Your FREE Guide to the NYC Jazz SceneJune 2012 | No. 122

CHARLIEWATTS

DARIUSJONES

TERJE RYPDAL

POTLATCHRECORDS

EVENTCALENDAR

nycjazzrecord.com

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MILES DAVIS

THE MAN WITH THE

HORN

THE NEW YORK CITY JAZZ RECORD | June 2012 3

There are a few icons in jazz history who can be identified solely by a single name: Sonny, Trane, Ornette, Cecil and, perhaps most famous of all, Miles. The trumpeter (1926-99) was both an innovator and a household name (1959’s Kind of Blue is jazz’ answer to Michael Jackson’s Thriller as album to be found in most record collections). Much has been made of Davis’ many groups (who else has a first and second classic quintet?), his skill as a talent scout, even his gruff public persona and indefatigable style. But lost in these discussions is an analysis of Miles Davis the musician and what he brought to the trumpet lineage in his nearly 50-year career. On The Cover this month we speak with a number of Davis’ colleagues and stylistic heirs for their thoughts on Miles’ musical legacy. Tributes to Miles for what would have been his 86th birthday are at Smoke from late May through June. In our other features, drummer Charlie Watts (Interview) has spent his own almost-50 years as part of an iconic group (you may have heard of them...the Rolling Stones) but his other love is jazz and he has led big bands and released albums fêting legendary jazz drummers. Watts’ new group, The ABC&D of Boogie Woogie, appears at Lincoln Center’s Midsummer Night Swing and Iridium Jazz Club in its American debut performances. And while alto saxophonist Darius Jones (Artist Feature) has many decades to go before reaching the status of our other features, his leader debut triptych on AUM Fidelity (2012’s Book of Mæ’bul; 2011’s Big Gurl and 2009’s Man’ish Boy) is a very good start. This month, Jones leads a quartet at Vision Festival and co-leads a quintet at The Jazz Gallery. Filling out our coverage are spotlights on Norwegian guitarist Terje Rypdal (Encore) in a very rare stateside appearance at Le Poisson Rouge, the late vocalist Jackie Paris (Lest We Forget), celebrated at Tribeca Performing Arts Center’s Lost Jazz Shrines, and French record label Potlatch, as well as festival reports from Holland and Norway. Enjoy the beginning of summer and we’ll see you out there.

On the cover: Miles Davis (photo by Lee Tanner, courtesy of Sony Music)

Corrections: In last month’s NY@Night on Randy Weston, the poet who collaborated with Weston was not Sonia Sanchez but Jayne Cortez, In last month’s Cameron Brown interview, the pedigree of the Art Blakey DVD was incorrect; it was released on TDK and recorded at the Umbria Jazz Festival in 1976.

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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, Sharon Mizrahi, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon,

Jeff Stockton, Andrew Vélez, Ken WaxmanContributing Writers

Duck Baker, Matt Garrison, George Kanzler, Matthew Kassel, Sean J. O’Connell, Michael Steinman

Contributing PhotographersScott Friedlander, Peter Gannushkin, Max Keppler, Phillipe Marchin, Anthony Merced,

Alan Nahigian, Susan O’Connor, Jan Persson, Lee Tanner, Jack Vartoogian

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: Charlie Wattsby Sean O’Connell

Artist Feature: Darius Jonesby Sharon Mizrahi

On The Cover: Miles Davisby Terrell Holmes9

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Megaphone VOXNewsby Matt Garrison/Fortuna Sung by Katie Bull

Label Spotlight: Listen Up!: Potlatch Records Vitaly Golovnevby Ken Waxman & Benjamin Barson

Encore: Lest We Forget: Terje Rypdal Jackie Parisby Tom Conrad by Andrew Vélez

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Event Calendar

Club Directory

Miscellany: In Memoriam • Birthdays • On This Day 474538

CD Reviews: Ravi Coltrane, Stéphane Grappelli, Nate Wooley, Cyrus Chestnut, Linda Oh, Spectrum Road, Charles Gayle and more

Festival Report: dOek Festival • Trondheim

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4 June 2012 | THE NEW YORK CITY JAZZ RECORD

Jazz musicians often develop uncanny systems of nonverbal communication. But tenor saxophonist Jimmy Heath, 85, and drummer Albert “Tootie” Heath, 76, share a closer and longer bond than most and the playful onstage code they’ve evolved seems to guide every performance by the Heath Brothers Quartet. Kicking off a late set at Birdland with Jimmy’s midtempo “Sound for Sore Ears” (May 3rd), they greeted improvised ideas with shouts, dances, double takes or just little shifts of posture that somehow fed into the music itself. During a pause Jimmy referred to his cohorts as “young men” and, indeed, rock-solid bassist David Wong couldn’t help underlining that this was once a three-brother band (Percy, the eldest Heath, died in 2005). In terms of soloing prominence and harmonic game plan, much rested on the shoulders of pianist Jeb Patton, a confident master of the bop-and-beyond milieu handed down by prior pianists with the group such as Wynton Kelly and Stanley Cowell. Even Patton’s more restrained solos delivered a jolt, something to push at the boundaries of the idiom. There was unplanned audience participation during “Bluesville”, a greasy Sonny Red shuffle, and some choice tambourine from Tootie on the closing “Winter Sleeves”, based on “Autumn Leaves”. Jimmy fashioned a warm and complex soprano saxophone tone on the first half of “’Round Midnight” and Tootie’s funky reading of the famous coda was pure individuality. - David R. Adler

Watching the Undead Music Festival’s night of improvised duets at 92YTribeca (May 12th), it was hard to miss the element of ritual. 17 players came and went, speaking only through their instruments, observing a well-defined ‘round robin’ protocol. Drummer Amir Ziv played solo until saxophonist John Ellis emerged to stir up the first duet. Then keyboardist Matt Mottel of Talibam! began to engage Ellis as Ziv walked off. And so it went: electric and acoustic sounds mingling; noisy abstractions offset by controlled virtuosic displays; older and younger players from different circles, thrust into unfamiliar situations and moving toward a common goal. There were echoes of the ’70s loft scene, perhaps most clearly in the alto saxophone/drum dialogue of Loren Stillman and Mike Pride. There was the fascination of Brandon Seabrook’s banjo and Bob Stewart’s tuba, two instruments of early and proto-jazz aligned in a wildly experimental spirit. Linda Oh and Mark Helias brought out timbres far more varied than one would expect from two upright basses. Bill McHenry and John Hollenbeck took flight in a tenor saxophone/percussion episode of unrelenting energy and tonal brilliance. Cooper-Moore summoned huge sub-bass notes on diddly-bow while playing with Stillman, then switched to homemade quasi-banjo for a bluesy romp with guitarist Miles Okazaki. Solo cornet and strange manipulated feedback from Graham Haynes made for a stark, unresolved, almost defiant conclusion. (DA)

There may be no pianist - no musician, even - who should be called upon to pay homage to the great Cecil Taylor, which is what made the “Celebrating Cecil” concert at the Harlem Stage Gatehouse May 9th so nonintuitively perfect. Vijay Iyer, Amina Claudine Myers and Craig Taborn are three of the strongest pianists around and if none of them quite work in the intense multi-linearity of Taylor’s attack, all brought something to a program of solos and duets that also included a short and bitingly funny reading by poet Amiri Baraka. Iyer encapsulated Taylor’s particular language, even seeming to quote phrases from the honoree’s early records. Myers worked the extreme ends of the keyboard before finding her way toward a prayer in song, which worked into a sort of singing in tongues, bringing to mind Taylor’s own sound poetry. Taborn played a determinedly gradual progression, sticking with an opening quietude for a considerable time before moving toward onslaught with a repeating single-note motif that dramatically punctuated the whirlwind. A panel talk led by George Lewis after the concert stressed that Taylor’s music isn’t unstructured but deeply structured, full of (as Iyer put it) “detail, complexity, specificity and order.” If there was to be something Cecil-esque about the night, it was perhaps in the use of the whole of the keyboard, the flight to far left and far right and maybe in a sense that, at least some of the time, all the notes were equal. - Kurt Gottschalk

Trumpeter Amir ElSaffar’s heritage is never far from his music. The Middle Eastern origins might be more apparent on his most recent CD (Inana, Pi Recordings) than they were at The Jazz Gallery May 4th, if nothing else by virtue of the instrumentation, but even with a traditional jazz quintet (sax, piano, bass, drums), the complex rhythms and long melodic lines didn’t just evoke his Iraqi heritage, they embodied it. With the easy yet outstretched sound of Tony Malaby’s tenor it was open but not unscripted jazz with touches of middle period Coltrane spirituality - not the volcanic but the oceanic. But ElSaffar ’s compositions for the new group were grounded in the musical prayers of the maqam, the ancient microtonal ishtarum mode and centuries-old Sumerian scales. Key to the reframing of tradition was drummer Dan Weiss. With his deft delivery on a standard kit, the luxurious, elongated horn melodies, John Escreet’s piano (retuned to an Arabic scale) and Francois Moutin’s bass counterpoints fell into place. And at center, of course, was ElSaffar ’s own exemplary technique. Opening the second set, ElSaffar offered a procedural explanation “We’re going to slowly take the intonation apart and stretch the chords a little bit.” This was, in a sense, the jazz in the music. It was in the solos, the whole of the attack really, but this is what anyone worth their salt does with “Chelsea Bridge” as well. ElSaffar infused the music with that particular kind of deconstruction, which, regardless of parentage, makes jazz vibrant. (KG)

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Heath Brothers Quartet @ Birdland

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Craig Taborn @ Harlem Stage Gatehouse

NEW YORK @ NIGHT

THE NEW YORK CITY JAZZ RECORD | June 2012 5

One of this correspondent’s Top 10 albums of 2011 was The Veil (Cryptogramophone) by the trio of alto saxist Tim Berne, drummer Jim Black and guitarist Nels Cline, dubbed BB&C. One imagines no intended relationship to the British Broadcasting Corporation (they could just have easily referenced the Central Bank of Barbados). Since the 2009 live recording, the group had played only three times until bringing its particular amalgamation of free jazz and rock energy to the new ShapeShifter Lab - one of the finest new rooms to open in recent memory - for two nights last month (May 7th-8th). Unlike many improvising ensembles, BB&C have eclecticism in their corner: Berne is far more nuanced than your average shrieker; Cline has proven definitively he can play anything and Black moves from Gene Krupa to Paul Motian to John Bonham to Bruce Slesinger with no seams showing. The first piece of the first set on May 7th was merely an amuse-bouche, though in its 10 minutes it amazingly fused ‘70s-style arena rock with grungy punk enthusiasm and jazz intricacy, mostly going wherever Black took it. The second piece, 35 mighty minutes, revealed more about the band: the valleys were less deep, the peaks higher and more frequent. Berne often stood to the side while Cline and Black worked John McLaughlin-Billy Cobham style, goading each other, the guitarist always remaining musical even when futzing with a dozen effects pedals. When Berne reentered it was like the firing of the second stage of a rocket. - Andrey Henkin

Another entry into the Top 10 list was Upcoming Hurricane, the trio of bassist Pascal Niggenkemper, pianist Simon Nabatov and drummer Gerald Cleaver (NN&C!). Nabatov was making a rare visit to the city where he lived during the ‘80s and Brooklyn’s Korzo hosted what was effectively the release party for the NoBusiness disc. Collectively, this trio also has a number of influences upon which to draw: Nabatov’s alternately classical or free style, Niggenkemper’s thick Buschi Niebergall-esque plucking or Barre Phillips-ian extended techniques and Cleaver’s inherent groove no matter to what abstraction his playing veers. An uninterrupted, hour-long set was presented to a refreshingly full house and the group’s name became prescient. Skittering drums, sharply bowed prepared bass and inside piano were the first signs of the imminent storm. Later an odd drone was flavored by Nabatov’s rising squall and then an insistent pulse from Niggenkemper and Cleaver was answered by classical flourishes. Piano trios throughout history were obliquely referenced, such as Cecil Taylor, Paul Bley and Bill Evans, demonstrating an impressive range of moods and textures. The term “instant composing” is often misused in discussing aimless improvising but Upcoming Hurricane worked with definite structure and purpose in mind, covering a remarkable amount of territory, eventually moving to close the set with a composed theme, Niggenkemper’s “MEM”, classical étude meeting jazz waltz. (AH)

“This is the place. The spirits are here,” Barry Harris proclaimed to the SRO crowd at Minton’s Playhouse (May 11th) who came to hear the bebop professor celebrate the music of Thelonious Monk during the historic room’s Legends of the Bandstand series as part of the Harlem Jazz Shrines Festival. Seated at the well-worn piano, in front of the iconic mural purportedly depicting Billie Holiday in a brass bed sleeping one off while a quartet jams, Harris told tales of Monk’s tenure there in the ‘40s when he was house pianist making his distinctive contributions to the birthing of bebop. Harris opened the set with an original solo piano introduction to Monk’s “Ruby My Dear” that shone a light on his creative mastery of the bebop language, blending aspects of Monk and Bud Powell’s vocabulary into his own swinging style. Accompanied by bassist Ray Drummond and drummer Leroy Williams, the trio laid down a slow and easy tempo over which tenor saxophonist Charles Davis blew flowing melodic lines. The quartet upped the ante on “Epistrophy”, Harris setting up the song with a solid left-hand vamp that led the trio into a brisk uptempo that had Davis pushing out tough tenor lines over Drummond’s walking bass, as Williams dropped Art Blakey-ish bombs into the mix. The quartet pushed even harder on a wildly swinging “Hackensack”, then mellowed the mood with a moving “Pannonica” before gradually reigniting the fire on “Nutty”, “Blue Monk” and a burning hot “Evidence”. - Russ Musto

In town for the inaugural International Jazz Day festivities at the United Nations, Hugh Masekela made a rare New York club appearance at Jazz Standard (May 2nd) to celebrate the release of his four-CD set of duets with pianist Larry Willis, the fittingly titled Friends. The two have made music together since the days when the trumpeter first came here from South Africa to study at the Manhattan School of Music more than 50 years ago, humorously recounted in stories from their school days with the likes of fellow students Herbie Hancock and Ron Carter. Opening with Randy Weston’s “Hi-Fly” and following with “Monk’s Mood” the pair set a conversational tone that testified to their half-century friendship, with Willis smiling broadly as his partner, an engaging raconteur, entertained the audience with amusing anecdotes. One of the music’s first successful crossover artists, Masekela mined the depth and breadth of the Great American Songbook during a set comprised of selections from the new release, from jazz classics like Duke Ellington’s “Daydream” to the Stylistics soul standard “You Make Me Feel Brand New”, crediting Willis for teaching him all the music. On “Until The Real Thing Comes Along” and “Dear Old Southland” he paid tribute to Louis Armstrong with unabashed replication of the trumpeter’s gravelly tone and scatting phraseology. Closing with Hancock’s “Cantaloupe Island” the pair were joined by vocalist Dee Dee Bridgewater for an exciting finish. (RM)

Jazz at Lincoln Center (JALC) has announced that Robert J. Appel will succeed Lisa Schiff as Chairman of the Board of Directors, a position she has held since 2002. Additionally, Greg Scholl has been named the Executive Director of JALC in conjunction with the organization’s upcoming 25th anniversary during the 2012-2013 season. Both Appel and Scholl will work closely with JALC Artistic Director Wynton Marsalis. For more information, visit jalc.org.

The winners of the 2012 Essentially Ellington High School Jazz Band Competition have been named after the three-day event held last month. Winners are: 1st Place - Dillard Center for the Arts (Fort Lauderdale, FL); 2nd Place - Roosevelt High School (Seattle, WA) and 3rd Place - New World School of the Arts (Miami, FL), with an Honorable Mention for Rio Americano High School (Sacramento, CA). For more information, visit jalc.org/essentiallyellington.

In an odd bit of research conducted by Albany Medical College, rodent specimens seemed to prefer classical music to jazz (Beethoven’s “Für Elise” versus Miles Davis’ “Four”) until given doses of cocaine.

With the 2012 edition, the Newport Jazz Festival will enter into a three-year sponsorship agreement with Natixis Global Asset Management (NGAM), bringing the Rhode Island Music Educators Association (RIMEA) Jazz Band to perform at this year’s festival as well as the Berklee College of Music Global Jazz Ambassadors. NGAM is a sponsor of Berklee College of Music’s Summer in the City program and the Berklee Beantown Jazz Festival. For more information, visit newportjazzfest.net.

The 2012 Jazz Journalists Association Jazz Awards Party will be held at Blue Note Jun. 20th at 4 pm. The New York City Jazz Record is among the nominees, in the category of Best Periodical. For more information, visit jazzhouse.org.

Bassist Christian McBride has been named the Artistic Director of the NJPAC/James Moody Jazz Festival, taking place this year in Newark, NJ Oct. 15th-21st. For more information, visit njpac.com.

Pianist Pete Malinverni has been named the new Director of Jazz Studies at Purchase College (SUNY), replacing the departing Todd Coolman. For more information, visit purchase.edu.

A benefit concert for flutist Dave Valentin was held at Le Poisson Rouge last month to raise funds to aid in his recovery from a stroke. Since Mar. 3rd, Valentin has not been able to perform. The concert raised several thousand dollars but donors can still contribute by sending checks to: The Jazz Foundation of America, 322 West 48th Street, New York, NY 10036. All checks or money orders should note Dave Valentin in the memo line.

Pianist Myra Melford is the 2012 winner of the Alpert Award in the Arts, presented annually by The Herb Alpert Foundation and California Institute of the Arts (CalArts). Melford will receive $75,000. The award recognizes “past performance and future promise” of artists working in five disciplines: dance, film/video, music, theatre and visual arts. For more information, visit alpertawards.org.

Submit news to info@nycjazzrecord.com

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BB&C @ ShapeShifter Lab

Photograph © 2012 Jack V

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Barry Harris Quartet @ Minton’s Playhouse

W H A T ’ S N E W S

INTERVIEW

Charlie Watts is one of the most famous rock and roll drummers of all time but his first love was jazz. In the early ‘80s Watts returned to his first passion with an allstar big band and, when the Rolling Stones’ schedule permits, organizes a new project a little more swinging than his day job. This month he appears at Lincoln Center with his newest project, the The ABC&D of Boogie Woogie, which has him swinging behind a modern day Meade Lux Lewis/Albert Ammons duo consisting of pianists Axel Zwingenberger and Ben Waters.

The New York City Jazz Record: The British jazz scene was thriving when you were musically growing up in the late ‘50s and as an early 20-year old in the early ‘60s. Which British jazz musicians influenced you?

Charlie Watts: Phil Seaman, Jimmy Deuchar…there’s a whole crowd of people. Half of them were in an orchestra I had, a big band I brought over to New York [in the mid ‘80s]. But there were many of them. The guy [Dave Green] who is playing bass with me was my childhood neighbor and we used to listen to jazz. He used to play with a lot of those people.

TNYCJR: How close were you to trying to make a career out of being a jazz musician yourself?

CW: Not very. I used to play the drums and the only drumming I knew was jazz drumming. Eventually I was asked to play with various R&B bands but it’s not an easy adventure trying to be a jazz musician. You live on the end of a telephone. I was pleased to be in a band. I’m not really a virtuoso. I prefer to be a band member.

TNYCJR: Does your approach to the drums change when you are in front of 200 people rather than 20,000?

CW: Only volume, really. It’s about the only difference for me. I play exactly the same either way. You just fit in with what’s going on. You hope.

TNYCJR: You’ve expressed a distaste for touring but does your interest change when you are leading your band? Or is a hotel room a hotel room?

CW: I never had time to do anything outside of the Stones things. Touring was constant and it got on your nerves really. I never had time to do anything at home. I’m so used to it. It seems easier now than it used to be. Our tours used to go on so long. They would become an epic on its own but it’s turned to naught now.

TNYCJR: What jazz drummers influenced you and, as you were growing up, what American jazz drummers do you recall hearing live? And who left the biggest impression?

CW: The first guy I ever heard play was Chico

Hamilton. I’ve always loved what he does. From records, you know. Davey Tough, Big Sid Catlett. The man I used to see in Paris was Kenny Clarke who I really loved but the ambassador of jazz drumming throughout his life is Roy Haynes. I think Roy Haynes is the most amazing man to be playing like he does at his age with his skill and everything. He’s never played in a bad band. Every artist that has asked him to play has been for one of their great bands, from Lester Young to Charlie Parker, Stan Getz. The band he played in with Stan Getz was one of the greats. Haynes is someone everyone should admire. There were a lot of guys when I was a kid that I was lucky to meet. They’ve been very friendly to me like Jake Hanna. Jake was fabulous and Stan Levey. Stan Levey was one of those real admirable guys. He was something else really. Shelly Manne was a great influence as well. One of the guys I used to see in London was Joe Morello. Elvin Jones and Chico Hamilton came to see me play a jazz gig once. They’re just having a good time and you have to play.

TNYCJR: In 1964 you released a children’s book about Charlie Parker, Ode to a Highflying Bird. Did you have any idea that copies would eventually sell for $3,000?

CW: During the early ‘60s I used to work in a studio. To get a job you had to have a CV - a folder with all your work. That was just me making an excuse to draw and write a thing so that I could show it to people. That’s what I do. About two years after the Rolling Stones started going John Lennon brought A Spaniard in the Works out. They asked if I wanted to put it out [Ode] and I told them, “If you do it exactly like I did it then yes.” And it sold. And then about 20 years after that a guy called Mark Hayward wanted to put it out and he said put some music with it. And I said “no, no, no, I’m not going to do that” but we got a quintet together anyway. Quite a good replica actually. I’ve got the original original and the reprint that Mark Hayward did and it’s copied exactly. Difficult to tell the difference. I hope the one that sold was an original one. It’s for children. It’s to help children learn about Charlie Parker. I didn’t realize about all those sorts of things but given time. I have programs signed by Coleman Hawkins - they’re worth a 1,000 pounds today but for you to say to Coleman Hawkins in 1942 that this would be worth that he would have laughed. It’s a bit like painting. The artist sells it for 10 quid and then ten years later they sell for 4,000 dollars. The painter doesn’t get the other 3,990. It’s all collectors really and I’m one of them. I collect jazz records and I pay a fortune for some of them. I collect drums too. I have lots of guys’ drums. I have one of Joe Morello’s drum kits. Sonny Greer. I have some things of Stan Levey. I got Jake’s snare drum. Big Sid Catlett’s cymbals are recently obtained.

They’re just lovely things to have.

TNYCJR: When you would tour the States did you make a point of sneaking away and hearing live jazz? Do you spend a lot of time in New York?

CW: Oh yeah. Always did when I first came here. My shaggy dog period. That was the first thing I did in New York. Me and [Rolling Stones co-founder] Ian Stewart would go to Birdland and the Hickory House. Then I went to the Metropole. I saw Gene Krupa there with a quartet. We hit all the clubs really. I first saw Roy Haynes somewhere like that. (CONTINUED ON PAGE 37)

Charlie Wattsby Sean O’Connell©

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6 June 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

105 West 13th Street 212-255-4746

www.juniormance.com

ARTIST FEATURE

In a laidback pose on a restaurant chair, he frankly says, “My thing is to be so me. So me, unapologetically.” Whether he’s recording the latest release on AUM Fidelity, playing with his spectrum of bands or caught in his signature closed-eye trance on stage, this alto sax innovator is Darius Jones. Behind the name lies a pioneer of a new kind of soul who, for seven years and counting, has crafted some of the most jarring, eccentric and downright earth-defying pieces in contemporary jazz. But Jones’ uncanny artistry plants its roots in a history south of the New York City clubs, back in his native Virginia. “My grandparents had a farm, so I grew up around chickens, dogs and cows,” he says. It was on this farm and through his family’s diverse love of music that Jones stepped onto the creative path. Fueled by his uncle’s saxophone playing, his father’s love of reggae and even his grandparents’ religious spirituals, Jones first channeled his baritone into vocal studies, performing and working as a choir director at a local church. Throughout high school, he explored the brassier realm, playing the saxophone when not crooning gospel melodies. “I was very connected spiritually to what [the sax] was about,” Jones explains. “But it wasn’t encouraged to play outside of church.” As his teenage years whittled to a close, Jones took a step back to reflect on his personal identity: “I was trying to figure out what I wanted to do with my life. At first I was thinking, ‘I want to be a marketing executive.’...I was afraid to [be a musician]. Playing the saxophone wasn’t the multi-million dollar thing, unless you wanted to be cheesy.” One decisive moment changed everything. “I remember going to the altar [at church] and asking God, ‘What should I do?’” he recalls. “And he gave me an answer. That’s what I picked and have been trying to follow since. It’s really why I do it.” Five releases and hundreds of concerts later, that scene resonates through every vein of Jones’ brazen craft. From his albums as a leader to his inventive creations with Matthew Shipp or Little Women, he channels passion through every whine, slur and stream of sax. Jones composes all of his pieces from the bottom up, wiping away his prior experiences and preconceptions before putting his lips on the mouthpiece. “I believe in having rules,” he elaborates. “But if you can’t extend your rules for new ideas, how can you find something beautiful? The overarching [concept] is about being soulful and organic.” Equipped only with his “sonic foundations” from music school, Jones proceeds in a different direction every time he sets flight, soaring alongside collaborators like Shipp, Jason Nazary, Rakalam Bob Moses, Cooper-Moore, Adam Lane, Travis LaPlante and many more. The method behind Jones’ potent energy rests its foundations in the realm he calls “freedom within structure.” Within that creative hotspot, he manipulates traditional styles like AABA and the 12-bar blues, transcending the bounds of musical structure to reach

aural catharsis. Along the way, Jones also seeks honesty and purity: “It’s about being able to tap in and bring [written music] to life. I want to put [myself] far inside of it.” Book of Mae’bul marks the latest milestone on his tenacious road, released last month as the final installment of his Man’ish Boy trilogy launched in 2009. In quartet with pianist Matt Mitchell, bassist Trevor Dunn and drummer Ches Smith, Jones sparks a melting pot of styles and emotions. On “You Have Me Seeing Red”, he exudes an effusive momentum one minute and classic-tinged reflection the next. The first few seconds of “My Baby” hint at a sultry lullaby, but one belly-deep sax bellow veers the vibe into yearning exploration. That expressive unpredictability courses through each work of his triptych. While Man’ish Boy prods the psyche with gurgles and echoes, Big Gurl jolts to life in angular blurts of brass. Book of Mae’bul lies somewhere in between, capturing both Jones’ roaring transformation and devotion to his roots. He trades prods for assertions and embarks on otherworldly threads of thought, climbing to the highest throes of throttling bliss. Yet his inspiration stems from a humble source. “Women,” he chuckles. “They’re fascinating, fascinating... In good ways, bad ways, neutral ways.” Each track on the new record was inspired by the unique women in Jones’ life, poignantly “Winkie”, a texturally exhilarating tune titled after his sister’s childhood nickname. Since the start of his three-year journey, Jones reached emboldened heights, emerging with a confident but down-to-earth vision. “In my trilogy work, I don’t want you to sit there and try to figure out what I’m doing. I’m not going to let you figure it out,” he laughs. And more intensely: “I want you to feel like you’re experiencing something spiritual, no matter what the sound. I want you to take that chance to be more open.” Jones, too, will expand his horizons in the near future. He plans on uniting his methodical chaos with the world of synths and electronics. The move won’t be too far a jump - Jones already integrates electronic textures into his acoustic compositions. He also looks forward to bringing his new work to the city’s diverse performance spaces and beyond. Above all, however, Jones will stay true to the series that started everything: “There will definitely be more Man’ish Boy records,” he says, voice rich with ambition. “We’ll start on a new chapter.” That chapter is bound to be a thriller. But what Jones illustrates without words is most telling of all. When he picks up his alto sax and gives his band the signal, he soars to bare emotion and never looks back. Jones is so immersed in his message - so immersed in the act of creation - that listeners can’t help but be immersed in it too. Every wide-eyed stare, brow-furrowed nod and body-billowing tumble sends the ears tumbling into Jones’ raw wavelength. Perhaps a few of his words will do here, after all: “I am me.” v

For more information, visit aumfidelity.com/darius_jones.html. Jones is at Roulette Jun. 12th as part of Vision Festival and The Jazz Gallery Jun. 17th. See Calendar.

Recommended Listening: • Shayna Dulberger - TheKillMeTrio (s/r, 2006)• Darius Jones - Man’ish Boy (AUM Fidelity, 2009)• Little Women - Throat (AUM Fidelity, 2009)• Matthew Shipp/Darius Jones - Cosmic Lieder (AUM Fidelity, 2010)• Darius Jones - Big Gurl (Smell My Dream) (AUM Fidelity, 2011)• Darius Jones - Book of Mae’bul (Another Kind of Sunrise) (AUM Fidelity, 2011)

THE NEW YORK CITY JAZZ RECORD | June 2012 7

Darius Jonesby Sharon MizrahiPe

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IT’S HERE!!!The 6th Annual

“Rhythm in the Kitchen” Music Festival

Friday - Saturday, June 1 and 2, 2012, 7-11 PM

Church For All Nations, NYC417 West 57th Street (9th & 10th Aves.) 212.333.5583

Presented by the Hell’s Kitchen Cultural Center, Inc.

hkculturalcenter.org Facebook.com/rhythminthekitchen

indiegogo.com/ritk

Although he played his final notes over 20 years ago, Miles Dewey Davis III (May 26th, 1926-Sep. 28th, 1991) remains as timeless as ever. He was the blueprint for cool, a paradigm of black masculinity, irascible, generous, nurturing, genius. This month at Smoke “Dreaming in Blue: Miles Davis Festival 2012”, will celebrate the life and music of a man whose career spanned everything from bebop to hiphop. Playing throughout the celebration will be a phalanx of trumpeters who, in various contexts, will pay homage to a true American classic. “I think I first heard Miles Davis when I was in middle school,” Tom Harrell recalled. “I heard a recording called ‘Sid’s Ahead’ and I was very favorably impressed. It sounded bohemian.” When Harrell met Miles a little later he received an unusual compliment. “When I was 13 years old I went to the Blackhawk in San Francisco where he was playing with his group. He was very friendly. He said I had good teeth.” Harrell also had some thoughts on what has made Miles’ music so appealing. “The immediacy of his sound communicates to everyone - you can hear that cry. Also, if you want to be analytical, you could transcribe his solos and analyze them the same way you would analyze Bach or Beethoven or John Coltrane or Mozart, because the subtlety is at the highest level of musical creativity. In a sense he’s like a Zen master; he perfected himself on all levels. He didn’t compromise himself.” Freddie Hendrix has a similar admiration. “I think Miles’ playing just stands out tremendously because he had the lyricism but then he also could play some complex things as well. He was the epitome of jazz. He just had a way to get inside people’s aura and their personality and just shake them up a little bit. He understood that music was not meant to stay the same. And that’s the way Miles was in his music. This was a man about change. He went with the times and didn’t wait for the industry to dictate ‘this is what it’s gonna be’.” Bill Mobley has led the Smoke Big Band for three years. “I grew up in Memphis and I was a friend of [the late] James Williams, who was a pianist and we went to the same high school. I remember being over at James’ house and we would jam a lot and he had all of Miles’ stuff. I think the first album I bought was Seven Steps to Heaven [Columbia, 1963]. I remember one night Miles was playing at the Memphis Coliseum, with Nina Simone, around 1969-70,” Mobley recalled. “I think he was playing In A Silent Way [Columbia, 1969], he was doing that kind of stuff, like long, drawn-out pieces; one piece would last 30 minutes and it was pretty free. I was having trouble with it and I was deep into music! But as I’ve gotten older I just appreciate Miles more and more. He set an example for how you can assert your individuality [and] not to be afraid to sound the way you sound. That should be the goal of a jazz musician.” Although Jeremy Pelt had been playing trumpet for several years before discovering Miles, he says,

“Hearing him did, however, motivate me to become a jazz trumpeter. Almost immediately!” His take on Miles’ sound is rather unique. “His sound has always been masculine, but retained a bit of femininity and I’ve always found that to be an interesting dichotomy.” Pelt also shares Harrell’s observation about Miles’ steadfastness. “He was so uncompromising. It’s an ongoing lesson: You can’t please everybody!” “When I was about 23 I started getting into Cookin’ and Relaxin’, Steamin’ [Prestige, 1956] and then Milestones [Columbia 1958], you know, that period,” Joe Magnarelli remembered. “There was just a warmth that attracted me, his phrasing, his sound with the Harmon mute, I loved it. I saw him in ’88 in Nice, because I was touring with Lionel Hampton. It was a three-artist bill: Lionel Hampton, Dizzy Gillespie and Miles. One time Miles walked through the hotel with his entourage and everybody stopped what they were doing to watch him walk through. Everybody was just totally mesmerized. Miles was a genius. When I heard Miles play I said, ‘Wow! Okay, I get it. That’s the real sound.’” Palle Mikkelborg, who wrote and produced Miles’ Grammy-winning album Aura (Columbia, 1985), had some misgivings about working with Miles. “I thought ‘Okay, do I dare to write a piece for this man who has a reputation for being so weird, so strange and arguing with everybody? So I worked for a year on this piece, which later on became Aura. I was nervous to hear what he thought about the music. We went to the concert hall and we rehearsed with the big band that I’d put together. And we played the whole piece for him. I looked back in the hall and Miles had gone. And I said to myself, ‘All right, he didn’t like it but I did my best.’ We [took] a 15-minute break and I went to the toilet and there was Miles. And he looked at me and he said, ‘Palle, it’s a motherfucker!’ “One night, a couple of months later, the phone rang in the middle of the night. And I took it and I hear this voice ‘This is Miles.’ And he said he was coming over in two weeks to record the piece. He came over and he was so sweet to all of us. He inspired us all and made us very, very happy. I said ‘Miles, you are like a Zen master. Sometimes I don’t know what you’re saying, I just know you’re right.’” “Miles was the coolest person on Earth,” Wallace Roney declared. “He was like a prince. We’d walk into a room and he didn’t have to say nothing. And he had all the charisma without trying.” Roney had an enviable perspective on Miles, being one of the few trumpeters whom Miles actually mentored. “He said I reminded him of him,” Roney said. “I looked at him like he looked at Dizzy. I idolized him from when I was a kid.” Roney played with Miles during the latter part of Davis’ life and his tonal similarity has drawn both praise and brickbats. “What they don’t hear is that, as much as I play like Miles, I try to take it further and that is what my sensibility is. Miles didn’t think I cloned him. He said ‘I hear what you’re doing. You keep doing it.’ He showed me so much harmonically and melodically. Miles is an uncompromising artist. If

you’re not the best, you can’t play his music.” The driving force behind “Dreaming In Blue” is Paul Stache, co-owner of Smoke. “The Birthday Celebration has been going on for seven or eight years now,” Stache explained. “The first one came about from me meeting Jimmy Cobb [drummer on 1959’s Kind of Blue who, in a 2007 interview with this reporter, said, “ Listening to Miles play, well not only did Miles play great every night but everybody played great every night. That’s a hell of a thing. That doesn’t happen all the time with everybody.”] So it was a natural choice to book a band with Jimmy to celebrate Miles. The festival evolved out of that. There are quite a few cats who come through Smoke who are associated with Miles. Some who played with him and others who indirectly worked with him. So we really had too many great choices for a Miles Celebration to fit them all in one weekend. That’s how we ended up with a five-week-long festival. Besides the headliners, I am very proud to have a great lineup of great young trumpeters as part of the festival as well. Trumpet is probably my favorite instrument in jazz so I’m always looking at what the younger cats are up to.” Since Stache believes that it’s important to approach Miles from other angles, a play, Beyond Blue Light, is part of the celebration. “My business partner at Smoke, Frank Christopher, is a great playwright. Like so many people, he listened to Kind of Blue over and over again. It inspired him to write Beyond Blue Light. It’s a great play!” “Miles was always cutting edge and always pushing the envelope,” Stache said. “People of all walks of life, not just musicians should be reminded of just how hip Miles was by simply listening to his large body of work in terms of musical diversity. The musical journey from Birth of the Cool [Capitol, 1949-50] to We Want Miles [CBS, 1981] touches so many different sounds it’s hard to believe it’s the work of one person.” v

For more information, visit milesdavis.com. “Dreaming in Blue: Miles Davis Festival 2012” is at Smoke from May 25th throughout June, featuring Jimmy Cobb, Freddie Hendrix, Eddie Henderson, Allan Harris, Joe Magnarelli, Antoine Drye, Lenny White, Bruce Harris, Al Foster, Wallace Roney, Phillip Harper and Tom Harrell. See Calendar.

Recommended Listening: • Miles Davis - Chronicle: The Complete Prestige Recordings (1951-56) (Prestige, 1951-56)• Miles Davis - The Complete Live at the Plugged Nickel 1965 (Columbia-Legacy, 1965)• Miles Davis - The Complete Columbia Studio Recordings (1965-68) (Columbia-Legacy, 1965-68)• Miles Davis - The Complete In a Silent Way Sessions (Columbia-Legacy, 1968-69)• Miles Davis - The Complete Bitches Brew Sessions (Columbia-Legacy, 1969-70)• Miles Davis - Live at Montreux: The Definitive Miles Davis at Montreux (1973-1991) (Eagle Rock Entertainment, 1973-91)

ON THE COVER

THE NEW YORK CITY JAZZ RECORD | June 2012 9

MILES DAVISTHE MAN WITH THE HORN

by Terrell Holmes

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10 June 2012 | THE NEW YORK CITY JAZZ RECORD

Terje Rypdalby Tom Conrad

There are many ways of understanding Terje Rypdal. He has recorded prolifically, mostly on ECM, for 44 years, was early in bringing electronics to

jazz and is a seminal figure in what became known as fusion. Rypdal is proof that European jazz has achieved independence and he has one of the most identifiable electric guitar sounds in jazz. It is a human sound with (in the words of critic David Fricke) a “sea-gull-cry sustain”. He belongs with the elite of living jazz guitarists. Yet he has played in the United States only three times in his life and not since 1997. This month, he will appear at Le Poisson Rouge with one of his working bands: Palle Mikkelborg (trumpet), Ståle Storløkken (keyboards) and Paolo Vinaccia (drums). Rypdal lives in Tresfjord, Norway, 500 kilometers northwest of Oslo, on six acres that have been in his family for generations. On the telephone from Tresfjord, he reports, “I don’t travel so much anymore. I play mostly jazz festivals and in between I stay home and compose.” When he talks about his musical origins, the sources of his eclecticism begin to clarify: “I started on piano when I was five. My background is really classical. I probably could have continued and become a concert pianist.” But when he was 12 he heard the British guitarist Hank Marvin and began to teach himself guitar. He played in Norwegian pop bands then discovered Jimi Hendrix. Even today, the most obvious (though simplistic) description of Rypdal’s sound is that it is the thunder and shriek and ecstasy of Hendrix, filtered through the sophisticated sensibility of a jazz improviser. But he was also listening to Miles’ Bitches Brew and then, “by chance”, he heard Coltrane’s Meditations: “Of course I didn’t really understand it, but later that album became crucial for my ideas about improvisation.” When he was 22, he joined Jan Garbarek’s quartet and then, as he puts it, “Manfred Eicher heard about the group and ECM happened.” He played on Garbarek’s Afric Pepperbird in 1970, the label’s seventh release. Rypdal’s ECM discography is now approaching 40 titles (including an upcoming three-CD set as part of the label’s Old & New Masters Series), a vast and rich and diverse body of work encompassing rock, jazz,

abstraction, ethereal ECM atmospheres, symphonies and choral and chamber works. (After Hendrix, Rypdal’s most lasting influences are the 20th century composers György Ligeti and Krzysztof Penderecki.) The best single overview of Rypdal’s music is his Selected Recordings, the seventh volume of ECM’s 20-volume :rarum series. It contains touchpoints in a 27-year period from 1971-98. Rypdal’s power trio with bassist Bjørn Kjellemyr and drummer Audun Kleive is well represented, with pieces from recordings that changed jazz guitar, like Blue, Chaser and If Mountains Could Sing. It was a power trio capable of haunting poetry. Rypdal is known as a guitar god and there are some monstrous guitar workouts but his guitar is just as likely to evaporate into whispering electronic twilights. He is above all a thinker and conceptualist who has a guitar god as one tool at his disposal. Threads of continuity recur through his career. In 2006, he released Vossabrygg. It is a free tribute, with similar instrumentation, to the album that helped shape his aesthetic, Bitches Brew. The Miles role is fulfilled brilliantly by Palle Mikkelborg. Rypdal says, “For me, when jazz went in a more rock direction, it all fell together.” His latest album, Crime Scene (2009), picks up another thread: Coltrane’s Meditations. Rypdal was commissioned to compose music for the Bergen Big Band of Norway. He says, “They sent me some of their recordings and I was surprised that they had actually made an album around Meditations, expanding on it. So we had a connection. I treated the band like a chamber orchestra but more open, with a lot of freedom, especially for the sax players.” Crime Scene proves that Rypdal has lost none of his imagination, curiosity and courage. It is one of his most unusual and ambitious works, featuring the quartet with Mikkelborg, Storløkken and Vinaccia plus the 17-piece Bergen Big Band. The blend is unique: orchestral jazz; wild abstraction; belligerent rock ‘n’ roll; snippets of spoken dialogue from crime films. Rypdal was in a wheelchair, recovering from surgery, when he composed it: “I couldn’t go to the piano all the time. Maybe that’s why it’s so loose.” In June, Rypdal will be performing music from Crime Scene with the quartet and the Bergen Big Band at jazz festivals in Vancouver, Montreal and Rochester. At Le Poisson Rouge, he will have the quartet only and says he cannot do Crime Scene without the big band. But whatever he does, it will be like nothing heard on these shores in years. v

For more information, visit ecmrecords.com. Rypdal is at Le Poisson Rouge Jun. 27th. See Calendar.

