Jesse Stacken, Eivind Opsvik, Jason Nazary; For the Mill: Jesse Stacken, Andrew D’Angelo, Josh Sinton, Mike Pride ShapeShifter Lab 7:30, 9 pm $10• Lezlie Harrison Smalls 7:30 pm $20• Peter Leitch/Dwayne Burno Walker’s 8 pm• Jonah Rosenberg/Aleks Karjaka; Herb Robertson, Bob Ackerman, Bob Hovey, Jim Yanda, Chris Lough, Jay Rosen ABC No-Rio 7 pm $5• The Luddites The Stone 8, 10 pm $10• Daryl Shawn The Firehouse Space 8 pm $10• Swingadelic Swing 46 8:30 pm• Joyce with Dom Salvador, Chico Pinheiro, Helio Alves Dizzy’s Club 7:30, 9:30 pm $35• Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Joe Dyson and guest Davell Crawford Jazz Standard 7:30, 9:30 pm $25• Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Juan Pablo Carletti/Daniel Levin Downtown Music Gallery 6 pm• Aaron Diehl Trio Saint Peter’s 5 pm• Kinya Sogawa’s Shakuhachi Exploration with guests Ned Rothenberg, Elizabeth Brown, Ralph Samuelson, Laurie Sogawa Roulette 5 pm $15• Women of the World: Ayumi Ueda, Annette Philip, Giorgia Renosto, Débòrah Pierre, Hinako Sato, Sara Cristal Peña-Coffin, Shirazette Tinnin, Noriko Terada, Kazuyo Kuriya, Sue Buzzard Blue Note 12:30, 2:30 pm $29.50• Roz Corral Trio with Paul Meyers, Santi Debriano North Square Lounge 12:30, 2 pm• Iris Ornig Quartet; David Coss Quartet; Dave Kain Group The Garage 11:30 am 7, 11:30 pm

Monday, September 24êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo Blue Note 6:30, 8, 10:30 pmêMingus Big Band Jazz Standard 7:30, 9:30 pm $25• Etienne Charles’ Kaiso Dizzy’s Club 7:30, 9:30 pm $25êIdeal Bread: Josh Sinton, Kirk Knuffke, Richard Giddens, Tomas Fujiwara Pete’s Candy Store 8 pm $10

• Tony Malaby, Juan Pablo Carletti, Chris Hoffman; CACAW!!!: Landon Knoblock, Oscar Noriega, Jeff Davis Sycamore 8:30 pm $10• Foolish Hearts Duo: Peter Eldridge/Matt Aranoff Bar Next Door 8:30 pm $12• Jarrett Cherner; Alexis Cuadrado Group with Miguel Zenón, Claudia Acuña, Dan Tepfer, Mark Ferber; Ari Hoenig Group with Tivon Pennicott, Glenn Zaleski, Noam Wiesenberg; Spencer Murphy Smalls 7:30, 9 pm 12 am $20êSean Noonan Double String Quartet with Mat Maneri, Jason Kao Hwang, Tom Swafford, David West Roulette 8 pm $10-15• James Shipp with James Shipp, Gilad Hekselman, Rogerio Boccato, Becca Stevens, Jean Rohe, Ivan Goff ShapeShifter Lab 8 pm• Gato Loco ZirZamin 10 pm• Jon Madof’s Zion80 The Stone 9 pm $10 • Mike Webster’s Leading Lines Tea Lounge 9, 10:30 pm• Dida Pelled Zinc Bar 7 pm $8• Jon Davis The Bar on Fifth 8 pm• Howard Williams Jazz Orchestra; Alex Brown Trio The Garage 7, 10:30 pm• Yuka Aikawa Bryant Park 12:30 pm

Tuesday, September 25êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Birdland 8:30, 11 pm $30-40• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30 pm $25êCecile McLorin Salvant and Aaron Diehl Trio Dizzy’s Club 7:30, 9:30 pm $25• Rodney Green Trio Dizzy’s Club 11 pm $10• Santi Debriano Quartet NYC Baha’i Center 8, 9:30 pm $15• Victor Jones Trio Zinc Bar 8, 10 pmêLine of Swords: Josh Roseman, Bill McHenry, Ben Monder, Nasheet Waits; Jon Irabagon Trio with Mark Helias, Barry Altschul Korzo 9, 10:30 pm $5• Joanna Wallfisch/Art Hirahara; Will Vinson Quartet with Aaron Parks, Matt Brewer, Jochen Rueckert; Jared Gold Trio with Dave Stryker, McClenty Hunter Smalls 6:30, 9 pm 12 am $20• Leif Arntzen Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis Cornelia Street Café 8:30 pm $10• Ryan Ferreira solo; Matthew Silberman and Press Play with Ryan Ferreira, Greg Ruggiero, Christopher Tordini, Tommy Crane; Jeremy Udden’s Plainville with Pete Rende, Ryan Scott, Eivind Opsvik, Michael Sarin ShapeShifter Lab 7 pm $10• Le Boeuf Brothers Trio Bar Next Door 8:30, 10:30 pm $12• Frank Vignola/Vinny Raniolo ZirZamin 7:30 pm• David Watson, Chris Cochrane, Abraham Gomez-Delgado; Iron Dog: Sarah Bernstein, Stuart Popejoy, Andrew Drury The Backroom 8:30 pm $10• Maurício de Souza Quartet with Emma Larsson, Ben Winkelman, Gary Mazzaroppi The Lamb’s Club 7:30 pm

• Cecilia Coleman Big Band; Justin Lees Trio The Garage 7, 10:30 pm• Jack Wilkins/Tim Cummisky Bella Luna 8 pm• Steven Feifke solo Jazz at Kitano 8, 10 pm $25• Ali Carter’s The Alicats Somethin’ Jazz Club 9 pm $10êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo Blue Note 6:30, 8, 10:30 pm• Jon Davis The Bar on Fifth 8 pm• Yuka Aikawa Bryant Park 12:30 pm

Wednesday, September 26• Lawrence Clark Quartet with Jarod Kashkin, Eric Wheeler, Thomas Galliano; Jeff “Tain” Watts 4 with Marcus Strickland, Osmany Paredes, Chris Smith Zinc Bar 7, 9, 10:30 pm 12 am• Roy Ayers Blue Note 8, 10:30 pm $35• Ali Jackson New Generation Dizzy’s Club 7:30, 9:30 pm $30• Rodney Green Trio Dizzy’s Club 11 pm $10êPepper Adams Festival: Alexis Cole Quintet with Eric Alexander Smoke 7, 9, 10:30 pmêFONT: Dave Chisholm’s Calligraphy; Bruce Harris Group; Jon Crowley’s Heart of Darkness Smalls 7:30, 9, 10:30 pm $20• Billy Drummond’s Freedom of Ideas with Dezron Douglas, Don Vega Cornelia Street Café 8:30 pm $10• Ari Hoenig Group with Orlando Le Fleming; Naked Truth ShapeShifter Lab 8 pm• Terrence McManus’ Obsessive Propulsive with Mat Maneri, Tom Rainey Barbès 8 pm $10êMichael Bates Quartet with Tony Malaby, Russ Lossing, Jeff Davis; Michael Blake Band with Landon Knoblock, Michael Bates, Greg Ritchie and guest Daniele Richiedei I-Beam 8:30, 10 pm $10• Chiemi Nakai Trio with Luques Curtis, Steve Berrios Jazz at Kitano 8, 10 pm $10• Zach Brock ZirZamin 9:30 pm• Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini; Empyrean Atlas: David Crowell, Andrew Smiley, Ryan Ferreira, Greg Chudzik, Jason Nazary Sycamore 8:30, 10 pm $10• Mia Zabelka solo University of the Streets 8 pm $10• Alexis Parsons Somethin’ Jazz Club 7 pm $10• Bouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Birdland 8:30, 11 pm $30-40• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30 pm $25• Jon Davis The Bar on Fifth 8 pm• Nick Moran Trio; Paul Francis Trio The Garage 6, 10:30 pm • Jonas Tauber Shrine 6 pm• Aaron Diehl Saint Peter’s 1 pm $10• Yuka Aikawa Bryant Park 12:30 pm

