JANUARY 2020—ISSUE 213 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.

COM

steven
bernstein
synthesis of everything

special
feature
best of
2019

donald ronnie dusko bob

harrison burrage goykovich brookmeyer
 Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East JANUARY 2020—ISSUE 213
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628 New York@Night 4
Laurence Donohue-Greene:
ldgreene@nycjazzrecord.com
Interview : donald harrison 6 by alex henderson
Andrey Henkin:
ahenkin@nycjazzrecord.com
Artist Feature : ronnie burrage 7 by john pietaro
General Inquiries:
info@nycjazzrecord.com
On The Cover : steven bernstein 8 by jim motavalli
Advertising:
advertising@nycjazzrecord.com
Encore : dusko goykovich 10 by mark keresman

Calendar: Lest We Forget : bob brookmeyer 10 by ken dryden

calendar@nycjazzrecord.com
VOXNews: LAbel Spotlight : destiny 11 by eric wendell
voxnews@nycjazzrecord.com

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VOXNEWS 11 by suzanne lorge
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obituaries 12 by andrey henkin

14
or email info@nycjazzrecord.com
album Reviews
Staff Writers

28
Duck Baker, Stuart Broomer,
Robert Bush, Kevin Canfield, special feature: best of 2019
Marco Cangiano, Thomas Conrad,
Pierre Crépon, Ken Dryden,
Donald Elfman, Phil Freeman,
Kurt Gottschalk, Tom Greenland,
Miscellany 42
George Grella, Tyran Grillo,
Alex Henderson, Robert Iannapollo,
Mark Keresman, Marilyn Lester,
festival report 43
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts, Event Calendar 44
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow

Contributing Writers
Brian Charette, George Kanzler, Steven Loewy,
Franz Matzner, Kyle Oleksiuk, Eric Wendell There has been a lot of talk over the past couple of years about coal miners and how their noble
lifestyle needs to be preserved, how their hard work must be appreciated and supported. Well,
Contributing Photographers let us tell you, dear reader, that sometimes being half-mile underground seems preferable to
Anthony Alvarez, Tim Dickeson, Enid Farber, compiling our annual Best Of lists. We have to dig through thousands of recordings received
Peter Gannushkin, Alan Nahigian, John Rogers over the past judging period to unearth the most precious gems and there is no canary watching
Fact-checker out for us overdoing it and asphyxiating musically. But we do it for you and we hope that you
Nate Dorward discover some new treasures among our Best of 2019 centerfold (pgs. 28-29). And don’t forget
to take a moment to remember all those who we lost this past year; a complete list is on pg. 12.

But 2019 and the whole second decade of the 21st century is behind us. Look forward to
the future, taking a lesson from trumpeter Steven Bernstein (On The Cover), whose
Millennial Territory Orchestra celebrates its 20th anniversary this month with a concert as
part of Winter Jazzfest. Saxophonist Donald Harrison (Interview) and drummer Ronnie
Burrage (Artist Feature) also respect the jazz tradition while pushing it forward; see both
nycjazzrecord.com around town this month, just a few of many recommended concerts in a packed Event Calendar.

On The Cover: Steven Bernstein (Peter Gannushkin/DOWNTOWNMUSIC.NET)

Corrections: In last month’s NY@Night, Patricia Nicholson-Parker is the sole founder of
Arts for Art. In last month’s Artist Feature, Jaimie Branch grew up on Long Island.

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

2 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 CHRIS
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DECEMBER 9 - JANUARY 5
BOTTI PHILLY REUNION:
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BIRTHDAY VIBES SESSION
JOEY DEFRANCESCO, KURT ROSENWINKEL,
CHRISTIAN MCBRIDE & LIL’ JOHN ROBERTS MACEO PARKER
JANUARY 6 - 8 JANUARY 9 - 12 JANUARY 14 - 19

DIZZY GILLESPIE ANTONIO SANCHEZ IGOR BUTMAN & THE

ALL-STARS & MIGRATION MOSCOW JAZZ ORCHESTRA
JANUARY 21 - 26 JANUARY 28-29 JANUARY 30 - FEBRUARY 2

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TERMS, CONDITIONS AND RESTRICTIONS APPLY
 NEW YORK @ NIGHT
It was a bit like watching My Dinner with Andre, a J azz is fascinating in how one day a musician is
rambling but riveting colloquy between two old a young lion and then, almost before realizing, head of
friends, only this one occurred between saxophonist/ the pride. While drummer Johnathan Blake has played
trumpeter Scott Robinson, resplendent in a custom the Village Vanguard numerous times over the
shirt and hat made of saxophone reeds, and pianist decade—Ravi Coltrane, Kenny Barron, Tom Harrell—
Frank Kimbrough during an early set at Mezzrow and led bands around town, fronting his own group at
(Dec. 8th). They’ve been talking, musically, for almost the august venue was a career checkbox. His Pentad
40 years now, primarily in the context of standard was players whose names, once unfamiliar, are now
repertoire, recently that of Thelonious Monk. From the ubiquitous and, soon, too, will be inextricably woven
first proud tenor call, rattling the open-lid piano’s into the jazz fabric: Immanuel Wilkins (alto saxophone),
sympathetic strings as it introduced “Monk’s Mood”, Joel Ross (vibraphone), David Virelles (piano) and
those sitting quietly crowded together in the narrow Dezron Douglas (bass). Simply put, it is a hell of a
subterranean room sensed we were in for an engrossing group and one flush with connections; Wilkins and
SWING BY TONIGHT dialogue. Kimbrough hit all the composer ’s signature Ross are all over each other ’s projects while Virelles,
7:30PM & 9:30PM fills, segueing into “Sweet and Lovely” after Robinson’s Douglas and Blake are three-fourths of the Ravi
buzzy finish, setting a new mood both urbane and Coltrane Quartet. The latter even came to see his
JAN 1
closed for new years day earthy; Robinson debuted his rare Kuhlohorn charges during the run, just one of a full house all the
(a horizontally-held flugelhorn), comically ending way to the back wall (Dec. 5th). The nearly 75-minute
JAN 2-5 with a coarse, out-of-tune tone. “I was doing OK until set was wondrous, starting off by Blake making fun of
gonzalo rubalcaba trio d’été I went for that low note,” he quipped. Monk’s “Played the bomber jacket Wilkins was wearing (“Top Gun?”)
JAN 6 • MONDAY NIGHTS WITH WBGO Twice” showed the duo’s bop side, Kimbrough and included Blake tributes to his wife (“Rio’s
ashley pezzotti quintet chuckling out loud at an unexpectedly synchronous Dreams”) and his elders/peers (“Rivers and Parks”)
accent. After he’d set up “You Took Advantage of Me”, plus, Art Blakey-style, pieces by Blake’s bandmates.
JAN 7 a beautiful ballad, Robinson took over, playing trumpet The music called for a neologism: ‘crefficiency’, as
ed cherry quartet feat. peter bernstein on B sections (taking an effective solo on the second), everyone did exactly what the music called for in the
JAN 8 finishing with a tender understated coda. Kimbrough’s most inventive way possible. While things were
amina figarova sextet masterful harmonies undergirded “You Took humming along nicely, they peaked by the pairing of
Advantage of Me” before the set closed with “You a short South African lullaby with a transcendent take
JAN 9-10 Don’t Know What Love Is”. —Tom Greenland on Joe Jackson’s “Steppin’ Out”. —Andrey Henkin
the brianna thomas band
JAN 11
russell hall presents
the feeling of romance
JAN 12

©️John Rogers / johnrogersnyc.com

brubecks play brubeck
JAN 13
isaiah j. thompson quartet
JAN 14
courtesy of mezzrow

christian sands trio

JAN 15
the curtis brothers "algorithm" album release
JAN 16
atom string quartet
JAN 17-19
walter blanding quartet Frank Kimbrough & Scott Robinson @ Mezzrow Johnathan Blake’s Pentad @ Village Vanguard

JAN 20
jazz at lincoln center youth orchestra Seeing is unbelieving. At least that’s what you could F or the historically inclined reviewer, such as your
conclude watching the raucous bacchanalia intrinsic to humble correspondent, it was hard not to be in awe of
JAN 21 • 7:30PM ONLY a live gig by the Ed Palermo Big Band. The occasion: the collective experience onstage at Birdland (Dec. 5th)
sean mason trio Iridium (Dec. 9th), 15 or more musicians blasting away with saxophonist Joe Lovano’s Streams of Expressions.
JAN 21 • 9:30PM ONLY on stage, five extremely drunk men in Santa hats at the Going by the imprecise metric of first recorded
vuyo sotashe rear of the house trying—almost succeeding—to appearance, this undectet (look it up) has a combined
out-blast the band and, in the eye of the storm, 440 years under its belt; even the baby of the group,
JAN 22 resplendent in a glittering white princess dress and drummer Otis Brown III, has been recording since the
larry willis: a life in jazz tiara, matching snowflake earrings and wand (doubling turn of the millennium. The group’s purpose was two-
JAN 23-26 as a conductor ’s baton), pranced Palermo himself fold. For the first half of the set, they played music
benny green trio (aka Suzy/Uncle Snowflake), chief culprit and from Lovano’s 2005 album of the same name
instigator. And those arrangements! Here were your (amazingly, given the intervening years, the horn
JAN 27 seasonal favorites—“The Night Before Christmas” section of Lovano, Ralph Lalama, Gary Smulyan,
benny benack III: "a lot of livin' to do" (a recitation); “God Rest Ye Merry Gentlemen” and George Garzone, Steve Slagle, Barry Ries, Tim Hagans
album release party “We Three Kings” (mashed up with, among other and Ed Neumeister is mostly intact). These pieces were
JAN 28 things, Dizzy Gillespie’s “Things to Come”, Roland West Coast cool, bebop fanfare and an Ellington-ian
james morrison quartet Kirk’s “Serenade to a Cuckoo”, Frank Zappa’s “Toads ballad, all blowing opportunities for the horns. The
of the Short Forest” and “My Favorite Things”); plus second half dug far deeper into jazz history with a
JAN 29 “Little Drummer Boy”; “Dance of the Sugar Plum musician whose centennial was overlooked two years
benito gonzalez trio: tribute to mccoy Fairy”; “Dance of the Mirlitons”; and more—only ago and whose emerald anniversary (look it up) of his
tyner these holiday hits had been Palermo-ized: repurposed passing will probably also receive scant attention next
JAN 30-31 by his deft but demented imagination to reflect the year: Tadd Dameron. The group segued from the semi-
nilson matta's brazilian voyage quintet prog-rock influences of Zappa, Jethro Tull and King obscure “Focus” to the title track of Dameron’s 1956
Crimson. It’s called jazz, in case you were wondering. collaboration with John Coltrane, ending with another
JAZZ.ORG / DIZZYS Meantime, one drunken Santa kept hollering, “We love rarity in “Whatever Possessed Me”. Dameron’s late
212-258-9595 you, Ed!” while another made repeated requests for ‘40s-50s work is a template for Lovano’s band, with its
jazz at lincoln center Zappa’s “Peaches en Regalia”. (It was never played.) emphasis on composition, but so too is the World
broadway at 60th st., 5th fl.
Alas, even the Santas couldn’t match Palermo’s band Saxophone Quartet in the marvelous stacking and
for creative insanity. (TG) interplay of the horns, especially the leader ’s. (AH)

4 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 WHAT ’ S NEWS
Superband Artemis made its Carnegie Hall debut As assorted urban young adults entered The Bell
(Dec. 7th) to a packed house, which welcomed the House (Dec. 13th), the DJ was spinning R&B mixes, at
ensemble with wildly appreciative cheers as trumpeter one point even Bill Withers’ “Lovely Day” with a
Ingrid Jensen, clarinetist/soprano saxophonist Anat strangely funky backbeat grafted atop. Welcome to the
Cohen, tenor saxophonist Melissa Aldana, pianist “Official NYC Winter Jazz Fest Kick-Off Party”, with 2020 Jazz Congress, taking place at Jazz at Lincoln Center’s
Rose Hall Jan. 13th-14th, has announced its Keynote session:
Renee Rosnes, bassist Noriko Ueda and drummer mile-wide grooves careening across the Gowanus “The Legacy of Betty Carter” moderated by René Marie with
Allison Miller came to center stage and bowed. Taking space. Unexpectedly, the evening’s celebrant, Nate panelists Dee Dee Bridgewater, Benny Green, Gregory
her place at the piano, Music Director Rosnes Smith, ran out onto the stage to the enthusiastic cheer Hutchinson, Christian McBride and Kenny Washington. Other
dramatically pounded out a dark left-hand vamp to set of hipsterly fans, leaping behind the drumkit, his killer panels during the two-day event include: in Jazz Town Hall; Vocal
Jazz Summit; Stage Presence: A Master Class; Talking Trumpets:
up Miller ’s “Goddess Of The Hunt”, dedicated to the backbeat throbbed along with whichever dance Conversation & Music About Louis “Satchmo” Armstrong;
Greek deity for whom the band is named. The sextet number was on the booming house system, cracking Building & Marketing Your Brand Through Social Media; We
followed with Jensen’s stirring arrangement of “Fool rim-shots with a vengeance. But that was just a teaser. Insist: Speaking Truth to Power; Wellness for Jazz Musicians;
On The Hill”, beginning ethereally and finishing with By the time Smith and his band Kinfolk stepped out for Africa: The Past & Future of Jazz; Perfect Pitch: Jazz Video
a fiery drum solo. Rosnes then introduced vocalist their set proper, the audience surrounded the stage Challenge; Musician: Book Thyself!; “Bird” and Beyond:
Celebrating Charlie Parker at 100; Building Buzz for Gigs in the
Cécile McLorin Salvant, who began slowly intoning area, bobbing along with Brad Allen Williams’ agitated Post-Listings Era; The Balance of Art & Commerce in the
the verse to Cole Porter ’s “Easy To Love” in a gentle guitar riffs. Once the heavy bass of Fima Ephron Business of Jazz Recording; Jazz Radio’s Role in an Era of
girlish tone before launching into the melody, wildly entered, along with Jon Cowherd’s Rhodes, the Music Abundance; Jukebox Jury; Case Studies: Building Digital
swinging it at a rapidly rising tempo, horns racing unceasing strut welcomed celebrated alto saxophonist Archives; Building and Nurturing your Jazz Ecosystem:
Roundtable Discussions; Jazz Road: Funding Opportunities for
alongside. She continued with a poignant reading of Jaleel Shaw. His church-oriented lead remained Touring & Residencies; Ask the Pros One-on-One sessions.
Stevie Wonder ’s “If It’s Magic”. The sextet followed wrapped around the chord-tones throughout much of For more information and to register, visit jazzcongress.org.
with Rosnes’ “Big Top”, which aptly conjured a circus- the show. The crowd erupted when Shaw played
like atmosphere. The mood calmed with Cohen’s two-note repetitions reminiscent of what musicians Qwest TV, founded by Quincy Jones, the first subscription video-
impressionistic “Nocturnal”. Salvant then returned to once labeled “chicken sax” due to the picking away of on-demand platform dedicated to jazz, has announced a
partnership with Amazon Fire TV, an expansion into Japan and an
sing a powerful rendering of Kurt Weill-Bertolt Brecht’s repeated one-, two- or three-note bursts. The music education initiative whereby students from Princeton University,
“Pirate Jenny” and a moving version of Maxine was very well executed, but far removed from the The University of the Arts, University of Central Oklahoma,
Sullivan’s “Cry, Buttercup, Cry”. The sextet closed out considerable reach of the Winter Jazzfest. This was an Koninklijk Conservatorium Brussel and University of Music and
with Aldana’s “Frida” and Ueda’s “Step Forward”, oddly warm December night (52 degrees and rising) Performing Arts Graz, plus more universities to follow, will have
free access to programming. For more information, visit qwest.tv.
then returned with Salvant for a bluesy encore, Lady and it soon became evident that little in the event title
Day’s “Fine and Mellow”. —Russ Musto seemed applicable to this occasion. —John Pietaro Saxophonist James Brandon Lewis was named the 2019
recipient of the ASCAP Foundation Fred Ho Award, given to
“innovative composers whose work, in the spirit of Fred Ho, defies
boundaries and genres.” For more information, visit ascap.com.

2019 recipients of the Instant Award in Improvised Music,

“underwritten by an anonymous patron and musical devotee...
presented to two outstanding improvisors, both of whom receive
an unrestricted award of $50,000”, have been named: Evan
Parker and Ikue Mori. For more information, visit
corbettvsdempsey.com/2019/12/17/instant-award-improvised-
© 2019 Enid Farber Fotography

music-2019-recipients.

Creative Music Studio will present a two-day intensive workshop

(12 hours) at The New School Jan. 4th-5th with Billy Martin,
Ken Filiano and Marc Ribot (Jan. 4th) and Frank London (Jan. 5th).
For more information and to register, visit creativemusic.org.
Alan Nahigian

Mark Stryker, author of Jazz From Detroit (University of

Michigan Press), one of this gazette’s Best Jazz Books of 2019,
will speak about the book on Jan. 12th at Le Poisson Rouge,
preceding the From Detroit to the World—Honoring Marcus
Belgrave concert presented by Winter Jazzfest (one of several
Artemis @ Stern Auditorium at Carnegie Hall Nate Smith @ The Bell House talks as part of this year’s program; for a complete list visit
winterjazzfest.com/talks-2020) and at Smalls Jan. 16th preceding
A first-call sideman with a long list of credits, At ShapeShifter Lab (Dec. 6th), 2019’s NY Forward a concert by Detroit-born drummer Gerald Cleaver.
including stints with Michael and Randy Brecker, Roy Festival demonstrated why the annual gathering rates Brooklyn’s The Sultan Room will present Cocktails & Crock Pots:
Haynes, Billy Hart, Jeff “Tain” Watts and Mingus Big among the top of new music fests anywhere. Over four An Evening with Ethan Iverson & Chef Jack Riebel on Jan. 5th, an
Band, among others, Dave Kikoski, despite a dynamic sets, the chill of December sweltered with the evening of midcentury hors d’oeuvres, cocktails and jazz. For more
voluminous discography of more than 20 leader dates, burn of unleashed improvisations in darkest blue information, visit thesultanroom.com/events/#event=86594619839.
seldom gets the opportunity to step into the spotlight turning haziest purple. Daniel Carter and his coterie of 10 college-level jazz programs will compete in the inaugural Jack
here in New York. So a two-night engagement at winds joyously held court in the first two sets. Up top, Rudin Jazz Championship presented by Jazz at Lincoln Center
Mezzrow brought out the crowds to hear the great he was joined by monster clarinetist Patrick Holmes, (JALC) Jan. 18th-19th at JALC’s Rose Hall. Participating programs
pianist with his trio of former Haynes bandmate Ed uniquely empowered to summon the ghosts of old are California State University, Northridge (Northridge, CA),
Howard (bass) and longtime collaborator Victor Lewis New Orleans—Johnny Dodds, perhaps Leon Roppolo, University of Northern Colorado (Greeley, CO), University of North
Texas (Denton, TX), Indiana University (Bloomington, IN), Michigan
(drums). The band kicked off its Saturday night reputed to improvise against the hum in telephone State University (East Lansing, MI), Eastman School of Music
(Dec. 14th) first set swinging hard on Oscar Pettiford’s poles—even while speaking in Braxton tongues. The (Rochester, NY), North Carolina Central University (Durham, NC),
“Tricotism”. The pianist got things started with some trio was completed by venerable bassist Hilliard Temple University (Philadelphia, PA), The Juilliard School (New
classic bebop phraseology before giving way to Greene when pianist Mary Anne Driscoll fell ill. The York, NY) and Manhattan School of Music (New York, NY). For
more information, visit jazz.org/press/jazz-at-lincoln-center-
Howard’s lyrical statement of the classic melody, interplay-to-die-for was matched only by the quartet announces-inaugural-jack-rudin-jazz-championship.
buoyed by Lewis’ propulsive brush work, beginning of Carter, drummer Federico Ughi (co-founder of
an extended three-way conversation blurring the line sponsoring 577 Records), bassist William Parker and The New Orleans Jazz Museum has been gifted a sculpture for
between soloist and accompanist. A spellbinding, Canadian multi-instrumentalist Watson Jennison. Poet their new Sculpture Garden, “The Bass Player”, by trumpeter
classically-tinged solo piano prelude introduced No Land and bassist Luke Stewart performed a set that Herb Alpert, who has also awarded a grant to the museum in
support of its new Jazz Education Center and to establish the
Kikoski’s beautiful “Inner Trust”, a song he and emcee James Keepnews dedicated to the memory of Herb Alpert Live Performance Fund. For more information, visit
Howard regularly performed with Haynes, which still Steve Dalachinsky, one bearing darkly draped word nolajazzmuseum.org.
remains in the master drummer ’s repertoire. The music streams and broiling industrialism. The closer,
continued with the trio lithely improvising through drummer Gerald Cleaver, bassist Brandon Lopez and On Jan. 18th at 7 pm, Flushing Town Hall will host Hot Club: Jazz
Listening Session, “a community of jazz lovers...keeping alive the
Chick Corea’s pretty waltz “Mirror, Mirror”, followed HPrizm on electronics, poured the sonics free and love of old recordings and swinging hot jazz”, led by jazz historian
by Kikoski’s beautiful ballad “Strike For Change”. The futurist over the beguiled house. The tension built Ben Young. For more information, visit flushingtownhall.org/jazz.
engaging set concluded with another Kikoski original, incrementally, Cleaver restricting his very movements,
“Winnie’s Garden”, which again had the piano automaton-like, through measures of 5/4, 5/8, 4/4, as
swinging mightily in conversation with walking bass Lopez responded in kind, casting depths of blackness Submit news to info@nycjazzrecord.com
and fiery brushwork. (RM) under whirling, science-fictitious oceans of sound. (JP)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 5

 I NTERVIEW

donald
or tape of important music from Cuba or Puerto Rico—
AfroCaribbean music in general—and then, you study it
and try to decipher it. For me, Eddie is like the Charlie
Parker of AfroCaribbean, AfroCuban, AfroPuerto Rican
music or whatever you want to call it. And he gives you
the freedom to explore. It’s music of the people that they

harrison
can dance to and love to dance to, but it’s also music for
the musicians where you’re free to stretch. I’m very
photo courtesy of the artist

content to have played with Eddie and he has influenced

what I’ve done with jazz music.

TNYCJR: You have found the jazz possibilities in so

many different types of music.
(CONTINUED ON PAGE 54)

by alex henderson
W hen alto saxophonist Donald Harrison made a name for got a real sense of history.
himself in the early ‘80s as a member of drummer Art
Blakey’s Jazz Messengers and co-leader of a quintet with DH: Oh, of course. Art Blakey played with everybody.
trumpeter Terence Blanchard, he was hailed as one of the And he shared his knowledge with us. He had his own
Young Lions: musicians who grew up in the rock ‘n’ roll era way of looking at things; he spent time in Africa and
yet committed to playing straightahead jazz. But as time brought that to jazz. He had a soulful touch. And Art
passed, it became obvious that Harrison was also interested Blakey was very open-minded. I remember: we brought
in playing everything from fusion, soul, funk, blues and some synthesizers and Art said, “Bring them onto the
hip-hop to classical music and his associations have ranged bandstand.” Art was into whatever we were thinking
from alto saxophonist Benny Carter and trumpeter Miles about. Art would come up with a drum orchestration
Davis to the late rapper The Notorious B.I.G. During an for each song; he would listen to it one time, then he
in-depth interview, Harrison (now 59) discussed some of his would have—in my estimation—the perfect drum
recent projects as well as highlights of his long career. orchestration to make it sound incredible.
He played like a composer on the drums to fit
The New York City Jazz Record: In what ways have all of the nuances of how the song was put together.
you evolved as a musician over the years? Art would ask me what I was hearing on my song
and I would say, “What you’re hearing is way better
Donald Harrison: It’s so much different from when than what I’m hearing. So let’s keep what you came
I first started and was just studying the sounds from the up with.”
records. I got a chance to play with jazz musicians of
every era: the Duke’s men, the beboppers, Miles Davis, TNYCJR: You’ve certainly played a wide range of music
Ron Carter and everybody in between. Many people over the years, from hardbop to fusion to hip-hop to
taught me the concepts in funk music and classical AfroCuban jazz to funk.
music, hip-hop, everything. I had the experience of
playing with many of the people who innovated— DH: Yeah, I mean, I grew up listening to funk music and
in American music, in particular, but also, Caribbean soul music and going to second lines in New Orleans.
music with Eddie Palmieri. Brazilian musicians. So now, I’m part of AfroNew Orleans culture and what comes
I think I have the highest level of authenticity because out of Congo Square, basically, and I grew up dancing to
I got it from the masters. I read something Charlie a lot of different music. So, I put all of those elements
Parker said that touched me: he said that if you didn’t together to find who I am. I grew up with gospel music,
live it, it wouldn’t come out of your horn. So I wanted to the blues. [Saxophonist] Eddie “Cleanhead” Vinson
live it. I wanted to live playing with blues musicians, took me aside when I was in my 20s and showed me
funk musicians, New Orleans soul artists, everything. what I call his blues matrix. One of the things Eddie told
me was, “Find the blues in everything and keep that
TNYCJR: What are some of the most valuable lessons essence in what you do.” I’m very fortunate that so
you learned as part of Art Blakey’s Jazz Messengers in many great alto players have mentored me: Eddie
the ‘80s and how have you applied those lessons? “Cleanhead” Vinson, Benny Carter—I played on a
tribute to Benny with a bunch of saxophone players
DH: Art Blakey used to say, “Let the punishment fit when he turned 90 [in 1997]. Benny was 90 years old
the crime in terms of music. If you’re playing the blues, and he was still playing great.
understand how to play the blues.” He used to say,
“Find the essence of each song and then, tell your story TNYCJR: Over the years, you’ve worked with so many
from that perspective. You don’t have anything to prove, greats who have since passed away, from Lena Horne to
but play what comes naturally to you.” Art had a wealth Miles Davis.
of experience playing with a lot of people and I was able
to talk to him about my hero Charlie Parker and the DH: Those people all impart a certain wisdom if you
things that Art and Bird discussed and played on the listen. You have to listen; that’s the key. The first thing,
bandstand. even as an audience member and not a musician, is you
listen—and then, you become a student of the music.
TNYCJR: Art knew how to push musicians to excel, When you’re listening, you’re studying as well. I have
whether it was Lee Morgan, Freddie Hubbard, Jackie a thing I tell students: if a sponge doesn’t take in water
McLean or Cedar Walton. when you squeeze it, nothing will come out. So take in
as much as you can and the more you take in, the more
DH: Benny Golson talks about how after you’ve played that can come out.
with Art Blakey, it’s hard to play with other drummers.
There was so much support with Art. His beat was wide. TNYCJR: What are some of your fondest memories of
He was the most swinging human being on the planet. playing with Eddie Palmieri?

TNYCJR: With Blakey, the Jazz Messengers certainly DH: One of the things that Eddie does is give you a CD

6 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 ARTIST FE ATURE

ronnie
For more information, visit ronnieburrage.biz. Burrage is at
Sugarhill Jan. 5th and Smalls Jan. 29th. See Calendar.

Recommended Listening:
• Defunkt—Eponymous (Hannibal/Island, 1980)
• John Purcell/Anthony Cox/Ronnie Burrage—

burrage
Third Kind of Blue (Minor Music, 1985)
• Jack Walrath and The Masters of Suspense—
photo courtesy of the artist

Out Of The Tradition (Muse, 1990)

• Billy Bang—Bang On! (Justin Time, 1997)
• Ronnie Burrage—Just Natural (with Eric Person,
Terence Conley) (West Wind, 2000)
• Ronnie Burrage—In It
(RB Music/Mimikalana, 2004)

by john pietaro
Ronnie Burrage is the kind of drummer bandleaders drumset traveled into Manhattan by subway, leaving
crave. In addition to masterful skills and innate off the bottom heads to stack the drums in duffle bags.
musicality, his resumé reads like post-modern jazz When guitarist Bell relocated to New York, Burrage
history, from McCoy Tyner to Defunkt to the World and he moved into an upper floor of La Mama and
Saxophone Quartet. Also wielding formidable piano were recruited by Arthur Blythe. Jobs with Fortune,
skills, Burrage can be seen playing right-handed Michelle Rosewoman, Big Nick Nicholas and Frank
chords on a keyboard while maintaining a torrential Wright followed. With Bell, Burrage became a founding
rhythmic onslaught across his other three limbs. member of Defunkt, an original Downtown band
Hailing from St. Louis, Burrage came of age during fusing improvisation with funk, rock and no wave.
the height of the Black Artists Group (BAG) as jazz “In 1978, Defunkt was a collective. Joe [Bowie] has had
ventured into the struggle for liberation. “My paternal many iterations since then, but we wrote the songs on
grandfather was Allen David Mahr, a rather unknown that first album collectively. Joe began to dictate
literary giant who was widely published in his day,” a certain sound, but the initial concept was to be free.”
Burrage explains. Mahr, a pioneering poet of color, was Frustrated, Burrage left Defunkt to join Tyner ’s band.
an associate of Amiri Baraka and Shirley LeFlore. “My Simultaneously, he began a close association with
new album includes ‘God’s Only Black Man’, a poem revolutionary poet Baraka and, as a result, Archie
he wrote 90 years ago. It’s in the archives of Mahatma Shepp, with whom he has continued to collaborate.
Gandhi, Dr. Martin Luther King Jr, President John F. Burrage became a regular at Seventh Ave South,
Kennedy and Winston Churchill. It’s become a mantra the legendary club run by the Brecker Brothers, gigging
for me.” Burrage’s family influences also included his frequently with either or both and also playing S.O.B.s,
mother, a pianist and five musician uncles. The lineage Lush Life, The Bottom Line and Studio RivBea when
extends to great uncle John Sanders, a saxophonist not on the road. His performances with the likes of
with Bessie Smith. Jam sessions were regular in the Wayne Shorter, Jaco Pastorius (“double drumming
family home. “As a toddler, I banged on pots and pans, with Rashied Ali”), Jackie McLean, Sonny Rollins and
then before age ten, began picking out melodies on the Pat Metheny remain deeply memorable and the
piano.” Several years of piano lessons predated drummer was also leading his own bands, including
Burrage’s foray into the local drum corp. He gravitated Third Kind of Blue in 1983, which immediately
to drumset, primarily learning by watching many of St. embarked on tour and Burrage “started getting the
Louis’ great drummers up close. By 13, Burrage was buzz that I was going to be in Weather Report after
leading a youth band. Peter Erskine left. Jaco wanted me, Wayne too, but Joe
Through BAG, St. Louis developed a highly active wanted Omar Hakim (laughs). I understand that it was
scene in which Burrage became innately involved. because he liked his name!” Regardless, opportunities
“Guys like Julius Hemphill would come into town and abounded: Richard Davis, Mingus Dynasty, Epitaph
there would be cultural presentations. My family and Big Band, Courtney Pine, Joanne Brackeen, Jack
brought me to poetry readings and concerts and my Walrath and a trio of Stanley Cowell and Cecil McBee.
uncles were often playing with them too. These were In the ‘90s, Burrage worked with Eddie Gomez, Billy
community events” and so it wasn’t long before the Bang, Hamiet Bluiett, Bobby Watson, David Murray,
young drummer found his way onstage. “At one point, Carlos Ward, Joe Zawinul, World Saxophone Quartet
one of the guys said, ‘Let Squirt sit in’ and after a while and Reggie Workman’s Coltrane Legacy. He also
I became a regular.” BAG had an array of master taught at JazzMobile and the New School.
musicians, poets and theater artists on hand as But burn-out ultimately led Burrage toward a hard
performers and teachers, alongside community stop. Following a divorce, he left his East Village flat
organizers and cultural educators. Such guidance for Florida, living as a single father and engaging in
inspired a flurry of creative activism. “Floyd LeFlore deep soul-searching. Within a few years, he relocated
was an important trumpet player; he and JD Parran, his family to Pennsylvania (for a Penn State teaching
Baikida Carroll, Lester and Joe Bowie and Kelvyn Bell position) where he met his current wife, Chanda,
had a band. At 14, I began playing with them.” a science professor. World Rhythm Academy, the non-
In 1978, Burrage moved to the South Bronx where profit the two founded, serves people with addictions
he experienced the then burnt-out landscape and and children at risk through expressive arts: “We are
concurrent rise of hip-hop. “I would take my drums striving for social change, bridging the gap between
out and jam with the rappers. This saved me several youth and elders, through justice and activism.”
times when I was almost jacked in the neighborhood.” Burrage the bandleader, now based in Brooklyn,
Still, he was drawn to Manhattan’s nightlife, seeking continues to break new ground while celebrating the
out Sonny Fortune, Sir Roland Hanna, Billy Hart, forbearers. His latest album, Dance of the Great Spirit,
Freddie Waits and Dannie Richmond, among other features Holographic Principle trio with bassist
notables. “But I was also hanging out with Charles Nimrod Speaks and Polish pianist Michał Wierba. “We
Bobo Shaw, then running the La Mama Theatre in the share a passion for changing the world through music,
East Village. La Mama was a creative hub hosting promoting the commonalities of diverse cultures and
underground cutting-edge arts. Burrage and his telling our stories of truth.” v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 7

 ON THE COVER

steven bernstein

Peter Gannushkin/DOWNTOWNMUSIC.NET
synthesis of everything
by jim motavalli
It took a while to arrange an interview with slide synthesis of everything.” The music room in Bernstein’s Holding Company. Back in Boston for fourth grade,
trumpet player/arranger/serial group leader Steven Nyack house features stacks of new compositions, but he Bernstein had been wowed by Louis Armstrong on TV
Bernstein. “Running late,” he would text. When finally says he won’t know what they sound like until the bands and so chose the trumpet when it was time to pick an
brought to earth, however, he had quite a lot to say play them. “The difference between classical music and instrument for band. The next year, having returned to
about his colorful history and an amazingly diverse jazz is that my players add their things to it,” he said. Berkeley, he happily fell into Dr. Herb Wong’s
group of musical activities. But after we talked “Jazz is improvised and how we interact and play legendary jazz education program for elementary kids
Bernstein called back to say he wanted to make sure together determines how the music will sound.” run out of Berkeley High and met his lifelong friend,
the story was about what he’s going to do and wants to A Bernstein project that is ongoing is, via a grant, multi-instrumentalist Peter Apfelbaum. “I’d go home
do, not just about the large legacy he’s already left recording many of his MTO arrangements that were and try to learn ‘Basin Street Blues’,” Bernstein said.
behind. “That story’s been told,” he said, making it previously only heard live. “I’m doing it for me,” he He and Apfelbaum immediately started a band, which
plain that, at 58, he’s just getting started. said. “I want it documented.” by the time they got to high school was modeling itself
So what’s ahead includes a new Sexmob record. Bernstein’s skills as an arranger have been on the Art Ensemble of Chicago.
The quartet (intact with original members Briggan apparent since 1983, when he was asked to come up Bernstein arrived in New York in 1979 to study at
Krauss on saxophones, Tony Scherr on bass and Kenny with some horn arrangements for Latin gigs. “I wrote Columbia and never left. “I caught the tail end of the
Wollesen on drums) merges jazz and the pop songs the music on the subway and it came out OK. I heard Loft Jazz scene,” he said. One of those lofts was Rivers’
that Bernstein heard growing up. The group organized some of it recently and it stands up. You could say I’m Studio RivBea and in time he and Bernstein would
around the Knitting Factory, first recorded on the not a virtuoso trumpet player—I have a good tone— make the cantorial-derived Diaspora Blues (2012).
club’s label in 1998 and has made eight albums but I turned out to be a natural arranger.” Those skills Growing up, Bernstein heard Parliament/
celebrating everyone from Prince, the Grateful Dead went mainstream when, via Hal Wilner, Bernstein Funkadelic, the Ohio Players and Stevie Wonder and he
and Nirvana to James Bond and Federico Fellini. “We worked on Robert Altman’s Kansas City movie in 1997. gravitated to city groups that incorporated funk into
made the new Sexmob album with the producer and Bernstein got a reputation as an arranger who could their sound. “That was our social music,” he said. He
mixer Scott Harding, who works with a lot of hip-hop work fast, was good with musicians and could get the heard and was inspired by Joseph Bowie’s
guys,” Bernstein said. “But he was an engineer on our best performances out of them under pressure. “Letting groundbreaking group Defunkt, graduated (from NYU,
first four records and his roots are in our kind of music. musicians do what they do best is one of the secrets of not Columbia) and in 1985 went on the road with the
Most jazz records are recorded clean, but Scotty is arranging,” he said. Flying Karamazov Brothers. A stint with John Lurie
a master of manipulating music and creating Beyond MTO and Sexmob, Bernstein is working and The Lounge Lizards beginning in 1990 helped
soundscapes. We took beats he had created and played with the Town Hall Ensemble, conceived by MA Papper, Bernstein’s visibility. Bernstein was heard with Sting,
over them. It doesn’t even have a name yet.” Artistic Director of Town Hall. With musicians including Courtney Love, Aretha Franklin, Linda Ronstadt and
Millennial Territory Orchestra (MTO) is Bernstein’s Nels Cline, Pedrito Martinez, Marc Cary and Lakecia he arranged for Bill Frisell, Rufus Wainright, Marianne
other major outlet. It’s a nine-piece band, the kind that Benjamin, the group explores what Bernstein as Music Faithfull and Elton John. He worked with eclectic
went on the road playing bluesy dance music for the Director calls “the entire history of music played while producer Wilner on several projects. He has a close
Midwestern multitudes in the ‘30s-40s. The sound is Town Hall was in New York. There is so much potential relationship with composer John Zorn and recorded
vintage, but the source material comes out of Bernstein’s there. It’s one band that is all races, genders and ages four albums for his Tzadik label. Another project,
fertile imagination and incorporates everyone from and it can play everything from Machito and Ellington perhaps a development of Diaspora Blues, will be further
Fats Waller to The Beatles and Sly Stone. “With MTO’s to Philip Glass and Grand Master Flash. I think it could exploring his heritage with Jewish cantorial music.
latest recordings I’ve been pushing drums and be a giant force for good and good music, too. I love Oh, and about that slide trumpet. He and Apfelbaum
percussion more to the fore,” Bernstein said. “I love having a band that represents New York City and came across a pair of them for $25 each at a little music
African music and want to bring it into what I do.” celebrates its musical heritage.” shop tucked in Woodstock circa 1977. “I messed around
MTO has recorded for Sunnyside, Royal Potato Family Bernstein, ever the workaholic, is also a member with it for a while and then [fellow trumpeter] Dave
and others, but the new one doesn’t have a home yet. of Ray Anderson’s Pocket Brass Band (“Ray has always Douglas said to me, ‘Why don’t you practice it?’ So I did
Frankly, any label should be happy to get it, because the been a hero of mine and it’s a very dynamic and then decided to put together a band where I only
group is very accessible. “I’ve gotten feedback on MTO partnership”), has revived Spanish Fly with David played slide trumpet—and that’s how Sexmob got
such as, ‘My wife likes it’ and there’s no shame in that,” Tronzo (slide guitar) and Marcus Rojas (tuba) and is started.” That was 1995, so Sexmob is 24 years old and
Bernstein said. “Some music is technically advanced, of Artistic Director of the Creative Music Studio in MTO is 20 in 2020. That more or less brings us up to the
course, but I don’t see hierarchies anymore. I have Woodstock, founded in 1971 by Karl Berger, Ingrid present. There’s a lot of music behind Bernstein and
worked a lot with [guitarist] Larry Campbell and he Sertso and Ornette Coleman. “With Creative we are probably just as much up ahead. v
likes songs with two chords, but hearing Sexmob working on partnering with The New School,” he said,
convinced him that folk music could rock.” “keeping the flame alive for artists who passed through For more information, visit stevenbernstein.net. Bernstein’s
Bernstein is heard on hundreds of recordings, there, including Don Cherry, Cecil Taylor and the Art MTO is at Le Poisson Rouge Jan. 10th as part of Winter
including with Roswell Rudd, Levon Helm, Sam Rivers, Ensemble of Chicago.” Jazzfest. See Calendar.
Allen Toussaint, Henry Butler, Lou Reed and Leonard How did Bernstein get so eclectic? Let’s spin the
Cohen, among many others. What those people have in clock back a ways. His family was from the East Coast, Recommended Listening:
common is they’re not with us anymore, but the manifold but his doctor father paid for medical school at Howard • Kamikaze Ground Crew—Madame Marie’s Temple of
lessons they taught him are there in the catholic music he via the Navy and they stationed him in Berkeley, Knowledge (New World, 1993)
makes now. “All that music is inside me from having California. It was 1969, the height of the counter- • Spanish Fly—Fly By Night (Accurate, 1995)
worked with them,” Bernstein said. “I’m in a fertile culture. He was eight and got sent to the Black Panther • Steven Bernstein—Diaspora Soul (Tzadik, 1999)
writing period and what’s coming out is a mixture of all Party’s summer camp. His mother gave him a copy of • Sexmob—Dime Grind Palace (Ropeadope, 2002)
that stuff. I’ll always be coming from Lester [Bowie] and Abbie Hoffman’s Steal This Book and they had a signed • Steven Bernstein Millennial Territory Orchestra—
Don [Cherry]—those two were my biggest influences as copy of Eldridge Cleaver ’s Soul on Ice. Music was in MTO Volume 1 (Sunnyside, 2005)
a young musician—but what I’m doing now isn’t strictly the air, everything from his parents’ swing records to • Henry Butler-Steven Bernstein and The Hot 9—
jazz, it isn’t New Orleans music, it isn’t rock, but a Bob Dylan, Jefferson Airplane and Big Brother and the Viper’s Drag (Impulse!, 2013)