Recommended Listening: • George Russell - Electronic Sonata for Souls Loved By Nature (Strata East-Soul Note, 1969)• Esoteric Circle - Eponymous (Flying Dutchman, 1969) • Jan Garbarek/Bobo Stenson/Terje Rypdal/ Arild Andersen/Jon Christensen - SART (ECM, 1971)• Terje Rypdal - Odyssey (ECM, 1975)• Terje Rypdal/Miroslav Vitous/Jack DeJohnette - To Be Continued (ECM, 1981)• Terje Rypdal - Crime Scene (ECM, 2009)

ENCORE

Jackie Paris (1926-2004)

by Andrew Vélez

Carlo Jackie Paris was born Sep. 20th, 1926 in Nutley, New Jersey. Although he never achieved the acclaim accorded other male singers of his era, Paris had intermittent successes. What did remain throughout his career was a consistently hip vocalizing much admired by some of the greatest jazz musicians. Paris began his career as a popular child song and tap-dancing entertainer in vaudeville, where he was encouraged by legendary black headliners such as Bill “Bojangles” Robinson and The Mills Brothers. After serving in the army during World War II, he was inspired by his friend Nat “King” Cole to put together “The Jackie Paris Trio”, with himself on guitar and vocals. During the now legendary period of jazz on 52nd Street, the Trio played an unprecedented 26

weeks at the Onyx Club. During this time he met Charlie Parker and became the only singer who ever toured regularly with Parker’s Quintet with Miles Davis and Max Roach. Regrettably they never recorded. His first recording was “Skylark” (1947) for MGM and it became Paris’ signature tune. In 1949 he became the first white vocalist to tour with the Lionel Hampton Orchestra. Exhausted by their series of 78 one-nighters, he turned down an invite from Duke Ellington to join his orchestra. Paris was the first singer to record Thelonious Monk’s “‘Round Midnight” and Charles Mingus called Paris his “favorite singer” and used him on several recording sessions including “Paris in Blue” (1952), which was written for him. It was followed by the classic “Duke Ellington’s Sound of Love” (1974). With his cool attitude and harmonically sophisticated style, Paris embodied the very essence of modern jazz. Straightforward in his delivery, with an acute respect for lyrics and well grounded in the blues, Paris could also swing and scat. Named “Best New

Male Vocalist of the Year” in 1953, in the first-ever DownBeat Critics Poll, it was to be the first of many that he won. Among the musicians with whom Paris recorded are Hank Jones, Charlie Shavers, Joe Wilder, Wynton Kelly, Eddie Costa, Coleman Hawkins, Bobby Scott, Lee Konitz, Terry Gibbs, Neil Hefti, Johnny Mandel and Oscar Pettiford. Yet despite all the acclaim and admiration from his peers, there were long periods during which Paris all but disappeared from music, even reportedly at one time to have been working as an elevator operator. Yet in 2001, he was back singing to a standing-room-only crowd at Birdland. He was the subject of Raymond De Felitta’s 2006 documentary, ‘Tis Autumn - The Search for Jackie Paris. Frail physically but still swinging, Paris opined, “To be alive is to play...otherwise why the hell are we here!” Paris passed Jun. 16th, 2004. v

A Jackie Paris Tribute is at Tribeca Performing Arts Center Jun. 1st as part of Lost Jazz Shrines. See Calendar.

LEST WE FORGET

June 5th Mike Longo 17-piece

NY State of the Art Jazz Ensemble with Dee Daniels

June 12th Jeff Siegel Quintet

June 19th Charli Persip Super Sound

Big BandJune 26th

Mike Longo Trio

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 | June 2012 11

MEGAPHONE

ShapeShifting Music and Artby Fortuna Sung & Matthew Garrison

“Matt, are you sure you want me to write the article? Nobody knows who I am!” To which Matt responded, with much encouragement, “Yes, you have to do it eventually, one way or the other. You’re my business partner and the co-owner of this place. Don’t be shy.” And here I am, writing away about the story of our venue ShapeShifter Lab. The birth of ShapeShifter Lab came about one day when Matt and I were in Tokyo, casually chatting about our dreams. “I have two arts-related ideas I’ve always wanted to put into reality, Fortuna. One is to have my own space that allows for all musicians to come in and present their work without boundaries and the other is to continue developing my online work in a new format that no one else has ever done before.” He continued to explain, “After spending more than 20 years as a performing artist, I pretty much have performed at most major venues around the world. Very rarely have venues or organizations treated musicians with the respect they deserve or taken proper care of the sound systems, among a series of other issues.” Even though I am not a musician, I could feel his frustration. “Music is another world where people come together trying to forget about issues that set us apart - racism, conflict, religion and on and on. It’s a common language where we come to an understanding of each other when we interact artistically.” My little brain started calculating after this conversation. Two months later, I sent Matt a proposal and three months after, I found myself in New York. The timing was perfect. Matt had just finished a tour with Whitney Houston; I wanted to explore my entrepreneurial nerves in a new territory outside of Asia, continuing what my parents had been doing: providing opportunities for ideas in the art scene. Growing up with him during the ‘80s in Italy while we were teenagers had planted the seeds of this venture. And now 25 years later, we are making it happen at ShapeShifter Lab. We found this manufacturing space one year ago in Park Slope Brooklyn, put a few nails and some paint here and there (to put it very mildly) and here we are! Because of the flexibility of the space, it allows for live recordings. “With my recent record releases,” Matt has said, “sales have taken a hit over the last couple of years because of all these pirated downloads. Unless I’m on the road, selling CDs directly to the audiences,

it’s almost pointless to make records these days.” At first we wondered why CD and audio file sales plummeted at which point we went online to poke around here and there. I was nearly in tears after seeing over 20,000 downloads from bit-torrent sites. “So it’s not about my compositions. There’s got to be a way to bypass all of this lack of compassion for artists trying to make a living by selling their work to the public,” he said two weeks after his last release. So with the convenience of having a space, Matt is using it as his recording platform to release his next record in a revolutionary way within the virtual world. So far we have recorded Meshell Ndegeocello, Gene Lake, Arto Tunçboyaciyan, David Binney, Adam Rogers, Jojo Mayer, Sean Rickman, Mark Guiliana, Marko Djordjevic, Hadrien Feraud and Tobias Ralph. I would like to give you more details about it but this project is being patented at the moment. We will announce it shortly. And yet, this venue adds another spectrum to the whole picture: we want people who come here, artists and audiences alike, to have a forward-thinking mindset. Coming from a jazz background, Matt has never forgotten about his lineage. He told me proudly, around the time he just picked up playing the electric bass, “My father is well known, you know! His name is Jimmy Garrison, the bass player of John Coltrane.” With my poor knowledge at that time, I had no idea what historical significance that implied. Only years later was I able to grasp that simple statement and yet admire his ties with the revolutionary steps that those brave musicians had taken. “I want ShapeShifter Lab to be the place where musicians and audiences come gather, hang out and new concepts will blossom naturally and organically, always connecting to the original spirit of research bestowed upon us by such artists as my father.” The idea is to give these musicians and artists entire evenings so they can curate projects where they can bring in dancers, live visual art, film scores or just an evening of pure creative music. However, the projects they bring in have to be forward-thinking, even better with different art forms intermingled with each other. We have to move into the future. To put it abstractly, music and art are about no boundaries, freedom of expression and working with open space and people with open minds. We have to work with visual artists, dancers, film-makers, photographers to create more interactive human dynamics.” v

For more information, visit shapeshifterlab.com. The official grand opening takes place throughout June. See Calendar for complete program and performers.

Matthew Garrison was born Jun. 2nd, 1970 in New York, spending the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father, his family relocated to Rome, Italy where he began to study piano and bass guitar. In 1988 he returned to the United States and lived with his godfather Jack DeJohnette for two years, studying intensively with both him and bassist Dave Holland. In 1989 Garrison received a full scholarship to attend Berklee College of Music in Boston and thus began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays, to mention but a few. Garrison has performed, toured and recorded with artists such as Herbie Hancock, Joe Zawinul, Chaka Khan, Pino Daniele, Meshell Ndegeocello, Joni Mitchell, Whitney Houston, Wayne Shorter, Jack DeJohnette, Steve Coleman, Rita Marcotulli, Bill Cosby, Paul Simon, Cassandra Wilson, Wallace Roney, Geri Allen, Gary Thomas, John McLaughlin, The Gil Evans Orchestra, Tito Puente, John Scofield, The Saturday Night Live Band, Michael Brecker, Randy Brecker, Mike Stern, Pat Metheny and many others.

Fortuna Sung was born into an artistic family in the ‘70s in Hong Kong. Her father was a trained classical musician and film director/producer. He had mentored world-class film directors such as Johnny Woo and Wong Kar Wai, among many others while her mother was an actress in many leading roles. Their daughter continues to carry on their passion into which they have dedicated a lifetime. Matt is the “music-brain” and Fortuna is the back-end support at ShapeShifter Lab.

by Katie Bull

How do we sleuth out who to go hear in vocal jazz? Who, what, where, when, why? The who and when are in the The New York City Jazz Record’s extensive Event Calendar. The what and why might arrive from a friend’s enthusiastic recommendation, or the influence of a balanced critic’s perceptions, providing context for reflective and fresh new listening. This month, the focus is on the where; there are vocal homes that you, the listening audience, can count on to find excellent singers. At the end of the day, “You just gotta be there.” Where is “there”? Zinc Bar, Jazz at Kitano, Metropolitan Room, The Jazz Gallery, Fat Cat, Cornelia Street Café, Smalls and Bar Next Door: all golden vocal venues. 55Bar has a tried-and-true dedication to solid regulars such as Kendra Shank (Jun. 29th). The newish midtown club Somethin’ Jazz Club won the 2011 DownBeat Award for best jazz venue and also features singers regularly

such as sturdy jazz elder Dee Cassella (Jun. 16th). I-Beam offers ear-opening programming such as sonorous Yoon Sun Choi’s E-String Band (Jun. 8th). At The Stone, Brazilian-born Vinicius Cantuaria sings Jobim anew (Jun. 8th). Smoke, a beloved jazz dinner club known for cream-of-the crop straightahead singers, features finely attuned Allan Harris as part of its month-long Miles Davis Festival (Jun. 10th, 17th and 24th). Harris has also released Convergence (Love), a seamless duo with pianist Takana Miyamoto, and will celebrate late singer Jackie Paris at Tribeca Performing Arts Center’s Lost Jazz Shrines series (Jun. 1st). At Blue Note mainstay singers Tessa Souter (Jun. 4th), Judi Silvano (Jun. 24th) and Cassandra Wilson (Jun. 28th-30th) will carry the room’s legacy forward. Souter’s soulful new release is Beyond the Blue (Motéma) and note that she is also a 55Bar regular; Silvano’s hearty hues color Indigo Moods (Jazzed Media) and will have her music performed at Symphony Space (Jun.

7th). Before the breathtaking Manhattan skyline at Dizzy’s Club, hear jazz cabaret great Barbara Carroll sing and play piano (Jun. 20th-24th). Outdoors, the fierce Gregory Porter is at the Madison Square Park Oval Lawn Series (Jun. 27th). The Jazz Journalists Association has nominated Porter for Best Male Singer (June 20th) as part of its annual awards ceremony, to take place at Blue Note (Jun. 20th). Other nominees are: Karrin Allyson, René Marie, Gretchen Parlato, Tierney Sutton, Freddy Cole, Kurt Elling and Giacomo Gates. Roulette hosts the Vision Festival this year, which features NEA Jazz Master Sheila Jordan with free jazz pioneer Jay Clayton in “Bebop to Freebop” (Jun. 15th)! (Vision/Arts for Arts also regularly hosts the bold Evolving Voices Series at Clemente Soto Velez Cultural Center.) At the Abrons Arts Center, jazz, blues, folk master Leon Redbone will bring the 20th Century Songbook on home. Be there. Where? At venues providing homes for song’s heart. v

VOXNEWS

VITALY GOLOVNEV was born in Nalchik, Russia into a family of musicians. The first trumpet lessons he took were from his grandfather, a great musician who influenced him to pursue music. Later at age 15, he moved to Moscow to continue his professional education at the prestigious Gnesin Academy of Music. In the fall of 2003, Golovnev moved to New York where he was fortunate to share the stage with Wynton Marsalis, the Mingus Big Band, David Berger’s Sultans of Swing Orchestra and many other bands. In 2007 he participated in the Thelonious Monk Jazz Trumpet Competition and a Grey Goose TV commercial with the Wayne Escoffery Sextet. Has performed in the US, Canada, Japan, Europe and Israel. In 2009 his debut album To Whom It May Concern was released on Tippin’ Records.

Teachers: In Moscow, I studied trumpet with Evgeny Savin. My other teachers were Alexandr Oseychuk, Yuri Chugunov and Igor Bril.

Influences: Bird, Miles, Monk, Coltrane, Dolphy, Booker Little, Oliver Nelson, Freddie Hubbard, Bill Evans, Horace Silver, Woody Shaw and German Lukianov.

Current Projects: My second album What Matters is out on Tippin’ Records, with my countryman, saxophonist Zhenya Strigalev. I often play with George Gee Orchestra.

By Day: Practicing, composing and trying to get a gig.

I knew I wanted to be a musician when... I saw my

grandparents working together on the bandstand.

Dream Band: Steady working band of strong individuals.

Did you know? When I served in the military orchestra of the Russian Army, we convinced the checkpoint officer to give us permission to leave the base for the reason that we needed to get more sharps and flats.

For more information, visit vitalygolovnev.com. Golovnev is at Smalls Jun. 27th and Fat Cat Jun. 29th. See Calendar.

BENJAMIN BARSON is a 23-year old baritone saxophonist, writer, producer and activist. He has played with a diverse cross-section of leading New York City jazz musicians such as Fred Ho, Arturo O'Farrill and Ku’umba Frank Lacy. Barson has committed his life to musical activism, such as working to free political prisoner Russell Marroon Shoats or championing the work of Cal Massey. He is a member of the revolutionary

collective Scientific Soul Sessions and lives in Harlem.

Teachers: Fred Ho and Arturo O’Farrill.

Influences: Fred Ho for his AfroAsian baritone language and his radical politics, Ronnie Cuber’s hardbop and blues vocabulary and Dexter Gordon for his tone.

Current Projects: Working with Arturo O’Farrill and Red Rooster Harlem to debut Arturo’s newest work, The Offense of the Drum, a suite that celebrates the drum’s role in forging a culture of collectivity and resistance among peoples of the African diaspora, as well as in the recent Occupy movement.

I knew I wanted to be a musician when... Growing up in the suburbs of New Jersey, music turned me onto a world where love, not jockstraps, reigned supreme. A groove that said: “There are other worlds than these.”

Dream Band: A volunteer army of spiritual warriors committed to changing the world through revolutionary music. And who can play changes!

Did you know: Being forced to play baritone in marching band was the best thing that ever happened to me.

For more information, visitbenjaminbarson.com. Barson is at Red Rooster Jun. 19th and 21st-22nd with Arturo O’Farrill and Mondays with Rakiem Walker. See Calendar and Regular Engagements.

12 June 2012 | THE NEW YORK CITY JAZZ RECORD

LISTEN UP!

Potlatch Recordsby Ken Waxman

Performing music’s loss is recorded music’s gain since Paris-based Jacques Oger abandoned his gig as a saxophonist with the free music trio Axolotl in the mid ‘80s. Turning to market research, communication and translations, by 1997 he had saved enough to found Potlatch, which to date has released 35 high-quality CDs. Oger spent 10 years with Axolotl, during which the band recorded two LPs and gigged frequently. He stopped playing, he admits, “because I thought I was not creative enough to keep on in that area of music.” He was creative enough though when he translated his love for experimental music into a record label. “My kids were older, so I had more time left to do something else,” Oger adds, describing the birth of Potlatch, which takes its name from the wealth redistribution system practiced by North American Indians. “I thought that a label was needed to promote musicians that I enjoyed and who weren’t known enough. Above all, there was the Internet starting and growing very fast. Suddenly it was very easy to have contacts with musicians, distributors and consumers all over the world via mailing lists, mail order and websites.” Another plus was his experience as an itinerant musician. Asked how he corralled well-known musicians such as Evan Parker and Joëlle Léandre to record for Potlatch, Oger replies: “I knew them personally. I explained that they could rely on me because I knew how to address the ‘market’; I had

contacts with distributors, I knew journalists and reviewers in France and abroad.” Early on output was divided between sessions specifically created for Potlatch and previously recorded material. As Potlatch’s sole owner and only employee, Oger uses different sound engineers and artists/designers on a project basis. “We often recorded at Les Instants Chavirés, the main venue for improvised music in Paris, or sometimes at great festivals such as Méteo in Mulhouse.” One early CD, Outcome by Derek Bailey and Steve Lacy, stands out because it was recorded 16 years before it was released. Engineer/computer musician Jean-Marc Foussat, who recorded the majority of Potlatch’s early CDs, had the master on hand. “It made sense because Steve Lacy was living in Paris. Since I had attended his master class, I knew him,” remembers Oger. “Afterwards, I decided to give up on older material. I have to release material focused on the present. Music is changing, so labels must reflect new tendencies and trends.” That has certainly happened, as Potlatch has become one of the primary outlets for reductionist sounds. “There was a turning point with a new generation of musicians with other ideas of how to play. From 2002 on, my choices were orientated towards realms focusing on more spacious forms of music with new textures, slower pace, the presence of silence, a preference for collective sound rather than chatty ping-pong playing based on energy and spontaneity.” Since Oger can’t afford to put out more than two or three CDs each year, selecting the right musicians and sessions to release is “the main job when you run a

label, maybe the only one,” he asserts. “It’s hard even when you believe that you have some experience. I need to know what’s happening everywhere. I attend a lot of concerts; I listen to a lot of recordings. When I’m convinced by the quality of a musician or group of musicians, I ask if we can do something together. It can be a live recording and we can make several before choosing the best, or it can be studio sessions.” One player who benefitted from this due diligence is tenor saxophonist Bertrand Denzler, who has had four CDs on the label: two with Trio Sowari; another with a saxophone quartet and a solo saxophone disc. “In the late ‘90s and early ‘00s, other labels published my CDs. Working with them was a good experience, so I wasn’t thinking about recording for Potlatch,” Denzler recalls. “I saw Jacques at many concerts though and we had interesting discussions about music. Then in 2004 Trio Sowari had its first concerts in France plus a two-day studio residency. Jacques came to one of those concerts in a tiny studio and enjoyed our music. He told me he would be interested in publishing a recording. I told him I would send him something. He immediately decided to release it. “Two years later, Trio Sowari did a new CD and I asked Jacques to publish it. But he needs time before he can sell enough copies to finance the next one. Two years later, he put it out. With Propagations, Jacques heard our saxophone quartet in concert, but after we recorded, either we or he thought the results weren’t good enough until we finally came up with something in 2007. I recorded the solo CD one day in Paris and (CONTINUED ON PAGE 37)

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dOek Festivalby Ken Waxman

Unexpectedly but appropriately, Sean Bergin, tenor saxophonist and tour-guide-for-the-day, added an extra stop to an afternoon bus tour of selected jazz clubs during the 10th anniversary of Amsterdam’s dOeK Festival (Apr. 21st-22nd). On a narrow street beside a canal, at a construction site, which from 1974-2005 had been home to the Bimhuis, ground zero for advanced Dutch sounds, the South African-born Bergin passed out noise-makers and led the participants in a brief fanfare celebrating the exceptional music played there. The salute was doubly significant. Not only was that location progenitor of the spacious, soft-seated, harbor-front location of the new Bimhuis, in which 2012’s festival took place, but long-time Amsterdam resident Bergin, who during the bus ride entertained with quirky songs and stories about the city’s musical history while playing saxophone, penny-whistle and ukulele, is a representative of the foreign improvisers who have contributed to the city’s musical gestalt. Organized as a non-profit foundation promoting improvisation in the Netherlands, dOek’s global reach was emphasized during the fest with concerts that featured American, German and Australian musicians playing alongside their Dutch counterparts. Take WoKaLi, a trio that melded the verbalized whinnies, mumbles and rapid lip motions of local trombonist Wolter Wierbos with two Berliners: pianist Achim Kaufmann, with his crisp key palming, and percussionist Christian Lillinger, who vibrated dual snares, slapped hard objects on drum tops and generally produced hyperactive rhythms. A climax was reached as Wierbos’ slurs turned to tongue-grinds, the drummer beat on the hi-hat with a stick while Kaufmann’s cascades kept the theme cohesive. Oddly there was no piano present during the set by The Gap, a sextet organized by dOeK founding member Cor Fuhler, who now lives in Australia. Usually a keyboardist, Fuhler instead played guitar and was backed by another dOeK founder now in Berlin, reedist Tobias Delius; Germans Axel Dörner on slide trumpet and Jan Roder on bass; plus two Aussies: percussionist Steve Heather and vibraphonist Dale Gorfinkel, whose kinetic sound and light sculptures were on display on another floor of the Bimhuis. A suite of Fuhler-composed airy miniatures, the pieces usually depended on Gorfinkel’s four-mallet rubs and slides on the metal bars and Heather’s sensitive brush work. Ironically, despite the modernist playing of Dörner, whose distanced breaths often seemed to leak back into his horn, the taut voicing of vibes, guitar and Delius’ flat-line clarinet resembled that of Lionel Hampton, Charlie Christian and Benny Goodman. The more assertive bass-and-percussion team of (CONTINUED ON PAGE 46)

Trondheim Jazz Festivalby Tom Conrad

When you fly into Trondheim in May, snow still covers the hills around the city. Norway has older, more famous jazz festivals, like Molde and Oslo and Kongsberg. But Trondheim has an intimacy all its own. The small venues are close together, on either side of a footbridge over the Nivelda River. In May, Trondheim Fjord and the river glow in the amber of very late sunsets. One of the most important jazz conservatories in Europe, the Jazz Performance Program at the Norwegian University of Science and Technology (NTNU), is located in Trondheim. This year’s festival (May 9th-13th) included a Jazz Summit, with academically rigorous lectures and panel discussions. Participants included Erling Aksdal, Director of the NTNU Jazz Program, author Stuart Nicholson, John Kelman (Managing Editor of AllAboutJazz.com), Francesco Martinelli (Director of the Siena Jazz Archive) and several musicians (Bugge Wesseltoft, Django Bates, Iain Ballamy). The central theme of the Summit was that globalization is the key evolutionary development taking jazz into the future. The music of the festival confirmed this thesis, with an emphasis on three parts of the globe: the United States, the United Kingdom and Norway. Americans set the bar high. Stacey Kent played the opening concert in Dokkhuset (“dock house”), a 200-seat space in a converted dry dock. She is an honest, unaffected singer with a small, pure voice. Her clear diction and objective phrasing made her Jobim interpretations (“Corcovado”, “How Insensitive”, “Dreamer”) sound egoless, even definitive. After Kent, Ambrose Akinmusire’s incandescent quartet (Sam Harris: piano; Harish Raghavan: bass; Justin Brown: drums) played right across the street in Blæst, a dark upstairs room without chairs. Akinmusire lived up to the current critical consensus that he has a chance to be the next important jazz trumpet player. He organizes a solo like no one, with lines that are startling in themselves and more startling in their internal relationships. On “Richard” he erupted in huge sweeps and wild splashes of trumpet while his rhythm section seethed. Nominal ballads like “Regret No More” were eventually blown up by impulsive intervallic leaps. Akinmusire may not have listened to Tomasz Stanko, but in our globalized jazz environment Stanko is in the air. Like Stanko, Akinmusire slides off notes to slur and spit and flutter. Like Stanko, he is less a trumpet player than an expressive artist whose medium is trumpet. (Harris, unpredictable and orchestral, is a new pianist to watch.) Kit Downes was the most impressive of the British musicians. The pianist’s quintet Quiet Tiger at Dokkhuset (Calum Gourlay: bass; James Maddren: (CONTINUED ON PAGE 46)

FESTIVAL REPORT

THE NEW YORK CITY JAZZ RECORD | June 2012 13

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With his understanding of jazz composition and a tone mature beyond his years, tenor saxophonist Brandon Wright has understandably carved out a niche for himself as a big band mainstay. And while Wright may think of himself as a Journeyman within the confines of the Mingus, Chuck Mangione and Max Weinberg big bands, his creativity and fresh approach as a leader are anything but mundane. Boiling Point (Posi-Tone, 2010) debuted integrative leadership as a strong suit and Journeyman picks up where that album left off. Mingus bandmate/pianist David Kikoski is a welcome holdover from that debut session and the cuts on this sophomore release are evidence that he and Wright have become even more in sync. In the context of this quartet’s freedom, their in-tandem playing is quick, precise and masterful. Bassist Boris Kozlov and drummer Donald Edwards are also Mingus Big Band members and here they weave elegant rhythmscapes that are crisp, fleet and structurally solid in support of the various stylistic realms through which Wright takes the quartet. Whether the band is wailing on burners like the brawny “Big Bully” or opener “Shapeshifter”, melding jazz with greasy blues for a “Walk of Shame” or getting sentimental on an extended take of Hoagy Carmichael’s “Nearness of You”, Wright’s muscular tone impresses. His style is steeped in ‘50s hardbop but Wright is most definitely a child of the ‘90s. On his debut, he found the jazz in Stone Temple Pilots’ “Interstate Love Song” and here he employs a strapping Eddie Vedder-esque voicing for Pearl Jam’s “Better Man”, which cleverly contrasts with Kikoski’s more graceful approach. In addition, an introductory Trane-like soliloquy to Oasis’ “Wonderwall” creates a hymn-like atmosphere that retains the original’s naiveté but expands its reach across generations. Wright’s unique combination of chops, jazz savvy and Gen X diversity may signal a changing of the guard.

For more information, visit posi-tone.com. This group is at Jazz at Kitano Jun. 1st. See Calendar.

This album is being billed as a salute to the legendary Tony Bennett/Bill Evans duo recordings of 1975-76. But it is also a salute to the simple rendering of song by two musical voices - the human voice of Allan Harris and Takana Miyamoto’s piano. The pair had never worked together until a last-minute engagement in Atlanta wherein they realized their musical chemistry and decided to record together. Harris has been on the scene with other recordings

to his credit as a singer and guitarist. His voice has settled in a lower register over the years and now possesses a warm raspiness that, in spots, is reminiscent of Nat Cole. Japan-born Miyamoto, a graduate of Berklee College of Music, enjoys a reputation as an accomplished accompanist, having worked with Nnenna Freelon and René Marie. She does not attempt to play like Bill Evans here but instead brings her own delicate and inventive touch to her fills and solos. The selections, which appeared on the aforementioned Bennett/Evans recordings, are all recognizable and there are several highlights. Even though they are all ballads and mostly done in ballad tempo, there are two uptempo song versions that really swing - “The Touch of Your Lips” and “Days of Wine and Roses”. Harris’ phrasing ability stands out on the latter as it also does on his rendition of “But Beautiful”. “You Must Believe In Spring” is a fine example of Harris’ storytelling ability and Miyamoto delivers a memorable solo on the torchiest of all torch songs, “You Don’t Know What Love Is”. But the most heartfelt performance on this CD is Evans’ classic “Waltz For Debby”, which is approached as the lovely lullaby it is meant to be. Harris and Miyamoto have used their respective interpretive gifts to create a warm comfort zone that brings out the best in these songs and the vocal/piano duo tradition.

For more information, visit allanharris.com. Harris is at Tribeca Performing Arts Center Jun. 1st as part of Lost Jazz Shrines and Smoke Jun. 10th, 17th and 24th as part of Miles Davis Festival 2012. See Calendar.

Compared with many of his contemporaries, tenor saxophonist Ravi Coltrane’s career started slowly and has proceeded at an unhurried, almost deliberate pace. He didn’t release his first disc as a leader until he was 33 (1998’s Moving Pictures), after he had played key sideman roles with the likes of Elvin Jones, Wallace Roney and Steve Coleman. Since then, he’s made only six albums, including his new one, Spirit Fiction, his debut for Blue Note, the label for which his father recorded the classic Blue Train some 55 years ago. Coltrane’s patience has paid off, giving him the time to develop a sound and style of his own, one that certainly draws on his famous dad, but probably owes more to other legendary tenors like Dewey Redman and Joe Henderson. On Spirit Fiction, he gets an assist from still another tenor titan, Joe Lovano, who acts as co-producer and sits in on two tunes. The album’s 11 tracks are split between two different groups, one Coltrane’s working quartet of pianist Luis Perdomo, bassist Drew Gress and drummer EJ Strickland; the other a quintet of past collaborators like pianist Geri Allen, trumpeter Ralph Alessi, bassist James Genus and drummer Eric Harland. Several of the tunes are group improvisations, including the opener, “Roads Cross”, which Coltrane describes as two duos played together, and its much different sounding bookend “Cross Roads”. The title track, which Coltrane calls a “mashup”, takes a similar approach, layering separate recordings of duo improvisations together to create a surprisingly strong, if abstract, groove.

Other tunes are more composed, but still highly spontaneous, including three by Alessi, the most memorable of which is the slow building, nearly anthemic “Yellow Cat”. Coltrane and Alessi are longtime cohorts and their ability to play off and push each other is powerful and deep. Lovano, meanwhile, is featured on a riotous reading of Ornette Coleman’s “Check Out Time” and a much more subdued, even tender, trio take (with Allen) on the late Paul Motian’s “Fantasm”.

For more information, visit bluenote.com. Coltrane is at Birdland Jun. 1st-2nd, Roulette Jun. 5th, ShapeShifter Lab Jun. 8th and The Schomburg Center Jun. 13th. See Calendar.

14 June 2012 | THE NEW YORK CITY JAZZ RECORD

CD REVIEWS

• Chick Corea - The Continents (Deutsche Grammophon)• Linda Oh - Initial Here (Greenleaf)• Eivind Opsvik - Overseas IV (Loyal Label)• Ulysses Owens Jr. - Unanimous (Criss Cross)• Phronesis - Walking Dark (Edition)• Larry Willis - This Time The Dream’s On Me (HighNote) David Adler, New York@Night Columnist

• Cannonball Adderley Quintet - Legends Live: Liederhalle Stuttgart (March 20, 1969) (JazzHaus)• Ran Blake/Christine Correa - Down Here Below (Tribute to Abbey Lincoln Vol. One) (Red Piano)• David “Fuze” Fiuczynski - Planet MicroJam (RareNoise)• RED Trio + Nate Wooley - Stem (Clean Feed)• The Thing (with Barry Guy) - Metal! (NoBusiness)• Zanussi Thirteen - Live (Moserobie) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record

• Blue Notes - Before The Wind Changes (Ogun)• Ircha-Mikolaj Trzaska Clarinet Quartet - Watching Edvard (Kilogram)• Kullhammar/Aalberg/Zetterberg - Basement Sessions, Vol. 1 (Clean Feed)• Mike Noordzy Quintet - Dream-ee-chi-wah (Nacht)• The Thing (with Barry Guy) - Metal! (NoBusiness)• Zürihorn - Wanderlust (Unit) 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

Journeyman

Brandon Wright (Posi-Tone) by Elliott Simon

Spirit Fiction

Ravi Coltrane (Blue Note)by Joel Roberts

Convergence

Allan Harris/Takana Miyamoto (Love Prod.)by Marcia Hillman

Taken together, the compositions on these three discs comprise some of the most eloquent entries in the history of popular song. David Berkman notes, “This recording feels more like explorations of these tunes than performances of them.” Mark Soskin says of his interpretations of Nino Rota that he wanted to capture the spirit of the music “by infusing my own identity into his soulful work.” And Kenny Werner suggests that “technique clears all the brush, so to speak, between the player and his instrument leaving a completely clear playing field.” These three piano masters then offer proof, as if it were needed, that in the right hands, in the right pair of hands, this music continues to tender riches to be mined. Mark Soskin, well considered for years in the group of Sonny Rollins, is very much his own man on Nino Rota (Solo Piano) as he finds the ways that Rota too was his own man while composing for the films of Federico Fellini and others. Rota apparently only needed a few verbal cues to present some of the most memorable tunes and Soskin has taken those melodies and set out to create his own memories. For an immediate lesson in recreation, Soskin takes the haunting music from The Godfather and first makes it a dark, minor blues. It’s a tone poem of sadness and reflection and the pianist makes us hear, as if anew, this familiar air. The “Waltz” from the same film is given a new key and new harmonies and follows, in a familial fashion, the main theme. Thus both pieces are taken out of the movie context and given new life. Rota’s music in Fellini’s films always reflects a certain child-like wonder and so it’s appropriate that in addition to the lovely film music there’s also a Rota composition called “7 Pieces for Children”. It’s a sweet and innocent line, which also seems to suggest some melancholic nostalgia. Soskin is an improviser but he also has a keen sense of melodic structure and artful scene painting. Kenny Werner’s treatments of the modern and standard repertoire on Me, Myself & I is more expansive yet always with a sense of architecture and form. He opens with an impressionistic, almost Scriabin-esque expedition of color on Monk’s most noted “’Round Midnight”. Werner works his way in through the mist and seemingly discovers the Monk piece within. We know this work well and yet the pianist keeps it at bay; it’s almost elusive in the way he gives it over in rhapsodic increments. The ‘standards’ here are mostly from the jazzbook - Coltrane’s “Giant Steps”, Thad Jones’ “A Child is Born”, Miles’ “Blue in Green” - and Werner digs into them with the same sense of discovery that defined the Monk and, in fact, has always defined Werner’s work. But then he also steps out for some other treats. “All the Things You Are” emerges as almost a baroque waltz, rephrased, joyous and with a surprise ending. And then there’s “I Had a King”, which comes from the very first Joni Mitchell album. It’s a dazzling, intimate performance that, with few notes in its melody, expresses a world of emotion. Werner opens it up and finds new color and texture in an extended performance that yet never really gets beyond a certain

quietness. The pianist also presents an original, “Balloon”, by turns, playful, lyrical and somber. David Berkman tells powerful short stories on Self-Portrait - 13 adventures with more standards (including some lesser known), four of what he calls “sketches”, which serve as brief interludes, and one original composition. Imagine that you’re sitting in a living room with an artist simply demonstrating just what he can discover in the moment. Berkman has a subtle wit and involving intelligence. On “Anniversary Waltz” he takes a kind of schmaltzy old love song and beautifully darkens it, giving it a new, deep richness. He turns “It Could Happen to You” into a bit of a dirge, which as it expands, reflects a new kind of melancholy in what has mostly before been played as a spritely uptempo number. Berkman’s original “Tiny Prairie Landscape” is a strikingly evocative picture with the feeling of an evanescent tone poem, making its eloquent statement and then fading away. And in a bold, beboppish move, the pianist offers us Miles’ lesser known “Milestones”, not the tune “Miles” often mistakenly called “Milestones” that led off the album of the same name. Here, as in every selection, Berkman displays prodigious technique but it’s always in the service of what he can find out about a tune.

For more information, visit kindofbluerecords.com, justin-time.com and redpianorecords.com. Soskin is at Church of the Ascension Jun. 1st. Werner is at Blue Note Jun. 4th with Tessa Souter and Jazz at Kitano Jun. 15th-16th with Janis Mann. Berkman is at Lenox Lounge Jun. 23rd with Barbara King and Tea Lounge Jun. 28th with Christian Finger. See Calendar.

British native Tessa Souter was a late bloomer. It wasn’t until after raising a son as a single parent, earning a college degree and various writing and editing jobs that she finally pursued her dream as a vocalist. Encouraged by her exposure to jazz through attending jam sessions and open mic nights in New York City, Souter retained her love for pop while also writing lyrics for well-known jazz works and composing new music of her own. Beyond the Blue is Souter’s fourth CD. First issued by Venus in 2011, it was remixed by session engineer Katherine Miller for its rerelease. While a number of jazz instrumentalists have explored classical repertoire and reworked it into jazz vehicles, relatively few vocalists have tackled entire albums of classical works, in addition to penning their own lyrics. Souter has a stellar lineup accompanying her, including pianist Steve Kuhn (who has also recorded interpretations of several classical pieces on his CDs), bassist David Finck and drummer Billy Drummond, with guest appearances by vibraphonist Joe Locke, saxophonist Joel Frahm and Gary Versace on accordion. Souter works her magic with several pieces familiar to jazz listeners. “The Lamp is Low” opens with a mysterious air, fueled by Locke’s ominous backing and tension provided by Finck and Drummond, with Frahm’s evocative tenor making a late entrance. Souter’s exuberant playfulness shimmers in the swinging “My Reverie” while her sassy side is on display in the delightful waltz “Baubles, Bangles and

Beads”, with Kuhn and Finck adding superb solos. Souter wrote lyrics for several works, including the dramatic “Prelude to the Sun” (taken from Beethoven’s Seventh Symphony and arranged by Locke), her infectious bossa nova “Brand New Day” (adapted from Fauré’s “Elegy”), hip bop vehicle “The Darkness of Your Eyes” (recasting Fauré’s “Pavane”) and the shimmering bittersweet ballad “En Aranjuez Con Tu Amor” (adapted from Rodrigo’s famous Guitar Concerto). Souter demonstrates versatility and depth of feeling in this fresh exploration of classical themes.