48 September 2012 | THE NEW YORK CITY JAZZ RECORD

Thursday, September 27êSex Mob plays Nino Rota: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen Winter Garden 7 pmêPharoah Sanders Quartet with Joe Farnsworth Dizzy’s Club 7:30, 9:30 pm $35• Garth Fagan Dance/Wynton Marsalis Septet BAM Howard Gilman Opera House 7:30 pm $20 • Andy Laster; Anthony Coleman The Stone 8, 10 pm $10• Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth Smoke 8, 10, 11:30 pm $30êJim Black Trio with Chris Tordini, Teddy Klausner; Steve Coleman Workshop ShapeShifter 8 pm• Oz Noy Trio with John Patitucci, Jeff “Tain” Watts 55Bar 10 pm• Akio Suzuki, Gozo Yoshimasu, Otomo Yoshihide Issue Project Room 8 pm $15• Ravish Momin; Michael Kammers’ MK Groove Orchestra; No Small Money Brass Band The Paper Box 9 pm $10• Dan Blake’s Aquarian Suite with Jason Palmer, Jorge Roeder, Richie Barshay Greenwich House Music School 8 pm $12êFONT: Alicia Rau’s aRAUz; John Raymond Group; David Weiss Sextet with Marcus Strickland, Tim Green, Xavier Davis, EJ Strickland Smalls 7:30, 9, 10:30 pm $20• Billy Test Quartet with Marc Mommaas, Boris Kozlov, Tony Moreno Jazz at Kitano 8, 10 pm $10êJoe Phillips’ Numinous/DELIRIOUS Dances Irondale Center 8 pm $20• Maria Rivas Zinc Bar 9, 10:30 pm 12 am• Tom Chang Quartet with Jason Rigby, Sam Trapchak, Jeff Davis Cornelia Street Café 8:30 pm $10• Sacha Perry Trio with Chris Mees, Ai Murakami; Carlos Abadie Smalls 4 pm 12 am $20• Rondi Charleston Joe’s Pub 7:30 pm $20• Nobuki Takamen Trio with John Lenis, Utaka Uchida Bar Next Door 8:30 pm $12• Liam Sillery Trio with Jesse Stacken, Eivind Opsvik; Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, Daniel Foose, Maiko Uchida Somethin’ Jazz Club 7, 9 pm $10• Tomoyasu Ikuta Trio Tomi Jazz 9 pm $10• Michika Fukumori Trio Cleopatra’s Needle 7 pm• Roy Ayers Blue Note 8, 10:30 pm $35êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Birdland 8:30, 11 pm $30-40• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30 pm $25• Jon Davis The Bar on Fifth 8 pm• Harlem Speaks: George Gee Jazz Museum in Harlem 6:30 pm• Champian Fulton Trio; Alan Chaubert Trio The Garage 6, 10:30 pm• Yuka Aikawa Bryant Park 12:30 pm

Friday, September 28êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata Rose Hall 8 pm $30-120• Sam Raderman, Luc Decker, Nial Djuliarso; Frank Basile Sextet plays the music of Pepper Adams with Adam Birnbaum, Joe Magnarelli, David Wong, John Mosca, Tim Horner, Frank Basile; Jonathan Kreisberg Group with Will Vinson, Joe Martin, Mark Ferber Smalls 4, 7:30, 10 pm $20• Judi Silvano Trio with Ratzo B. Harris, Newman Taylor-Baker; The Jazz Passengers: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware, Brad Jones, EJ Rodriguez The Stone 8, 10 pm $10• Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Helen Sung, Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25êLuis Bonilla, Bruce Barth, Andy McKee Knickerbocker Bar and Grill 9:45 pm $5• Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, Johnathan Blake The Jazz Gallery 9, 10:30 pm $20êLenore Raphael with Howard Alden, Kelly Friesen and guest Jerry Mandel NY Society for Ethical Culture 8 pm• Marc Mommaas Landmarc with Nate Radley, Vic Juris, Tony Moreno Cornelia Street Café 9, 10:30 pm $15• Andrew Smiley, Travis Reuter, Aryeh Kobrinsky; Carlo Costa Quartet with Jonathan Moritz, Owen Stewart-Robertson, Sean Ali; Two of Anything: JP Schlegelmilch, Jeremy Viner, Eivind Opsvik, Jason Nazary; Curtis MacDonald Quartet with Bobby Avey, Chris Tordini, Adam Jackson Douglass Street Music Collective 8 pm $10• Baby Soda: Ben Polcer, Patrick Harison, Jared Engel, David Langlois, Peter Ford Barbès 10 pm $10• Tyler Blanton Band; Billy Mintz/John Gross I-Beam 8:30, 10 pm $10• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Perreira Bar Next Door 7:30, 9:30, 11:30 pm $12• Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25• Susan Hefner/Michael Evans Roulette 8 pm $10• Sarah Plum The Firehouse Space 8 pm $10• Mihoko NY Trio Plus One with Waldron Ricks, Larry Roland, Vince Ector; Michael Webster Quintet with Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig Somethin’ Jazz Club 7, 9 pm $10• Marc Devine Duo Tomi Jazz 9 pm $10• Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm• Andrei Matorin Shrine 8 pmêPharoah Sanders Quartet with Joe Farnsworth Dizzy’s Club 7:30, 9:30 pm $40• Garth Fagan Dance/Wynton Marsalis Septet BAM Howard Gilman Opera House 7:30 pm $20 êRodney Green Trio Dizzy’s Club 11:30 pm $20• Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth Smoke 8, 10, 11:30 pm $30• Akio Suzuki, Gozo Yoshimasu, Otomo Yoshihide Issue Project Room 8 pm $15êJoe Phillips’ Numinous/DELIRIOUS Dances Irondale Center 8 pm $20• Eugene Marlow’s The Heritage Ensemble Nuyorican Poets Café 7:30 pm $15• Roy Ayers Blue Note 8, 10:30 pm $35êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Birdland 8:30, 11 pm $30-40• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25

• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30• Jon Davis The Bar on Fifth 8 pm• Carl Bartlett Jr.; Joey Morant Trio The Garage 6:15, 10:45 pm• Yuka Aikawa Bryant Park 12:30 pm