8 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Intakt CD 334

www.intaktrec.ch
intakt@intaktrec.ch | Digital Download Shop: intaktrec.bandcamp.com
JIM BLACK TRIO
RECKON
Elias Stemeseder: Piano | Thomas Morgan: Bass | Jim Black: Drums
INTAKT RECORDS 2020
Intakt CD 338
ALY KEÏTA – JAN GALEGA BRÖNNIMANN – LUCAS NIGGLI
KALAN TEBAN
Aly Keïta: Balafon, Kalimba, Voice | Jan Galega Brönnimann: Contra Alto- and Bass
Clarinet, Soprano Saxophone, Kass Kass, Thumb Piano | Lucas Niggli: Drums, Percussion

Intakt CD 335
MICHAEL FORMANEK VERY PRACTICAL TRIO
EVEN BETTER
Michael Formanek: Bass, Composition | Tim Berne: Saxophone
Mary Halvorson: Guitar

Intakt CD 336
CHRIS SPEED TRIO
RESPECT FOR YOUR TOUGHNESS
Chris Speed: Tenor Saxophone | Chris Tordini: Bass | Dave King: Drums

Intakt CD 331
ESKELIN – WEBER – GRIENER
THE PEARLS
Ellery Eskelin: Saxophone | Christian Weber: Bass | Michael Griener: Drums

Intakt CD 325
GOLDEN VALLEY IS NOW
GOLDEN VALLEY IS NOW
Reid Anderson: Electric Bass, Electronics | Dave King: Acoustic and Electronic Drums
Craig Taborn: Synthesizers, Electric and Acoustic Piano
Distributed by Naxos America · Mailorder: arkivjazz.com

Intakt CD 337
INGRID LAUBROCK – AKI TAKASE
KASUMI
Available in NYC: Downtown Music Gallery

Ingrid Laubrock: Saxophone | Aki Takase: Piano

Intakt CD 326
SYLVIE COURVOISIER – MARK FELDMAN
TIME GONE OUT
Sylvie Courvoisier: Piano | Mark Feldman: Violin

NYCJR_FP_Jan2020.indd 1 05.12.19 17:39

 ENCORE

dusko
success, Goykovich finding work with American icons evokes something from another section of the
Sonny Rollins, Gerry Mulligan, Slide Hampton and continent—with its minor-key Spanish-flavored
Duke Jordan. He had a steady stint with the very dramatic swirls it sounds like a bullfighter squaring off

goykovich
popular Kenny Clarke/Francy Boland Big Band from against his archenemy. “Bosna Calling” has more
1963-73. drama, Goykovich’s quartet engaging with the large
A truism in jazz is that playing ballads really band arrangements, the former ’s volatile interplay lent
demonstrates a musician’s ability. Listen to Goykovich’s savor and contrast by the latter ’s near-cinematic
grandeur. Things get even more dramatic with “East of
by mark keresman
version of the standard “I’ll Close My Eyes” on his
1993 album Soul Connection (Enja). One can hear Montenegro”—urgent, somewhat bleating, pulsating
snatches of Miles Davis and Harry “Sweets” Edison in motifs contrast with smart, swaggering trumpet; it
W hile hardly a household name in the U.S. (except in his style, that delicate but-not-excessively-muted would be right at home in one of those ‘60s international
the most hip of households), trumpeter Dusko sound. He’s got the earnest soulfulness of those legends intrigue movie thrillers. The aptly-titled “Finale”
Goykovich (b. Oct. 14th, 1931 in Montenegro) is a major but the lyrical style is his own—it’s clear he grew from brings together nearly all the elements heard before in
figure in Eastern European jazz history. While inspired those roots but there’s nothing imitative in Goykovich’s the context of a swaggering swinger, hardbop
by American jazz, Goykovich expanded his scope to approach. As other items in his discography alternating and coalescing with orchestral melodrama.
play music reflecting the history of his environment, demonstrate, Goykovich strove to infuse the brass Goykovich’s playing is especially stirring and witty.
not merely its classical American roots. As with many music of the Balkan region into his approach. Also Without any heavy-handed pretentions, Goykovich
performers, he made jazz his own while sharing it with from his Soul Connection album is the Davis tribute fashions a kind of retrospective that naturally touches
Europe and, ultimately, the world. “Ballad for Miles”; as Davis channeled the old-school on but is not mired in an idealized past. Yet for the
The first jazz recording Goykovich can remember lyricism of Bobby Hackett (everything comes from most part it sounds as if it could have been recorded
is “Roy Eldridge, ‘Little Jazz’,” he says. “We could somewhere), so too does Goykovich channel Davis’ last month. Of more recent vintage is the disc Re:Bop
borrow records and music at the American Embassy in acoustic epoch and makes it his own. (Enja) with Jesse Davis (alto saxophone), Mads Vinding
Belgrade [former capital of Yugoslavia and current If this sounds cozily familiar, remember Goykovich (bass) and Alvin Queen (drums). Recorded at Jazzclub
capital of Serbia], play the music, learn it and bring it grew up under the shadow Communism cast over Birdland in Neuburg, Germany in September 2017, it’s
back after a few days. Also, there was The Jazz Hour on nearly all Eastern Europe. “In those Communist days a relaxed, genial yet winning batch of tunes with a
Voice of America [a radio broadcast from the West] jazz was forbidden in Yugoslavia,” Goykovich small group of simpatico hepcats.
which I listened to one hour daily at midnight.” remembers. “You had to listen to the music in secret. Goykovich is, because of jazz, truly a citizen of the
American culture snuck into the Eastern Bloc The Communists called it ‘music from the jungle’ or world and the world, it’s safe to say, is better for it. v
countries in the most covert, or occasionally overt, ‘Western Capitalist crap’ and all these propaganda
ways. What made Goykovich decide to be a professional terms. My fellow musicians in the Radio Belgrade Big For more information, visit duskogojkovic.com
musician was, perhaps ironically, the Hollywood film Band were cool, but we had to call the music
Young Man With A Horn (1950) starring Kirk Douglas as ‘entertaining’ music – never mentioned the word Recommended Listening:
a somewhat tragic, Bix Beiderbecke-like trumpeter. ‘jazz’.” • Kenny Clarke/Francy Boland and Company—
“Though he was, of course, not a musician, he [Douglas] Goykovich’s recently released album Sketches of The Golden 8 (Blue Note, 1961)
was trained so well that I thought, ‘Wow! That is Yugoslavia—no doubt a nod to Davis’ Sketches of Spain— • Dusko Goykovich—Swinging Macedonia
exactly what I want to do in my life!’ After many years, is a venture wherein folk strains of Yugoslavia (Philips-Enja, 1966)
I had the chance to meet Kirk Douglas personally in commingle with large ensemble jazz. Recorded in • Dusko Goykovich Quartet—Ten To Two Blues
New York in the ‘60s when we played the Ed Sullivan 1973-74 but unreleased until now, the album finds [After Hours] (Ensayo-Enja Yellowbird, 1971)
Show with Woody Herman’s Big Band. So I told him Goykovich’s small group supported by a near- • Dusko Goykovich—Sketches of Yugoslavia
that it was his fault that I became a professional symphonic backdrop from the NDR Radio Orchestra (Enja, 1973-74)
trumpet player. He had to laugh hard!” In addition, Hannover. “Haze on the Danube” is virtually the sound • Alvin Queen/Dusko Goykovich—A Day in Holland
Goykovich got encouragement from Miles Davis and feeling of forlorn translated into music. (Nilva, 1983)
(“I first met him in the early ‘60s when he played in Goykovich’s horn cries demonstratively over swinging, • Dusko Goykovich—Soul Connection, Vol. I & II
Munich”) to move to the States. The move was a Gil Evans-tinged orchestral textures. “Shumadya” (Enja, 1993)

LEST WE F ORGE T

bob
member of the Thad Jones-Mel Lewis Orchestra, functioning, working, recording band.” Two more
contributing new compositions and charts. critically acclaimed CDs would follow. Brookmeyer,
In the early ‘70s, Brookmeyer moved to the West remaining active to the end of his life, was named an

brookmeyer
Coast and worked exclusively in studios. After NEA Jazz Master in 2006. He died on Dec. 15th, 2011.
overcoming alcoholism, he returned east and this fresh Truesdell explained Brookmeyer ’s influence on
start enabled him to showcase his already considerable him: “When I studied with him at NEC, I began to
writing gifts at a new level. He moved to Europe to understand the depth of composition that he
approached each work with and the level of
by ken dryden
launch a jazz program in Rotterdam and led several
others while there. He also taught through the BMI development that was involved. Bob’s music, as a
Workshop and at Manhattan School of Music, though he trombonist and composer/arranger, changed my life
Bob Brookmeyer (1929-2011) was one of the top valve made his biggest impact at New England Conservatory and stretched my understanding of what is possible
trombonists in jazz history and an innovative composer [NEC], where his prized students included Maria within the definition of ‘jazz’ composition.” v
and arranger, along with being an accomplished Schneider, Ryan Truesdell and Ayn Inserto.
pianist. The Kansas City native first played piano in Brookmeyer benefited from increased For more information, visit bobbrookmeyer.com. A tribute
dance bands before joining Stan Getz as a trombonist opportunities to hear his large ensemble music, to Brookmeyer by Ryan Truesdell is at Jazz Standard Jan.
in 1952. He spent three years in Gerry Mulligan’s small performed and recorded by the Stockholm Jazz 7th-8th. See Calendar.
groups and served several roles in his Concert Jazz Orchestra, Jazz Big Band Graz and others. But it was
Band, contributing originals and arrangements, his founding of the New Art Orchestra in 1994 that Recommended Listening:
playing both trombone and piano. Brookmeyer gave him the greatest pleasure, as his hand-picked • Gerry Mulligan—At Storyville (Pacific Jazz, 1956)
described the year he spent with Jimmy Giuffre (1958) musicians worked hard to bring his challenging music • Jimmy Giuffre Trio—Western Suite (Atlantic, 1958)
as one of the happiest of his life. Brookmeyer ’s piano to life. “It became a love affair between us, we found • Clark Terry/Bob Brookmeyer—
chops were sufficient that a 1959 record date with Bill new levels of understanding music together. Mulligan Gingerbread Men (Mainstream, 1966)
Evans turned into an acclaimed duo piano session, The was our first guest, we did the ‘Celebration’ piece that • Mel Lewis & The Jazz Orchestra—Live At The Village
Ivory Hunters. Between 1961 and 1966, he co-led an was written for him,” he told this author in a 1999 Vanguard (Featuring The Music Of Bob Brookmeyer)
acclaimed quintet with trumpeter Clark Terry, interview. Clark Terry was the special guest the (Red Baron, 1982)
Brookmeyer ’s classically-inspired improvisations a following year. “We helped him celebrate his 75th • Bob Brookmeyer New Art Orchestra—
sharp contrast to the expressiveness of the trumpeter, a birthday and I wrote a suite for him and we toured. We New Works Celebration (Challenge, 1997)
lifelong friend who would reunite with him in the recorded our first CD in July 1997, it had to be done • Bob Brookmeyer/Kenny Wheeler—Island
following decades. Brookmeyer was also a founding because it was time to take a step forward to become a (Artists House, 2002)

10 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 L ABEL SPOTLIGHT

destiny
and techniques that lend well to the acoustic setting. our timeline doesn’t line up with the artists, we just
This of course led him to recording jazz as well around can’t afford to do an album. We always have great
the Austin scene.” discussions with artists we have to turn down—often
artists we’ve already released an album with—and we
by eric wendell
During this time, Shields and Shalda loosely
discussed the idea of starting a label. After recording hope to be able to possibly do something in the future,”
Rodriguez’ album Caminando Con Papi (which would says Shields. Mizell contextualizes by stating, “I think
Jazz, as a term, is fluid in how people use it. It is a genre, become Destiny’s first release), Shields was researching the biggest downfall of making jazz records these days
attitude, adjective and just about every kind of online about how best to release the record and came is making the artist feel rushed and I do what I can to
descriptor one can imagine. For the Austin-based label across a few articles written by his University of North help the artist feel prepared and relaxed leading up to
Destiny, the word is just the starting point for a deep Texas classmate, guitarist Cameron Mizell. “He and during their session so they can have a positive,
exploration of musical characteristics. During its six- [Shields] came across some articles that outlined the productive experience.”
year existence, Destiny has released over 20 albums entire process and then realized they were authored by Destiny tries to balance the needs of both the
demonstrating a commitment to new, creative voices. me, his old college roommate! He reached out and business and artistic sides. Shields says, “One that is
Whether it’s the AfroCuban flair of trumpeter Pete asked if I could help out. Although we hadn’t spoken related to the art, the music and keeping all of that alive
Rodriguez, ethereal ambiance of the group sum(titles) much since 2005, both he and Shalda are very authentic rather than allowing it to die because individuals are too
or chamber-jazz leanings of Kenneth Salters Haven, people whom I trusted from day one, so of course I focused on what they deserve and what is being taken
Destiny is a label ready, willing and able to clear the wanted to help out some old friends. My involvement from them. I believe that there is a fair reality and I don’t
field for a new foundation of jazz exploration. grew as the label grew from there,” says Mizell. know that I have come across a label that fits this exactly
The genesis began with Michael Shields and With the trifecta in place of Shields as owner, but rather feel like I am always searching for ways to
George Shalda. The former grew up in Austin, TX in Shalda as producer and Mizell as manager, they set make the model work for the music that the people
a musical family. Shields’ mother was an opera singer their sights on creating a sustainable musical economy create and I hold on to the assumption that the selfless
and his father played violin. Shields began playing the that is as artist friendly as possible while balancing the efforts toward this singular unifying goal will benefit the
trumpet when he was nine and his interest in jazz realities of the current music business climate. Shields people involved automatically.” Mizell states, “The
began soon after, courtesy of Louis Armstrong and states, “I told Cam that I wanted to find a way so that biggest challenge is time management and setting
Miles Davis records. This brought him to the University everybody can benefit from their work in some form priorities. When people ask me why we don’t do this or
of North Texas where he eventually earned a Master ’s from the beginning and that I did not want to cut the that, what they don’t often realize is that I’m the one
in Jazz Studies. Shields first came across Shalda in 2001 artist out of all control of their ability to participate doing it all and I simply can’t do everything. There are a
after Shalda relocated to Austin. “He [Shalda] and benefit from the exploitation of their music. I feel lot of great ideas out there and creative things we could
developed into an expert recording engineer through that we achieved that goal.” implement for our releases, but budgets and my time is
recording his group Cienfuegos, a traditional Cuban Like many small labels, Destiny has to balance limited and I can only do so much. I try to coordinate
group in which he plays trumpet, percussion, guitars their ambitions with what they can realistically efforts with the artist to maximize everyone’s efforts,
and sings,” says Shields. “In the spirit of Buena Vista achieve. “We turn down things constantly that we which is another reason we have to work with artists
Social Club, he developed an approach based on would love to do because of bad timing. We are a small that understand the need for their own involvement.”
acoustic environment, classic recording equipment label that can only do so much in a given year and if (CONTINUED ON PAGE 54)

Presence Dialogical What We Have In Common Solitude Intones Its Echo Hiraeth
Brad Whiteley Michael Eaton Charlie Rauh/Cameron Mizell Harvey Valdes Charlie Rauh

VOX NEWS

STARRY WINTER NIGHTS

With unlimited one-night passes starting at $50 and Coming in between the Winter Jazzfest marathon
unlimited two-night passes at $95, you would quickly weekends will be a special concert at Le Poisson Rouge
run out of breath trying to take it all in. On the first (Jan. 12th): Sheila Jordan herself starring in “From
Detroit To The World: Celebrating The Jazz Legacy of
by suzanne lorge
night of the marathon (Jan. 10th), besides Bleckmann
at SubCulture, you can hear Kendra Shank (like Detroit and Honoring Marcus Belgrave”. Jordan will
Bleckmann, a protegée of legend Sheila Jordan) at Zinc sing as one-fourth of the Detroit Jazz Royalty Ensemble,
The ambient melodiousness of Theo Bleckmann’s Bar, singing in tribute to her friend and mentor, Abbey with fellow NEA Jazz Masters bassist Ron Carter and
2019 release with keyboardist Joseph Branciforte, LP1 Lincoln, who would have turned 90 this year. A couple drummer Louis Hayes plus pianist Johnny O’Neal—all
(Greyfade), serves as a catalyst for probing of sets later, New Orleans-bred singer Quiana Lynell, Detroit-born. In their set—part of a larger event in
introspection. On four improvised tracks, the winner of the 2017 Sarah Vaughan Competition, will honor of the late trumpeter Belgrave—the ensemble
co-composers stack barely voiced tones, subtle clicks front an allstar lineup in the same space. will offer its respect for his lifetime achievement.
and oozing looped sounds to create a supernal mood, Following on Jan. 11th, vibrant singer Becca Brazilian singer Jamile was still a vocal jazz student
one that only barely obscures the album’s substrata of Stevens—fresh off of a fall tour with Snarky Puppy at The City College of New York this past spring when
deep emotion. Bleckmann’s interest in electronics and about to release a full-length indie jazz album, trombonist/bandleader Scott Reeves tapped her last
continues to evolve with these magnetic compositions. Wonderbloom (GroundUP Music), takes the stage at Le minute to sing with his big band at Smalls. Her newly
This step takes him away from the ‘50s cabaret fare, Poisson Rouge. A few doors away, SubCulture hosts self-released eponymous album reveals why she can
Weimar art tunes and jazz-imbued pop songs of his an exciting triple header: 2019 Juno-winning Canadian pull off a gig like this with only short notice—she can
musical past, positioning him firmly in modern pianist/singer Laila Biali up first, before vintage pop sing most anything. On her debut, she nails the tough
experimentalism. Later this year he and the superb singer Kat Edmonson, who is readying her new album nuggets (Mary Lou Williams’ “In the Land of Oo-Bla-
brass quartet, The Westerlies, will launch a horn-based, Dreamers Do (Spinnerette) for release next month, Dee”), silky pearls (Cole Porter’s “Everything I Love”)
electronics-suffused album, Songs of Refuge and followed by 2016 Grammy nominee for Best Jazz Vocal and lilting sambas (“O Pato” by Jaime Silva and Neuza
Resistance, developed during a joint residency in Album René Marie and her hip band Experiment in Teixeira). One to watch.
Vermont in June 2018. Before this release, however, Truth. Two minutes away, at the Zürcher Gallery, Sara With Remember Me, My Dear (ECM) saxophonist
Bleckmann will satisfy his musical wanderlust with a Serpa, who won DownBeat’s Rising Star Female Vocalist Jan Garbarek and the Hilliard Ensemble complete
performance of Mixtape, his mash-up of classical, jazz award five times, will work again with her band from what they started 25 years ago with Officium (ECM)—
and rock tunes, as part of the 2020 Winter Jazzfest. The Stone series last fall—guitarist André Matos, the unusually complementary blending of early music
Bleckmann’s offbeat show is only one of several pianist Dov Manski and drummer Jessie Simpson. and modern jazz improvisation. Recorded during the
smashing vocal performances crammed into different There’s some overlap on these evenings, so you’ll have group’s final tour in 2014, the album is a lovely sendoff
corners of the Village during the marathon weekend. to pick and choose wisely. to a memorable collaboration. v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 11

 I N MEMORIAM
IN MEMORIAM 2019
Jan Erik Kongshaug
EDDIE DURAN (Sep. 6th, 1925-Nov.
22nd, 2019) His 1957 debut for Fantasy
was titled simply Jazz Guitarist and that
DON ALBERT GIANNI LENOCI
is what Eddie Duran was, primarily in
CHRIS ALBERTSON
MARY LYERLY ALEXANDER
RAMSEY AMEEN
CONNIE LESTER
MILCHO LEVIEV
BO LIEBOWITZ
by andrey henkin the groups of Cal Tjader, with or
JOHN AMOROSO SHELLY LIEBOWITZ without Stan Getz, and Vince Guaraldi,
CLAES ANDERSSON HORST LIEPOLT as well as sessions with Earl “Fatha“
JEFF ANDREWS JACQUES LOUSSIER
STAN APPELBAUM DOUG LUBAHN Hines, Jon Hendricks, Benny Goodman, Tania Marie
LISLE ATKINSON GERMAN LUKYANOV
BOB AVES HAROLD MABERN and others, plus a handful more leader dates through
GINGER BAKER BOB MACAR the ‘80s. Duran died Nov. 22nd at 94.
DANNY BARBER JACQUI MAGNO
JULIO BARBOSA TONI MANIESON
VERNON BARNETT MESH MAPETLA ANDY SCHERRER (1946-Nov. 25th,
BERT BARR ARNO MARSH
CARLOS BARRUSO GEORGE MASSO 2019) The Swiss saxophonist led or
JIM BEATTY DOROTHY MASUKA co-led several dates for his country’s
SKIP BECKWITH PHIL MATTSON
VINNIE BELL TURK MAURO Unit and TCB Records in the new
GAVIN BELTON JOE MCQUEEN
RALF BENESCH MIKE MIGLIORE millennium, including international
GEORGE BENSON KARLHEINZ MIKLIN affairs with the likes of Wolfgang
MILI BERMEJO JIM MILLER
ED BICKERT NORMA MILLER Muthspiel and Bill Carrothers, was
IAN BIRD PHIL MILLER a member of the short-lived Magog and had a long
EDWIN BIRDSONG TONY MONSERRAT
RUBY BISHOP RAY MOORE tenure with the Vienna Art Orchestra to go along with
HAL BLAINE TOM “TIPPY” MORGAN credits under Joe Haider, Dusko Goykovich, Charly
JOHN BOHANNON JACQUES MORGANTINI
ANNIE BRAZIL DEXTER MORRILL Antolini and Klaus Weiss. Scherrer died Nov. 25th at 73.
ADO BROODBOOM CHRISTOPH MUDRICH
LEONARD BROWN CELIA MUR
CLORA BRYANT
CLIFFORD BUGGS
CLIFFORD T. MURPHY
BILL NAWROCKI
J an Erik Kongshaug, the Norwegian engineer and BUDDY TERRY (Jan. 30th, 1941-Nov.
JAN BYRCZEK ZÉZÉ NGAMBI producer of thousands of recordings sessions, died 29th, 2019) While the saxophonist
STEVE CANNON GEOFF NICHOLS Nov. 5th at 75, the same month that ECM Records, the started out strong as a leader, making
DAVE CAREY KEN NORDINE
FRANK CARUSO FRITZ NOVOTNY label with which he is most associated, celebrated its several albums for Prestige and
FRANK CASTY PATRICIA “PETTY” NTLAPO 50th anniversary. Mainstream in the late ‘60s-early ‘70s,
ISSA CISSOKHO CHRISTOPH OEDING
BRIAN CLARKE TONY PALUMBO Kongshaug was born in Trondheim on Jul. 4th, plus dates with Freddie Roach, Harold
JAMES COILE ROY PELLETT
MICHAEL COLGRASS JAN PERSSON 1944, a little under a year after ECM label head Manfred Mabern, Joe Morello and Alphonse
DAN COLLETTE SAM PILAFIAN Eicher. He trained in electronics at the Trondheim Mouzon and brief stints with Lionel Hampton and Art
RAY COMISKEY SHUNNA PILLAY
FRANTZ COURTOIS EDDIE PIPER Technical School and found work in the Oslo-based Blakey and The Jazz Messengers, his international star
JIM CULLUM, JR. TOM PLETCHER Arne Bendiksen and Talent Studios. waned after the ‘70s, becoming a legendary figure in
STEVE DALACHINSKY ELLIS J. POUGH
JAMES DAPOGNY ELLEN POWELL At the same time, Kongshaug could be found on his native Newark, NJ. Terry died Nov. 29th at 78.
DORIS DAY ROBERT “CLEVE” POZAR the other side of the studio glass, playing guitar or bass
JULES DEELDER YVES PREFONTAINE
BOB DEKKER ANDRÉ PREVIN on jazz, folk and pop albums by Svend Asmussen, MARY ANN TOPPER (Jun. 17th, 1940-
GEORGE DELGROSSO PETER PRISCO
Bira Do Jô FRANK PULLARO Sven Nyhus, Jan Eggum, Bjarne Nerem, Carl Hjalmby, Nov. 14th, 2019) Her The Jazz Tree
MAZINHO DO TROMBONE JUAN QUINONEZ Frode Thingnæs, Kåre Korneliussen, Asmund Bjørken management company was aptly
DR. JOHN KENNY REED
TODD DUKE JACK RENNER and others, sometimes doing double-duty as engineer named as her first clients in the ‘80s
JEFF DUPERON DANNY REPOLE of the session. He also released a couple of albums were deep-rooted figures like Ray
EDDIE DURAN EMIL RICHARDS
HAROLD EHLERS JOE RIGBY under his own name in the late ‘90s-early ‘00s for ACT Brown, Jim Hall, Jack DeJohnette, J.J.
CHRISTOPHER ELLIS MARIA RIVAS and Hot Club Records. Johnson and others before she branched
ATTILA ENGIN TETSU SAITO
LARRY ENGLUND DAVE SAMUELS In 1970-71, while working at Arne Bendiksen out to nurture the careers of younger players such as
ETHEL ENNIS JOHN C. SANDERS
JULIAN EUELL RAY SANTOS Studio, Kongshaug engineered sessions for Eicher’s Geoff Keezer, Kurt Elling, Joshua Redman, Diana Krall,
EGLAL FARHI FRANK SAVARESE fledgling imprint: Jan Garbarek Quartet - Afric Jane Monheit, Benny Green, New York Voices and
PAUL FAURE MANFRED SCHEFFNER
CLIVE FENNER ANDY SCHERRER Pepperbird (ECM 1007); Bobo Stenson/Arild Andersen/ others. Topper died Nov. 14th at 79.
ALVIN FIELDER WESLEY SCHMIDT Jon Christensen - Underwear (ECM 1012); Chick Corea
BILL FOLWELL MANSUR SCOTT
FRED FOSS HORST SEIDELMANN - Piano Improvisations Vol. 1 (ECM 1014); Jan Garbarek/ ROY WILLOX (Aug. 31st, 1929-Nov.
ANDRÉ FRANCIS KAREL SENFLUK Bobo Stenson/Terje Rypdal/Arild Andersen/Jon 25th, 2019) The British saxophonist’s
BOB FREEMAN GARY SHIVERS
SAL FURMAN DAVID SINCLAIR Christensen - Sart (ECM 1015); Terje Rypdal - Eponymous career was a prolific one from the early
MICHEL GAUDRY JANUSZ SKOWCRON
JOÃO GILBERTO MAYNARD SLOATE (ECM 1016); and Keith Jarrett - Facing You (ECM 1017). ‘50s onwards, with credits under Ted
IRA GITLER FRED SMITH This would begin a momentous partnership, Eicher Heath, George Chisholm, Tubby Hayes,
IB GLINDEMANN TONY SOLEY
MICKY GOLOMB GINO STEFANI finding in Kongshaug an engineer who could capture Stan Tracey, Benny Goodman, Cleo
KADRI GOPALNATH ANDERS STEFANSEN what has reductively been dubbed the “ECM Sound”, Laine, Phil Woods, Michel Legrand,
WALTHER GROßRUBATSCHER ERIC J. STERN
TONY HALL CLIVE STEVENS often imitated but never bested. The ‘70s would see Freddy Cole, Clark Terry, George Shearing and others
HARRY HARMAN REPPARD STONE other Eicher-Kongshaug productions by an astonishing Willox died Nov. 25th at 90. v
LEIGH HARRIS RAY SWINFIELD
VERNA HART BOB SZAJNER array of players from all over the world: Paul Bley,
JUSTIN HAYNES ROSŁAV SZAYBO
RON HEARN MIHÁLY TABÁNYI Gary Burton, Bennie Maupin, Edward Vesala, Steve
ROGER HEWITT BILL TAGGART Kuhn, John Abercrombie, Ralph Towner, Jack FREE CONCERTS
NANCY HOLLOWAY
STEVE HOOKS
JULAI TAN
FRED TAYLOR DeJohnette, Enrico Rava, Eberhard Weber, Egberto www.jazzfoundation.org
JOHN HUGHES GERRY TEEKENS Gismonti, Collin Walcott, Pat Metheny and additional
ART IRWIN BUDDY TERRY
EINAR IVERSEN WILLIE THOMAS dates by Garbarek, Andersen and many many others. NEW YORK PUBLIC EVERY MONTH:
RUDD JACOBS MARY ANN TOPPER Kongshaug would found Rainbow Studio in Oslo David Durrah Jam
JOSEPH JARMAN MARINA TROST LIBRARY National Jazz Museum in
GENE JEFFERSON TOMI UNGERER in 1984. There he would engineer hundreds more ECM
JACK JENNINGS CHRIS VADALA 96th Street Library, 4:30pm Harlem, 1/4 - 2pm
JIŘÍ JIRMAL MAYRA CARIDAD VALDÉS dates through the present day (and, one assumes, Every First Saturday
1/16: Gene Bertoncini &
CHRISTOPHER JOHNSON ANDREW VÉLEZ albums yet to be released). This is not to say that Roni Ben-Hur
CONNIE JONES JOE VENUTO Roy Meriwether and
HERBERT JOOS PAOLO VINACCIA Kongshaug only worked with ECM as his resumé has
JERRY JUMONVILLE VIC VOGEL the Wade Barnes
hundreds of jazz albums engineered for other labels as Tribute Band
RALPH JUNGHEIM JANE VOLLMER
well as just as many in the rock, classical, electronic NYC PARKS
LEWIS KAHN WANDA WARSKA Brownsville Heritage
ROLAND KEIJSER DAVE WICKINS and pop fields. But it was that special partnership with St. Mary’s Recreation Center, House, 1/18 - 3pm
GARY KLEIN ERLING WICKLUND
REINER KOBE BOB WILBER Eicher that has had the most profound effect, not only 2pm Every Third Saturday
URBAN KODER DAVEY WILLIAMS 1/18: Annette A. Aguilar &
RAINIER KÖHL IRV WILLIAMS on Kongshaug’s career but on the international world
StringBeans This project is supported in part by an award from the
ROD KOKOLJ GARY WILLIAMSON of jazz for five decades. With almost Eicher-ian National Endowment for the Arts, the New York State
Council on the Arts with the support of Governor
JAN ERIK KONGSHAUG ROY WILLOX Andrew M. Cuomo and the New York State Legislature
KIYOSHI KOYAMA FAITH WINTHROP understatement, Kongshaug described the relationship and by public funds from the New York City Department
Note that the JFA Monday Night Jam of Cultural Affairs in partnership with the City Council
ERYK KULM HARRY WOODWARD as such in a 2010 interview with AllAboutJazz.com’s and by the Howard Gilman Foundation.

DUNCAN LAMONT PETER WORTMANN will be taking place at the National

LAWRENCE LEATHERS RICHARD WYANDS John Kelman: “We had the same attitude towards Jazz Museum in Harlem: 58 W 129th
MABLE LEE JAMES WYCKOFF sound, it was very easy. We didn’t have to talk; it just Street 1/13, 1/27. 2/10 and 2/24—
MICHEL LEGRAND SOL YAGED 6:30-9:00pm.
worked, and it sounded nice.”

12 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 John got together with the eclectic WDR Big Band and liner notes make way for poems by Ruth Lepson keyed
the result is a tribute to New Orleans’ musical history, to each track. Preminger ’s originals are challenging
Dr. John’s voice and keys front-and-center. Dr. John is an and atmospheric, not your usual proto-hardbop, and
amazingly fine pianist in the New Orleans tradition and his quintet, with trumpeter Jason Palmer, features the
has a loveably jolly, raspy voice. The WDR Big Band highly electric bass of Kim Cass rather than a piano.
swings with got-the-world-on-a-string brio. The Bassist Matt Brewer ’s Ganymede is a trio with Shim and
arrangements are tight and the focus is the songs, with drummer Damion Reid mixing originals with tunes by
the big band roaring like a classic Count Basie edition. Ornette Coleman, Dewey Redman and Joe Henderson.
The program is mostly well-known songs— The latter ’s trio recordings provide some of the
Your Wish Is My Command “I Guess I’m Just A Lucky So-and-So” is sung with the inspiration for this exhilarating reimagining of a
Sol Yaged/Tino Valpa (with Harry Sheppard) confidence of ‘50s Sinatra filtered through a Louisiana format conceived by Henderson, Sonny Rollins and
(Pine Hill) prism. “Blue Skies” finds piano notes glistening like the others in Teekens’ formative years.
by Elliott Simon morning dew in a field of flowers in jaunty and
ornamental solos. “Stagger Lee” is just the Doc on keys For more information, visit crisscrossjazz.com
Clarinetist Sol Yaged’s passing last May at 96 leaves and vocals and he sings this very old song with
a large void in the NYC musical landscape. A master of descriptive aplomb. The reflective, proudly sentimental
the live gig, he amazingly played 7 nights a week for
about 60 years. However, save for It Might As Well Be
“I Still Think About You” has some rich, stirring passages
from the WDR Big Band and the laconic singing on “I’m
IN PRIN T
Swing (Herald, 1956), a superb studio session rereleased Confessin’” evokes that master storyteller of song Hoagy
in 2018 (Pine Hill), his few other recordings are live Carmichael. “Mess Around” shines the spotlight on
dates with saxophonist Coleman Hawkins and trumpet rollicking two-handed piano. Members of the WDR Big
players Phil Napoleon and Red Allen. About two years Band get some fleetingly brief solos and, while short,
ago, Yaged and punk rocker Tino Valpa discovered a they are top-drawer and hearty stuff. This is not, strictly
common musical passion resulting in Your Wish Is My speaking, a jazz album, but jazz is definitely part of what
Command, which includes an unreleased 1972 Yaged it is…and what it is is a good time.
performance and four newly recorded “tribute” tunes.
The new studio work, in addition to Yaged (who For more information, visit orangemusicrecords.com
adds a few signature lines) and Valpa (who overdubs
vocals, bass, guitar and drums), features vibraphonist Black Case Volume I and II: Return From Exile
Joseph Jarman (Blank Forms Editions)
Harry Sheppard (who at 91 is still going strong) plus
by Kurt Gottschalk
pianist Marc McElroy and a four-piece horn section.
Opener “Takin’ A Swing” is a campy sendup that The Art Ensemble of Chicago was—and continues
namechecks former NYC jazz signifiers while the to be—much more than what was captured on
instrumental “Whirlwind” is a punky Balkan brass record and occasional video. It was a top-notch jazz
pastiche. The title track’s horns, beat and self- band but also an early integrator of African influence
deprecatory lyrics turns into a Madness-inspired into Western music. It was, at times, a theater troupe,
After Life
treatise before the standard “As Time Goes By” is but it grew into both a spiritual and a business
Noah Preminger (Criss Cross)
mockingly presented as a sardonic reflection. Ganymede practice. And it was the highest profile distillation
The remainder is a welcome expansion of Yaged’s Matt Brewer (Criss Cross) of the DIY theories and practices of the Association
scant discography. In his own element, he easily flows by George Kanzler for the Advancement of Creative Musicians.
between registers with gorgeous tone. This band includes The important history of the band has, in recent
pianist Johnny Knapp, bassist Ray Carl, drummer They used to come twice a year, from about the mid years, been well documented. But what we haven’t
Mousey Alexander and presumably Sheppard although ‘80s. The postage stamps on the white wrapping paper had is a telling from a primary source. Black Case
he is uncredited. There is plenty of room to swing were from The Netherlands and the package compact Volume I & II: Return From Exile isn’t that, but it is a
collectively and individually and the recording is a and fairly heavy (secured with layers of clear tape), fascinating view into the times and one of the minds
faithful transcription of a vintage Yaged club date, consisting of two corrugated cards enclosing CDs, of the Art Ensemble in its early years.
including the diners’ table conversations. “Sweet Georgia liner booklets and cover art, but no plastic cases: Saxophonist Joseph Jarman—who passed last
Brown” and “Stompin’ at the Savoy” are extended with review copies of the latest semi-annual releases from January at 81—self-published the two volumes in
luscious solo sections and closer “The World is Waiting Gerry Teekens of albums on his Criss Cross label. The small runs in 1974, with a second edition by the
for the Sunrise” is a forward-looking statement as one package often included the debut CDs of younger jazz band’s in-house publishing arm and record label in
looks back on Yaged’s phenomenal career. musicians based in the Big Apple, as Teekens made 1977. Long unavailable, the book has been given a
twice yearly trips to New York, booking studio time for welcome new printing by Blank Forms Editions.
For more information, visit pinehillrecords.com a week or more at Systems Two Recording Studio in Essentially a collection of verse with a scattering of
Brooklyn. Over almost four decades (he began in 1981), photos and scores, the book provides remarkable
Teekens put out 404 albums. He died last October at 83. insight into Jarman’s mind through African
These are the last two albums he produced. American vernacular, poetics and politics at the
Both are in the Criss Cross tradition and indicative height of the Black Power movement.
of Teekens widening and advancing his producing For the most part, Black Case functions as a
parameters. A jazz drummer in the ‘60s, Teekens was continuous text. One work moves into the next without
steeped in hardbop and neo-bop and loved robust, titles or clear delineation. Verses change in form but
swinging jazz. Criss Cross was to the later 20th century flow through concept and phraseology. Jarman states
what Blue Note, Prestige and other indie labels were to in the introduction that “no dates are given because
the mid 20th, an outlet for jazz’ younger, up and coming they have no meaning in the ever-present flow of our
musicians to flex their creativity. Without Teekens, jazz lives” and yet it functions as a portrait in diary form. A
Big Band Voodoo
stalwarts of today like Chris Potter, Eric Alexander, transcribed dream that nearly dissolves into a police-
Dr. John + The WDR Big Band (Orange Music)
by Mark Keresman Peter Leitch, Mike LeDonne and Bill Charlap would not complicit lynching is immediately followed by a
have been heard in their formative years on record. prayer for healing through music.
Dr. John, aka Malcolm John “Mac” Rebennack, the Teekens brought them all, and many more, into the As a writer and poet, Jarman is ever-present in
pianist, guitarist, singer, arranger, songwriter and studio and, mostly in one day with little or no his text. He put the fullness of his spirit into his
producer who died last June at 77, remains an almost overdubbing or editing, produced memorable albums. writing and there is a palpable tension between the
mythical figure in music. Aside from his work as a These two albums are in that tradition while also peace he desired and the anger instilled in him by
leader, the good Doctor can be heard contributing to LPs expanding it. Both feature tenor saxophonists—Noah the violence he saw in war, oppression, the inner city
by Canned Heat, The Rolling Stones, Maria Muldaur Preminger; Mark Shim on Ganymede—with a muscular and his own mind. Jarman eventually found peace in
and many others. His approach encompassed New sound. However, the repertoire on both falls outside Buddhist practice and channeled it through his art.
Orleans rhythm and blues, jazz, blues and rock ‘n’ roll, Teekens’ comfort zone of jazz and pop standards and Black Case marks the beginnings of that journey.
dusted (sometimes liberally) with N’awlins mythology. familiarly conceived contrafacts. And Preminger ’s
He scored a major radio hit in 1973 with the song “Right album not only features originals—except for a Handel For more information, visit blankforms.org/publications
Place, Wrong Time”. During a European tour in 1995, Dr. interpretation—but the usual informative Criss Cross