For more information, visit motema.com. Souter is at Blue Note Jun. 4th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 15

The Jazz Couriers were a twin tenor group co-led by the mercurial Tubby Hayes and the sane but never boring Ronnie Scott. The latter is best known to Americans for the London club that still bears his name while Hayes will also be familiar to many, owing to the fact that a couple of his best albums were recorded for American labels. During the brief period the Couriers were together (1957-59), this was the most popular jazz band in Britain. And though at this remove they will probably conjure up comparisons to the Al Cohn-Zoot Sims quintet, they drew their primary inspiration from the hardbop of Art Blakey and Horace Silver. Pianist Terry Shannon’s fleet soloing and tasty comping are in the Sonny Clarke vein and drummer Bill Eyden is particularly fluent in the hardbop idiom. Between the fine rhythm section work and the high-octane blowing of the leaders, it’s easy to see why Dave Brubeck quipped during a tour that featured both groups, “they sound more like an American band than we do.” The opening title track proves that this wasn’t just empty praise. Hayes blasts out of the gate with a blistering solo that demonstrates his great facility and, for the time, advanced harmonic sense. His one weakness was always the tendency to play too much, but that’s mostly under control on this set. Scott is by no means introspective, but his sound is smoother and his solos slightly more playful. He was influenced by early Stan Getz and one wonders if he didn’t absorb some of trombonist Bob Brookmeyer’s humor in the process. Hayes’ arranging and writing skills are on display throughout, as is, on one track, his surprisingly good vibes playing. You won’t find a more lovingly produced release than this LP, pressed on 180-gram vinyl from analog tapes the way God and Rudy Van Gelder intended. The original recording is noisy in spots, but the sense of being in the room really comes through. The liners are excellent and since this is a limited edition, anyone who loves vinyl enough to pay a premium price is advised to grab this record before it inevitably sells out to the audiophile market.

For more information, visit gearboxrecords.com

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

Tippin’ (Live in Morecambe 1959)

The Jazz Couriers (Gearbox)by Duck Baker

Beyond the Blue

Tessa Souter (Venus-Motéma Music)by Ken Dryden

Nino Rota (Solo Piano) Mark Soskin (Kind of Blue) Me, Myself & I Kenny Werner (Justin Time)

Self-Portrait David Berkman (Red Piano)by Donald Elfman

16 June 2012 | THE NEW YORK CITY JAZZ RECORD

As much as jazz is about self-indulgence - consider all the soloing - it’s also very much about wise restraint. The banjoist Béla Fleck embodies those two poles: he’s a virtuoso but he seems to know when to step back, to let some space into the music. This is an important attribute for a banjoist who immerses himself in jazz settings. In Across the Imaginary Divide Fleck joins the Marcus Roberts Trio and he adapts well, which is to say the patterns he picks out on his instrument do not make the music too busy. The excellent pianist Roberts - who got his start playing with Wynton Marsalis in the mid ‘80s - is another sort of virtuoso: of awkwardly refined expression. (You can trace his style back to Ahmad Jamal and Thelonious Monk and the stride pianist James P. Johnson.) How Roberts and Fleck navigate their own differences is what makes this album interesting. On “Petunia”, the musicians go back and forth between a lively hoedown and a slow, stride rhythm. It’s the most literal cross of styles on the album and still quite good. There’s a lot of rhythmic shifts and quick transitions on tracks throughout the record and bassist Rodney Jordan and drummer Jason Marsalis do a fine job of making them seamless. The exchange of solos, though, is where it’s at - which makes you think that this would also have made a good duo record. Roberts and Fleck both have beautiful melodic ideas and give themselves plenty of space in which to reveal them. Of note: Fleck sometimes makes his banjo sound like a mandolin when he plucks between strings and his tone, when he lets it echo between notes, is sweet and satisfying. In the end, it appears that Roberts and Fleck have a lot in common.

For more information, visit rounder.com. This group is at Blue Note Jun. 5th-10th. See Calendar.

Despite drummer Jeff Ballard joining pianist Brad Mehldau’s trio with bassist Larry Grenadier almost ten years ago, this is the first studio album featuring just the three of them. There are no orchestras or guests, just Mehldau’s working group burning through over an hour of original material. As the title suggests, the tunes on Ode find Mehldau in a reflective mode, paying homage to a host of characters living, deceased and fictional. Curiously, although this is the first studio album for the trio, 8 out of the 11 tracks were waxed over three and half years ago, with a few albums recorded and released in the interim. The album opens with a skittering homage to late

saxophonist Michael Brecker entitled “M.B.”. Mehldau’s fingers dash in ten different directions like cross-town traffic, swerving narrowly around each other. The title track - Mehldau’s “ode to odes” - recalls his earlier Jon Brion-produced pop approach with a gentle lull of pure, pulsating chords driven by Ballard’s vibrant cymbal. “Bee Blues” has the pianist in an angular Monk mode, Grenadier taking an elegant striding solo that Mehldau matches with a methodically playful one. “Twiggy”, a tune dedicated to Mehldau’s wife Fleurine, features what sounds like Ballard playing the drums with his hands and a persistent tambourine jangling somewhere in the background, Mehldau’s left hand building the tension as his right hand floats over it. “Wyatt’s Eulogy for George Hanson” is a tribute to Jack Nicholson’s murdered hanger-on in Easy Rider. The nine-and-a-half minute track is the most ‘free’ tune on the album as the band rumbles through a menacing collective improvisation. The trio closes with “Days of Dilbert Delaney”, written by Mehldau for his son. Punctuated by Ballard’s rolling snare, the lengthy tune is a satisfying display of Mehldau’s unrestrained chops. Although this is an album of remembrance it isn’t particularly somber. Mehldau does ponder the ideas of mortality while treasuring the importance of family but it never gets as contemplative as his solo 1999 release Elegiac Cycle. The band is tightly locked in, whether considering the cosmos or swinging hard, which only further solidifies its command of the piano trio format.

For more information, visit nonesuch.com. Mehldau is at The Stone Jun. 6th in duo with Mark Guiliana. See Calendar.

Nestled just beneath the Arctic Circle, Iceland supports an active jazz scene in its capital Reykjavík, host to an acclaimed annual festival now in its third decade and the spawning ground of artists like Mezzoforte, Pétur “Island” Östlund, Björn Thoroddsen and Skúli Sverrisson. Special mention must also be made of Björk, whose tunes have been widely covered by the likes of Greg Osby, Jason Moran, The Bad Plus and even an entire big band dedicated to her work: Travis Sullivan’s Björkestra. Saxophonist Óskar Guðjónsson leads a quartet with brother Ómar (guitar/bass), Davíð Þór Jónsson (organ/keyboards) and Magnús Trygvason Eliassen (drums) on its sophomore release, ADHD 2, a rootsy venture that draws deeply from the blues-rock well, the guitar cloaked in retro tremolo, at times recalling John Scofield’s slow-hand phrasing, the saxophone whispering delicately, half air, half tone. The music has a ‘creeper’ appeal, laced with restrained dissonance, spacey drones and humble soulfulness. Mónókróm, guitarist Andrés Þór’s (pronounced “Thor”) third date as a leader, features Reykjavík’s first-call rhythm section: pianist/organist Agnar Már Magnússon, bassist Þorgrímur “Toggi” Jónsson and drummer Scott McLemore (a Norfolk, VA ex-pat). Gentle and unassuming, the outing highlights Þór’s beautiful tone on electric, acoustic, dobro, lap and pedal steel guitars - ironically, the acoustic often ‘bites’ harder than the distorted electric - demonstrating his delicate but assertive touch and talent for harmonic nuance and intelligent melodies. Most of the tracks unfold in relaxed rock tempos, though “X” and “Sjávargrund” have seven-beat meters and “1922” is funky. Þór’s slide work is full of subtle inflections, with nods to country, blues and Hawaiian stylings while Magnússon creates an equally broad sonic palette with acoustic and electric pianos and organ; his solo on “München” is a standout. Jónsson and McLemore’s cohesive connection comes from being frequent gig-mates. The dynamic rhythm duo reappears on pianist Sunna Gunnlaugs’ Long Pair Bond, a similarly relaxed affair with compositions from each trio member. Like Þór, Gunnlaugs isn’t trying to impress with her technique, but rather to draw listeners into her musical world, an impressionistic soundscape inspired by the Nordic landscapes of her country. Most tracks have pared-down themes and straightforward harmonies, though “Autumnalia” is through-composed and the compositions of McLemore (Gunnlaugs’ husband) display a bit more edge. Standout moments include the piano/bass interplay on “Elsabella” and three-way dialogue throughout “Vicious World”, a Rufus Wainwright cover.

For more information, visit facebook.com/AdHd.is, dimma.is and sunnagunnlaugs.com. Gunnlaugs’ Trio is at Scandinavia House Jun. 28th. See Calendar.

ADHD 2 Óskar Guðjónsson (s/r)Mónókróm Andrés Þór (DIMMA)

Long Pair Bond Sunna Gunlaugs (Sunny Sky)by Tom Greenland

GLOBE UNITY: ICELAND

Ode

Brad Mehldau Trio (Nonesuch)by Sean O’Connell

Across the Imaginary Divide

Béla Fleck/Marcus Roberts Trio (Rounder)by Matthew Kassel

The late Stéphane Grappelli appears without Django Reinhardt on two of these discs yet even in most classical shape, he hearkens back to the spirit of his longtime companion and days in the Quintette du Hot Club de France. The violinist’s sound also weaves through two recent tribute albums, curiously reinterpreted by several contemporary hands. Bringing it Together features Grappelli on a nonet of jazz and pop standards. His serenading cries weave through Toots Thielemans’ harmonica like warm streusel in “Bye Bye Blackbird”, hitting the lullaby chorus with heart-stopping melancholy. Thielemans’ breezy harmony complements Grappelli’s whines, grounded by Martin Taylor’s cool guitar. On “Hit The Road Jack”, Grappelli also coasts on cool sails while electric bassist Brian Torff tightens the air. Thielemans conjures the same magnetism as he whistles on “You’d Be So Nice To Come Home To”. Grappelli takes an ornate turn in an orchestral recording of Jerome Kern pieces, illustrating the sultrier side of his virtuosity, particularly in “A Fine Romance” and “Long Ago And Far Away”. His violin swoops the former tune into a cinematic soundscape, echoed by his orchestra’s regal classicism. On the latter work, Grappelli returns to the instrument that sparked his musical beginnings, enveloping the air with his pensive piano. Just when his style tiptoes into florid verbosity, Grappelli sparks into radiant swing on “Can’t Help Lovin’ Dat Man”. Marc Fosset’s shimmering vocals cinch the rich affair. On the cover of New Street, Ben Powell cradles his violin while lost in a faraway skyward gaze - and this thoughtful scene captures the essence of his album. Powell’s Grappelli tribute trio mingles with airy ease, leaving plenty of room for introspection. “La Chanson Des Rues” ponders at Powell’s bittersweet pace, cresting into high-pitched reflections before retreating to silence. Julian Lage delicately seeps out intricate ribbons of guitar along the way. Vibraphonist Gary Burton shines in “Piccadilly Stomp”. Souvenirs, actually a Reinhardt tribute, does more than just pay homage - violinist Daniel Weltlinger rejuvenates the gypsy jazz craft in evocative colors. “Minor Swing” immediately swells to vibrant life, feeding the soul with a medley of strings, woodwinds and accordion. Weltlinger conjures Grappelli’s grace amid his own folksy swing on “Djangology”. The title track emerges as the album’s curious outlier, remastered to sound eerily similar to an old LP. But clarinetist Edouard Bronson emerges most riveting of all in a brief yet captivating solo on “Swing 42”. Spiked with the slightest acerbic edge, his festive cheer charms the ears with the spirit of eras gone yet still to come.

For more information, visit lisem.com, justin-time.com, ben-powell.com and danielweltlinger.com. Powell is at Jazz at Kitano Jun. 7th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 17

Bringing it Together Stéphane Grappelli/Toots Thielemans (Lisem Enterprises)

With Orchestra Plays Jerome Kern Stéphane Grappelli (Just A Memory)

New Street Ben Powell (s/r)Souvenirs Daniel Weltlinger (Toca)

by Sharon Mizrahi

English saxophonist Paul Dunmall has always seemed open to adventure. After turning professional at 17, he toured the US with the Divine Light Mission and even recorded with Alice Coltrane before hooking up with Johnny “Guitar” Watson for a year. On his return to England he discovered the European free music scene. He has operated in that heady realm ever since, allying a deep spirituality and humility with a prodigious imagination and presence. Billed as the Dig Deep Trio, the combination with longtime associate bassist Paul Rogers and drummer Tony Bianco is not new, dating back to 2002 at least. But as revealed on this 2010 live date, they still have a lot to say. Two long form improvisations (helpfully demarcated into 7 tracks for those unable to devote the required 67 minutes at a single sitting) constitute a highly potent set. “Absolute” in particular is a tour de force of spirited playing, sustaining interest while barely dipping out of the red. Dunmall, on muscular tenor, expounds with utter conviction, unhurried even at the fastest tempos, as his lines turn themselves inside out in a Möbius strip of unpredictable invention. Bianco’s non-stop drumming constitutes one of the defining characteristics of the program. While it can be an acquired taste, the ex-pat American acquits himself well here in terms of his sensitivity to the ebbs and flows in the energy around him. When the going gets heavy Rogers wields his bow to cut through the density with a glinting abrasion, exploiting the full range of his customized seven-string acoustic bass. He shines on “Mary”, scrolling through nimble flamenco guitar-like plucking, ringing harmonics and wavering sawing, evoking a hyperactive cellist, before becoming enveloped in the ensuing tumult, even getting a bowed coda to himself to take out this superb disc in style. Utilizing the same format, though with less intensity, is The Realisation Trio, Dunmall in the company of two young compatriots live in Birmingham in 2011. A more spacious ethos allows the reedman to stretch out without being pushed to the limits. Unusually for Dunmall, simple themes act as the launch pads for three-way exploration in a continuous performance, which has echoes of Sonny Rollins’ Freedom Suite. At times, as on “Part 2”, the leader draws inspiration from the material, but more often he seems unconstrained by his starting point, ably supported by Nick Jurd’s solid bass counterpoint and Jim Bashford’s pulsing drums. Often found in the middle register, Dunmall carves out asymmetric phrases, co-opting tonal distortion for emphasis and only occasionally overblowing for his trademark head-turning guttural holler. At times he even sounds almost boppish, as on the driving groove of “Part 5” and the choppy bounce of the concluding “Part 7”. Illustrating Dunmall’s range, Montana Strange is different again, a work written for the saxophonist by

composer Brian Irvine and featuring the Northern Irishman’s contemporary ensemble along with the BBC Concert Orchestra. Two separate scores for each unit run in tandem, linked by a series of cue points while the saxophonist lives on his wits, navigating through the convergences and incongruities. Being inspired by the oeuvre of the iconic filmmaker David Lynch, a dark undercurrent percolates through even the brightest moments, accentuated by jarring clashes between the orchestral strings and the horns, electric guitar and bass, turntables and percussion of Irvine’s group. Dunmall predominantly sails parallel to the shore, spurred on by his surroundings as evidenced by his elongated slurs echoing the strings on the ominous “A dream of dark and troubled things”. Of course, he effectively counters the prevailing orthodoxy at other times and brings business to a passionate unaccompanied conclusion. Rounding out the program is a short piece for Dunmall and the Irish RTE National Symphony Orchestra, which feels strangely unresolved, compared to what has passed before. Irvine’s introduction to Dunmall was a gig in Belfast some 20 years earlier, where he was completely drawn in by the magic and special connection between the threesome of the reedman, Rogers and drummer Tony Levin. That alliance, three quarters of improvising collective Mujician, which became known as the Deep Joy Trio thanks to an eponymous four-CD set on the hornman’s Duns Limited Edition imprint, sadly came to an end with Levin’s passing in late 2011. Live In Austria, recorded in 2007, discovers the band in an expansive mood on two organically evolving freebop cuts. Levin knew when to drive and when to lay out, allowing ample space, which benefits Rogers’ slashing arco work and Dunmall’s sinewy yet mewling soprano. However the quality of the proceedings is slightly undercut by the boomy bootleg sound, especially reducing the impact of Dunmall’s bagpipe soliloquy, which concludes the 40-minute “Looking Deep”.

For more information, visit fmr-records.com. Dunmall is at Roulette Jun. 11th as part of Vision Festival. See Calendar.

Matthew Shipp and Joe Morris have recorded together many times in various lineups over the years, including once before as a duo (Thesis, hatOLOGY, 1998), but Morris played guitar on that record while he’s heard on bass here (he added the instrument to his arsenal in 2000). It is doubtful if many would ever spot him in a blindfold test, because he certainly doesn’t just translate his guitar ideas to the bass (which would be pretty much impossible anyway). This is not to say that his musicality isn’t recognizable but only that Morris shows himself to be a real multi-instrumentalist with his differing approach. The way he relates to the pianist is recognizably Morris; he responds, but almost never in the most obvious ways, to what his counterpart plays. And more often he finds a parallel path and lets the music decide the course it wants to take from there. For his part, Shipp continues to be a supremely unpredictable improviser. It seems like every time you know what’s coming he changes up, throwing out some little phrase that goes off in some unexpected direction. Sometime he’ll follow up and explore the side-road suggested, but he’s just as likely to backtrack,

or go off in another new direction altogether. Best is when he gets to working out of jazz-rooted ideas (as on “Four”, much of which sounds like a Martian interpretation of Randy Weston), but Shipp doesn’t confine himself to any one approach for long. He does spend less time in the harmonic outfield than he used to and is more willing to use repetitive riffs, but the real challenge of this music isn’t in harmonic, melodic or rhythmic innovation so much as the wide-open way - or, more accurately, ways - that the artists let things unfold.

For more information, visit nottwo.com. Shipp and Morris are at Roulette Jun. 11th as part of Vision Festival. See Calendar.

18 June 2012 | THE NEW YORK CITY JAZZ RECORD

Dig Deep Trio Tony Bianco/Paul Rogers/Paul Dunmall (FMR)

Eponymous The Realisation Trio (FMR)Montana Strange: The Music of Brian Irvine

BBC Concert Orchestra/Brian Irvine Ensemble/ Paul Dunmall (FMR)

Live In Austria Deep Joy Trio (FMR) by John Sharpe

Broken Partials

Matthew Shipp/Joe Morris (Not Two)by Duck Baker

Even given the broad diversity in the numerous records Elliott Sharp has released over the last 35 years, one could be forgiven for thinking they know more or less what to expect from a new issue. From skronk rock to chamber ensemble, a mathematical rigidity and a remarkable precision has generally dominated the guitarist’s work. Even in his looser moments, playing Monk or blues improvisations unaccompanied, there is an exquisite control. His work is not always the same. Far from it. But there are rules that run through it, as proven by the exception that is his new trio. Hiring a rhythm section like bassist Brad Jones and drummer Ches Smith almost guarantees a sort of intricate swing and that’s clearly what Sharp was looking for in the dozen tracks that make up Aggregat. Having worked extensively with the likes of Muhal Richard Abrams, Anthony Coleman and Roy Nathanson, Jones is well versed in taking a diversity of material and reading it as blues or swing, cinematic or vaudevillian. And while being the youngster of the group, Smith has had similar sensibilities called upon while working with Tim Berne and Marc Ribot or the rock band Xiu Xiu and his own Good for Cows and These Arches. Together they make, with no intended understatement, for a tight little trio. As such, Aggregat is probably Sharp’s most easily-labeled-’jazz’ record to date, although it’s far from simply playing dress-up. His fast guitar geometries are certainly at play on some of the dozen tracks that make up the disc, although more of the tracks feature more emotive, nimble soloing. But to say Sharp can play any style he sets his mind to on the guitar is hardly a revelation. The bigger shocker here is his saxophone playing. In the past, his tenor and soprano horns have almost invariably had a harsh edge employed as a sustained, arcing squall over a predetermined complexity. But here, the saxophone is moody, even soulful, from the outset. Album opener “Nucular” (referring either to an old neologism or an even older name for a section of a fruit) has its moments of sputter and dissonance, but at the same time comes yards closer to a Stanley Turrentine side than anyone might ever have expected from Sharp. Such surprises recur

throughout the record at such a pace that even when his familiar flat-fingered clusters (which is not to suggest a plodding quality but to describe his evocative technique of muting and playing harmonics) emerge, the expected has become unexpected. The summation of such factors makes this not just a satisfying record but Sharp’s happily jazziest.

For more information, visit cleanfeed-records.com. Sharp is at Roulette Jun. 11th as part of Vision Festival. See Calendar.

Chicago has always been known as a city of jazz and one of its staunchest supporters and most respected ambassadors was the late Fred Anderson, free jazz tenor saxist and proprietor of the legendary Velvet Lounge. The original Velvet Lounge was in many ways a reflection of its owner: outside of the mainstream, no frills, old school and committed to music and the musicians who make it. Anderson presided over the club like a patient, benevolent father whose role was to show younger players the way to finding their own voices. When the original club aged beyond repair, Anderson was able to move to a larger place around the block, a bit more comfortable for its patrons but with a palpable loss of character. An era had ended and Anderson’s death in 2010 sealed it. Saxist Ernest Dawkins, bassist Harrison Bankhead and drummer Hamid Drake - called the Chicago Trio for the concerts captured on Velvet Songs: To Baba Fred Anderson - came up through the Velvet system, Dawkins reporting that he played the club every weekend for two years. To Drake, of course, Anderson was a father figure and Bankhead would regularly play with Drake in Anderson’s own bands. Recorded over a pair of nights in August 2008, the music is made by a no-nonsense saxophone trio, but in its variety the music is infused with Anderson’s overriding guiding principle: to offer a platform for musical exploration and mutual communication. Each of these tracks is spontaneously improvised and Dawkins demonstrates impressive range. On the gravity-defying “Astral Projection” and Drake’s signature reggae groove ”Jah Music”, it’s soprano; on “Sweet 22nd Street” his tenor swings and on “Galaxies Beyond” it squeals. “You Just Crossed My Mind” is a lovely alto ballad. Dawkins even plays two horns at once on the Dixieland-inflected “Down in the Delta” and for “The Rumble” he unleashes a torrent of jazz ideas on alto that proudly demonstrates the Velvet’s freedom principle. When Drake turns to frame drum, as on “Peace and Blessings” and “Moi Tre Gran Garcon”, he and Bankhead are featured in ringing cello/double bass and soft-percussion duets. To close, on “One for Fred”, Dawkins emulates Anderson’s style by playing the long lines that the master would build upward as layers of notes piled on top of one another, urged along by the sort of undulating and pulsating rhythm section of which Drake was so often a part. It’s a fitting tribute; reverent and inspiring in equal measure.

For more information, visit web.roguart.com. Hamid Drake is at Roulette Jun. 11th, 12th, 14th, 15th and 17th, all as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 19

Aggregat

Elliott Sharp Trio (Clean Feed)by Kurt Gottschalk

Velvet Songs: To Baba Fred Anderson

Chicago Trio (Rogue Art)by Jeff Stockton

20 June 2012 | THE NEW YORK CITY JAZZ RECORD

Back in 1988, Impulse reissued two of pianist McCoy Tyner’s early albums, Inception and Nights of Ballads and Blues, on a single disc. This recent Impulse reissue, however, offers Inception and Reaching Fourth on a 67-minute CD, a logical combination as both are acoustic piano trio dates from 1962 (the former with bassist Art Davis and drummer Elvin Jones, the latter with bassist Henry Grimes and drummer Roy Haynes). Tyner was only 23 at the time, but he was already a major name in the jazz world thanks to his contributions to John Coltrane’s trailblazing quartet. So it made perfect sense for Impulse to start recording the Philadelphia-born pianist as a leader. However, both albums lack the intensity and sense of adventure that characterized many of those recorded with Coltrane (or, for that matter, some of the great albums Tyner recorded as a leader for Milestone in the ‘70s). But that isn’t to say that this reissue isn’t enjoyable. Tyner’s distinctive pianism is both lyrical and swinging and he is as recognizable on his own compositions as he is on tasteful performances of well-known standards like “Old Devil Moon”, “Speak Low”, “Have You Met Miss Jones” and “There Is No Greater Love”. Stylistically, there is very little difference between the two postbop albums, both of which were produced by Bob Thiele and engineered by Rudy Van Gelder so when the CD moves from Inception to Reaching Fourth, it is a very smooth transition. This reissue’s greatest flaw has nothing to do with the music itself but rather the packaging; the original liner notes that Nat Hentoff wrote for Inception and those of Dan Morgenstern for Reaching Fourth are shrunk to a tiny type size that is difficult to read without a magnifying glass. A musician of Tyner’s caliber deserves better. Nonetheless, Tyner’s more devoted followers will appreciate this reissue, which paints an attractive, if conservative, picture of the influential pianist as he sounded in his youth.

For more information, visit vervemusicgroup.com/vault. Tyner is at Blue Note Jun. 12th-13th in duo with Savion Glover and 21st-24th with Charles Tolliver’s Big Band playing Coltrane’s Africa/Brass, both as part of the Blue Note Jazz Festival. See Calendar.

Recorded at La Cigale in Paris, this is Stacey Kent’s first live recording after eight studio albums. Mixing some favorites, like the delightful “Breakfast on the Morning Tram”, with some never previously recorded songs, Dreamer in Concert opens the set with “It Might As Well Be Spring”. Kent’s great simpatico for the standards of the Great American Songbook is always

notable for consistently fresh interpretations. This one begins as an unhurried meandering through the “restless as a willow in a windstorm” lyrics of this gem from Rodgers and Hammerstein. Yet what starts out dreamily accompanied hand-in-velvet-glove by Graham Harvey’s piano ever so subtly picks up the pace until suddenly it all bursts open into a bright sunshine place. Abetted by Jim Tomlinson’s saxophone, Jeremy Brown’s double bass and Matt Skelton’s drums, the joining in creates something as lovely as it is trembling with promise. Kent’s gently swinging approach is of course perfect for the bossa rhythms of “Corcovado”. Tomlinson’s sax lends the most soothingly syntonic support on this one and then again on another Jobim gem, the tenderly playful “Waters of March”. Another happy, fast-paced bit of Brazilian oregano is “Samba Saravah”. By contrast there’s Kent’s merrily grooving version of Frank Loesser’s “If I Were a Bell”, on which Tomlinson takes off for a sweet solo and Harvey stokes it up further with judicious plunks. Kent’s gamin-like charm is especially evident when she is singing in French on Antonio Ladeira and Tomlinson’s “O Comboio” while her sound can turn fetchingly liquid as with the set closer, “They Say It’s Wonderful”. Kent’s take on those Irving Berlin lyrics - “I don’t recall who said it, I know I never read it” - have that same sense of discovery and wonder evident earlier in “It Might As Well Be Spring”. Because traveling with Kent means discovering everything anew.

For more information, visit bluenote.com. Kent is at Birdland Jun. 12th-16th. See Calendar.

Rob Brown’s alto saxophone has been one of the bright spots in the jazz of the last two decades. He is a constant presence in many of bassist William Parker’s groups (including the late, lamented In Order To Survive quartet). He has also led his own ensembles and issued a stream of fine recordings under his own name. He’s always demonstrated himself to be a thoughtful and passionate improviser. Brown has a bright, singing tone that can change its complexion to darker hues from phrase to phrase and commands attention. While his early recordings betrayed a strong Jimmy Lyons influence (both in his playing and in his compositions), over the years he has achieved a more personal sound and his compositions have become more finely honed. But the late alto saxist Lyons clearly remains a totem in his pantheon. Brown has always chosen his sidemen wisely. The group he assembled for his 2010 Vision Festival performance consisted of Matt Moran (vibes), Chris Lightcap (bass) and Gerald Cleaver (drums). The inclusion of Moran, currently one of the most innovative players on his instrument, building on the unorthodox techniques pioneered by Bobby Hutcherson in the mid ‘60s, gives the group a unique sound and his textural work is one of the hallmarks of this session. Lightcap, who has played frequently with Brown, anchors the bottom end with assured phrasing. And drummer-for-all-seasons Cleaver fills out the music, adding drive and color to each track. Brown’s compositions span a wide range. “Tic

Toc”’s quirky theme shows that Jimmy Lyons’ roots still lie at the base of his music but Brown’s solo is distinctly his own. “Lurking / Looking” is a slowly developing theme played over an ostinato and loping rhythm as Brown peppers his solo with artful distortion. The concluding “Bell Tone” is played over an uptempo 6/8 and everyone gets to speak his piece. Unexplained Phenomena is a strong addition to Brown’s discography.

For more information, visit futuramarge.free.fr. Brown is at Roulette Jun. 12th with William Parker, 16th with Steve Swell and 17th in duo with Daniel Levin, all as part of Vision Festival. See Calendar.

Inception/Reaching Forth

McCoy Tyner Trio (Impulse-Verve)by Alex Henderson

Dreamer in Concert

Stacey Kent (Blue Note)by Andrew Vélez

Unexplained Phenomena (Live at Vision Festival XV)

Rob Brown (Marge)by Robert Iannapollo

22 June 2012 | THE NEW YORK CITY JAZZ RECORD

Drummer Paal Nilssen-Love has been exceptionally prolific in the last 12 years, appearing on numerous releases each year and traveling constantly throughout the world. First gaining international attention as a member of The Thing, Nilssen-Love has built lasting associations with such ubiquitous improvisers as Mats Gustafsson, Peter Brötzmann, Otomo Yoshihide and Americans Ken Vandermark and Joe McPhee. Nilssen-Love is in possession of prodigious technical skill, but what distinguishes his work is the constant ebb and flow between subtlety and extreme intensity. He manages to function like the drummer in a group while essentially operating more like a sound generator. Three releases find him in different contexts, each reflecting his distinctive musical personality. The standout from this batch is Mechanisms, the debut from a collective trio with two of Chicago’s most noteworthy improvisers - saxophonist Dave Rempis and cellist Fred Lonberg-Holm. The three extended improvisations find the former switching between

alto, tenor and bari, with the latter incorporating his distinctive use of electronics. The extended structures provide ample opportunity to explore myriad sound worlds, to build intensity slowly, with purpose and intent. Lonberg-Holm manages to incorporate electronics in a way that transforms his instrument to the point of being completely unrecognizable as a cello - though still managing to sound like the same player he is with his colorful acoustic playing; the play between the two approaches is quite flexible and his fluency with both is inspiring. Rempis is a forceful player whose long phrases can generate dynamic contours out of minute shifts in the timbre of his instrument. So often Rempis and Lonberg-Holm create a profound sonic tandem, with Nilssen-Love approaching the drums not so much as a large instrument, but a handful of extremely varied sounds that can each be explored, separately or together. Nilssen-Love and Dutch rock band The Ex have a long history and on Hurgu! he is joined by guitarist Terrie Ex in a set of arresting duets. The proceedings remain at a high level of intensity throughout, this being more of a brazen romp than the extended ruminations of Ballister. The textural palette is more consistent throughout and as such the general architecture relies more on the interplay between the two musicians. The emphasis here is on sustaining a level of intensity over a long period of time and the effect is more trancelike. Quiet moments like the opening of “Bedele” offer some of the most unexpected twists in the duo’s interplay while still ultimately delivering the goods with some intense blasts of sound. Slime Zone by the collective trio Slugfield highlights the growing relationship between free jazz, noise music and so-called ‘non-idiomatic improvisation’. With Lasse Marhaug (electronics

and turntable) and Maja S.K. Ratkje (vocals and electronics), this record is an amazing museum of unlikely sounds, at times recognizable or completely alien. Here Nilssen-Love’s approach to his instrument(s) is particularly focused on the collection of sounds each object is capable of producing. The line between rhythm and texture is all but nonexistent, as sounds and gestures blend together or cohabitate in ways that constantly confound listeners’ expectations. The tracks here are generally shorter, with the opening cut “Get Out the Traps” being just under three minutes and most of the rest around ten minutes or shorter. This is noteworthy in that it reflects a much more abstract trajectory than Ballister ’s collaborative development of structure or the punishing relentlessness of the duo with Terrie Ex. Bizarre sounds creep in and mutate - fitting that the artwork focuses on a sea of green slime and a parade of goopy slugs, as this is how the music often moves along. There is a joyfulness that calls to mind a child’s fascination with gross things; these sounds tend to suggest an affinity for tactile stimuli and sense that the best place to look for something pleasant is in very unsavory places. “Bring ‘Em On” is the outlier, extending well past the 20-minute mark and here the structure has more in common with Ballister - despite the remarkable contrast between Ballister ’s jazz-inflected phrasings and Slugfield’s sheer noise factor. Taken as a whole these three records offer very different looks at the possibilities of Paal Nilssen-Love’s sound world and each view is vibrant and deeply compelling.

For more information, visit cleanfeed-records.com and paalnilssen-love.com. Nilssen-Love is at Roulette Jun. 13th with The Thing and Joe McPhee as part of Vision Festival. See Calendar.

Mechanisms Ballister (Clean Feed)Hurgu! Terrie Ex/Paal Nilssen-Love (PNL)

Slime Zone Slugfield (PNL)by Wilbur MacKenzie

THE NEW YORK CITY JAZZ RECORD | June 2012 23

Ingebrigt Håker Flaten has rapidly become one of the most prominent bassists in free jazz, in part due to his openness to varied musical situations, but much more so for the sheer power of his playing. First achieving a significant European profile in the late ’90s with Bugge Wesseltoft’s New Conception of Jazz, the first major ambassadors of Nu Jazz, Håker Flaten has since brought his ferocious drive to a host of prominent bands, often in company with the drummer Paal Nilssen-Love (The Thing, Atomic, Ken Vandermark’s School Days and Frode Gjerstad’s stellar improvising big band Circulasione Totale Orchestra) while showing off his softer side in duo with countryman saxophonist Håkon Kornstad. He’s now a significant musical presence in Chicago and Austin - where he resides - as well as Europe. These recent CDs track some of Håker Flaten’s American passages, all close to the beating heart of a fundamentalist free jazz.

Joe McPhee has been a frequent guest with The Thing and the senior saxophonist/trumpeter has previously recorded in duo with Håker Flaten (Chicago Blues, Not Two), so there’s clearly developed musical chemistry on Brooklyn DNA. The duets hinge on the special musical character of Brooklyn, with pieces invoking various individuals and scenes prominent in its musical history. The two musicians craft a compelling vision of community. Håker Flaten’s playing is both empathetic and prodding as he sometimes maintains very fast tempos while expanding his own expressive range. “Crossing the Bridge”, dedicated to Sonny Rollins, suggests compound points of view, with McPhee’s honking alto recalling Albert Ayler, until Håker Flaten enters and the piece assumes the Caribbean lilt of “St. Thomas” and Rollins’ roots. There are fine invocations of Brooklyn visits by Charlie Parker and Dizzy Gillespie and homages to residents like the late saxophonist Dewey Redman, but the most arresting music is also the most radical: “Enoragt Maeckt Haght”, named for the Brooklyn motto of “Unity Makes Strength”, is a probing exploration of bowed bass and airy pocket trumpet that represents the borough as terra incognita. Remi Alvarez is a Mexico City-based tenor saxophonist whose work, like McPhee’s, has a direct expressiveness that’s immediately compelling. First Duet Live chronicles an Austin performance by the two musicians. On the 22-minute “First Duet”, Alvarez reveals himself as an incantatory tenor player and one hears his work as testimony, whether it’s creating a song-like stream, worrying a motif into new shapes and meanings or suddenly erupting into multiphonic cries and wails. Håker Flaten roots this discourse in time, surrounding, encouraging, framing and driving it forward. On “Second Duet”, the bassist comes to the

fore with some wonderful bowed playing. Alvarez has a strong sense of voice, but he can touch on very different moods and different areas of his horn. There are moments when he finds a new effect in a series of high register yips or, alternately, wisps of sound, ably matched by Håker Flaten’s sudden flights into upper-register harmonics. Håker Flaten’s aesthetic includes a kind of brutalist spirituality, certainly evident in his work with The Thing, but there’s a far subtler take on the legacy of Albert Ayler and other energy players embodied in The Hymn Project with the great Texas trumpeter Dennis González, his sons, bassist Aaron and percussionist Stefan Gonzalez, and cellist Henna Chou. The CD opens with the hyper-resonant sound of Stefan Gonzalez’ balafon and one eventually has a sense of this resonance echoing globally, touching spirits of Håker Flaten’s native Norway and the Gonzalez family’s Latin American heritage. There’s a sense of continuous melody here, a stream of sound running from instrument to instrument. It’s a chance for Håker Flaten’s lyricism to emerge and it does so in guitar-like lines and subtle pitch-bends, dovetailing with the other strings, the percussion and Dennis Gonzalez’ own inspired, soulful trumpet. Highlights abound, from the pensive mix of instrumental voices on “Doxology” to the rising tension of “Sweet Hour of Prayer” with Håker Flaten’s spare and intense solo. But it’s the cumulative power of the whole program, imbued as it is with an exalted musical nobility, that stays in memory.

For more information, visit cleanfeed-records.com, ingebrigtflaten.com and dennisgonzalez.com. Flaten is at Roulette Jun. 13th with The Thing and Joe McPhee as part of Vision Festival. See Calendar.

Brooklyn DNA Joe McPhee/Ingebrigt Håker Flaten (Clean Feed)

First Duet Live Remi Alvarez/Ingebrigt Håker Flaten (JaZt TAPES)

The Hymn Project Ingebrigt Håker Flaten/Dennis González (Daagnim)

by Stuart Broomer

24 June 2012 | THE NEW YORK CITY JAZZ RECORD

Primarily known for his yeoman work in any number of Chicago-based groups, guitarist Jeff Parker is the most accommodating of sidemen and leaders. Bright Light in Winter, one of his infrequent solo dates, demonstrates why. Nowhere on this agreeable, nine-track trio session does Parker pull rank or try to overshadow stalwart bassist/flutist Chris Lopez or adaptable drummer Chad Taylor, both of whom performed with him in Rob Mazurek’s Chicago Underground combos. Tellingly as well, although both Parker and Lopes use monophonic synthesizer attachments, the organ-like quivers and tremolo echoes never surpass the live musicians’ contributions. Want another example of this collegial spirit? The writing chores are divided, with the bassist contributing three compositions, the drummer two and Parker four. That said, with the date dependent on light, almost Latin-esque skin-patting, moderato bass plucks and clean finger-picking and melodic guitar runs, often only technical finesse prevents some tunes from becoming enervating rather than merely relaxed. That nadir is reached on Lopes’ “The Morning of the 5th”, which is all puckered flute lines and guitar strums. Happily even if some of the other pieces have lines closer to jazz samba than jazz soul, rhythmic smarts make them balladic rather than bathetic. On Taylor’s “Istvan”, for example, the quivering delicacy of Parker’s exposition is muted by sequences of sound delays and reverb plus the bassist’s straightahead walking. Rim shot clips and a chromatic bassline provide additional ballast for Parker’s graceful spidery licks on his own “Bright Light Black Site”, making the piece flow chromatically. Meanwhile “Swept Out to Sea”, written by Lopes, is warm and precise, but still maintains its composure due to the guitarist’s circular comping and Taylor’s percussion kicks. Most impressively, the leader’s “Freakadelic” is no George Clinton cop, but a way to highlight Parker’s ability to spin out seemingly endless dextrous theme variations while maintaining the tune’s melodic content. Overall, Bright Light in Winter has enough of a romantic overlay to please jazz dilettantes, but with equivalent skillful, yet understated tonal wizardry to appeal to more sophisticated listeners.

For more information, visit delmark.com. Parker is at Roulette Jun. 14th with Hamid Drake as part of Vision Festival. See Calendar.

Bassist Omer Avital has established himself as not only one of the foremost practitioners on his demanding instrument, but also as a composer of challenging yet deeply soulful compositions. That combination of

chops and tunefulness lies at the heart of Suite Of The East, Avital with longtime collaborators who share his virtuosity and joy in the improvised moment. On the episodic title track, every member of the quintet gets a chance to stretch out between sections of consonant but probing melody. Pianist Omer Klein opens the piece with a fugue-like improvisation that incorporates bits and pieces of the main melody before drummer Daniel Freedman and Avital enter in anticipation of emotive statements by tenor saxophonist Joel Frahm and trumpeter Avishai Cohen. Elements of Avital’s diverse musical background - the bassist grew up with parents of Moroccan and Yemeni descent, studied classical music in Israel and New York and knows as much about the Arabic oud as he does Ellington - infuse Suite Of The East, often in surprising contexts. Middle Eastern-inflected trills and ornamentations meld effortlessly with an easy backbeat groove on the mournful but proud “Sinai Memories” while Klezmer licks meet unmistakably North African rhythms and melodic nodes on “The Abutbuls”. Arguably the most impressive aspect of the album - and Avital’s career, for that matter - is the bassist’s ability to transcend his instrumental technique and cross-cultural mastery to deliver performances of profound simplicity. “Song For Peace”, the longest track and an emotional centerpiece, is just such a performance. A beautifully spare melody is juggled between tenor and trumpet without ever feeling contrived or cluttered and the ensuing solos from Cohen and Klein, against the bulwark support of Avital and Freedman, build to dramatic climaxes without ever abandoning that elemental simplicity and melody.