Saturday, September 29êRahn Burton Trio Cleopatra’s Needle 8 pmêDeborah Latz Trio with Jon Davis, John Hart Cornelia Street Café 6 pmêMario Pavone, Mike DiRubbo, Tyshawn Sorey; Pete Robbins, Mario Pavone, Tyshawn Sorey; Quartet Axis: Michael Musillami, Craig Hartley, Mario Pavone, Tyshawn Sorey Cornelia Street Café 9, 10:30 pm $15êPepper Adams Festival: The Three Baris: Gary Smulyan, Frank Basile, Joe Temperley with Don Friedman, George Mraz, Kenny Washington Ginny’s Supper Club 9, 10:30 pmêThe Cosmosamatics: Sonny Simmons, Michael Marcus, John Austria, Rashaan Carter, Jay Rosen Brecht Forum 8 pm $15êNoah Preminger Group with Ben Monder, Matt Pavolka, Colin Stranahan Greenwich House Music School 8 pm $12• Bill Ware Quartet with Eddie Conde, Tato Laviera; Marty Ehrlich The Stone 8, 10 pm $10êGilad Hekselman Trio with Matt Brewer, Obed Calvaire Bar Next Door 7:30, 9:30, 11:30 pm $12• Larry Gelb with Steve LaSpina, Michael Stephans; Dwayne Clemons Quintet with Josh Benko, Sacha Perry, Jamale Davis, Jimmy Wormworth; Jonathan Kreisberg Group with Will Vinson, Joe Martin, Mark Ferber Smalls 4, 7:30, 10 pm $20• Wolfgang Schalk Quartet with Dave Kikoski, James Genus, Clarence Penn Drom 9 pm $15• Melanie Maar, Shelley Hirsch, Kenta Nagai Roulette 8:30 pm $15• Federico Ughi’s Songs for Four Cities with Darius Jones, Eri Yamamoto, Ed Schuller The Firehouse Space 8 pm $10• David Freeman Runs the Voodoo Down with Oren Neiman, Carsten Rubeling, Tyler Susan, Dave Wyrtzen, Adrain Morgan Branded Saloon 9:30 pm• Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; Dee Cassella; Fredrick Levore with Paul Beaudry, Yayoi Ikawa, Tony Jefferson, Lou Rainone Somethin’ Jazz Club 5, 7, 9 pm $10• Miki Yoshitake; Arthur Sadowsky Tomi Jazz 8, 11 pm $10êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata Rose Hall 8 pm $30-120• Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Matt King, Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25êLuis Bonilla, Bruce Barth, Andy McKee Knickerbocker Bar and Grill 9:45 pm $5• Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, Johnathan Blake The Jazz Gallery 9, 10:30 pm $20êPharoah Sanders Quartet with Joe Farnsworth Dizzy’s Club 7:30, 9:30 pm $40êRodney Green Trio Dizzy’s Club 11:30 pm $20• Garth Fagan Dance/Wynton Marsalis Septet BAM Howard Gilman Opera House 7:30 pm $20 êJoe Phillips’ Numinous/DELIRIOUS Dances Irondale Center 8 pm $20• Roy Ayers Blue Note 8, 10:30 pm $35êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Birdland 8:30, 11 pm $30-40• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30• Jon Davis The Bar on Fifth 8 pm• Michika Fukumori Trio The Garage 6:15 pm• Omar Haddad Shrine 6 pm• ZigZag Quartet: Alexander Wu, Francisco Roldan, Hilliard Greene, Danny Mallon David Rubenstein Atrium 2:30 pm

Sunday, September 30• The Brubeck Brothers Quartet: Chris and Dan Brubeck, Mike DeMicco, Chuck Lamb Iridium 8, 10 pm $30êPepper Adams Festival: Arturo O’Farrill Trio with guest Lew Tabackin; David Amram, Gary Smulyan, George Mraz Birdland 9, 11 pm $30-40• Tim Kiah, Jesse Mills, Kenji Bunch; Brad Jones/Julie Patton The Stone 8, 10 pm $10• Keiko Matsui BB King’s Blues Bar 8 pm $32êEri Yamamoto/Yves Léveillé Quartet with David Ambrosio, Ikuo Takeuchi Cornelia Street Café 8:30 pm $10êQuinsin Nachoff Group Sycamore 8 pm• Howard Alden Smalls 7:30 pm $20êCargo Cult: Tomas Ulrich, Rolf Sturm, Michael Bisio The Firehouse Space 8 pm $10• CACAW!!!: Landon Knoblock, Oscar Noriega, Jeff Davis I-Beam 8:30 pm $10• FONT: No BS! Brass Rockwood Music Hall 7 pm $12• Assaf Gleizner’s Trio Shalva ShapeShifter Lab 8 pm• Biba Bell/Ben Hall Roulette 8 pm $10• Eyal Maoz/Michael Lytle; Evan Gallagher ABC No-Rio 7 pm $5• David Jimenez Quintet with Michael Webster, Charles Evans, Adam Birnbaum, Moppa Elliott; Devin Bing; Yasuyuki Saiga, Sousuke Kawamoto, Hiroyuki Yokota Somethin’ Jazz Club 5, 7, 9 pm $10êPharoah Sanders Quartet with Joe Farnsworth Dizzy’s Club 7:30, 9:30 pm $35• Roy Ayers Blue Note 8, 10:30 pm $35• Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Village Vanguard 9, 11 pm $25• Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Justin Brown Jazz Standard 7:30, 9:30 pm $25• Jon Davis The Bar on Fifth 8 pm• Sean Ali solo Downtown Music Gallery 6 pm• Nadje Noordhuis Quintet Saint Peter’s 5 pm• Garth Fagan Dance/Wynton Marsalis Septet BAM Howard Gilman Opera House 3 pm $20 • Marianne Solivan Blue Note 12:30, 2:30 pm $29.50• Roz Corral Trio with Dave Stryker, Paul Gill North Square Lounge 12:30, 2 pm• Jazz Kids! with Amy Cervini 55Bar 2 pm $5• Maurício de Souza Quartet with Nancy Harms, Benito Gonzales, Joonsam Lee The Lamb’s Club 11:30 am

R E G U L A R E N G A G E M E N T SMONDAYS

• Tom Abbott Big Bang Big Band Swing 46 8:30 pm• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125• SMOKE or Captain Black Big Band; John Farnsworth Smoke 7, 9, 10:30 pm• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)• Joel Forrester solo Brandy Library 8 pm• George Gee Swing Orchestra Gospel Uptown 8 pm • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE)• Grove Street Stompers Arthur’s Tavern 7 pm• JFA Jazz Jam Local 802 7 pm• Roger Lent Trio Jam Cleopatra’s Needle 8 pm• Iris Ornig Jam Session The Kitano 8 pm• Les Paul Trio with guests Iridium 8, 10 pm $35• Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm• Kavita Shah Trio Tomi Jazz 8 pm• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30• Rakiem Walker Project Red Rooster 7:30 pm

TUESDAYS• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)• George Gee Swing Orchestra Swing 46 8:30 pm• Trevor Long Trio Tomi Jazz 8 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• Sandy Jordan and Larry Luger Trio Notaro 8 pm• Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm• Iris Ornig Quartet Crooked Knife 7 pm• Annie Ross The Metropolitan Room 9:30 pm $25• Robert Rucker Trio Jam Cleopatra’s Needle 8 pm• Slavic Soul Party Barbès 9 pm $10