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 13

 album REVIEWS
opens “Compassion”; the first notes of “Courage” for a wild, sputtering sound effects at times. This is organ at
taste of how integrated flute and voice are in Nicole its hockey-rink best and truthfully you could put on the
Mitchell’s conception; or the harmonic soaked bass album in the background while reading a book or
rumblings of Joëlle Léandre slamming “Reflection” into eating dinner and never look up from the page or the
high gear as points of individual reference. More often plate. Occasionally a melodic flourish, a quick flurry of
than not, however, it is a kind of melding, a spontaneous notes, will draw your attention, as on “5th Of Rye”, or
and lightning-fast merging of creative intuition, which a ballad like the version of “Prelude To A Kiss” will lull
propels this music beyond improvisational exercise into you into a meditative trance, but in a lot of ways this
the realms of true dialogue. album might as well be an hour-long song and that’s
With Strings “Humility” opens with Mitchell digging down not necessarily a bad thing.
Eric Alexander (HighNote) into some more of those swinging blue notes as only
by Alex Henderson she can until Melford punctuates with a single note, For more information, visit steeplechase.dk. Charette is at
transcending mere tone via rhythmic interplay achieved Smalls Jan. 3rd-4th and The Django at The Roxy Hotel
After alto saxophonist Charlie Parker recorded his by perfect timing in a moment of subtle but unbridled Jan. 11th, both with Mike DiRubbo. See Calendar.
With Strings sessions of 1949-50, myriad jazz players alacrity. Density increases as Léandre enters the

tamir
hoped to record albums emphasizing their lyrical sides pointillistic fray and her rapid repetitions, caught and
by employing lush string orchestras; unfortunately for augmented by Mitchell, lead to the clouds and sparks
most, jazz-with-strings projects were cost-prohibitive. of tone and rhythm engulfing the music two and a half
In 2011-13 tenor saxophonist Eric Alexander enjoyed
the backing of a string orchestra (with arranging and
minutes in, just before everything collapses into shards
and fragments still forming phrases that simply refuse hendelman
debuts the spirit of
conducting by Dave Rivello), the fruits of the to sputter out of existence. Then there is the absolutely israel ensemble
at the Yamaha artist
collaboration only now released. In addition to pianist exquisite, unified and miles-deep drone ending the services piano salon
David Hazeltine, bassist John Webber and drummer disc, a shifting kaleidoscope of tone and color embracing featuring
pianist tamir Hendelman witH
Joe Farnsworth, Alexander is accompanied by an all frequencies as it moves sweetly toward silence. yotam silberstein (guitar),
orchestra of nine violins, two violas, two cellos, flute As with Cream or the Coltrane group of your asaf yuria (sax)
noam wiesenberg (bass)
and French horn. While many jazz-with-strings choice, the music’s palpability results directly from and daniel dor (drums)
projects consisted entirely of ballads, this album favors staggering technique in the service of boundless thursdaY, JanuarY 9th
a combination of ballads and midtempo performances. imagination. If piano-innards explorations are doors: 6:30pm/show 7pm
689 5th avenue, 3rd floor
A lush, turn-down-the-lights ambiance prevails momentarily confused with similar sounds emanating (enter from 54th street)
tamirspirit.bpt.me
whether Alexander is performing at a comfortable from Léandre’s gorgeous instrument and if the expertly side door Jazz
medium tempo on Henry Mancini’s “Slow Hot Wind” tuned thirds Mitchell can conjure at will confound featuringtamir Hendelman trio
and his own “Gently” or displaying his balladeer skills expectation, then expectation is in need of readjustment. fridaY, JanuarY 10th @ 8:30pm
(thesidedoorJazz.com)
on Leonard Bernstein’s “Some Other Time”, Mancini’s As with every RogueArt release, the excellent recording Hendelman’s playing is firmly in tHe tradition of peterson and green in its
“Dreamsville” and pianist Horace Silver ’s “Lonely renders it all clear and vibrant. Here is a supergroup if strengtH and swing..His toucH and use of dynamics warrant greater exposure.”
-doug ramsey, Jazztimes.com
Woman”. The saxophonist sticks to a ballad tempo on ever one existed, captured in full flight, or, given the
“The Thrill Is Gone”, the Ray Henderson/Lew Brown group’s name, in purr, growl and roar. tamirhendelman.com
song famously recorded by Baker in 1953.
One thing separating With Strings from other jazz- For more information, visit roguart.com. This project is at
R
• Eric Alexander—With Strings (HighNote)
with-strings efforts is that Alexander doesn’t rely Whitney Museum Jan. 3rd-4th. See Calendar.
• Jaimie Branch—Fly Or Die II: Bird Dogs of
entirely on ‘20s-30s Tin Pan Alley standards; the oldest
material includes “Some Other Time” (from the 1944 e Paradise (International Anthem)
• Nick Dunston—Atlantic Extraction
musical On The Town) and “The Thrill Is Gone” along
with tunes written during the ‘50s or beyond, such as c (Out of Your Head)
• Abdullah Ibrahim—
the aforementioned Mancini and Silver gems. Despite
being more arranged than his albums usually are, With
o Dream Time (Solo Piano) (Enja)
Strings leaves the saxophonist sufficient room to m • Bo Jacobsen—Northern Spirit
(Gateway Music)
stretch out. And he is no less compelling as an
improviser on this consistently melodic effort. m • Mike Nock/Bob Moses—Electric Organic
Symphony (Ra Kalam)
For more information, visit jazzdepot.com. Alexander is at
e • Evan Parker/Barry Guy/Paul Lytton—
Concert in Vilnius (NoBusiness)
Smoke through Jan. 5th. See Calendar.
Beyond Borderline
Brian Charette (SteepleChase) n • Stephen Riley—Oleo (SteepleChase)
by Phil Freeman
d • Elliott Sharp/Frances-Marie Uitti—
Peregrinations (zOaR)
In 2013, organ player Brian Charette released Borderline,
an album of standards and pop tunes. In addition to e • Mars Williams—An Ayler Xmas, Volume 3:
Live in Krakow (Not Two)
chestnuts like “How Deep Is The Ocean”, “Body And
Soul”, “I Got Rhythm” and “Donna Lee”, he tackled
d Laurence Donohue-Greene, Managing Editor
Hall & Oates’ “Sara Smile” and the title track was
Madonna’s 1983 hit. What made the album intriguing n • Peter Brötzmann—
e
was that it was a solo effort performed on the Hammond Solo: I Surrender Dear (Trost)
organ. Charette’s ability to pull the melodies apart, • Brian Charette—Beyond Borderline
Map of Liberation
Tiger Trio (RogueArt)
indulge in almost prog-rock excess while maintaining a
churning, rhythmic low end made it more interesting w (SteepleChase)
• Erroll Garner—Campus Concert
by Marc Medwin than an hour of Hammond organ could seem. Six years (MGM - Mack Avenue/Octave Music)

The track titles conjure shades of late Coltrane, but the

later, Charette offers a sequel, of sorts. Beyond Borderline
was recorded in about as long as it takes to listen to the r • Per Texas Johansson—
Stråk på himlen och stora hus (Moserobie)
music on Tiger Trio’s sophomore effort could even call
the genre-bending interplay of Cream to mind. If the
album. Once again, he’s alone at the organ. But this
time, 10 of the 12 compositions are his own. The other
e • Charles Lloyd Quartet—Montreux Festival

l
1967 (Swiss Radio Days Jazz Series 46) (TCB)
comparison seems trite, bask for a while in the heavy two, “Chelsea Bridge” and “Prelude To A Kiss”, are • Bobby Naughton—Solo (Otic)
modality of the disc’s final piece to hear just one
instance of these veteran improvisers getting down
Duke Ellington. Most of the compositions here are new
recordings, though “Good Tipper” appeared on the e • Aaron Novik—No Signal (Avant Laguardia)
• Sam Rivers Quintet—Archive Project,
into some heavy post-blues, but the resemblance is
deeper as the trio plumbs the depths of tone, tonal
eponymous 2014 Posi-Tone album. They share a pulsing
energy and a strong melodic feel.
a Volume 2: Zenith (NoBusiness)
• Pat Thomas/Dominic Lash/Tony Orrell—
center and the places they merge. The album’s title implies exploration and pushing s BleySchool (577 Records)
Even were the names not gracing the cover, there
would be no mistaking the individual voices cultivated
past boundaries, but that’s not really the case, the prog-
fusiony “Aligned Arpeggio” aside. Charette isn’t going e • Toh-Kichi (Satoko Fujii/Tatsuya Yoshida)—
Baikamo (Libra)
by these musicians for so many years: the unmistakably
beautiful piano sonorities with which Myra Melford
nearly as far out here as he has on other releases, where
he’s played with cracked electronics and embraced
s Andrey Henkin, Editorial Director

14 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 live at the college’s concert hall after a five-year hiatus.
Freely and fully improvised, the music is nevertheless UNEAR T HED GEM
tempered and modulated, almost classical in its
refinement. Burr, at center, often anchors the unfolding
textures with bass clarinet drones. Speed, panned left,
Respect For Your Toughness plays clarinet while Noriega, panned right, switches
Chris Speed Trio (Intakt) between clarinet and bass clarinet (mostly the latter).
Gold Some pieces are short, almost humorous, with stuttered
Human Feel (Intakt) entrances, gliding attacks, rumbling long-tones or
No Pressure tightly pinched buzz-saw effects. Elsewhere
The Clarinets (Skirl) development is more gradual, as on the opening title
by Tom Greenland track, where each voice rises leisurely in sequence, like
molten blobs in a lava lamp, only to fall and settle in the Blue World
Even an abbreviated list of tenor saxophonist/ collective pool. “X”, the last and longest track, is the John Coltrane (Impulse!)
clarinetist Chris Speed’s regular projects (AlasNoAxis, most experimental, Burr’s didgeridoo-like mantra by Joel Roberts
Bloodcount, The Clarinets, Claudia Quintet, encircled by restless higher pitches—first attracted to
Endangered Blood, Human Feel, Pachora, SpEEd Trio, then repelled by each other, like two magnets of variable O riginally recorded in June 1964 as the soundtrack
Trio Iffy, Yeah NO) and habitual collaborators (Tim polarity—as the chamber-like tone poem grows more for a French-Canadian film, Blue World is the latest
Berne, Jim Black, Uri Caine, Andrew D’Angelo, Dave agitated, even aggravated, in the second half. addition to the growing collection of previously
Douglas, John Hollenbeck, Dave King, Kurt unreleased John Coltrane material. Unlike last
Rosenwinkel, Jamie Saft, Skúli Sverrisson, Craig For more information, visit intaktrec.ch and skirlrecords.com. year ’s Both Directions at Once: The Lost Album, which
Taborn, Cuong Vu) gives an indication of his importance Speed is at Happylucky no.1 Jan. 3rd-4th. See Calendar. revealed some startling new Coltrane compositions,
in the creative music scene. Three recent recordings Blue World features the tenor saxophonist and his
provide a progress report of his prolific activities. classic quartet with pianist McCoy Tyner, bassist
Respect For Your Toughness is Speed’s third album Jimmy Garrison and drummer Elvin Jones
with his trio of bassist Chris Tordini (bandmate from performing updated versions of some of his most
Claudia Quintet) and drummer King (from The Bad famous tunes—something they seldom did. Coltrane
Plus). The quintessential sideman, Speed is known for was an artist who always looked ahead to the next
his chameleonic presence, blending in with the creative thing; this is a rare case of him revisiting his past.
ambiance, surreptitious and yet quietly subversive, It’s also the only movie soundtrack he ever recorded.
revealing distinctive colors when riled, making his The album is short at just 37 minutes, includes
presence, if not seen, than at least felt. This setting, a multiple takes of several tracks and lacks any kind
chordless trio à la Sonny Rollins (or Albert Ayler), of unified theme. It’s more a collection of random
Conjure
exposes him relatively unadorned, digging back into tunes than a coherent album. And it doesn’t add
Jason Kao Hwang/Karl Berger (True Sound Recordings)
mainstream jazz roots, interpreting a standard (Kay by Steven Loewy a lot to our historical assessment of Coltrane. But
Swift’s “Can This Be Love?”) and tuneful originals in an what’s important is the music and every note here is
unhurried, open-ended fashion, favoring an intimate, Like a classic movie, Karl Berger and Jason Kao pure magic. This is Coltrane and his peerless quartet
breathy tenor tone that recalls the romantic balladeering Hwang’s Conjure is worth returning to over and over at their creative peak, right between the sessions for
of Ben Webster. Of course there’s a lot of messing about again. While all the compositions are the latter’s and he two of his most influential and extraordinary
with meters; 11-beat time signatures abound, though often dominates the performances, there is a wonderful albums, Crescent and A Love Supreme.
their accent patterns are all different: “Helicopter connection between these masters of instruments on Director Gilles Groulx asked Coltrane to record
Lineman” parses as 4+3+2+2, “Faint Time” as the periphery of the free music scene. tunes from throughout his career to be used in his
2+2+2+2+3, “Taborn to Run” as 4+7 and “Casa Adela”, a The album begins with “Prophecy”, the soft, film, Le chat dans le sac (The Cat in the Bag), which is
limping calypso, as 4+4+3. Sophisticated stuff, but delicate edifying sounds of Hwang’s majestic violin described as a politically charged love story. Only
Tordini and King’s jocular legerdemain obviates any punctuated by Karl Berger’s gentle piano, perhaps about ten minutes of what’s included here actually
intellectualism. Speed’s organically developed ideas a foretelling of less tumultuous times. “Silhouettes” made it into the movie. The rest is being heard for
imbue and enliven the title track, “Strobe Dots” and follows, gorgeous shadings from Hwang, interspersed the first time in more than 50 years. There are two
“Transporter” with sober, undulating ecstasy. with Berger’s graceful vibraphone. Hwang absolutely versions of “Naima”, one of Coltrane’s most
Human Feel was born in Speed’s association with steals the show with his low-key and strikingly sparse exquisite and popular ballads, and three of “Village
alto saxophonist D’Angelo and drummer Black in a high notes. Close your eyes and travel to an alternate Blues”, a tune originally from 1959-60’s Coltrane
Seattle high school big band; incubated in Boston, universe, where quiet, space and unmitigated beauty Jazz. Two other well-known Coltrane compositions,
where they absorbed guitarist Rosenwinkel (and, unfold soothingly, as pure sound resonates tenderly. “Traneing In” (John Coltrane with the Red Garland
temporarily, bassist Joe Fitzgerald); then transplanted “Beyond Reach” continues along the same path, Trio, Prestige, 1957), which opens with a masterful
to New York in the early ‘90s, where the quartet turned tranquilly and serenely, just above a whisper but with three-minute bass solo from Garrison, and the Sonny
ears with its uniquely organized free-play. 30 years an angelic stillness. Berger lets it be, joining in only Rollins-inspired “Like Sonny” (also from the
later, in spite of numerous interventions, the group occasionally on both vibraphone and piano, lending an aforementioned Coltrane Jazz), are also covered.
remains vital, inspired, as evidenced on Gold, a air of graceful sophistication. The title track, the only ostensibly new song
collection of original works, half penned by D’Angelo. Berger moves centerstage on “Vanishing Roots”, here, is an improvisation based on “Out of This
Without a bass for ballast, the group’s sound retains a exalted, transcendent, pizzicato violin juxtaposed World”, a Harold Arlen-Johnny Mercer standard
certain ambiguity, a lacuna in the lower frequencies. against lightly jagged piano. “Faith” could make a that was the opening cut on the 1962 album Coltrane.
Rosenwinkel furnishes tangy, wet-washed harmonic believer of anyone, Hwang’s deeply moving cello-like It’s the tune, especially in Coltrane’s expansive
embroidery (heard to fine effect on “Martens”), stinging tones calling to the heavens, offering pleas for an ailing saxophone solos, most clearly pointing toward the
leads to parry Speed or D’Angelo’s (as on “Alar Vome”) soul. “Below Zero” and “Water Finds Water” deviate revelations of A Love Supreme, which the same
or else amorphous industrial timbres difficult to somewhat, the former opening with soft rapidly fingered quartet would record at the same place (Rudy Van
distinguish from Black’s ROLI-enhanced electronic contributions from Berger while Hwang plays pizzicato Gelder ’s New Jersey studio) six months later.
triggers and loops. Speed and D’Angelo trade off on and the latter with repetitive vibraphone gently The entire album is played at a relaxed,
saxophones or clarinets, or combinations of the two, the confronting Hwang’s musings in a hypnotic trancelike unhurried pace that captures this ever-evolving
latter the more extroverted and dramatic, the former exploration. “Water”, the longest and most adventurous group on the cusp of its next phase. Though it’s a
providing plasma and connective tissue, their tones track, sings with repetitive motion, evincing a sweet one-off effort standing somewhat apart from the rest
clustered close, with looped lines overlapping, their clarity, timeless and undiminished, in no rush to find its of his recorded works, Blue World is a fascinating
short, fragmented phrases intuitively coherent, the end. The finale, “Arise”, reveals a calmness on strings, snapshot of one of the greatest groups in jazz history
happy result of a 30-plus-year friendship. interrupted by light piano spurts. A fitting end to a at the height of its powers.
When Speed launched the Skirl imprint in 2006, his wonderful recording and one of Hwang’s best.
very first release was the eponymous debut of The For more information, visit impulserecords.com. Coltrane
Clarinets, a trio with Oscar Noriega (bandmate from For more information, visit jasonkaohwang.com. Hwang is tributes are at Smoke through Jan. 5th with Eric
Endangered Blood and other groups) and Dr. Anthony at Bushwick Public House Jan. 6th and Nuyorican Poets Alexander, Bobby Watson and others and Le Poisson
Burr (professor of contemporary music at U.C. San Café Jan. 7th as part of a Winter Jazzfest Steve Dalachinsky Rouge Jan. 11th by Lakecia Benjamin. See Calendar.
Diego). No Pressure, the group’s third disc, was recorded Celebration. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 15

 GLOBE UNI T Y wonderful range of stories, each more involved than
the last. Generally, these fall into two modes,
exemplified by the swirling motifs, colorful vistas and
deeply personal riffs of “Penimi” and dreamlike
patience of “Kayam”, which works into denser and
denser weaves, from gossamer to burlap. “Setumah”
comes up for air from turgid surroundings with gentle
persuasion, proof that this music requires virtuosity of
Encantada Live an emotional register as much of a technical one.
Claudia Villela (Taina Music) Geometry of Distance Neselovskyi’s triptych of solo offerings explores
Tango Nuevo Revisited different chambers of the same heart. His expressive
Javier Girotto Trio (ACT Music) Tomeka Reid/Kyoko Kitamura/Taylor Ho Bynum/
Joe Morris (Relative Pitch) palette, while monochromatic by comparison, is
Set It Up As Silence
Sferos (Falcon Gumba) by Franz Matzner no less dynamic for its range of textures, moods and
by Tom Greenland effects. The fibrillations of “Orot” are especially blood-
The second release from this quartet, Geometry of rich. In duet with Taborn, he unleashes darkness and
W hen, back in 1938, Jelly Roll Morton spoke of a Distance unfolds like an improvised deconstructed light in equal measure, guided by a mutual trust to
“Spanish tinge” in his music, he was primarily opera. It presents seriously abstract, unabashedly ‘out’ follow wherever the music leads. Theirs is an act not
referring to Cuban habañera and tresillo rhythms. music put forward by improvising musicians at the only of communication, but also of deconstruction,
Today, jazz’ South American tinges are manifold, as height of their powers. There are many notable whereby the very nature of language cowers at the feet
heard on three recent albums by artists from elements contributing to what likely will be seen as a of gestural vocabularies.
Argentina, Brazil, Cuba and Venezuela. lasting contribution to improvisatory music. The final three tracks feature Neselovskyi’s trio
Brazilian-American vocalist Claudia Villela is First, the instrumentation of cello (Tomeka Reid), with bassist Dan Loomis and drummer Ronen Itzik.
somewhat of a secret weapon, a musicians’ musician voice (Kyoko Kitamura), trumpet (Taylor Ho Bynum) Across reexaminations of “Bohu”, “Kayam” and
whose infrequent recordings and Santa Cruz homebase and guitar (Joe Morris) and absence of a traditional “Penimi”, they leap from the page with sentient
camouflage her world-class talents as an improvising rhythmic anchor provides an unusual sound palette. assurance. The rhythm section, in combination with
vocalist. Encantada Live, only her sixth album since Second, each member of the quartet is part of the larger Neselovskyi’s colorful sensibility at the keyboard,
1994’s Asa Verde, compiles choice live performances Anthony Braxton constellation and thus the music makes for one of the most robust flares to come out of
recorded in duo, quartet and septet formats. Her voice, reflects the Braxton school of thought, at least in regard the Masada sun in quite some time. Turning these
agile and robust across a considerable range, varies in to broad experimentation, fearless improvisation, tunes like a facet, we find that each catches the sun just
personality from low and gruff to nasal and pinched rigorous musicianship and structural integrity. so, a signal for some future interpreter to spin as they
(almost like a berimbau), light and childlike to full and Another way in which this band distinguishes feel moved.
operatic, bright and horn-like to sharp and percussive. itself is by avoiding descent into the amorphous
Possibly her most amazing asset is the ability to cacophony that mars lesser quality free improvisation. For more information, visit tzadik.com. Taborn is at Village
improvise melody and Portuguese lyrics Instead, it presents a respectful conversation offering Vanguard Jan. 7th-12th with Scott Colley, The Sultan
simultaneously, generating songs that sound pre- myriad vistas of emotional space, devised by the Room Jan. 13th as part of Winter Jazzfest and The Stone at
composed. Sterling examples include “Taina”; quartet’s expert attunement to each other. The New School Jan. 14th. See Calendar.
“Minas”, a duet with pianist Kenny Werner reminiscent This is music that submerges listeners rather than
of an Indian jugalbandi duet; and “Em Paz”, a duet overpowers them. Extensive use of silence creates a
with Santa Fe guitarist Bruce Dunlap. winter landscape of sound, crystalline and open, each
Argentinian-Italian baritone saxophonist Javier detail discernible in the vastness. Melodies emerge and
Girotto was first moved by Tango Nuevo, Astor float by like creatures from the deep. Vocal effusions,
Piazzolla’s seminal 1974 collaboration with Gerry from moans to operatic glissandi to growls and trills,
Mulligan, as a child of ten, so he welcomed ACT label interweave with effervescent guitar and the plucked
head (and European promoter of the original LP) strings and bowed eruptions of cello. Trumpet blares,
Siggi Loch’s suggestion to record “a response” with squawks, squalls and emits soft bursts of cryptic notes.
bandoneón player Gianni Iorio and pianist Alessandro No one is bound to the traditional limits of their
Gwis. Sans the earlier recording’s strings and heavy instruments, none are restricted by the dictates of time,
percussion, Tango Nuevo Revisited has a jazzier, more harmony or conventional melody. The result is music
intimate character. Girotto has more room than that flows with subtle beauty and seems to penetrate
Mulligan to stretch out, using it to especially good the subconscious to linger there.
effect on “Aire de Buenos Aires”, “Fracanapa” and
“Years of Solitude”, the mood swinging from cool to For more information, visit relativepitchrecords.com. Reid,
romantic to restive. Iorio is an empathetic foil, sharing Morris and Kitamura are at SEEDS Jan. 7th. See Calendar.
solos, exchanging lines, sometimes slapping his box
like a cajón player. Much of the appeal rests on how
the trio celebrates the charm of Piazzolla’s songs
through sensitive, mercurial interplay.
Venezuelan guitarist Juanma Trujillo works in the
interzone of composition and improvisation. Set It Up In celebration of the great Art Blakey’s 100th
NEW!

As Silence is the debut album of Sferos, a trio completed birthday, Valery Ponomarev has assembled
by Cuban saxophonist Hery Paz and Korean drummer some of NYC’s finest musicians - staying true
Dayeon Seok. Eschewing obvious rhythmic schemes to his passion of keeping the music and spirit
of Art Blakey’s Jazz Messengers alive!
for a more flexible approach to beat-keeping, his song
structures nonetheless retain elements of melody and The Messengers’ repertoire is well represented on
Da’at
harmony, though these may not manifest immediately. this LIVE recording with excellent soloists spread
Craig Taborn/Vadim Neselovskyi (Tzadik)
His most signature quality, however, lies in his handling by Tyran Grillo throughout the band.
of timbre: swelling attacks à la Bill Frisell, strange
strumming techniques and an unusual tone colored by The Masada songbook is a gift that keeps on giving.
drawn-out echoes, layered distortion and loops. Paz Since Book 1 was introduced to the listening world See it LIVE!
and Trujillo coordinate like a pair of hands while Seok’s through a coveted decalogue of CDs released in the Our Father Who Art Blakey Big Band (AKA VPJBB)
sparse, staggered phraseology recalls Paul Motian, ‘90s by DIW, John Zorn’s magnum opus has continued at Zinc Bar on the 2nd Friday of every month
inviting comparison to his trio with Frisell and Joe to grow. Like the city of Beijing, over the years it has
Lovano. All of these aspects coalesce organically on added one ring after another as newer residents flock
“Bosque Verde”, the final track and a standout. in search of an indefinable center. In this iteration we ® The Jazz Messengers:
find two pianists—Craig Taborn and Vadim The Legacy of Art Blakey led by
Valery Ponomarev is now being
For more information, visit claudiavillela.com, Neselovskyi—interpreting tunes in solo and duo booked for 2020
R E C O R D S
actmusic.com and falcongumbarecords.com configurations.
Taborn’s six unaccompanied tracks tell a

16 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

stephane wrembel

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 alongside stirring crisp themes. Fine moments abound,
such as Vandermark’s rousing R&B-inflected outing
against a driving groove on “Perpetual Desk”. Several
others come courtesy of pianist Elisabeth Harnik, first
as part of a sub-unit with guitar, bass and drums on
“Foundry”, and later in a wayward solo over pounding
drums towards the end of the same cut and then on
“Telegram” where she ranges not only across the keys
Battle Pieces 4
but also across her instrument’s innards.
Nate Wooley (Relative Pitch)
Soigne Ta Droite
Entr’acte (Audiographic) For more information, visit relativepitchrecords.com and
by John Sharpe audiographicrecords.com. Wooley is at Nublu 151 Jan. 10th
as part of Winter Jazzfest and The Stone at The New School
Like many musicians these days, trumpeter Nate Jan. 18th. See Calendar.
Wooley’s activities encompass an enormous breadth of
interests: from the extremes of solo improvisation and
contemporary classical commissions right through to

NORMA WINSTONE & JOHN TAYLOR the large ensemble Seven Storey Mountain, via quintet
examinations of the tradition (with Harris Eisenstadt,
IN CONCERT Eivind Opsvik, Josh Sinton and Matt Moran), which
reached their apogee when they focused on the early
SSC 1534 - AVAILABLE 1/17/20 music of Wynton Marsalis. All this makes Wooley
among the most significant presences on the scene.
T he incredible relationship between legendary British musicians Norma Winstone
and John Taylor has been admired for nearly five decades. The vocalist and On Battle Pieces 4, Wooley continues his quest for
pianist have been inextricably linked from their early avant-garde work from the late novel means to unlock artistic expression, reassembling
1960s through their gorgeous work with Kenny Wheeler and Azymuth. Our Father Who Art Blakey: The Centennial
pianist Sylvie Courvoisier, saxophonist Ingrid
Valery Ponomarev (Summit)
T he couple was also well documented in duo performance; their affinity for each
other and their unique abilities are easily comprehended. Winstone and Taylor’s
In Concert is a remastered reissue of Enodoc Records’ 1999 cassette tape release
Laubrock and vibraphonist Moran who were on board
for the two previous releases under the Battle Pieces
by Scott Yanow

of a fascinating 1988 duo concert. Four years after the pianist’s passing, this record- banner (there was no Battle Pieces 3). Each piece is To a large extent, trumpeter Valery Ponomarev’s career
ing will remind listeners of the wonderful interplay and feel between Taylor and constructed for a single soloist, who improvises with began with Art Blakey’s Jazz Messengers. While he had
Winstone.
no score. The remaining members perform an recorded four songs in his native Russia with pianist
T he performance presented on In Concert documents a quickly assembled con-
cert that coincided with the culmination of Winstone and Taylor’s teaching resi-
dency at the Guildhall Music School in London in August 1988. Though they didn’t
independent ever-changing kaleidoscope of short and
long pieces from a book now totaling over 75
Vadim Sakun during 1967-68, his next recording was on
Blakey’s Gypsy Folk Tales in 1977, four years after he
have time to put together an ensemble or theme, the two were able to provide the compositions. Recorded live at Roulette in Brooklyn, moved to the U.S. He was a member of the Jazz
listeners, including many of their students, with a wonderfully diverse and master- the single 47-minute piece features all four as soloists, Messengers during 1976-80, his final recordings with
ful performance.
although sometimes it’s hard to tell who is in the Blakey as part of the short-lived Messengers Big Band
nominal spotlight, as the separate threads intertwine where he played next to his successor, Wynton Marsalis.
in multitudinous ways and permutations. Ultimately While he has had a productive solo career since
the underlying structure doesn’t matter, particularly then, like most of the Blakey alumni, Ponomarev
when you have instrumentalists as stupendous as continues to identify himself as a graduate of the Jazz
these. Some exceptional passages include Courvoisier ’s Messengers. He took a year of arranging courses from
dazzling excursion where she breaks into a combination Don Sebesky and in 2014 led and arranged for his
of jazzy right hand and spiky left. Later unaccompanied, Blakey tribute big band (Our Father Who Art Blakey),
Wooley characteristically explores tonal distortion, recording an album for the ZOHO label. Their second
before alternating long tones edging into blustery gales recording celebrates Blakey’s centennial by featuring
with jerky staccato figures. As the cool backdrop Ponomarev’s arrangements of seven numbers from the
warms to a crescendo it sends Wooley into paroxysms Jazz Messengers’ repertoire plus two other pieces.
of fevered invention. There seems sufficient leeway in While Ponomarev is an excellent trumpeter, he only
interpretation so that a sense of order emerges at takes two solos on this live set, choosing to focus on his
various points, as when duos rotate or a sudden arrangements and the playing of his impressive big
outbreak of fanfares and flourishes springs from a band. The Centennial begins with a brief overture written
sequence of quiet rattles and squeaks. In fact, there is by Ponomarev and then launches into a driving version
remarkably little disruption of mood, most happily in of a Wayne Shorter blues, “Tell It Like It Is”. Here, as
the almost ballad-like closing section, when Moran throughout the set, there are hints of the Messengers’
JAY CLAYTON & JERRY GRANELLI sparkles with harmonic suggestion over a stately and version but the solos and the arrangements do not copy

ALONE TOGETHER
almost mellifluous accompaniment. the past and instead are creative within the hardbop
Wooley has struck up a fertile collaboration with genre. Victor Jones takes some drum breaks in the
Chicago reedplayer Ken Vandermark, manifest not Blakey tradition and there are good spots for Ponomarev,
SSC 1521 - AVAILABLE 11/16
only in duet settings but also heftier outfits. One such is tenor saxophonist Peter Brainin and trombonist Alvin

T here are relationships that always remain fruitful. Maybe it is because the dis-
course never lags or there is unflagging affection. Vocalist Jay Clayton and per-
cussionist Jerry Granelli have been making music together for forty years and their
Entr’Acte, whose Soigne Ta Droite was recorded live at
the 2018 Artacts Festival in Austria, Wooley among
Walker. Shorter, who is also represented by “One By
One” and “Hammer Head”, is joined by such Messenger
musical connection continues to surprise as their affinity deepens. Their new a ten-piece band. Here he mainly resides in the horn composers as Benny Golson (“Are You Real”) and
recording, Alone Together, shows how the spark of creativity has only brightened section, thickening the convoluted lines and punching Horace Silver (“Quick Silver”) although the most
over the duo’s long affiliation. out the riffs. He doesn’t solo as such, but does take exciting arrangements are actually “Caravan” (alto

T he two really began to develop their language in Seattle. Meeting regularly in

Granelli’s basement rehearsal space, the improvisers made a core sound that
would drive many future projects, including their group Quartett, featuring trom-
flight in bickering exchanges with Mette Rasmussen’s
alto saxophone and the leader’s gruff tenor. Although
saxophonist Todd Bashore and baritone saxophonist
Anthony Nelson take solo honors) and Bud Powell’s
bonist Julian Priester and bassist Gary Peacock. But it was their connection that Wooley doesn’t get to unleash his renowned timbral boppish “Webb City”. In addition to those already
was the heart of these endeavors. They were true musical soul mates. smarts, any disappointment is more than offset by the mentioned, the consistently excellent soloists include
splendid fare on offer. Vandermark has drawn together alto saxophonist Chris Hemingway, tenor saxophonist
T heir first foray into recording was a duo recording entitled Sound Songs that was
released in 1986. Thirty years later, Clayton and Granelli have revisited the inte-
gral duo setting they perfected so long ago. They reconvened along with engineer
colleagues from a broad swathe of projects such as Steven Carrington, pianist Mamiko Watanabe,
Made To Break, Lean Left, Shelter and DEK Trio. He trombonists Jimmy O’Connell and Stafford Hunter and
Darren Von Niekerk at the Sonic Temple Studio in Halifax, Nova Scotia for three
hours in July 2014 extends a mastery of large-scale composition honed trumpeters David Neves, Waldron Ricks and Antoine
with groups like the Territory Band, Resonance and Drye. But even with all of these fine players, Ponomarev
Audio One to allow his cast ample opportunities to should not be so modest in taking solos of his own. Art
showcase their gifts in three expansive pieces, which Blakey would have enjoyed sitting in with this big band.
rapidly mutate between written elements and improv
alchemy. With two drummers, two basses, two guitars For more information, visit summitrecords.com. This
www.sunnysiderecords.com and electronics, dense spacey electrical swirl sits project is at Zinc Bar Jan. 10th. See Calendar.

18 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 something to do with the fact that Branch had a hand join in complex unison passages. These find their way
in every part of its creation. She operates as an auteur, into beautifully executed solo passages by all three
wearing the hats of composer, lyricist, player, players as one. The sound of bass is intimately rich as
bandleader and producer. However, her band also are the percussive tinkling of both Kristjan Randalu on
deserves generous credit. Bassist Jason Ajemian, piano and Bodek Janke on drums and percussion.
drummer Chad Taylor and cellist Lester St. Louis, who “Seeing You Behind My Eyes” opens with a
share composing credits on a handful of songs, achieve delicate and sentimental meeting of bass and piano
a powerful collaborative mind-meld. With Branch in based on a Greek dance called the kalamatiano, quietly
command, they really fly. and seamlessly gaining momentum as drums join in.
Fly or Die II: Bird Dogs of Paradise “No Becomes Yes” has a 5/8 pulse and is a sparkling
Jaimie Branch (International Anthem) For more information, visit intlanthem.com. This project is at demonstration of how this trio works together.
by Kyle Oleksiuk The Dance Jan. 10th as part of Winter Jazzfest. See Calendar. There are several “Temporary Secret” moments
embedded in this group of tunes, comprising an
As Spotify and other methods of electronic distribution electronically aural vignette about movement—in a
begin to threaten the dominance of record labels, it New York subway station and in an airport. Hidden
may be tempting to think that we’re at the end of an near the end is the third of these and its setting is the
era. But if that’s the case, then Chicago’s International beach. It’s here that the music in beautiful colors
Anthem never got the memo. Over the last several overtakes the electronics.
months, its cup has been running over, as the label has The title track is the central work of the whole
released album after album of truly exciting jazz. recording. It begins with some overdubbed, multi-
Fly or Die II: Bird Dogs of Paradise is the latest and layered staccato singing from Klampanis and out of
best album from International Anthem and from multi- that emerges beautiful solo exploration, first from
talented trumpeter Jaimie Branch. There is an elegantly beautiful piano, then smart pizzicato work
Irrationalities
embarrassment of riches—each one of the songs could from the leader. If there is “irrationality,“ says the
Petros Klampanis (Enja Yellowbird)
be the lead single from its own record. There are sea by Donald Elfman group, “we can and will embrace it.”
shanties, cowboy tunes, protest songs and god’s own Klampanis finds the “dance” in the rolling rhythms
free improvisation. On every track, Branch conjures up O n bassist/composer Petros Klampanis’ first trio of his “Easy Come, Easy Go” but also presents individual
and explores one fully-formed sound, then burns it recording he deftly accomplishes a synthesis of treatments of a classic Greek ballad by Manos Hadjidakis
down to build something completely different, and disparate elements into a brilliantly organic whole. He (Klampanis calls him the “Jobim of Greece”) and an
just as good, in its place. Listening to this album is like has put himself in the midst of an absolutely perfect set American Songbook standard, Oscar Levant-Edward
watching a magician rapidly lifting and dropping a of musicians who hear him and his world of sound. Heyman’s “Blame It On My Youth”, in which a Bulgarian
curtain to reveal: an elephant, a bottle of wine, a tank This recording creatively suggests the difficulty of rhythm called a kopanitsa transforms the ballad into
and so on. A succession of musical styles appear and relocating (Klampanis lives in both Athens and New more of, well, a dance. The emotional journey continues.
disappear before your very ears, turning the passing York), aging and more and finds what the composer
moments into a minor psychedelic experience. calls “a dance with life”. That’s evident in the opening For more information, visit yellowbird-records.com. This project is
The great success of this album probably has track as the gorgeous blend of bass, piano and drums at Zürcher Gallery Jan. 10th as part of Winter Jazzfest. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 19

 taken at a glacial pace, is exemplary, but Björk’s songs accompaniment out of riffs and scales and chords, but
resist external interpretation. The Drake is the best, the values of collaboration and cooperation remain.
heard in medley with a musical treatment of Sara This is improvisation without a lead voice.
Teasdale’s poem “The River”. It works because Drake’s Still, life is about changes. This recording looks
sophisticated songs are inherently jazzy. inward more often and seems retrospective in
Thirsty Ghost is also a showcase for Gazarek’s own a way, even rueful. Cline sounds like the linchpin here.
songs, three written with keyboard players (“Easy His contributions are judicious and his abstractions open
Love” and “Gaslight District” with Larry Goldings and the way for pitch-based statements from his colleagues.
“Distant Storm” with Brad Mehldau). The former goes
Four Visions down easy with a nice piano solo from Stu Mindeman For more information, visit espdisk.com. Parker is at
Dave Liebman/Dave Binney/ (who’s upfront for most of the album) and Goldings Roulette Jan. 10th-11th and Jazz at Kitano Jan. 23rd with
Donny McCaslin/Samuel Blais (Sunnyside) himself comping on organ. “Distant Storm” benefits Steve Swell. Cline is at The Dance Jan. 11th as part of
by Eric Wendell from a strong arrangement for the horns and a second Winter Jazzfest, The Stone at The New School Jan. 15th and
voice in Kurt Elling. But the song itself is kind of 23rd and Roulette Jan. 27th. See Calendar.
W hile still relatively uncommon in jazz, the saxophone wordy. The moody “Gaslight District” is the best of the
quartet has much to offer in its blend of the composed bunch, with Mindeman once again earning his pay.
and the improvised. On Fourvisions, Dave Liebman, Standards “Never Will I Marry” (Frank Loesser)
JHM 269
David Binney, Donny McCaslin and Samuel Blais and “I Get Along Without You Very Well” (Hoagy
display a compelling collective musical camaraderie. Carmichael) thankfully made the cut, though the latter Lisa Hoppe’s Third Reality
Blais-penned opener “Blaizza” displays a deft isn’t on the Japanese version of the album. Gazarek is The Mighty Unlikely
mixture of counterpoint and postbop riffing. Partly a great interpreter of the Great American Songbook
inspired by Andante & Scherzo by composer Eugene and tends to sing them fairly straight, without much David Leon – s
Bozza (who himself incorporated jazz elements into embellishment but lots of emotion. “Lonely Hours” by Tal Yahalom – g
his compositions), the piece is a strong indicator that Hy Glaser and Jerry Solomon is the exception. It was Lisa Hoppe – b, comp
the quartet understand one another ’s approaches well the title cut on a 1964 Sarah Vaughan album on Roulette
enough to exist as both a new music ensemble and (with Benny Carter arrangements) that recently entered On her first album „The Mighty Unlikely“ Lisa Hoppe, an outstanding
jazz quartet. McCaslin’s “Legions” is the standout of Gazarek’s record collection. It gets a midtempo German double bass player, creates trio ambience in chamber music
the album. He is a master of building dynamics to an reading, an adventurous treatment with lots of scat. format widening the borders of the so-called acoustic music, of jazz,
ultimate climax and the piece swells with numerous Thirsty Ghost is more a collection of songs than a using elements from free jazz, improvised music as well as sounds and
peaks and valleys. Binney is the most playful of the unified work with singular intent and a step more noises, speech and vocal structures. www.lisa-hoppe.com
quartet, as his “Technicolor Penguins” displays a downbeat than her previous records. It’s what happens
natural ability to evoke strong, unison punches as well
as break off into polyphony and ultimately settle on
somber swells. Liebman’s “In Bach’s Studio” is the
when Kurt Elling tells you to “step into all of the depth,
darkness and radiance of who you really are.” „ JazzHausMusik
Cologne/Germany · www.jazzhausmusik.de
most sophisticated track, more of a suite than a singular For more information, visit saragazarek.com. Gazarek is at also available at www.amazon.com / www.amazon.de
piece of music. Clocking in at 16 minutes, it’s also the Birdland Jan. 11th. See Calendar.
album’s longest and most meditative piece, Liebman
gives each member a time to shine while featuring his
beautiful sound on soprano saxophone.
One can only hope that there is more to come from
this group of musicians, a fine new example of a format
that deserves further exploration.