For more information, visit anzicrecords.com. Avital is at Smalls Jun. 5th, 12th and 19th. See Calendar.

Fri, Jun 1 PETROS KLAMPANIS’ CONTEXTUAL TRIO WITH CHRISTOS RAFALIDES 9PM & 10:30PM Jean-Michel Pilc, Ari Hoenig Sat, Jun 2 ARI HOENIG NEW TRIO 9PM & 10:30PM Tivon Pennicott, Noam Weisenberg Sun, Jun 3 JANE IRA BLOOM ALL BALLADS 8:30PM Dominic Fallacaro, Dean Johnson, Matt Wilson Mon, Jun 4 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram Tue, Jun 5 ADAM KOLKER TRIO FEATURING JOHN HEBERT AND BILLY HART 8:30PM Wed, Jun 6 NICKY SCHRIRE “FREEDOM FLIGHT” CD RELEASE 8:30PM Nick Paul, Sam Anning, Jake Goldbas, Paul Jones, Jay Rattman, Brian Adler, Peter Eldridge Thu, Jun 7 SPOTLIGHT ON NEW TALENT: SURFACE TO AIR - CD RELEASE 8:30PM Jonathan Goldberger, Jonti Siman, Rohin Khemani Fri, Jun 8 COLIN STRANAHAN/GLENN ZALESKI/ RICK ROSATO TRIO 9PM LE BOEUF BROTHERS 10:30PM Remy and Pascal Le Boeuf, Greg Ritchie Sat, Jun 9 DAVID LIEBMAN/SAM NEWSOME QUARTET 9PM & 10:30PM Tony Marino, Jim Black Sun, Jun 10 DAN WEISS TRIO 8:30PM Jacob Sacks, Thomas Morgan Tue, Jun 12 REVOICE: MARIA CHRISTINA 8:30PM Matt Davis, James Shipp, Sam Anning, Sean Hutchinson REVOICE: NATE WOOD 10PM Jesske Hume, Sean Wayland, Arthur Hnatek Nicky Schrire, host Wed, Jun 13 JOE FIEDLER TRIO 8:30PM John Hebert, Michael Sarin MICHAEL DESSEN TRIO 10PM Christopher Tordini, Dan Weiss Thu, Jun 14 OHAD TALMOR, STEVE SWALLOW, ADAM NUSSBAUM 8:30PM Fri, Jun 15 KRIS DAVIS TRIO 9PM & 10:30PM Michael Formanek, Nasheet Waits Sat, Jun 16 HARRIS EISENSTADT AND CANADA DAY 9PM & 10:30PM Nate Wooley, Matt Bauder, Chris Dingman, Garth Stevenson Tue, Jun 19 ARTHUR KELL QUARTET +1, CD RELEASE 8:30PM Michael Blake, Loren Stillman, Brad Shepik, Mark Ferber Wed, Jun 20 JEAN-MICHEL PILC/FRANCOIS MOUTIN/ ARI HOENIG TRIO 8:30PM Thu, Jun 21 SCOTT DUBOIS QUARTET- CD RELEASE: LANDSCAPE SCRIPTURE 8:30PM Jon Irabagon, Eivind Opsvik, Jeff Davis Fri, Jun 22 TONY MALABY TRIO 9PMSat, Jun 23 Angelica Sanchez, Tom Rainey TONY MALABY’S NOVELLA 10:30PM Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, Kris Davis, Tom Rainey Sun, Jun 24 NEW BRAZILIAN PERSPECTIVES: ROGÉRIO BOCCATO, AFTER BOSSA-NOVA 8:30PM Dan Blake, Nando Michelin, Gary Wang Billy Newman, host Tue, Jun 26 ERIK DEUTSCH TRIO 8:30PM Jeff Hill, Tony Mason Wed, Jun 27 THE LANDRUS KALEIDOSCOPE 8:30PM Nir Felder, Frank Carlberg, Lonnie Plaxico, Rudy Royston Thu, Jun 28 NIKOLAJ HESS TRIO 8:30PM Francois Moutin, Greg Hutchinson Fri, Jun 29 BEN MONDER/THEO BLECKMAN DUO 9PM & 10:30PM Sat, Jun 30 KERMIT DRISCOLL QUARTET 9PM & 10:30PM Kris Davis, Ben Monder, Tom Rainey

Bright Light in Winter

Jeff Parker Trio (Delmark)by Ken Waxman

Suite Of The East

Omer Avital (Anzic)by Matthew Miller

JUNE 2012

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

3 — Ike Sturm Ensemble featuring Madeleine Yayodele Nelson

10 — Sarah McLawler and Les Jazz Femmes

17 — Michael Webster Quintet

24 — Magos Herrera

MIDTOWN JAZZ AT MIDDAY Sponsored by Midtown Arts Common

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

6 — Valerie Capers, singer/pianist John Robinson, bass Earl Williams, drums

13 — Harmonie Ensemble New York Music from Peter Gunn by Henry Mancini

22-piece Big Band including: Steve Richman, conductor

Lew Soloff, trumpet Lew Tabackin, tenor sax

Joe Locke, vibes Lincoln Mayorga, piano

Victor Lewis, drums

20 — Claude Diallo, piano

27 — Holli Ross, singer

Eddie Monteiro, synthesized accordion

JAZZ ON THE PLAZA Thursdays at 12:30 P.M. — Free

THE NEW YORK CITY JAZZ RECORD | June 2012 25

Possessing a visionary creative spirit, Wadada Leo Smith has traversed an artistic path so broad during a career spanning six decades as to go well beyond the promise prompted by the inventiveness of his early work with Anthony Braxton, Muhal Richard Abrams and other AACM colleagues. More accurately, the trumpeter-composer-theoretician has explored divergent musical galaxies, merging them through his own unifying concept of music. Jazz, blues, improvised and world musics coalesce within his ensembles, unbounded by the customary restrictions that accompany categorization. The newest of his numerous assemblages, Mbira, with drummer Pheeroan akLaff and pipa player Min Xiao-Fen, marvelously exemplifies the soundness of his methodology. Smith’s music is, as he describes it, “non-metrical”, offering longtime colleague akLaff a central role in its rhythmic construction, utilizing the dynamics of sonance and space to provide each piece with a narrative structure that is dramatically driving and tonally absorbing. Xiao-Fen’s unique approach to her instrument, simultaneously traditional and futurist as it recalls a Far Eastern lute, bottleneck guitar, Appalachian banjo or microtonal synthesizer, provides an expansive sonic environment within which the broad palette of Smith’s trumpet and flugelhorn sound his imaginative lines. The opening “Sarah Bell Wallace”, introduced by unabashedly bluesy pipa, unfolds episodically, with Smith blowing piercing long tones over processional malleted tom toms. A middle section, driven by crisply ringing cymbals, alternates spirited horn lines and jagged string articulations that ultimately connect in a startling synergy preceding the piece’s melancholic coda. “Blues: Cosmic Beauty” begins as a wildly energetic Ornettish outing before calming into a slowly evolving rhythmic setting within which trumpet, pipa and Xiao-Fen’s voice explore variegated sonic frontiers. The celebratory anthem “Zulu Water Festival” references both Far Eastern and Native American folkisms while the title track floats about Xiao-Fen’s stirring reading of Smith’s poignant poem memorializing Billie Holiday. The closing “Mbira” is a sprawling tapestry of sound intermingling contrasting moods and modes in an invigorating musical amalgam.

For more information, visit tumrecords.com. Smith is at Roulette Jun. 15th as part of Vision Festival. See Calendar.

One of the crucial things about this music is that the concept of a band’s instrumentation is, ultimately, less

important than who is playing. We think of the format of a piano trio, an organ group, or a piano-less quartet as given, into which one plugs the holes with artists who have (or can have) a good rapport and the music works itself out in that context. Such ideas have defined ‘jazz’ to some degree for generations. But the last few decades have introduced an incredible amount of flexibility both in how ensembles approach the music, as well as the possibilities inherent in each instrument. Two of trumpeter Nate Wooley’s most recent releases are poised to defy any traditional assumptions about ‘trumpet and rhythm’ even if he’s the only horn. Six Feet Under joins Wooley with a frequent collaborator, English percussionist Paul Lytton, as well as Swiss bassist Christian Weber on a program of five improvisations. As a trumpet and percussion duo, Wooley and Lytton have circumvented any notions of a drum-and-bugle corps through extensive use of electronics, amplification, voice and close mic’ing, to the point that sound sources are indistinguishable. Six Feet Under isn’t that kind of record, though - Lytton’s kit is more or less traditional, albeit played with light, open concentration and controlled metric wrangling. Wooley’s screams, growls, circular breathing and unsettled chuffs are out in full effect, buttressed by Weber’s massive arco on the opening “Pushing up Daisies”. If it is a fracas, it is conscious of the logic behind group motion. “Nickel Eyes” opens with a syrupy cry, the kind not quite heard from Wooley in this way. He’s translated the harrier-ache of Albert Ayler from tenor to trumpet and he pulls it into a dry, laconic swing against precision flits and a meaty pizzicato anchor. Much of “La Grande Mort” is rooted in long, murky tones and ancillary subversion - the latter almost comedic when bright, muted trumpet and scratched drumheads supplant a protracted, guttural pinch. As both a power trio and an exploratory vehicle, Six Feet Under is a brilliantly equilateral recording. Stem finds Wooley in the company of one of Europe’s most interesting small groups, Portugal’s RED Trio: pianist Rodrigo Pinheiro, bassist Hernani Faustino and drummer Gabriel Ferrandini. Somewhat akin to ARC (Corea/Holland/Altschul) or the Howard Riley Trio, RED subverts the traditional roles of piano, bass and drums to create a continual hum of percussive-melodic activity. Pinheiro uses the full resources of the instrument, muting and plucking the strings while generating a stark, tense environment from obsessively repeated clusters. Toward the end of “Flapping Flight” he creates a steely drone underneath Wooley’s shrieks and sighs, outlined with brush patter and Faustino’s low harmonics. Swiping whistles across some flat object on “Phase”, Wooley mirrors a palimpsest of feedback and piano resonance before crumpling into a distorted whinny, as the trio’s muscularity is positioned front and center. Subversion is part of the RED aesthetic too, Pinheiro matching the trumpeter’s terse, hot monochromes with well-behind-the-beat chords and rhapsodic head-butts. RED are highly economical and well apprised of the Tradition - at least one can hear it in the pianist’s ringing melodic stabs, which somehow occupy a region between forcing a series of phrases and sweetly caressing them. This coy aggressiveness mates well with Wooley’s clear, instantaneous response and hackle-raising explosions. The foursome are constantly in action even when ostensibly ‘hushed’ - pursed exhalation, bowed cymbals and low rumble aren’t alien to their palette, maddeningly approaching Nuova Consonanza extremes on the closing “Tides”. Each of the five pieces presents a different group axis, often discomfortingly set between the well-marked poles of brash expressionism and coiled reflection.

For more information, visit nobusinessrecords.com and cleanfeed-records.com. Wooley is at Cornelia Street Café Jun. 16th with Harris Eisenstadt, Red Hook Jazz Festival Jun. 17th with both Harris Eisenstadt and as a leader and Seeds Jun. 20th as a leader. See Calendar.

Six Feet Under Wooley/Weber/Lytton

(NoBusiness)

Stem RED Trio + Nate Wooley

(Clean Feed)

by Clifford Allen

Dark Lady of the Sonnets

Wadada Leo Smith’s Mbira (TUM)by Russ Musto

26 June 2012 | THE NEW YORK CITY JAZZ RECORD

Active on the New York scene since the ‘80s, bassist Arthur Kell came up playing with the late saxophonist Thomas Chapin and drummer Bobby Previte, among others. Something of a Renaissance man, he spent about ten years as an environmental activist, extensive world traveler and music instructor. Since the late ‘90s, he’s focused on leading bands and composing music, with Jester his fourth release. Eschewing formulaic head-solo-head constructions, the pieces boast quirky unison figures for saxophonist Loren Stillman and guitarist Brad Shepik to maneuver, propelled by Kell and drummer Mark Ferber. The music never strays into free skronk, remaining tethered to the compositions even as the soloists roam. Kell’s percolating bass opens “Quarter Sawn”, setting the mood for the shuffling drums and off-kilter sax line as the musicians coalesce for a buoyant ensemble theme. The leader’s thrumming support of Shepik’s flight dissolves under Stillman’s turn, opening up before the return to the unison finish. The title track similarly features a tight group passage pushed by Ferber’s insistent pulse, inviting concise solos from the others: bright Shepik flashes, fluid Stillman phrases and throbbing Kell retorts. A repeating bass motif bolsters a yearning saxophone on the emotively unfurling “Song for the Journey”. Shepik’s elegantly considered response to the poignant melody is followed by Kell’s urgent solo, spanning the instrument’s range for added heft. “Tiki Time Bomb” sports a puckish concordance, with the guitar and sax spinning tight single-note runs prodded by Ferber’s snare stabs. Kell also stretches out, cleverly playing off the peppy groove before the group restates the spry tune. The band deftly executes Kell’s compositions, animating them with their solos. But there are moments where it would be thrilling to hear more collective improvising that further expands the material.

For more information, visit bjurecords.com. This group is at Cornelia Street Café Jun. 19th. See Calendar.

There is no sense in dithering, so instead this review will start with what sounds like hyperbole but is in fact well-considered and deserved praise. Aaron Novik’s Secrets of Secrets has the same impact upon first (and subsequent) listen as albums of long-established excellence such as Soft Machine’s Third, King Crimson’s Starless and Bible Black and Voivod’s Dimension Hatröss. What they all share is a remarkable conceptual framework; in simpler terms, they need to be heard from start to finish at once or not at all.

The album’s subject matter - 12th century Talmudist Eleazar Rokeach’s five-volume treatise on Jewish mysticism - makes it an apt entry into the Tzadik label’s Radical Jewish Culture Series. But Novik’s particular vision of ‘Jewish’ music breaks down the walls of that ghetto with his choice of musicians: Fred Frith’s guitar is like a laser drill; the regal Jazz Mafia Horns’ brief contribution could open the gates of heaven; the various acoustic and electric clarinets of the leader, Cornelius Boots and Ben Goldberg add subversive legitimacy and legitimate subversion; Carla Kihlstedt’s electric violin takes the plaintive wail to terrifying extremes; Willie Winant’s percussion and Matthias Bossi’s drums are as crucial as the tropes of Torah. Each of the album’s five pieces run over 10 minutes but there are no static moments. Patience and attention to detail are required of the listener. If lacking, the various components Novik has brought together will lose their cohesion and Secrets of Secrets its grandeur. There are bleak, sonic landscapes and celebratory clarinet features. String quartet-led chamber music has as much heft as (Mahavishnu) orchestral sections. Death metal drones vie for space with electronically-processed abstractions. Sparseness is followed by density, reflection by mania. A single piece can have all the moods of an entire symphony. Yet for all of its disparity and the fact that Novik had to convey his vision to musicians from different realms, taken as a whole - again, the only way it should be and as its composer must have intended - the album is a phenomenal achievement, hopefully soon to receive the accolades it deserves.

For more information, visit tzadik.com. Novik is at The Stone Jun. 19th. See Calendar.

«ROGUEART»

www.roguart.com

M U S I C – B O O K S - M O V I E S

Single CD + booklet

Single CD

Single CD

MARSHALL ALLEN DAVID ARNER HARRISON BANKHE AD JACQUES BISCEGLIA ROB BROWN TAYLOR HO BYNUM GER ALD CLE AVER CONNIE CROTHERS STEVE DAL ACHINSK Y ERNEST DAWKINS WHIT DICKEY HAMID DR AKE MICHEL éDELIN MAL ACHI FAVORS SCOT T FIELD JOE GIARDULLO JOHN HéBERT NICOL AS HUMBERT SYLVAIN K ASSAP PETER KOWALD MIKE L ADD YUSEF L ATEEF DENIS L AVANT JOëLLE Lé ANDRE PEGGY LEE STEVE LEHMAN LORNA LENTINI GEORGE LEWIS R AMON LOPEZ MIYA MASAOK A SABIR MATEEN FR ANCK MéDIONI NICOLE MITCHELL ROSCOE MITCHELL JOE MORRIS L ARRY OCHS MARC PARISOT TO WILLIAM PARKER L AURENCE PETIT-JOUVET ALEX ANDRE PIERREPONT MAT THEW SHIPP DYL AN VAN DER SCHYFF STEVE SWELL CL AUDE TCHAMITCHIAN DAVID WESSEL

JEAN-JACQUES AVENEL – JACQUELINE CAUXJEAN-LUC CAPPOZZO – STEVE DALACHINSKY

SIMON GOUBERT – RAPHAËL IMBERTSYLVAIN KASSAP – JOËLLE LÉANDRE

URS LEIMGRUBER – DIDIER LEVALLETRAMON LOPEZ – JOE McPHEE

EVAN PARKER – BARRE PHILLIPSMICHEL PORTAL – LUCIA RECIO

CHRISTIAN ROLLET – JOHN TCHICAI

Secrets of Secrets

Aaron Novik (Tzadik)by Andrey Henkin

Jester

Arthur Kell (BJU Records)by Sean Fitzell

THE NEW YORK CITY JAZZ RECORD | June 2012 27

Pianist Cyrus Chestnut is central to these two diverse albums, one his first recording leading a quartet, the other a trio date led by bassist John Brown. Throughout Chestnut demonstrates his jazz populism - an ability to connect with and entertain audiences - as well as his prodigious technique and chameleon-like talent for inhabiting a variety of jazz styles and approaches. Cyrus Chestnut Quartet is rounded out by tenor and soprano saxophonist Stacy Dillard, bassist Dezron Douglas and drummer Willie Jones III. Dillard’s tenor sax, with its big, vocal sound reminiscent of Gene Ammons and Hank Mobley, is a perfect match for Chestnut’s robust effervescence. Another tenor he suggests is the composer (misidentified as Chestnut) of the opening track “No Problem”, Barney Wilen, who recorded with Miles Davis on the Elevator to the Gallows soundtrack. Douglas contributes the other non-Chestnut track, “What’s Happening”, the album’s fastest swinger. Chestnut’s six originals tend more toward heartbeat tempos, shuffles and even a jazz waltz. “Waltz for Gene and Carol” is one of the highlights, with an exotic tom-tom and cymbal beat, lead soprano sax and a diaphanous, silky piano solo with weaving lines like curtains wafting in a breeze. The one slow ballad, “Dream”, has a resonant melody, first stated by tenor and piano and a flowing improvised section over rhythm with brushes, alternating tenor and piano choruses. Dillard is at his testifying best, full of stentorian, cajoling authority on “Indigo Blue”, where Chestnut also pulls out the stops in a two-handed preacherly romp of a solo. But the gem is the final track, “Mustard”, an old-fashioned, deep, down-home soul blues, which develops slowly from creeping bass and drums to tenor stroll and unfurling piano lines, Chestnut conjuring new life into the most familiar phrases, all in an almost somnolent tempo demanding emotional commitment beyond technique. Dancing with Duke is a delightful excursion through Ellingtonia led by Brown with drummer Adonis Rose and Chestnut at his ebullient best, breaking out into more displays of two-handed virtuosity (locked-hand chords, doubled-note lines,

sweeping arpeggios and dense clusters) than found on his own quartet album. And for those attuned to Ellington’s piano style there are the significant nods to a Ducal keyboard approach, from the pointed, percussive touch to the appropriations of familiar tropes, phrases and gestures; for instance, the comping behind Brown’s telling (shades of Mingus) solo on “Pie Eye’s Blues”, the only non-standard Ellingtonia on the CD (it’s from the Anatomy of A Murder soundtrack) and the voicings on “Do Nothin’ ’Till You Hear from Me”, invigorated by a swinging waltz-time rendering. Other rejuvenating surprises include a sprightly 6/8 revving up of the usually sultry ballad “Isfahan”, a “Perdido” morphing from light Latin to full montuno and a snappy, syncopated “It Don’t Mean A Thing” suggestive of the Nat Cole Trio. Brown also gathered tunes into a “Sweet Ballad Suite”, with the date’s most sophisticated and sumptuous playing, beginning with Strayhorn’s “A Flower Is A Lovesome Thing” but including a surprisingly delicate “I Got It Bad” and a spare “Solitude” dominated by bowed bass.

For more information, visit williejones3.com and brownboulevard.com. Chestnut is at Blue Note Jun. 19th in duo with Kathleen Battle as part of Blue Note Jazz Festival and Jazz Standard Jun. 28th-30th. See Calendar.

From its opening vamp, a spiky bass riff that jabs like a welterweight, it’s clear that Initial Here is a bassist-led date, a potential problem when this translates into extended bass solos ad nauseam but only in the hands of lesser players than Linda Oh. Her debut for Greenleaf Music (following the self-released Entry in 2008) is an arresting project, replete with dazzling chops, compelling tunes and a progressive sound that puts the ‘fuse’ back in fusion. Opener “Ultimate Persona” has a complex 10-plus-11-beat pattern that nevertheless lunges forward in relentless expectation. Leonard Bernstein’s “Something’s Coming” from West Side Story begins with a ruminative acoustic bass soliloquy, but soon rumbles along in hyper-swing, with sparkling solos by Dayna Stephens (tenor sax) and Fabian Almazan (piano) and a heated drum-bass ‘debate’ with Rudy Royston, capped by a waltzing coda section. “Mr. M” (as in Mingus) evokes the down-home futurism of “Goodbye Pork Pie Hat”, Oh injecting punchy couplets into the ethereal ambiance, then burning up the neck like a lead guitarist on her extended exploratory solo. “No. 1 Hit” is drastically syncopated, quirky but catchy, featuring Royston’s leap-over-the-bar phrasing. “Thicker than Water”, a duet with chameleonic vocalist Jen Shyu, here personifying June Christy-esque cool, is enhanced by Oh’s dubbed-in bassoon counterpoint. “Little House”, “Deeper than Happy” and “Desert Island Storm” all feature Oh’s sparkling electric tone, fuel-injecting the groove à la Jaco Pastorius’ seminal work with Weather Report. Initial Here seals the deal with a soulful cover of Ellington’s “Come Sunday” and “Deeper than Sad” (recalling John Lewis’ “Django”), which plods through a polyphonic climax to a placid conclusion.

For more information, visit greenleafmusic.com. This group is at Jazz Standard Jun. 19th. See Calendar.

Cyrus Chestnut Quartet Cyrus Chestnut

(WJ3)

Dancing with DukeJohn Brown Trio

(Brown Blvd.)

by George Kanzler

Initial Here

Linda Oh (Greenleaf Music)by Tom Greenland

available June 26jessicajonesmusic.com / newartistsrecords.com

CD Release Event

at Brooklyn

Friends SchoolFriday June 8

7pmLive at the Freight:

Jessica Jones and Mark Taylor Startlingly beautiful from beginning to end, the music pushes and pulls in multiple

directions while never losing its elliptical narrative drive.

28 June 2012 | THE NEW YORK CITY JAZZ RECORD

Full disclosure: I was present when this album was recorded at the Oslo Jazz Festival in 2009. The setting was Kulturkirken Jakob, a 19th century converted church with excellent acoustics, on a leafy residential street just north of downtown. Tenor saxist Håkon Kornstad and bassist Ingebrigt Håker Flaten played songs from Elise, their 2008 duo album. Joining them was Jon Christensen, Scandinavia’s greatest drummer. Elise, perhaps the first jazz album based on traditional Norwegian folk hymns, had popped up on several Top Ten lists. Its fascination came from hearing simple pure melodies outside of time brooded over and followed to their furthermost implications. Most live albums of material previously recorded in a studio offer looser, longer versions. This is different - a single, focused, rapt, burning meditation. “Du høye fryd for rene sjele” is a small, solemn incantation, introduced by Flaten, darkly. Kornstad’s gradual destruction of the melody breaks out in hoarse rasps, but only momentarily. Soon his passion is reabsorbed back into a song sung by his forebears in farmhouse prayer meetings. Most pieces are like “For himmerigs land maa man kjempe”: intensely quiet, lingering on their minor key themes, flowing away and returning, sustaining the concentration. Christensen picks his spots, sometimes erupting with the natural peaks of this music but more often arraying subtle details of texture and color. Kornstad is one of the most exciting young reed players in jazz. He is a storyteller who stays in character even as he keeps outdoing himself with fresh narrative ideas. Flaten, too, is a master of atmosphere. He can play really fast in the context of a very slow song. This beautifully recorded album renders its moment so vividly that you live it even if you weren’t there. It is even better if you were and can live it again.

For more information, visit compunctio.com. Kornstad is at Nublu Jun. 24th. Flaten is at Roulette Jun. 13th with The Thing and Joe McPhee as part of Vision Festival. See Calendar.

Three duos between veteran trumpeters and pianists come in from Denmark, Portugal and Italy. Veterans of cold wars and glacial ice-bound ECM silences, pianist Thomas Clausen and trumpeter Palle Mikkelborg weave ice-fogged, watercolors of shining aqueous hues and drifting interplay on Even Closer. Their

melodic offerings, distilled into eerie exhalations and carved in icy sculpture, are straightforwardly crystalline. Glinting, spooky muted Miles Davis (cryopreserved from 1957) looms gently over the minimalist “When Lights Are Low” and “My Funny Valentine”. Anything but fragmented, these miniatures evoke Arctic winters: the cryptic “Do Not Speak” fades with unearthly whale whimpers, the flamenco-tinged “To Read Is To Dream” blurs on a shimmery horizon and the outer-spacey title track echoes Gershwin’s strawberries, freeze-dried on a glinting floe. So Soft Yet is cantabile poems in a classic Euro-folk style. Texas trumpeter Dennis González plays four-square with little vibrato and affectation; Lisbon pianist João Paulo sounds classically schooled with a down-home bent. They weave in special effects from track to track, fueled by motoric rhythm loops. González pre-programs thirds on “Broken Harp” and the spooky closer “Augúrio”. Paulo strokes electric plunking basslines on “El Destierro”, folksy accordion stutters on “Deathless” and “Taking Root”, electric loops on “Broken Harp”. A couple of tracks recall the Enrico Rava/Paolo Fresu Italianate school, with blue fado wisps; one is reminiscent of Jill McManus’ Hopi melodies played sotto voce by Tom Harrell. Yet the duo’s sliding from one easy vamp to the next, rather than building their case with strong melodies, results in a date of pleasant if aimless noodling. Following the Danes’ chill intensity and the Transatlantic duo’s breezy atmospherics, the team of Sicilian trumpeter Giovanni Falzone and Marseilles-born pianist Bruno Angelini convey nine edgy pieces, credited to Falzone, in a mutually sparking, downright theatrical atmosphere. By dint of varying tempos, timbres and moods, this highly accomplished pair succeed in putting across a vividly dramatic, witty, consistently engaging set. “Marì” leads with splashes of edgy avant guardia, as chance-taking improvisations whirl and fragment. Falzone shows splendid tone and superior melodicism while Angelini dazzles with double-time runs and darting notions that push on into “Salto nel Vuoto” as Falzone opens up handsome flutter-tongue figures. They shuffle “Maschere” (stately) and “Terra” (legato arpeggios) with comically grumbling quasi-scat (“Pineyurinoli”) and a manic off-Broadway two-beat rag (“Wizard”). Other poignant effects are Falzone’s diminutive wah-wah mute expanding to a sweeping legato on “Guardando il lago” with Angelini’s comically chirrupy piano, a fast bluesy ostinato named after “Jean Cocteau” and a closing ballad that might complement a genially offhand Charlie Chaplin vignette. For more information, visit arts-music.dk, cleanfeed-records.com and abeatrecords.com. Mikkelborg is at Le Poisson Rouge Jun. 27th with Terje Rypdal. See Calendar.

Debut CD from virtuoso Jazz Violinist

Daniel Weltlinger (Lulo Reinhardt,

Monsieur Camembert)

Souvenirs: A Tribute to Django ReinhardtA stunning new album showcasing the

early 20th century guitarist and composer’s great compositional works.

Proudly sponsored by BNP Paribas.

‘Reinhardt’s body of work as a composer glows under the warm light of Weltlinger’s violin...’ - John Shand, Sydney Morning Herald

Available through Itunes, Amazon, CDBaby and Toca Records.

www.danielweltlinger.comwww.toca-records.de

Even Closer Palle Mikkelborg/Thomas Clausen (Arts Music)So Soft Yet Dennis González/João Paulo (Clean Feed)

If Duo - Songs Giovanni Falzone/Bruno Angelini (Abeat)by Fred Bouchard

Mitt hjerte altid vanker - I (Live at Oslo Jazzfestival)

Ingebrigt Håker Flaten/Håkon Kornstad/ Jon Christensen (Compunctio)

by Tom Conrad

THE NEW YORK CITY JAZZ RECORD | June 2012 29

Real freedom is a mysterious and rare phenomenon, a fact that is especially disheartening in a music too often mislabeled ‘free jazz’. What sets pianist Joel Futterman’s work apart from so much of what is catalogued under that misleading phrase is the way he incorporates traditional elements in structures that find themselves as they emerge. This precarious relationship between history and innovation is one of the few characteristics these two discs share. To catalogue the minute changes that can occur from moment to moment in this music is beyond the scope of a review. A treatise could be constructed tracing the way Perception’s gargantuan opening movement springs from just two notes; its slowly expanding processes veer through various modalities and passages of stasis only to see a dramatic increase in the next moment, as the entire keyboard becomes an orchestra where interregistral counterpoint abounds and phrases connect and resolve on many dynamic levels. Listen to the way Futterman provides a bassline to his sinewy melodies, almost sounding as if another pianist is playing it, so nuanced and rhythmically free are his dynamic shadings. Incredible torrents of tone vie with quartal passages of staggering beauty until, without any warning, that opening two-note figure returns, more than 20 minutes after it was first heard. The gestures are then collected and reorganized into some gorgeous postbop melodic musings, providing insight into Futterman’s unified vision of jazz history. Conversely, The Fall does not so much emerge as collide with the silence preceding it. Its opening movement is a maelstrom of apocalyptic import, dense clouds of micropolyphony delineating a downward spiral occasionally interrupted by bare octaves, like the tossed ropes or branches a drowning man grabs in his descent. Any fleeting sense of diatonicism is thrust aside as the music slowly dissipates and vanishes into the crystalline silence, engendered by Futterman’s explorations inside the piano. Yet, all of this is beancounting. The real mystery in the music lies in the journey itself, in the way each group of events connects improbably but so naturally to the next and these accumulated relationships are essentially beyond the ability of words to relate. How does one explain the element of surprise when the ballad-like beginning of The Fall’s “Recovery” suddenly transforms and fragments, after a three-note moment of repose? How does the ten-note saxophone invocation opening Perception’s second part give way, unceremoniously but perfectly, to the sparse pointilisms that follow, again inside the piano? It seems inconceivable that such diverse elements can coexist in this sort of harmony, but anyone familiar with the five volumes of Futterman’s Creation series, just to cite a small portion of his vast discography, will have an idea of the multifarious unity being described. As for comparisons or models, only Coltrane’s late works, perhaps Meditations’ gradual shift from tonal complexity to modal stability, approximate Futterman’s vision in terms of scope and breadth. As James Joyce did with world history, Joel Futterman tells the story of creative music’s development on an epic scale.

For more information, visit joelfutterman.com

PerceptionJoel Futterman

(Creation Music)

The FallJoel Futterman

(Creation Music)

by Marc Medwin

30 June 2012 | THE NEW YORK CITY JAZZ RECORD

The Freight and Salvage Coffee House is a Berkeley, California venue that originated when traditional Appalachian, folk and blues had a paradoxical cutting edge that fit perfectly into the counter-culture. Those were heady times and while the Freight is still going after more than four decades, its view of traditional music is broader. Witness Live at the Freight, from tenor saxist Jessica Jones and French horn player Mark Taylor. While both these artists’ past work has been a bit arcane, bassist John Shifflet and drummer Jason Lewis are a tight rhythm section and the compositions here encourage focus. Taylor is one of only a few musicians who has taken on the difficult task of bringing the combination of tone and range that the French horn possesses into jazz surroundings. His presence is way more than novelty and the order of the day is interplay with Jones’ seductive tenor, compositional structure and a vibe that is a rebirthing of the cool. Taylor penned five of these tunes and Jones four. The two have guested on each other’s releases and played together multiple times so there is an obvious comfort level with the material. The Wayne Shorter tribute “Waynopolis” and the swinging portrayal of “Manhattan”, both off of Jones’ Nod (New Artists Records, 2004), acknowledge influences and are quite simply great jazz in a hip milieu. Taylor’s “By the Park at Midnight (Zamindar’s Promenade)” and “The Zamindar Gambit” are from his recent At What Age (Artists Recording Collective, 2011) as are CD opener “Furious George” and closer “Breath.Eyes”. The former cuts continue Taylor’s self created Osmium Zamindar opus and are a combination of avant exotica and beautifully-put-together structures showcasing the horn’s unmatched capacity for emotive storytelling. The latter two present an opportunity for Taylor and Jones to engage initially in a casually swinging format and then wrap things up in erotically intimate fashion. Live at the Freight is jazz with an experimental tilt but a traditional feel custom-made for this context.

For more information, visit newartistsrecords.com. This group is at Brooklyn Friends School Jun. 8th. See Calendar.

Vocalist Judi Silvano is celebrating 20 years of her recording career by putting forth her tenth album, entitled Indigo Moods. A familiar figure on the vocal scene up and down the East Coast, Silvano has been performing for the last few years with pared-down musical accompaniment consisting of pianist Peter Tomlinson and trumpeter Fred Jacobs, both of whom join her on this offering. This makes for a well-

connected musical communication and a relaxed, intimate feel. Silvano has a pleasing voice with enough range to hit the high notes when necessary, maturity for thoughtful interpretation and, obviously, a love and respect for material she has done many times over the years. She delivers a collection of 14 of the best out of the Great American Songbook in a program just over an hour. It is, perhaps, an overabundance of riches and too much material to absorb on one CD. It would certainly be difficult to choose, but this listener feels it might have been wise to save some tracks for another album. Although there is an overall sameness about this album of basic ballads, there are items of interest such as Silvano’s choosing to do the seldom-done verses to “Let’s Fall In Love”, “If I Had You” and Tadd Dameron’s killer “If You Could See Me Now” while adding a Latin rhythm to “You’ve Changed” and the Gershwins’ “Embraceable You”. And listen to Jobim’s “You Never Come To Me”, where Silvano does the English lyric and then some wordless scatting in conversation with Jacobs’ trumpet, or the rendering of Thelonious Monk’s “Still We Dream” (known instrumentally as “Ugly Beauty”), the only waltz he ever wrote. Jacobs’ trumpet is given a healthy chance to stretch here and although it is a difficult song to sing, Silvano has the skill to pull off the vocal. Tomlinson is an excellent accompanist, knowing when and just how much to play as well as being able to provide a tasty solo here and there. Jacobs’ trumpet fills, especially when muted, add to the picture. It’s worth a listen as Silvano shares her milestone in the best of company.

For more information, visit jazzedmedia.com. Silvano is at Blue Note Jun. 24th. See Calendar.

Trumpeter/flugelhornist Tom Harrell has kept the same stellar quintet intact through six years and four previous albums on the HighNote label - a rarity in today’s jazz world. On his latest release, appropriately titled Number Five, the group returns once again with the same lineup, but with some notable twists and turns in its approach and repertoire. Where the postbop veteran’s previous efforts have drawn nearly exclusively on original compositions, Harrell relies more on well-chosen covers here, like the opener, a scorching duo version of Dizzy Gillespie’s “Blue n’ Boogie” for trumpet and Johnathan Blake’s drums. It’s one of several tracks on which Harrell breaks the quintet (completed by Wayne Escoffery on tenor sax, Danny Grissett on keyboards and Ugonna Okegwo on bass) down into smaller groups - duo, trio and quartet - that give each member of the ensemble added room to shine. Most impressive are the two tracks where Harrell goes it alone with wonderfully expressive solo trumpet readings of two bebop classics, “Star Eyes” and Tadd Dameron’s “A Blue Time”. Harrell’s own expansive compositions get plenty of attention, too. Highlights include the deceptively simple, impressionistic “Journey to the Stars”, the melancholy ballad “Right as Rain” and the hard-swinging “No. 5”, featuring exciting solo turns from all five players. “GT” pushes the group to the edge of avant jazz, with the emerging saxophone star Escoffery

contributing some of his most explosive work. Throughout, the group exhibits a rare affinity and the high comfort level that only comes with years of playing together. As for Harrell, who turns 66 this month, he remains one of jazz’ most sophisticated improvisers, a trumpeter with a gorgeous tone who favors lyricism and emotion over pyrotechnics - think Chet Baker with more bite. With Number Five, he and his superb quintet keep their streak going with another winning album.

For more information, visit jazzdepot.com. Harrell is at Smoke Jun. 29th-30th as part of Miles Davis Festival 2012. See Calendar.

Indigo Moods

Judi Silvano (Jazzed Media)by Marcia Hillman

Live at the Freight

Jessica Jones/Mark Taylor (New Artists) by Elliott Simon

Number Five

Tom Harrell (HighNote)by Joel Roberts

Jazz Violinist BEN POWELL releasesNEW STREETfeaturing The Ben Powell Quartet& a tribute to Stéphane Grappelli with Gary Burton & Julian Lage

“An auspicious presentation that is as solid and exciting an effort as you will find.” – criticaljazz.com

“Powell is a little too old to be the reincarnation of Stéphane Grappelli, but god damn, of all who came in Grappelli’s wake and tried to be/beat the master, this is the kid that has it all…” – midwestrecord.com

THE BEN POWELL QUARTETJAZZ AT KITANO – THURSDAY, JUNE 7THwith Tadataka Unno (Piano), Aaron Darrell (Bass) & Devin Drobka (Drums) 66 Park Avenue at 38th St, NY, NYReservations: 212.885.7119$10 Cover/$15 MinimumSets 8pm & 10pm

www.ben-powell.com

Cobi Narita presents Monday, June 4, 2012 - 7 p.m. $10

Remembering Dakota Staton

Singers sing Dakota songs

Come celebrate Dakota’s birthday! It’s a Party!Saint Peter’s Church, 819 Lexington Ave (at E. 54th Street)

For more information: 516-624-9406 or cobijazz@optonline.net

THE NEW YORK CITY JAZZ RECORD | June 2012 31

Pianist Jesse Stacken immersed himself in the New York City jazz scene in 2002 when he came to work on his Master’s degree at Manhattan School of Music. Since completing his studies in 2004, Stacken has led a trio with bassist Eivind Opsvik and drummer Jeff Davis and worked in a duo with cornetist Kirk Knuffke. In addition to his recordings as a leader or co-leader, Stacken has recorded with Peter Van Huffel and Liam Sillery and performed with Tom Rainey, Darcy James Argue’s Secret Society, Tyshawn Sorey and Michael Blake, among others. Stacken made two earlier recordings with Knuffke, focusing on the music of Charles Mingus, Thelonious Monk and Duke Ellington. For their third session Like A Tree, they add drummer Kenny Wollesen to free up the pianist’s rhythmic role in exploration of more avant garde pieces. The late Steve Lacy is somewhat overlooked as a composer; the trio’s interpretation of “No Baby” features plenty of fireworks from Knuffke and Stacken’s driving attack. Fans of Eric Dolphy’s album Last Date will be delighted with the presence of pianist Misha Mengelberg’s demanding “Hypochristmutreefuzz”, which the trio devours whole, adding a humorous touch not present on the original recording. The trio reaches a climax in John Coltrane’s “Saturn”, building it from a chant into a majestic improvisation, with Stacken blending world music, classical influences and free jazz into his solo. Their explorations of the music of Carla Bley (“Olhos de Gato”, “And Now The Queen”, “Jesus Maria”), Ornette Coleman (“Peace” and “Free”), Albert Ayler (“A Man is like a Tree”) and Julius Hemphill (“The Painter”) are equally rewarding. The pianist’s Bagatelles for Trio, featuring his working trio with Opsvik and Davis, is a series of 13 short compositions designed to take the listener on an unusual journey with striking sounds and a variety of moods and tempi. The influence of Bartók, Stravinsky and Schoenberg can be heard at times while portions of the music would make an effective soundtrack for a suspense film. There are numerous surprises in this collection, which the trio regularly performs in the

order the bagatelles are programmed. The opening piece features Stacken manipulating the piano strings and at one point achieving a sound suggesting a toy piano while Opsvik’s mournful arco bass in the introduction adds to its edginess. In the third bagatelle, piano is complemented by brooding bass and off-center percussion. Stacken’s extensive use of the sustain pedal in his deliberate, spacious fifth bagatelle builds a formidable tension. Bagatelles For Trio is music that demands the listener’s full attention to appreciate its nuances.