WEDNESDAYS• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm• Jonathan Batiste Band Jazz Museum in Harlem 7 pm• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm• Roxy Coss Smoke 11:30 pm• Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm• Walter Fischbacher Trio Water Street Restaurant 8 pm• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12• Guillaume Laurent Trio Bar Tabac 7 pm• Jake K. Leckie Trio Kif Bistro 8 pm• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI)• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)• Alex Obert’s Hollow Bones Via Della Pace 10 pm• David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10• Yoshino Nakahara Trio Tomi Jazz 8 pm• Stan Rubin Orchestra Swing 46 8:30 pm• David Schnug Papa’s Gino’s Restaurant 8:30 pm• Alex Terrier Trio Antibes Bistro 7:30 pm• Justin Wert/Corcoran Holt Benoit 7 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm• Bill Wurtzel Duo Velour Lounge 6:30 pm• Jordan Young Group Bflat 8:30 pm

THURSDAYS• Rahn Burton 449 Lounge 1 pm (ALSO SAT)• Jason Campbell Trio Perk’s 8 pm• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)• Gregory Generet Smoke 7, 9 pm• Jazz Open Mic Perk’s 8 pm• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm• Michael Mwenso and Friends Dizzy’s Club 11 pm• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

FRIDAYS• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm• Deep Pedestrian Sintir 8 pm• Charles Downs’ Centipede The Complete Music Studio 7 pm• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm• Patience Higgins & The Sugar Hill Quartet Smoke 12:30 am• Kengo Nakamura Trio Club A Steakhouse 11 pm• Brian Newman Quartet Duane Park 10:30 pm• Frank Owens Open Mic The Local 802 6 pm• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)• Bill Saxton and Friends Bill’s Place 9, 11 pm $15

SATURDAYS• Cyrille Aimee The Cupping Room 8:30 pm• Candy Shop Boys Duane Park 8, 10:30 pm• Jesse Elder/Greg RuggieroRothmann’s 6 pm• Joel Forrester solo Indian Road Café 11 am• Guillaume Laurent/Luke Franco Casaville 1 pm• Annette St. John; Johnny O’Neal Smoke 11:30 am, 12:30 am• Skye Jazz Trio Jack 8:30 pm• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT)• Michelle Walker/Nick Russo Anyway Café 9 pm• Bill Wurtzel Duo Henry’s 12 pm

SUNDAYS• Cyrille Aimee Birdland 6 pm• Bill Cantrall Trio Crescent and Vine 8 pm• Marc Devine Trio TGIFriday’s 6 pm• JaRon Eames/Emme Kemp Eats 6 pm• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm• Gene Ess Jam Session ShapeShifter Lab 3 pm $3• Sean Fitzpatrick and Friends Ra Café 1 pm• Joel Forrester solo Grace Gospel Church 11 am• Nancy Goudinaki’s Trio Kellari Taverna 12 pm• Enrico Granafei solo Sora Lella 7 pm• Annette St. John; Cynthia Soriano Smoke 11:30 am, 11:30 pm• Stan Killian Trio Ocean’s 8 8:30 pm• Bob Kindred Group Café Loup 12:30 pm• Nate Lucas All Stars Ginny’s Supper Club 7 pm• Alexander McCabe Trio CJ Cullens Tavern 5 pm• Junior Mance Trio Café Loup 6:30 pm• Peter Mazza Bar Next Door 8 pm $12• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30• Lu Reid Jam Session Shrine 4 pm• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm• Secret Architecture Caffe Vivaldi 9:45 pm• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm• Cidinho Teixeira Zinc Bar 10, 11:30 1 am• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm• Brian Woodruff Jam Blackbird’s 9 pm

THE NEW YORK CITY JAZZ RECORD | September 2012 49

• 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street• 55Bar 55 Christopher Street (212-929-9883) Subway: 1 to Christopher Street www.55bar.com• 92YTribeca 200 Hudson Street (212-601-1000) Subway: 1, A, C, E to Canal Street www.92y.org• ABC No-Rio 156 Rivington Street (212-254-3697) Subway: J,M,Z to Delancey Street www.abcnorio.org• American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: E to 53rd Street www.folkartmuseum.org• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street www.anbealbochtcafe.com• Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com• Antique Garage 41 Mercer Street (212-219-1019) Subway: N, Q, R, W to Canal Street• Anyway Café 34 E. 2nd Street (212-533-3412) Subway: F to Second Avenue• Ardesia Wine Bar 510 West 52nd Street (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com• Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to Christopher Street www.arthurstavernnyc.com• Arturo’s 106 W. Houston Street (at Thompson Street) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street• BAM Howard Gilman Opera House 30 Lafayette Avenue (718-636-4100) Subway: Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com• Bflat 277 Church Street (between Franklin and White Streets) Subway: 1, 2 to Franklin Streets• The Backroom 627 5th Avenue (718-768-0131) Subway: D, N, R to Prospect Avenue www.freddysbar.com• Bar 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue www.bar4brooklyn.com• Bar Next Door 129 MacDougal Street (212-529-5945) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com• The Bar on Fifth 400 Fifth Avenue (212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street• Benoit 60 W. 55th Street Subway: F to 57th Street, N, Q, R,W to 57th Street• 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• Blackbird’s 41-19 30th Avenue (718-943-6898) Subway: R to Steinway Street www.blackbirdsbar.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• Brandy Library 25 N. Moore Street (212-226-5545) Subway: 1 to Franklin Street• Brecht Forum 451 West Street (212-242-4201) Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org• Brooklyn Bridge Park Furman Street and Atlantic Avenue Subway: A, C to High Street; 2, 3 to Clark Street• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Buona Sera 12th Street and University Place Subway: 4, 5, 6, L, N, R, Q, W to Union Square• CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 2 to Nereid Avenue/238th Street• Café Carlyle 35 East 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com• Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com• Casaville 633 Second Avenue (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com• Charley O’s 1611 Broadway at 49th Street (212-246-1960) Subway: N, R, W to 49th Street• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) Subway: C to Clinton-Washington Avenues www.bistrolola.com• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) Subway: C to Lafayette Avenue www.chezoskar.com• 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 A Steakhouse 240 E. 58th Street (212-618-4190) Subway: 4, 5, 6 to 59th Street www.clubasteak.com• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue• Community Church of New York 40 E. 35th Street (212-594-7149) Subway: 6 to 33rd Street• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.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• The Counting Room 44 Berry Street (718-599-1860) Subway: L to Bedford Avenue www.thecountingroombk.com• Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria• Crooked Knife 29 East 30th Street (212-696-2593) Subway: 6 to 33rd Street www.thecrookedknife.com• The Cupping Room 359 West Broadway between Broome and Grand Street (212-925-2898) Subway: A, C, E to Canal Street• David Rubenstein Atrium Broadway at 60th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org• Douglass Street Music Collective 295 Douglass Street Subway: R to Union Street www.295douglass.org

• Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: F to East Broadway www.downtownmusicgallery.com• Drom 85 Avenue A (212-777-1157) Subway: F to Second Avenue www.dromnyc.com• Duane Park 157 Duane Street (212-732-5555) Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street www.earinn.com• Eats Restaurant 1055 Lexington Avenue Subway: 6 to 77th Street• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org• Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com• Fester 109 Broadway, Brooklyn Subway: J, M, Z to Marcy Avenue• The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (718-625-9339) Subway: G to Fulton Street• The Garage 99 Seventh Avenue South (212-645-0600) Subway: 1 to Christopher Street www.garagerest.com• Garden Café 4961 Broadway at 207 Street (212-544-9480) Subway: A to 207th Street-Inwood• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com• Grace Gospel Church 589 East 164th Street (718-328-0166) Subway: 2, 5 to Prospect Avenue• Grace Lutheran Church 31-20 21st Avenue, Astoria (718-728-0093) Subway: N, Q to Astoria-Ditmars Boulevard• Greenwich House Music School 46 Barrow Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street• Highline Ballroom 431 W 16th Street (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com• I-Beam 168 7th Street between Second and Third Avenues Subway: F to 4th Avenue www.ibeambrooklyn.com• Indian Road Café 600 West 218th Street @ Indian Road (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com• Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com• Irondale Center 85 South Oxford Street Subway: C Lafayette Street; G to Fulton Street www.gimmeartirondale.com• Issue Project Room 22 Boerum Place (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall; A, C, F, N, R to Jay Street www.issueprojectroom.org• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street• Japan Society 333 East 47th Street (212-832-1155) Subway: 4, 5, 6 to 42nd Street www.japansociety.org• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 4, 5, 6 to Grand Central www.kitano.com• The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: C, E, to Spring Street www.jazzgallery.org• Jazz Museum in Harlem 104 E.126th Street (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 West 56th Street (212-765-3160) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle• Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com• Kellari Taverna 19 West 44th Street (212-221-0144) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us• Knickerbocker Bar & Grill 33 University Place (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.korzorestaurant.com• Launch Pad Gallery 721 Franklin Avenue, Brooklyn (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org• The Lambs Club 132 W. 44th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com• Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com• LIC Bar 45-58 Vernon Boulevard (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org• The Loft of Thomas Rochon 100 Grand Street, 6th Floor Subway: 6, A, C, E, N, Q, R to Canal Street• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) Subway: 1 to 145th Street www.londelsrestaurant.com• McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com• Maison Premiere 298 Bedford Avenue (347-335-0446) Subway: L to Bedford Avenue www.maisonpremiere.com• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam (212-501-3330) Subway: 1 to 66th Street-Lincoln Center www.kaufman-center.org• Metropolitan Room 34 West 22nd Street (212-206-0440) Subway: N, R to 23rd Street www.metropolitanroom.com• NY Society for Ethical Culture (NYSEC) 2 W. 64th Street (212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org• 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• Night of the Cookers 767 Fulton Street, Brooklyn (718-797-1197) Subway: C to Lafayette Avenue• 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.northsquarejazz.com• Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: 6 to 33rd Street• Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) Subway: F, M to Second Avenue www.nublu.net• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org

• Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue (718-857-5555) Subway: B, Q to Seventh Avenue• The Paper Box 17 Meadow Street (718-383-3815) Subway: L to Grand Street www.paperboxnyc.com• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com• Pete’s Candy Store 709 Lorimer Street (718-302-3770) Subway: L to Lorimer Street• The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com• Rhythm Splash 673 Flatbush Avenue Subway: B, Q to Parkside Avenue• Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: F, M to Second Avenue www.rockwoodmusichall.com• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org• Roulette 509 Atlantic Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org• Rubin Museum 150 West 17th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Sapphire NYC 333 East 60th Street (212-421-3600) Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com• Schimmel Center for the Arts 3 Spruce Street (212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.pace.edu• The Schomburg Center 515 Macolm X Boulevard (212-491-2200) Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html• 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 West 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• Sintir 424 E. 9th Street between Avenue A and First Avenue (212-477-4333) Subway: 6 to Astor Place• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Skirball Center 566 LaGuardia Place at Washington Square (212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 1,2,3,9 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• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street www.somethinjazz.com/ny• Sora Lella 300 Spring Street (212-366-4749) Subway: C, E to Spring Street www.soralellanyc.com• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue• The Stone Avenue C and 2nd Street Subway: F to Second Avenue www.thestonenyc.com• Sugar Bar 254 W. 72 Street between Broadway and West End Avenue (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com• Swing 46 349 W. 46th Street (646-322-4051) Subway: A, C, E to 42nd Street www.swing46.com• Sycamore 1118 Cortelyou Road (347-240-5850) Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com• Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org• Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: N, R to Union Street www.tealoungeNY.com• Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com• Union Pool 484 Union Avenue at Meeker (718-609-0484) Subway: L to Lorimer Street• University of the Streets 130 East 7th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org• University Settlement 184 Eldridge Street (212-674-9120) Subway: F, M to Second Avenue www.universitysettlement.org• Velour Lounge 297 10th Avenue (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com• Via Della Pace 48 East 7th Street and Second Avenue (212-253-5803) Subway: 6 to Astor Place• The Village Trattoria 135 West 3rd Street (212-598-0011) Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com• Village Vanguard 178 Seventh Avenue South at 11th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Village Zendo 588 Broadway (212-340-4656) Subway: B, D, F, M to Broadway-Lafayette Street www.villagezendo.org• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens (718-721-3010) Subway: N to Ditmars Blvd-Astoria• 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• Water Street Restaurant 66 Water Street (718-625-9352) Subway: F to York Street, A, C to High Street• Williamsburg Music Center 367 Bedford Avenue (718-384-1654) Subway: L to Bedford Avenue• Winter Garden Battery Park City Subway: E to World Trade Center www.worldfinancialcenter.com• York College (CUNY) 94-20 Guy R. Brewer Boulevard, Queens Subway: E to Jamaica Center www.york.cuny.edu• Ze Couch Series 533 Ocean Avenue Subway: B, Q to Church Avenue• Zeb’s 223 W. 28th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com• Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) Subway: L to Bedford Avenue www.zebuloncafeconcert.com• Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com• ZirZamin 90 West Houston Street (646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street www.zirzaminnyc.com

CLUB DIRECTORY

50 September 2012 | THE NEW YORK CITY JAZZ RECORD

(JAZZALDIA CONTINUED FROM PAGE 13)

Håkon Kornstad’s concert, after midnight under the dome of a converted church in the Museo San Telmo, was spellbinding. It began with his tenor saxophone wafting up into the towering, reverberant space. Then he used digital loops to turn himself into a tenor saxophone choir. Then he added another tenor tone, his own operatic singing voice. Then two more musicians joined, Harkaitz Martínez de San Vicente and Mikel Ugarte. Together, they played an ethnic Basque percussion instrument, the Txalaparta. Striking tuned planks with mallets, they surrounded Kornstad with ringing, chiming clouds of sound. Kornstad is an original thinker and a poet of the first order. Terje Rypdal does not so much play songs as generate huge looming sonic events. His sound on electric guitar is his own: seagull cries over oceans of the night, waves crashing into rocks. Jazzaldia put Rypdal and three kindred spirits (Ståle Storløkken, keyboards; Nikolai Eilertsen, bass; Paolo Vinaccia, drums) in the Sala Club beneath the Teatro Victoria Eugenia, at one in the morning. In the small space it was scary-loud, the antithesis of bedtime music. Some of the most intriguing music came from Basques. Cantus Caterva, led by drummer Hasier Oleaga, was a quintet that snuck up on you, because their intelligent version of new millennium jazz was so subtle. All the fresh, clear melodies were Oleaga’s. Two notable players were Iñaki Salvador, a sinuous, seductive pianist, and alto saxophonist Mikel Andueza, whose solos were flowing and serene (even on “Mamu Sumoak”, which means something like “expecting the monster”). On the last night, under the high dome of the San Telmo, Gonzalo Tejada on bass and Olivier Ker Ourio on harmonica played a recital as rapt as a séance. The harmonica is a niche instrument in jazz, but its sonorities can be uniquely affecting, especially in an acoustic environment that extends every yearning note with long decays. “Both Sides Now” and “Moon River” were piercing in their poignance. Nils Petter Molvær played long after midnight on the last night, under the stars in the “claustro” (cloisters) of San Telmo. His trio with guitarist Stian Westerhus and drummer Erland Dahlen is one of the most revolutionary and important projects in current jazz. Molvær plays trumpet with spare, cryptic lyricism, but his horn is just one design element in a gigantic symphony of sound and light created by his band’s daring, aggressive use of electronics and video imagery. A simple figure from Westerhus or Molvær can be digitally exploded into seething sonic oceans. No one in jazz uses technology more creatively than Molvær. He makes his own world with it. He makes music of dark beauty with haunting melodies within the maelstrom, music that touches secrets of the