For more information, visit sunnysiderecords.com. Liebman

is at Made In New York Jazz Café Jan. 4th with Lenny
White, Nuyorican Poets Café Jan. 11th, Birdland Theater
Jan. 13th and Smalls Jan. 30th. McCaslin is at Jazz Standard
Gowanus Sessions II
Jan. 7th-8th with Ryan Truesdell and S.O.B.’s Jan. 11th as
Thollem/William Parker/Nels Cline (ESP-Disk’)
part of Winter Jazzfest. See Calendar. by George Grella
N early a decade after the first installment from the
trio of pianist Thollem McDonas, bassist William
Parker and guitarist Nels Cline, comes this tight
improvisatory set. This volume seems formed with an
LP in mind; there are two tracks, both just under 19
minutes and both a sense of contrast and continuation
between the two. “Life in the world”, or “Side A”, is
predominately probing, somewhat spare, the musicians
offering each other nuggets to contemplate. Only in the
last few minutes do things coalesce into any kind of
Thirsty Ghost
homophony or ensemble playing.
Sara Gazarek (s/r)
by Jim Motavalli “Side B”, “World in a Life”, is more active and
denser at the start than any part of the previous track,
Sara Gazarek is possessed of a voice so warm that but only at the start. The playing slows down and
access to it in winter can mean laying off the gas man. opens up in the middle, before the energy takes on
She’s unquestionably a jazz singer, but one who’s often a seasoning of agitation about three minutes toward
reclaimed pop songs to salutary effect. Thirsty Ghost the end. The music indicates that the quasi-palindromic
continues the pattern and features both a retrenchment titles are no accident, as there is a flow between the
in jazz and a fuller embrace of pop, via Sam Smith’s two tracks, which makes them two halves of a closed
“Not the Only One” (complete with backup singers), circle, a finite circumference that can be traversed
Björk’s “Cocoon”, Nick Drake’s “River Man” and Dolly without ever stopping.
Parton’s great but over-recorded “Jolene”. The titles connect to the previous album, where
Singers have a weakness for jazzing up Stevie those track titles, made into a sentence, would read,
Wonder songs (“I Believe When I Fall in Love”) but “There are as many worlds in a life as there are lives in
should leave them to him, despite Gazarek’s upper- the world.” The point here is seamlessness—there is
register acrobatics at the end and Josh Johnson’s tasty a remarkable consistency between the playing on both
and extended alto turn. Drummer Christian Euman is albums. The first may have more clear passage work,
exquisitely sensitive on “Cocoon” and Gazarek’s vocal, the players (especially Cline), making phrases and

20 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

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 like he may have also adopted Oscar Peterson as a role saxophonists JD Allen and Tony Malaby and guitarists
model. On Cole Porter ’s “Just One Of Those Things”, Nels Cline and Marc Ribot, along with drummer
from Standards Vol. 1, he shreds through a mélange of Terri Lyne Carrington (founder and Artistic Director of
chords/chord melodies and lightning-quick single the Institute of Jazz and Gender Justice), bassist Trevor
note lines with a brutal clarity that seems to indicate Dunn, Val Jeanty on turntables, Ches Smith on
Solo Monk | Solo Standards Vol. 1 | Solo Ballads Vol. 1 that he is a freak of nature not witnessed in the guitar vibraphone and Davis on piano and synthesizer. In
Pasquale Grasso (Sony Masterworks) world thus far. addition, we hear the recorded voices of Olivier
by Robert Bush Grasso’s voluminous chops get the best of him Messiaen and Cecil Taylor and the words of poet
when he turns to Thelonious Monk on “‘Round Gwendolyn Brooks (read by Esperanza Spalding).
N o less of a guitar authority than Pat Metheny has Midnight”. It sounds too frantic and virtually every Compositions by Michaël Attias and Julius Hemphill
declared that Pasquale Grasso is “the best guitarist I’ve technique is forced into the skeletal form. One has to are included in the mix and Davis further cites Duke
heard in maybe my entire life.” The folks at Sony strain to imagine that famous haunting melody. He Ellington and Thelonious Monk, Carla Bley, Youssou
Masterworks apparently agree and they have released redeems himself on “Ruby My Dear”, with a darker N’Dour and Henry Threadgill as inspirations for the
three new solo guitar albums from the young Italian tone and a keener appreciation for space. If anything, album. There is, simply put, a lot going on.
virtuoso, who seems to aspire to become the Art Tatum space is the one essential element that Grasso needs to What could be an unstated inspiration, or at least
of the guitar. embrace. There is an apocryphal story credited to Jim predecessor, are the pastiches Bill Laswell produced in
Solo guitar in a straightahead jazz context is an Hall after witnessing a young player who was the ’90s, stirring hybrids, bringing together elements
inherently dangerous proposition. It hasn’t been determined to fill every space in a performance. “Don’t of rock, jazz, hip-hop and various non-Western
attempted all that often and anyone who tries is bound just do something. Stand there.” There’s a lot of traditions (perhaps most notably with Threadgill) to
to be judged against the looming shadow of the three wisdom in that advice. make not a fusion but an amalgamation. It seemed as if
Joe Pass Virtuoso albums on the Pablo label back in the When he is more patient, Grasso can be a thrilling to say that all the different people walking up and
late ‘70s. On a purely technical basis, Grasso has player. His version of “Criss Cross” succeeds wildly, down Broadway don’t merge into a single statement,
surpassed what Pass was able to accomplish in nearly primarily because he slows down and lets the music they’re a morass of individuals and yet that street itself
every metric. Grasso could be the fastest guitarist the breathe. The most satisfying piece on all three albums remains a singular entity, rippling with currents and
world has ever known—especially because of the is his reading of Monk’s “Off Minor”, which relies far eddies. In that sense, Diatom Ribbons is a fantastically
content he transmits and the devastating clarity with less on prearranged riffs and exhausting alacrity. cosmopolitan album. It’s gentle and it’s hard-edged,
which he delivers it. He’s got a velvet tone and he Conversely, Grasso’s approach to “Over The it’s rock and it’s jazz, it’s future and it’s past. It’s macro
doesn’t ever seem evoke a ‘clam’ even at breakneck Rainbow” is too fast, with an “everything but the and it’s micro and it’s astonishing in both regards.
speed. But that breakneck speed can also be the Achilles kitchen sink” aesthetic crammed in. Ultimately, one Davis has proven herself to be a thoughtful and
heel for the young virtuoso. Johnny Green-Edward hardly remembers that the tune is a ballad. challenging pianist since she moved to New York in 2001.
Heyman-Robert Sour-Frank Eyton’s “Body & Soul”, Make no mistake about it, this guy is a fantastic Whether or not Diatom Ribbons represents a new direction
like so much of the material on these three discs, is guitar player, but the solo guitar album may not be the for her, it certainly seems to reflect an exciting opening up.
taken too fast for listener comprehension and it comes best idiom really to enjoy his artistry.
off slightly stiff. For more information, visit pyroclasticrecords.com. This
Grasso apparently spent a lot of his formative For more information, visit sonymusicmasterworks.com. project is at The Sultan Room Jan. 12th as part of Winter
years studying the music of Bud Powell and it seems Grasso plays solo at Mezzrow Jan. 6th, 13th, 20th and 27th, Jazzfest. See Calendar.
Café Bohemia Jan. 7th, 21st and 28th and Zinc Bar Jan.
11th as part of Winter Jazzfest. See Calendar.

Diatom Ribbons
Kris Davis (Pyroclastic)
by Kurt Gottschalk

2019 was a significant year for pianist Kris Davis.

Seriously significant. In the fall, she joined the Berklee
Institute of Jazz and Gender Justice in Boston, where
she is teaching composition and improvisation as well
as developing programs addressing gender equality in
jazz. Around the same time, she released a record so
surprising and so powerful that it begs the question as
to whether it’s a project or a personal revolution.
On paper, this record has too much going on to ask
but looking at it on paper is to take an overhead
perspective—a macro view—that isn’t especially
helpful in discerning the work she’s created. Ranging
from duos to septets, with various combinations of an
assemblage of players from different realms of jazz and
improvised music, Diatom Ribbons threatens to be a
hodgepodge but succeeds in being a well-orchestrated
series of settings—not quite a suite, but an
interconnected whole.
The album is named for the single-cell diatom
blossoms that color the ocean surface when seen from
above and reveal their own intricacies when viewed
under a microscope. The notion, Davis explains in the
liner notes, is to see something from both a wide and
narrow focus. It is, she says, a reflection of how she
composed the album’s 10 tracks.
www.joef iedler.com
The elements comprising the whole include

22 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 to vibraphone, Norton is an outstanding drummer and
his superb sense of time is on display as he accurately
decorates cuts with percussive ornamentation. Pugliese
and especially LaSpina’s bowing combine with
Norton’s lines for a unique voice that sets this trio
apart from the usual vibraphone-led threesome.
Opener “Reconcile the Classical View” outlines
their approach with a conventionally spooky
vibraphone theme LaSpina and Pugliese decompose
Waiting Game Dust for Norton to resolve later. Their thought-provoking
Terri Lyne Carrington + Social Science (Motéma Music) Mat Maneri Quartet (Sunnyside) style works and it is surprising how few vibraphonists—
by Russ Musto by Stuart Broomer Karl Berger being a notable exception—have ventured
outside their instrument’s stereotype. Pugliese’s
A double disc effort of epic proportions, the latest Violist Mat Maneri and Romanian-born, NYC-based “Treace” and “Polar Oscillation” settle into peaceful
album from Terri Lyne Carrington brings the drummer’s pianist Lucian Ban share an evanescent lyricism, whether requiems after surrendering to LaSpina’s arco while
well-documented political activism to the forefront. as a duo on their Transylvanian Concert (2013) or in trio Norton delivers a gorgeous melodic front for the
Within the context of a mélange deftly merging with saxophonist Evan Parker on Sounding Tears (2017). changes inherent in the drummer ’s “Morph”. His trip
contemporary jazz with elements of rap, rock, hip hop, Here they appear as the lead voices in a quartet to “Toronto” reaches its destination despite LaSpina’s
R&B, soul, fusion and European classical music, the completed by bassist John Hébert and drummer Randy attempts to derail it through captivatingly eerie
provocative messaging addresses an expansive array of Peterson, the latter a Maneri associate for over 30 years bowing. LaSpina’s contributions merit further
social ills, including racism, police brutality, mass who participated regularly in the microtonal explorations expansion as “Tearing Down Walls” and “Winter
incarceration, gender and income inequality and of Maneri and his father Joe, the most intrepid Retreat” use an elegant group dynamic to paint
homophobia. Performed by her working band Social investigator of altered-pitches in improvised music. exquisitely compact mindscapes.
Science, a multi-racial intergenerational aggregation of It’s a well-matched band, each attuned to the slow Norton’s “Moonstruck” has him freeing up and
saxophonist Morgan Guerin, guitarist Matthew Stevens, to medium tempo reveries at which Maneri and Ban then recapturing a cymbal/bass undercurrent and
keyboard player Aaron Parks, bassist Derrick Hodge, excel, for example the slowly unfolding nocturne “Red “The Faustian Bargain” similarly combines cymbal
MC/DJ Kassa Overall and vocalist Debo Ray, along Seven”. Rooted in the round, resonating tones of bass, and bowed bass for Norton to address. Both exist as
with a host of guests, the music delivers its messages illuminated by the brightness of piano arpeggios and open-ended but tense pushmi-pullyus. His “I Dig
with a palpable sense of urgency. animated by the bright propulsion of brushed drums, Facts, Man” and closer “Walking the Dogma” are more
Beginning with Parks and Overall’s “Trapped In the work achieves its full dimension in subtly dissonant organized, the former a casually angular group
An American Dream” the music unfurls gradually, viola long tones, at once transparent and multiple, thin workout and the latter a cool bluesy stroll. “Sacrifice
progressively escalating in intensity under the latter ’s curtains of sound laid over the delicate architecture of Zone (ahead)” bears special mention as an ominous
spoken and rapped words cataloging myriad injustices the composition and the other instruments. bell tolling for the planet’s future.
facing people of color in this country. Guest Malcolm The viola is Maneri’s natural instrument: less brash
Jamal Warner orates and Ray vocalizes on Carrington than the violin, suiting the ambiguities of mood and For more information, visit kevinnorton.com/barking-hoop.
and Parks’ “Bells Ringing Loudly”, a prayerful ode pitch at the core of his expressive power, evidenced by This project is at Spectrum Jan. 19th. See Calendar.
that contrasts the sounds of chiming church bells and a passage on the improvised “Motian” when his lead
blaring sirens. Trumpeter Nicholas Payton and rapper becomes a kind of sudden, rapid, fretful mumbling, an
Raydar Ellis join the band, augmented by a string inspired moment. The program begins with Ban’s
quartet, additional keyboards and percussion, for “Mojave” and concludes with the improvised title
“Pray The Gay Away”, a pulsating indictment of track, a journey from desert to dust, which, along the
homophobia. Rapper Kokayi is heard intoning his lyric way, includes Ban’s “Two Hymns” and Maneri’s “51
about the genocide of Native Americans on Stevens’ Sorrows”, “Last Steps” (with an emotionally intense
rocking “Purple Mountains” and Mark Kimble passage of bowed viola and pizzicato bass) and
pleadingly sings “how long must we endure” on an a “Losed”, a somber, almost funereal piece suggesting
cappella take of the title track. even the loss of conventional word formation.
The music continues powerfully with guest rapper The logic of Maneri’s microtones seems clear. As
Rhapsody on “The Anthem”, an assertive declaration they seep between the solid tones of piano, they
of female equality and sisterhood, which concludes insinuate joy where there is sorrow, uncertainty amidst
with the emphatic pronouncement “I pledge allegiance certitude, fresh individuality amongst standardized
to woman”. It then calms with Ray’s beautiful pitches. The result is a brilliant set of pieces of rare
rendering of Joni Mitchell’s “Love” with Esperanza beauty, all devoted to quiet moments that speak as
Spalding on bass. “No Justice (For Political Prisoners)” much of reflection and resolution as doubt and decay.
has the spoken words of Meshell Ndegeocello and “Torti, an imaginative improviser who responds
sampled voice of Mumia Abu Jamal speaking to the For more information, visit sunnysiderecords.com. Maneri easily to musical impulse in the moment”
title’s subject matter. Stevens’ “Over And Sons” is a is at The Stone at The New School Jan. 14th. See Calendar. Suzanne Lorge, The New York City Jazz Record
stirring instrumental featuring the composer ’s guitar.
“On a cloud, is a vaporous cloud of wonder
Two more tracks, the funky “If Not Now”, with rapper without fear of crossing avant-garde lands,
Maimouna Youssef (Mumu Fresh), and a hymn-like which travels accompanied only by
reprise of “Waiting Game” featuring Ray’s calming Sabino de Bari’s classic guitar inventiveness”
vocal, close out the disc with messages of optimism Guido Festinese, Alias “il manifesto”
and determination.
“Her enthralling voice and phenomenal technique claim
Hopefully the power of the date’s first disc, with the album for Torti’s accolade. (…) Together they are
the voices of its numerous guests, will not overshadow both amiably playful and gravely intimate”
Disc Two’s superlative instrumental music performed Ken Cheetham, Jazz Views
by Carrington, Parks, Stevens, Guerin and Spalding
“Not your average chanteuse album (…) Don’t miss out
with an overdubbed chamber ensemble under the on it because of that. It’s worth an hour of anyone’s time”
Eponymous
direction of Edmar Colon. The four-movement suite Brian Morton, Jazz Journal
Yimba Rudo (Barking Hoop)
titled “Dreams And Desperate Measures” is an by Elliott Simon
expansive orchestral opus, demonstrating just how Diana Torti, voice | Sabino de Bari, classical guitar
compellingly Carrington’s often understated flowing V ibraphonist Kevin Norton provides 7 of the 13 tracks
rhythmatism steers ensembles into directions where on Yimba Rudo, a Zimbabwe Shona phrase that
their individual instrumental voices meld together into translates as “Sing Love”. Four tunes are from drummer SLAM PRODUCTIONS
a singular group sound. Jim Pugliese with bassist Steve LaSpina penning the
remaining two. The setting is structured improvisation www.dianatorti.eu
For more information, visit motemamusic.com. Carrington within a rich rhythmic landscape and each composer www.slamproductions.net
is at The Sultan Room Jan. 12th with Kris Davis as part of proffers a loose but recognizable plot that is twisted
Winter Jazzfest. See Calendar. and turned by these seasoned improvisers. In addition

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 23

 a West Coast trio with bassist Nedra Wheeler and
drummer Donald Dean (who mostly sticks to brushes)
and a New York quartet of vibraphonist Steve Nelson,
bassist Hilliard Greene and drummer Chuck
McPherson. The lack of a pianist or horn player is
hardly a handicap for these engaging performances.
With his quartet, Janzon begins with a driving
rendition of Sigmund Romberg-Oscar Hammerstein II ‘s
“Softly, As In A Morning Sunrise”, alternating between
Dialogical spacious lines and intricate bop, Nelson’s quote-filled
Michael Eaton (Destiny) solo nearly stealing the show. The leader’s original
by Marco Cangiano “Somewhere Over Stockholm” is a tense affair with an
understated solo. Kenny Dorham’s rarely performed
Michael Eaton is a Brooklyn-based saxophonist, “Prince Albert”, a snappy reworking of “All The Things
educator and composer whose musical interests seem You Are”, is loose and full of energy.
to have no boundaries. This is his second recording, Janzon adds an infectious introductory descending
following the highly praised Individuation, a complex, vamp to the Bronisław Kaper-Paul Francis Webster
multilayered CD covering many different musical standard “Invitation” while the solos by the guitarist
situations and groups of musicians. At the base is and vibraphonist provide a bit of contrast, the latter
Eaton’s quartet of Brad Whiteley (piano), Daniel Ori playing straight bop and the former incorporating a
(bass) and Shareef Taher (drums) augmented by a number of quotes into his feature. Interpretations of
number of musicians and instruments, most notably popular works like Richard Rodgers-Lorenz Hart’s
Lionel Loueke on guitar and vocals, Cheryl Pyle on “Have You Met Miss Jones” tend to be a bit predictable
flute and Brittany Anjou on vibraphone. in jazz settings but the hip opening groove and indirect
The tunes tend to be quite structured, yet leave lead into its melody here signal a willingness to explore
ample space for the soloists. The material is varied fresh territory.
both in terms of instrumentation and inspiration. The The music by his West Coast trio is equally strong,
pieces based on Eaton’s augmented quartet with though more reserved. Janzon’s “Latitude Longitude”
Loueke draw from Latin America (“Juno”), Middle is a quirky miniature with a playful flair while an
East (”Anthropocene”) and West Africa (the title track) easygoing, laidback take of Sam Rivers’ “Beatrice”
to cyclical variations and a certain angularity à la Steve suggests the influence of Jim Hall and Jimmy Raney.
Coleman (“Aphoristic” but also “Cipher”). Janzon’s intimate treatment of Wayne Shorter ’s “Iris”
Of note are Eaton’s solo on “Anthropocene”, in brings a new luster to this postbop standard.
which rock-influenced and hard-swinging sections
alternate effectively, and the many interventions by For more information, visit tomasjanzon.com. Janzon’s NY
Loueke and Witheley’s work on “Juno”. “I and Thou” Quartet is at Smalls Jan. 22nd. See Calendar.
features first Ori’s gimbri—sort of a Moroccan lute—
followed by another of Eaton’s projects, Tenor Triage
consisting of James Brandon Lewis, Sean Sonderegger
and Eaton himself, in a complex and varied tune based
on Middle Eastern scales and modes.
“Thanos and Eros” and “Machinic Eros” are
intimate and impressionistic duets between soprano
saxophone and flute. Finally, the “Temporalities” suite
sees the basic quartet complemented by an additional
piano and prepared piano, vibes, flute, trumpet and
marimba. The source is evidently early minimalism à
la Philip Glass and Steve Reich, with the fourth and
final movement bordering on atonality. It is an
engaging and rewarding piece of music requiring
undivided attention. There is so much music condensed
into this CD that it needs to be savored through
repeated listens to appreciate its richness fully.

For more information, visit destinyrecordsmusic.com. Eaton

is at Downtown Music Gallery Jan. 19th. See Calendar.

130th & Lenox

Tomas Janzon (Changes Music)
by Ken Dryden
A native of Sweden, guitarist Tomas Janzon has a
broad background in both classical music and jazz.
While in California, he studied with master guitarist
Joe Diorio and one can hear the influences of a number
of artists in his playing, though he has long since found
his own voice. The lack of filler in Janzon’s
arrangements allows the music to breathe.
130th & Lenox consists of two separate bands,

24 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Legendary Pianist
MicheL caMiLo
ceLebrates 25th
aLbuM essence
stunning aLL-star
big band reLease

“…the combined talents of everybody

in the ensemble both captures and
expands on the essence of one of
jazz's most exuberant and sharp-
witted pianists.” - allaboutjazz

“...a full-bodied latin celebration”

- audiophile audition

“…a blend of vigour and sensitivity

revealing the music’s power and
constant ingenuity.”
– latin jazz network
 World” succeeds in a fresh new arrangement, the Koerner Hall in Toronto. The Sardines serve up clutches
melody flowing over a light bouncy rhythm. of standards with the vibrancy the music deserves.
Biolcati wrote the title track 20 years ago. The long The setlists stick mostly to familiar standards, but
incubation period clearly paid off as this is the best of as the old song goes, it’s how you chew that mouthful
his originals. The ensemble exhibits great chemistry: that can count for a lot. “Everybody Loves My Baby”
piano delicate, saxophone tender, bass soulful, drums has an almost baroque-like introduction from the horns
spirited. Another original “Hello, I Lied”, was born before the rhythm section kicks in and the listener is
from a bassline. The musicians delve into the rhythm treated to the ever-so-slightly bittersweet, sometimes
with zest. “Fellini”, the quirkiest of Biolcati’s husky vocalizing of Elizabeth Bougerol and the band’s
Incontre compositions, was inspired by memories watching TV curt, hearty solos, including the percussive tap-dancing
Massimo Biolcati (Sounderscore) growing up in Italy. Listeners can easily imagine a man of A.C. Lincoln. This track illustrates what separates
by Anna Steegmann sporting sunglasses, a cigarette between his lips, riding the Sardines from the lesser fish of the seas: a snappy,
a Vespa on his way to meet Sophia Loren. What better potent sense of swing free of retro cheese. “Some of
F ans had to wait 10 years for another leader album by way to enjoy a jazz tune! These Days” has short but electric solos and asides
bassist Massimo Biolcati. Persona, his debut, won him from trumpeter Noah Hocker and rollicking, very
lots of praise. Incontre will follow suit. For more information, visit sounderscore.com. This project N’awlins-flavored keys from Evan Palazzo. “After
A scholarship to Berklee College of Music brought is at The Jazz Gallery Jan. 23rd. See Calendar. You’ve Gone” gets a captivatingly Ellington-ian feel,
Biolcati to Boston. Later he studied at the Thelonious essayed at an adorably languorous pace until winding
Monk Institute of Jazz. In New York since 2003, he has up in a delightfully bravura closing.
worked with Paquito D’ Rivera, Terence Blanchard and The languorous take of “Exactly Like You” finds
Ravi Coltrane and co-led the trio Gilfema with Bougerol especially coquettish. Ellington’s “Caravan”
guitarist/vocalist Lionel Loueke and drummer Ferenc gets a lengthy workout with plenty of spunky solo
Nemeth. Their third album will be released this year. passages—congas! tap dancing!—and bracing contrasts
Devotees of small jazz ensembles will enjoy this in tempo. The proceedings conclude with a lengthy
recording. The music is mellow and sensual. Biolcati workout on perhaps that hoariest of standards, “Won’t
composed four of the nine tracks. Dayna Stephens You Come Home Bill Bailey”. The Sardines give this
plays tenor, soprano and baritone saxophones, Sam their all—Bougerol making with some sass, plus
Yahel piano and organ and Jongkuk Kim drums. assorted jaunty solos and rollicking ensemble work
Welcome Home, Bon Voyage
The slow songs are exceptional. Charlie Chaplin’s from the band. While it would’ve been nice to hear the
The Hot Sardines (s/r)
“Smile” has a deliberate rolling groove, the melody by Mark Keresman Hot Sardines dip into the pool of lesser-known
stretched wide over it. Biolcati changed the original selections, what they do with the standards at hand is
major key to minor to evoke the melancholy of the The Hot Sardines are a NY-based ensemble specializing fresh, vivacious and fun. Bravo!
song and Stephens is at his most expressive. Yahel, in the hot jazz and swing styles of the ‘20s-early ‘30s,
a great lyrical improviser, demonstrates his talent in mostly forgoing heavy-handed or cutesy nostalgia For more information, visit hotsardines.com. This band is at
Charles Mingus’ “Duke Ellington’s Sound of Love”. aspects in their musical presentation. Welcome Home, Birdland Jan. 28th-Feb. 1st. See Calendar.
Pop act Tears For Fears’ “Everybody Wants To Rule the Bon Voyage was recorded live at Joe’s Pub in NYC and (CONTINUED ON PAGE 30)

TOO NOISY FISH

FURIOUS EMPATHIC SILENCE

igloorecords.be

26 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

soprano saxophone:
Joel Frahm, Sam Newsome
alto saxophone: 1-30
Billy Drewes, Chris Byars, Dave Pietro, Dick Oatts, Jim Snidero,
Jon Gordon, Kris Allen, Loren Stillman, Mike DiRubbo, Steve Slagle,
Vincent Herring
“…SteepleChase’s series of jam sessions drawing together the cream
tenor saxophone:
Ari Ambrose, Billy Drewes, Billy Mitchell, Charles Pillow, Chris Potter, of the contemporary jazz world makes a refreshing change these
Christian Winther, Danny Walsh, Dave Schnitter, Dick Oatts, Don Braden, days …. highly recommended.”
Gregory Tardy, Igor Butman, Jimme Greene, Joshua Douglas Smith, (Rick Finlay – CD Review)
Larry Schneider, Mark Turner, Rich Perry, Rick Margitza, Stephen Riley,
Tim Ries, Walt Weiskopf, Wayne Escoffery
baritone saxophone:
Ed Xiques, Gary Smulyan, Jay Brandford
trumpet:
Alex Norris, Bred Goode, Charles Sullivan (Kamau), Dave Ballou, 31522 Jam Session Vol. 1 31537 Jam Session Vol. 6 31566 Jam Session Vol. 11 31582 Jam Session Vol. 16 31613 Jam Session Vol. 21 31640 Jam Session Vol. 26

George Colligan, Greg Gisbert, Ingrid Jensen, Joe Magnarelli, John McNeil,
Louis Smith, Marcus Printup, Ryan Kisor, Scott Wendholt, Tim Hagans
trombone:
Andre Hayward, Conrad Herwig, Danny Kirkhum, Jim Pugh, Steve Davis,
31523 Jam Session Vol. 2 31546 Jam Session Vol. 7 31567 Jam Session Vol. 12 31593 Jam Session Vol. 17 31614 Jam Session Vol. 22 31659 Jam Session Vol. 27
Vincent Gardner, Wycliffe Gordon
guitar:
Dave Stryker, Doug Raney, Freddie Bryant, Tony Purrone, Vic Juris
piano:
Andy LaVerne, George Colligan, Michael Weiss, Richard Doron Johnson 31526 Jam Session Vol. 3 31547 Jam Session Vol. 8 31574 Jam Session Vol. 13 31594 Jam Session Vol. 18 31624 Jam Session Vol. 23 31660 Jam Session Vol. 28

bass:
David Ephross, David Finck, Doug Weiss, Essiet Essiet, Jay Anderson,
Johannes Weidenmüller, Neil Caine, Ron McClure, Scott Colley,
Steve LaSpina 31527 Jam Session Vol. 4 31554 Jam Session Vol. 9 31575 Jam Session Vol. 14 31601 Jam Session Vol. 19 31625 Jam Session Vol. 24 31685 Jam Session Vol. 29

drums:
Adam Nussbaum, Ari Hoenig, Billy Drummond, Billy Hart,
Darren Beckett, Jaz Sawyer, Jochen Rueckert, Joe Farnsworth,
Keith Copeland, Matt Wilson, Sylvia Cuenca
31536 Jam Session Vol. 5 31555 Jam Session Vol. 10 31581 Jam Session Vol. 15 31602 Jam Session Vol. 20 31639 Jam Session Vol. 25 31700 Jam Session Vol. 30

US distribution: www.statesidemusic.com - email: info@statesidemusic.com Complete catalogs: www.steeplechase.dk

BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019 THE NEW YORK CI
ALBUMS OF THE YEAR CONCERTS OF THE YEAR
jaimie branch—Fly Or Die II: Bird Dogs of Paradise ghost train orchestra “plays moondog” stephane wrembel’s
(International Anthem) Brian Carpenter, Curtis Hasselbring, Andy Laster, Dennis Lichtman, the django experiment iv
Alex Harding/Lucian Ban—Dark Blue (Sunnyside) Alec Spiegelman, Sara Schoenbeck, Mazz Swift, Brandon Seabrook, Thor Jensen, Ari Folman-Cohen, Nick Driscoll, Nick Anderson
Chris Lightcap, Rob Garcia, David Cossin, Ben Stapp, January 23rd, Joe’s Pub
Per “Texas” Johansson— Karen Waltuch, Max Moston, Dina Maccabee, Alex Waterman
Stråk på himlen och stora hus (Moserobie) January 5th, Winter Jazzfest, Le Poisson Rouge ches smith quartet
michael leonhart orchestra— Mary Halvorson, Liberty Ellman, Nick Dunston
Suite Extracts Vol. 1 (Sunnyside) Gary Bartz “Another Earth 50th Anniversary” March 6th, The Stone at The New School
Pharoah Sanders, Charles Tolliver, James King,
james brandon lewis— Bruce Edwards, Nasheet Waits, Eric Berryman Nik Bärtsch/Sha
An UnRuly Manifesto (Relative Pitch) January 10th, Winter Jazzfest, Le Poisson Rouge March 27th, Residence of the Swiss Ambassador
Consulate General of Switzerland
joe lovano—Trio Tapestry (ECM) Arooj Aftab/vijay iyer/shahzad ismaily
red kite—Eponymous (RareNoise) April 28th, Joe’s Pub ralph towner solo
March 28th, Jazz Standard
steph richards—Take The Neon Lights (Birdwatcher) barre phillips solo
phil slater—The Dark Pattern (Earshift Music) May 20th, Zürcher Gallery barre phillips solo
May 20th, Zürcher Gallery
Gebhard Ullmann/Hans Lüdemann/ andrew cyrille
Oliver Potratz/Eric Schaefter— Tomeka Reid, Beatrice Capote Brooklyn Raga Massive
mikroPULS (Intuition) June 11th, Vision Festival, Roulette Mahavishnu Orchestra Project
Snehasish Mozumder, Vin Scialla,
—Laurence Donohue-Greene kris davis/william parker/jeff “tain” watts Neel Murgai, Premik Russell Tubbs, Dan Asher,
June 14th, Vision Festival, Roulette Swaminathan Selvaganesh and guests
Satoko Fujii/Taysuya Yoshida—Baikamo (Libra) David Ullmann, Joe Deninzon
michael leonhart orchestra June 19th, The Jazz Gallery
Vijay Iyer/Craig Taborn— Jeff Nelson, Ray Mason, Claudia Chopek, Jake Charkey,
The Transitory Poems (ECM) Charles Pillow, EJ Strickland, Elizabeth Pupo-Walker, jason moran/tyshawn sorey
Alex Harding/Lucian Ban—Dark Blue (Sunnyside) Sam Sadigursky, John Ellis, Jason Marshall, Gil Goldstein, June 12th, Downtown Jazz Festival,
Krokofant (with Ståle Storløkken/ Scott Wendholt, Joe Martin, Robbie Mangano, Tom Christensen, Jamaica Center for Arts and Learning
Ingebrigt Håker Flaten)— Frank Greene, Carter Yasutake, Jamie Leonhart, La Tanya Hall,
Audrey Martells + guests Mark Whitfield, Steven Bernstein NELS CLINE QUARTET
Q (Rune Grammafon) Julian Lage, Jorge Roeder, Tom Rainey
July 16th, Jazz Standard
julian lage—Love Hurts (Mack Avenue) August 20th, Le Poisson Rouge
david tronzo/Stomu Takeishi/Ned Rothenberg
michael leonhart orchestra— August 10th, Ibeam Brooklyn akira sakata/darin gray
Suite Extracts Vol. 1 (Sunnyside) October 2nd, Blank Forms, James Cohan Gallery
chris lightcap—SuperBigmouth (Pyroclastic) RAVI COLTRANE QUARTET
David Virelles, Dezron Douglas, Johnathan Blake johnathan blake and pentad
Evan Parker/Barry Guy/Paul Lytton— August 24th, Charlie Parker Jazz Festival, Marcus Garvey Park Immanuel Wilkins, Joel Ross, David Virelles, Dezron Douglas
Concert in Vilnius (NoBusiness) December 5th, Village Vanguard
red kite—Eponymous (RareNoise) pat metheny side-eye trio
James Francies, Marcus Gilmore —Andrey Henkin
Stephane Wrembel—The Django Experiment IV September 11th, Sony Hall
(Water is Life)
—Andrey Henkin —Laurence Donohue-Greene

MUSICIANS OF THE YEAR

jaimie branch (trumpet)
VENUES OF THE YEAR
birdland theater (Hell’s Kitchen)
LABELS OF THE YEAR
astral spirits (astralspiritsrecords.com)
kris davis (piano) dizzy’s club (Upper West Side) ecm (ecmrecords.com)
joe lovano (saxophone) Jazz Standard (Gramercy) nobusiness (nobusinessrecords.com)
evan parker (saxophone) The Stone at The New School (West Village) steeplechase (steeplechase.dk)
aki takase (piano) village vanguard (West Village) sunnyside (sunnysiderecords.com)

HONORABLE MENTIONS
Acre—Different Constellations (AUT) • Melissa Aldana—Visions (Motéma Music) • Eric Alexander—Leap of Faith (Giant Step Arts) • Eric Alexander—With Stri
Lucian Ban/Alex Simu—Free Fall (Sunnyside) • Bangkok Lingo—Smells | Colours | Noise (Losen) • Simon Barker/Scott Tinkler—Interweave (Kimnara)
Josh Berman/Paul Lytton/Jason Roebke—Trio Discrepancies (Astral Spirits) • Bones (Ziv Taubenfeld/Shay Hazan/Nir Sabag) —Reptiles (NoBusin
James Carter Organ Trio—Live from Newport Jazz (Blue Note) • Jimmy Cobb—This I Dig Of You (Smoke Sessions) • The Comet Is Coming—Trust in
Harold Danko/Kirk Knuffke—Play Date (SteepleChase) • Kris Davis—Diatom Ribbons (Pyroclastic) • Whit Dickey Tao Quartets—Peace Planet/Box
Avram Fefer Quartet—Testament (Clean Feed) • Greg Foat—The Mage (Athens of the North) • Michael Formanek Very Practical Trio—Even Better (Intakt) • Bill F
Heinz Geisser Ensemble 5—The Collective Mind (Leo) • Ghost Horse—Trojan (Auand) • Lafayette Gilchrist—Dark Matter (s/r) • Ben Gold
Muriel Grossmann—Golden Rule (RR Gems) • Eric Hofbauer/Dylan Jack—Remains of Echoes (Creative Nation Music) • Abdullah Ibrahim—Th
Bo Jacobsen—Northern Spirit (Gateway Music) • Ahmad Jamal—Ballades (Jazzbook/Jazz Village) • Jamile—If You Could See Me Now (s/r) • Vic
Joachim Kühn—Piano Works XIII: Melodic Ornette Coleman (ACT Music) • Ingrid Laubrock/Sylvie Courvoisier/Mark Feldman/Tom Rainey—TISM (Rogu
Mark Lotz Trio—The Wroclaw Sessions (Audiocave) • Denman Maroney—Solo@70 (s/r) • Hedvig Mollestad Trio—Smells Funny (Rune Gram
Sam Newsome—Chaos Theory: Song Cycles for Prepared Saxophone (s/r) • Too Noisy Fish—Furious Empathic Silence (Igloo) • Terkel Nørgaard—W
Masanori Oishi—Smoke (Odradek) • Henrik Olsson—Hand of Benediction (Barefoot) • Evan Parker/Paul G. Smyth—Calenture and Light Leaks (Weekertoft)
Ralph Peterson’s Gen-Next Big Band—Listen Up! (Onyx) • Ralph Peterson’s Messenger Legacy—Legacy Alive, Vol. 6 at The Side Door (O
Dave Rempis/Joshua Abrams/Avreeayl Ra + Jim Baker—Apsis (Aerophonic) • Stephen Riley—Oleo (SteepleChase) • Eve Risser—Après Un Rêve (Clean Feed
Susana Santos Silva/Torbjörn Zetterberg/Hampus Lindwall—Hi, who are you? (Matière Mémoire) • Saxophone Summit—Street Talk (Enja) • Jenny Schein
Matthew Shipp Trio—Signature (ESP-Disk’) • Sonar (with David Torn)—Tranceportation (Volume 1) (RareNoise) • Aki Takase Japanic—Thema Pr
Pat Thomas/Dominic Lash/Tony Orrell—BleySchool (577 Records) • David Torn/Tim Berne/Ches Smith—Sun of Goldfinger (ECM) • Gebhard Ullma
Dan Weiss Trio Plus 1—Utica Box (Sunnyside) • Mars Williams—An Ayler Xmas, Vol. 3 (Live in Krakow) (Not Two) • Nate Wooley—Battle Pieces 4 (Relative Pitch
CITY JAZZ RECORD BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019 BEST OF 2019
MISCELLANEOUS CATEGORIES OF THE YEAR
UNEARTHED GEMS BOXED SETS TRIBUTES
bill dixon/cecil taylor—Duets 1992 (Triple Point) Anthony Braxton—Quartet (New Haven) 2014 (Firehouse 12) Paul Dunmall Sun Ship Quartet—
Ella fitzgerald—Ella at the Shrine (Verve) Nat “King” Cole—Hittin’ The Ramp: The Early Years John Coltrane 50th Memorial Concert at Café Oto (Confront)
charles lloyd quartet—Montreux Festival 1967 (1936-1943) (Resonance) joe fiedler—Open Sesame (Multiphonics Music)
(Swiss Radio Days Jazz Series 46) (TCB) John Coltrane—1963: New Directions (Impulse) Iro Haarla/Ulf Krokfors/Barry Altschul—
Sam rivers quintet—Zenith (NoBusiness) DKV Trio & Joe McPhee—The Fire Each Time (Not Two) Around Again (The Music of Carla Bley) (TUM)
françois tusques—Alors Nosferatu Combina Un Plan Art Pepper—Promise Kept: The Complete Artists House Dick Hyman/Ken Peplowski—
Ingénieux (Finders Keepers) Recordings (Artists House-Omnivore) Counterpoint: Lerner & Loewe (Arbors)
Denny Zeitlin—Remembering Miles (Sunnyside)

LATIN RELEASES ORIGINAL ALBUM ARTWORK DEBUTS

michel camilo—Essence (Resilience Music Alliance) jaimie branch—Fly Or Die II: Bird Dogs of Paradise
Preservation Hall Jazz Band— (International Anthem) Nicky Barbato—Every Day Is A Bad Hair Day (s/r)
A Tuba to Cuba (Sub Pop) Dave Liebman/Dave Binney/ Nick DunstoN—Atlantic Extraction (Out of Your Head)
Michele Rosewoman New Yor-Uba— Donny McCaslin/Samuel Blais— Larry Grenadier—The Gleaners (ECM)
Hallowed (Advance Dance Disques) Four Visions (Sunnyside)
Lisa Hoppe’s Third Reality—
Poncho Sanchez—Trane’s Delight (Concord Picante) Mark Lotz Trio—The Wroclaw Sessions (Audiocave) The Mighty Unlikely (Jazzhaus Musik)
Jiggs Whigham BuJazzO—Cuban Fire (Doublemoon) Chris Potter—Circuits (Edition) Junius Paul—Ism (International Anthem)
Kendrick Scott Oracle—

VOCAL RELEASES REISSUES

A Wall Becomes A Bridge (Blue Note)

Jazzmeia Horn—Love and Liberation (Concord)