For more information, visit steeplechase.dk and freshsoundrecords.com. Stacken’s trio is at Tenri Cultural Institute Jun. 29th. See Calendar.

Pianist Alfredo Rodriguez is only 26. Although he hails from Cuba, he isn’t a ‘Cuban’ pianist, he’s a jazz one. He may use a few montunos and the occasional Spanish word in his song titles but this release goes far beyond that Caribbean nation. He has a lot of weapons at his disposal, including a man named Quincy Jones offering his production expertise. What Jones’ contributions are isn’t immediately obvious but he has lent his credibility to a unique young artist. This is a straightforward, unadorned debut that most importantly highlights Rodriguez’ impeccable command of the 88. Within the first 30 seconds Rodriguez establishes himself with a display of playful versatility, overdubbing a melodica over his jittery piano-led melody “Qbafrica”. Countryman Francisco Mela, who plays drums on a couple of the tracks, provides a subdued cross-stick pulse that drives the tune without getting in the way. “Cu-Bop” has the pianist channeling a twisting Bud Powell with tricky lines over a pulsating backbeat from the album’s other drummer Michael Olivera. “Transculturation”, driven by Rodriguez’ loping left-hand, draws a shimmering performance from soprano saxophonist Ernesto Vega, who also contributes fine clarinet work elsewhere on the album. Album closer “Fog” gets gloomy assistance from the Santa Cecilia Quartet, which adds cinematic touches to Rodriguez’ high-register ambling. The highlights of the album, however, are Rodriguez’ two tour de force solo performances. The brooding “April” hinges upon his resonating keyboard as much as it does on his pyrotechnics while “Crossing the Border”, a reference to Rodriguez’ entry into America by way of Mexico, is a breathless assault of mutant montunos, deliberately disjointed harmonies, a fearless left-hand and a brief uncredited clave. In just under seven minutes, Rodriguez lets it all out on the keyboard, occasionally firing at the speed of light before collapsing into a legato crawl only to close with an even faster pace than before. It is easy to see why someone like Quincy Jones would be interested in a talent like Rodriguez. Thankfully the album isn’t peppered with guest stars or a heavy-handed ProTools approach. Just an ambitious young pianist giving it his all.

For more information, visit mackavenue.com. Rodriguez is at Highline Ballroom Jun. 27th as part of Blue Note Festival. See Calendar.

Like A Tree Knuffke/Stacken/Wollesen

(SteepleChase)

Bagatelles for Trio Jesse Stacken

(Fresh Sound-New Talent)

by Ken Dryden

Sounds of Space

Alfredo Rodríguez (Mack Avenue)by Sean O’Connell

32 June 2012 | THE NEW YORK CITY JAZZ RECORD

As soon as Justin Wood’s smooth saxophone begins its sway across Succinct’s opening track, the senses can’t help but delve into the image of a jazz club tucked away in a sleek nook of New York City. Though the four artists behind the moniker Spoke represent the ‘new generation’ of jazz, each classic pluck of Dan Loomis’ bass and Danny Fischer’s cymbal wisps and gently rolling drum rhythms evoke the warm comfort of a scratchy 78. But halfway into “Satya Graha”, Andy Hunter’s pitchy trombone blurts slowly unravel an eclectic undercurrent of avant garde erraticism. As Succinct progresses further, Spoke kindles this experimental spark into full force, oscillating between moods and textures at the unpredictable whim of a stream of notes. “Over the Bars” immediately exudes an irresistible swinging momentum, brushed forward by Loomis and Fischer’s bouncing rhythm. And right at the peak of a trombone-sax mingling, Hunter suddenly ignites with flaring energy in a solo uprising. This counter-intuitive approach reaches its zenith in “Quic”. Fischer constantly restarts his rhythmic course against a tide of brassy ebbs and flows, infusing the piece with entrancing tension. Adapted from Milton Nascimiento’s recording of the same name, “San Vicente” carries the crafty jam session dynamic to soulful fruition, at last clearing the band’s tangential air. Wood trades his sax for the flute and Hunter offers regal brass, both alternately interpreting Nascimiento’s vocal-guitar melody with eerie exactitude. No spastic sound gymnastics detour this work from its delicately majestic course. Instead, each bandmember awakens his instrument with an expressive narrative quality, rumbling forward with piercing vitality and newfound direction in the album’s first piece to live up to its name.

For more information, visit envoirecordings.com. This group is at Red Hook Jazz Festival Jun. 17th. See Calendar.

Inevitably when considering a musician who also has a reputation as a painter, visual art metaphors tend to be spattered across the board. That’s even more the case when there is such an apparent equivalence as with saxophonist Ivo Perelman, whose freewheeling approach to improvisation has such parallels with his expressionistic canvases. When Perelman first came to the prominence in New York back in the early ‘90s, he was cast as a charismatic screamer coming out of Albert Ayler and Archie Shepp but he also confirms a love of melody, even as he has become less reliant upon written materials, and both traits are in evidence on these two outings.

For The Foreign Legion, he focuses on a trio, completed by pianist Matthew Shipp and drummer Gerald Cleaver, for five spontaneously conceived excursions. If the principal appeared to be mellowing in recent years, he seems energized by his new bandmates, his keening altissimo wail insistently probing the interstices between Shipp’s harmonically ambiguous piano and Cleaver’s busy but unpredictable percussive clatter. Though mostly residing in the upper register, the reedman intersperses earthy honks with an acerbic skirling lyricism to create contrast. At times his pure toned incantations take on a translucent liquid beauty, not least on “An angel’s disquiet”. After a martial drum break midway through, the madcap tenor dash vies for attention with equally compelling topographies from bass and drums to make this the highlight of a strong album. Perelman first recorded with a string quartet to wax The Alexander Suite (Leo, 1998), but his revisitation of the format with the Sirius Quartet on The Passion According to G.H. is even better. From the opening confluence of hushed cello notes and plaintive tenor chant, this is an amalgam that keeps the listener on the edge of their seat. It helps that the string players prove themselves as impressive improvisers, conversant with a wide range of extended techniques and able to respond quickly to the saxophonist as he slides between tones, their singing lines intertwining and soaring. Less forced to the extremes, Perelman works in a broad impasto, laying smears of tonal color over and through the accompanying ensemble, moving from staccato cadences to folkish melodies and squealing eruptions, paced every step of the way by the Quartet in an outstanding meeting.

For more information, visit leorecords.com. Perelman is at Roulette Jun. 14th as part of Vision Festival. See Calendar.

One had best be careful about what tricks one calls ‘new’ or what dogs one calls ‘old’, but the septuagenarian saxophonist Kidd Jordan’s meeting with New York’s Chonto/Tamura Sonic Insurgency certainly stands out as one of the most unusual records in his catalogue. The pairing came to pass after a video of Jordan playing at the Vision Festival was aired on drummer Joe Chonto’s Manhattan cable access show Some Real Music several years ago. On the same program, Chonto aired a video of Japanese psych rockers Acid Mothers Temple and Jordan expressed an interest in playing with them. While that meeting is still in the works, the suggestion set the ball rolling for Jordan to play with Chonto’s own psych-improv band. With a lineup of two electric guitars, sax, bass and drums, Chonto’s Sonic Insurgency (co-led with reedman/keyboard player David Tamura) already makes plenty of sound. In fact, the opening cut (the only one without Jordan) barely seems to leave room for another player. And with the title “Violence For Your Furs (and Diamonds, Ivory and All That Other Expensive Meaningless Crap for Oblivious Idiots)”, the instrumental piece sets the ideological stage as well. The freeform rockish attack of the first track bears some resemblance to Bill Laswell and Sonny Sharrock

on old Material records, but that doesn’t define the whole of this unexpected record. The second cut, “For C, as in Percival, With Gratitude Immeasurable”, is a dedication to Cecil Taylor with a clear awareness of his ‘70s records. That’s followed by a spoken anthem for Occupy Wall Street with musical interjections both impassioned and comedic. An organ-led piece dedicated to Larry Young proves again their sensibilities while the final track (actually a sound check which they held on to) harkens back to vintage Pharoah Sanders. While the band has a clear interest in the free era just after Coltrane, they manage to keep their music lively and contemporary. And hearing Jordan in conversation with the electric guitars makes this a noteworthy release. Jordan is heard on On Fire in a solid trio with Harrison Bankhead on bass and cello and Warren Smith on percussion. It’s an elemental studio session with a nice diversity over the four tracks. While the titles suggest an ideology similar to the Chonto/Tamura session (the opener is called “Officer, That Big Knife Cuts My Sax Reeds”), this is Jordan stripped bare, solid and intuitive, at times powerful at others introspective. To hear him as the only horn and with a relatively delicate rhythm section presents him in a different light, especially on “We Are All Indebted to Each Other”, Bankhead slipping in and out of the blues and Smith’s roving vibraphone abstractions, Jordan clearly feeling free to move around the sonic room. In very different senses, these two titles show Jordan’s different sides, part of one of the most expressive saxophone voices around today.

For more information, email somerealmusic@earthlink.net and steven.engine@gmail.com. Jordan is at Roulette Jun. 15th and 17th as part of Vision Festival. See Calendar.

236 West 26 Street, Room 804New York, NY 10001

Monday-Saturday, 10:00-6:00

Tel: 212-675-4480Fax: 212-675-4504

Email: jazzrecordcenter@verizon.netWeb: jazzrecordcenter.com

LP’s, CD, Videos (DVD/VHS), Books, Magazines, Posters,

Postcards, T-shirts, Calendars, Ephemera

Buy, Sell, Trade

Collections bought and/or appraised

Also carrying specialist labelse.g. Fresh Sound, Criss Cross, Ayler, Silkheart, AUM Fidelity, Nagel Heyer, Eremite, Venus,

Clean Feed, Enja and many more

USEDNEW

With Kidd Jordan The Chonto/Tamura Sonic

Insurgency (Somerealmusic)

On Fire Kidd Jordan

(Engine)

by Kurt Gottschalk

The Foreign Legion/The Passion According to G.H.Ivo Perelman (Leo)

by John Sharpe

Succinct

Spoke (Envoi)by Sharon Mizrahi

THE NEW YORK CITY JAZZ RECORD | June 2012 33

Spectrum Road is, on the surface, a tribute band that plays the music of Tony Williams’ Lifetime. At a glance it seems put together with the hope that the players involved or nostalgia will draw commercial interest. But against these cynical odds, the four virtuosos who comprise this fusion supergroup - Cindy Blackman-Santana, Vernon Reid, John Medeski and Jack Bruce - have made a monster record. Spectrum Road can be as heavy as Black Sabbath, as punishing as Deep Purple, as intricately melodic as Frank Zappa or as prog as Emerson Lake and Palmer, all tied together by Medeski’s keyboard alchemy, Reid’s shredding guitar dexterity, Blackman-Santana’s vivacious drumming and Bruce’s masterful bass thump and iconic vocals. The disc gets off to a thunderous start with “Vuelta Abajo”, with Medeski and Reid playing relentlessly over pounding drums and banging bass. Then “There Comes a Time” drops the intensity from red hot to cool blue, anchored by Bruce’s ageless voice. “Where” is the disc’s longest track: bookended by Blackman-Santana’s ethereal singing, the band jockey for position then lay into the tune’s internal dynamics, shifting tempos and push-pull rhythms to generate tension, momentum and crunch. When the tempo is brisk the instrumental onslaught can be overwhelming. When it slows, you can get inside the instrumentation and hear what’s going on. “Wild Life” closes the disc on Reid’s soaring riff as the rhythm section pushes the foundation to the edge of the cliff. Tony Williams, the late drummer and bandleader, conceived the music on Spectrum Road and it stands to reason that in this incarnation, Blackman-Santana follows in the line of succession. By following her lead, the band plays as loud and as hard as it can and Medeski and Reid don’t give an inch. It’s Bruce, however, that gives this band its legitimacy (he played in Williams’ second incarnation of Lifetime) as well as its spiritual center. Bruce takes the vocal on “One Word”, singing the incantatory lyrics over Medeski’s ringing keyboard, ratcheting his voice higher and higher until it seems he won’t be able to hit the notes, but Bruce hits them alright.

For more information, visit palmetto-records.com. This group is at BB King’s Blues Bar Jun. 29th as part of Blue Note Jazz Festival. See Calendar.

With his first album Salut (2000), recorded with his quartet, Swedish saxophonist Jonas Kullhammar came

seemingly from out of nowhere to make a major impact on the Swedish jazz scene. Released on his Moserobie label, Kullhammar soon established the label as an operation documenting similar-minded players on the Swedish jazz scene (trumpeter Magnus Broo, singer Lina Nyberg, et. al.). Kullhammar’s quartet has been the mainstay of the label and in 2010 celebrated its tenth anniversary with the release of a superb eight-CD boxed set. Nacka Forum is one of Kullhammar’s alternate bands. A piano-less quartet, it features Goran Kajfeš (cornet, trumpet, electronics), Johan Berthling (bass) and Kjell Nordeson (drums and vibes). In addition to tenor, Kullhammar appears on baritone and bass saxes, piccolo, clarinet and mini-moog. A little more diverse than his standard quartet’s modus operandi of rousing freebop, there’s still a healthy dose of that on Fee Fi Rum as well as the musical wit for which Kullhammar is noted. Several of the pieces are ostinato-based and handled with aplomb. These ostinatos never get tedious due to Nordeson’s expansive, fluid drums, always keeping the rhythm interesting. Kajfeš’ spiky cornet seeks out weird trajectories and he intertwines nicely with Kullhammar’s reeds when they are playing in tandem, with the cornet/baritone sax combination particularly effective. While much of this is strong, energetic contemporary jazz, when they slow down for a ballad ( “Jimmy”) or a group textural exploration, the contrast is effective. Also mention must be made of the surprising use of timpani on “Borkum Riff”. Although Kullhammar’s freebop-based quartet has the cachet, Nacka Forum at its best sometimes eclipses Kullhammar’s main group. Zanussi Five is one of Moserobie’s more popular groups, with three albums to their credit. Usually a quintet (three saxophones plus bass and drums) helmed by bassist Per Zanussi, for Live he adds a trombonist, guitarist, extra drummer and five more saxophonists (Kullhammar among them). With this expanded lineup, the group becomes a wild, braying beast with beautiful massed choruses, screaming boisterous passages, plenty of creative soloing and more. When he is audible, guitarist Stian Westerhus adds an unexpected, edgy electronic tension, particularly effective when the saxophonists are going at it full-tilt. The compositions showcase the larger ensemble well. Several are rearranged from earlier releases (Ghibli, Body And Zeuhl, Zoanthropy 2) and an arrangement of Ornette ‘s “Street Woman” is one of the more unique handlings of the Coleman composition. Special mention has to be made of drummers Gerd Nilssen and Per Oddvar Johansen, who push this lumbering beast of a group to staggering heights. To his credit, Kullhammar works within the ensemble and is not the star of the set. The real star is the full 13-piece ensemble. Kullhammar the improviser is heard at length on Basement Sessions, Vol. 1, recorded with bassist Torbjorn Zetterberg (a charter member of Kullhammar’s main quartet) and drummer Espen Aalberg. One gets the impression that Kullhammar just likes to blow and there’s always a joyful cadence to his playing. He seems to relish challenging himself and playing away from his main group is one way to get refreshed. On this disc, the absence of a pianist frees him up for more stratospheric flights, especially on the opener “As Tajm Goes By”. But for all the energy expended on the uptempo blowouts that dominate the disc, perhaps the best track is “Den Stora Vantan”, a baritone exploration, taken at a funereal pace. Kullhammar seems to wrench every sound he can from the instrument during the track’s nine minutes. The album’s skeletal themes allow for plenty of open space and seem to inspire the entire trio, making for a satisfying listen.

For more information, visit moserobie.com and cleanfeed-records.com. Kullhammar is at Nublu Jun. 21st with Goran Kajfeš. See Calendar.

Eponymous

Spectrum Road (Palmetto)by Jeff Stockton

Fee Fi Rum Nacka Forum (Moserobie)Live Zanussi Thirteen (Moserobie)

Basement Sessions, Vol. 1 Kullhammar/Zetterberg/Aalberg (Clean Feed)

by Robert Iannapollo

34 June 2012 | THE NEW YORK CITY JAZZ RECORD

Recorded during four days in June, 1983, at the Théâtre Dunois in Paris, Les Douze Sons was a landmark in bassist Joëlle Léandre’s career. That title invocation of Schoenberg’s tonal system is both homage and irony: the music reflects the radical equality of the tone row without its insistent sense of order. Titles of individual pieces like “Pavane” and “Instant Opus 3” further suggest and mock the classical sense of form. The ultimate effect of Les Douze Sons is of a suite - episodic but subtly connected - in which instruments and voices keep reappearing. A trio with singer Annick Nozati and pianist Irène Schweizer appears at regular intervals, whether offering brief explosions that touch on atonal art-song and music hall or the sustained creation of “Les trios dames”. Barre Phillips appears just as often, both in two-bass dialogues with Léandre and in a trio with Léandre and trombonist George Lewis. The extended “Ballade de Chien” is actually a quartet, as Lewis’ trombone belches inspire Léandre’s dog Miss Biscotte to begin wailing along from the audience. There are also occasional one-time groupings in the collection of pieces: “Trio en forme de bagatelle” is a dense, all-string performance by Léandre, guitarist Derek Bailey and cellist Ernst Reijseger in which the music seems to come from a single 14-string instrument, plucked, bowed and scratched by a half-dozen hands. The final track, “Soupir”, is just that, a sigh by Nozati and a microcosm in a single sound - pleasure, loss, absence and fulfillment. It’s a thoughtful conclusion to a remarkable collection of performances, definitely one of the year’s most valuable reissues.

For more information, visit natomusic.fr. Léandre is at Roulette Jun. 16th as part of Vision Festival. See Calendar.

Even after nearly 60 years as a double for woodwind players – and first choice for a select few – the flute can’t shake off its reputation as a secondary jazz axe. But Nicole Mitchell is doing her best to overcome this stigma. As these CDs demonstrate, impressive improvisations are created even as the flute retains its lyrical characteristics. Recorded in Strasbourg with Paris-based Michel Edelin as the other flutist, The Ethiopian Princess Meets The Tantric Priest is formal and delicate. Bassist Harrison Bankhead’s pulsing coupled with drummer Hamid Drake’s inventive slaps and rebounds pace the eight selections, allowing Mitchell and Edelin to extemporize distinct flute sequences in turn. “Inside the Earth” finds aviary wisps and whistling peeps

from the flutists giving way to mellow pitches while “Wind Current” balances low-intensity and low-pitched glissandi atop pedal-point basslines and rim shots. “Call Back”, one of Edelin’s two compositions, has a stealthy, elongated theme framed by a martial beat from Drake. As the flutists solo in turn, one produces pitched chirps and the other evocative lowing. As glottal slurps, tongue stops and growls are added to the mix, the piece resolves itself capaciously with arpeggios from Bankhead, rat-tat-tats from Drake and mixed tongue pressures from Edelin and Mitchell. Awakening’s precursor could be a session where a polite flutist like Moe Koffman improvised with an orderly guitarist like Ed Bickert. But when the session’s momentum increases, guitarist Jeff Parker’s linear work suggests Herb Ellis, with bluesy asides cozying up to Mitchell’s staccato flutter tonguing. Contributing to the mood swings are the guitarist’s chiming chords and Bankhead’s popping thumps or measured bow slides. Since Mitchell’s narrative skill also encompasses fortissimo whistles and gritty blowing, varied emotions are on tap throughout, from slow romanticism to moderated funkiness. The suite-like “Journey on a Thread” is probably the finest instance of her articulated and animated storytelling, as an innocent melody alternates with a more staccato line. Irregularly vibrated breaths and mouth buzzes give the piece a time-stretching pattern, intensified by Parker’s circular comping and Bankhead’s string pulsing.

For more information, visit web.roguart.com and delmark.com. Mitchell is at Roulette Jun. 16th as part of Vision Festival. See Calendar.

Maybe shorter is better. This CD’s 47 minutes, divided into seven tracks, could easily be an LP and it seems the concision of the form has concentrated the creativity of the musicians accordingly, making for a bright, memorable and entertaining outing. Other associations with old LPs also linger: the trumpet-sax-bass-drums ensemble conjuring up memories of early Ornette, Mingus with Ted Curson and Eric Dolphy and even Gerry Mulligan’s Quartet with Chet Baker or Art Farmer. The empathy between Vitaly Golovnev’s trumpet and Zhenya Strigalev’s alto sax also recalls the pairing of Dolphy and trumpeter Booker Little. A nimble trumpeter whose tone can range from clarion to pugilistic, Golovnev has synthesized influences ranging from Clifford Brown and Little to Dave Douglas and Tom Harrell into a broad personal style. Strigalev not only shadows and blends with the trumpet on unison and harmony lines, but also displays a style combining the loopy intervals and bird-song flavor of Dolphy with a penchant for developing melodic kernels through repetition-elaboration. The rhythm section of bassist Nathan Peck and drummer Pete Zimmer responds with quicksilver flexibility to the twists and turns of the tunes. The album is crammed with what Rahsaan Roland Kirk called “bright moments”. They start with the bop-leaning, two-horn opening of “Three Wishes”, continue through the catchy AfroLatin accents of “Family Plan” and reach an early peak on Golovnev’s third original, “Brown Waltz”, full of polyphonic interplay by the horns and contrasting solos. Tightly muted trumpet,

brushes and fast trades between the horns beginning with chorus and ending with two-bar and tandem, invigorate the title tune. Peck contributes the only ballad, a resonant “In Retrospect”, and Zimmer’s “Cut Off”, with its AABA form of seven-bar (instead of the usual eight) sections, recalls the snap of Max Roach’s quartets. The “clownish attitude in melody” (Golovnev) of “Because Together”, along with its Latin accents, recall the joie de vivre of the Mulligan Quartet. But memories of the past don’t overshadow the unique pleasures of this agile quartet.

For more information, visit tippinrecords.com. Golovnev is at Smalls Jun. 27th and Fat Cat Jun. 29th. See Calendar.

Baron Timme Rosenkrantz, a Dane by birth, was so entranced with jazz that he spent parts of several decades living in Harlem, trying to absorb as much jazz as possible while attempting to figure out how to make ends meet financially. This memoir was first published in 1964 in his native land and though he and longtime girlfriend Inez Cavanaugh worked on an English translation it was never published. Fradley Hamilton Garner has done a remarkable job completing the task, providing updates and corrections as needed, along with valuable, detailed footnotes, a discography of projects recorded under Rosenkrantz’ name (though he was not playing), informal recordings made in his apartments (though most of these performances remain unavailable in any form to the public) or for which he served as producer or publisher. First and foremost, Rosenkrantz is an entertaining storyteller who dismisses any impact he may have made as producer or writer, describing himself as more of a fan. Immersing himself as a resident of Harlem upon arriving in the US, he built relationships with numerous jazz artists. His sense of whimsy is ever present, with a gift for providing detail about his friendships and the many performances he attended, including after-hours scenes that would have been impossible for a typical jazz fan. A somewhat eccentric man who started projects before figuring out how to pay for them (including attempts to produce a concert, run a record shop and two jazz clubs), Rosenkrantz repeatedly failed as a businessman. His inability to find financial backers prior to producing his historic 1945 Town Hall concert nearly cancelled the event, due in part to Symphony Sid Torin’s insidious boycott campaign. Lower than expected ticket sales forced Rosenkrantz to sell his concert acetates to Commodore to pay the musicians who took part. Rosenkrantz may have stretched the truth in places, but his unique portrait of a foreigner able to immerse himself in the Harlem jazz scene during its heyday gives jazz fans a rare look at life among his favorite musicians.

For more information, visit rowman.com/Scarecrow

Harlem Jazz Adventures: A European Baron’s Memoir (1934-1969)Timme Rosenkrantz (Scarecrow Press)

by Ken Dryden

I N P R I N T

The Ethiopian Princess Meets The Tantric Priest

Indigo Trio/Michel Edelin (Rogue Art)

Awakening Nicole

Mitchell (Delmark)

by Ken Waxman

What Matters

Vitaly Golovnev Quartet (Tippin’)by George Kanzler

Les Douze Sons

Joëlle Léandre (Nato)by Stuart Broomer

Landscape Scripture, guitarist Scott DuBois’ third release for Sunnyside Records featuring his go-to crew of Gebhard Ullmann (tenor sax and bass clarinet), Thomas Morgan (bass) and Kresten Osgood (drums) continues a trajectory established on Banshees and Black Hawk Dance, combining meditative modal musings with snarky, jabbing free exploration. Like impressionist painter Claude Monet, whose series of canvases treating haystacks was a direct inspiration for this recording, DuBois too is a master of tone and texture, using broad strokes and subtle shadings to evoke cycles of sound and nuances of structure. Each season is represented here: “Spring Haystacks” emerges gradually, like blooming flowers following a thaw; “Summer Haystacks” rushes along, its bare-bones melody fleshed out over throbbing tom-toms; “Autumn Haystacks” pulses ominously beneath the lithe smears and slides of the tenor sax and “Winter Haystacks” is sparse and contemplative, fading finally in gentle resignation. In between these markers are two suites - “Prairie” builds from medium swing to ebullient elation; “Lake Shore” oscillates like swarming insects or rolling tides - and two sketches: the ethereal “Goodbye” and the restless “The Passing Spirit”. DuBois’ compositions typically feature drones and sparse but suggestive melodies, often rendered in loose ‘unisons’ by guitar and sax, where first one, then the other, assumes a leadership role. Morgan and Osgood provide a sturdy yet flexible rhythmic foundation, which, when joined with the interactive improvisations of DuBois and Ullmann, creates a sound that is both soothing and surging, introspective yet extroverted, aggressively graceful.

For more information, visit sunnysiderecords.com. DuBois is at Cornelia Street Café Jun. 21st. See Calendar.

Art Pepper was easily one of the top alto saxophonists to emerge in the ‘50s, developing a distinctive approach to his instrument without slavishly following Charlie Parker. However, battles with drug addiction and several stints in prison took him away from the recording scene for extended periods in the ‘60s. But once he got out for good, he rehabbed at Synanon for several years, developing a harder tone and recording prolifically as a leader between 1975 and his death 30 years ago this month at 56. Live in Japan was first issued as two separate volumes, documenting the final show from a 1978 tour, Pepper with pianist Milcho Leviev, bassist Bob Magnusson and drummer Carl Burnett. This was

Pepper’s first working band that played the music as he envisioned it, giving their all in support of his frenetic extended interpretations of standards and originals: bluesy opener “Ophelia” is very much in the pocket; Pepper disguises the introduction to “Besame Mucho” with a hard-blowing solo supported by a dark vamp and a spirited uptempo setting of “Caravan” builds considerable excitement with Pepper’s far-ranging solo. The leader’s moody, loping “The Trip” has a haunting air, topped by his emotional interpretation of Michel Legrand’s ballad “The Summer Knows”. Live in the U.S.A. pairs dates by two different bands. The 1975 concert at Foothills College features Pepper at the start of his great comeback, with Tommy Gumina playing the Polychord (an electronic accordion/organ that he invented), bassist Fred Atwood and drummer Jimmie Smith. The improvised opener “Foothill Blues” is a rhythmic powerhouse with potent solos and the leader offers vigorous explorations of “I’ll Remember April” and “Cherokee” and a spacious, lush rendition of “Here’s That Rainy Day”. The 1977 concert showcases Pepper with pianist Smith Dobson, bassist Jim Nichols and drummer Brad Bilhorn, a pickup band that he previously worked with and requested for this engagement. Though the rhythm section is a bit over-modulated, resorting in some distortion, the playing is superb. Pepper’s midtempo blues “Mr. Yohe” reveals his grittier side as a soloist. “The Golden Gate Bridge” is Pepper’s somewhat rambling monologue that introduces the band. Pepper’s exotic “The Trip” doesn’t quite reach the heights of the Japan concert, though it stands the test of time. The alto saxophonist delights by closing with a tight interpretation of “A Night in Tunisia”, full of weaving intricate solos.

For more information, visit storyville-records.com

By now the tale of how the mid ‘70s ‘discovery’ of homeless musician Charles Gayle, whose unfettered sax playing breathed new life into jazz’ so-called avant garde, has as much apocryphal currency as how toothless trumpeter Bunk Johnson’s ‘40s reemergence supposedly energized traditional jazz. Whereas some New Thing veterans have returned to playing with disappointing results, at 72 Gayle is creating at as high a level as when he first recorded. Those who hear this combo as an updated version of the revolutionary Albert Ayler trio are missing the point. Expressing himself on these intermezzos with exaggerated glossolalia, skyscraper-high altissimo and irregular snorts for Gayle is as much extending the ongoing jazz tradition here as his piano playing does with its quirky variations on standards. The most obvious clue is “Doxology”, the album’s lengthiest track. With a title that conflates Sonny Rollins’ “Doxy” and Milt Jackson’s “Bluesology”, Gayle’s split tone solo includes quotes from other tunes flashing by at supersonic speeds while his superimposition of bugle-call-like brays on a gospel-styled head references both Ayler brothers. Bassist Larry Roland’s flamenco-like strums could come from Jimmy Garrison while the rolls and smacks that are part of drummer Michael TA Thompson’s solo

practically update freebop. The saxophonist’s intention to meld his song-oriented asides with knife-sharp double tonguing that asserts itself throughout, most notably on the title tune, proves that Streets is no energy music copy. Instead Gayle’s speech-like slurs, splutters and cries fit so perfectly with the drummer’s barrage of rattles, slaps and cymbal pops and the bassist’s durable and uncomplicated string power plucked and bowed that the trio becomes an original entity unto itself.

For more information, visit northern-spy.com. Gayle is at Roulette Jun. 17th with Kidd Jordan as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 35

Though “Jazz Age” novelist F. Scott Fitzgerald said “There are no second acts in American lives,” jazz legend Miles Davis proved him wrong, with one groundbreaking “second act” after another, his final one, referred to simplistically as “Electric Miles”, in itself a series of subtle revolutions, as revealed here. These highlights from the 10-DVD boxed set opens with “Ife” from Miles’ first Montreux Jazz Festival appearance (1973). The 27-minute outing is a slowly unfolding textural tapestry woven over Michael Henderson’s vamping electric bass, with a plugged-in Miles (doubling on Yamaha organ) and saxist Dave Liebman spitting out oblique lines around Pete Cosey and Reggie Lucas’ guitars, with rhythmic reinforcement from Al Foster and Mtume’s percussion in a fluid ambient tête-à-tête. With his return in 1984, as heard on “Speak: That’s What Happened”, the music is more structured, opening grandly and swiftly settling into an uptempo dance rhythm propelled by Darryl Jones’ bassline. The trumpeter is strong, shrieking more than sighing over Robert Irving’s orchestral keyboards, with Bob Berg and John Scofield equally energetic in the context of Steve Thornton’s sprawling AfroCuban rhythms and Foster’s potent beat. The following year, the group with Vince Wilburn replacing Foster, is tighter, with dramatic dynamic modulations surrounding lyrical solos on “Code MD” and “Pacific Express”. With David Sanborn guesting and Robben Ford on guitar, the group is grittier in 1986 on a bluesy “Jean-Pierre”. On 1988’s “Heavy Metal Prelude” (featuring Marilyn Mazur’s percussion and Joe “Foley” McCreary’s lead bass guitar) and 1989’s “Jo-Jo” and “Hannibal”, altoist Kenny Garrett adds intelligence and imagination, as he does on the final two selections, “The Pan Piper” and “Solea”. On these 1991 performances, Quincy Jones conducting the Gil Evans Orchestra and George Gruntz Concert Jazz Band, months before his death the weakened trumpeter’s poignant playing justifies his rare one-time look back on a remarkable career.

For more information, visit eagle-rock.com. The Miles Davis Festival 2012 is at Smoke from May 25th throughout June. See Calendar.

Live at Montreux Highlights 1973-1991 Miles Davis (Eagle Rock Entertainment)

by Russ Musto

O N D V D

Streets

Charles Gayle Trio (Northern Spy)by Ken Waxman

Live in Japan/Live in the U.S.AArt Pepper (Storyville)

by Ken Dryden

Landscape Scripture

Scott DuBois (Sunnyside)by Tom Greenland

36 June 2012 | THE NEW YORK CITY JAZZ RECORD

When Ralph Waldo Emerson wrote in “Self-Reliance”: “To be great is to be misunderstood”, he could have been thinking of trumpeter Louis Armstrong. Even in Armstrong’s lifetime, his work was reconfigured by journalists and critics into Early Promise, Great Peaks, Sellout to Commercialism, Lengthy Decline. This seven-CD set, tracing Armstrong’s 1947-67 live small-band performances, reminds us that the Sellout and Decline were fallacies created by those who could not understand that Armstrong could be simultaneously popular and creative. He said he was playing better in his 40s and 50s than in his ‘Golden Era’ and trumpeters like Randy Sandke, Jon Faddis and Wynton Marsalis agree. The set begins with recordings that predate the ‘official’ start of the Armstrong All-Stars - a small group formed when big bands everywhere cost too much to sustain. They feature splendid work by

B O X E D S E T Bobby Hackett, Jack Teagarden, George Wettling and others associated with Eddie Condon. From there, the set follows the aptly-named All-Stars, who began as Teagarden, Barney Bigard, Earl Hines, Arvell Shaw, Big Sid Catlett, Velma Middleton and their later replacements, as they toured the world until Armstrong’s death in 1971. Throughout, Armstrong’s energy and joie de vivre are evident on slow blues and novelty numbers, jazz classics, show tunes from “St. James Infirmary” to “You’ll Never Walk Alone” to his hits “Mack the Knife”, “Hello, Dolly” and “Cabaret”. He treats “The Dummy Song” and “Auld Lang Syne” as if they were jazz classics “Mahogany Hall Stomp”, “High Society”, “Muskrat Ramble” or “The Bucket’s Got A Hole in It”. When the personnel changed, a few later sidemen are competent rather than inspired, but one cannot fault Edmond Hall, Trummy Young, Joe Muranyi, Billy Kyle and others. These discs are a priceless document of a durable working jazz group, rare even then. Some of the most heartwarming moments are when we hear the crowd (in a club or concert hall) go wild, demanding encores. Audiences did not condemn him for ‘showmanship’, ‘entertainment’, or ‘Uncle Tomming’; they were too busy clapping and cheering. Oddly, the critics who spoke so sharply of Armstrong’s “clowning” and “pandering” to audiences rarely wrote so harshly of Duke Ellington, Charlie Parker and others not above ‘showmanship’. The set ends with a DVD of 1958-59 television appearances, with Armstrong alongside Lionel Hampton, Anita O’Day, an exuberant Dizzy Gillespie, Hoagy Carmichael and others. In the last 50 years, Armstrong’s later work has often been

issued, but with inadequate or deceptive annotation and in poor sound. One of the best aspects of this set is the stewardship of jazz scholar and Armstrong authority Ricky Riccardi, who has shared performances new to devoted collectors and provided a fine narrative that is a brief overview of his book, What a Wonderful World: The Magic of Louis Armstrong’s Later Years (Pantheon, 2011). Riccardi’s devotion is not idolatry: one of the most fascinating segments of the set is a 1967 Copenhagen concert where Armstrong plays heroically even as his embouchure occasionally betrays him. The sound on this set is clearer than ever before, so that new details await the most experienced Armstrong collector. As for the canard that Armstrong played the same solos every night, the 15 widely-spaced versions of “When It’s Sleepy Time Down South” are master classes in improvisation, phrasing, subtlety and feeling. One comes away from the seven CDs convinced that Armstrong wholly gave himself in what he called “the cause of happiness” and that audiences felt that joy. The set also shows a mature artist dealing with popularity and reminds us of the sheer physicality his public appearances required. Armstrong comes through, subtle and forceful, a great improviser, hardly in the twilight of his career, not in a Lengthy Decline. This is an in-depth study of creative energy over a long period of time by someone who merged ‘high art’ and ‘low art’ so beautifully, simply because he found such divisions irrelevant.

For more information, visit storyvillerecords.com. The music of Louis Armstrong as played by Joey Morant is at Lucille’s at BB King’s Blues Bar Jun. 17th. See Calendar.

The Armstrong Box

Louis Armstrong (Storyville)by Michael Steinman

THE NEW YORK CITY JAZZ RECORD | June 2012 37

(INTERVIEW CONTINUED FROM PAGE 6)

When I go to LA I’m very lucky. Since 1970 I became very close to [drummer] Jim Keltner. We do sort of drum weeks and look for people playing. Once we caught Roy Haynes at Catalina’s and then went over to see Elvin Jones at the Jazz Bakery in one night.

TNYCJR: You put out a record with Jim Keltner. How did that collaboration come about?

CW: It was an accident. It was never to be anything. The Rolling Stones were recording and we took the whole of whatever studio it was. Well, we didn’t take it over. It just so happened we were using all the rooms in the place. There was a room there not being used and Jim and I went in there. He always asked me to play on his electronic things. We had [drummer] Kenny Aronoff knocking around. It just grew out of that. I should have taken more time and done it properly but it was never meant to be anything. I took it to Paris with me. I was waiting to start a tour. I got this guy in Paris, Phillipe Chauveau. He started playing around with it a lot. He put all sorts of samples of things on. It was just Jim’s electronics stuff and me overdubbing on them. Some of it was live. The Latin stuff was live.

TNYCJR: You guys honored a wide variety of drummers. How did you settle on particular drummers like Max Roach, Art Blakey, Billy Higgins, etc.?

CW: When we were recording we had no way of saying what song it was. We were just talking and started naming my favorite drummers. If you got to call it “Stormy Weather”, you might as well call it Shelly Manne. I thought it was a way to get the drummers names on the label. Give the drummer some. One planned was Elvin’s suite. The other ones were Airto, Tony Williams. That was the week Tony died. Jim was on his megaphone period. Mick [Jagger] was mucking about on the Rhodes and we started doing this. Jim read an article on his megaphone that Tony had written. That was really for Tony. The rest are just things.

TNYCJR: Whose idea was it to get Sonny Rollins to play the saxophone solo on the Rolling Stones’ Tattoo You album?

CW: That was Mick. Mick asked me. We’ve always used saxophone players. Mick asked “who could we use to overdub a couple of tracks?” I said the best saxophonist alive. This was the late ‘70s but he still is. “But you’ll never get him,” I told him. “It’s Sonny Rollins! The god of gods!” Sure enough when we were in New York, Sonny said yes. My only disappointment was that we didn’t do it live. Since then I’ve sort of spoken to him. He’s a lovely, lovely man. A real gentleman, Sonny Rollins. And still for me in the same way Roy Haynes is, he has a terrific sort of wow. An amazing talent and terrific sort of dignity. I love them. Both of them.