subconscious. The video backdrops are the mystery made momentarily visible in flickering glimpses. Jazzaldia was a five-day jazz festival with almost 100 concerts that built to a climax and ended with its single most powerful performance. v

For more information, visit heinekenjazzaldia.com

(NEWPORT CONTINUED FROM PAGE 13)

The next day, at the Harbor Stage, Mahanthappa led his band, Samdhi, comprised of guitarist David Gilmore, electric bassist Rich Brown and drummer Rudy Royston. They started with the appropriately titled “Killer”, a pulsating, funky raga. Mahanthappa overdubbed himself on alto, with a computer assist, on the funky and whimsical “Enhanced Performance”. “Breakfastlunchanddinner”, which had a dance groove with a bop border, underscored Mahanthappa’s wonderful sense of humor. Mahanthappa ended his outstanding set, sweat-soaked and beaming, with the ballad “For All the Ladies” where even his stridency and harmonics had structural balance and coherence. Following Mahanthappa was the string/vocal trio of Gretchen Parlato, Lionel Loueke and Becca Stevens. Loueke was on guitar and vocals while Stevens and Parlato played various stringed instruments between them. They opened with Loueke’s “Farfina” and their collective vocalizing was sharp and colorful. Parlato then sung lead and played ukulele on her arrangement of the Jacksons’ “Push Me Away”. Loueke sung one of his songs, “Akwe”, whose theme was, as he stated succinctly, “Just don’t waste water!” Parlato’s phrasing on another Michael Jackson song, “I Can’t Help It”, seemed self-conscious, as if she was vocalizing from memory and not emotion. The last song of the set was the best, Parlato on charango (a small stringed instrument made from the back of an armadillo). The song, “Magnus”, was based on a melody that the titular child invented to sing to his future sibling, who was in his mother’s belly. The Maria Schneider Orchestra, a virtual all-star team, was at the Fort Stage. Accordionist Gary Versace duked it out with guitarist Ben Monder on “Green Piece”, until Frank Kimbrough stepped in wonderfully on piano. Schneider’s lovely tribute to Gil Evans, “Evanescence”, featured excellent solos by altoist Charles Pillow and trombonist Marshall Gilkes. The driving “Gumba Blue” was highlighted by Ryan Keberle’s quicksilver trombone and Greg Gisbert’s soaring trumpet. The orchestra then performed the premiere of Schneider’s “Home”, a commissioned suite for Newport, which was dedicated to George Wein. It was a lovely, lilting, soaring piece highlighted by more of Versace’s accordion and stellar baritone sax by Scott Robinson. Schneider closed out with the uplifting “Hang Gliding in Rio”, again featuring lovely tenor work by Donny McCaslin. One constant remains at the Newport Jazz Festival: Wein is still on the scene. One of the great sights of the weekend was seeing the convivial 86-year-old icon being driven around in a golf cart that was rechristened the “Wein Machine” in his honor. v

For more information, visit newportjazzfest.net

(JAZZ EM AGOSTO CONTINUED FROM PAGE 13)

The outdoor concerts take place on the first two weekends of August. This year the intervening weekdays included three nights at the Teatro do Bairro in the narrow winding streets of Lisbon’s Bairro Alto, trading the perfumed woods of the Gulbenkian Park for a cigarette-scented black box theatre.

Nuova Camerata is a recently formed, Lisbon-based quintet that matches the sonic and harmonic vocabulary of mid-20th century European formal music - Messiaen, Boulez - with the methodology of improvisation. Veteran violinist Carlos Zíngaro is adept at spontaneously generating music that sounds uncannily like the advanced mathematics of serialism while classical percussionist Pedro Carneiro, a newcomer to improvisation, is possessed of very quick ears as well as hands. The younger string players - violist João Camões, cellist Ulrich MitzIaff and bassist Miguel Leiria Pereira - diligently followed Zíngaro’s clear leads, creating pieces of striking coherence. At the opposite pole of sound, the Leeds, England band Trio VD worked at the edge of chaos with telepathic organization, using minimal cueing to create an ever-shifting montage of sharp-edged fragments. Saxophonist Christophe de Bézenac and guitarist Chris Sharkey constantly shifted between articulating acoustic bits then sampling, processing, combining and recombining them, all of this matched to the precision drumming of Chris Bussey to oscillate violently between playground and psychodrama. The third band to appear at the Teatro do Bairro was the trio Das Kapital. Guitarist Hasse Poulsen, tenor saxophonist Daniel Erdmann and drummer Edward Pérraud performed Hanns Eisler compositions from Bertolt Brecht plays and Hollywood movies, even the East German national anthem. The trio created a free jazz cabaret in the festival’s most entertaining set, mining Eisler ’s plaintive melodies and hard-edged rhythms for maximum effect, then exploding them with expressionist bursts. The evening was capped by DJ Sniff, whose turntable and sampler exploration of free jazz began as collage but developed into a kind of sustained dream state. The theatre’s emphasis on deconstructed melody was matched by the younger bands on the main stage at the Gulbenkian. The British quintet Led Bib plays a form of latter-day fusion, emphatic funk rhythms underscoring the two-alto frontline in which Pete Grogan seems to shadow Chris Williams’ rapid, roller-coaster lines. The final concert in the garden was also one of the best, with bassist Ingebrigt Håker Flaten’s Chicago Sextet achieving rare levels of drive and invention, with fellow Norwegian Ola Kvernberg channeling the ghosts of jazz-rock violin and an assemblage of the Midwest’s finest. Guitarist Jeff Parker and drummer Frank Rosaly were as adept at overdriven rock as free jazz. Vibraphonist Jason Adasiewicz and saxophonist Dave Rempis were brilliant, the latter ’s unaccompanied exploration of baritone multiphonics lingering long after the festival’s final note. v For more information, visit musica.gulbenkian.pt/jazz

www.nycjazzrecord.com

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THE NEW YORK CITY JAZZ RECORD | September 2012 51

ON THIS DAY

The Haig, where this album was recorded, was an important club in the careers of many West Coast jazz musicians. Tenor saxophonist Gray settled in Los Angeles in the mid ‘40s after time with Earl Hines and was an active player until his mysterious death in 1955 at age 34. Joining Gray for this program of mostly standards is Art Farmer (trumpet), Hampton Hawes (piano, also writing “Jackie”), Howard Roberts (guitar on three tunes), Joe Mondragon (bass) and Shelly Manne (drums), Amos Trice replacing Hawes for a pair of songs.