Nicki Parrott—From New York to Paris (Arbors)
LARGE ENSEMBLE RELEASES eric dolphy—Musical Prophet: The Expanded 1963
New York Studio Sessions (Resonance)
Jean Derome—Sudoku pour Pygmées Erroll Garner—Campus Concert
Mary Stallings—Songs Were Made to Sing (Ambiances Magnétiques)
(Smoke Sessions) (MGM - Mack Avenue/Octave Music)
Wayne Horvitz European Orchestra— ICP TenTet—Tetterettet (ICP-Corbett vs. Dempsey)
Diana Torti (with Sabino de Bari)— Live at the Bimhuis (NovaraJazz)
On a Cloud (SLAM) sun ra—Monorails & Satellites
Jazz at Lincoln Center Orchestra (Works for Solo Piano, Vol. 1,2,3) (Cosmic Myth)
Veronica Swift —Confessions (Mack Avenue) with Wynton Marsalis— Jazz and Art (Blue Engine)
mal waldron—Free At Last (Extended Edition) (ECM)
michael leonhart orchestra—
LIVE ALBUMS Suite Extracts Vol. 1 (Sunnyside)
Maurice Louca—Elephantine (Northern Spy) JAZZ BOOKS
Peter Brötzmann/
Alexander von Schlippenbach/ Billie Holiday: The Last Interview and Other Conversations
Han Bennink—Fifty Years After (Trost)
Vijay Iyer/Craig Taborn—
SOLO RECORDINGS (Melville House)
Jason Moran (Walker Arts Center)
The Transitory Poems (ECM) Peter Brötzmann—Solo: I Surrender Dear (Trost)
Jazz from Detroit by Mark Stryker
Peter Lemer Quintet—Son of Local Colour Brian Charette—Beyond Borderline (SteepleChase) (University of Michigan Press)
(Live at the Pizza Express, Soho) (ESP-Disk’) Satoko Fujii—Stone (Solo Piano) (Libra) Rabbit’s Blues: The Life and Music of Johnny Hodges
Evan Parker/Barry Guy/Paul Lytton— Larry Grenadier—The Gleaners (ECM) by Con Chapman (Oxford University Press)
Concert in Vilnius (NoBusiness) Abdullah Ibrahim—Dream Time (Enja) Sweet Thunder: Duke Ellington’s Music in Nine Themes
Torbjörn Zetterberg & The Great by Jack Chambers (Milestones Music & Art)
Question—Live (Corbett vs. Dempsey)

IONS—NEW RELEASES
ings (HighNote) • Art Ensemble of Chicago—We Are On The Edge: A 50th Anniversary Celebration (Pi) • Michaël Attias—échos la nuit (solo) (Out Of Your Head)
• Jon Batiste—Anatomy of Angels (Live at the Village Vanguard) (Verve) • Matt Bauder/JP Schlegelmilch/Vinnie Sperrazza—Here’s Hearing Things (Yeggs)
ness) • Boneshaker—Fake Music (Soulwhat) • Bushman’s Revenge—Et hån mot overklassen (Hubro) • George Cables—I’m All Smiles (HighNote)
n the Lifeforce of the Deep Mystery (Impulse!) • Chick Corea—Trilogy 2 (Concord) • Stephan Crump/Ingrid Laubrock/Cory Smythe—Channels (Intakt)
x of Light (AUM Fidelity) • Petter Eldh—Presents Koma Saxo (We Jazz) • Ethnic Heritage Ensemble—Be Known: Ancient/Future/Music (Spiritmuse)
Frisell/Thomas Morgan—Epistrophy (ECM) • Fred Frith—Woodwork (Klang Galerie) • Stephen Gauci/Adam Lane/Kevin Shea—Studio Sessions, Vol. 2 (Gaucimusic)
dberg—Good Day For Cloud Fishing (Pyroclastic) • Burton Greene/Damon Smith/Ra Kalam Bob Moses —Life’s Intense Mystery (Astral Spirits)
he Balance (Gearbox) • Chuck Israels Nextet—Bass Intentions (Soulpatch) • Ethan Iverson Quartet (with Tom Harrell)—Common Practice (ECM)
Juris—Two Guitars (SteepleChase) • Kengchakaj Kengkarnka—Lak Lan (Outside In Music) • Yoni Kretzmer 2Bass Quartet—Mis-Take (OutNow)
ueArt) • Billy Lester—From Scratch (Newvelle) • Dave Liebman/Adam Rudolph/Hamid Drake—Chi (RareNoise) • Russ Lossing Trio—Ways (Ezz-thetics)
mmofon) • Rachel Musson/Pat Thomas/Mark Sanders—Shifa: Live at Cafe Oto (577 Records) • Ed Neumeister—One and Only (MeisteroMusic)
With Ralph Alessi (We Jazz) • Atle Nymo—Solo for Trio (Losen) • OGJB Quartet—Bamako (TUM) • Linda May Han Oh—Aventurine (Biophilia)
) • Zeena Parkins/Ryan Sawyer/Ryan Ross Smith—Green Dome: Thinking in Stitches (Case Study) • Ken Peplowski/Diego Figueiredo—Amizade (Arbors)
Onyx) • Tom Rainey Trio—Combobulated (Intakt) • Enrico Rava/Joe Lovano—Roma (ECM) • Tomeka Reid Quartet—Old New (Cuneiform)
d) • Jamie Saft/Steve Swallow/Bobby Previte—You Don’t Know The Life (RareNoise) • Akira Sakata/Johan Berthling/Paal Nilssen-Love—Arashi: Jikan (PNL)
nman/Allison Miller—Parlour Game (Royal Potato Family) • Louis Sclavis Quartet—Characters On A Wall (ECM) • Sensaround—Heart/Noise (HellosQuare)
rima (BMC Records) • Aki Takase—Hokusai (Piano Solo) (Intakt) • Per “Texas” Johansson/Torbjörn Zetterberg/Konrad Agnas—Orakel (Moserobie)
ann Basement Research—Impromptus and Other Short Works (WhyPlayJazz) • The Vampires—Pacifica (Earshift Music) • Anna Webber—Clockwise (Pi)
h) • Stephane Wrembel—Django L’Impressionniste (Water Is Life) • Brandee Younger—Soul Awakening (s/r) • Jeppe Zeeberg —Universal Disappointment (BIEM)
(CONTINUED FROM PAGE 26) entire double-LP set to be released by Atlantic, long called Copenhagen home at various times. And on this
after this aggregation had disbanded (and Dolphy and recording, of his first concert in the city (made 55 years
Ervin having died in the interim). Deemed a historic ago this month), he’s joined by a pioneering bebop
treasure by the jazz community, Speakers Corner pianist, Kenny Drew, who was based in the city, where
Records not only reissued it in time for its 60th he even was the house pianist at the famed Jazzhus
anniversary but as a remastered gem “using pure Montmartre, for almost three decades (1964-93).
analogue components only from the master tapes Webster will be remembered as Duke Ellington’s
through to the cutting head—only the best mastering first tenor solo star and though he only was in the big
studios worldwide from 180g virgin vinyl pressings”, band three years (1940-43) he will always be known as
as is stated in label documentation. Speakers Corner an Ellingtonian. Three Ellington tunes are included
paid just as much attention to the artwork, jacket here, four of the seven tracks. The album opens with
photos and liner notes, leaving us a brilliant document a soundcheck of Webster playing “In a Mellotone”
Mingus at Antibes
of a legendary moment in time. alone at the piano. He essays it twice, the second time
Charles Mingus (Atlantic-Speakers Corner)
by John Pietaro Throughout, Curson shimmers, bell-like with at a faster tempo, both times in an exuberant stride
sounds of praise and foray. His star was yet to shine style that flits through changing keys with brio.
In the summer of 1960, bassist Charles Mingus traveled fully in 1960, but his relevance was evident. Dolphy, The rest of the concert has Drew with Danish
to France with his Jazz Workshop to present the bold who’d been working with the leader off and on, is in musicians Niels-Henning Ørsted Pedersen (bass) and
music realized in New York nightclubs, conceived his element. Free, visceral, he pulls the band into the Alex Riel (drums)—the remainder of the Jazzhus
through years of performances with both the founders outer realms with Mingus’ blessing. From his first alto Montmartre house band. “Cottontail”, Webster ’s
and disciples of modern jazz. Like his cohorts, Mingus solo on “Wednesday Night Prayer Meeting” to signature solo feature with Ellington, includes a close
navigated the next step in the music, his experiments beauteous fits of bass clarinet midway through “What paraphrase of his famous recorded—and oft
with free improvisation, expansive harmonies and Love”, where he duets with Mingus, one can only transcribed—solo. And a non-striding “In A Mellotone”
expressionistic dissonances journeying the very roots imagine how blessed the French audience felt in the is delivered in a perfect heartbeat tempo.
of the Black experience. moment. This is not to dismiss Ervin, the tenor Webster ’s ability to wrap breathy notes around
Already released were albums Pithecanthropus saxophonist who’d been with the band a year already and caress melodies is in full flow on the standards
Erectus, The Clown, Mingus Ah Um and Blues and Roots and, as a Texas migrant, held a direct connection to the “My Romance” (Richard Rodgers-Lorenz Hart) and
and now with the addition of alto saxophonist/flutist/ roots in which Mingus reveled. Each utterance “Over the Rainbow” (Harold Arlen-Yip Harburg),
bass clarinetist Eric Dolphy, Mingus brought his maintained the course of the blues and he served as a demonstrating why he’s considered one of jazz’ great
visionary ensemble outward. Their destination, Juan- spectacular balance to Dolphy’s conceptions. balladeers. Ellington’s “Blues in B-Flat” confirms why
les-Pins and its Antibes Jazz Festival. Side Three is occupied by the Gene de Paul-Patricia one of his nicknames was “The Brute”. His tenor
Mingus’ working band of drummer Dannie Johnston-Don Raye standard “I’ll Remember April”, swaggers and plows through the uptempo blues,
Richmond, trumpeter Ted Curson and tenor which featured the formidable presence of pianist Bud sculpting a solo not so much out of notes as pitches,
saxophonist Booker Ervin, augmented by Dolphy, was Powell. He and Mingus’ history together was tones and timbres, from gruff squawks to high squeals,
in top form here, performing not to a smoke-filled substantial, including the famous 1953 Jazz at Massey all in service to Duke’s blues.
room, but a proper concert setting. And the outcome Hall concert album and in this setting, more than
was unforgettable. Oddly, it took some 16 years for the obvious. Powell, by then the victim of crushing mental For more information, visit storyvillerecords.com
illness and debilitating, misdirected treatment, is no
longer in top form but his solos and vibrant riffing lift

Academy Records the band to inspired heights. Ervin and Dolphy’s

lengthy section trading fours is deserving of repeated,

& CDs
isolated listening.
The final album side is all about the heritage and
where Mingus was taking it. “Folk Forms” and “Better
Git Hit in Your Soul” are elevated to new levels in the
hands of these masters, from Mingus’ simmering intro
to the driving intensity of Richmond and through each
Cash for new and used solo statement.
Taken as a whole, Mingus at Antibes is a music
compact discs,vinyl history lesson none can afford to miss. And, hey,
Speakers Corner extended the same remastering to
records, blu-rays and Pithecanthropus Erectus and The Clown, each now January 21
dvds. sounding—finally—as intended.
Mike Longo’s
For more information, visit speakerscornerrecords.com.
NY State of the Art
Jazz Ensemble
The Mingus Big Band is at Jazz Standard Mondays. See
We buy and sell all Regular Engagements.
with Ira Hawkins
genres of music.
All sizes of collections January 28th
welcome. Dave Chamberlain
and Band of Bones
For large collections, Celebrate J.J.
please call to set up an Ben Webster’s First Concert in Denmark
Johnson’s Birthday
appointment. Ben Webster (Storyville)
by George Kanzler
New York Baha’i Center
Tenor saxophonist Ben Webster attained the status of 53 E. 11th Street
a jazz patron saint in Copenhagen, Denmark, the city (between University Place and Broadway)
Open 7 days a week 11-7 he adopted as his home base in 1969 until his death in
1973. There is even a posh street on Copenhagen’s
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
12 W. 18th Street NY, NY 10011 waterfront renamed after him. Webster wasn’t the only
American jazz expatriate to call the city home. His 212-222-5159
212-242-3000 fellow tenor saxophonists Stan Getz and Dexter bahainyc.org/nyc-bahai-center/jazz-night
Gordon, as well as trumpeter-arranger Thad Jones,

30 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 “Sol La, al Sol” for Havana, Cuba and “Four for Miles” sounds like a minor chord, but there’s nothing to
for his adopted home of New York City. Dedicated to contextualize it and even its constituent pitches glide and
Benguela, Angola, “Chacatrik” has a strong southern waver in and out of focus with the subtlety of mastery.
African influence and the flamenco-influenced “Andan Ramon Lopez’ brushed snare, crystalline cymbal and
Luces”, appropriately, is dedicated to Cádiz, the ghostly bass drum answer with alacrity.
Andalusian city in the far south of Spain. Although If these duets had to be categorized, they could be
Solla dedicates “La Novena” to his native Buenos Aires, called mood pictures. On the fourth, Feldman lets go
he dedicates “Buenos Aires Blues” (combining tango with an astonishing series of ascending and descending
elements with a Charles Mingus-like arrangement) to jabs, with myriad tonal centers to match, almost
Puertos: Music from International Waters New Orleans. romantic were they not so frenetically disjunct. Lopez
Emilio Solla Tango Jazz Orchestra (Avantango) Puertos doesn’t pretend to be a traditional tango responds by entering something approaching grindcore
by Alex Henderson album; the idea of the project is different cultures mode. Gradually, after some sprint and splutter, the
coming together musically. Solla’s willingness to take mood settles into fitful introspection before it fades out
Buenos Aires native pianist Emilio Solla has been chances makes for a consistently intriguing listen. in uhr-swing pointillism. Contrast all that with the
fusing jazz with tango for over a decade, leading meditative opening of the sixth piece, Lopez barely
groups of various sizes, including the 17-piece big For more information, visit avantango.com. This project is disturbing the silence threatening to engulf each
band billed as the Tango Jazz Orchestra on Puertos: at Birdland Jan. 5th. See Calendar. motion with the subtlest brushwork and microtaps on
Music from International Waters. Solla also features five his cymbals. Feldman engages in some of the wildest
guest musicians: three percussionists (Samuel Torres, blue notes imaginable, a device that would fall flat in
Arturo Prendez and Franco Pinna), pianist Arturo less capable and intonationally assured hands.
O’Farrill and harp player Edmar Castañeda. Lopez swings in and out of time with the assurance
The bandoneon of soloist Julien Labro often of experience and the playfulness of innocence in
suggests the late tango innovator Astor Piazzolla as perfect balance. Feldman’s tone and timbre would be
does Solla’s composing. However that isn’t the only at home in a classical concerto and it is to his credit
Latin music influencing Solla as he draws on everything that he brings these gifts to bear on a freer context. No
from AfroCuban music on “Llegará, Llegará, Llegará” better example of their symbiosis is needed than the
and “Sol La, al Sol” to Colombian cumbia on “Allegrón” concluding track, where Feldman executes some of the
and Spanish flamenco on “Andan Luces”. The dusky most gorgeously elusive glissandi as Lopez’ high-hat
Trappist-1
“La Novena” gets inspiration from tango, Latin evokes distorted shades of musical eras long gone,
Ramon Lopez/Mark Feldman (Relative Pitch)
American boleros and the arranging of bandleader Gil by Marc Medwin before all recedes in the face of daunting overtonal
Evans all at once; the Davis-flavored “Four for Miles” arpeggios from Feldman.
recalls Evans and Davis’ famous collaborations. Some of the most convincing music thrives on
“Puertos” is the Spanish word for “ports” and the implication, on what might almost be, or what nearly For more information, visit relativepitchrecords.com.
concept of this album is port cities around the world was, rather than what can be categorized or defined with Feldman is at The Dance Jan. 11th with Susan Alcorn as
and their connection to immigrants, Solla composing ease or simplicity. The three notes violinist Mark Feldman part of Winter Jazzfest and Birdland Jan. 23rd as part of a
“Llegará, Llegará, Llegará” for Montevideo, Uruguay, lays down at 4:03 of the first of these seven improvisations John Abercrombie celebration. See Calendar.

Yoko Miwa Trio ROB FULTON

Birdland TheaTer
ThursdaY, januarY 30, 2020
7 & 9:45 PM $20-30
315 w. 44Th sTreeT | (212) 581-3080 | Birdlandjazz.coM

Yoko Miwa, Piano

will slaTer, Bass
scoTT GouldinG, druMs
The musicianship, exuberance,
euphoric energy and joyful
keeP Talkin, Miwa’s expression of Rob Fulton
laTesT, definiTive (vocals), Danny mixon (piano),
Piano Trio alBuM, T.K. Blue (alto, flute), Paul
naMed a downBeaT Beaudry (bass) and Dwayne
BesT alBuM of 2019 “cook” Broadnax (drums) is
captured on this cD,
#4 on jazzweek “Rob Fulton Live at club
radio charTs Bonafide New York city”.

available for purchase

“4 stars‑a beautifully
constructed album…the
at iTunes, Spotify,
bandleader clearly amazon, cD Baby
revels in the challenge
of rearranging tunes Upcoming Performances
she loves, as well
as the blend of February 7th - Harlem Late Night Jazz at Assinie,
intimacy and power 201 W. 116th St, New York, NY 10026 9Pm
this unusually gifted February 21st - NY Society for Ethical Culture,
trio can muster.” 2 W 64th St, New York, NY 10023 7PM
‑carlo wolff, downbeat March 12th - Harrison Urby,
777 South 3 Street, Harrison, NJ 7PM

YokoMiwa.coM ROBFULTONjazz.cOm
THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 31
 threesome an alternate sound. For his latest project, and tenor saxophonist Lucky Thompson.
Weiss experiments with both bassists playing together. By any measure, Kenton’s was a great big band
On the opening title track, based on an unusual and the album was generally critically acclaimed. The
metrical form (16+16+16+18+17+18 beats), Morgan decision to perform these pieces by a leading youth
articulates the rhythmic divisions with sharp pizzicato orchestra was challenging, if not audacious and risky,
attacks as Opsvik bows rich, cello-like melodies. Later, with comparisons to the Kenton recording inevitable.
the pulse is dropped and the combo follows Sacks’ But, without question and despite initial skepticism,
lingering chord cues, leaving large gaps of empty BuJazzO performs more than admirably, a tight group
space. The cycle of pulse and space repeats once more and more than adequate solos, a considerable feat and
Chalkboard Destiny before a final acceleration and further permutations of the product of great discipline and preparation and, as
Lisa Hilton (Ruby Slippers) the beat. “Rock and Heat” features the bassists a bonus, excellent recording quality.
by Phil Freeman simultaneously playing fast walking patterns that As expected, the selections from Cuban Fire! are
tread separate but synchronous pathways. On the filled with swatches of big, brassy, sometimes over-
Lisa Hilton has good taste. The Malibu, California- lullaby “Last Time One More Time” (which Weiss the-top displays, but there is some diversity and an
based pianist and composer makes an album a year, wrote for his daughter, who was presumably stalling abundance of fine soloists: Tom Ridout’s solid tenor
typically alternating a solo or trio disc with one for a later bedtime), Morgan once again lays bedrock solo, Chris Valentine’s trombone and Jonny Mansfield’s
featuring horns and she picks superb rhythm sections for Opsvik’s expressive arco technique. percussion are highlights on the opening “Fuego
and frontline partners. This is her eighth album to Elsewhere the instrumentation is standard trio. Cubano”; other fine moments include Berthold
feature tenor saxophonist J.D. Allen since they began Morgan plays on “Please Don’t Leave”, a transmogrified Brauer ’s full-throated trumpet on “Recuerdos”; Jeroen
working together in 2009. The two are joined by bassist AfroCuban 6/8 groove; “Jamerson”, after James Verberne’s strong contribution on trombone and solos
Luques Curtis and drummer Rudy Royston (himself Jamerson, the rock behind “the Motown sound”; and by saxophonists Fabian Dudek and David Healy and
a veteran of two previous Hilton sessions). “Bonham”, after John Bonham, the rock rolling Led drummer Tim Hennekes on “Quien Sabe”; Victor Fox’
Though all the music is Hilton’s, save a version of Zeppelin and a formative inspiration to Weiss, who tenor and Valentine’s trombone on “La Guera”; and
Joni Mitchell’s “Blue Boy”, she gives her collaborators signifies on the drummer’s hard-hitting but highly Harry Evans’ hard-hitting trumpet followed by lots of
room to run. She lays out entirely during Allen’s solo finessed style in a remarkable drum feature. Opsvik scintillating percussion from Hennekes, Mansfield,
on “Sympathy For Blues” and without her presence at plays on “Rain”, responding to Sacks’ lush rainforest Max Mills and Ludwig Wandinger on “La Suerte de
the keyboard to anchor things, the others spark quite chords before a sudden lull in the middle, taking the Los Tontos”.
an intense flame. On the Mitchell tune, Allen’s horn is lead with pizzicato eighth-notes, soloing in a minor The “bonus tracks” feature NYJO Director Mark
huge, like a mournful foghorn, perfectly complementing tonality and then reengaging Sacks with canny reactions. Armstrong’s “The Hunt”, with some good drumming
the piano, which sounds almost underwater as Hilton Although album title references the infamous wood- from Wandinger and Alexander Parzhuber; and
allows the melody to roll slowly off the keyboard. But slated cage (aka Utica Crib) pioneered by New York’s “A Rosa”, a lovely piece by NJJO Director Martin
again, she plays a short intro, then retreats, leaving the state lunatic asylum to restrain patients, Weiss’ pieces Fondse highlighting vocalist Sanne Rambags, with
trio to do their thing. When she returns, just shy of and leadership, though highly structured, leave plenty lyrics from Brazilian poet Neusa Raphael de Toledo
90 seconds into a four-and-a-half minute piece, her of room for creative ‘insanity’ to run rampant. This is Matuoka.
solo builds slowly out of the melody. It’s clear that one group thinking (and playing) outside the box.
Hilton has spent years listening to this song and that For more information, visit doublemoon.de
Mitchell’s voice is still in her head as she plays. For more information, visit sunnysiderecords.com. Weiss is
The compositions play with a variety of forms. In at Bar Lunàtico Jan. 6th with Caroline Davis, Nublu 151

Pam Brennan
addition to the aforementioned blues, there’s a tango, Jan. 12th with Tineke Postma as part of Winter Jazzfest,
a waltz and a few other tracks exploring Latin rhythms The Jazz Gallery Jan. 16th with Chris Tordini and The
and her attack is confident each time. She knows where Sultan Room Jan. 17th as a leader as part of Winter Jazzfest.

Available for your next Event!

she’s going and gets there. Hilton’s playing is very See Calendar.
considered. She swings, but never recklessly and her
approach to the keyboard is extremely balanced Vocalist with a Trio,
between left and right hand, neither rooted to the
heavy chords she favors, nor constantly dashing off to
or with a Quartet!
add melodic trills.
She explores stride piano on “Café au Mojo”, We specialize in romantic, atmospheric
a piece performed without Allen, and Curtis and music that lifts you right into another era!
Royston are both a solid foundation and nimble guides
throughout every twist and turn, there and throughout
the album. The drummer ’s typically sharp snare is a
Call 201-552-2910 or
potent accent, as always, and his cymbals dance lightly. email pmbrennan909@gmail.com
Cuban Fire and let us transport you in song.
Jiggs Whigham BuJazzO (Doublemoon)
For more information, visit lisahiltonmusic.com. This by Steven Loewy
project is at Weill Recital Hall at Carnegie Hall Jan. 9th. www.pam-brennan.com
See Calendar. Longtime teacher, trombonist and, at the time of this
recording, Artistic Director of the prolific German
youth orchestra Bundesjazzorchester (known as
BuJazzO), Cleveland-born Jiggs Whigham (who has
been based in Germany for several decades) leads
a combined conglomeration of 55 players from the
BuJazzO, United Kingdom’s National Youth Jazz
Orchestra (NYJO) and the Netherlands’ Nationaal
Jeugd Jazz Orkest (NJJO) through portions of Johnny
Richards’ demanding Cuban Fire! suite and a couple of
unrelated “bonus tracks”. This year, Whigham will be
named honorary conductor of BuJazzO and hand over
Utica Box
artistic direction to Ansgar Striepens.
Dan Weiss Trio Plus 1 (Sunnyside)
by Tom Greenland Anyone familiar with almost any big band
arrangements by Richards knows how difficult his
Drummer Dan Weiss, bassist Thomas Morgan (whom charts are to perform, especially for the brass, where
Weiss nicknamed “Rock”) and pianist Jacob Sacks have volume, endurance and range challenge even the most
been gigging together around the city for almost experienced musicians. This recording includes five of
20 years, making their first trio date, Now Yes When, the six tracks from the original 1956 Kenton recording,
under Weiss’ aegis in 2006. When Morgan was busy which featured an allstar band including among its
with his many other projects, Eivind Opsvik soloists trombonist Carl Fontana, drummer Mel Lewis,
(nicknamed “Heat”) often filled in, giving the alto saxophonist Lennie Niehaus, trumpeter Sam Noto

32 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Manhattan
School of Music

JAZZARTS
STEFON HARRIS
ASSOCIATE DEAN AND DIRECTOR
MSMNYC.EDU
Office of Admissions and Financial Aid
Manhattan School of Music
130 Claremont Avenue,
New York, NY 10027
917-493-4436
admission@msmnyc.edu

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 ascendant intoning. Branciforte’s new label Greyfade. Bleckmann and
Another remarkable feature is the discreet solo Branciforte drew upon their experiences performing
insertions by each of the trio members. These emerge together with Ryuichi Sakamoto in 2018 before diving
organically out of the suite’s broader themes, as into this unscripted studio encounter. Using Bleckmann’s
opposed to intruding or breaking the form. This fluid voice as foundation, Branciforte manipulated and mixed
approach contributes to the impression of an organic, raw vocal elements into something greater than their
living entity, despite the obviously meticulous sum, an entirely new entity that is both and neither,
construction that Yamamoto poured into the suite. locus and void, present and timeless.
A poetic evocation of a distinctly Japanese folk Outside references linger, but give us a portrait
Goshu Ondo Suite tradition, the Goshu Ondo Suite shimmers with elegance. only of the music’s surface. One could easily
Eri Yamamoto & Choral Chameleon (AUM Fidelity) As an homage to multiculturalism and the fertile characterize “3.4.26”, for example, as a haunting
by Franz Matzner ground folk traditions provide, the suite resonates smoothie of Taylor Deupree, Nico Muhly and Tim
outward from its simple, melodic beginnings to create Hecker. But to do so risks masking its unfolding into
Defined by discretion and a subtle touch, pianist and an immersive, enriching experience, bound to lift the something entirely its own—a journey that would
composer Eri Yamamoto’s Goshu Ondo Suite soars with spirit as much as it will please the ears. never exist without the input of its primary travelers.
graceful, positive energy. “4.19” is even more spatial, treating the voice as an
Yamamoto began her musical studies outside the For more information, visit aumfidelity.com. Yamamoto’s architectural element of the cosmos, however the
jazz context, focusing on voice, viola and composition. trio is at Arthur’s Tavern Thursdays-Saturdays. See listener chooses to define it. One senses whispers and
These influences are evident throughout the suite, Regular Engagements. lullabies hiding in there somewhere, but only with the
which combines the classic jazz piano trio with the intention of half-sleep, lest we be robbed of messages
Choral Chameleon group. The album embraces a patient yet to be conveyed.
development over its course, each segment providing The diamond rings of this eclipse shine in the
its own distinctive structure while following a through- opening and closing tracks. “6.15” unravels a breathy
line evolved from the opening melodic figure. This hope for melody. When the voice at last unclothes
figure and much of the suite was inspired by a traditional itself, we almost feel slain by its familiarity, as if it
circle dance song performed during Japan’s annual were the relic of a world that no longer exists except in
summer harvest festival, the Bon festival. The result is a shadow. “5.5.9” is molded by a more human touch,
blend of traditional Buddhist vocal melodies flesh and bone articulating cages of possible meaning
underscored by modern jazz piano landscapes. around open syllables.
Choral Chameleon’s polyphony, heterophony and At just shy of 35 minutes, LP1 is a lesson in quality
LP1
unison singing provide an effervescent texture while over quantity. This is music so intimate that it aches.
Theo Bleckmann/Joseph Branciforte (Greyfade)
Dave Ambrosio’s clever bass and Ikue Takeuchi’s by Tyran Grillo Bleckmann’s voice never stops evolving and in
subtle drumming, especially when deploying brushes, Branciforte’s artistry it has found a lifelong partner.
provide the swing that drives the whole. For example, This collaboration between vocalist Theo Bleckmann
the second movement—the longest—is enriched by and electronic musician/producer Joseph Branciforte is For more information, visit greyfade.com. Bleckmann is at
evolving metric shifts as well as Choral Chameleon’s their first album as a duo and the inauguration of Subculture Jan. 10th as part of Winter Jazzfest. See Calendar.

34 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Sung, bassist Endea Owens and drummer Allison another dimension. This song and the last one,
Miller plus (usually on one song apiece) eight singers, “Hieroglyphics”, sound like caricatures of an electrified
a rapper, five readers, a string quartet, a few other band from the perspective of an acoustic drummer like
guests and a large choir, Allyson and arranger John Hooker.
Daversa musically revive some of the highlights of the The final third of Symphonie of Flowers is not for the
suffrage movement. faint of heart, but it could be experimentation like this
Most of the pieces are songs and speeches that keeps a musician as prolific as Hooker from falling
influential at the time but long forgotten; there were into predictability. In any case, the album ends a long
actually hundreds of pro-women’s rights songs, none way from where it starts and adventurous listeners are
Vertical Shores of which became a standard. On this CD, which could encouraged to make the journey.
Zack Clarke Trio (Clean Feed) be thought of as the soundtrack for a Broadway
by John Sharpe production that never was, speeches by Susan B. For more information, visit orgmusic.com. This project is at
Anthony, Frederick Douglass, Elihu Root, Alice Paul Fridman Gallery Jan. 11th as part of New Ear Festival and
After the electro-acoustic sessions producing Random and Sojourner Truth are read quite effectively by Ibeam Brooklyn Jan. 25th. See Calendar.
Acts Of Order (2017) and Mesophase (2018) on the same Rosanne Cash, Harry Belafonte, Peter Eldridge, Julie
label, pianist Zack Clarke pulls out the plug for the Swidler and Lalah Hathaway.
piano trio on Vertical Shores and follows the egalitarian Of the songs, “The March Of The Women” was
models of forerunners such as Bill Evans and Paul Bley considered the anthem of the women’s suffrage
by allowing his colleagues equal agency in the edgy movement and utilizes the 40-voice choir Frost
interaction he promotes. In fact, bassist Kim Cass, Women’s Chorale along with Allyson. “The Great
a regular with the likes of John Zorn and Matt Mitchell, Convention” has lyrics from 1852 sung by Madeleine
delivers a caffeinated take on the Scott LaFaro or Gary Peyroux, Denise Donatelli and Allyson separately and
Peacock role, on occasion seeming the lead voice. together, representing the diverse voices that formed
Although all nine cuts are credited to Clarke, they the women’s movement. 1835’s “I’ll Be No Submissive
avoid overt melodic and rhythmic themes and could Wife” has some futuristic lines. Veronica Swift swings
easily pass as improvisations. and scats her way through “Anti Suffrage Rose”, which
Clarke himself at times sounds content to supply made fun of the movement. Allyson sings “She’s Good
the foundations with a succession of repeating piano Enough To Be Your Baby’s Mother” and has a duet
figures, creating a canvas against which Cass in with Kurt Elling on “Winning The Vote”. She also
particular flares and spatters. The bassist, who restricts contributed the final two songs, “Way Down Below”
himself to pizzicato throughout, hogs the spotlight on and “Big Discount”, which discuss the ongoing
the opening “Foreign Waters” where he displays a struggle for equal rights.
nimble, taut sense of phrasing. For his part drummer Musically this grab-bag collection is hit-and-miss
Dré Hočevar largely offers coloration, either with but would be a great staged production someday.
shimmering cymbal splashes or brushed patter. As a
result, much of the momentum stems from the activity For more information, visit entertainmentone.com. Allyson
of Cass and Clarke. Time expands and contracts, is at Birdland Jan. 21st-25th. See Calendar.
noticeably on “Outer Orbit” where the drummer ’s
crinkling percussive intro gives way to urgent rumbling
picking and then even faster tripping piano, before
slowing to a series of flourishes, sprays and flurries.
Clarke’s finest moments arrive when he sets aside
Satie-esque rippling in favor of spurts of flowing
piano, as on the bustling “Aggressive Déjà Vu”, where
his ringing two-handed bursts move out of phase to
overlap and interlock to rousing effect. The most
dramatic episodes appear towards the end of the
program, with “Orphean Wind” exhibiting light and
Symphonie of Flowers
shade while “Anxious Bodies”, the longest and most
William Hooker (ORGmusic)
spirited track, is full of darting jabbing interplay. After by Kyle Oleksiuk
that the final “Shadows Of Anxious Bodies” provides
a cooling balm, with Cass once again foregrounded, Extremely prolific artists sometimes find it difficult to
completing a set that mashes the unfettered with the maintain a high standard of originality and quality in
more conventional in ways beyond easy logic. their work. For drummer William Hooker, not so. He is
one of the most productive musicians working today
For more information, visit cleanfeed-records.com. This and Symphonie of Flowers, the third album he’s released
project is at The Owl Music Parlor Jan. 12th. See Calendar. in 2019, stands out with the freshness of a first
recording. Even when played on half-dead computer
speakers, it sounds like live music being performed
right in front of you.
And what live music it is. During the first two-
thirds, Hooker supplies brisk, virtuoso playing with
strong elements of breakbeat. In the background, a
grand piano plinks chaotically in shrill and deep bass
tones. Hooker ’s combination of steady drums and
frenzied piano evokes chaos at the end of
a tragic opera. Hearing half an hour of this music can
make one feel as if in the presence of evil, these
Shoulder to Shoulder
musicians, like demons, thriving in an inferno of sound
Karrin Allyson Sextet (Entertainment One)
by Scott Yanow that casual listeners can only bear for so long. Jazz
fiends indeed.
S houlder to Shoulder is a very different album for Karrin As if this beginning weren’t tumultuous enough,
Allyson, a tribute and remembrance of the Women’s Hooker ups the ante in the final third by moving the
Suffrage Movement of 1848-1920. After a long struggle, spotlight off of his drumkit and onto an array of
women gained the right to vote 100 years ago when the electronic instruments and modified saxophone
19th Amendment to the Constitution was passed. squeals. On the second-to-last track, “Soul”, the
Utilizing an all-female sextet of trumpeter Ingrid instrumentation appears to consist of computerized
Jensen, alto saxophonist Mindi Abair, pianist Helen bleeps and bloops, warped TV static and lasers from

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 35

 we’re back to burning piano, left hand walking fast Thelen is actually the one (relatively) verbose
and the right playing dazzling solo lines. Piket notes voice. “Road Music”, the second track on Fractal Guitar,
that “Flight” is one of the Mintz tunes becoming a has some four-note riffs, quasi-melodies. Heard after
standard for jazz musicians on both coasts; she listening through Tranceportation, they appear as a
increases the tempo at the beginning of each of the last magnificent edifice on a vast and empty horizon.
three choruses, displaying power and technique with Except it’s not empty; it’s full of small but discernible
ease and leisurely moderation. Mintz and Piket know curves and undulations.
the blues too as is revealed on “Cannonball”, possibly In the context of this style, Fractal Guitar is the
a funky tribute to the legendary alto saxophonist, more colorful album. There are moments that glance at
Domestic Harmony: Piket Plays Mintz simple and disarming. some of Bärtsch’s ”Modul” compositions, as well as
Roberta Piket (Thirteenth Note) Two more tunes round out this set of fine originals; Steve Reich’s Electric Counterpoint. Thelen explains in
by Donald Elfman “Blind’s Eye”, which combines a darkish main theme the liner notes that he wanted to bring a different
and a bridge bearing a resemblance, as Piket and Mintz concept to this record: “After a few years of playing
P ianist Roberta Piket has taken her pianistic artistry, note, to Clifford Brown’s “Daahoud”; and finally, without effects apart from reverb...I felt the urge to
her intimate and unique improvisational ability, and “Ugly Beautiful” which has roots in Piket’s record some pieces in which effects were an integral
created a gift for her drummer husband Billy Mintz arrangement—from 20 years ago—of Jimmy Webb’s part”, one of those being a rhythmic delay he calls
on the occasion of what she calls a “landmark” “Up, Up and Away”. “Fractal Guitar”.
birthday: solo versions of ten of his distinctive Domestic Harmony is a strikingly sensitive tribute Torn is just one on the list of esteemed players,
compositions. from one brilliant artist to another. which includes fellow guitarist/sound experimenters
Opener “Ghost Sanctuary” is a deliriously lovely Henry Kaiser, Markus Reuter and Barry Cleveland (the
melody moved by a 5/4 rhythm, played with insistent For more information, visit thirteenthnoterecords.com. This last two credited with “soundscapes” and
authority, quiet and poignantly confident. Mintz can project is at Mezzrow Jan. 16th with Virginia Mayhew, “atmospheres”). The effects and the larger cast make
certainly create gorgeous melodies. On “Beautiful Mike Fahn and Billy Mintz. See Calendar. this a more extroverted experience than
You” the delicate romance is peacefully coaxed from Tranceportation—if that album (like most of SONAR’s
the keyboard. And “Your Touch” is harmonically music) is best experienced through headphones, the
intricate and perfectly lovely, thanks to Piket’s...well... riffs insinuating themselves into the brain’s waves,
touch. “Looking Down at the Stars” is a beautiful Fractal Guitar sounds best through speakers, the details
ballad, dark and dreamy with sensitive use of space. of timbre filling up the listening space while the
And “Destiny” is yet another lovely slow tune, Piket grooves get the feet to tapping. In a relative sense it is
complementing her delicate pianistics with a profound a conventional album compared to SONAR’s avant-
vocal. gardism and would be an excellent gateway drug to a
Outside of these elegant and intimate ballads mind-expanding experience.
Mintz has written some exceptional tunes on which to Tranceportation (Volume 1)
SONAR (with David Torn) (RareNoise)
blow, giving Piket the opportunity to display her For more information, visit rarenoiserecords.com and
Fractal Guitar
powerful technique. “Shmear” opens with dazzling Stephan Thelen (Moonjune) moonjune.com. Torn is at The Sultan Room Jan. 17th as
runs and opens out into what feels like a hymn. Soon by George Grella part of Winter Jazzfest. See Calendar.

These two recordings both further a collaboration that

began with 2018’s Vortex, also on RareNoise, and
extended the aesthetic range of exciting minimal
groove movement coming out of Switzerland and
centered around Nik Bärtsch and his Ronin Rhythm
label. It is the most musically fulfilling thing happening
right now in progressive rock and perhaps in all of
non-jazz/non-classical instrumental music.
David Torn and SONAR (Fractal Guitar—released
at the end of last year—is credited to Stephan Thelen,
but since he’s also the Artistic Director of SONAR and
since the album personnel amount to an augmented
version of the band, there’s little distance between the
two records) are as complementary as can be imagined,
the guitarist the lead voice for a band that never varies
from their pure ensemble concept. These two styles
have to work in practice, of course, not just in the
imagination and that’s where Torn impresses most.
If SONAR is in the crudest sense a backing band, then
Torn still has to exercise good musical taste and
judgment.
This he does throughout and across both albums.
SONAR’s music uses small musical ideas to create
complex rhythms while also leaving wide-open spaces
for their subtle changes in emphasis and accent, which
carry great masses of meaning and pleasure—the title
of their 2014 record, Static Motion, is also a succinct
description of what they produce. It’s possible to hear
the limits of their style as literally limiting—it can be
hard to differentiate tracks across albums—but this is
also music that shows the vastness between granules
of sound.
There is enough space to fill with extended guitar
solos, but that’s the opposite of what the music is about
and Torn is exquisitely judicious with his statements.
Even more, his personal voice is made up just as much
of raw, electric guitar sound as it is any string of notes
or chords and he’s just as likely to drop in a growl or
a roar as he is an identifiable phrase. Think Adrian
Belew with King Crimson, but with even more
discipline.