TNYCJR: Your recent CD project (The ABC&D of Boogie Woogie: Live in Paris) shows you’ve been recently playing with some boogie woogie piano players. How does your approach to that sound change versus a bebop band? CW: Dave Green is the bass player, me in the middle and two grand pianos. It’s great. Very unusual. People don’t play that anymore. They don’t play it as a way of piano. [In the Rolling Stones] Mick and Keith [Richards] write the songs. Here most of it is jamming. It keeps you on the edge. Some of it is kind of predictable and you’ve done it but we never rehearse anything. I never know what they are going to play. It’s not very professional but it is more fun. The Rolling Stones is

enough being on it all the time for me. Mind you, playing with Keith is fun. But when this band gets going it’s like a steam train. That was one of the things. In the late ‘30s when it was kind of developed it was fantastic. It’s just swing. It’s swing all the time, which is really nice to do. v

For more information, visit rosebudus.com/watts. Watts is at Damrosch Park Jun. 28th as part of Midsummer Night Swing and Iridium Jun 29th-Jul. 2nd. See Calendar.

Recommended Listening: • Charlie Watts Orchestra - Live at Fulham Town Hall (Columbia, 1986)• Charlie Watts Quintet - From One Charlie (Continuum, 1991)• Charlie Watts Quintet - A Tribute to Charlie Parker with Strings (Continuum, 1991)• Charlie Watts - Long Ago & Far Away (Virgin, 1996)• Charlie Watts - Charlie Watts/Jim Keltner Project (Higher Octave, 2000)• Charlie Watts and The Tentet - Watts at Scott’s (Sanctuary, 2001)

(LABEL CONTINUED FROM PAGE 12)

gave it to Jacques before other labels. I didn’t expect him to release it. But he liked it enough to put it out.” Denzler’s story is typical. Oger says he frequently receives unsolicited proposals, but rarely agrees to these sessions. He supports musicians obsessed with detail though. “Originality and quality are often hidden in very small details,” he avers. “Listen to the first minutes of Denzler’s Tenor. There are some amazing tiny things only detectable with headphones.” Finally he admits: “As a former musician, I give priority to my beloved instrument the saxophone.” Christine Abdelnour Sehnaoui is an alto saxophonist who benefitted from this when Potlatch released Ichnites featuring her duo with percussionist Pascal Battus. “The process was all about exchanging ideas,” she says. “Jacques paid for the recording session and then we had a listening session where he said what he liked or didn’t. Then Pascal did the mixing. For the cover, Jacques brought our idea to his graphic designer, who proposed several choices, then Pascal and I decided on the titles. Finally he gave us 20 copies that we could sell at concerts.” Declaring that “in our area of music, selling 500 copies today worldwide is great,” after Oger pays for pressing, printing and promotion, compensation varies. “Of course I always give them a good bunch of CDs they can sell at their concerts,” he declares. What he won’t do is press Potlatch LPs. “Never”, he insists. “LPs are too expensive to make and too hard to ship.” He’s also unsure about downloads. “Musicians can sell their music by download to everyone on the planet. If they can reach a large audience and earn some money, it’s great. But if a musician isn’t well known, he needs credibility and a label can bring him this needed credibility. It worked that way when I released [soprano saxophonist] Stéphane Rives’ solo CD Fibres; he gained recognition. Would it be possible if it was only sold by download? I’m not sure. [Percussionist] Lê Quan Ninh told me that over the past two years he only sold six copies of an out-of-print album on iTunes - and he’s well known. For the near future I hope Potlatch can keep on bringing this credibility to musicians facing new challenges who deserve wider recognition.” v

For more information, visit potlatch.fr. Artists performing this month include Denman Maroney Jun. 11th with Mark Dresser as part of Vision Festival and Barbès Jun. 20th and Jöelle Léandre at Roulette Jun. 16th as part of Vision Festival. See Calendar.

Judi Silvano

celebrates 20 years of recording with her 10th CD

Indigo Moods.

Available now at www.jazzedmedia.com &

www.amazon.com

Silvano delivers these timeless jazz classics with both purity and

raw emotion.

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

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

– C. Michael Bailey, All About Jazz

See her band LIVE in VT, NH, Del. Water Gap, PA and

“Indigo Moods” CD ReleaseBlue Note Club brunchSunday June 24th, NYC

With Fred Jacobs, trumpetPeter Tomlinson, piano

Santi Debriano, bassSteve Johns, drums

Shows 12:30 and 2:30 pm

www.judisilvano.com

Friday, June 1 êMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, Jeremy Pelt, Mike LeDonne, John Webber Smoke 8, 10, 11:30 pm $35êRhythm in the Kitchen Music Festival: Michael Marcus, Bob Feldman, Charlie Taylor; R#time: Reut Regev, Igal Foni, Adam Lane; William Hooker Avant-Garde Funk Band with Mike Noordzy, Dave Ross, Ras Moshe, Taylor Ryan, Mark Smith, Aku Styk; Ellery Eskelin, Peter Evans, Matt Moran Church For All Nations 7 pm $15êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver Jazz Standard 7:30, 9:30, 11:30 pm $30êDee Dee Bridgewater Blue Note 8, 10:30 pm $35êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30, 11:30 pm $35êGrassella Oliphant Quintet Dizzy’s Club 12:45 am $20êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Ravi Coltrane Quintet Birdland 8:30, 11 pm $30-40• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Ed Palermo Big Band Iridium 8, 10 pm $30êLost Jazz Shrines: Blues in My Soul - Bessie Smith & Jackie Paris with Maya Azucena, Allan Harris Tribeca Performing Arts Center 8:30 pm $25• Joan Stiles Trio with Joel Frahm, Matt Wilson Rubin Museum 7 pm $20• Edward Simon Quartet with David Binney, Joe Martin, Henry Cole and guest Adam Rogers The Jazz Gallery 9, 10:30 pm $20êJon Irabagon Trio with Sean Wayland, EJ Strickland Bar Next Door 7:30, 9:30, 11:30 pm $12êNYC Jazz Guitar Festival: Ron Affif; Ilya Lushtak; Peter Bernstein Zeb’s 8 pm $30• Petros Klampanis Contextual Trio with Jean-Michel Pilc, Ari Hoenig and guest Christos Rafalides Cornelia Street Café 8:30 pm $10• Sacha Perry Trio with Jon Roche, Ai Murakami; Tim Horner Group; Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Mark Whitfield Jr; Anthony Wonsey Trio Smalls 4, 7:30 10 pm 1 am $20• Tada Unno Trio; Jared Gold/Dave Gibson; Asaf Yuria Quartet Fat Cat 6:30, 10:30 pm 1:30 am• Sasha Dobson; Trio S: Doug Wieselman, Jane Scarpantoni, Kenny Wollesen The Stone 8, 10 pm $10• Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake ShapeShifter Lab 8 pm• Brandon Wright Quartet with Dave Kikoski, Boris Kozlov, Donald Edwards Jazz at Kitano 8, 10 pm $25êMikko Innanen/Sylvie Courvoisier Duo; Mikko Innanen Trio with Ken Filiano, Lou Grassi I-Beam 8:30, 10 pm $10• John diMartino/Ed Howard Knickerbocker Bar and Grill 9:45 pm $5• Antonio Ciacca The Bar on Fifth 8 pm• Brenda Earle Stokes Quartet; Rodrigo Bonelli with Alex Goumas, Andy Bianco, Nash Gullermo, Leah Gough Cooper and guest Erin Blatti Somethin’ Jazz Club 7, 9 pm $10• Gary Negbauer Tomi Jazz 9 pm $10• Bichiló with Gaby Hayre; Chris Davidson Ensemble Tutuma Social Club 8 pm 12 am• Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm• Mark Soskin/Erik Charlston Duo Church of the Ascension 6 pm• Hide Tanaka Trio; Hot House The Garage 6:15, 10:45 pm• Jorge Luis Pacheco Drom 6 pm $69• Terry Waldo Bryant Park 12:30 pm

Saturday, June 2• Victor Wooten Iridium 8, 10 pm $45• Harry Allen Quartet with Bill Cunliffe, Joel Forbes, Chuck Riggs Jazz at Kitano 8, 10 pm $25• Ari Hoenig New Trio with Tivon Pennicott, Noam Weisenberg Cornelia Street Café 9, 10:30 pm $15• Nadia Sirota; Tony Scherr The Stone 8, 10 pm $10êMikko Innanen/Andrew Cyrille Duo; Mikko Innanen Quintet with Steve Swell, Thomas Heberer, Max Johnson, Joe Hertenstein I-Beam 8:30, 10 pm $10• Dayna Stephens Group with Julian Lage, Kiyoshi Kitagawa, Donald Edwards The Jazz Gallery 9, 10:30 pm $20• Douglas Detrick solo; Tessa: Brad Henkel, Nathaniel Morgan, Jonathan Goldberger, Max Jaffe; You Give Me Asthma: Owen Stewart-Robertson, Brooke Herr and Friends Douglass Street Music Collective 8 pm $10• Scott Wendholt/Adam Kolker Quartet with Ugonna Okegwo, Victor Lewis Sycamore 8:30 pm $10• Freeman Runs the Voodoo Down: David Freeman, Adrian Morgan, Oren Neiman, Dave Wyrtzen, Tyler Sussman, Chris McIntyre Branded Saloon 9 pm• NYC Jazz Guitar Festival: John Hart; Camila Meza; Saul Rubin Zeb’s 8 pm $30• Nelson Riveros Trio with Ariel de la Portilla, Adriano Dos Santos Bar Next Door 7:30, 9:30, 11:30 pm $12• Camille Thurman Quintet; Bruce Cox; Tal Ronen Fat Cat 7, 10 pm 1:30 am• Ernie Edwards Trio with Jacob Webb, Nathan Webb; Luiz Simas/Freddie Bryant Duo; Derek Lucci with Jonathan Stein, Jonathan Ragonese Somethin’ Jazz Club 7, 9, 11 pm $10• Scot Albertson/Keith Ingham; Big Beat Quartet Tomi Jazz 8, 11 pm $10• Mike Lattimore Quartet Cleopatra’s Needle 8 pmêMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, Jeremy Pelt, Mike LeDonne, John Webber Smoke 8, 10, 11:30 pm $35êRhythm in the Kitchen Music Festival: White Out: Lin Culbertson/Tom Surgal and guest; Mari Kimura; The Afro Horn: Aruan Ortiz, Rashaan Carter, Roman Diaz, Francisco Mora Catlett; Thumbscrew: Mary Halvorson, Michael Formanek, Tomas Fujiwara Church For All Nations 7 pm $15êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver Jazz Standard 7:30, 9:30, 11:30 pm $30êDee Dee Bridgewater Blue Note 8, 10:30 pm $35êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30, 11:30 pm $35êGrassella Oliphant Quintet Dizzy’s Club 12:45 am $20êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Ravi Coltrane Quintet Birdland 8:30, 11 pm $30-40• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Chris Parker Group with Kyoko Oyobe, Daryl Johns; Richie Vitale Quintet; Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Mark Whitfield Jr Smalls 4, 7:30 10 pm $20• Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake with ShapeShifter Lab Orchestra ShapeShifter Lab 8 pm• John diMartino/Ed Howard Knickerbocker Bar and Grill 9:45 pm $5• Antonio Ciacca The Bar on Fifth 8 pm• Chuck Braman Quartet with Behn Gillece Brooklyn Botanic Garden 12, 2:30 pm• Larry Newcomb Quartet; Justin Wood; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

Sunday, June 3êJoel Forrester/Phillip Johnston Manhattan Inn 9 pm• Jane Ira Bloom’s All Ballads with Dominic Fallacaro, Dean Johnson, Matt Wilson Cornelia Street Café 8:30 pm $10êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski The Firehouse Space 8, 9:30 pm $10• Andre Matos Quartet with Jacob Sacks, Dave Ambrosio, Billy Mintz; Frank Carlberg Trio with Matt Pavolka, Richie Barshay; Sera Serpa Quintet with Andre Matos, Kris Davis, Aryeh Kobrinsky, Dan Weiss ShapeShifter Lab 7:30 pm $12• Isamu McGregor Band; Simon Yu and The Exotic Experiment; Sean Nowell and the Kung-Fu Masters Drom 8 pm $10• Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• Manuel Valera The Bar on Fifth 8 pm• Sean Ali solo; George Bagdasarov; Savina Theodorou/Sten Hostfalt ABC No-Rio 7 pm $5• Peter Leitch/Dwayne Burno Walker’s 8 pm• Mike Treat Quintet with Adam Ramsay, Matt Podd, Willie Harvey, Chris Earley; Tobias Meinhart with Jorn Swart, Scott Colberg, Jason Burger Somethin’ Jazz Club 7, 9 pm $10êJonah Parzen-Johnson solo; Killer Bob; Gym Deer; Due Diligence Death By Audio 8 pm $8• Out of Your Head: Nico Soffiato, Noah Garabedian, Noel Brennan; Josh Reed, Eyal Maoz, Max Jaffe The Backroom 9:30, 11 pm• Shrine Big Band Shrine 9 pm• Victor Wooten Iridium 8, 10 pm $45êMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, Jeremy Pelt, Mike LeDonne, John Webber Smoke 8, 10, 11:30 pm $35êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver Jazz Standard 7:30, 9:30 pm $25êDee Dee Bridgewater Blue Note 8, 10:30 pm $35êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30 pm $30êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Zombi Jazz; Alex Weiss Downtown Music Gallery 6 pm• Ike Sturm Ensemble with Madeleine Yayodele Nelson Saint Peter’s 5 pm• Juancho Herrera with Jorge Continentino, Gustavo Amarante, Yayo Serka Blue Note 12:30, 2:30 pm $29.50• Paul Winston/Michael Logan St. Andrew Avellino R.C. Church 3 pm $20êNYC Jazz Guitar Festival: Bucky Pizzarelli/Ed Laub Duo; Gene Bertoncini; JC Stylles; Ed Cherry; All-Star Jam Zeb’s 2 pm $30• The Jazz Drama Program Summer Gala honoring Dr. William Rodriguez with Eli Yamin and guest Mercedes Ellington Urban Stages 3 pm $100• Roz Corral Trio with Dave Stryker, Orlando Le Fleming North Square Lounge 12:30, 2 pm• Joel Perry Trio; David Coss Quartet; Masami Ishikawa Trio The Garage 11:30 am, 7, 11:30 pm

Monday, June 4êJazz From Morava: George Mraz, Iva Bittova, Emil Viklicky, Billy Hart Dizzy’s Club 7:30, 9:30 pm $25êJeff Ballard, Lionel Loueke, Miguel Zenon ShapeShifter Lab 8 pm• Tessa Souter with Kenny Werner, Joel Frahm, Will Holshouser, Sean Smith, Billy Drummond Blue Note 8, 10:30 pm $20êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10• Remembering Dakota Staton Saint Peter’s 7 pm• David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram Cornelia Street Café 8:30 pm $10• Youngjoo Song with Mark Turner, Vicente Archer, Marcus Gilmore; Ari Hoenig Group; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20êJD Parran Clarinet Orchestra Greenwich House Music School 8 pmêMikarimba: Mika Yoshida, Richard Stoltzman, Eddie Gomez, Steve Gadd Drom 8 pm $15• Sebastien Ammann Quartet with Ohad Talmor, Dave Ambrosio, Eric McPherson I-Beam 8:30 pm $10• Ala Kande For My Sweet 7:15, 9:15 pm• Luca Santaniello; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Camila Meza Trio with Pablo Menares, Ross Pederson Bar Next Door 8:30, 10:30 pm $12• In Example: Eliot Cardinaux/Isaac Luxon; Mike Gamble Bar 4 9, 10 pm $5• Kenny Washington SFNY Quartet Zinc Bar 7 pm $8• Lucio Ferrara The Bar on Fifth 8 pm• ConceptualMotion Orchestra Tea Lounge 9, 10:30 pm• Yuko Ito with Toru Yamashita, Celso Loch Somethin’ Jazz Club 9:30 pm $10• Yvonne Moneira Flute Gramercy 8 pm• Tomoyasu Ikita; Faiz Lamouri; Matt Vashlishan Shrine 8, 9, 10 pmêGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Howard Williams Jazz Orchestra; Ben Cliness Trio The Garage 7, 10:30 pm• Arthur Vint Quartet Premiere with Adrian Cunningham, Gordon Au, Scott Colberg Maison Premiere 3 pm• Armen Donelian Bryant Park 12:30 pm

Tuesday, June 5• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Karrin Allyson Birdland 8:30, 11 pm $30-40• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30 pm $30êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski Dizzy’s Club 11 pm $10• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Etienne Charles and Kaiso with Jacques Schwarz-Bart, Sullivan Fortner Jr., Burniss Travis, Keith Prescott Jazz Standard 7:30, 9:30 pm $20• Mike Longo NY State of the Art Jazz Ensemble with Dee Daniels NYC Baha’i Center 8, 9:30 pm $15• Spike Wilner solo; Omer Avital and The Band of the East; Theo Hill Smalls 6:30, 8:30, 11:30 pm $20• Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein with Jessie Mueller, Loston Harris Allen Room 7:30 pm $75-120êAdam Kolker Trio with John Hébert, Billy Hart Cornelia Street Café 8:30 pm $10êSIM Big Band: Ravi Coltrane, Chris Speed, Michael Attias, Loren Stillman, Ben Gerstein, Andrew D’Angelo, Shannon Barnett, Alan Ferber, Tim Albright, Ralph Alessi, Jonathan Finlayson, Steven Bernstein, Dave Ballou, Drew Gress, Brad Shepik, Andy Milne, Tyshawn Sorey Roulette 8 pm $10

• Akiko Pavolka Band ShapeShifter Lab 8 pm• Sebastien Ammann; Jeff Davis Quartet with Jason Rigby, Jonathan Goldberger, Eivind Opsvik Korzo 9, 10:30 pm• Sonic Smithy with guests Kirk Knuffke, Amy Cervini, Tom Swafford Douglass Street Music Collective 7 pm• Caravel String Trio; Matt Pavolka Horn Band with Loren Stillman, Kirk Knuffke, Jacob Garchik, Mark Ferber Seeds 9, 10 pm $10• Adam Birnbaum Trio; Maximo Merengue Y Bachata; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Jack Wilkins/Scott DuBois Bella Luna 8 pm• Jeremy Siskind solo Jazz at Kitano 8 pm• Paul Carlon Quartet Somethin’ Jazz Club 9 pm $10• Mike Dease Big Band The Garage 7 pm• Lucio Ferrara The Bar on Fifth 8 pm• O’Connor Quintet Shrine 6 pm• Armen Donelian Bryant Park 12:30 pm

Wednesday, June 6• Monty Alexander’s Harlem-Kingston Express with guests Tarrus Riley, Dean Fraser Merkin Concert Hall 7:30 pm $75êThe Microscopic Septet Gershwin Hotel 7:30 pm $20• Brad Mehldau/Mark Guiliana Duo The Stone 8, 10 pm $25êMiles Davis Festival 2012: Freddie Hendrix Quintet with Abraham Burton, Rick Germanson, Dezron Douglas, Eric McPherson Smoke 7, 9, 10:30 pm• Robert Rodriguez Quartet with John Ellis, Matt Brewer, Eric Doob Jazz Standard 7:30, 9:30 pm $20êJimmy Scott Red Rooster 8, 10:30 pm $20-50• Vincent Herring Quartet with Nori Ochiai, David Williams, Peppe Merolla An Beal Bocht Café 8, 9:30 pm $15• Bruce Cox Quartet; Jeremy Manasia Trio Smalls 8:30, 11:30 pm $20êDevin Gray’s Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek Barbès 8 pm $10• Bill Cunliffe Trio with Boris Kozlov, Tim Horner Jazz at Kitano 8, 10 pm $10• Jody Redhage ShapeShifter Lab 8 pm êEmil Viklicky/Scott Robinson Bohemian National Hall 7 pm• Nicky Schrire with Nick Paul, Sam Anning, Jake Goldbas, Paul Jones, Jay Rattman, Brian Adler, Peter Eldridge Cornelia Street Café 8:30 pm $10• Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am• Maurício de Souza Quartet with Nancy Harms, Ben Winkelman, Gary Mazzaroppi The Lambs Club 7:30 pm• Doug Richards with Donna Singer, Billy Alfred, Mike Cervone Somethin’ Jazz Club 7 pm $10• Marc Devine Trio; Anderson Brothers The Garage 6, 10:30 pm• Sarah Rayani Flute Gramercy 8 pm• Patrick Kunka; Emina Shrine 6, 8 pm• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Karrin Allyson Birdland 8:30, 11 pm $30-40• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30 pm $30êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski Dizzy’s Club 11 pm $10• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein with Jessie Mueller, Loston Harris Allen Room 7:30 pm $75-120• Lucio Ferrara The Bar on Fifth 8 pm• Jorge Luis Pacheco Drom 6 pm $69• Valerie Capers, John Robinson, Earl Williams Saint Peter’s 1 pm $10• Armen Donelian Bryant Park 12:30 pm

Thursday, June 7êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, Billy Drummond Jazz Standard 7:30, 9:30 pm $25• Occupy Gazette Benefit: Marc Ribot, Jesse Harris and guests The Stone 8, 10 pm $25• Aram Shelton Quartet with Matt Bauder, Jason Ajemian I-Beam 8:30 pm $10êJoel Forrester/Phillip Johnston Barbès 7 pm $10• Noah Preminger with Russ Johnson, Frank Kimbrough, Ben Monder, John Hébert, Ted Poor ShapeShifter Lab 8 pm• Steve Lehman Trio with Matt Brewer, Damion Reid and guest David Virelles The Jazz Gallery 9, 10:30 pm $20• David Schnitter Quartet; Saul Rubin; Reid Taylor Fat Cat 7, 10 pm 1:30 am• Sam Raderman with Tim McCall, Luc Decker; Laura Brunner; Philip Harper Quintet with Wayne Escoffery; Bruce Harris/Alex Hoffman Quintet with Jack Glottman, David Wong, Aaron Kimmel Smalls 4, 7:30, 10 pm 1 am $20• Ben Powell Quartet with Tadataka Unno, Aaron Darrell, Devin Drobka Jazz at Kitano 8, 10 pm $10• Gary Lucas plays “The Golem” The Center for Jewish Arts and Literacy 8:30 pm $15• JC Sanford Triocracy with Andy Laster, Chris Bacas; JC Sanford 4 with Mike Baggetta, Dave Ambrosio, Russ Meissner The Firehouse Space 8 pm $10• Surface to Air: Jonathan Goldberger, Rohin Khemani, Jonti Siman Cornelia Street Café 8:30 pm $10• Vocal Duet Night: Amy Cervini with Jack Donahue, Peter Eldridge, Hilary Gardner, Carolyn Leonhart, Nicky Schrire, Janis Siegel, Melissa Stylianou, Pete McCann, Sam Anning, Ernesto Cervini 55Bar 7 pm• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am• Guitar Trio: Tosh Sheridan, Gene Bertoncini, John Stowell Bar Next Door 8:30, 10:30 pm $12• Liam Sillery Quintet with Jesse Stacken, Peter Brendler, Vinnie Sperrazza; Bill Ware Somethin’ Jazz Club 7, 9 pm $10• Mamiko Taira Trio Tomi Jazz 9 pm $10• Eric Karimski solo; Tangolandó Tutuma Social Club 6:30, 8:30 pm• Fukushi Tainaka Trio Cleopatra’s Needle 7 pm• Rick Stone Trio; Alex Layne Trio The Garage 6, 10:30 pm• Chris Norton Flute Gramercy 8 pmêMiles Davis Festival 2012: Freddie Hendrix Quintet with Abraham Burton, Rick Germanson, Dezron Douglas, Eric McPherson Smoke 7, 9, 10:30 pmêJimmy Scott Red Rooster 8, 10:30 pm $20-50• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Karrin Allyson Birdland 8:30, 11 pm $30-40• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30 pm $30• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Lucio Ferrara The Bar on Fifth 8 pm• Harlem Speaks: Michael Mwenso Jazz Museum in Harlem 6:30 pm• Yuki Shibata Quartet Shrine 6 pm• Wayne Escoffery Quintet Citigroup Center Plaza 1 pm• Armen Donelian Bryant Park 12:30 pm

38 June 2012 | THE NEW YORK CITY JAZZ RECORD

CALENDAR

THE NEW YORK CITY JAZZ RECORD | June 2012 39

Friday, June 8êMiles Davis Festival 2012: Eddie Henderson Quintet with Wayne Escoffery, Dave Kikoski, Doug Weiss, Bill Stewart Smoke 8, 10, 11:30 pm $35êDavid Fiuczynski’s Planet Microjam; Jack DeJohnette, Ravi Coltrane, Matthew Garrison ShapeShifter Lab 7, 8:15 pm• Wycliffe Gordon Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Jazz at Kitano 8, 10 pm $25êWalter Thompson Soundpainting Orchestra with Rolf Sturm, Steve Rust, Gil Selinger, Chris Washburne, Hollis Headrick, Rob Henke, Michael Attias, Nicole Poole, Leese Walker Irondale Center 8 pm $15• Sacha Perry Trio with Jon Roche, Ai Murakami; Armen Donelian Trio with Dean Johnson, Jeff Seigel; Ralph Bowen Group with Freddie Bryant, Jared Gold, Donald Edwards; Spike Wilner TrioSmalls 4, 7:30 10 pm 1 am $20• Vinicius Cantuaria The Stone 8, 10 pm $10• Colin Stranahan, Glenn Zaleski, Rick Rosato; Remy and Pascal Le Boeuf with Greg Ritchie Cornelia Street Café 9, 10:30 pm $15• Jessica Jones/Mark Taylor Quartet with John Shifflett, Jason Lewis Brooklyn Friends School 7:30 pm $10-15• Neo Bass Ensemble: Lisle, Leon and Karen Atkinson, Darnell Starkes, Phillip Wadkins, Sam McPherson, Michael Fleming, Paul West, Janet Steele, Richard Wyands, Norman Simmons, Elizabeth Kalfayan, Andrew Cyrille Symphony Space Leonard Nimoy Thalia 8 pm $35• Nick Hempton Quartet; Josh Evans Septet Fat Cat 6:30, 10:30 pm• Yeti Camp: Dana Lyn, Mike McGinnis, Clara Kennedy, Vinnie Sperrazza, Kyle Sanna; Yoon Sun Choi’s E String Band with Jacob Sacks, Khabu Dog Young, Mike McGinnis, Vinnie Sperrazza I-Beam 8:30, 10 pm $10• Tom Dempsey Trio with Ron Oswanski, Alvin Atkinson Bar Next Door 7:30, 9:30, 11:30 pm $12• David White Jazz Orchestra with Andrew Gould, Omar Daniels, Sam Taylor, Sam Dillon, Stephen Plekan, Miki Hirose, Volker Goetze, Alicia Rau, Deborah Weisz, Dan Reitz, Alaina Alster, Robert Stattel, Nick Consol, Doug Drewes, Ryan Cavan; Verena McBee with Billy Test, Zach Para Somethin’ Jazz Club 7, 9 pm $10• Nicole Zuraitis Tomi Jazz 9 pm $10• Camila Meza; Bichiló with Gaby Hayre; Faiz Lamouri Tutuma Social Club 7, 8 pm 12 am• Don Slatoff Quartet Cleopatra’s Needle 8 pm• Fukushi Tainaka Trio; Joey Morant Trio The Garage 6:15, 10:45 pmêCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, Billy Drummond Jazz Standard 7:30, 9:30, 11:30 pm $30• Steve Lehman Trio with Matt Brewer, Damion Reid and guest Vijay Iyer The Jazz Gallery 9, 10:30 pm $20êJimmy Scott Red Rooster 8, 10:30 pm $20-50• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Karrin Allyson Birdland 8:30, 11 pm $30-40• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30, 11:30 pm $35êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski Dizzy’s Club 12:45 am $20• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135• Lucio Ferrara The Bar on Fifth 8 pm• Jorge Luis Pacheco Drom 6 pm $69• Nick Di Maria Shrine 6 pm• Armen Donelian Bryant Park 12:30 pm

Saturday, June 9êDave Liebman/Sam Newsome Quartet with Tony Marino, Jim Black Cornelia Street Café 9, 10:30 pm $15• Paul Carlon Group; Hayes Greenfield/Roger Rosenberg Quartet with Dean Johnson, Adam Nussbaum; Ralph Bowen Group with Freddie Bryant, Jared Gold, Donald Edwards, Ralph Bowen Smalls 4, 7:30 10 pm $20• Federico Aubele; Guilherme Monteiro’s Slow Dreaming The Stone 8, 10 pm $10• Ben Monder Trio with Joe Martin, Mark Ferber Bar Next Door 7:30, 9:30, 11:30 pm $12• Derek Beckvold Quartet with Anthony Coleman, Henry Fraser, Jason Nazary; Kristen Slipp/Dov Manski The Firehouse Space 8, 9:30 pm $10• Who Knows?: Richie Nagan, Perry Robinson, Mark Whitecage Yippie Café 8 pm• Todd Herbert; Rafi D’lugoff; Will Terrill Quintet Fat Cat 7, 10 pm 1:30 am• 4 Part Harmony: Lauren Lee, Mark Cocheo, Ku Il Oh, Max Fieldschuh I-Beam 8:30 pm $10• Snarky Puppy: Michael League and guests ShapeShifter Lab 8 pm• Mike Mullins; Fourthought: Nick Biello, Kerong Chok, Cameron Kayne, Manuel Weyand; Sam Mortellaro Trio with Peter Yuskauskas, Dan Kleffmann; Craig Hartley Somethin’ Jazz Club 5, 7, 9, 11 pm $10• Jacob Teichroew Trio Tomi Jazz 8 pm $10• Richard Benetar Quartet Cleopatra’s Needle 8 pmêMiles Davis Festival 2012: Eddie Henderson Quintet with Wayne Escoffery, Dave Kikoski, Doug Weiss, Bill Stewart Smoke 8, 10, 11:30 pm $35• Wycliffe Gordon Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Jazz at Kitano 8, 10 pm $25êWalter Thompson Soundpainting Orchestra with Rolf Sturm, Steve Rust, Gil Selinger, Chris Washburne, Hollis Headrick, Rob Henke, Michael Attias, Nicole Poole, Leese Walker Irondale Center 8 pm $15êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, Billy Drummond Jazz Standard 7:30, 9:30, 11:30 pm $30• Steve Lehman Trio with Matt Brewer, Damion Reid and guest James Hurt The Jazz Gallery 9, 10:30 pm $20• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Karrin Allyson Birdland 8:30, 11 pm $30-40• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30, 11:30 pm $35êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski Dizzy’s Club 12:45 am $20• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• Lucio Ferrara The Bar on Fifth 8 pmêButch Morris Workshop The Firehouse Space 2 pm $15• Marsha Heydt Quartet; Champian Fulton; Carl Bartlett Quartet The Garage 12, 6:15, 10:45 pm

Sunday, June 10êFrank Wess, Joe Wilder, Jon-Erik Kellso, Joe Temperley and the Harry Allen Quartet Feinstein’s at Loews Regency 8 pm• Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, Jake Goldbas Smoke 7, 9, 10:30 pmêJulian Lage The Stone 10 pm $10êDan Weiss Trio with Jacob Sacks, Thomas Morgan Cornelia Street Café 8:30 pm $10

êAvram Fefer with Reut Regev, Adam Lane, Igal Foni The Firehouse Space 8, 9:30 pm $10• Giuseppi Logan; Brad Farberman; Iron Dog: Sarah Bernstein, Stuart Popejoy, Andrew Drury The Local 269 8 pm $10• John Dunlap Project; Cristian Amigo/Blaise Siwula; Gian Luigi Diana Group ABC No-Rio 7 pm $5• Manuel Valera The Bar on Fifth 8 pm• Peter Leitch/Sean Smith Walker’s 8 pm• JazzXpression Band: Debbie Goodridge, Olivier Rambeloson, Herbert Grubmair, Robert Mwamba, Sergio Pereira, Derrick Mbatha, Bruno Razafindrakoto; Scott Sharon Septet with Bruce Harris, Aaron Kimmel, David Wong, Jerry Weldon, Michael Dease, Nial Djuliarso Somethin’ Jazz Club 5, 7 pm $10• Wataru Uchida Shrine 8 pm• Terry Waldo’s Gotham City Band; John Davis Trio; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 amêCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, Billy Drummond Jazz Standard 7:30, 9:30 pm $25• Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Blue Note 8, 10:30 pm $55• Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Maucha Adnet, Duduka Da Fonseca, Helio Alves Dizzy’s Club 7:30, 9:30 pm $30• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Village Vanguard 9, 11 pm $25• Ras Moshe, Anders Nilsson, Kyoko Kitamura Downtown Music Gallery 6 pm• Sarah McLawler and Les Jazz Femmes Saint Peter’s 5 pm• Kate Davis Blue Note 12:30, 2:30 pm $29.50êRed Hook Jazz Festival: Max Johnson Trio with Kirk Knuffke, Jeff Davis; The Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski; Nick Gianni’s Evolution with Rick Bottari, On K’a Davis, John Trent, Dalius Naujo; Hot Cup Chili Pepper 7: Peter Evans, Jon Irabagon, Dave Taylor, Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Kevin Shea; Travis Sullivan’s Björkestra with Shayna Steele, Ian Cook, Sean Nowell, Lauren Sevian, Ravi Best, Eli Asher, Alan Ferber, Andy Hunter, Art Hirahara, Yoshi Waki, Joe Abbatantuono Cabrini Green Urban Meadow 1 pm $10• Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein with Jessie Mueller, Loston Harris Allen Room 3 pm $25• Michelle Walker Trio with Ron Affif, Boris Kozlov North Square Lounge 12:30, 2 pm• Lou Caputo Quartet; David Coss Quartet; Maurício de Souza Trio with Angelo Di Loreto, John Lenis The Garage 11:30 am, 7, 11:30 pm

Monday, June 11êVision Festival: Opening Invocation with Patricia Nicholson, Fay Victor, Kyoko Kitamura, William Parker, Hamid Drake, Gerald Cleaver, Michael Wimberly; Kneebody: Adam Benjamin, Ben Wendel, Kaveh Rastegar, Nate Wood, Shane Endsley; Paul Dunmall, Matthew Shipp, Joe Morris, Gerald Cleaver; Tracie Morris/Elliott Sharp; Mark Dresser Quintet with Rudresh Mahanthappa, Michael Dessen, Denman Maroney, Michael Sarin Roulette 6 pm $20-30• Jimmy Scott Blue Note 8, 10:30 pm $35• Moutin Reunion Quartet: Francois and Louis Moutin, Pierre de Bethmann, Rick Margitza Dizzy’s Club 7:30, 9:30 pm $20• Mingus Orchestra Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10êCraig Harris with Richard Fairfax, Jay Rodriguez, James Stewart, Eddie Allen, Franz Hackl, Pete Drungel, Fred Cash, Tony Lewis Dwyer Cultural Center 8:30, 10 pm $10êFrank Wess; Ned Goold; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am • Joris Roelofs Trio; Ari Hoenig Group; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• Tammy McCann Metropolitan Room 7:30, 9 pm $20• 2x3 Series: Josh Deutsch/Nico Soffiato; Kristin Slipp/Dov Mansky, Dan Weiss Duo Branded Saloon 8:30 pm• Donald Smith Quartet For My Sweet 7:15, 9:15 pm• Mika Hary Trio with Nir Felder, Jorge Roeder Bar Next Door 8:30, 10:30 pm $12• Rebecka Larsdotter Zinc Bar 7 pm $8êFrank Carlberg/Nicholas Urie City Band Tea Lounge 9, 10:30 pm• Jaimeo Brown Trio The Bar on Fifth 8 pm• Sean Wayland Trio with Sam Anning, Jochen Rueckert and guest Somethin’ Jazz Club 10 pm $10• Howard Williams Jazz Orchestra; Matt Parker Quartet The Garage 7, 10:30 pm• Matt Heath Quartet; Jorn Swart Quartet Shrine 6, 10 pm• Russ Kassoff Bryant Park 12:30 pm

Tuesday, June 12êVision Festival - AUM Fidelity 15th Anniversary Celebration: Eri Yamamoto solo; Farmers By Nature: Craig Taborn, William Parker, Gerald Cleaver; Darius Jones Quartet with Matt Mitchell, Trevor Dunn, Ches Smith; William Parker In Order To Survive with Cooper-Moore, Rob Brown, Lewis Barnes, Hamid Drake Roulette 7 pm $20-30• Vision Festival: Jemeel Moondoc Sound Band Clemente Soto Velez Cultural Center 12 am• Savion Glover/McCoy Tyner Blue Note 8, 10:30 pm $45• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $30• Oriente Lopez Quartet Dizzy’s Club 11 pm $10• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner Jazz Standard 7:30, 9:30 pm $25• Stacey Kent Birdland 8:30, 11 pm $30-40• Jeff Siegel Quintet NYC Baha’i Center 8, 9:30 pm $15• Spike Wilner solo; Omer Avital and The Band of the East; Josh Evans Smalls 6:30, 8:30, 11:30 pm $20• Pedro Giraudo Jazz Orchestra Joe’s Pub 9:30 pm $18• Lakecia Benjamin’s Retox Le Poisson Rouge 10:30 pm $15• Kenny Wollesen The Stone 10 pm $10• Rob Garcia 4 with Noah PremingerShapeShifter Lab 8 pm• Revoice: Maria Christina with Matt Davis, James Shipp, Sam Anning, Sean Hutchinson; Nate Wood with Jesske Hume, Sean Wayland, Arthur Hnatek Cornelia Street Café 8:30, 10 pm $10• James Carney, Chris Lightcap, Ted Poor Korzo 9 pm• Stan Killian with Ben Monder, Benito Gonzalez, Ugonna Okegwo, McClenty Hunter 55Bar 7 pm• Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Jack Wilkins/John Stowell Bella Luna 8 pm• Jeremy Siskind solo Jazz at Kitano 8 pm• Cristina Morrison with Willard Dyson, Steve Einerson, Marcus McLaurine, Walter Scymansky; Perez and Anita Wardell Somethin’ Jazz Club 7, 9 pm $10• Eyal Vilner Big Band; Justin Lees Trio The Garage 7, 10:30 pm

• Jasmine Lovell-Smith’s Towering Poppies Sidewalk Café 7:30 pm• Jaimeo Brown Trio The Bar on Fifth 8 pm• Yuko Yamamura; Duke Bantu X Shrine 6, 8 pm• Gregg August Quartet World Financial Center Plaza 5:30 pm• Russ Kassoff Bryant Park 12:30 pm