Gene Ammons, son of pianist Albert Ammons, was one of the fathers of the Chicago tenor tradition. After work with Billy Eckstine and his father, Ammons worked mostly as a leader, including a partnership with Sonny Stitt. His recording rate was consistent until this date, which was done before a seven-year incarceration for drugs (his second). Ammons only wrote “Moito Mato Grosso” of the album’s six tunes, supported by the dual guitars of Kenny Burrell and Bucky Pizzarelli, with pianist Hank Jones in the rhythm section.

Despite fame from his association with Coltrane, drummer Elvin Jones always was his own man, waxing his debut as a leader in the early ‘60s. After Coltrane’s death, Jones became more active fronting groups and mentoring younger musicians. Three of those are here: the twin saxophones of Steve Grossman and Dave Liebman (the former a Miles alum, the latter just starting with the trumpeter) and bassist Gene Perla. Liebman and Perla penned half the tracks from this Hermosa Beach concert, the last of many jazz albums made there.

Trumpeter Arturo Sandoval owes much to Dizzy Gillespie. Not only was the elder musician a formative influence but it was during a 1990 tour with Gillespie that Sandoval defected from his native Cuba. This album, recorded five years after Sandoval finally met his idol, was documented in the Finnish capital of Helsinki, the trumpeters working with a local rhythm section (including the bassist brother of pianist Heikki Sarmanto) for a five-tune program of Gillespie pieces, including the humorously titled “Dizzy the Duck”.

Swedish pianist Per Henrik Wallin is one of those musicians who worked under the surface of general jazz consciousness, appreciated by those who discovered him. His discography is broken up into two periods, the early period recording for indigenous labels Dragon and Caprice, halted due to a 1988 accident, then starting again in the late ‘90s, often working with younger Swedish musicians. This date includes bassist Peter Janson and drummer Leif Wennerstrôm for a 10-song set highlighting Wallin’s inside-out sensibilities.

by Andrey Henkin

Live In HollywoodWardell Gray (Xanadu)

September 9th, 1952

Bad! Bossa NovaGene Ammons (Prestige)

September 9th, 1962

Live at the LighthouseElvin Jones (Blue Note)

September 9th, 1972

To a Finland StationGillespie/Sandoval (Pablo)

September 9th, 1982

9.9.99Per Henrik Wallin (Stunt)

September 9th, 1999

BIRTHDAYSSeptember 1†Art Pepper 1925-82Willie Ruff b.1931 †Gene Harris 1933-2000Wayne Horvitz b.1955 Essiet Essiet b.1956 Wolter Wierbos b.1957

September 2Horace Silver b.1928 †Clifford Jordan 1931-93†Walter Davis Jr. 1932-90John Zorn b.1953 Jonas Kullhammar b.1978

September 3Mickey Roker b.1932 Larry Ridley b.1937 Onaje Allan Gumbs b.1949 Veryan Weston b.1950 Peter Bernstein b.1967 David Sanchez b.1968

September 4Gerald Wilson b.1918 David Liebman b.1946 Lonnie Plaxico b.1960 Kenny Davis b.1961 Bireli Lagréne b.1966 Patrick Cornelius b.1978

September 5†Albert Mangelsdorff 1928-2005†Eddie Preston 1928-2009†Richie Powell 1931-56Charles “Bobo” Shaw b.1947

September 6†Buddy Bolden 1877-1931†Clifford Thornton 1936-89Peter Van Huffel b.1978

September 7†Max Kaminsky 1908-94†Graeme Bell 1914-2012Sonny Rollins b.1930 †Makanda Ken McIntyre 1931-2001Ron Blake b.1956 Bruce Barth b.1958 Irvin Mayfield b.1978

September 8†Wilbur Ware 1923-79†Specs Wright 1927-63†Marion Brown 1935-2010†James Clay 1935-95Butch Warren b.1939

September 9†Elvin Jones 1927-2004†Walter Benton 1930-2000Zbigniew Namyslowski b.1939George Mraz b.1944

September 10†Frank Coughlan 1904-79†Rod Rodriguez 1906-92†Raymond Scott 1908-94†Joe Deniz 1913-1994†Cliff Leeman 1913-86†Ken Rattenbury 1920-2001†Prince Lasha 1929-2008Roy Ayers b.1940 Dave Burrell b.1940 Craig Harris b.1954 Steve Davis b.1958

September 11†Charles Moffett 1929-97†Baby Face Willette 1933-1971Oliver Jones b.1934 †Hiram Bullock 1955-2008Dan Aran b.1977

September 12†Cat Anderson 1916-81†Joe Shulman 1923-57†Earl Coleman 1925-95Steve Turre b.1948 Joëlle Léandre b.1951 Scott Hamilton b.1954 Adam Rudolph b.1955 Brian Lynch b.1956 Marc Mommaas b.1969 Champian Fulton b.1985

September 13†”Chu” Berry 1908-41†Leonard Feather 1914-94†Dick Haymes 1916-80†Charles Brown 1922-99†Mel Torme 1925-99Alex Riel b.1940 Joe Morris b.1955 Moppa Elliott b.1978

September 14†Cachao 1918-2008†Jay Cameron 1928-2011†Bill Berry 1930-2002Joseph Jarman b.1937 Eddie Moore b.1940 Oliver Lake b.1942 Jerome Sabbagh b.1973 Aram Shelton b.1976 Brian Landrus b.1978 Diederik Rijpstra b.1982

September 15†Al Casey 1915-2005†Gene Roland 1921-82†Arvell Shaw 1923-2002†Julian “Cannonball” Adderley 1928-75†Seldon Powell 1928-97Ned Rothenberg b.1956

September 16†Joe Venuti 1903-78Jon Hendricks b.1921 †Charlie Byrd 1925-99†Gordon Beck 1938-2011Lisle Atkinson b.1940 Hamiet Bluiett b.1940 Steve Slagle b.1951 Graham Haynes b.1960 Chris Cheek b.1968

September 17†Jack McDuff 1926-2001†Earl May 1927-2008Theo Loevendie b.1930 David Williams b.1946 Jeff Ballard b.1963 Craig Haynes b.1965

September 18†Steve Marcus 1939-2005Jovino Santos Neto b.1954 John Fedchock b.1957 †Emily Remler 1957-90Pete Zimmer b.1977

September 19Muhal Richard Abrams b.1930 †Lol Coxhill 1932-2012Tatsu Aoki b.1957 Bruce Cox b.1959 Cuong Vu b.1969

September 20†Jackie Paris 1926-2004†John Dankworth 1927-2010†Red Mitchell 1927-92Joe Temperley b.1929 Eddie Gale b.1938 †Billy Bang 1947-2011Steve Coleman b.1956 Ben Kono b.1967

September 21†Slam Stewart 1914-87Chico Hamilton b.1921 †Fred Hunt 1923-86Sunny Murray b.1937 John Clark b.1944