36 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 career (he died in 1979 at 43), one conversant in many the unit in which the three elders served.
forms, from ballads to blues to standards, soul and The band comes out charging on “Three Points
funk. He was also a working man, reportedly playing and a Sphere”, an exciting anthem, which takes off on
on more than 50 Blue Note sessions between 1961-63. a melodic progression redolent of Joe Henderson’s
Between 1960-65, he recorded 22 albums as a leader, “Inner Urge” and is driven by indefatigable drumming.
nearly half of which went unreleased. Those albums The mood calms for “Phi”, an easy-grooving excursion
have since seen the light of several days and are now flowing over the malleted New Orleans-styled drum
getting handsome packaging as part of Blue Note’s rhythm associated with the Ahmad Jamal Trio’s classic
80th anniversary LP reissue series. rendition of “Poinciana”, which buoys soulful alto.
SuperBigmouth The guitarist’s first release for the label, Grant’s Harrison is celebrated on the date’s next track, “Chief”,
Chris Lightcap (Pyroclastic) First Stand, is the most satisfying of the reissues so far. an edgy hardbopping outing. Next is a pulsating
by Robert Bush It’s hard not to like an organ trio and this threesome AfroCuban groove on “Parametric”, Harrison and
doesn’t disappoint. With “Baby Face” Willette (who Lynch blowing rhythmic lines recalling their tenures
Bassist Chris Lightcap is one of those rare players who was playing with Lou Donaldson at the time) on organ with Eddie Palmieri, and Peterson demonstrating his
can thrive across all idioms. He contributes to bands and Ben Dixon (who would soon join the Donaldson powerful command of the idiom, which contrasts with
led by violinist Regina Carter, guitarist Joe Morris, camp) on drums, the album is irresistible from the get- his sensitive brushwork on “Torus”, a pretty waltz that
saxophonist Chris Potter and the late trumpeter go. The opening one-two punch of Green’s grooving showcases full-bodied bass.
Tomasz Stańko. His latest project is a meeting between “Miss Ann’s Tempo” and the old Tin Pan Alley tune Lynch is fêted on “The Professor”, a dramatic
his Superette and Bigmouth bands, combined as “Lullaby of the Leaves” could put a bounce in a three- feature for soaring trumpet, first heard on Completion of
SuperBigmouth and comprised of two saxophones toed sloth’s step. After that, they relax into the zone, Proof. “Undefined”, a sequel to “Manifest Destiny”,
(Tony Malaby and Chris Cheek), two guitarists playing through some upbeat blues, most notably on another song from that earlier album, follows in the
(Jonathan Goldberger and Curtis Hasselbring), one Side Two with an altogether lovely take on “Tain’t Jazz Messenger mold, with explosive drumming
keyboard player (Craig Taborn) and two drummers Nobody’s Bizness If I Do”. propelling high-flying trumpet and alto solos, then
(Gerald Cleaver and Dan Rieser.) By 1970’s Alive! (waxed at Newark’s Cliché Lounge), calming down to complement a gripping piano solo
That’s a lot of moving parts. The music succeeds, Green was fronting a sextet. The presence of saxophonist and back up for its own feature. The dynamic level
however, on the strength of Lightcap’s writing and the Claude Bartee from Pucho and The Latin Soul Brothers remains elevated on “Staircase To Mount Sinai”, one
concept itself, which combines jazz with instrumental pushes him to the backline, but he’s in good company more piece that could have easily found its way into the
rock—imagine a blend of Mahavishnu Orchestra and there with drummer Idris Muhammad, rounded out by Blakey repertoire. The date concludes with “Sensei”, a
The Ventures with extremely long melodies that lean congas, organ and some lovely vibraphone by William high-energy tribute to Peterson constructed over a five-
towards an ‘outside’ aesthetic. Bivens. It’s a more textured record, but less a spotlight note piano and bass vamp, much like the one associated
The disc begins with “Through Birds, Through for the leader and as it happens none of the other players with Jerry Gonzalez and The Fort Apache Band’s
Fire”, setting all the melodic voices in dizzying, layered quite occupy the spotlight either. arrangement of Monk’s “Evidence”, which the brothers
motion. The head seems to go on forever until organ Born to Be Blue, recorded in 1962 but not released played many times as members of that band.
breaks through for a potent essay. An early highlight until 1985, strikes a happy medium. While there’s
occurs on “Queensride”, which combines jazz-fusion (sadly) no organ, there’s plenty of right-in-the-pocket For more information, visit truthrevolutionrecords.com.
and surf rock. Malaby emerges from the swirl of voices piano by Sonny Clark and the masterful saxophonist This project is at Dizzy’s Club Jan. 15th. See Calendar.
first with a joyfully disruptive solo referencing Albert Ike Quebec shows he knows how to fill in a groove
Ayler and early Pharoah Sanders, followed by without overtaking it. While the band is just as big as
Goldberger ’s distortion-laden contribution. “False
Equivalency” is a kind of free jazz power ballad
on the Alive! dates, Green has more room to move and
his tone on “If I Should Lose You” (a tune more often
Patricia
suggesting, at times, the influence of Paul Motian’s
Electric Bebop Band. This group makes even better use
heard as a vocal number but Green was no doubt
familiar with the Charlie Parker With Strings version Brennan
of the twin saxophones and guitars combination. and, perhaps, then-recent takes by Hank Mobley and
Very crisp ride cymbal articulation drives the Jimmy Smith) alone is worth the price of admission. Stone residency at
guitar and saxophone pentatonic riffing on “Deep Like Grant’s First Stand, Born to Be Blue was
Happylucky no. 1
River”, until Cheek steps into the limelight for a recorded by Rudy Van Gelder and sounds brilliant. It’s
powerful solo in the brawny Sonny Rollins tradition. a shame to lose the bonus tracks on the previous CD 734 Nostrand Avenue,
Taborn’s piano introduces “Nothing If Not” and once issues of the albums, but the heavy covers and 180g Brooklyn, NY 11216
the horns enter, it is hard not to hear the influence of vinyl give Green the presentation he’s long deserved. happyluckyno1.com
South Africa’s Abdullah Ibrahim. It feels like being
inside a church and eventually opens up for a beautiful For more information, visit bluenote.com. Tributes to Grant Jan. 17, 2020 8pm
bass solo over whispering brushes. A big drumbeat Green by Scott Sharrard are at Bar Lunàtico Jan. 6th and MOCH presents
opens the elliptical “Quinine”, which serves as a Café Bohemia Jan. 17th. See Calendar. “Raíces Jarochas”
feature for the wicked distorted vibrato of Hasselbring Patricia Brennan -
while organ tends to dominate “Sanctuary City” with Vibraphone
an appropriately solemn air. Michael Formanek -
Good creative stuff. SuperBigmouth is doing Bass
something different, for sure. Mauricio Herrera -
Percussion
For more information, visit pyroclasticrecords.com. This
Noel Brennan -
Electronic
project is at The Sultan Room Jan. 17th as part of Winter percussion,
Jazzfest. See Calendar. turntables

Algorithm Jan. 18, 2020 8pm

Curtis Brothers (Truth Revolution)
Adam O’Farrill -
by Russ Musto
Trumpet
N early a decade following Completion of Proof, the Jon Irabagon -
Tenor/
debut album by The Curtis Brothers Band, pianist
Grant’s First Stand | Alive! | Born To Be Blue Alto Saxophone
Zaccai and bassist Luques Curtis reunite with their
Grant Green (Blue Note) Patricia Brennan -
mentors—trumpeter Brian Lynch, alto saxophonist Vibraphone
by Kurt Gottschalk
Donald Harrison and drummer Ralph Peterson—for a Matt Mitchell -
G rant Green certainly wasn’t the first, but just as live club recording that documents their development Piano
certainly was instrumental in breaking the guitar out as two of the most talented players of their generation. Tomas Fujiwara -
of the rhythm section. Following in the footsteps of Comprised of nine Zaccai compositions, which in the Drums
Charlie Christian on the path of Charlie Parker, Green composer ’s words attempt to “fuse mathematical ideas
played linear, not chordal, solos, insisting to be heard with soul”, it’s not surprising that much of the music
as a melodicist and, over the course of his too short recalls the sound of Art Blakey and the Jazz Messengers, PatriciaBrennanviBeS.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 37

 improvisations for solo guitar, many of which were for a wonderful set, although it is fair to say that all
released together on In Solitaire (Definitive Records, e.s.t. live recordings are of the highest quality. The
2005). These pieces differ from Reinhardt’s jazz material draws from two of the better-known and most
repertoire and are a singular fusion of Spanish, Rom successful e.s.t. albums, From Gagarin´s Point of View
and classical guitar few guitarists have approached in and Good Morning Susie Soho. The live environment
any significant way. Wrembel’s meticulous readings of turns out to be very congenial for e.s.t., stretching
the originals combined with modern recording well-known material to the limit while transmitting to
techniques liberate underlying harmonics and newly the audience the pleasure of creating music.
illuminate these unique compositions. Just shy of two hours long, the concert has not one
Ways The first two improvisations immediately impress moment of hesitation. Only a couple of tunes, the off-
Russ Lossing Trio (hatHUT - Ezz-thetics) with outstanding timing, controlled harmonics and the-cuff blues-prone “Bowling” and “Rube Thing”,
by Stuart Broomer gorgeous chords to uncover the melancholy of had not been recorded by then. Electronic effects are
“Improvisation 1” and enchanting melody of limited to Dan Berglund’s bass, making the concert an
Russ Lossing is both a distinguished and a distinctive “Improvisation 2”. Three variations of the latter showcase almost entirely acoustic affair. Svensson is on fire,
pianist. He’s produced a series of CDs over the past 20 Wrembel’s facility with pacing, structure and melody, superbly sustained by his partners.
years in solo, duo and trio formats ranging from free skillfully conveying the intended delicate nuance. After Berglund’s initial tuning of his instrument,
improvisation to standards to two CDs dedicated to the Reinhardt’s solo improvisations are more cerebral than the music takes off on the Keith Jarrett-inspired
compositions of the late Paul Motian, both a mentor and his ensemble work, envelop rather than enflame, and “Dating” then proceeds with the more melancholic
a collaborator. To all Lossing brings a forcefully linear have structures that sound more through-composed than Herbie Hancock-imbued “Somewhere Else”, which
conception fusing a keen sense of space with intense improvised. Wrembel capitalizes on this and “Solo flows seamlessly into a Bach-verged piano solo intro
momentum. On Ways, he plays with his trio of bassist improvisé n°1 and n°2” toy with a range of emotions via leading to the slow-building, hard-driving “Rube
Masa Kamaguchi and drummer Billy Mintz, previously provocatively fleet runs and lovely emotive chords. Thing”. “The Wraith” is a quintessential e.s.t. journey,
heard on Oracle (2008) and Motian Music (2017). At times things do veer toward the academic and, emphasizing how Magnus Öström’s idiosyncratic
Each of Ways’ eight pieces is entitled by a word as on the originals, the included variations are not all drumming playing in and around the tempos—
including “way”, suggesting perhaps something of the that different from one other. Reinhardt’s “Improvisation a liberty e.s.t could afford thanks to Berglund’s
Tao, though the playfulness that extends the compound n°7” on electric guitar is unfortunately absent and it unwavering timekeeping—is so essential to its sound.
titles includes “Breezeway”, itself suggestive of the would have been tantalizing to hear Wrembel in that The concert contains so many highlights, including
late John Ashbery’s 2015 collection of characteristically format. That said, however, warmly unadorned wonderful solos by both Berglund and Öström, it is
mysterious, elliptical poems, at once plain-spoken, versions of “Parfum”, “Tea For Two”, “Naguine” and almost unfair mentioning only a few. But the
pithy and unknowable. There’s something of that, too, “Echoes of Spain” are sprinkled throughout and interpretations of what eventually became some of
in the philosophical influence of John Cage on Lossing’s provide a respite from the lesser-known and more e.s.t.’s most recognizable tunes—ethereal “Gagarin”,
work. It’s music that’s both intensely alive in the theoretical exercises. Extended solo takes of “Belleville” funky-ish “Susie Soho”, rock-prone “Dodo” and
instant and open to extended reflection. and “Nuages” planned for a film were recorded in 1950 delicate ballad “Second Page”—do stand out as further
The opening “Passageway” begins in a pressing and Wrembel’s takes dramatically open up these testimony of the originality and creativity of this trio.
piano improvisation in which rapid, single-note lines renditions to close things out. Among the best Django-
press upward, coil and press again. That intensity is inspired guitarists in the world, Wrembel provides a For more information, visit actmusic.com
matched again and again in collaboration with his carefully constructed examination of Reinhardt’s solo
partners. Kamaguchi is a fierce melodist who can impact work and in the process clarifies an under-recorded U
SE
EW
the music with one note that’s a miracle of coiled energy aspect of the great Romani-French guitarist’s catalogue.
while Mintz can move from subtle polyrhythmic chatter N D
to an explosion. “Causeway”, the title itself a fine For more information, visit stephanewrembel.com. Wrembel
ambiguity, moves from near-serial keyboard abstraction is at Joe’s Pub Jan. 23rd and Barbès Sundays. See Calendar
to dissonant clusters to collective improvisation and Regular Engagements.
highlighted by swarming chromatic piano runs.
Ways is virtually a continuous hour-long suite,
segments sometimes separated by the briefest silence,
sometimes by nothing at all. Densities shift and
passions arise and ebb within a single episode.
“Passageway” ends with Mintz playing quietly,
disappearing into a silence broken an instant later by
236 West 26 Street, Room 804
Lossing in the piano interior at the same volume level.
New York, NY 10001
The brief fifth track, “Skyway”, is an unaccompanied
bass solo introducing the trio’s “Byway”. The piano Monday-Saturday, 10:00-6:00
solo “Away” disappears into brief nothingness only to
become the concluding “Way”. It’s a thoughtful,
Live in Gothenburg
e.s.t. (Esbjörn Svensson Trio) (ACT Music)
Tel: 212-675-4480
compelling work, which expands with each hearing. by Marco Cangiano
Fax: 212-675-4504
For more information, visit hathut.com. Lossing is at Scholes This superb live recording from October 2001 is Email: jazzrecordcenter@verizon.net
Street Studio Jan. 19th with Kazuki Yamanaka and Ibeam puzzling and at the same time very timely. The former Web: jazzrecordcenter.com
Brooklyn Jan. 20th with Gordon Grdina. See Calendar. because it is inexplicable how it could lay idle for
almost two decades; the latter since it is a stark LP’s, CD, Videos (DVD/VHS),
reminder of what this trio was and could have become.
The tragic passing of pianist Esbjörn Svensson nearly
Books, Magazines, Posters,
12 years ago cut short one of the most innovative piano
Postcards, T-shirts,
trios of the last few decades. Way too much is usually Calendars, Ephemera
written about the trio’s use of electronics, forgetting
this was mainly an exquisite acoustic trio with no equal Buy, Sell, Trade
within its parabola. The blend of northern European,
somewhat contemplative aesthetic with rock- Collections bought
influenced cadenzas and classically-inspired dramatic and/or appraised
openings helped e.s.t. reach out beyond traditional
Django L’Impressionniste
Stephane Wrembel (Water Is Life)
jazz audiences. This was largely thanks to a knack for a Also carrying specialist labels
by Elliott Simon predominantly melodic approach and irresistible e.g. Criss Cross, ECM, Enja, ESP,
capacity to move swiftly across these influences while
G uitarist Stephane Wrembel regularly offers the most swinging hard.
Fresh Sound, High Note, Pi, Savant,
inventive interpretations of Django Reinhardt’s spirit ACT Records reminds us that this was one of
Sunnyside, Venus and many more.
and music (Django Experiments I-IV, 2017-2019). Django Svensson’s favorite concerts and the material, drive,
L’Impressionniste examines his classically informed joyfulness and empathy among these musicians makes

38 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 at the core of these pieces, which allows them to journey maybe even Henry Mancini. Baylock’s “Confluence” is
surprisingly far afield at times. more in the contemporary classical vein, replete with
The album opens with the soft clang and slowly dense elephantine chords and extended techniques,
decaying echo of a prayer bowl, as though initiating accelerating at last into swing. Alum John Sturino’s
a ritual. The rhythm section enters together, slow and “Frauenfeld” is another standout for its baroque
thoughtful, gayageum sounding almost like a koto, flourishes, brawny climax and pungent chorale.
with bass booming sedately beneath. When the horns The soloists sail through the arduous charts with
enter, delivering introspective postbop solos, the piece aplomb. Special mention belongs to baritone saxophonist
becomes a different kind of ritual, as jazz fans know Andrew Duncan on “Leverage”, tenor saxophonist Will
Inspirations Dedications this dance well, even if they’ve never heard this Nathman on “Frauenfeld” and guitarist Ethan Ditthardt’s
Al Foster (Smoke Sessions) particular version before. Alan Holdsworth-ian onslaught on “Red Herring”.
by Ken Dryden The prayer bowl is heard again on “Mother”, but
used to punctuate the melody of a fairly free, rubato For more information, visit oneoclock.unt.edu. This group
Drummer Al Foster has been an important part of piece. Gayageum jangles and twangs as Royston rattles is at Birdland Jan. 16th. See Calendar.
many groups over his four-plus decade career, his sticks across his kit without ever launching an
including 13 years with Miles Davis. Although Foster actual beat; a brief trumpet solo is composed of squeaks
has made few recordings under his own name, he
began leading his own bands on a regular basis in the
and short puffs and alto has a honking, nasal quality,
the solo composed of long notes like a foghorn with
IN PRIN T
mid ‘90s. His current quintet is comprised of trumpeter the flu. When Snidero puts the horn down, Oh (who
Jeremy Pelt, tenor saxophonist Dayna Stephens, pianist has been rumbling impatiently throughout) takes a
Adam Birnbaum and the drummer ’s longtime bassist long and authoritative solo, the strings bouncing like
Doug Weiss. Foster showcases his skills as a composer telephone pole cables struck with a mallet.
and arranger, with 11 of the 13 tracks his originals, all Throughout Project-K, the traditional Korean and
of which he developed at the piano by ear. jazz instruments blend together well. Nothing ever
Although Foster is a more-than-capable soloist, he feels self-consciously exotic or tacked-on and the
prefers to feature his band and provide the inventive melodies avoid kitsch and pastiche. What this album
rhythms to boost their efforts. A sauntering yet vibrant really proves is that given the proper encouragement,
setting of Hancock’s “Cantaloupe Island” provides a anyone, on any instrument, can swing.
strong opening track, featuring gritty tenor saxophone Billie Holiday: The Last Interview
and Other Conversations
and fiery trumpet. The focus then shifts to Foster ’s For more information, visit jazzdepot.com. This project is at
(Melville House)
compositions, beginning with “Ooh, What You Do To Zinc Bar Jan. 11th as part of Winter Jazzfest. See Calendar. by Kevin Canfield
Me”, which blends a soulful groove with an AfroCuban
rhythm built into it. The elegant jazz waltz “Simone’s In a 1956 TV interview, Billie Holiday was asked to
Dance” has a bit of a Latin tinge, Foster briefly in the compare her talents to those of several Hollywood stars.
spotlight. “Douglas” is a hip hardbop vehicle with a Was she “in the same league” as Tallulah Bankhead or
laidback attitude, Pelt and Stephens both exuding a Ethel Barrymore? “My god, no!” she replied. Those
joyous spirit. The Latin-infused “Song For Monique” actresses “make me cry. They make me happy. I don’t
has a bit of a twist, as Stephens switches to baritone know if I’ve ever done that to people, not really.”
saxophone, blending so well with trumpet it sounds Holiday’s modesty surely charmed some
like he is still on tenor, until he begins the first solo. viewers and one might say that she was simply
The leisurely, loping “Jazzon” has the flavor of giving the answer expected of an African American
Thelonious Monk, with its offbeat rhythm and woman in ‘50s America. But she was vastly
Lab 2019
dissonance. Foster finally takes an unaccompanied underestimating her abilities. Her singing voice,
One O’Clock Lab Band (North Texas Jazz)
solo to introduce “Aloysius” (his given name), a by Tom Greenland a matchless instrument, made classics of “Strange
pulsating bop anthem that would serve as a perfect set Fruit”, “Billie’s Blues” and other songs. In the
closer. But the session ends on funky note with Davis’ The University of North Texas (UNT) in Denton, the popular imagination, alas, her offstage life has been
“Jean-Pierre”, featuring both muted and open trumpet. first institution of higher education to offer (in 1946) reduced to a few heartbreaking particulars: drugs,
a degree in jazz studies, is home to the One O’Clock arrests, an early death. Billie Holiday: The Last
For more information, visit smokesessionsrecords.com. Lab Band, its premier 19-piece ensemble, which, for Interview and Other Conversations joins the many
Foster is at Smoke Jan. 23rd-26th. See Calendar. the last 52 years, has made an annual recording of its books that aim to provide a fuller portrait. This
best student and faculty arrangements. Lab 2019, under collection of Q&As ranges widely and, throughout,
the baton of Alan Baylock, a UNT alum, first-rate Holiday is engaging and likable.
arranger and former director of the U.S. Air Force’s In a 1939 interview, Holiday shares a version of
Airmen of Note, continues the august tradition of high her origin story. As a teen, she walked into a Seventh
caliber compositions and musicianship. Avenue bar and sang “Body and Soul”, her voice so
When you consider that the students drill these powerful that “customers stopped drinking” and
charts five days a week for two semesters, it’s no “started crying”. In 1947, reflecting on her efforts to
surprise that their soli, tuttis, pyramidal entrances, kick heroin, she tells a journalist that she’s “just
background figures and other ensemble maneuvers spent $3,000 of my own money taking the cure”. In
sound tighter and righter than a lot of professional big 1956, when asked “why so many jazz greats seem to
bands out there. Although modeled on Stan Kenton’s die so early”, Holiday cites the pressures of her
Project-K
brass-heavy behemoths—five trumpets, five trombones profession: “We try to live one hundred days in one
Jim Snidero (Savant)
by Phil Freeman (two bass), five saxophones, a four-piece rhythm day and we try to please so many people.” On several
section, plus one vocalist—the pervading style owes a occasions, she discusses racism. She was a headliner,
Though he’s known as a fairly straightahead jazz bigger debt to the Thad Jones/Mel Lewis Orchestra’s but because she was black had to take back doors
player, alto saxophonist Jim Snidero has a deep and post-Basie swing and little/big-band flexibility, another and freight elevators. In another interview, she’s
decades-long interest in Korean music and culture. On perhaps to Maria Schneider’s painterly innovations. frustrated with the forgettable songs—“cute novelty
Project-K, he combines a high-powered if conventional Some charts are calculated to impress, notably things”—she’s been encouraged to record: “The
quintet of trumpeter Dave Douglas, pianist Orrin “Al-Go-Rhythm” (based on rhythm changes) and things that I sing have to have something to do with
Evans, bassist Linda May Han Oh and drummer Rudy “Aggro”, based on the harmonies of two notoriously me.” This inspired Holiday to compose some of her
Royston with Do Yeon Kim, who plays the Korean difficult standards: “Cherokee” and “Giant Steps”— own material, including “God Bless the Child”
gayageum, a zither-like instrument. These players have only here arranger D.J. Rice made it even more difficult (written with Arthur Herzog, Jr.) “It came about,”
worked together in the past: Oh and Royston were to perform by transposing the chord changes to non- she says, when she “asked mother for some money
members of Douglas’ quintet and played on Snidero’s standard keys. You’d never guess what a chops-buster it and she flatly refused.” Holiday’s response? “That’s
albums Main Street and Stream of Consciousness; Evans is just from listening to these young lions burn it down. all right. God bless the child that’s got his own.”
was on the saxophonist’s Waves of Calm; and the pianist Three charts by lead alto saxophonist Kyle Myers—
and drummer go way back together. So there’s a lot of “Third Time’s the Charm”, “Red Herring” and “I’ll Miss For more information, go to mhpbooks.com
collective knowledge and shared musical understanding You”—artfully tribute Charles Mingus, Thad Jones,

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 39

 display in his rollicking treatment of “Nagasaki”. The
pianist gives both “Shadow Waltz” (one of the overlooked on screen
works) and “September In The Rain” glistening, lyrical
arrangements, reflecting a bit of his classical training. One
can hear the obvious influence of Waller in Guarnieri’s
playful rendition of “Lulu’s Back In Town”. Guarnieri
delivers “You Must Have Been A Beautiful Baby”—a huge
hit when it was first recorded but falling by the wayside in
the modern jazz period as it was more of a feature for
Live at Singularity Music Series I vocalists and it sounded dated as an instrumental,
Sam Newsome/Álvaro Domene/Mike Caratti (Iluso) elegantly—throwing in a few flourishes to keep it from
by John Sharpe getting too stale. He has a bigger challenge with the
syrupy ballad “I Only Have Eyes For You” and doesn’t Chick Corea: In The Mind of a Master
Iluso label co-founders Spanish guitarist Álvaro quite succeed in removing the dust from this warhorse. (Scientology Network)
Domene and Australian drummer Mike Caratti are no Guarnieri’s catchy call-and-response between his two by Brian Charette
strangers to summit meetings in NYC. This time they hands in “I Found A Million Dollar Baby” and poignant
combine with soprano saxophonist Sam Newsome in a setting of “Boulevard Of Broken Dreams” also merit “I have a Spanish heart and an Italian body,” quips
January 2019 live recording from the Singularity Music strong praise. Chick Corea. The genius pianist/composer has won
Series in Kingston, NY. Their democratic approach Guarnieri died 35 years ago this month and since 22 Grammy Awards and is widely considered to be
allows their guest a lot of space. In fact, Newsome relatively little of his discography has been reissued, this one of the most influential jazz musicians ever.
carries one cut almost single-handedly and with just album is worth investigating for swing and stride fans. In The Mind of a Master is a documentary about the
Caratti for accompaniment on another. making of Corea’s 2019 album Antidote with his
But the most satisfying selections are as a trio, as on For more information, visit jazzology.com Spanish Heart Band. The footage comes mostly from
“The Wanderer”, Domene and Newsome in particular Chick’s Mad Hatter studio in Los Angeles. Gold
showing themselves as form-seeking improvisers. records hang from the wall amid artfully carved
Looped guitar figures provide a foundation, creating a wooden leprechauns as the film crew enters. “Prince
very agreeable combination with Caratti’s clatter and and Paul McCartney?” asks an impressed
Newsome’s long wailing cries and questioning phrases. bandmember. One is immediately struck by the ease
Even when both drums and guitar make a dash for the and gentleness of Corea, whose nickname, we
extremes, they maintain both the momentum and the discover, comes from an aunt that would pinch his
rhythm feel. Newsome is a renowned timbral cheeks and call him “Chicky”.
adventurer and on “Sound Rumble” he evokes a The Spanish Heart Band is an eclectic group of
didgeridoo-like growl through preparations, circular musicians. Chick’s wife, Gayle Moran Corea sings
breathing and gruff intonation, which sounds almost with the group as well. Her relationship with Chick is
People Mover
electronic when he adds squealing overtones. He endearing and one sees their affection for each other
Scott Henderson (s/r)
revisits this subterranean grumble on “Sonic Pulsation”, by Tom Greenland throughout the film. When the band begins to play,
but this time with a rhythmic hook, matched by Corea is relaxed and laughs when the group makes a
Caratti’s bare-bones pulse, which at first invokes a When the terms jazz, fusion and guitarist are thrown mistake. We hear him speak about his reverence for
ritual jamboree, before morphing into popping plosives, together, it all too often describes a certain breed of Miles Davis and see him lead his own band much in
with more of a celebratory dance vibe. On ‘sports-car ’ guitar stylists of phenomenal dexterity, the same way. Corea instructs and encourages his
“Considerations For Effective Anxiety” braided though some may lack equivalent skills in spontaneous players to take what he has written and make it their
saxophone multiphonics sound like bird song over the invention. L.A.-based Scott Henderson is a notable own. The film captures the camaraderie of the group
drifting guitar and percussion while at times during the exception. Gaining early jazz cred with Joe Zawinul and one can easily see Corea’s greatest happiness
animated conversation of “Headed Into Crystal” recalls and Chick Corea, he later found his voice with bassist comes from interacting with them.
an angry hornet trapped in a jar. Gary Willis in the band Tribal Tech, wielding a The video has many informative stories about
But all three are unafraid to embrace conventional mercurial guitar sound grounded in classic urban Corea’s early life. His dad was a trumpet player and
sonorities that temper the abstraction, notably on blues phraseology and bathed in subtle shadings of bandleader who introduced Corea to jazz at an early
“Affinity For Air” where Newsome reveals a tuneful distortion, chorus, whammy bar and wah-wah pedal. age. There is a touching story of his first piano being
side, extemporizing a mournful dirge of wavering tones. People Mover, his sixth solo album, a trio date hoisted through a window in his Chelsea,
(though with multiple guitar overdubs) with bassist Massachusetts home. We discover that Corea’s
For more information, visit ilusorecords.com. Newsome is Romain Labaye and Archibald Ligonniere, amply creative process is organic and methodical, with a
at Smalls Jan. 20th and Downtown Music Gallery Jan. demonstrates his penchant for improvising on his feet. great deal of improvisation and old-school tools like
26th. See Calendar. His solos develop out of shorter shapes and ideas, pencils. We also get to hear from the members of The
moving sequentially, adapting to changing harmonies Spanish Heart Band speaking in depth about the
without sacrificing narrative arc, longer lines often project and the respect they all have for Corea.
capped by expressive conversational gestures derived Throughout, Corea gives poignant music history
from a blues sensibility. His solo in the middle of lessons with stories like his early gigs with Mongo
“Happy Fun-Sing”, for example, is an elegantly formed Santamaria and how the band would go right up the
melodic statement while his outro on the same track street from Birdland to The Palladium on the breaks
achieves the visceral thrust of arena rock. “Satellite”, to hear Tito Puente.
taken at a slightly stiff up-swing tempo, played with In between these vignettes there is the amazing
his cleanest tone, demonstrates a facile command of music. The title track expresses the ethos of the
legato line-building and morphing chord melodies. whole band; “Music, musicians and all artists are
“Blood Moon” and “Blue Heron Boulevard” mix the the antidote to man’s inhumanity to man,” says
Plays Harry Warren
open E-string droning of Delta blues with various Rubén Blades, who penned the lyric. The group
Johnny Guarnieri (Solo Art)
by Ken Dryden keyboard-esque overdubs and layered rhythm parts, covers Paco De Lucia’s “Zyryab” about a 9th century
the latter track again showing instinctive ingenuity. Persian/African poet who introduced the lute to the
Johnny Guarnieri was a gifted pianist primarily active Labaye and Ligonniere mainly function as Spanish court and who, Corea says, may have
during the Swing Era, known for his stride chops and supporting cast members, though the former proves an invented utensils. In “Duende”, we hear Jorge
ability to mimic the playing of Fats Waller and Art Tatum. adroit soloist and Ligonniere shines in those places Pardo’s deft flute interplay with the buttery horns of
After the ‘40s, Guarnieri continued to perform, though where his accents and fills synchronize with Henderson’s Steve Davis and Michael Rodriguez. “Yellow
recording opportunities were sporadic. He moved to the moves, propelling the music to exciting heights. A Nimbus” features Luisito Quintero’s wicked
West Coast and often played solo, as heard on this 1973 heavily produced project, with some tracks more filler percussion accompaniment to dancer Nino de los
session originally released by Jim Taylor Presents. than killer, People Mover is nevertheless elevated by Reyes’ fierce Flamenco feet.
Harry Warren’s compositions have long been popular Henderson’s fertile and expressive imagination.
with jazz musicians and Guarnieri plays some of the For more information, visit scientology.tv/series/signature-
standards still popular in the 21st century, along with For more information, visit scotthenderson.net. This project performances/chick-corea-in-the-mind-of-a-master
forgotten gems. Guarnieri’s formidable stride skills are on is at Iridium Jan. 28th and 30th. See Calendar.

40 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 BO X ED SE T his wife Laurie Pepper, he returned to fulltime
playing, displaying his earlier personality but with
condescending towards him since he was not based
in the Big Apple, thinking of him as a has-been white
a greater emotional range, the intensity of a Jackie West Coast player. However Pepper channeled his
McLean and the philosophy of playing every solo as frustration into competitive solos and the tension
if it could be his last. Somehow throughout his resulted in his playing being even more passionate
career, despite his erratic and sometimes dangerous than usual. The more extensive West Coast sets may
lifestyle, Pepper (unlike his contemporary Chet have been a little more comfortable (Haden and
Baker) never made an unworthy recording despite Higgins were old friends and Cables would
whatever shape he was in. Considering the eventually join his working quartet) but Pepper
circumstances, his consistency was quite remarkable. never let up in his intense playing, pushing his
In 1979 Pepper, who had previously recorded sidemen to play at their best.
for Contemporary and had just begun work for The overall repertoire is a bit more bop-oriented
Promise Kept: The Complete Artists House Recordings Galaxy, fulfilled a promise and made an album for than Pepper ’s usual live sets, including such songs
Art Pepper (Artists House-Omnivore) producer John Snyder ’s Artists House label, So In as “Straight No Chaser”, “A Night In Tunisia”,
by Scott Yanow Love. It originally consisted of two songs recorded “Donna Lee”, “Tin Tin Deo” and “Anthropology”,
Feb. 23rd in New York with pianist Hank Jones, but Pepper also contributes several originals, most
The career of Art Pepper (1925-82) can easily be bassist Ron Carter and drummer Al Foster and three notably “Diane”, “My Friend John” and “Blues For
divided into two parts with a long transition in numbers from May 25th-26th in Los Angeles with Blanche”. In addition to the quartet performances,
between. After his sideman years (most notably two pianist George Cables, bassist Charlie Haden and Pepper took “Duo Blues” as a duet with Carter,
stints with the Stan Kenton Orchestra) were over, drummer Billy Higgins. However Snyder actually sounds excellent on clarinet on pianoless versions of
during 1952-60 he led a series of mostly superb recorded much more during those two sessions. “Anthropology” and “In A Mellow Tone” and, most
recordings. One of the very few alto saxophonists of A pair of albums later released by Galaxy (Art Works intriguingly, performed “Johnny’s Blues”, “Body
his generation (along with Lee Konitz and Paul and New York Sessions) and a little-known set And Soul”, “But Beautiful” (recorded on Aug. 21st),
Desmond) not to sound like a close relative of Charlie (Stardust) put out by Japanese RCA came from those “Art’s Sweet Blues” (which is really “Lester Leaps
Parker, Pepper had his own personal tone, could dates and there were 30 other additional In”) and three versions apiece of “Lover Man” (two
play perfectly flawless solos at rapid tempos and performances. 11 of the latter were included along on alto and one on clarinet) and “You Go To My
was flexible enough to sound very much at home in the way on sampler albums or by Laurie Pepper ’s Head” as unaccompanied solos. While one wishes
both cool jazz and hardbop settings. A lifelong drug Widow’s Taste label, but 19 have been issued for the that he had recorded a full-length unaccompanied
habit and jail sentences resulted in him being largely first time on the five-CD boxed set Promise Kept: album, one is grateful for the existence of these
off the scene during 1961-73 other than a stint with The Complete Artists House Recordings. melodic and heartfelt performances.
the Buddy Rich Big Band and a few brief 16 of the 50 performances are from the New Any listener with an interest in Pepper will
reappearances. During that time the influence of York session. As Laurie Pepper relates in the liner definitely want to pick up this very enjoyable release,
John Coltrane resulted in Pepper creating fairly free notes, the saxophonist felt a bit uncomfortable which features him in top form throughout.
explorations but losing some of his musical throughout the date because he felt that the New
personality. During 1974-75, with the inspiration of York musicians (particularly Carter and Jones) were For more information, visit omnivorerecordings.com

AvAilAble now on
CReATive nATion MUSiC ReCoRdS

book of wATeR ReMAinS of eChoeS

eRiC hofbAUeR’S eRiC hofbAUeR
five AgenTS & dylAn JACk

viSiT
CnMUSiC.bAndCAMp.CoM
And eRiChofbAUeR.CoM
To liSTen, pURChASe
And MoRe!
new AlbUM!
AvAilAble JAn 31, 2020

book of fiRe
eRiC hofbAUeR
& Tony levA

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 41

 M ISCELLANY
ON THIS DAY
by Andrey Henkin

All Day Long The 1962 MOMA Recital Wordless Featuring Benny Carter Drum Talk
Prestige All Stars (Prestige) Duke Ellington (La Maison Du Duke) Steve Lacy (Futura) Claude Tissendier/Saxomania (IDA) Susie Ibarra/Denis Charles (Wobbly Rail)
January 4th, 1957 January 4th, 1962 January 4th, 1971 January 4th, 1988 January 4th, 1998
Waking up a week after making In a month that would also host As was his wont, soprano saxophonist Claude Tissendier is a French The title may be a reference to a
All Night Long, The Prestige All Stars Sonny Rollins, the Museum of Steve Lacy only released a single saxophonist/clarinetist who got his parent speaking to a child about the
reconvened in Rudy Van Gelder’s Modern Art presented Duke Ellington album for the French Futura label, start in the late ‘70s with countryman birds and bees. Denis Charles, born
Hackensack, NJ living room to record for $3 ($2.25 for museum another in a career of one-offs. An Claude Bolling’s big band. 1933 and a veteran of the bands of
this followup. Trumpeter Donald members)­—$25-18 in today’s money. additional point of interest is that it is Tissendier’s main outlet as a leader Cecil Taylor, Steve Lacy and others,
Byrd, guitarist Kenny Burrell, bassist Ellington played solo on pieces like only the second record with Lacy and has been his Saxomania group, active meets Susie Ibarra, born 1970 and
Doug Watkins and drummer Art “Blue Belles Of Harlem”, “The drummer Jerome Cooper (best known intermittently since the late ‘80s and among modern jazz’ most compelling
Taylor are still aboard but Hank Clothed Woman”, “Reflections In D” as one-third of The Revolutionary often working with American stars percussive voices, for a live
Mobley, Jerome Richardson and Mal and “New World A-Comin’”, adding Ensemble), the other coming five days including, here on the group’s debut, performance at Context Studios in
Waldron are replaced by saxophonist/ bassist Aaron Bell and drummer Sam earlier under Alan Silva’s leadership. saxophonist Benny Carter. The latter, New York. Charles is on drums and
flutist Frank Foster and pianist Woodyard for a set of hits like “Take Completing the group is cellist Irène the leader and alto saxophonist Jean triangle while Ibarra plays kulintang,
Tommy Flanagan. Byrd wrote “Slim The “A” Train”, “Lotus Blossom” and Aebi, trumpeter Ambrose Jackson Etève and tenor saxophonists Claude drums and small percussion. There
Jim”and “Say Listen”, Burrell the title “Satin Doll”. This album is a private and bassist Kent Carter. The program Braud and Nicolas Montier (plus are a pair of compositions by each
track and Foster “A.T.”, the latter’s issue made available to members of is six mid-length Lacy originals, rhythm section) confine themselves to player, one improvisation and the
“C.P.W.” added to CD reissues. the Parisian appreciation society. including the often-recorded “Bone”. pithy takes on jazz standards. traditional “Kulintang Medley”.