Wednesday, June 13êVision Festival - Joe McPhee A Lifetime of Achievement: Joe McPhee’s Angels, Devils and Haints II with Dominic Duval, Michael Bisio, Hilliard Greene, William Parker, Steve Swell, Roy Campbell, Joe Giardullo, Rosie Hertlein, Warren Smith, Jay Rosen; Sonny Simmons Ensemble with William Parker, Thomas Bellier, Warren Smith; KnocKnock Dance Company with Joe McPhee; The Thing: Mats Gustafsson, Ingebrigt Håker, Paal Nilssen-Love and guest Joe McPhee Roulette 7 pm $20-30êMiles Davis Festival 2012: Joe Magnarelli Quintet with Ralph Bowen, Jeremy Manasia, Ugonna Okegwo Smoke 7, 9, 10:30 pmêThe Jazz Gallery Home Run Benefit Concert: Claudia Acuña, Kenny Barron, Johnathan Blake, Ravi Coltrane, Kiyoshi Kitagawa, Lionel Loueke, Dafnis Prieto The Schomburg Center 8 pm $125-250êJoe Fiedler Trio with John Hébert, Mike Sarin; Michael Dessen Trio with Chris Tordini, Dan Weiss Cornelia Street Café 8:30, 10 pm $10• Jim Campilongo/Steve Cardenas; Anthony Wilson/Julian Lage The Stone 8, 10 pm $10êPreservation Hall Jazz Band Symphony Space Peter Jay Sharp Theatre 8 pm $45• Ben Williams and Sound Effect with Marcus Strickland, Matt Stevens, Gerald Clayton, John Davis; Curtis Taylor Group Smalls 8:30, 11:30 pm $20• Tony Grey ShapeShifter Lab 8 pm• Maryanne de Prophetis Trio with Ron Horton, Landon Knoblock Barbès 8 pm $10• Rafi D’lugoff; Sheryl Bailey Quartet; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Secret Keeper: Stephan Crump/Mary Halvorson; Steve Gorn, Eric Fraser, Steve Celluci Seeds 8:30 pm $10• Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer Zinc Bar 7 pm $10• Judy Carmichael Trio with guest Steve Ross Steinway Hall 7 pm $30• Vanessa Trouble and Company with Steve Salerno and guests Jazz at Kitano 8, 10 pm $10• Jacob Teichroew Brooklyn Lyceum 8, 9:30 pm $10• Equilibrium: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, Dan Silverstone Caffe Vivaldi 8:30 pm• Richard Boulger Somethin’ Jazz Club 7 pm $10• Natalia Bernal Trio; Big Beat 4tet The Garage 6, 10:30 pm• Brian Villegas Flute Gramercy 8 pm• Savion Glover/McCoy Tyner Blue Note 8, 10:30 pm $45• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $30• Oriente Lopez Quartet Dizzy’s Club 11 pm $10• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Peter Bernstein Jazz Standard 7:30, 9:30 pm $25• Stacey Kent Birdland 8:30, 11 pm $30-40• Jaimeo Brown Trio The Bar on Fifth 8 pm• Harmonie Ensemble New York with Steve Richman, Lew Soloff, Lew Tabackin, Joe Locke, Lincoln Mayorga, Victor Lewis Saint Peter’s 1 pm $10• Russ Kassoff Bryant Park 12:30 pm

Thursday, June 14êVision Festival: Eternal Unity: Dave Burrell, Sabir Mateen, William Parker, William Hooker; Dangerous Women/Moving Sound: Patricia Nicholson/ Connie Crothers; Ivo Perelman Trio with Michael Bisio, Whit Dickey; Hamid Drake Ensemble with Jeff Parker, Jeb Bishop, Pasquale Mira, Josh Abrams Roulette 7 pm $20-30êSavion Glover/Jack DeJohnette Blue Note 8, 10:30 pm $45êMiles Davis Festival 2012: Antoine Drye Quintet Smoke 7, 9, 10:30 pmêSeeing Jazz with George Wein: Miguel Zenón Symphony Space Leonard Nimoy Thalia 7:30 pm $30êOhad Talmor, Steve Swallow, Adam Nussbaum Cornelia Street Café 8:30 pm $10êEivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, Brandon Seabrook, Kenny Wollesen; Seabrook Power Plant: Brandon Seabrook, Tom Blancarte, Jared Seabrook The Stone 8, 10 pm $10• Ben Monder Trio with Drew Gress, Jim Black; Brad Shepik Quartet with Tom Beckham, Jorge Roeder, Jochen Reuckert; Gordon Grdina/Mark Helias with guests Tony Malaby, Kenton Loewen ShapeShifter Lab 8 pm• Katsuko Tanaka Quartet with Stacy Dillard, Danton Boller, Willie Jones III Jazz at Kitano 8, 10 pm $10• Howard Alden/Anat Cohen Duo Bar Next Door 8:30, 10:30 pm $12• Lukas Ligeti’s Notebook with Dan Blake, Eyal Maoz, Wende K. Blass and guests Gershwin Hotel 8 pm $10• Sam Raderman with Tim McCall, Luc Decker; Jimmy Bruno/Jack Wilkins; Jack Walrath Group with Abraham Burton, George Burton, Boris Kozlov, Donald Edwards; Carlos Abadie Quintet with Joe Sucato, Peter Zak, Jason Stewart, Luca Santaniello Smalls 4, 7:30, 10 pm 1 am $20• Joe Magnarelli Quartet; Greg Glassman Quintet; Yoshi Waki Quartet Fat Cat 7, 10 pm 1:30 am• 40twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza; Jeff Davis Group I-Beam 8:30, 10 pm $10• Courtney Bryan with Brandee Younger, Linda Oh, Damion Reid The Jazz Gallery 9, 10:30 pm $15• Beat Kaestli and Friends with Jesse Lewis, Melissa Stylianou, Elisabeth Lohninger; Claude Diallo Situation with Curtis Ostle, Massimo Buonanno Somethin’ Jazz Club 7, 9 pm $10• Senri Oe Tomi Jazz 9 pm $10• Eric Karimski solo; Carmen Lamarque Tutuma Social Club 6:30, 8:30 pm• Matthew Silberman and Press Play with Travis Reuter, Carlos Homs, Chris Tordini, Jason Nazary Inkwell Café 8, 9:30 pm $5• Steve Elmer Trio Cleopatra’s Needle 7 pm• Nick Moran Trio; Jacob Webb Project The Garage 6, 10:30 pm• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $30• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Aaron Burnett Jazz Standard 7:30, 9:30 pm $25• Carmen Intorre with Jon Irabagon, Pat Bianchi, John Hart Birdland 6 pm $20• Stacey Kent Birdland 8:30, 11 pm $30-40• Jaimeo Brown Trio The Bar on Fifth 8 pm• Kyunggu Lee Shrine 6 pm• Arturo O’Farrill and the Afro Latin Jazz Orchestra Metrotech Commons 12 pm• Russ Kassoff Bryant Park 12:30 pm

40 June 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, June 15êVision Festival: Children of Music Is Mine with Jean Carla Rodea, William Parker, Daniel Carter; Peace Poets/Tribes Poets: Luke Nephew, Frank Lopez, Emanuel Candelario, Frantz Jerome, Edwin Torres, Latasha Diggs, Sheila Maldonado, Nancy Mercado; The Mystery Collective: Kidd Jordan, Jean Carla Rodea, William Parker, Cooper-Moore, Hamid Drake Campos Plaza Playground 3 pmêVision Festival: Sheila Jordan/Jay Clayton Bebop to Freebop with Jack Wilkins, Cameron Brown; Yoshiko Chuma solo; Roy Campbell/Ehran Elisha; Henry Grimes/ Wadada Leo Smith; Pheeroan akLaff Dear Freedom Ensemble with Amiri Baraka, Jun Miyake, Santi Debriano Roulette 7 pm $20-30êMiles Davis Festival 2012: Lenny White Quintet with Wallace Roney, Victor Bailey, Tom Guarna Smoke 8, 10, 11:30 pm $35• Celebrate Brooklyn: Geri Allen/Carrie Mae Weems’ Slow Fade to Black with Esperanza Spalding, Terri Lyne Carrington, Lizz Wright, Patrice Rushen, Howard University Afro Blue, Maurice Chestnut and guests Prospect Park Bandshell 8 pm• Sacha Perry Trio with Jon Roche, Ai Murakami; Harvie S Trio with Alan Broadbent, Eliot Zigmund; Eric Alexander Quartet; Lawrence Leathers Smalls 4, 7:30 10 pm 1 am $20• John Zorn Improv Night: John Zorn, Shayna Dunkelman, Ikue Mori, Sylvie Courvoisier and guests The Stone 8 pm $25êBucky Pizzarelli, Russ Kassoff, Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5êKris Davis Trio with Michael Formanek, Nasheet Waits Cornelia Street Café 9, 10:30 pm $15• Jonathan Finlayson and Sicilian Defense with Shane Endsley, David Virelles, Keith Witty, Damion Reid The Jazz Gallery 9, 10:30 pm $15• Kate McGarry/Keith Ganz 92YTribeca 8 pm $15• Brooklyn Jazz Underground Festival: Owen Howard’s Drum Lore with Adam Kolker, John O’Gallagher, Frank Carlberg, Aidan O’Donnell; A Portrait of Brooklyn: David Smith, Adam Kolker, Dan Pratt, Anne Mette Iversen, Rob Garcia I-Beam 8:30, 10 pm $10êMichael Carvin Quartet with Keith Loftis, Yayoi Ikawa, Jansen Cinco Lenox Lounge 8;30, 10:30 pm $20• Janis Mann Quartet with Kenny Werner, Martin Wind, Tim Horner Jazz at Kitano 8, 10 pm $25• Steve Hudson Chamber Ensemble with Zach Brock, Christopher Hoffman, Martin Urbach Rubin Museum 7 pm $20• Tal Ronen Quartet; Grant Stewart; Jared Gold Fat Cat 6:30, 10:30 pm 1:30 am• World on a String Trio: Dan Wilson, Leo Traversa, Adriano Dos Santos Bar Next Door 7:30, 9:30, 11:30 pm $12• Evgeny Lebedev World Trio with Haggai Cohen Milo, Lee Fish; Andres Jimenez; Robert Rucker Project Somethin’ Jazz Club 7, 9, 11 pm $10• Daniela Schaechter Tomi Jazz 9 pm $10• Renaud Penant Quartet Cleopatra’s Needle 8 pm• Lynn Stein Quartet; Kevin Dorn and the Big 72 The Garage 6:15, 10:45 pm• Savion Glover/Jack DeJohnette Blue Note 8, 10:30 pm $45• Steve Smith and Vital Information with Tom Coster, Baron Browne, Vinny Valentino Iridium 8, 10 pm $35• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $35• Oriente Lopez Quartet Dizzy’s Club 11:30 pm $20• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Greg Osby Jazz Standard 7:30, 9:30, 11:30 pm $30• Stacey Kent Birdland 8:30, 11 pm $30-40• Jaimeo Brown Trio The Bar on Fifth 8 pm• Yacine Boulares Shrine 6 pm• Russ Kassoff Bryant Park 12:30 pm

Saturday, June 16êVision Festival: Tom Zlabinger and York College Creative Ensemble; Nicole Federici and Sonic Smithy; Jeff Lederer and Brooklyn Frontiers High School; Claire Daly and Litchfield Jazz Combo; Rachel Bernsen; Steve Swell Quintet with Rob Brown, Chris Forbes, Hill Greene, Michael TA Thompson; Jöelle Léandre, Nicole Mitchell, Thomas Buckner; Trio 3: Oliver Lake, Reggie Workman, Andrew Cyrille; Jason Kao Hwang Burning Bridge with Taylor Ho Bynum, Ken Filiano, Andrew Drury, Wang Guowei, Sun Li, Steve Swell Roulette 3 pm $20-30êSavion Glover/Roy Haynes Blue Note 8, 10:30 pm $45êClarence Penn; Antonio Sanchez 92YTribeca 9 pm $15êJaleel Shaw Quartet with Lawrence Fields, Boris Kozlov, EJ Strickland The Jazz Gallery 9, 10:30 pm $20êHarris Eisenstadt Canada Day with Nate Wooley, Matt Bauder, Chris Dingman, Garth Stevenson Cornelia Street Café 9, 10:30 pm $15• Adam Larson Group; Chris Byars Octet Lucky Thompson Birthday Celebration; Eric Alexander Quartet Smalls 4, 7:30 10 pm $20• Bobby Porcelli Quintet; Ed Cherry Quartet Fat Cat 7, 10 pmêTomas Fujiwara and the Hook-up with Michael Formanek, Mary Halvorson, Brian Settles, Jonathan Finlayson; Josh Sinton’s Secret Renegades with Nadje Noordhuis, Matt Clohesy Douglass Street Music Collective 8:30 pm $10• Ras Moshe/Shayna Dulberger; Matt Lavelle’s 12 Houses with Telaina Odom, Mary Cherny, Claire DeBrunner, Francois Grillot; X-Fest Ensemble: Walter Wright, Stephanie Lak, Todd Brunel, Kit Demos, Junko Fujiwara, Chris Welcome Brecht Forum 7 pm $10• Mavi Yol 4tet: Senem Diyici, Alain Blesing, Bruno Tocanne, Ömer Can Uygan Drom 9:30 pm $10• Leonardo Cioglia Trio with Mike Moreno, Eric Doob Bar Next Door 7:30, 9:30, 11:30 pm $12• MUSOH: Yutaka Uchida, Matt Panayides, George Dulin; Alex Maksymiw; Nicki Mathis’ Afrikan Amerikan Jazz with Sam Parker, Dotti Anita Taylor, Shirazette Tinnin, Alex Tremblay Somethin’ Jazz Club 5, 7, 9 pm $10• Os Clavelitos Tomi Jazz 8 pm $10• Joel Forrester Quartet Cleopatra’s Needle 8 pmêMiles Davis Festival 2012: Lenny White Quintet with Wallace Roney, Victor Bailey, Tom Guarna Smoke 8, 10, 11:30 pm $35êBucky Pizzarelli, Russ Kassoff, Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5• Brooklyn Jazz Underground Festival: Adam Kolker solo; Tammy Scheffer with Andrew Urbina, Dan Pratt, David Cook, Dan Foose, Ronen Itzik; David Cook Trio with Matt Clohesy, Mark Ferber I-Beam 8:30, 9:30, 11 pm $10• Janis Mann Quartet with Kenny Werner, Martin Wind, Tim Horner Jazz at Kitano 8, 10 pm $25• Steve Smith and Vital Information with Tom Coster, Baron Browne, Vinny Valentino Iridium 8, 10 pm $35• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $35• Oriente Lopez Quartet Dizzy’s Club 11:30 pm $20• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Johnny O’Neal Jazz Standard 7:30, 9:30, 11:30 pm $30• Stacey Kent Birdland 8:30, 11 pm $30-40• Jaimeo Brown Trio The Bar on Fifth 8 pm• Butch Morris Workshop The Firehouse Space 2 pm $15• Brandee Younger Brooklyn Children’s Museum 1:30 pm• Larry Newcomb Quartet; Mark Marino Trio The Garage 12, 6:15 pm

Sunday, June 17êVision Festival: Ingrid Laubrock’s Anti-House with Mary Halvorson, Kris Davis, John Hébert, Tom Rainey; Burnt Sugar The Arkestra Chamber: Greg Tate, Vernon Reid, Lisala, Shelley Nicole, Mikel Banks, Lewis “Flip” Barnes Jr., Micah Gaugh, V. Jeffery Smith, Avram Fefer, Paula Henderson, Andre Lassalle, Ben Tyree, Bruce Mack, Jared Michael Nickerson; LaFrae Sci; Jason Jordan solo; Rob Brown/ Daniel Levin; Kidd Jordan Quintet with Charles Gayle, JD Parran, William Parker, Hamid Drake Roulette 6 pm $20-30êBlue Note Jazz Festival: Gato Barbieri BB King’s Blues Bar 8 pm $45êSalim Washington/Darius Jones Quintet with Jason Moran, Mark Helias, Tyshawn Sorey The Jazz Gallery 9, 10:30 pm $20êAmy Cervini with Anat Cohen, Nadje Noordhius, Jeremy Udden, Josh Sinton, Jennifer Wharton, Jesse Lewis, Carmen Staaf, Matt Aronoff, Matt Wilson, James Shipp Joe’s Pub 7 pm $15êCacaw: Landon Knoblock, Oscar Noriega, Jeff Davis The Firehouse Space 8:30 pm $10• Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, Jake Goldbas Smoke 7, 9, 10:30 pm• Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• Music of Luke Schwartz; Peter Knoll Trio with Mark Peterson, Andy O’Neill ABC No-Rio 7 pm $5• Peter Leitch/Jed Levy Walker’s 8 pm• Simona Premazzi The Bar on Fifth 8 pm• Out of Your Head: Gian Slater, Brad Henkel, Carlo Costa; Cam Collins, Patrick Breiner, Dave Miller, Devin Gray The Backroom 9:30, 11 pm• Devin Bing Somethin’ Jazz Club 7 pm $10êSavion Glover/Roy Haynes Blue Note 8, 10:30 pm $45• Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30 pm $30• Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Village Vanguard 9, 11 pm $25• Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Geri Allen Jazz Standard 7:30, 9:30 pm $30• Michael Webster Quintet Saint Peter’s 5 pmêJulian Lage solo Blue Note 12:30, 2:30 pm $29.50êRed Hook Jazz Festival: Rick Parker Collective with Yayoi Ikawa, John O’Gallagher, Shawn Conley, Ziv Ravitz; Harris Eisenstadt’s Canada Day with Nate Wooley, Matt Bauder, Chris Dingman, Garth Stevenson, Ray Anderson, Jason Mears, Joe Daley; SPOKE: Andy Hunter, Dan Loomis, Justin Wood, Danny Fischer; Nate Wooley Quintet with Josh Sinton, Matt Moran, Eivind Opsvik, Harris Eisendstadt; Mike Baggetta Quartet with Jason Rigby, Eivind Opsvik, George Schuller Cabrini Green Urban Meadow 1 pm $10• Blue Note Jazz Festival: The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew BB King’s Blues Bar 12 pm $25• Roz Corral Trio with Deanna Witkowski, Yoshi Waki North Square Lounge 12:30, 2 pm• Evan Schwam; David Coss The Garage 11:30 am, 7 pm

Monday, June 18• Blue Note Jazz Festival: The Jeff Lorber Fusion with Jimmy Haslip, Eric Marienthal, Vinnie Colaiuta BB King’s Blues Bar 8 pm $30• Swinging with Noel Coward: Eric Comstock, Harry Allen and Friends Dizzy’s Club 7:30, 9:30 pm $25êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Randy Ingram Trio with Matt Clohesy, Jochen Rueckert; Ari Hoenig Group; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• Mike Pope ShapeShifter Lab 8 pm• Mavi Yol 4tet: Senem Diyici, Alain Blesing, Bruno Tocanne, Ömer Can Uygan Sycamore 8:30 pm $10• Jeff King Birthday Celebration For My Sweet 7:15, 9:15 pm• Daniela Schaechter Trio with Michael O’Brien Bar Next Door 8:30, 10:30 pm $12• Vicki Burns Zinc Bar 7 pm $8• Joshua Shneider Easy-Bake Orchestra Tea Lounge 9, 10:30 pm• Jim Cammack Somethin’ Jazz Club 10 pm $10• Antonio Ciacca The Bar on Fifth 8 pm• Howard Williams Jazz Orchestra; Kenny Shanker Quartet The Garage 7, 10:30 pm• David Schnug Trio Shrine 6 pm• Luiz Simas Bryant Park 12:30 pm

Tuesday, June 19• Blue Note Jazz Festival: The Manhattan Transfer BB King’s Blues Bar 8 pm $30êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25• Kathleen Battle/Cyrus Chestnut Blue Note 8, 10:30 pm $65êLinda Oh Quartet with Dayna Stephens, Fabian Almazan, Rudy Royston Jazz Standard 7:30, 9:30 pm $20êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Anat Cohen Birdland 8:30, 11 pm $30-40• Susie Arioli and Friends Dizzy’s Club 7:30, 9:30 pm $30• O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Adam Kromelow, Raviv Markovitz Dizzy’s Club 11 pm $10• Charli Persip Super Sound NYC Baha’i Center 8, 9:30 pm $15• Spike Wilner solo; Omer Avital and The Band of the East; Theo Hill Smalls 6:30, 8:30, 11:30 pm $20êDawn of Midi; Father Figures Littlefield 8:30 pm $10• Arturo O’Farrill’s The Offense of the Drum Red Rooster 8, 10:30 pm $10-25 • Aaron Novik with Ava Mendoza, Jordan Glenn, Sam Ospovat, Bill Wolter The Stone 10 pm $10êRobin Verheyen, Ralph Alessi, Drew Gress, Jeff Davis Korzo 10:30 pm• Arthur Kell’s Jester with Loren Stillman, Brad Shepik, Mark Ferber and guest Michael Blake Cornelia Street Café 8:30 pm $10• Leslie Pintchik Trio with Scott Hardy, Michael Sarin Bar Next Door 8:30, 10:30 pm $12• Everyman of Parts with Andrew Sheron and guests ShapeShifter Lab 8 pm• Eddie Allen, Quincy Troupe, Esther Louise Dwyer Cultural Center 8 pm• Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 amêJack Wilkins/Gene Bertoncini Bella Luna 8 pm• Jeremy Siskind solo Jazz at Kitano 8 pm• Lou Caputo Not So Big Band; Nat Janoff Trio The Garage 7, 10:30 pm• Antonio Ciacca The Bar on Fifth 8 pm• Luiz Simas Bryant Park 12:30 pm

Wednesday, June 20êJason Moran/Herlin Riley Blue Note 8, 10:30 pm $20êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $30

• O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Adam Kromelow, Raviv Markovitz Dizzy’s Club 11 pm $10• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Kendrick Scott Jazz Standard 7:30, 9:30 pm $35êMiles Davis Festival 2012: Bruce Harris Sextet with Alex Hoffman, Vincent Gardner, Rick Germanson, Yasushi Nakumara, Aaron Kimmel Smoke 7, 9, 10:30 pmêJean-Michel Pilc Trio with Francois Moutin, Ari Hoenig Cornelia Street Café 8:30 pm $10êWillie Jones III Group with Justin Robinson, Aaron Goldberg, Dezron Douglas; Tivon Pennicott Smalls 8:30, 11:30 pm $20• Rafi D’lugoff; Don Hahn/Randy Napoleon Quintet; Ned Goold Jam Fat Cat 7, 9 pm 12:30 amêNate Wooley Group with Ingrid Laubrock, Dave Miller, Jeff Davis; Whirr! The Music of Jimmy Giuffre: George Schuller, Joel Harrison, Ohad Talmor, Jacob Garchik Seeds 8:30, 10 pm $10êAlt.timers Trio: Ratzo B. Harris, Denman Maroney, Bob Meyer Barbès 8 pm $10êDan Tepfer Trio with Jorge Roeder, Ted Poor Jazz at Kitano 8, 10 pm $10• Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Sam Anning, Mark Ferber, Zach Brock 55Bar 7 pm• Nora McCarthy with Andrew Green, Chip Crawford, Donald Nicks, Bruce Cox and guest Jorge Sylvester Metropolitan Room 9:30 pm $20• Katie Thiroux Quartet Brooklyn Public Library 7 pm• Uncharted Territory: Steven Golub, Steve Fishman, Frank Barbera, Frank Rosati, Andy O’Neill Somethin’ Jazz Club 7 pm $10• Andrew Atkinson and Friends; Paul Francis Trio The Garage 6, 10:30 pm• Shayla Edmonds Flute Gramercy 8 pmêPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Anat Cohen Birdland 8:30, 11 pm $30-40• Antonio Ciacca The Bar on Fifth 8 pm• 2012 Jazz Journalist Association Awards Blue Note 4 pm $100-135• Claude Diallo Saint Peter’s 1 pm $10• Luiz Simas Bryant Park 12:30 pm

Thursday, June 21êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Blue Note 8, 10:30 pm $45• Toshi Reagon and Allison Miller Present Celebrate! The Great Women of Blues & Jazz with Christelle Durandy, Karma, Mayet Johnson, M. Nahadr, Imani Uzuri, Josette Marchak Highline Ballroom 8 pm $17êScott DuBois Quartet with Jon Irabagon, Eivind Opsvik, Jeff Davis Cornelia Street Café 8:30 pm $10êIngrid Laubrock’s Anti-House with Mary Halvorson, Kris Davis, John Hébert, Tom Rainey The Jazz Gallery 9, 10:30 pm $20• Arturo O’Farrill’s The Offense of the Drum Red Rooster 8, 10:30 pm $10-25 • Sam Raderman with Tim McCall, Luc Decker; Joel Press/Spike Wilner; James Zollar Quintet; Bruce Harris/Alex Hoffman Quintet with Jack Glottman, David Wong, Aaron Kimmel Smalls 4, 7:30, 10 pm 1 am $20• Corin Stiggall Quintet with Chris Byard, John Mosca; Anderson Twins Octet; Todd Herbert Quartet Fat Cat 7, 10 pm 1:30 amêOliver Gene Lake ShapeShifter Lab 8 pm• Jillian Laurain Quartet with Matt Baker, Tom Hubbard, Dorota Piotrowska Jazz at Kitano 8, 10 pm $10êGoran Kajfeš Subtropic Arkestra with Jonas Kullhammar, Per “Ruskträsk” Johansson, Jesper Nordenström, Andreas Söderström, Johan Berthling, Johan Homegard Nublu 9 pm• Ibrahim Maalouf Drom 10:45 pm• Paul Meyers/Helio Alves Bar Next Door 8:30, 10:30 pm $12• Boilermakers Jazz Band David Rubenstein Atrium 8:30 pm• York College Blue Notes York College Illinois Jacquet Performance Space 7 pm• Eliane Amherd Band Somethin’ Jazz Club 9 pm $10• Yuko Yamamura Duo Tomi Jazz 9 pm $10• Mark Sundermeyer solo; Elsa Nilsson Tutuma Social Club 6:30, 8:30 pm• Michika Fukumori Trio Cleopatra’s Needle 7 pm• Champian Fulton Trio; Eyal Vilner Quartet The Garage 6, 10:30 pm• Chris Norton Flute Gramercy 8 pmêBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $30• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Kendrick Scott Jazz Standard 7:30, 9:30 pm $35êMiles Davis Festival 2012: Bruce Harris Sextet with Alex Hoffman, Vincent Gardner, Rick Germanson, Yasushi Nakumara, Aaron Kimmel Smoke 7, 9, 10:30 pmêPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Grace Kelly Birdland 8:30, 11 pm $30-40• Antonio Ciacca The Bar on Fifth 8 pm• Harlem Speaks: Sylvia Cuenca Jazz Museum in Harlem 6:30 pm• Luiz Simas Bryant Park 12:30 pm

LESLIE PINTCHIK TRIOTuesday, June 19th 8:30 PM & 10:30 PM

The Bar Next Door 129 MacDougal St. NYC

(212) 529-5945 for reservations

“...enormous gifts as a composer, arranger and pianist.”All Music Guide

Leslie Pintchik - keyboardScott Hardy - bassMichael Sarin - drums

www.lesliepintchik.com

New DVD/CD ComboLESLIE PINTCHIK QUARTET

LIVE IN CONCERTavailable now at Amazon.com

42 June 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, June 22êMiles Davis Festival 2012: Al Foster Quartet with Wallace Roney, Doug Weiss Smoke 8, 10, 11:30 pm $35êSacha Perry Trio with Jon Roche, Ai Murakami; John Webber Quartet , Nial Djuliarso, Bob Cranshaw, Joe Farnsworth; Harold Mabern Trio with Gerald Cannon, Joe Farnsworth; Spike Wilner Trio Smalls 4, 7:30 10 pm 1 am $20êTony Malaby Trio with Angelica Sanchez, Tom Rainey; Tony Malaby’s Novela with Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, Kris Davis, Tom Rainey Cornelia Street Café 9, 10:30 pm $15• Alexis Cuadrado Jazz Miniatures for Double Quartet with Ben Wendel, Jason Rigby, Satoshi Takeishi, Sara Caswell, Antonia Nelson, Lois Martin, Jody Redhage The Jazz Gallery 9, 10:30 pm $20• Joe Locke Quartet with Eldar Djangirov, Mike Pope, Clarence Penn Jazz at Kitano 8, 10 pm $25• Mt. Varnum: Ted Poor, Grey McMurray, Pete Rende, Ben Street; The New Mellow Edwards: Curtis Hasselbring, Chris Speed, Matt Moran, Mary Halvorson, Trevor Dunn, Ches Smith, Satoshi Takeishi 92YTribeca 9 pm $15• Albert Goold Experience; Salim Washington/Frank Lacy Sextet Fat Cat 7, 10:30 pm• Deviant Septet: Bill Kalinkos, Brad Balliett, Shayna Dunkelman, Mike Gurfield, Dave Nelson, Courtney Orlando, Doug Balliett The Stone 8 pm $10• Tim Ries’ The Rolling Stones Project with Ben Monder, Ilan Bar-Lavi, Jeff “Tain” Watts, Jasia Ries and guests Bernard Fowler, Darryl; The NOWtet Plays Zep Highline Ballroom 7 pm $25-45• Alejandro Florez with Ricardo Gallo, Dan Blake, Peter Evans, Dan Peck, Andrew Drury I-Beam 8:30 pm $10• Jack Wilkins Trio with Harvie S, Mark Ferber Bar Next Door 7:30, 9:30, 11:30 pm $12• Jorge Sylvester ACE Collective with Nora McCarthy, Waldron Mahdi Ricks, Pablo Vergara, Donald Nicks, Kenny Grohowski Drom 9 pm $20• Natura Morta: Frog Lasso, Sean Ali, Carlo Costa; Josh Sinton/Han-Earl Park Midwood Music 8 pm• Compared to That: Charley Gerard, Lisa Parrott, Chris Bacas, Tom Olin, Jacob Teichroew, Dave Smith, Mark Morgan, Jackie Coleman, Deborah Weisz, Jared Dubin, Ric Becker, Syberen Van Munster, Petros Klampanis, Danny Wolf, David Buchbut, Alimah Baylor, Clarence Bucaro Somethin’ Jazz Club 7 pm $10• Yuko Okamoto Duo Tomi Jazz 9 pm $10• Camila Meza solo; Bichiló with Gaby Hayre; Jatziri Gallegos/Eric Castro Tutuma Social Club 7, 8 pm 12 am• Jun Miyake Quartet Cleopatra’s Needle 8 pm• George Weldon Trio; Hot House The Garage 6:15, 10:45 pmêAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Blue Note 8, 10:30 pm $45• Arturo O’Farrill’s The Offense of the Drum Red Rooster 8, 10:30 pm $10-25 êOliver Gene Lake ShapeShifter Lab 8 pmêBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $35• O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Adam Kromelow, Raviv Markovitz Dizzy’s Club 11:30 pm $20• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Grace Kelly Birdland 8:30, 11 pm $30-40• Antonio Ciacca The Bar on Fifth 8 pm• Kelly Powers Shrine 6 pm• Luiz Simas Bryant Park 12:30 pm

Saturday, June 23• Ben Gerstein/Tyshawn Sorey I-Beam 8:30 pm $10• Kaleidoscope Trio: Freddie Bryant, Patrice Blandchard, Willard Dyson Bar Next Door 7:30, 9:30, 11:30 pm $12• Barbara King with Dave Berkman Lenox Lounge 8, 10 pm• Simona Premazzi Quartet Fat Cat 7 pm• Adam Smale Trio with Brandi Disterheft, Spiro Sinigos University of the Streets 8 pm $10• Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; Hiroshi Yamazaki Quartet; Jason O’Connor Quintet with Brian Lotze, Jeff D’Antona Somethin’ Jazz Club 5, 7, 11 pm $10• Wrestle Jazz; Kenji Yoshitake Trio Tomi Jazz 8, 11 pm $10• Soul Center: Jackie Jones, Axel Schwintzer, Peter Brendler, Christian Finger Three Jolly Pigeons 8:30 pm• Larry Newcomb Quartet Cleopatra’s Needle 8 pmêMiles Davis Festival 2012: Al Foster Quartet with Wallace Roney, Doug Weiss Smoke 8, 10, 11:30 pm $35• Michelle Zangara with Sacha Perry, Alexi David, Bajram Istrefi, Jr; Ralph LaLama Bop-Juice with Mike Karn, Clifford Barbaro; Harold Mabern Trio with Gerald Cannon, Joe Farnsworth Smalls 4, 7:30 10 pm $20êTony Malaby Trio with Angelica Sanchez, Tom Rainey; Tony Malaby’s Novela with Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, Kris Davis, Tom Rainey Cornelia Street Café 9, 10:30 pm $15• Alexis Cuadrado Jazz Miniatures for Double Quartet with Ben Wendel, Jason Rigby, Satoshi Takeishi, Sara Caswell, Antonia Nelson, Lois Martin, Jody Redhage The Jazz Gallery 9, 10:30 pm $20• Joe Locke Quartet with Eldar Djangirov, Mike Pope, Clarence Penn Jazz at Kitano 8, 10 pm $25êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Blue Note 8, 10:30 pm $45êOliver Gene Lake ShapeShifter Lab 8 pmêBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $35• O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Adam Kromelow, Raviv Markovitz Dizzy’s Club 11:30 pm $20• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Cyrille Aimee Birdland 8:30, 11 pm $30-40• Antonio Ciacca The Bar on Fifth 8 pm• Jeff Newell’s New-Trad Quartet with Isrea Butler, Ben Stapp, Brian Woodruff The Waterfront Museum 2 pm• Marsha Heydt Quartet; Brooks Hartell Trio; Akiko Tsuruga Trio The Garage 12, 6:15, 10:45 pm

Sunday, June 24êHåkon Kornstad, Eivind Opsvik, Eric McPherson Nublu 9 pmêJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Jose Davila Sycamore 8:30 pm $10

• Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, Jake Goldbas Smoke 7, 9, 10:30 pm• Rogério Boccato After Bossa-Nova with Dan Blake, Nando Michelin, Gary Wang Cornelia Street Café 8:30 pm $10• Ghola Tanks: Weasel Walter, Tim Dahl, Tom Blancarte; Louise Jensen, Tim Dahl, Weasel Walter Death By Audio 8 pm $7• Tim Kuhl I St. Helena with Grey Mcmurray, Jared Samuel, Rick Parker, Josh Valleau, Ryan Ferreira, Philip Sterk Zebulon 9 pm• Terry Waldo’s Gotham City Band; Joseph Lepore/Lucio Ferrara; Brandon Lewis/ Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• Manuel Valera The Bar on Fifth 8 pm• Nicolas Letman-Burtinovic Ensemble; Flin van Hemmen Ensemble ABC No-Rio 7 pm $5• Peter Leitch/Dennis James Walker’s 8 pm• Natura Morta: Frog Lasso, Sean Ali, Carlo Costa Ze Couch Series 7 pm• Cheryl Lynne Skinner Shrine 8 pm $10êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Blue Note 8, 10:30 pm $45êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $30• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Kendrick Scott Jazz Standard 7:30, 9:30 pm $35êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Cyrille Aimee Birdland 8:30, 11 pm $30-40• Matt Lavelle and Company Downtown Music Gallery 6 pm• Art Baron and Friends Bowery Poetry Club 6 pm• Magos Herrera Saint Peter’s 5 pm• Judi Silvano with Fred Jacobs, Peter Tomlinson, Santi Debriano, Steve Johns Blue Note 12:30, 2:30 pm $29.50êAlfred Patterson Sextet with Eddie Allen, Reggie Pittman, Mark Taylor, Joe Daley, Warren Smith Dwyer Cultural Center 2 pm $20• Susan Pereira Trio with Klaus Mueller, Itaiguara North Square Lounge 12:30, 2 pm

Monday, June 25êJean-Michel Pilc/Rudresh Mahanthappa ShapeShifter Lab 8 pm• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Blue Note 8, 10:30 pm $25• Tommy Smith Quartet with Steve Hamilton, Alyn Cosker, Kevin Glasgow Dizzy’s Club 7:30, 9:30 pm $30êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10êCraig Harris with Richard Fairfax, Jay Rodriguez, James Stewart, Eddie Allen, Franz Hackl, Pete Drungel, Fred Cash, Tony Lewis Dwyer Cultural Center 8:30, 10 pm $10• Danny Fox Trio; Alex Sipiagin Group with Seamus Blake, Dave Kikoski, Boris Kozlov, Nate Smith; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20êPascAli: Pascal Niggenkemper/Sean Ali; Aram Shelton, Mary Halvorson, Weasel Walter; Aram Shelton/Josh Sinton; Minerva: JP Schlegelmilch, Pascal Niggenkemper, Carlo Costa Douglass Street Music Collective 9 pm $10• Preston Reddick Resura For My Sweet 7:15, 9:15 pm• The Magic Trio: Chris McNulty, Paul Bollenback, Ugonna Okegwo Bar Next Door 8:30, 10:30 pm $12• Kay Matsukawa Zinc Bar 7 pm $8• Asuka Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm• Lucio Ferrara The Bar on Fifth 8 pm• Hiro Momoi Identified Strangers with Chad Lefkowitz-Brown, Nir Felder, Julian Shore Somethin’ Jazz Club 10 pm $10• Howard Williams Jazz Orchestra; Greg Lewis Trio The Garage 7, 10:30 pm• Joel Forrester Bryant Park 12:30 pm

Tuesday, June 26êBlue Note Jazz Festival: Stanley Clarke/George Duke 4 BB King’s Blues Bar 8, 10:30 pm $40êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 9, 11 pm $25• Liane Carroll Trio Dizzy’s Club 7:30, 9:30 pm $30• Hector Martignon Quartet Dizzy’s Club 11 pm $10• John Ellis Quintet with Aaron Goldberg, Mike Moreno, Matt Penman, Rodney Green Jazz Standard 7:30, 9:30 pm $20• Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Birdland 8:30, 11 pm $30-40• Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15• Merger: Andrew D’Angelo, Kirk Knuffke, Ben Street, Kenny Wollesen ShapeShifter Lab 8 pm• Dalton Ridenhour solo; Alex Sipiagin Group with Seamus Blake, Dave Kikoski, Boris Kozlov, Nate Smith; Josh Evans Smalls 6:30, 8:30, 11:30 pm $20• Curtis Hasselbring, Oscar Noriega, Tom Rainey; Pete Robbins/Tyshawn Sorey Group Korzo 9, 10:30 pm• Jen Baker/Kyoko Kitamura; Dapplegray: Nava Dunkelman, Tara Sreekrishnan, Jeanie April Tang The Stone 8, 10 pm $10• Eric Deutsch Trio with Jeff Hill, Tony Mason Cornelia Street Café 8:30 pm $10• Nelson Riddle Orchestra Damrosch Park 7:30 pm• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Blue Note 8, 10:30 pm $25• Saul Rubin; Itai Kriss Salsa All-Stars; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• On The Way Out: Louise DE Jensen solo; Dom Minasi/Christian Duo The Backroom 8:30, 10 pm $10êJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm• Jeremy Siskind solo Jazz at Kitano 8 pm• Cecilia Coleman Big Band; Paul Corn Quartet The Garage 7, 10:30 pm• Lucio Ferrara The Bar on Fifth 8 pm• The Grautet Shrine 6 pm• Joel Forrester Bryant Park 12:30 pm

Wednesday, June 27êTerje Rypdal with Palle Mikkelborg, Ståle Storløkken, Paolo Vinaccia Le Poisson Rouge 7:30 pm $30• Blue Note Jazz Festival: Michel Camilo Trio; Alfredo Rodríguez Trio Highline Ballroom 8, 10:30 pm $40êLarry Grenadier, Jeff Ballard, Phil Grenadier, George Garzone ShapeShifter Lab 8 pm• Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Victor Provost, Reuben Rodgers, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $30• Hector Martignon Quartet Dizzy’s Club 11 pm $10