September 22†Fletcher Smith 1913-93Bill Smith b.1926 Ken Vandermark b.1964 Alex Kontorovich b.1980

September 23†Albert Ammons 1907-49†John Coltrane 1926-67†Frank Foster 1928-2011†Jimmy Woode 1928-2005†Ray Charles 1930-2004Norma Winstone b.1941 Jeremy Steig b.1943 George Garzone b.1950

September 24†”Fats” Navarro 1923-50†John Carter 1929-91Wayne Henderson b.1939 Bill Connors b.1949 Jay Hoggard b.1954 Ingrid Laubrock b.1970 Walter Smith III b.1980

September 25†Alex Bigard 1899-1978†Charlie Allen 1908-72†Sam Rivers 1923-2011†Roland Alexander 1935-2006Horacee Arnold b.1937 Mike Gibbs b.1937 John Taylor b.1942 Craig Handy b.1962 Barbara Dennerlein b.1964

September 26†George Gershwin 1898-1937†Dick Heckstall-Smith 1934-2005Gary Bartz b.1940 Vic Juris b.1953 Nicholas Payton b.1973 Mamiko Watanabe b.1980

September 27†Bud Powell 1924-66†Hank Levy 1927-2001†Red Rodney 1927-94Mike Nock b.1940 Matt Wilson b.1964

September 28†John Gilmore 1931-95Gerd Dudek b.1938 Ray Warleigh b.1938 Rod Mason b.1940 †Sirone 1940-2009†Mike Osborne 1941-2007†Kenny Kirkland 1955-98

September 29Rolf Kühn b.1929 Malcolm Griffiths b.1941 Jean-Luc Ponty b.1942 Roy Campbell b.1952 Dave Kikoski b.1961 Alex Skolnick b.1968

September 30†Buddy Rich 1917-87†Oscar Pettiford 1922-60†Carmen Leggio 1927-2009†Jon Eardley 1928-91†Steve McCall 1933-89Antonio Hart b.1968 Melissa Stylianou b.1976 Marshall Gilkes b.1978

GEORGE GARZONESeptember 23rd, 1950The tenor saxist’s technique and musical imagination was honed during weekly gigs in his native Boston with the freeish trio The Fringe (the first two albums are essential) starting in 1972. Since then he has applied his Coltrane-influenced style to a number of albums as leader as well as appearances with a wide-ranging selection of artists like George Russell, Gunther Schuller, Joe Lovano and Danilo Perez. His influence, instrumentally at least, may be felt more in the students he has taught (including Joshua Redman and Branford Marsalis) - many of whom pack whatever club in which he is playing - as a longtime educator at such institutions as Berklee College of Music, New England Conservatory and The New School. -AH

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BUCKY ADAMS - As an 11-year-old trumpeter, Adams played for Queen Elizabeth’s visit to Canada. Later he picked up his father’s tenor saxophone and eventually played alongside Louis Armstrong, Dizzy Gillespie, Oscar Peterson, Count Basie and BB King. A fixture on his hometown Halifax jazz scene, Adams died Jul. 13th at 75.

DON BAGLEY - The saxophonist composed the score to the 1975 slasher flick The Swinging Barmaids but actually did some real swinging himself as a member of Stan Kenton’s band as well as with his own groups in the ‘50s. An active session and touring musician with people like Dexter Gordon, Åke Persson, Les Brown, Phil Woods and Ben Webster, Bagley died Jul. 26th at 85.

LIONEL BATISTE - A mentor to many younger jazz and blues musicians in his native New Orleans, the singer and bass drummer, known as Uncle Lionel, was assistant leader of the Treme Brass Band since 1995, led Norway’s Molde Jazz parade since 2000 and frequently appeared in the HBO show Treme. Batiste died Jul. 8th at 81.

JOSE ROBERTO BERTRAMI - The Brazilian keyboardist was a tri-founder of the jazz-funk group Azymuth in 1972, which released a number of albums on Milestone in the ‘80s and Far Out in the ‘90s-00s. Prior to and during his time with Azymuth, Bertrami released albums as a leader and worked with Latin jazzers and vocalists like Sarah Vaughan, Mark Murphy and Flora Purim. Bertrami died Jul. 8th at 66.

MARIA HAWKINS COLE - Though as a vocalist she is overshadowed by her husband Nat King Cole (and later, daughter Natalie), prior to her marriage Hawkins was a big band vocalist with Duke Ellington and Count Basie in the mid ‘40s. Hawkins Cole died Jul. 10th at 89.

LOL COXHILL - While other British saxophonists of his generation were splitting off into genre factions, Coxhill could and did play everything, mixing a love of traditional jazz with a keen improvisatory intellect. Early in his career he worked in the bands of Kevin Ayers and participated in Derek Bailey’s Companys all while playing with visiting blues musicians. Later he became more closely aligned with English school of improvising and focused on soprano saxophone, both as a solo performer and with Trevor Watts, John Stevens, AMM and more recently the London Improvisers Orchestra. Coxhill died Jul. 9th at 79.

EDWIN DUFF - The Scottish popular singer started his career on the other side of the world in Australia, winning a vocal contest as a ten-year-old on the ship journey down under. He became a national star there, working often on the radio and with many of that country’s big bands as well as with visiting Americans like Dizzy Gillespie, Gene Krupa, Carmen McRae, Buddy Rich and Art Tatum. Duff died Jul. 9th at 84.

BEN KYNARD - While part of Lionel Hampton’s band in the ‘40s, the baritone saxophonist wrote the future jazz standard “Red Top”, though he never got the accolades that later covers of the tune received. Kynard also played with Willis Jackson briefly but spent his post-Hamp days working for the US Postal Service while jamming in his native Kansas City at night. Kynard died Jul. 5th at 92.

LARANCE MARABLE - A mainstay in bassist Charlie Haden’s late ‘80s-present Quartet West, the stalwart Los Angeles drummer came up in that city’s jazz scene in the ‘50s, playing with visiting boppers like Wardell Gray, Charlie Parker and Dexter Gordon as well as up-and-coming locals like Chet Baker and Frank Morgan while touring in the ‘70s with Supersax and Bobby Hutcherson. Marable died Jul. 4th at 83.

ILHAN MIMAROGLU - Known primarily for the acoustic and groundbreaking electronic music he wrote from the ‘50s on, the composer was also a producer at Atlantic (and later his own Finnadar) Records, where he worked with Freddie Hubbard and Charles Mingus in the ‘70s as well as John Cage and Karlheinz Stockhausen. Mimaroglu died Jul. 17th at 86.

ROB PRONK - An arranger for Holland’s Metropole Orchestra for 30 years, Pronk also played trumpet with and arranged for Kurt Edelhagen in the ‘50s and then appeared occasionally as a pianist with such players as Dexter Gordon, Zoot Sims and Frank Rosolino as well as teaching arranging and composition at Rotterdam Conservatory. Pronk died Jul. 6th at 84.

JODY SANDHAUS - The vocalist’s first album Winter Moon featured her husband, pianist Pete Malinverni. Since the ‘80s, after a piano education founded on classical music, she performed in many New York City venues and released three more albums that included both well-known standards and unusual vocal fare. Sandhaus died Jul. 17th at 47.

IN MEMORIAMBy Andrey Henkin