BIRTHDAYS
January 1 January 6 January 11 January 16 January 22 January 26
†Al McKibbon 1919-2005 †Bobby Stark 1906-45 †Wilbur De Paris 1900-73 †Irving Mills 1884-1985 †Juan Tizol 1900-84 †Stephane Grappelli 1908-97
†Milt Jackson 1923-99 †Keith Christie 1931-80 †Tab Smith 1909-71 Aldo Romano b.1941 †Teddy McRae 1908-99 †Alice Babs 1924-2014
†Helmut Brandt 1931-2001 †Danny Moore 1941-2005 †Bob Enevoldsen 1920-2006 †JJ Johnson 1924-2001 Dick Nash b.1928
Sonny Greenwich b.1936 Barry Altschul b.1943 †Osie Johnson 1923-66 January 17 †Teddy Smith 1932-79 Benny Golson b.1929
†Susannah McCorkle 1946-2001 Adam Larson b.1990 †Cal Massey 1927-72 †Big Sid Catlett 1910-51 †Jean-Louis Viale 1933-84 Aki Takase b.1948
Chris Potter b.1970 †George Handy 1920-97 Alan Silva b.1939
James Shipp b.1980 January 7 January 12 †Cedar Walton 1934-2013 Eberhard Weber b.1940 January 27
†Henry “Red” Allen 1908-67 †Trummy Young 1912-84 †Ted Dunbar 1937-98 Maarten Altena b.1943 †Oran “Hot Lips” Page 1908-54
January 2 †Chano Pozo 1915-48 †Jay McShann 1916-2006 Billy Harper b.1943 Michal Urbaniak b.1943 Jimmie Smith b.1938
†Nick Fatool 1915-2000 †Keg Purnell 1915-65 †Guy Lafitte 1927-98 Pheeroan akLaff b.1955 †Bobby Hutcherson 1941-2016 aldo romano
†Arthur Prysock 1929-97 †Sam Woodyard 1925-88 †Ronald Shannon Jackson January 23
Noah Jarrett b.1978 †Kenny Davern 1935-2006 1940-2013 January 18 †Benny Waters 1902-98 January 28 January 16th, 1941
†Eldee Young 1936-2007 Ernst Bier b.1951 Don Thompson b.1940 †Django Reinhardt 1910-53 †Ronnie Scott 1927-96 Italian drummer Aldo
January 3 Jane Ira Bloom b.1955 Al Foster b.1944 †Teddy Napoleon 1914-64 Buddy Terry b.1941 Romano, unlike many of his
†Preston Jackson 1902-83 January 8 Ivo Perelman b.1961 Steve Grossman b.1951 †Scoops Carry 1915-70 Bob Moses b.1948 countrymen, pursued an
†Herbie Nichols 1919-63 †Wendell Culley 1906-83 Ingrid Jensen b.1966 Clark Gayton b.1963 †Ray Abrams 1920-92 Kent Kessler b.1957 international career from the
†Musa Kaleem 1921-88 †Bobby Tucker 1923-2007 Gene Lake b.1966 Dominic Lash b.1980 †Marty Paich 1925-95 Lorenzo Sanguedolce b.1975 start. After work with
†Geezil (Harolde) Minerve Bill Goodwin b.1942 †Curtis Counce 1926-63 Giorgio Gaslini in the mid
1922-92 Thurman Barker b.1948 January 13 January 19 †Harold Ousley 1929-2015 January 29 ‘60s, Romano’s resumé reads
†John Jenkins 1931-93 Marilyn Mazur b.1955 †Quentin Butter Jackson †JR Monterose 1927-93 Gary Burton b.1943 †Arnold Ross 1921-2000 like the United Nations: Don
†Motohiko Hino 1946-1999 Dan Tepfer b.1982 1909-76 †Horace Parlan 1931-2017 Andre Hayward b.1973 †Ed Shaughnessy 1929-2013 Cherry, Carla Bley, Rolf and
James Carter b.1969 †Otis Johnson 1910-94 †Hod O’Brien 1936-2016 †Frank Assunto 1932-74 Joachim Kühn, Barney
January 9 †Melba Liston 1926-99 Phil Wilson b.1937 January 24 †Derek Bailey 1932-2005 Wilen, Michel Portal, Steve
January 4 †Kenny Clarke 1914-85 †Joe Pass 1929-95 †Sam T. Brown 1939-77 †Avery Parrish 1917-59 †Jeff Clyne 1937-2010 Kuhn, Karin Krog, Franz
†Frankie Newton 1906-54 †Jimmy Maxwell 1917-2002 Bill Easley b.1946 Joe Magnarelli b.1960 †Jimmy Forrest 1920-80 †Jeanne Lee 1939-2000 Koglmann, Gato Barbieri,
†Joe Marsala 1907-78 †Betty Roche 1920-99 Eero Koivistoinen b.1946 †Joe Albany 1924-88 Gordon Beck, Philip
†Slim Gaillard 1916-91 †Roger Guerin 1926-2010 January 20 Lenny McBrowne b.1933 January 30 Catherine and so on. He has
†Frank Wess 1922-2013 Bucky Pizzarelli b.1926 January 14 Jimmy Cobb b.1929 †Bobby Scott 1937-90 †Roy Eldridge 1911-89 been equally prolific under
Al Dreares b.1929 †Carson Smith 1931-97 †Jimmy Crawford 1910-80 Valery Ponomarev b.1943 †Julius Hemphill 1938-95 †Bernie Leighton 1921-94 his own name, whether it be
John McLaughlin b.1942 Malcolm Cecil b.1937 †Billy Butterfield 1917-88 †Chuck Domanico 1944-2002 Marcus Printup b.1967 †Ahmed Abdul Malik 1927-93 a duo with Jean-François
Eugene Chadbourne b.1954 †Joe Muranyi 1928-2012 Andy Sheppard b.1957 Duane Eubanks b.1969 †Tubby Hayes 1935-73 Jenny-Clark, collaborations
Alex Cline b.1956 January 10 †Kenny Wheeler 1930-2014 Jeff “Tain” Watts b.1960 †Tony Levin 1940-2011 with Michel Petrucciani, Joe
†Haywood Henry 1913-94 †Grady Tate 1932-2017 Tatsuya Nakatani b.1970 January 25 Ralph Lalama b.1951 Lovano, Henri Texier and
January 5 †Buddy Johnson 1915-77 †Wellman Braud 1891-1966 others or his own albums for
†Wild Bill Davison 1906-89 †Max Roach 1924-2007 January 15 January 21 †Truck Parham 1913-2002 January 31 Owl in the ‘70s-90s, Splasc(H)
†Lennie Hastings 1927-78 †Willie Dennis 1926-65 †Gene Krupa 1909-73 Steve Potts b.1945 †Floyd Smith 1917-82 †Bobby Hackett 1915-76 and Verve in the ‘90s and,
Dizzy Reece b.1931 †Allen Eager 1927-2003 †Artie Shapiro 1916-2003 Lou Grassi b.1947 †Barbara Carroll 1925-2017 Garnett Brown b.1936 more recently, Dreyfus Jazz
Chuck Flores b.1935 William Parker b.1952 †Bob Maize 1945-2004 Kevin Norton b.1956 †Antonio Carlos Jobim 1927-95 Frank Ricotti b.1949 of his adopted home country
Myra Melford b.1957 Mike Stern b.1954 Baikida Carroll b.1947 Jason Moran b.1975 Alexis Cuadrado b.1971 Per Zanussi b.1977 of France. -AH

CROSSWORD
1 2 3 4 5 6 7 ACROSS DOWN

8 9 10
1. Bobby Naughton label 1. 1974 Ray Barretto Fania album El ____ Camino
5. 33 or 78 2. ‘60s British label that released albums by Mike Osborne,
8. Between Chucho and Adam Howard Riley and John Taylor
11 12 10. 1972 Getachew Mekuria Philips EP ____ Gedawo 3. Finnish pianist Haarla
11. Saxophonist Bill or pianist Kenny 4. ____ Square, birthplace of jazz
13 14 15 16
12. Chinese pianist Dongfeng 5. Serbian guitarist Micic
13. New millennium Serbian jazz-fusion quartet 6. Birthplace of Christian McBride
14. Southeastern Canadian jazz festival 7. Bass clarinetist on Bitches Brew
17 18 19 17. What guitarist David Torn does? 8. Japanese free jazz saxophonist Kaoru
19. 1993 Marcus Miller Dreyfus album The Sun Don’t ____ 9. Tuba player Draper
20 21 22 23 24 20. Enthusiastic saxophonist Allen 15. ‘30s Kenton piece “____ Daisy”
23. Composer of jazz standards Jule 16. 1987 Tribal Tech Passport Jazz album Dr. ____
25. Drummers Rashied and Muhammad 18. 1957 Art Blakey Blue Note album ____ In Rhythm
25 26 27
26. British vocalist ____ Jay Allen 20. New York Eye and ____ Control
28. Like many a flight to a European gig 21. Trumpeter Ralph
28 29 30 31 32 33 30. In 1966 Don Pullen and Milford Graves recorded 22. ‘60s South African pianist ____ ”Mgibe” Nxumalo
a concert at this university 24. Your favorite jazz gazette (abbr.)
34. 1977 Armonicord L’Électrobande album Esprits De ____ 27. What the willow does for you?
34 35 36
35. Michael Brecker’s 1990 GRP album Now You See It... 29. The First Lady of Song
(Now You Don’t) uses his artwork for its cover 31. Manny Albam wrote a tune for this captain
37 38 37. Clarinetist Yaged 32. Vibraphonist Winchester
38. “Hey There” from The ____ Game, recorded by 33. The Swing ____
Stan Kenton, Sarah Vaughan, Nancy Wilson and others 36. Vibraphonist Hashimoto who worked with John Zorn
39 40
39. Jazz agent Dittke
40. Dusko Goykovich is one
By Andrey Henkin visit nycjazzrecord.com for answers

42 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 f esti val report

pancevo sassy awards july 1st – 5th 2020

by thomas conrad by suzanne lorge

Monheim
Triennale
anthony alvarez / courtesty of njpac
Tim Dickeson

Charles Tolliver Samara McLendon

It is natural to think of the Pančevo Jazz Festival in Bronx-native Samara McLendon, a vocal jazz student
Serbia (Oct. 31st-Nov. 2nd) as an offshoot of the bigger, at SUNY-Purchase, claimed first place in the Eighth
older, better known Belgrade Jazz Festival, which Annual Sarah Vaughan International Jazz Vocal
precedes it every year by a few days. Pančevo is only Competition (Nov. 24th). The competition, held at the
18 kilometers from Belgrade. Vojislav Pantić, one of the New Jersey Performing Arts Center on Sarah Vaughan
most consistently interesting programmers in jazz, Way in Newark, N.J., throws a spotlight on talented
books both festivals. up-and-coming vocalists from around the globe,
But the Pančevo event has its own vibe. This helping them to advance their developing musical
industrial city of 90,000 has never been accused of careers. Also called the “Sassy Awards”, in reference to
being beautiful. It looks like most of Serbia: Vaughan’s nickname, the competition acknowledges
unprosperous and in need of refurbishing. But there singers for their improvisatory skills, vocal jazz
are some pretty river vistas. Pančevo is situated on the technique and creative interpretations of the Great
confluence of the Danube and Tamiš rivers. The music American Songbook.
happens in Kulturni Centar Pančeva on a nice town Of the hundreds of jazz singers who apply for
square. It has a modern 380-seat auditorium with good consideration each year, only five make it to the
sight lines and acoustics. The foyer of the Center was finalists circle, and three take home cash awards
the gathering point for the festival scene. The walls —$5,000 for first, $1,500 for second, and $500 for third.
were covered with striking images by Romanian jazz In previous years, first-place winners also received
photographer Dragoslav Nedici. The festival is one of a recording contract with Concord Records, but Sam Amidon
the most important annual arts events in Pančevo and beginning in 2017, the top Sassy Award singer earned
you felt the excitement in the crowded foyer. It would a set in the high-profile Newport Jazz Festival instead. Lakecia Benjamin
have been a nicer hang without the national curse of
Serbia: cigarette smoke.
With this prize, McLendon joins a distinguished
cohort of previous winners. Former first-place singers
Pan Daijing
On opening night, Dave Holland, Chris Potter and include Cyrille Aimée (2012) and Jazzmeia Horn (2013), Kris Davis
Zakir Hussain set the bar high. They are at the top of
the jazz world on their respective instruments and all
both of whom are contenders for Grammy Awards this
year, and Nicole Zuraitis (2015), a third-place singer, Greg Fox
pursue a wide variety of projects. No one knows garnered a Grammy nomination last year. Grammys Shabaka Hutchings
whether the ensemble they call the Crosscurrents Trio aside, however, Sassy finalists typically go on to
will become an established working band. (They have perform, record, and tour in the upper echelons of the Sofia Jernberg
one album, the new Good Hope, on the Edition label.)
But for now they have found magic. Their concert
jazz world—Ashleigh Smith (second, 2012; first, 2014),
Alexis Cole (finalist, 2012), Hilary Kole (finalist, 2012),
Park Jiha
began with the tapping and ringing of Hussain’s tablas Camille Thurman (third, 2013), Shacara Rogers Robert Landfermann
gathering to a swirling tide of rhythm. Holland entered (second, 2014), Arianna Neikrug (first, 2015), Quiana
with a second groove. When Potter erupted into the Lynell (first, 2017), and Laurin Talese (first, 2018). Ava Mendoza
mix on soprano saxophone, three distinct streams of
energy began to commingle, pull apart and reassemble.
Assuredly, McLendon can hold her own in this
company. (For the record, Cole is her prof at SUNY.)
Marcus Schmickler
The spare format allows each of the three to display As she sang “Sophisticated Lady”, her first selection, Phillip Sollmann
the full range of his expressive capacity. Holland is one she held the melody deep in her chest, as Vaughan did,
of the world’s few bassists who can follow an epic and alluded to Ella Fitzgerald’s nimble alteration of Terre Thaemlitz
Potter solo and sustain the passion. Yet solos are
concise and integrated into collaborative designs. This
the vocal line, signaling her familiarity with the
Songbook masters. But she sang the usual ballad as
Julia Úlehla
unclassifiable virtuoso ensemble is about intricate a swinging midtempo, modulated away from the Jennifer Walshe
spontaneous internal relationships, in rarefied three-
way calls and responses.
initial key and added new lyrics, proving that she has
her own mind about things too. She went on to tackle Stian Westerhus
The booking that created the most curiosity was a precisely articulated vocalese as her intro to
the Charles Tolliver All-Stars on the third night. “Perdido”, the winsome Vaughan classic, with much

www.monheim-triennale.de
Tolliver is something of a mystery man in jazz. He was fealty to the original version. But it was her throaty,
part of a great trumpet generation (Freddie Hubbard, extended scat that showcased her confidence as a
Lee Morgan, Booker Little, Blue Mitchell) and made soloist—one of the primary competencies for which
records in the ‘60s on major labels (Blue Note, Atlantic) the judges look. As a finale, she performed the little
with major leaders (Jackie McLean, Horace Silver). known “Autumn Nocturne” by Josef Myrow, using the Director: Reiner Michalke
Curators: Swantje Lichtenstein, Louis Rastig,
Then he started his own label that has become tender down-tempo popularized by Cassandra Wilson Rainbow Robert, Meghan Stabile, Thomas Venker
legendary, Strata-East. But since the ‘80s Tolliver has to explore the emotive side of her vocalism. Artwork: Vasilis Marmatakis

(CONTINUED ON PAGE 55) (CONTINUED ON PAGE 55)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 43

 CALENDAR
Wednesday, January 1 êPeter Bernstein, Miki Yamanaka, Omer Avital; Spike Wilner
Mezzrow 7:30, 10:30 pm $20
• Forever House: Meaghan Burke, James Moore, James Ilgenfritz, Peter Wise
The Stone at The New School 8:30 pm $20
• Juan Munguia Trio with Trevor Brown, Josh Roberts êChet Doxas Trio with Ethan Iverson, Michael Formanek; êChris Potter Circuits Trio with James Francies, Obed Calvaire
Bar Next Door 6:30 pm Pete Malinverni’s Invisible Cities with Bruce Harris, Ralph Lalama, Mike Migliore, Village Vanguard 8:30, 10:30 pm $35
• Greg Ruvolo Big Band Birdland 5:30 pm $30 Aaron Seeber; Malick Koly Smalls 7:30, 10:30 pm 1 am $20 êTiger Trio: Myra Melford, Joëlle Léandre, Nicole Mitchell
• Birdland Big Band with guest Nicole Zuraitis êJohn Coltrane Festival—Countdown Quintet VI: Eric Alexander, Steve Turre, Whitney Museum 5, 7 pm $25
Birdland 8:30, 11 pm $40 Mike LeDonne, Buster Williams, Joe Farnsworth • Memo Acevedo’s Manhattan Bridges Orchestra
• Billy Stritch Trio Birdland Theater 9:45 pm $20-30 Smoke 7, 9, 10:30 pm $45 Zinc Bar 8:30, 10 pm $20
• Chris Botti with Lee Pearson, Reggie Hamilton, Leonardo Amuedo, Holger Marjamaa, • Brian Chase, Shayna Dunkelman, Ches Smith, Nathan Koci, James Moore,
Andy Snitzer, Sandy Cameron, Shayna Steele Anna Roberts-Gevalt, Cleek Schrey The Stone at The New School 8:30 pm $20 Saturday, January 4
Blue Note 8, 10:30 pm $95 êChris Potter Circuits Trio with James Francies, Obed Calvaire
• Corey Wallace; Groover Trio; Ned Goold Jam Village Vanguard 8:30, 10:30 pm $35 • Ayana Lowe 55Bar 6 pm
Fat Cat 7, 9 pm 12:30 am $10 • James Silberstein Trio with Marco Panascia, Vince Cherico
• Regina Carter Quartet with Nat Adderley, Jr., Chris Lightcap, Alvester Garnett Friday, January 3 Bar Next Door 7:30, 9:30, 11:30 pm $12
and guest Carla Cook Jazz Standard 7:30, 9:30 pm $35 • Birdland Big Band with guest Nicole Zuraitis
êPeter Bernstein, Aaron Goldberg, Omer Avital; Ian Macdonald • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Birdland 8:30, 11 pm $40
Mezzrow 7:30, 10:30 pm $20 êVincent Chancey, Joe Fonda, Kevin Norton • Billy Stritch Trio Birdland Theater 9:45 pm $20-30
• Rudy Petschauer Quintet with Andy Fusco, Bob DeVos, James Navan, Will Woodard; 244 Rehearsal Studios 8 pm $20 • Chris Botti with Lee Pearson, Reggie Hamilton, Leonardo Amuedo, Holger Marjamaa,
Todd Herbert Quartet with David Hazeltine, Tyler Mitchell, Mark Taylor; Neal Caine • Assaf Kehati Trio with Matt Pavolka, Peter Tranmueller Andy Snitzer, Sandy Cameron, Shayna Steele
Smalls 7:30, 10:30 pm 1 am $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Blue Note 8, 10:30 pm $95
êJohn Coltrane Festival—Countdown Quintet VI: Eric Alexander, Steve Turre, • Birdland Big Band with guest Nicole Zuraitis • Jamile Quartet Café Bohemia 8, 10 pm $15
Mike LeDonne, Buster Williams, Joe Farnsworth Birdland 8:30, 11 pm $40 êGonzalo Rubalcaba Trio D’éte with Matt Brewer, Eric Harland
Smoke 7, 9, 10:30 pm $45 • Billy Stritch Trio Birdland Theater 9:45 pm $20-30 Dizzy’s Club 7:30, 9:30 pm $45
êChris Potter Circuits Trio with James Francies, Eric Harland • Chris Botti with Lee Pearson, Reggie Hamilton, Leonardo Amuedo, Holger Marjamaa, • Willerm Delisfort Dizzy’s Club 11:15 pm $20
Village Vanguard 8:30, 10:30 pm $35 Andy Snitzer, Sandy Cameron, Shayna Steele • Danny Jonokuchi and The Revisionists
• Vando Jam: Lucas Pino Quartet Zinc Bar 9 pm Blue Note 8, 10:30 pm $95 The Django at The Roxy Hotel 10:30 pm
• Songevity Trio Café Bohemia 8, 10 pm $15 • Ivan Renta Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam
Thursday, January 2 • Gil Schwartz Duo Cleopatra’s Needle 8 pm Fat Cat 7, 10 pm 1:30 am $10
êGonzalo Rubalcaba Trio D’éte with Matt Brewer, Eric Harland • Chris Speed Trio with Chris Tordini, Dave King
• Jinjoo Yoo Duo 1986 Est. Wine Bar & Lounge 8 pm Dizzy’s Club 7:30, 9:30 pm $45 Happylucky no.1 8 pm $20
• Amy Cervini 55Bar 7 pm • Willerm Delisfort Dizzy’s Club 11:15 pm $10 êJonny King Trio with Ira Coleman, Nasheet Waits
êBinky Griptite Orchestra Bar Lunàtico 8:30, 10 pm $10 • Ken Fowser Quintet; Michael Arenella and His Dreamland Orchestra Jazz at Kitano 8, 10 pm $34
• Austin Becker Trio with Sam Trapchak, Austin Walker The Django at The Roxy Hotel 7:30, 10:30 pm • David Durrah Jam Session Jazz Museum in Harlem 2 pm $10
Bar Next Door 8:30, 10:30 pm $12 • Chris Flory; Jared Gold/Dave Gibson; Ray Parker • Sean Jones Quartet with Brett Williams, Kyle Miles, Kendrick Scott
• Birdland Big Band with guest Nicole Zuraitis Fat Cat 6, 10:30 pm 1:30 am $10 Jazz Standard 7:30, 9:30 pm $30
Birdland 8:30, 11 pm $40 • Chris Speed Trio with Chris Tordini, Dave King êLenny White 70th Birthday Celebration: Lenny White Trio with Dave Liebman,
• Billy Stritch Trio Birdland Theater 9:45 pm $20-30 Happylucky no.1 8 pm $20 Gene Perla Made In New York Jazz Café 7, 9 pm $30
• Chris Botti with Lee Pearson, Reggie Hamilton, Leonardo Amuedo, Holger Marjamaa, êJonny King Trio with Ira Coleman, Nasheet Waits êMelissa Aldana/Kevin Hays; Jon Davis
Andy Snitzer, Sandy Cameron, Shayna Steele Jazz at Kitano 8, 10 pm $34 Mezzrow 7:30, 10:30 pm $20
Blue Note 8, 10:30 pm $95 • Sean Jones Quartet with Brett Williams, Kyle Miles, Kendrick Scott êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould
êCafe Bohemia Quartet led Jon Erik Kellso Jazz Standard 7:30, 9:30 pm $30 Minton’s 7:30, 9:30 pm $25
Café Bohemia 8, 10 pm $15 êLenny White 70th Birthday Celebration: Lenny White Trio with Christian Sands, • Immanuel Wilkins WRE SEEDS 8:30 pm
• Noriko Kamo Duo Cleopatra’s Needle 7 pm Christian McBride Made In New York Jazz Café 7, 9 pm $30 • Jazzical: Derrick Barker, Mark Adams, Donald Nicks, George Gray
 êGonzalo Rubalcaba Trio D’éte with Matt Brewer, Eric Harland êMelissa Aldana/Kevin Hays; Miki Yamanaka Sistas’ Place 9, 10:30 pm $20
Dizzy’s Club 7:30, 9:30 pm $40 Mezzrow 7:30, 10:30 pm $20 êSaul Rubin’s The Zebtet weith Greg Glassman, Justin Robinson, Stacy Dillard,
• Willerm Delisfort Dizzy’s Club 11:15 pm $10 • Marcelo Boccato Quartet with Caroline Davis, Pablo Menares, Jay Sawyer Frank Lacy, Mark Lewandowski, Brandon Lee Lewis; Mike DiRubbo Quartet with
• Fabien Mary Quintet; Mark Whitfield Neighborhood Church of Greenwich Village 8, 10 pm Brian Charette, Essiet Essiet, Rudy Royston; Mimi Jones and The Lab Session
The Django at The Roxy Hotel 7:30, 10:30 pm êNick Lyons solo; Focus Group: Michael Rocketship, Booker Stardrum, Eli Crews, Smalls 7:30, 10:30 pm 1 am $20
• Willie Applewhite Quintet; Saul Rubin Zebtet; Will Terrill Ava Mendoza; Wendy Eisenberg solo êJohn Coltrane Festival—Countdown Quintet VII: Bobby Watson, Eric Alexander,
Fat Cat 7, 10 pm 1:30 am $10 The Owl Music Parlor 7:30 pm $10 George Cables, John Webber, Joe Farnsworth
• Pedrito Martinez Ginny’s Supper Club 7, 9 pm $25 • Benny Benack III Trio Room 623 at B2 Harlem 10 pm $10-20 Smoke 7, 9, 10:30 pm $45
• AirTrain Jazz Festival: The Jazz Collective êSaul Rubin’s The Zebtet weith Greg Glassman, Justin Robinson, Stacy Dillard, • Dither: James Moore, Taylor Levine, Josh Lopes, Gyan Riley
Jamaica Air Train Station 5 pm Frank Lacy, Mark Lewandowski, Brandon Lee Lewis; Mike DiRubbo Quartet with The Stone at The New School 8:30 pm $20
• Michele Duda Trio with Yoshi Waki, Paul Odeh Brian Charette, Essiet Essiet, Rudy Royston; Corey Wallace DUBtet • Louisa Poster Trio Symphony Space Bar Thalia 9 pm
Jazz at Kitano 8, 10 pm $18 Smalls 7:30, 10:30 pm 1 am $20 êChris Potter Circuits Trio with James Francies, Obed Calvaire
• Sean Jones Quartet with Brett Williams, Kyle Miles, Kendrick Scott êJohn Coltrane Festival—Countdown Quintet VII: Bobby Watson, Eric Alexander, Village Vanguard 8:30, 10:30 pm $35
Jazz Standard 7:30, 9:30 pm $30 George Cables, John Webber, Joe Farnsworth êTiger Trio: Myra Melford, Joëlle Léandre, Nicole Mitchell
Smoke 7, 9, 10:30 pm $45 Whitney Museum 2, 4 pm $25

EMILIO SOLLA
TANGO JAZZ ORCHESTRA
presents
PUERTOS - Music from International Waters
CD Release Party

Grammy® Nominee 2020

January 5th, 5:30 PM

BIRDLAND JAZZ CLUB
315 West 44th St. New York, NY 10036
www.birdlandjazz.com

44 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Sunday, January 5
êVic Juris; Adam Larson Band 55Bar 6, 9:30 pm
• Emilio Solla Tango Jazz Orchestra Birdland 5:30 pm $30
êDonald Vega Trio with Peter Washington, Billy Drummond
Blue Note 11:30 am 1:30 pm $39.50
• Chris Botti with Lee Pearson, Reggie Hamilton, Leonardo Amuedo, Holger Marjamaa,
Andy Snitzer, Sandy Cameron, Shayna Steele
Blue Note 8, 10:30 pm $95
Winter Sale! Get 25% off with promo code ‘MOTEMA 25’ thru 1/31
êGonzalo Rubalcaba Trio D’éte with Matt Brewer, Eric Harland
Dizzy’s Club 7:30, 9:30 pm $40
• Eli Wallace, Andrew Smiley, Carlo Costa; Thomas Heberer, Luke Marrantz,
Simon Jermyn, Michael Vatcher Downtown Music Gallery 6, 7 pm
êTerry Waldo’s Gotham City Band; Jade Synstelien Fat Cat Big Band
Fat Cat 6, 8:30 pm $10
TERRI LYNE CARRINGTON + SOCIAL SCIENCE / WAITING GAME
• Sean Jones Quartet with Brett Williams, Kyle Miles, Kendrick Scott   A A R O N P A R K S •   K A S S A O V E R A L L • M AT T H E W S T E V E N S •   M O R G A N G U E R I N •   D E B O P A R K S
Jazz Standard 7:30, 9:30 pm $30
• Tatiana Eva-Marie and Avalon Jazz Band with guest Olli Soikelli
Joe’s Pub 9:30 pm $20
• Lenny White 70th Birthday Celebration: Lenny White Quartet with Dave Stryker,
Mike Lee, Ed Howard Made In New York Jazz Café 6, 8 pm $30
• Jamie Reynolds, Steve Wilson, Orlando le Fleming
Mezzrow 7:30 pm $20
• Roz Corral Trio with Eddie Monteiro North Square Lounge 12:30, 2 pm
• Sean Clapi; Or Baraket The Owl Music Parlor 7:30 pm $10
êBlues and the Empirical Truth: Allen Lowe Octet with Marc Ribot, Ray Suhy,
Lewis Porter, Brian Simontacchi, Jennifer Vincent, Kevin Ray, Rob Landis
Roulette 8 pm $25
• Richard Shade Russian Samovar 3 pm
• Adam O’Farrill/Gaya Feldheim Schorr
Saint Peter’s Church 6 pm
êOr Bareket 4tet with Joel Ross, Shai Maestro, Savannah Harris
A WORK OF HISTORICAL DEPTH FIERCELY CONTEMPORARY – NY TIMES
SEEDS 8:30 pm ON A PAR WITH THE FILMS
• Shrine Big Band: Blaise Siwula, Dave Sewelson, Ethan Helm, Elijah Shiffer, Andrew Hadro, #1: BEST ALBUMS OF 2019 (5 STARS)
James Rogers, Mark Broschinsky, Matthew McDonald, Michael Gorham, Jason Wiseman, OF EVA DUVERNAY
Andrew, Neesly, Andrew Dow, Jon Panikkar, Yutaka Takahashi, Aron Namenwirth
Shrine 8 pm – NPR MUSIC – DOWNBEAT
• Mike Mullins Quintet with Zaid Nasser, Pasquale Grasso, Ari Roland, Keith Balla;
Alex Hoffman Quintet with Emanuele Basentini, Gregory Chen, Charlie Himmel,
Scott Lowrie; David Gibson Smalls 7:30, 10:30 pm 1 am $20
êJohn Coltrane Festival—Countdown Quintet VII: Bobby Watson, Eric Alexander,

GRAMMY
George Cables, John Webber, Joe Farnsworth
Smoke 7, 9, 10:30 pm $45
• Wit & Daniel: Prawit Siriwat/Daniel Durst; Matt Forker’s Mirror Image with Lisa Hoppe,
NOMINATED!
MARC
Lesley Mok, Jonah Wolfson, David Acevedo, Gabe Fraivillig; Sonya Belaya
Spectrum 7 pm $15
êRonnie Burrage Group Sugarhill 9 pm
êChris Potter Circuits Trio with James Francies, Obed Calvaire

GIULIANA
Village Vanguard 8:30, 10:30 pm $35
êAlbert Dailey Tribute: Mike DiRubbo, Davis Whitfield, Essiet Essiet, Rudy Royston
Zinc Bar 4 pm
Monday, January 6

BEAT MUSIC!
êMike Stern 55Bar 10 pm
• Caroline Davis Alula with Dan Weiss Bar Lunàtico 8:30, 10 pm $10
• Andy Bianco Trio with Sam Trapchak, Paul Wells; Marya Lawrence Trio with Saul Rubin,

BEAT MUSIC!
Jennifer Vincent Bar Next Door 6:30, 8:30, 10:30 pm $12
• Naama Gheber Quartet with guests Birdland 7 pm $25-30
• Joe Alterman Trio Birdland Theater 8:30 pm $20-30
• Maurice “Mobetta” Brown Birthday Vibes Session with Isaiah Sharkey, James Francies,
Ben Williams, Anderson Paak Blue Note 8, 10:30 pm $75
• Matt Bent Ensemble with Rowan Wolf, Will Evans, Kevin Eichenberger; Stephen Gauci,
Adam Lane, Kevin Shea; Noa Fort, Aryeh Kobrinski, Sarah Bernstein; BEST CONTEMPORARY BEAT MUSIC!
Jason Kao Hwang, Anders Nilsson, Michael T.A. Thompson; Colin Hinton Quartet with
Tony Malaby, Eivind Opsvik, Todd Neufeld; Nicola Hein solo INSTRUMENTAL ALBUM
Bushwick Public House 7 pm $10
• The Hot Club with Matthew “Fat Cat” Rivera
Café Bohemia 8, 10 pm $15
• Ashley Pezzotti Quintet with Alex Weitz, Emmet Cohen, Russell Hall, Bryan Carter

MELISSA ALDANA
Dizzy’s Club 7:30, 9:30 pm $35
• Ben Patterson Duo; Ryan Berg; Billy Kaye Jam
Fat Cat 6, 9 pm 12:30 am $10
• Charlie Sigler, Vince Dupont, Alvester Garnett; Pasquale Grasso GRAMMY

êJoel Ross Trio
• Jeff McGregor Trio
Mezzrow 7:30, 10:30 pm $20
SEEDS 8:30 pm NOMINATED!
Sean Mason
Shrine 6 pm
• Ari Hoenig Trio with Tivon Pennicott, Orlando le Fleming; Joe Farnsworth Group;
Smalls 7:30, 10:30 pm 1 am $20
êInspired—The Music of John Abercrombie: Peter Bernstein, Ben Monder, Rale Micic
VISIONS
Zinc Bar 7:30, 9 pm $20
Tuesday, January 7
FEATURING JOEL ROSS
• Ben Monder; Leni Stern 55Bar 7, 10 pm
• Carol Morgan Trio with Panas Athanatos, Jon Roche
Bar Next Door 8:30, 10:30 pm $12 A MONUMENTALSTATEMENT
êFrank Kimbrough Trio with Ben Street, Jeff Hirshfield
Birdland 8:30, 11 pm $40
• Maurice “Mobetta” Brown Birthday Vibes Session with Talib Kweli, Isaiah Sharkey,
– DOWNBEAT
James Francies, Ben Williams, Mike Mitchell
Blue Note 8, 10:30 pm $35 Best New Release (2019)
• Pasquale Grasso solo Café Bohemia 8, 10 pm $15
êAmina Claudine Myers solo; Andrew Cyrille solo
BEST IMPROVISED [Honorable Mention]
David Gage String Instruments 7 pm $30 JAZZ SOLO –THE NEW YORK CITY JAZZ RECORD
êEd Cherry Quartet with Peter Bernstein, Dean Torrey, Anwar Marshall
Dizzy’s Club 7:30, 9:30 pm $35
• Charles Turner and Uptown Swing Dizzy’s Club 11:15 pm $5
• Antoine Alvear Quintet; La Pachamambo

nothing but love

The Django at The Roxy Hotel 7:30, 10 pm
• Saul Rubin Zebtet; Sonora Nuyorkina; Craig Wuepper OUT 1.17.20
COMING 1.17.20

Fat Cat 7, 9 pm 12:30 am $10

êBinky Griptite Freddy’s Backroom 9 pm
• Frank Carlberg with Jeremy Udden, Hery Paz, Kim Cass, Mike Sarin; Max Light,
Pablo Menares, Diego Voglino Halyard’s 8, 10 pm $10
• Jakob Ebers Quintet Jazz at Kitano 8 pm
êDarius Jones Quartet with Joel Ross, Sean Conly, Kush Abadey
all-original jana herzen
The Jazz Gallery 7:30, 9:30 pm $15 folk/pop/jazz
êThe Music of Bob Brookmeyer directed by Ryan Truesdell with Tim Ries, Ethan Helm,
Donny McCaslin, Lucas Pino, Scott Robinson, Owen Broder, Augie Haas, from motema’s
Tony Kadleck, Nadje Noordhuis, Riley Mulherkar, Tim Hagans, Mike Davis, John Mosca,
Alan Ferber, George Flynn, Gary Versace, Drew Gress, John Hollenbeck, Wendy Gilles
Jazz Standard 7:30, 9:30 pm $30 founder
• Brenda Earle Stokes, Evan Gregor, Diego Voglino; Naama Gheber
Mezzrow 7:30, 10:30 pm $20 featuring
êJosh Sinton’s Predicate Trio with Christopher Hoffman, Tom Rainey; Tomeka Reid,
Joe Morris, Kyoko Kitamura SEEDS 8, 9:30 pm Charnett Moffett
• Hiroko Kana Silvana 7 pm J
Brian Jackson
êAbraham Burton Quartet with David Bryant, Dezron Douglas, Eric McPherson;
Malik McLaurine Smalls 10:30 pm 1 am $20 Scott Tixier
• JAV solo; Triptet: Michael Monhart, Tom Baker, Greg Campbell with guest Xan Xaberx
Soup & Sound 7 pm $20 Mark Whitfield Jr
êMaría Grand/Mary Halvorson The Stone at The New School 8:30 pm $20
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits
Village Vanguard 8:30, 10:30 pm $35
êJoëlle Léandre/Fay Victor Zürcher Gallery 8 pm $20

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 45

 Wednesday, January 8 • Frank Catalano Quartet Birdland Theater 7, 9:45 pm $20-30
• Winter Jazzfest: Kristina Koller Band with Nick Brust, Fima Chupakhin, James Robbins,
• Orlando le Fleming Quintet with Will Vinson, Philip Dizack, Sean Wayland, Nate Wood; Juan Chiavassa; Tra$h Magnolia; Aaron Whtby’s Cousin From Another Planet with
Mike Stern 55Bar 7, 10 pm Keith Loftis, Charlie Burnham, David Phelps, Fred Cash, Gintas Janusonis;
êMichaël Attias solo; Marta Sánchez, Mark Ferber, Hery Paz, Kenneth Jimenez Michael Mayo; Bright Dog Red: Joe Pignato, Cody Davies, Anthony Berman,
Balboa 8, 9 pm $10 Eric Person, Tyreek Jackson, Mike LaBombard, Matt Coonan
êRobin Verheyen Quartet with Marc Copland, Michael Formanek, Victor Lewis The Bitter End 6:45 pm $55-150
Bar Bayeux 8 pm • Philly Reunion: Christian McBride, Joey DeFrancesco, Lil’ John Roberts,
êOmer Avital Trio Bar Lunàtico 8:30, 10 pm $10 Kurt Rosenwinkel Blue Note 8, 10:30 pm $45
• Alec Aldred Trio with Connor Evans, Chris Wright • Walter Parks with guest Bernard Purdie; The Unlawful Assembly
Bar Next Door 6:30 pm Café Bohemia 8, 10 pm $15
• Kurt Elling Birdland 8:30, 11 pm $40-50 • Didi Grooves Duo Cleopatra’s Needle 8 pm
• Maucha Adnet’s Bossa Always Nova with Guilherme Montieiro, Helio Alves êWinter Jazzfest: Jure Pukl’s Broken Circles with Charles Altura, Joel Ross, Matt Brewer,
Birdland Theater 7, 9:45 pm $20-30 Kweku Sumbry; Godwin Louis’ Global with Billy Buss, Joel Ross, Axel Tosca Laugart,
• Maurice “Mobetta” Brown Birthday Vibes Session with Isaiah Sharkey, James Francies, Jonathan Michel, Obed Calvaire; Nikara and Black Wall Street with Hailey Niswanger,
Ben Williams, Mike Mitchell Blue Note 8, 10:30 pm $35 Stephen Fowler, Paul Wilson, Parker McAllister, Corey Sanchez, David Frazier, Jr.;
• Mark McKay Band; Dave Kolker Band MAE.SUN: Hailey Niswanger, Nikara Warren, Aaron Liao, Andrew Renfroe,
Café Bohemia 8, 10 pm $15 Axel Languart, David Frazier, Jr.; Marc Ribot’s Ceramic Dog with Shahzad Ismaily,
• Amina Figarova Sextet with Alex Pope Norris, Wayne Escoffery, Bart Platteau, Ches Smith; Jaimie Branch’s Fly or Die with Lester St. Louis, Jason Ajemian,
Yasushi Nakamura, Rudy Royston Dizzy’s Club 7:30, 9:30 pm $35 Chad Taylor The Dance 6 pm $55-150
• Charles Turner and Uptown Swing Dizzy’s Club 11:15 pm $5 êBrianna Thomas Band Dizzy’s Club 7:30, 9:30 pm $40
• New Alchemy Jazz Orchestra; Wayne Tucker Sextet • Charles Turner and Uptown Swing Dizzy’s Club 11:15 pm $10
The Django at The Roxy Hotel 7:30, 10:30 pm • Ken Fowser Quintet; Rita with Brendan Skidmore
• Raphael D’lugoff Trio +1; Joe Farnsworth Trio; Ned Goold Jam The Django at The Roxy Hotel 7:30, 10:30 pm
Fat Cat 7, 9 pm 12:30 am $10 • Miki Yamanaka; Josh Evans; Ray Gallon
• Louis Armstrong Legacy Jam hosted by Carol Sudhalter Fat Cat 6, 10:30 pm 1:30 am $10
Flushing Town Hall 7 pm $10 • New Ear Festival: Susie Ibarra and DreamTime Ensemble: Jennifer Choi,
• Bruce Forman’s The Red Guitar The Green Room at Yotel 7 pm $22 Claudia Acuña, Yuka Honda, Jake Landau
• Mamiko Watanabe Trio with Santi Debriano, Francisco Mela Fridman Gallery 10 pm $20
Jazz at Kitano 8, 10 pm $18 • Damien Escobar with Alex Boyé, Vy Higginsen’s Sing Harlem Choir
êDarius Jones Quartet with Joel Ross, Sean Conly, Kush Abadey Ginny’s Supper Club 7 pm $45
The Jazz Gallery 7:30, 9:30 pm $15 êTony Malaby, Angelica Sanchez, Tom Rainey
êThe Music of Bob Brookmeyer directed by Ryan Truesdell with Tim Ries, Ethan Helm, Greenwich House Music School 8 pm $20
Donny McCaslin, Lucas Pino, Scott Robinson, Owen Broder, Augie Haas, êAruán Ortiz Happylucky no.1 8 pm $20
Tony Kadleck, Nadje Noordhuis, Riley Mulherkar, Tim Hagans, Mike Davis, John Mosca, • Bruce Cox Quartet with Marion Cowings
Alan Ferber, George Flynn, Gary Versace, Drew Gress, John Hollenbeck, Wendy Gilles Jazz 966 8 pm $20
Jazz Standard 7:30, 9:30 pm $30 • Ed Laub Trio with Bill O’Connell, Martin Pizzarelli
• Camille Bertault/Leo Genovese; Tuomo Uusitalo Jazz at Kitano 8, 10 pm $34
Mezzrow 7:30, 10:30 pm $20 êDarcy James Argue’ Secret Society with Alexa Tarantino, Rob Wilkerson,
• Danny Bacher, Allen Farnham, Dean Johnson Sam Sadigursky, Quinsin Nachoff, Carl Maraghi, Sam Hoyt, Jonathan Powell,
Dianne Reeves by Jerris Madison Saint Peter’s Church 1 pm $10 Matt Holman, Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle,
• Emanuele Cisi Quartet with Tadataka Unno, Mike Karn, Peter Van Nostrand; Jacob Garchik, Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Jorge Roeder,
Simona Premazzi Quintet with Ben Monder, Mark Shim, Joe Martin, Kush Abadey; Jon Wikan The Jazz Gallery 7:30, 9:30 pm $30
Andrew Kushnir Smalls 7:30, 10:30 pm 1 am $20 • Lizz Wright with Chris Bruce, Adam Levy, Kenny Banks, Sr., David Cook, Ben Zwerin,