êMiles Davis Festival 2012: Philip Harper Sextet with Jason Marshall, Wayne Escoffery, David Kikoski, Gerald Cannon, Montez Coleman Smoke 7, 9, 10:30 pm• Brian Landrus Kaleidoscope with Frank Carlberg, Nir Felder, Lonnie Plaxico, Rudy Royston Cornelia Street Café 8:30 pm $10êAaron Parks Group; Vitaly Golovnev Smalls 8:30, 11:30 pm $20• Roger Kleier; Maryclare Brzytwa, James Brandon Lewis, Kevin Robinson The Stone 8, 10 pm $10• Will McEvoy’s Mutasm with Brad Henkel, Nathaniel Morgan, Patrick Breiner, Dustin Carlson, Cody Brown Barbès 8 pm $10• Sally Night Quartet with John diMartino, Neal Miner, Greg Hutchinson Jazz at Kitano 8, 10 pm $10• Rafi D’lugoff; Sharp Radway Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Maurício de Souza Quartet with Nancy Harms, Angelo Di Loreto, Iris Ornig The Lambs Club 7:30 pm• Stan Killian and Friends Jam Session The Backroom 11 pm• Paolo Tomaselli’s Crossroads with Hailey Niswanger, Pasquale Strizzi, Shin Sakaino, Alessio Romano Somethin’ Jazz Club 7, 9 pm $10• Yaala Ballin Quartet; Jason Prover Quintet The Garage 6, 10:30 pm• Sly Blue Flute Gramercy 8 pmêMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 9, 11 pm $25• John Ellis Quintet with Aaron Goldberg, Mike Moreno, Matt Penman, Rodney Green Jazz Standard 7:30, 9:30 pm $20• Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Birdland 8:30, 11 pm $30-40• Lucio Ferrara The Bar on Fifth 8 pm• Holli Ross/Eddie Monteiro Saint Peter’s 1 pm $10• Joel Forrester Bryant Park 12:30 pm

Thursday, June 28êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, Dave Green Damrosch Park 7:30 pm• Cassandra Wilson Blue Note 8, 10:30 pm $55• Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter Jazz Standard 7:30, 9:30 pm $30• Meshell Ndegeocello Highline Ballroom 9 pm $30• Jeremy Pelt Brooklyn Museum 7 pm• Animation: Bob Belden, Peter Clagett, Jacob Smith, Roberto Verastegui, Matt Young ShapeShifter Lab 8 pm• Sam Raderman with Tim McCall, Luc Decker; Corin Stiggall Trio; Steve Slagle Quartet with Dave Demotta, Bill Moring, McClenty Hunter; Carlos Abadie Quintet with Joe Sucato, Peter Zak, Jason Stewart, Luca Santaniello Smalls 4, 7:30, 10 pm 1 am $20• Nikolaj Hess Trio with Francois Moutin, Greg Hutchinson Cornelia Street Café 8:30 pm $10• Neal Miner; Will Terrill Quintet; Alexi David Fat Cat 7, 10 pm 1:30 am• Zeena and the Adorables with Shayna Dunkelman, Preshish Moments; The Unlearning: Theresa Wong/Carla Kihlstedt The Stone 8, 10 pm $10• Sunna Gunnlaugs Trio with Þorgrímur Jónsson, Scott McLemore Scandinavia House 7 pm $12• Tony Middleton Quartet Birthday Bash with Jesse Elder, Kenji Yoshitake, Jacob Melchior Jazz at Kitano 8, 10 pm $10• Clara Ponty with Gilles Coquard, Edouard Coquard, Olivier Louvel Joe’s Pub 7:30 pm $15• Philip Dizack Quintet with Jake Saslow, Eden Ladin, Linda Oh The Jazz Gallery 9, 10:30 pm $15êUnderground Horns Nublu 11 pm• Iris Ornig Trio with Davy Mooney, Chris Benham Bar Next Door 8:30, 10:30 pm $12• Christian Finger Band with Gordon Au, Dave Berkman, Adam Armstrong Tea Lounge 9, 10:30 pm• Michael Webster Quintet with Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig; Elad Gellert with Gadi Stern, Nadav Lachish, Dani DAnor Somethin’ Jazz Club 7, 9 pm $10• Senri Oe Tomi Jazz 9 pm $10• Eric Kurimski solo; Chilcano Tutuma Social Club 6:30, 8:30 pm• Mamiko Watanabe Trio Cleopatra’s Needle 7 pm• Ryan Anselmi Quintet; Joe Curtis Quartet The Garage 6, 10:30 pm• Squelch; Donna Singer Shrine 6, 8 pm• Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Victor Provost, Reuben Rodgers, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $30êMiles Davis Festival 2012: Philip Harper Sextet with Jason Marshall, Wayne Escoffery, David Kikoski, Gerald Cannon, Montez Coleman Smoke 7, 9, 10:30 pmêMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 9, 11 pm $25• Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Birdland 8:30, 11 pm $30-40• Lucio Ferrara The Bar on Fifth 8 pm• Joel Forrester Bryant Park 12:30 pm

44 June 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, June 29êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, Dave Green Iridium 8, 10 pm $65êBlue Note Jazz Festival: Spectrum Road: Cindy Blackman-Santana, Jack Bruce, John Medeski, Vernon Reid BB King’s Blues Bar 8 pm $45êMiles Davis Festival 2012: Tom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan BlakeSmoke 8, 10, 11:30 pm $35êJesse Stacken Trio with Eivind Opsvik, Jeff Davis Tenri Cultural Institute 8 pmêRalph Alessi Quartet with Jason Moran, Drew Gress, Nasheet Waits The Jazz Gallery 9, 10:30 pm $20• Sacha Perry Trio with Jon Roche, Ai Murakami; Larry Ham Trio; Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs; Lawrence Leathers Smalls 4, 7:30 10 pm 1 am $20• Amir Ziv, Billy Martin, Cyro Baptista ShapeShifter Lab 8 pm• Ben Monder/Theo Bleckmann Cornelia Street Café 9, 10:30 pm $15• itsnotyouitsme: Caleb Burhans/Grey McMurray; Brian Chase and guests The Stone 8, 10 pm $10• Spy Music Festival: Rhys Chatham Brass Duo; Steve Gunn/John Truscinski Duo; Skeletons; Peter Stampfel Union Pool 8 pm $12êJimmy Giuffre Tribute with Jeremy Udden, John McNeil, Aryeh Kobrinsky, Vinnie Sperrazza; Nate Radley Group; Jeremy Viner Quintet with Bobby Avey, Travis Reuter, Pascal Niggenkemper; Cody Brown Douglass Street Music Collective 8 pm $10êVitaly Golovnev Quartet; Diallo House Sextet Fat Cat 6, 10:30 pm• Meschiya Lake and Dem Little Big Horns Damrosch Park 7:30 pm• Paul Bollenback Trio with Joseph Lepore, Rogerio Boccato Bar Next Door 7:30, 9:30, 11:30 pm $12• Steph Chou; Matt Giella with Matt Giella, Alex DeZenzo, Ian Baggette, Leo Freire Somethin’ Jazz Club 7, 9 pm $10• Kayo Hiraki Tomi Jazz 9 pm $10• Camila Meza solo; Bichiló with Gaby Hayre Tutuma Social Club 7, 8 pm• Satchamo Mannan Quartet Cleopatra’s Needle 8 pm• Alex Hoffman Quartet; Dre Barnes Project The Garage 6:15, 10:45 pm• Rodrigo Bonelli; Mademoiselle Fleur Shrine 6, 8 pm• Cassandra Wilson Blue Note 8, 10:30 pm $55êJacob Fred Jazz Odyssey: Brian Haas, Chris Combs, Jeff Harshbarger, Josh Raymer and guest Mark Southerland Blue Note 12:30 am $10• Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter Jazz Standard 7:30, 9:30, 11:30 pm $30• Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Victor Provost, Reuben Rodgers, Alioune Faye Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Hector Martignon Quartet Dizzy’s Club 12:45 am $20êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 9, 11 pm $25• Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Birdland 8:30, 11 pm $30-40• Lucio Ferrara The Bar on Fifth 8 pm• Joel Forrester Bryant Park 12:30 pm

Saturday, June 30• Deborah Latz/Ray Parker Cornelia Street Café 6 pmêKermit Driscoll Quartet with Kris Davis, Ben Monder, Tom Rainey Cornelia Street Café 9, 10:30 pm $15• Phillip White, Taylor Levine, Ches Smith; Maryclare Brzytwa, Zeena Parkins, Ha-yang Kim, Shayna Dunkelman The Stone 8, 10 pm $10• Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake with ShapeShifter Lab Orchestra ShapeShifter Lab 8 pm• Dominick Farinacci Group Joe’s Pub 7 pm $20• Rez Abbasi Trio with Sean Conly, Ronen Itzik Bar Next Door 7:30, 9:30, 11:30 pm $12• Spy Music Festival: Rhys Chatham Guitar Trio with Adam Wills, Charlie Looker, Mark Pearson, Jason Sanford, Kevin Micka, Sarah Lipstate, Sarah Richardson, Steve Gunn, Chris Weiss, Caley Monahan-Ward, Kid Millions; Neptune: Jason Sanford, Mark Pearson, Kevin Micka; Extra Life: Charlie Looker, Caley Monahon-Ward, Nick Podgurski Issue Project Room 7 pm $12• Shimrit Shoshan; Carlos Abadie Quintet Fat Cat 7, 10 pm• David Cook Tea Lounge 9 pm • Dee Cassella with Matt Baker, Dan Lipsitz, Jimmy Lopez, Nick Wright; Fredrick Levore with Lou Rainone, Paul Beaudry, Steve Johns; Victor Jones Trio Somethin’ Jazz Club 5, 7, 9, 11 pm $10• Shoko Amano Trio; Shin Sakaino Trio Tomi Jazz 8, 11 pm $10• Ken Simon Quartet Cleopatra’s Needle 8 pmêCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, Dave Green Iridium 8, 10 pm $65êMiles Davis Festival 2012: Tom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Johnathan BlakeSmoke 8, 10, 11:30 pm $35êRalph Alessi Quartet with Jason Moran, Drew Gress, Nasheet Waits The Jazz Gallery 9, 10:30 pm $20• Chris Washburne Quartet with Ole Mathisen, Per Mathisen, Tony Moreno; Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs Smalls 7:30 10 pm $20• Cassandra Wilson Blue Note 8, 10:30 pm $55• Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter Jazz Standard 7:30, 9:30, 11:30 pm $30• Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Victor Provost, Reuben Rodgers, Alioune Faye Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Hector Martignon Quartet Dizzy’s Club 12:45 am $20êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 9, 11 pm $25• Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Birdland 8:30, 11 pm $30-40• Lucio Ferrara The Bar on Fifth 8 pm• Matt Parker Quartet; Joonsam Lee Trio; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

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• Quentin Angus Duo Tomi Jazz 8 pm• Beyond Blue Light; John Farnsworth Quartet Smoke 6:30, 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• 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))• Bill Campbell and Friends Bar Next Door 8 pm $12• 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• Sean Harkness Trio 54 Below 10:30 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• Yvonnick Prene Group Tomi Jazz 8 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• Sedric Choukroun and the Eccentrics Chez Oskar 7 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)• 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)• John Miller Quartet 54 Below 10:30 pm• Alex Obert’s Hollow Bones Via Della Pace 10 pm• Yuko Okamoto Trio Tomi Jazz 8 pm• David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10• Sam Raderman Quartet Smoke 11:30 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/Tony Decaprio American Folk Art Museum Lincoln Square 2 pm• Bill Wurtzel Duo Velour Lounge 6:30 pm• Jordan Young Group Bflat 8:30 pm

THURSDAYS• Jason Campbell Trio Perk’s 8 pm• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)• JaRon & Emme One Fish Two Fish 7:30 pm• Jazz Meets HipHop Smoke 11:30 pm• Jazz Open Mic Perk’s 8 pm• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm• Latin Jazz Jam Nuyorican Poets Café 9 pm• Barry Levitt Trio 54 Below 10:30 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• Ken Fowser Quintet 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• 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• Johnny O’Neal Smoke 12:30 am• Skye Jazz Trio Jack 8:30 pm• Michelle Walker/Nick Russo Anyway Café 9 pm• Bill Wurtzel Duo Henry’s 12 pm

SUNDAYS• Bill Cantrall Trio Crescent and Vine 8 pm• Marc Devine Trio TGIFriday’s 6 pm• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm• 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; Allan Harris; Jason Teborek Smoke 11:30 am, 7, 11:30 pm• Stan Killian Trio Ocean’s 8 8:30 pm• Bob Kindred Group Café Loup 12:30 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 solo Smalls 5, 9:30 pm• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm• Annette St. John and Trio Smoke 11:30 am, 1, 2:30 pm• Secret Architecture Caffe Vivaldi 9:45 pm• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm• Swingadelic Swing 46 8:30 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

JA Z Z at K I TANOMus i c • R e s t a u ra n t • B a r

“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD

LIVE JAZZ EVERYWEDNESDAY - SATURDAY

$10 WED./THUR + .$25 FRI. /SAT. + $15 Minimum/Set

2 SETS 8:00 PM & 10:00 PM

$15 Minimum/Set

JAZZ BRUNCH EVERY SUNDAYTONY MIDDLETON TRIO

11 AM - 2 PM • GREAT BUFFET - $35OPEN JAM SESSION MONDAY NIGHTS

8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG TUES. (5, 12, 19 & 26) IN JUNE • 8:00 PM - 11:00 PM

JEREMY SISKIND - SOLO PIANO

FRI. JUNE 1BRANDON WRIGHT QUARTET

CD RELEASE EVENTBRANDON WRIGHT, DAVE KIKOSKIBORIS KOZLOV, DONALD EDWARDS

$25 COVER + $15 MINIMUM

SAT. JUNE 2HARRY ALLEN QUARTET

HARRY ALLEN, BILL CUNLIFFEJOEL FORBES, CHUCK RIGGS$25 COVER + $15 MINIMUM

WED. JUNE 6BILL CUNLIFFE TRIO

BILL CUNLIFFE, BORIS KOZLOV, TIM HORNER$10 COVER + $15 MINIMUM

THURS. JUNE 7BEN POWELL QUARTET

BEN POWELL, TADATAKA UNNOAARON DARRELL, DEVIN DROBKA

$10 COVER + $15 MINIMUM

FRI. & SAT. JUNE 8 & 9WYCLIFFE GORDON QUARTET

WYCLIFFE GORDON, AARON DIEHLYASUSHI NAKAMURA, MARION FELDER

$25 COVER + $15 MINIMUM

THURS. JUNE 28TONY MIDDLETON QUARTET

“BIRTHDAY BASH”TONY MIDDLETON, JESSE ELDER

KENJI YOSHITAKE, JACOB MELCHIOR$10 COVER + $15 MINIMUM

WED. JUNE 27SALLY NIGHT QUARTET

CD PROMOTIONAL EVENT "LOVE FOR SALE"SALLY NIGHT, JOHN DI MARTINOED HOWARD, GREG HUTCHINSON

$10 COVER + $15 MINIMUM

FRI. & SAT. JUNE 29 & 30TO BE ANNOUNCED

$25 COVER + $15 MINIMUM

FRI. & SAT. JUNE 22 & 23JOE LOCKE QUARTET

JOE LOCKE, ELDAR DJANGIROVMIKE POPE, CLARENCE PENN$25 COVER + $15 MINIMUM

FRI. & SAT. JUNE 15 & 16JANIS MANN QUARTET

JANIS MANN, KENNY WERNERMARTIN WIND, TIM HORNER$25 COVER + $15 MINIMUM

THURS. JUNE 21JILLIAN LAURAIN QUARTET

JILLIAN LAURAIN, MATT BAKERTOM HUBBARD, DOROTA PIOTROWSKA

$10 COVER + $15 MINIMUM

WED. JUNE 20DAN TEPFER TRIO

DAN TEPFER, JORGE ROEDER, TED POOR$10 COVER + $15 MINIMUM

WED. JUNE 13VANESSA TROUBLE & COMPANY

FEATURING STEVE SALERNOVANESSA TROUBLE, STEVE SALERNO

PLUS SPECIAL GUESTS$10 COVER + $15 MINIMUM

THURS. JUNE 14KATSUKO TANAKA QUARTET

KATSUKO TANAKA, STACY DILLARDDANTON BOLLER, WILLIE JONES III

$10 COVER + $15 MINIMUM

RESERVATIONS - 212-885-7119VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork

www.kitano.com • email: jazz@kitano.com66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | June 2012 45

• 5C Café 68 Avenue C (212-477-5993) Subway: F to Second Avenue www.5ccc.com• 54 Below 254 West 54th Street Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue www.54below.com• 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• Alor Café 2110 Richmond Road, Staten Island (718-351-1101) www.alorcafe.com• 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 to W. 4th Street• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn (718-636-4139) 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, Brooklyn (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, C, E, F 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 to W. 4th Street www.bluenotejazz.com• Bohemian National Hall 321 East 73rd Street (212-988-1733) Subway: 6 to 68th Street www.bohemiannationalhall.com• Bowery Poetry Club 308 Bowery (between 1st and Bleeker Streets) (212-614-0505) Subway: F to Second Avenue; 6 to Bleecker Street www.bowerypoetry.com• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.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 Botanic Garden 900 Washington Avenue (718-623-7333) Subway: B, Q to Prospect Park www.bbg.org• Brooklyn Children's Museum 145 Brooklyn Avenue (718-735-4400) Subway: 4 to Atlantic-Pacific then B65 Bus www.brooklynkids.org• Brooklyn Friends School 375 Pearl Street (718-852-1029) Subway: A, C, F to Jay Street www.brooklynfriends.org• Brooklyn Lyceum 227 4th Avenue (718-857-4816) Subway: R to Union Street www.brooklynlyceum.com• Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org• Brooklyn Public Library Central Branch Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue• Brooklyn Terrace 216-228 Duffield Street (347-390-1891) Subway: J to Jay Street; 2, 3 to Hoyt Street www.brooklynterrace.com• Buona Sera 12th Street and University Place Subway: 4, 5, 6, L, N, R, Q, W to Union Square• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 2 to Nereid Avenue/238th Street• Cabrini Green Urban Meadow President and Van Brunt Streets Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus• 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, Q to W. 4th Street www.caffevivaldi.com• Campos Plaza Playground East 13th Street between Avenues B and C Subway: L to 1st Avenue• 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• The Center for Jewish Arts and Literacy 325 E. 6th Street (212-473-3665) Subway: 6 to Astor Place www.eastvillageshul.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• Church For All Nations 417 West 57th Street between 9th & 10th Avenues Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.hkculturalcenter.org• Church of the Ascension 12 W. 11th Street (212-254-8620) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.ascensionnyc.org• Citigroup Center Plaza 53rd Street and Lexington Avenue Subway: 6 to 51st Street• Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: F, J, M, Z to Delancey Street www.visionfestival.org• 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• 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 to W. 4th Street www.corneliastreetcafé.com• The Counting Room 44 Berry Street (718-599-1860) Subway: L to Bedford Avenue www.thecountingroombk.com• Creole 2167 3rd Avenue at 118th Street (212-876-8838) Subway: 6 th 116th Street www.creolenyc.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• Damrosch Park at Lincoln Center Broadway and 62nd Street Subway: 1 to 66th Street www.lincolncenter.org• 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• Death By Audio 49 S. 2nd St between Wythe and Kent Subway: L to Bedford www.entertainment4every1.net/shows• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org• Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com• 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• Dwyer Cultural Center 259 St. Nicholas Avenue (212-222-3060) Subway: D to 125th Street www.dwyercc.org• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street www.earinn.com• 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• The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org• Flute Gramercy 40 E. 20th Street (212-529-7870) Subway: 6 to 23rd Street www.flutebar.com• For My Sweet Restaurant 1103 Fulton Street at Claver Place (718-857-1427) Subway: C to Franklin Avenue• 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• Gershwin Hotel Living Room 7 East 27th Street (212-545-8000) Subway: 6 to 28th Street• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.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• Greenwich House Music School 46 Barrow Street (212-242-4770) Subway: 1 to Christopher Street• 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• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: 5 to Sterling Street www.plgarts.org• Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com• Irondale Center 85 South Oxford Street Subway: C Lafayette Street; G to Fulton Street www.gimmeartirondale.com• Issue Project Room 110 Livingston Street Subway: 4, 5 to Borough Hall www.issueprojectroom.org• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street• Jazz @ the Crypt Church of the Intercession 550 W. 155th Street (212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.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• 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 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• Littlefield 622 Degraw Street (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com• The Local 269 269 East Houston Street at Suffolk Street Subway: F, V to Second Avenue www.thelocal269.com• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org• 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• Manhattan Inn 632 Manhattan Avenue (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.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• Metrotech Commons corner of Flatbush and Myrtle Avenues (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall• Midwood Music 285 Midwood Street Subway: 2, 5 to Sterling Street

• 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, V to Second Avenue www.nublu.net• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org• Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue (718-857-5555) Subway: B, Q to Seventh Avenue• One Fish Two Fish 1399 Madison Avenue (212-369-5677) Subway: 4, 5, 6 to 96th www.onefishtwofish.com• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com• The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com• Prospect Park Bandshell Subway: F to Prospect Park www.bricartsmedia.org• Red Rooster Harlem 310 Malcolm X Boulevard (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com• Rhythm Splash 673 Flatbush Avenue Subway: B, Q to Parkside Avenue• 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• St Andrew Avellino RC Church 3350 158th Street, Flushing (718-445-7012) Subway: 7 to Main Street, Q28 or Q13 bus• Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org• 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• Sidewalk Café 94 Avenue A at E. 6th Street Subway: 6 to Astor Place• Sintir 424 E. 9th Street between Avenue A and First Avenue (212-477-4333) Subway: 6 to Astor Place• 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 53rd Street www.somethinjazz.com/ny• Sora Lella 300 Spring Street (212-366-4749) Subway: C, E to Spring Street www.soralellanyc.com• Steinway Hall 109 W. 57th Street (212-246-1100) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.steinwayhall.com• The Stone Avenue C and 2nd Street Subway: F to Second Avenue www.thestonenyc.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• Tenri Cultural Institute 43A West 13th Street between Fifth and Sixth Avenues Subway: F to 14th Street www.tenri.org• Three Jolly Pigeons 6802 3rd Avenue, Brooklyn (718-745-9350) Subway: R to Bay Ridge Avenue• Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org• Tutuma Social Club 164 East 56th Street 646-300-0305 Subway: 4, 5, 6 to 59th Street www.TutumaSocialClub.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• Urban Stages 259 West 30th Street Subway: 1 to 28th Street• 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 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• 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• The Waterfront Museum Brooklyn Bridge Park, Pier 6 Furman Street and Atlantic Avenue Subway: F, G to Bergen Street• 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• World Financial Center Plaza Subway: E to World Trade Center www.worldfinancialcenter.com• Yippie Café Manhattan 9 Bleeker Street between Elisabeth and Bowery Subway: 6 to Bleeker Street• York College Illinois Jacquet Performance Space 94-20 Guy R. Brewer Blvd., 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, C, E, F, Grand Street Shuttle to W. 4th Street www.zincbar.com

CLUB DIRECTORY

46 June 2012 | THE NEW YORK CITY JAZZ RECORD

(DOEK CONTINUED FROM PAGE 13)

Amsterdam’s Wilbert de Joode and Chicago’s Hamid Drake demonstrated contemporary Dutch-American fusion, with The Now quartet. The frontline was similarly divided between American flutist Nicole Mitchell and saxophonist Peter van Bergen from the Netherlands; that’s divided only in nationality, for the players were equally proficient in mixing multiphonics, minimalism and mellowness. Drake’s frame-drum rubs and occasional reggae backbeats didn’t preclude him from preserving a press-roll-and-rim-shot jazz pulse while no matter how many bass wood scratches or vibrating buzzes dOeKer de Joode emphasized, his sturdy walking was omnipresent. Meantime Mitchell matched lyrical glissandi with rough piccolo tweets while van Bergen moved between New Music-like spaciousness and mewling near-blues. The most notable cooperation occurred when flute, tenor saxophone and bass held a single, continuous tone as Drake decorated the line with hand-drum pops. A stirring Dutch-dOeK variant on the Tough Tenor tradition was apparent at two funky performance spaces during the bus tour. At Kwikfiets, a combination café, art gallery and bicycle repair shop (!), reedist Ab Baars went mano-a-mano with Brazilian-born tenor saxophonist Yedo Gibson, backed by Finnish guitarist Mikael Szafirowski and drummer Gerri Jäger. Playing mostly Baars’ tunes, the two tenors’ styles were distinctive even playing shoulder-to-shoulder. The Brazilian’s snickering extensions encompassed reed bites and tongue stops while Baars played mid-range, excepting sporadic altissimo leaps. With Baars on clarinet, shaggy group harmonies approximated those of Tim Berne’s recent bands, especially when Szafirowski alternated finger slides and slashing distortion as the drummer smacked wood blocks or bounced handfuls of straw on drum tops for unique rhythms. Sticking to tradition, the band also alluded to Monk, Trane, Cool Jazz and the blues. Meanwhile at OT301, the former Netherlands Film Academy, contrasting tenor saxophone stylists American John Dikeman, another dOeK member, and Delius were set off by Wierbos’ trombone skills. Sometimes the trombonist’s cup-muted growls and Delius’ spacious vibrato sounded like they migrated from a foot-tapping Swing-Era jam session, although the rhythm section included synthesizer and electric bass. Still chief attraction was the rugged power created by the two tenor saxophonists. Playing originals ranging from ballad approximations to rocking bar-room stompers, the two maintained their individuality. In contrast to Delius’ studied classicism, Dikeman extended energy music. And if energy was needed there was no better example than the sextet’s first tune, an African-influenced piece composed by Bergin. A go-for-broke workout, the dynamic performance combined joyous Township jive, staccato rhythms and snapping solos, whose mulch of blues, jazz and that indefinable other went a long way towards defining the sounds that characterized the dOeK Festival overall. v

For more information, visit doek.org

(TRONDHEIM CONTINUED FROM PAGE 13)

drums; James Allsopp: reeds; Adrien Dennefeld: cello) played airy, clean, fresh concepts that left you wanting more. Allan Holdsworth filled Dokkhuset to overflowing, but his trio burned you out in four or five tunes. Holdsworth is a guitar god in a domain he helped invent, progressive jazz-rock. But every piece was a blistering onslaught of guitar overkill. There was one sonority (shrieking) and one tempo (turbo). It

made you realize how varied a Pat Metheny concert is. From a large poster on the wall, Frank Zappa observed the scene with his baleful black-eyed stare. The low point of the festival was an hour in Blæst by the British/Norwegian band Food (Iain Ballamy, reeds; Thomas Strønen, drums; guests Petter Vågan and Prakash Sontakke, guitars). It kept getting worse: Sontakke’s moaning, quavering vocals, then Vågan’s glacially slow solo, scraped with a violin bow, then long periods of catatonic ensemble silence broken randomly by electronic burbles and oscillations. But the bad taste left by Food was temporary. This festival was populated by brilliant Norwegians, many just starting out, most from NTNU. An irresistibly likable trio called Pelbo played plunging, bucking jazz-rock with only a drummer, a straight-faced singer and a kick-ass tuba player (Kristoffer Lo). Two piano trios were up-to-the-minute examples of what Stuart Nicholson has called “the Nordic tone”: Splashgirl played the electronic version, Moskus the acoustic. Anja Lauvdal of Moskus, with her fragmentary lyricism floating outside of time, is another pianist to watch. A ten-piece student band, the NTNU Jazzensemble, performed diverse, complex material with fervor and precision (compositions by Ivar Gafseth, arrangements by Erik Johannessen). Not a single soloist played anything obvious, including Peder Simonsen, the festival’s second fully articulate tuba improviser. The Trondheim Jazzorkester packed Blæst and no wonder. They are a hilarious troupe of performance artists who are also an airtight ten-piece band. Their shtick included mimes, clowns, balloons, champagne servings and trombonists who took smoking solos with red balls on their noses. One concert at this festival stood alone. It was enclosed and magical. Bugge Wesseltoft’s solo piano recital under the dome of an old church, Vår Frue Kirke, opened with “My Foolish Heart”. It was freer than Bill Evans‘ version at the Village Vanguard, pieced out even more slowly. But it unfolded within a similar hush that drew the large crowd into a rapt shared experience. Wesseltoft played only ballads and standards. He flowed very far from their forms but distilled their emotions. “Moon River” was bare chimings. “When I Fall in Love” was a whisper of tenderness. In this marvelous acoustic environment, he could lightly touch one piano key and fill the large church with sound. Earlier, during the Jazz Summit, Wesseltoft had said that the power of live music depends on the mysterious interactive connection between artist and audience. In Vår Frue Kirke, he never once broke the bond.

For more information, visit jazzfest.no

THE NEW YORK CITY JAZZ RECORD | June 2012 47

ON THIS DAY

By the time of his 40th birthday, pianist Thelonious Monk was a bona fide jazz star, having already released what many consider to be his best album (1956’s Brilliant Corners with Sonny Rollins) and collaborated with Art Blakey and John Coltrane on this album, which also features the allstar lineup of trumpeter Ray Copeland, alto saxist Gigi Gryce, tenor saxist Coleman Hawkins and bassist Wilbur Ware. The material mixes new soon-to-be-classics like “Crepuscule With Nellie” with older staples like “Off Minor” and “Epistrophy”.

The promise of trumpeter Howard McGhee, a peer of Dizzy Gillespie, was only partially fulfilled due to drug problems. After a few well-received sessions in the late ‘40s, his output in the ‘50s was sporadic and a brief early ‘60s flurry led to a decade hiatus on record. This album may be one of the finest in his ‘middle’ period, a quartet date with Phineas Newborn Jr. (piano), Leroy Vinnegar (bass) and Shelly Manne (drums) on a program of standards, two pieces by tenor saxophonist Teddy Edwards and the leader’s original “Demon Chase”.

Even in his small group postbop dates, composer/pianist George Russell was always a conceptualist. But his large group albums (1959’s New York, New York; 1961’s Jazz In The Space Age) were his most vibrant canvas. By the time of this album, Russell had established himself in Scandinavia and expanded his vision. The core of this 18-piece ensemble (Russell only playing tympani) were Norwegians like Jan Garbarek and Terje Rypdal alongside a small vocal choir playing the over-45-minute title piece, split into four “Event”s.

The tenor saxophonist made a name for himself in the ‘50s and ‘60s in a number of big bands, such as those led by Dizzy Gillespie and Count Basie, and as a sideman with Horace Silver and Kenny Clarke. By the early ‘60s Mitchell had come out as a leader, recording just over a dozen albums in a career that ended with his 2001 death. For his third and final Xanadu album, Mitchell is joined by Benny Bailey (trumpet), Tommy Flanagan (piano), Rufus Reid (bass) and Jimmy Cobb (drums) for a set of mostly bandmember originals.

This concert, released in two volumes, is both a career retrospective and reaffirmation of guitarist Jim Hall’s unparalleled place in jazz history. Old friends like bassist Ron Carter, trombonist Bob Brookmeyer and baritone saxist Gerry Mulligan make appearances for duo performances. A string quartet is added to a couple of quartet numbers and then Hall works with a number of his progeny like John Scofield, John Abercrombie, Mick Goodrick and Peter Bernstein, ending with a guitar quintet reading of his own “Careful”.

by Andrey Henkin

Monk’s MusicThelonious Monk (Riverside)

June 26th, 1957

Maggie’s Back In Town!!Howard McGhee (Contemporary)

June 26th, 1961

Listen to the SilenceGeorge Russell (Concept)

June 26th, 1971

De Lawd’s BluesBilly Mitchell (Xanadu)

June 26th, 1980

Live at Town HallJim Hall (Musicmasters)

June 26th, 1990

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

June 2†Ernie Hood 1923-91Gildo Mahones b.1929 John Pisano b.1931 Pierre Favre b.1937 Irene Schweizer b.1941 Matthew Garrison b.1970 Noah Preminger b.1986

June 3†Carl Pruitt 1918-1977Al Harewood b.1923 Phil Nimmons b.1923 †Dakota Staton 1932-2007†Bob Wallis 1934-91Ted Curson b.1935 Grachan Moncur III b.1937 Corey Wilkes b.1979

June 4†Teddy Kotick 1928-86†Oliver Nelson 1932-75†Alan Branscombe 1936-86Mark Whitecage b.1937 Ted Daniel b.1943 Anthony Braxton b.1945 Paquito D’Rivera b.1948 Winard Harper b.1962

June 5†Kurt Edelhagen 1920-82†Specs Powell 1922-2007†Pete Jolly 1932-2004Misha Mengelberg b.1935 Jerry Gonzalez b.1949

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

June 7†Gene Porter 1910-1993†Tal Farlow 1921-98†Tina Brooks 1932-74Norberto Tamburrino b.1964 Devin Gray b.1983

June 8†Billie Pierce 1907-74†Erwin Lehn 1919-2010†Kenny Clare 1929-85Bill Watrous b.1939 Julie Tippetts b.1947 Uri Caine b.1956

June 9†Les Paul 1915-2009†Jimmy Gourley 1926-2008†Eje Thelin 1938-90Kenny Barron b.1943 Mick Goodrick b.1945

June 10†Chink Martin 1886-1981†Willie Lewis 1905-71†Dicky Wells 1907-85†Guy Pedersen 1930-2005†John Stevens 1940-94Gary Thomas b.1961 Charnett Moffett b.1967 Jonathan Kreisberg b.1972 Ben Holmes b.1979

June 11†Clarence “Pine Top” Smith 1904-29†Shelly Manne 1920-84†Hazel Scott 1920-81†Bob Gordon 1928-55Nils Lindberg b.1933 Bernard “Pretty” Purdie b.1939 Jamaaladeen Tacuma b.1956 Alex Sipiagin b.1967 Assif Tsahar b.1969

June 12Marcus Belgrave b.1936 Kent Carter b.1939 Chick Corea b.1941 Jesper Lundgaard b.1954 Geri Allen b.1957 Oscar Feldman b.1961 Christian Munthe b.1962 Peter Beets b.1971

June 13†Charlie Elgar 1885-1973†Doc Cheatham 1905-97†Eddie Beal 1910-84†Phil Bodner 1919-2008†Attila Zoller 1927-98Buddy Catlett b.1933 Frank Strozier b.1937 Harold Danko b.1947 Mike Khoury b.1969

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

June 15†Allan Reuss 1915-1988†Erroll Garner 1921-77†Jaki Byard 1922-99Mel Moore b.1923 Tony Oxley b.1938

June 16†“Lucky” Thompson 1924-2005†Clarence Shaw 1926-73Joe Thomas b.1933 Tom Harrell b.1946 Fredy Studer b.1948 Mike Baggetta b.1979 Ryan Keberle b.1980

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

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

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

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

June 21†Dewey Jackson 1900-94†Jamil Nasser 1932-2010Lalo Schifrin b.1932 Jon Hiseman b.1944 Chuck Anderson b.1947 Eric Reed b.1970

June 22Ray Mantilla b.1934 Hermeto Pascoal b.1936 Heikki Sarmanto b.1939 Eddie Prevost b.1942 Ed “Milko” Wilson b.1944

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

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

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

June 26†Teddy Grace 1905-92†Don Lanphere 1928-2003†Jimmy Deuchar 1930-93Dave Grusin b.1934 Reggie Workman b.1937 Joey Baron b.1955 Bill Cunliffe b.1956 Mathias Eick b.1979

June 27†Elmo Hope 1923-67George Braith b.1939 Todd Herbert b.1970

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

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

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

MICK GOODRICKJune 9th, 1945

The guitarist’s discography is not extensive - a handful of discs as a leader since his 1978 ECM debut In Pas(s)ing; membership in and albums recorded with the groups of Gary Burton, Charlie Haden and Jerry Bergonzi, among others - but his significance is substantial as an educator. His The Advancing Guitarist (Hal Leonard, 1987) is required reading, not strictly an instruction manual but more of a treatise on being a creative musician. Goodrick attended Berklee College of Music, graduating in 1967 alongside peer/future collaborator John Abercrombie, teaching at the school for four years after graduation before returning as a professor in 1997. He also co-authored the two volumes of Mr. Goodchord’s Almanac of Guitar Voice-Leading. -AH

BARBARA BUCHHOLZ - Originally a bassist, Buchholz went on to become one of the leading performers on theremin, the early electronic instrument played by proximity of the hands to a pair of antennae, going on to work with Arve Henriksen and Jazz Bigband Graz as well as in the worlds of ballet and opera. Buchholz died Apr. 10th at 52.

BILL CALDWELL - The stalwart Kansas City saxophonist, who also tripled on clarinet and flute, was a member of several large jazz ensembles such as Woody Herman Big Band, Tommy Dorsey Orchestra, Kansas City Boulevard Big Band, Glenn Miller Orchestra and was a featured player with the Kansas City Jazz Orchestra. Caldwell died in late March at 49.

TEDDY CHARLES - One of the pioneering vibraphonists in jazz, Charles was also a pianist and occasional drummer, working during the ‘50s-60s with Miles Davis, Charles Mingus, Art Farmer and others along with releasing a number of solid albums as a leader in the ‘50s, mostly on Prestige. Charles dropped out of music in the early ‘60s, eventually becoming a charter boat captain before returning to the jazz spotlight in the early aughts largely through the efforts of saxist Chris Byars. Charles died Apr. 16th at 84.

RODGERS GRANT - The pianist, who worked with Mongo Santamaria, Hubert Laws and Sonny Fortune, among others, was equally known as a composer, penning such tunes as “Just Say Goodbye”, “Miedo”, “Morning Star” and “Yeh Yeh”, later given lyrics by Jon Hendricks. Grant died Apr. 12th at 76.

PHOEBE JACOBS - The philanthropist was first introduced to jazz and jazz legends like Sarah Vaughan, Duke Ellington and Ella Fitzgerald as a hatcheck girl at her uncle’s club. Later she became Louis Armstrong’s publicist and then Executive Vice President of the Louis Armstrong Educational Foundation, Inc., which maintained the trumpeter’s legacy. Jacobs was also a founding member of the Jazz Foundation of America. Jacobs died Apr. 9th at 93.

ART JENKINS - Many of the vocals featured in the Sun Ra Arkestra were performed by Jenkins, who first joined the pianist in 1960 and recorded seven albums with his group through 1971, as well as appearing on a pair of Eddie Gale albums. After stepping away from music for a couple of decades, Jenkins rejoined the Arkestra in 1988 and appeared on another seven albums. Jenkins died Apr. 13th at 77.

VIRGIL JONES - The trumpeter worked with a wide range of players such as Milt Jackson, Archie Shepp, Johnny Hammond Smith and Charles Tolliver in the ‘60s-70s and then later in his career in the brass sections of big bands led by McCoy Tyner and Jimmy Heath. Jones died Apr. 20th at 73.

TONY MARSH - A longtime member of an unrecorded trio with Evan Parker and John Edwards, the British drummer was in the bands of Harry Beckett, Mike Westbrook, Didier Levallet and Mike Osborne, took part in a number of collaborative improvising groups and in 2009 released his only album as a leader, a series of duets with Veryan Weston, on Evan Parker’s psi label. Marsh died Apr. 9th at 72.

HAL MCKUSICK - The ‘40s saw the alto saxophonist working with the big bands of Les Brown, Woody Herman and Buddy Rich. During the ‘50s McKusick was a busy studio musician, recorded with Terry Gibbs, Charles Mingus and George Russell and released close to 10 albums as a leader from 1955-59. McKusick died Apr. 11th at 87.

GEORGE MESTERHAZY - The pianist had his greatest visibility as arranger/musical director for vocalist Paula West though his early work was with older singers like Shirley Horn and Rebecca Paris. Mesterhazy was responsible for adapting a wide range of pop and American standards for West and leading her band during their six-year partnership. Mesterhazy died Apr. 12th at 58.

JOE MURANYI - The clarinetist was a member of the final iteration of Louis Armstrong’s All-Stars from 1967-71 but also worked with Nina Simone in the late ‘50s and, after Armstrong’s death, Roy Eldridge and Lionel Hampton. Muranyi died Apr. 20th at 84.

UELI STAUB - The Swiss vibraphonist was in the underrated Metronome Quintet, which released a few modern European jazz albums in the ‘60s-70s. Staub died Apr. 9th at 78.

ROB VAN DEN BROECK - The Dutch pianist was a member of the European Jazz Ensemble led by bassist Ali Haurand and also had in his discography albums with Chris Hinze, a collaborative trio with Haurand and saxist Gerd Dudek, his group Free Fair and a single disc as a leader, a duo with bassist Wiro Mahieu. Van Den Broeck died Apr. 29th at 71.

IN MEMORIAMBy Andrey Henkin

http://www.bluenotejazzfestival.com