JAN SPIRITUAL SOUNDS

AND THE JAZZ AGE
êMilton Suggs Quintet with Stantawn Kendrick, Jonathan Thomas, Dezron Douglas,
Norman Edwards, Jr. Smoke 7, 9, 10:30 pm $20
• María Grand, Savannah Harris, Rajna Swaminathan, Kalia Vandever, Imani Uzuri,
Ganavya Doraiswamy, Aaron Parks, Kanoa Mendenhall
Jack DeBoe Jazz Standard 7:30, 9:30 pm $35
êWinter Jazzfest: Ron Artis II and The Truth with Ernie Ercaela, Jr., Justin Chittams;
Steven Bernstein’s Millenial Territory Orchestra @20 with Curtis Fowlkes,
Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri,

10–11 The Jazz at Lincoln Center Orchestra

The Stone at The New School 8:30 pm $20
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits
Village Vanguard 8:30, 10:30 pm $35
Ben Allison, Ben Perowsky, Catherine Russell; Mark Guiliana Quartet with
Chris Morissey, Shai Maestro, Jason Rigby and guest Gretchen Parlato
Le Poisson Rouge 7:45 pm $55-150
êLenny White 70th Birthday Celebration: Lenny White Quartet with Dave Stryker,

8PM
with Wynton Marsalis revisits two of Thursday, January 9 Mike Lee, Ed Howard Made In New York Jazz Café 7, 9 pm $30
its most acclaimed originals: Victor • Winter Jazzfest: Sunny Jain’s Wild Wild East with Grey McMurray, Pawan Benjamin,
ROSE THEATER Goines’ Untamed Elegance, and Chris • Jinjoo Yoo Duo 1986 Est. Wine Bar & Lounge 8 pm Kenny Bentley; Ikebe Shakedown; Gregoire Maret/Romain Collin’s Americana;
• Nicole Zuraitis 55Bar 7 pm Braxton Cook with Henoc Montes, Andrew Renfroe, Curtis Nowosad;
Crenshaw’s God’s Trombones. • Olin Clark Trio with Dan Montgomery, Owen Hyde; Hendrik Meurkens Trio with Butcher Brown: Corey Fonville, Devonne Harrison, Andrew Randazzo, Morgan Burrs,
Mike Ekroth, Joe Fitzgerald Bar Next Door 6:30, 8:30, 10:30 pm $12 Marcus Tenney; Madison McFerrin Mercury Lounge 6:45 pm $55-150
• John Pizzarelli/Jessica Molaskey Birdland 5:30 pm $25-30 • Ben Wolfe, Yotam Silberstein, Aaron Kimmel; Bob DeMeo
• Kurt Elling Birdland 8:30, 11 pm $40-50 Mezzrow 7:30, 10:30 pm $20

JAN 30
• Frank Catalano Quartet êWinter Jazzfest: Angela Morris’ Skellettes with Nathaniel Morgan, Jason Ajemian,
TRANSFORMATION WITH Kurt Rosenwinkel
Birdland Theater 7, 9:45 pm $20-30
• Philly Reunion: Christian McBride, Joey DeFrancesco, Lil’ John Roberts,
Blue Note 8, 10:30 pm $45
Booker Stardrum; Nate Wooley’s Columbia Icefield with Mary Halvorson, Susan Alcorn,
Ryan Sawyer; Mary Lattimore; Mary Halvorson/John Dieterich;

GLENN CLOSE AND TED NASH • Winter Jazzfest: Mark Guiliana Beat Music; yMusic with guests; Taylor McFerrin Blacks Myths: Luke Stewart/Warren Crudup III

–FEB 1 Bowery Ballroom 7 pm $35 Nublu 151 7 pm $55-150

êCafe Bohemia Quartet led Jon Erik Kellso êDelfeayo Marsalis Uptown Jazz Orchestra with Tonya Boyd-Cannon, Khari Allen Lee,
The Jazz at Lincoln Center Orchestra Café Bohemia 8, 10 pm $15 Amari Ansari, Roderick Paulin, Orlando Gilbert, Roger Lewis, Terrance Taplin,
• Equilibrium Cleopatra’s Needle 7 pm Jeffery Miller, Brice Miller, Andrew Baham, Scott Frock, John Gray, Sean Mason,
with Wynton Marsalis performs a new êBrianna Thomas Band Dizzy’s Club 7:30, 9:30 pm $40 David Pulphus, Joseph Dyson, Jr. Rockwood Music Hall Stage 2 8:30 pm $18-20
• Charles Turner and Uptown Swing Dizzy’s Club 11:15 pm $10 • Pedrito Martinez Rockwood Music Hall Stage 2 9:45 pm $18-20
8PM work by JLCO member Ted Nash and • Victor Gould Trio; Lauren Henderson • Andy Bianco Trio Room 623 at B2 Harlem 10 pm $10-20
ROSE THEATER award-winning actor Glenn Close. The Django at The Roxy Hotel 7:30, 10:30 pm • Spiritual Sounds and The Jazz Age: Jazz at Lincoln Center Orchestra
• Tyler Blanton Urban Archivers; Greg Glassman Quintet; Avi Rothbard Rose Theater 8 pm $40-130
This project was commissioned by Jazz at Lincoln Center
Fat Cat 7, 10 pm 1:30 am $10 êWilliam Parker’s Trail of Tears Continuum 1492–2020 with Fred Moten, Tracie Morris,
with the generous support of the Howard Gilman Foundation • New Ear Festival: Brandon Lopez and the TAK Ensemble: Laura Cocks, Mara Rosenbloom, AnneMarie Sandy, Steve Swell, Rob Brown, Dave Sewelson,
This project is supported, in part, by an award from the Madison Greenstone, Charlotte Mundy, Marina Kifferstein, Ellery Trafford Hamid Drake, Andrea Wolper, Raina Sokolov Gonzalez, Patricia Nicholson,
Fridman Gallery 10 pm $20 Jason Jordan, Miriam Parker, Jo Wood Brown
National Endowment for the Arts and by public funds
• Pedrito Martinez Ginny’s Supper Club 7, 9 pm $25 Roulette 8 pm $25
from the New York City Department of Cultural Affairs in
• AirTrain Jazz Festival: John Gray Jamaica Air Train Station 5 pm êWinter Jazzfest: The Era Footwork Crew; Hypnotic Brass Ensemble; KOKOROKO;
partnership with the City Council. • Jeremy Dutton Jamaica Center for Arts and Learning 8 pm $10 Hailu Mergia S.O.B.’s 7 pm $55-150
• Ladies Day Jazz Quartet: MJ Territo, LInda Presgrave, Iris Ornig, Lucianna Padmore • Shawn Lovato’s Microcosms with Michaël Attias, Patti Kilroy, Hannis Brown,
Jazz at Kitano 8, 10 pm $18 Santiago Leibson, Shawn Lovato, Vinnie Sperrazza, Colin Hinton; Jein: Lisa Hoppe,
êDarcy James Argue’ Secret Society with Alexa Tarantino, Rob Wilkerson, Todd Neufeld, Aaron Edgcomb Scholes Street Studio 8, 9 pm

FEB DIANNE REEVES

NEA Jazz Master and Grammy Award-
Sam Sadigursky, Quinsin Nachoff, Carl Maraghi, Sam Hoyt, Jonathan Powell,
Matt Holman, Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Sara Jacovino,
Jacob Garchik, Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy,
Jon Wikan The Jazz Gallery 7:30, 9:30 pm $30
• Furmi Gomez 4tet
• Michael Sarian Quartet
Shrine 7 pm
Silvana 6 pm
• Mike Rodriguez Sextet with John Ellis, Gary Versace, Hamish Smith, Joe Martin,
Ele Howell, Obed Calvaire; Philip Dizack Quartet with Shai Maestro, Daryl Johns,

14–15 winning vocalist Dianne Reeves sets the

mood for Valentine’s Day weekend.
êMelissa Aldana Quartet with Shai Maestro, Pablo Menares, Kush Abadey
Jazz Standard 7:30, 9:30 pm $30
• Winter Jazzfest: Kokoroko; Moses Boyd; Poppy Ajudha; Sarathy Korwar
Le Poisson Rouge 6:30 pm $35
Jeremy Dutton; Brooklyn Circle Smalls 7:30, 10:30 pm 1 am $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $38
• Laurel Snyder; JAV; Lester St. Louis/Chris Williams
Bloomberg Philanthropies is a lead sponsor of Dianne Reeves
• Rachel Z, Mino Cinelu, Matt Penman; Spike Wilner Spectrum 7 pm $15
8PM Mezzrow 7:30, 10:30 pm $20 êMaría Grand, Kanoa Mendenhall, Jeremy Dutton

ROSE THEATER • Nublu Orchestra; Brandon Coleman; Ilhan Ersahin, Dave Harrington, Kenny Wollesen The Stone at The New School 8:30 pm $20
Nublu 151 8 pm $15 • Winter Jazzfest: Theo Bleckmann’s Mixtape with Mike King, Chris Tordini,
êMichael Bates’ Acrobat with Marty Ehrlich, Mazz Swift, Sara Schoenbeck, Michael Sarin Ulysses Owens, Jr.; Matthew Whitaker Quartet with Marcos Robinson, Karim Hutton,
The Owl Music Parlor 7:30 pm $10 Isaiah Johnson; Connie Han Trio with Ivan Taylor , Bill Wysaske; YES! Trio: Ali Jackson,
• Hayes Greenfield Trio with Dean Johnson, Todd Turkisher; Joris Teepe Quintet with Aaron Goldberg, Omer Avital; The Jazz Gallery Allstars: Miguel Zenón, Morgan Guerin,

FEB HERLIN RILEY PRESENTS: SOUNDS

OF CUBA AND NEW ORLEANS
Wayne Escoffery, Leo Genovese, Pete Votazic, Gerry Gibbs; Davis Whitfield
Smalls 7:30, 10:30 pm 1 am $20
• Bill Charlap Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $38
Joel Ross, Charles Altura, Gerald Clayton, Matt Brewer, Kendrick Scott, Renee Neufville;
Michael Olatuja’s Lagos Pepper Soup with Etienne Stadwyk, Terreon Gulley,
Brandee Younger, Thana Alexa, Rasul A. Salaam, Cossandra James
Subculture 6:15 pm $55-150

21–22 Drummer extraordinaire Herlin Riley

explores the intersection of Latin jazz
êMaría Grand, Savannah Harris, Nick Dunston, Amirtha Kidambi, Joel Ross
The Stone at The New School 8:30 pm $20
• Michelle Zangara Trio with Rob Block, Ben Meigners
Uke Hut 8 pm $20
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits
Village Vanguard 8:30, 10:30 pm $35
• Winter Jazzfest: Joey Alexander; Ambrose Akinmusire Quartet with Sam Harris,
Harish Raghavan, Justin Brown; Makaya McCraven’s In These Times with Irvin Pierce,
Greg Ward, Brandee Younger, Joel Ross, Junius Paul; Igmar Thomas’ Revive Big Band
7PM & 9:30PM and the sounds of New Orleans, joined
Village Vanguard 8:30, 10:30 pm $35
êLisa Hilton’s Chalkboard Destiny with JD Allen, Luques Curtis, Rudy Royston
Webster Hall 7 pm $55-150
êWinter Jazzfest: Nasheet Waits By Sea with Nduduzo Makhathini, Immanuel Wilkins,
THE APPEL ROOM by Cuban percussion genius Pedrito Weill Recital Hall at Carnegie Hall 8 pm $29 Rashaan Carter; Jamie Baum and Short Stories with Gregoire Maret, Mark Shim,
• Tamir Hendelman Spirit of Israel Ensemble with Yotam Silberstein, Asaf Yuria, Andy Milne, Joe Martin, Jeff Hirshfield; Kendra Shank Tribute To Abbey Lincoln with
Martinez, prolific trumpeter Nicholas Noam Wiesenberg, Daniel Dor Yamaha Artist Services Center Piano Salon 7 pm $20-30 Frank Kimbrough, Billy Drewes, Dean Johnson, Matt Wilson; Quiana Lynell with
Alex Wintz, Willerm Dellisfort, Jonathan Michel, Darrian Douglas;
Payton, and bassist Russell Hall. Friday, January 10 Christian Sands Quintet with Yasushi Nakamura, Clarence Penn, Keyon Harrold,
Marvin Sewell; David Kikoski Trio with Ed Howard, Joe Farnsworth
• Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Zinc Bar 6 pm $55-150
• Tessa Souter; Dan Pugach Nonet +1 êValery Ponomarev Big Band Zinc Bar 10:30 pm 12 am $20
55Bar 6, 10 pm êWinter Jazzfest: Kalia Vandever with Theo Walentiny, Lee Meadvin, Nick Dunston,

JAZZ.ORG • Clark Gayton and Superslicks Bar Lunàtico 8:30, 10 pm $10

VENUE FREDERICK P. ROSE HALL Connor Parks; Petros Klampanis Trio with Kristjan Randalu, Obed Calvaire; Ted Poor
BOX OFFICE BROADWAY AT 60TH ST. • Rale Micic Trio with Jared Gold, Jason Tiemann Trio with Cuong Vu, Kris Davis;
Bar Next Door 7:30, 9:30, 11:30 pm $12 Todd Sickafoose’s Tiny Resistors with Jenny Scheinman, Ben Goldberg, Kirk Knuffke,
CENTERCHARGE 212.721.6500 • Kurt Elling Birdland 8:30, 11 pm $40-50 Erik Deutsch, Rob Reich, Kyle Sanna, Mark Ferber
Zürcher Gallery 7:30 pm $55-150

46 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Saturday, January 11
• Tony Tixier Apollo Theater & Music Café 10 pm $22
• Paul Austerlitz/John Loggia; Ras Moshe Burnett, Aron Namenwirth, Charley Sabatino,
Colin Hinton; Eric Plaks, Nick Lyons, Evan Crane, Dan Kurfirst
Aron’s Place 7:30 pm $10
• Patrick Cornelius Trio with Rick Rosato, Carl Allen
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Sara Gazarek Birdland 5:30 pm $30
• Kurt Elling Birdland 8:30, 11 pm $40-50
êVeronica Swift with Emmet Cohen Trio
Birdland Theater 7, 9:45 pm $20-30
• Winter Jazzfest: Naissam Jalal’s Quest of The Invisible; Anne Pacéo with
Tony Paeleman, Pierre Perchaud, Christophe Panzani, Ann Shirley; Plume with
Kush Abadey; Thomas de Pourquery and Supersonic with Laurent Bardainne,
Fabrice Martinez, Arnaud Roulin, Frederick Galiay, Edward Perraud, Jaimie Branch;
Jonathan Jurion’s Le Temps Fou with Jowee Omicil; Eym Trio: Elie Dufour,
Yann Phayphet, Marc Michel The Bitter End 6:15 pm $55-150
• Philly Reunion: Christian McBride, Joey DeFrancesco, Lil’ John Roberts,
Kurt Rosenwinkel Blue Note 8, 10:30 pm $45
êWallace Roney Quintet Café Bohemia 8, 10 pm $30
• Denton Darien Trio Cleopatra’s Needle 8 pm
êWinter Jazzfest: Helen Sung’s Sung With Words with Christie Dashiell, Steve Wilson,
Reuben Rogers, Kush Abadey; Unholy Row: Jason Lindner, Tim Lefebvre, Mark Guiliana;
Susan Alcorn Quintet with Mary Halvorson, Mark Feldman, Michael Formanek,
Ryan Sawer; CUP: Nels Cline/Yuka C. Honda; Anna Webber’s Clockwise Septet with
Jeremy Viner, Jacob Garchik, Christopher Hoffman, Matt Mitchell, Chris Tordini, Ches Smith
The Dance 7:15 pm $55-150
• Russell Hall’s The Feeling of Romance with Vuyo Sotashe, Martina DaSilva,
Vanessa Perea; Ruben Fox, Julian Lee, Mathis Picard, Emmet Cohen, Kyle Poole,
Nick Russo Dizzy’s Club 7:30, 9:30 pm $45
• Charles Turner and Uptown Swing Dizzy’s Club 11:15 pm $20
• Mike DiRubbo Quartet with Brian Charette, Ugonna Okegwo; Freddy Deboe Band
The Django at The Roxy Hotel 7:30, 10:30 pm
• Rafael Monteagudo; Duane Eubanks; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am $10
• New Ear Festival: William Hooker’s The Symphonie Excerpts with Marc Edwards,
Theodore Woodward, Matt Chilton; Joanna Mattrey solo
Fridman Gallery 9, 10 pm $20
êAruán Ortiz Happylucky no.1 8 pm $20
êMark Soskin Quartet with Rich Perry, Jay Anderson, Matt Wilson
Jazz at Kitano 8, 10 pm $34
êJen Shyu’s Zero Grasses The Jazz Gallery 7:30, 9:30 pm $30
• Lizz Wright with Chris Bruce, Adam Levy, Kenny Banks, Sr., David Cook, Ben Zwerin,
Jack DeBoe Jazz Standard 7:30, 9:30 pm $35
êWinter Jazzfest: Becca Stevens with Michelle Willis, Chris Tordini, Jordan Perlson,
Jan Esbra; Lakecia Benjamin’s Pursuance—The Music of the Coltranes with
Reggie Workman, Regina Carter, Marcus Strickland, Greg Osby, Lonnie Plaxico,
Darrell Green; Issac Delgado Le Poisson Rouge 6:30 pm $55-150
êLenny White 70th Birthday Celebration: Lenny White Trio with Tom Guarna,
Richie Goods Made In New York Jazz Café 7, 9 pm $30
êWinter Jazzfest: Marquis Hill New Gospel Revisited with Walter Smith III, Joel Ross,
James Francies, Harish Raghavan, Kendrick Scott; Nir Felder Trio with Matt Penman,
Jimmy Macbride; Hypnotic Brass Ensemble; Kassa Overall’s I Think I’m Good with
Melanie Charles, J Hoard, Paul Wilson, Mike King, Morgan Guerin, Carlos Overall;
Theo Croker’s Star People Nation with Mike King, Eric Wheeler, Michael Ode;
Heroes Are Gang Leaders: James Brandon Lewis, Thomas Sayers Ellis,
Randall Horton, Luke Stewart, Jenna Camille, Melanie Dyer, Heru Shabaka-ra,
Devin Brahja Waldman, Bonita Lee Penn, Brandon Moses, Nettie Chickering,
Warren Trae Crudup III Mercury Lounge 6:45 pm $55-150
• Ben Wolfe, Yotam Silberstein, Aaron Kimmel
Mezzrow 7:30 pm $20
• Chiemi Nakai Trio with Ben Willis, Juan Felipe Mayorga and guest Mamiko Taira
Michiko Studios 7 pm $20
êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould
Minton’s 7:30, 9:30 pm $25
êJay Clayton/Ken Filiano; Pearring Sound with guest Daniel Carter
Mirror Tea House 8 pm $10
• Winter Jazzfest: Amirtha Kidambi/Lea Bertucci ; Dominique Fils Aime;
Nite Bjuti: Val Jeanty, Candice Hoyes, Mimi Jones; Tommaso Cappellato;
Jessica Jones Quartet with Tony Jones, Stomu Takeishi, Kenny Wollesen
Nublu 151 7 pm $55-150
êWinter Jazzfest—Steve Dalachinsky Celebration: Daniel Carter, Dave Liebman,
Matthew Shipp, Ellen Christi, Lisa Sokolov, Cooper Moore, Jean Carla Rodea,
Gerald Cleaver, Ingrid Laubrock, Jaimie Branch, Ka Baird, Sarah Bernstein,
Kenny Wollesen, James Brandon Lewis, Shelley Hirsch, Pasquale Canginao,
Samara Lubelski, Charlie Waters, Jason Kao Hwang, Tom Surgal, Lin Culberston,
Ira Kaplan, Georgia Hubley, Baba Israel, Kris Davis, Luke Stewart, Ernie Brooks,
Matt Mottel, Kevin Shea, Nicola Hein Nuyorican Poets Café 8 pm
• Spiritual Sounds and The Jazz Age: Jazz at Lincoln Center Orchestra
Rose Theater 8 pm $40-130
êWilliam Parker’s Trail of Tears Continuum 1492–2020 with Fred Moten, Tracie Morris,
Mara Rosenbloom, AnneMarie Sandy, Steve Swell, Rob Brown, Dave Sewelson,
Hamid Drake, Andrea Wolper, Raina Sokolov Gonzalez, Patricia Nicholson,
Jason Jordan, Miriam Parker, Jo Wood Brown
Roulette 8 pm $25
• Winter Jazzfest:Tia Fuller Quartet with Eric Wheeler, Andrew Renfroe, Michael Ode;
Revelator: Peter Apfelbaum, Will Bernard, Aaron Johnston and guest Bill Laswell;
Donny McCaslin with Ryan Dahle, Tim Lefebvre, Zach Danziger, Rachel Eckroth and
guest Gail Ann Dorsey S.O.B.’s 7:30 pm $55-150
• Reggie Woods Quartet Sistas’ Place 9, 10:30 pm $20
• Mike Rodriguez Sextet with John Ellis, Gary Versace, Hamish Smith, Joe Martin,
Ele Howell, Obed Calvaire; Philip Dizack Quartet with Shai Maestro, Daryl Johns,
Jeremy Dutton; Eric Wyatt Smalls 7:30, 10:30 pm 1 am $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $38
• Shai Bachar Soapbox Gallery 8 pm $20
• Stanley Jordan; Grace Kelly Sony Hall 11 am $35
êMaría Grand, Kalia Vandever, Kanoa Mendenhall, Jeremy Dutton
The Stone at The New School 8:30 pm $20
êWinter Jazzfest: Laila Biali; The Cookers: Billy Harper, Eddie Henderson, David Weiss,
Donald Harrison, George Cables, Cecil McBee, Billy Hart; Harold Lopez-Nussa Quartet
with Ruy Lopez-Nussa, Gaston Joya, Mayquel Gonzalez; Kat Edmonson with
Matt Munisteri, Aaron Thurston, Roy Dunlap, Bob Hart; Rene Marie’s Experiment In Truth
with John Chin, Elias Bailey, Quentin E. Baxter; Gregg August’s Dialogues on Race with
John Ellis, Bruce Williams, JD Allen, Ken Thomson, John Bailey, Frank Lacy,
Marcus Rojas, Luis Perdomo, Donald Edwards
Subculture 6:15 pm $55-150
êWinter Jazzfest: James ‘Blood’ Ulmer; Harriet Tubman: J.T. Lewis, Brandon Ross,
Melvin Gibbs The Sultan Room 7 pm $30
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits
Village Vanguard 8:30, 10:30 pm $35
êWinter Jazzfest: Brandee Younger’s Soul Awakening with Chelsea Baratz, Anne Drummond,
Dezron Douglas, Allan Mednard; Makaya McCraven Tribute To Gil Scott Heron with
Irvin Pierce, Greg Ward, Marquis Hill, Brandee Younger, Joel Ross, Junius Paul;
Terrace Martin’s Grey Matter with Paul Cornish, Dominic Sanders, Jonathan Pinson;
Robert Glasper Electric Trio with Burniss Travis II, Justin Tyson and guest DJ Jahi Sundance;
Karriem Riggins with guests Webster Hall 7 pm $55-150
• Winter Jazzfest: Steve Lehman Trio with Matt Brewer, Damion Reid and guest
Craig Taborn; Samantha Boshnack’s Seismic Belt with Jessica Pavone,
Sarah Bernstein, Chris Credit, Kai Ono, Lisa Hoppe, Jacob Shandling;
Jim Snidero’s Project-K with Helen Sung, Harish Raghavan, Jonathan Barber,
Do Yeon Kim; Pasquale Grasso; George Burton’s Reciprocity with Alexa Barchini,
Tim Warfield, Chris Hemingway, Pablo Menares, Nazir Ebo; Axel Tosca with
Daniel Winshall, David Fraizer, Jr., Felipe Fournier
Zinc Bar 6:30 pm $55-150
êWinter Jazzfest: Sara Serpa; Nduduzo Makhathini; Alan Braufman’s Valley of Search
with Cooper Moore; Uri Caine’s The Passion of Octavius Catto with Mike Boone,
Clarence Penn, Barbara Walker Zürcher Gallery 7:15 pm $55-150

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 47

 Sunday, January 12 • Michael Shapira Quartet Jazz at Kitano 8 pm
• Cal State-Northridge Jazz Combos with guest Ben Wendel
êMadeleine Peyroux Bar Lunàtico 9 pm $10 The Jazz Gallery 7:30, 9:30 pm $15
• Connie Han Birdland 5:30 pm $30 êMichael Leonhart Orchestra with guest Anat Cohen
êStacey Kent Birdland 8:30, 11 pm $40 Jazz Standard 7:30, 9:30 pm $30
êAllison Miller’s Boom Tic Boom with Jenny Scheinman, Kirk Knuffe, Ben, Myra Melford, • French Quarter: Jazz in NYC: Naissam Jalal; Géraldine Laurent;
Todd Sickafoose Birdland Theater 7 pm $20-30 Thomas de Pourquery and Supersonic with Laurent Bardainne,
êEmmet Cohen Trio Birdland Theater 9:45 pm $20-30 Fabrice Martinez, Arnaud Roulin, Frederick Galiay, Edward Perraud
• Daniel Bennett Group Blue Note 11:30 am 1:30 pm $39.50 Joe’s Pub 6:30 pm $15
• Philly Reunion: Christian McBride, Joey DeFrancesco, Lil’ John Roberts, • Geoffrey Keezer, Gillian Margot, Nicole Glover; Vanessa Perea
Kurt Rosenwinkel Blue Note 8, 10:30 pm $45 Mezzrow 7:30, 10:30 pm $20
• Ashcan Orchestra; Booker Stardrum, John McCowen, Miranda Javid • Jacques Schwarz-Bart; Justin Brown; Blaque Dynamite
Brooklyn Conservatory of Music 8 pm $15 Nublu 151 8 pm $15
êWallace Roney Quintet Café Bohemia 8, 10 pm $30 • Camille Bertault with with Mederic Collignon, David Helbock
• Markus Rutz Quintet with Wayne Escoffery, Adrian Ruiz, Marcos Varela, Rockwood Music Hall Stage 3 10 pm $20
Donald Edwards Club Bonafide 7 pm $20 • Chris Williams/Nick Dunston Trio; Valerie Skakun/Pat Spadine’s Benches;
• The Brubeck Brothers: Darius, Chris and Dan Brubeck with Dave O’Higgins Joanna Mattrey SEEDS 8, 9, 10 pm
Dizzy’s Club 7:30, 9:30 pm $35 • Gerry Gibbs Thrasher People with Jean Baptiste-Bocle, Erena Terakubo,
• Juan Pablo Carletti solo; Aron Namemwirth, Dave Sewelson, Colin Hinton, Michael Eckroth, Marlon Martinez, Kyeshie Gibbs, Debbie Major; Steve Nelson Quartet
Chris Pitsiokos, JAV, Kevin Murray Downtown Music Gallery 6, 7, 8 pm with Rick Germanson, Kiyoshi Kitagawa, Charles Goold; Jon Elbaz
êTerry Waldo’s Gotham City Band; Justin Robinson Smalls 7:30, 10:30 pm 1 am $20
Fat Cat 6, 9 pm $10 • Ches Smith, Craig Taborn, Mat Maneri and guest
• Intergenerational Jam Session Jazz Museum in Harlem 2 pm $10 The Stone at The New School 8:30 pm $20
• Tivon Pennicott and Strings with Keyon Harrold, Yasushi Nakamura, Joe Saylor, • Winter Jazzfest: Mark Guiliana; Billy Martin with Soul Gnawa and guest Jason Lindner
Yoojin Park, Jae Young Bea, Luis Casal, Marco Sabatino, Joshua Kail, Amy Kang, The Sultan Room 7 pm $25
Reenat Pinchas, Johannes Felscher Jazz Standard 7:30, 9:30 pm $30 êJulian Lage Trio with Jorge Roeder, Dave King
êWinter Jazzfest: From Detroit To The World—Celebrating The Jazz Legacy Of Village Vanguard 8:30, 10:30 pm $35
Detroit and Honoring Marcus Belgrave: Ron Carter, Sheila Jordan, Johnny O’Neal,
Dwight Adams, Louis Hayes; Joan Belgrave Ensemble with Ibrahim Jones, Wednesday, January 15
Brandon Williams, Zen Zadravec, Greg Glassman; Marcus Belgrave Legacy Ensemble:
Robert Hurst, Ali Jackson, Karriem Riggins, Kelvin Sholar, Dwight Adams, Theo Croker, • Melissa Stylianou; Mike Stern 55Bar 7, 10 pm
JD Allen Le Poisson Rouge 5 pm $55 êJonathan Finlayson Quartet with David Bryant, Christopher Tordini, Eric McPherson
êLenny White 70th Birthday Celebration: Lenny White Trio with George Cables, Bar Bayeux 8 pm
Alex Blake Made In New York Jazz Café 6, 8 pm $30 • Artur Akhmetov Trio with Nathan Garrett, Samvel Sarkisyan
• Randy Ingram, Drew Gress, Jochen Rueckert; Chris Flory Bar Next Door 5:30 pm
Mezzrow 7:30, 10:30 pm $20 êCount Basie Orchestra directed by Scotty Barnhart
• The Royal Bopsters: Amy London, Holli Ross, Pete McGuinness, Dylan Pramuk Birdland 8:30, 11 pm $40-50
Minton’s 6 pm $20 êMaceo Parker Blue Note 8, 10:30 pm $45
• Alexis Cole Trio with Roni Ben-Hur, Dean Johnson êThe Curtis Brothers’ Algorithm: Zaccai and Luques Curtis
North Square Lounge 12:30, 2 pm Dizzy’s Club 7:30, 9:30 pm $35
• Winter Jazzfest—Sounds of the Dutch Underground: Tin Men and The Telephone; • Jacob Melsha Dizzy’s Club 11:15 pm $5
Tineke Postma’s Freya with Jonathan Finlayson, Matt Brewer, Dan Weiss; • Freddie Hendrix Quintet The Django at The Roxy Hotel 11 pm
Niels Broos/Jamie Peet, Binkbeats Nublu 151 7 pm $25 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam
êZack Clarke Trio with Kim Cass, Dre Hocevar Fat Cat 7, 9 pm 12:30 am $10
The Owl Music Parlor 7:30 pm $10 • Sari Kessler Quartet with John DiMartino, Steve Whipple, Andrew Atkinson
êRopeadope CTRL ALT JAZZ hosted by Anu Sun: Aaron Parks, Matthew Stevens, Jazz at Kitano 8, 10 pm $18
Tim Lefebvre, Corey Fonville and guests Chet Doxas, C R O W N, J. Hoard, êMichael Leonhart Orchestra Jazz Standard 7:30, 9:30 pm $30
Sasha Masakowski; Adrian Harpham with Fred Cash, Bruce Flowers, Marvin Sewell • Geoffrey Keezer, Joe Locke, Michael Mayo; Stefano Doglioni
and guests Darren Hoffman, Aaron Whitby, Greg Dayton, Derek Nievergelt Mezzrow 7:30, 10:30 pm $20
Rockwood Music Hall Stage 2 10 pm $10 êPyschaudio; Jaleel Shaw; Anteloper: Jaimie Branch/Jason Nazary
• Charles Davis, Richie Clements, David Colding, TC III Nublu 151 8 pm $15
Russian Samovar 3 pm • Roni Ben-Hur, Harvie S, Tim Horner Saint Peter’s Church 1 pm $10
• Anwar Marshall Saint Peter’s Church 6 pm • Jeff McGregor Silvana 6 pm
• Rodger Fox Big Band with Erna Ferry • Gerry Gibbs Thrasher People with Jean Baptiste-Bocle, Erena Terakubo,
ShapeShifter Lab 8 pm Michael Eckroth, Marlon Martinez, Kyeshie Gibbs, Debbie Major; Francisco Mela Trio
• Mike Karn Quartet with Harry Allen, Konrad Paszkudzki, Mark Taylor; with Hery Paz, Juanma Trujillo; Neal Caine
Bruce Harris Quartet; Hillel Salem Smalls 7:30, 10:30 pm 1 am $20 Smalls 7:30, 10:30 pm 1 am $20
êBill Charlap Trio with Peter Washington, Kenny Washington êDavid Weiss Sextet with Immanuel Wilkins, Nicole Glover, David Bryant, Eric Wheeler,
Smoke 7, 9 pm $38 E.J. Strickland Smoke 7, 9, 10:30 pm $20
êWinter Jazzfest: Kris Davis’ Diatom Ribbons with Terri Lyne Carrington, Val Jeanty and êGood for Cows: Devin Hoff/Ches Smith and guests Nels Cline, Kris Davis
guests Tony Malaby, Trevor Dunn The Sultan Room 7 pm $25 The Stone at The New School 8:30 pm $20
êMiguel Zenón/Gerald Clayton Teatro Latea 7 pm $20 êJulian Lage Trio with Jorge Roeder, Dave King
• Linda Presgrave Quartet with Stan Chovnick, Kenji Yoshitake, Seiji Ochiai Village Vanguard 8:30, 10:30 pm $35
Tomi Jazz 7 pm
êScott Colley Quartet with Ralph Alessi, Craig Taborn, Nasheet Waits Thursday, January 16
Village Vanguard 8:30, 10:30 pm $35
• Jinjoo Yoo Duo 1986 Est. Wine Bar & Lounge 8 pm
Monday, January 13 • Scott Sharrard Grant Green Tribute
Bar Lunàtico 8:30, 10 pm $10
• Jim Ridl 55Bar 7 pm • Adam Cordero Trio with Odin Scherer, Henry Mermer; Daniel Eli Weiss Trio with
• Arthur Kell Quartet with Brad Shepik, Nate Radley, Mark Ferber Dave Baron, Aaron Seeber Bar Next Door 6:30, 8:30, 10:30 pm $12
Bar Lunàtico 8:30, 10 pm $10 êUniversity of North Texas One O’Clock Lab Band
• Lisa Hoppe Trio with Samantha Boshnak, Stephen Boegehold; Aimee Allen Trio with Birdland 5:30 pm $30
Freddie Bryant, Danton Boller Bar Next Door 6:30, 8:30, 10:30 pm $12 êCount Basie Orchestra directed by Scotty Barnhart
êCount Basie Orchestra directed by Scotty Barnhart Birdland 8:30, 11 pm $40-50
Birdland 7 pm $40-50 êMaceo Parker Blue Note 8, 10:30 pm $45
• Peter Cincotti Birdland Theater 8:30 pm $20-30 • Winter Jazzfest: Scott Amendola/Wil Blades with guest Skerik;
• Harold López-Nussa Y Amigos with Ruy Adrián López-Nussa, Julio Cesar Gonzalez, Mark Giuliana’s Space Heroes with Chris Morrissey, Shane Endsley, Jason Rigby;
Mayquel Gonzalez, Pedrito Martinez, Grégoire Maret, Earl Brooks. Jr. Hornē Electric Band Brooklyn Bowl 7:30 pm $15
Blue Note 8, 10:30 pm $35 êCafe Bohemia Quartet led Jon Erik Kellso
• Elinor Speirs, Dan O’Brien, Rob Patrick, Ben Stapp, Raf Vertessen; Stephen Gauci, Café Bohemia 8, 10 pm $15
Adam Lane, Kevin Shea; Jeremy Carlstedt Ensemble; Francesco Marcocci, • Alan Rosenthal Duo Cleopatra’s Needle 7 pm
Daniel Carter, Dan Blake, Francisco Mela; Thriambos: Josh Sinton, Daniel Carter, • Atom String Quartet: Dawid Lubowicz, Mateusz Smoczyński, Michał Zaborski,
Dave Sewelson; Kevin Eichenberger, Will Bollinger, James Gibian Krzysztof Lenczowski Dizzy’s Club 7:30, 9:30 pm $40
Bushwick Public House 7 pm $10 • Jacob Melsha Dizzy’s Club 11:15 pm $10
êWallace Roney Quintet Café Bohemia 8, 10 pm $30 • Joe Farnsworth Trio; Sonny Step The Django at The Roxy Hotel 7:30, 10:30 pm
• Isaiah J. Thompson Quartet with Julian Lee, Philip Norris, Domo Branch êBig Chief Donald Harrison/DJ Logic
Dizzy’s Club 7:30, 9:30 pm $35 Drom 7:30 pm $30
• Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 êDuane Eubanks and Company with James Hurt, Tarus Mateen, Eric McPherson
• JFA Jam Session Jazz Museum in Harlem 6:30 pm Drom 10 pm $20
êWinter Jazzfest: Artemis: Renee Rosnes, Ingrid Jensen, Anat Cohen, Melissa Aldana, • Reid Taylor Quintet Fat Cat 7 pm $10
Noriko Ueda, Allison Miller; Kevin Eubanks/Orrin Evans Experience; • SugarTone Brass Band Ginny’s Supper Club 8 pm $20
Allison Miller’s Boom Tic Boom with Jenny Scheinman, Kirk Knuffe, Ben, Myra Melford, • AirTrain Jazz Festival: Augustin Grasso Quartet
Todd Sickafoose Le Poisson Rouge 7:30 pm $35 Jamaica Air Train Station 5 pm
• Brandon Goldberg, Luques Curtis, Donald Edwards; Pasquale Grasso • Carl Bartlett, Jr. Quartet with Hope Udobi, Steve Wood, Will Terrill
Mezzrow 7:30, 10:30 pm $20 Jazz at Kitano 8, 10 pm $18
• French Quarter Festival: Géraldine Laurent Quartet with Laurent de Wilde, Ira Coleman, • Chris Tordini Quartet with Anna Webber, Red Wierenga, Dan Weiss
Billy Drummond; Anne Paceo with Christophe Panzani, Isabel Sorling, Tony Paeleman; The Jazz Gallery 7:30, 9:30 pm $15
Plume with Léonardo Montana, Geraud Portal, Kush Abadey; Jonathan Jurion Quintet êDavid Murray Octet with Lakecia Benjamin, Josh Evans, Terry Green III, Mingus Murray,
with Josiah Woodson, Jowee Omicil, Michel Alibo, Samuel Laviso; David Bryant, Russell Carter Jazz Standard 7:30, 9:30 pm $30
EYM Trio: Elie Dufour, Yann Phayphet, Marc Michel; Ben Barnett êRoberta Piket, Virginia Mayhew, Mike Fahn, Billy Mintz; Spike Wilner
Smalls 7:30 pm 1 am $20 Mezzrow 7:30, 10:30 pm $20
• Alex Conde Piano Flamenco Trio with Petros Klampanis, Jose Moreno • Gene Bertoncini/Roni Ben-Hur New York Public Library 96th Street Branch 4:30 pm
Soapbox Gallery 7:30 pm $20 • Brandon Seabrook’s Die Trommel Fatale; Now vs Now: Jason Lindner,
• Winter Jazzfest: Mark Guiliana with guest; Golden Valley Is Now: Reid Anderson, Panagiotis Andreou, Justin Tyson; BIG YUKI
Craig Taborn, Dave King The Sultan Room 7 pm $25 Nublu 151 8 pm $15
• Kenny Warren solo The Owl Music Parlor 7:30 pm $10
Tuesday, January 14 • Gulli Björnsson; Dollshot; Matt McBane and Build
ShapeShifter Lab 7 pm $15
• Stan Killian; Felix Pastorius 55Bar 7, 10 pm • Tuomo Uusitalo Shrine 6 pm
• Rufus Capadoccia/Sheila Anozier Bar Lunàtico 8:30, 10 pm $10 êGerald Cleaver Violet Hour Sextet with JD Allen, Andrew Bishop, Ben Waltzer,
• Helena Kay Trio with Kaisa Maensivu, Angus Mason; David Leon Trio with Chris Lightcap; Ameen Saleem Quartet with Josh Evans, Tadataka Unno, Jason Brown;
Kenneth Jimenez, Francisco Mela Bar Next Door 6:30, 8:30, 10:30 pm $12 Malick Koly Smalls 7:30, 10:30 pm 1 am $20
êCount Basie Orchestra directed by Scotty Barnhart • Cyrus Chestnut Birthday Celebration with Eric Wheeler, Chris Beck
Birdland 8:30, 11 pm $40-50 Smoke 7, 9 pm $38
êMaceo Parker Blue Note 8, 10:30 pm $45 • Sirene Dantor Rene, Daniel Brevil, Markus Schwartz, Fanfan Jean Guy Rene,
êWallace Roney Quintet Café Bohemia 8, 10 pm $30 Nick Dunston, Ches Smith The Stone at The New School 8:30 pm $20
êChristian Sands Trio Dizzy’s Club 7:30, 9:30 pm $35 • Linda Presgrave Quartet with Stan Chovnick, Kenji Yoshitake, Seiji Ochiai
• Jacob Melsha Dizzy’s Club 11:15 pm $5 Tomi Jazz 7 pm
• Pedro Giraudo Tango Quartet; Los Habaneros • Winter Jazzfest: Seu Jorge with Rogê; Anat Cohen and Choro Aventuroso
The Django at The Roxy Hotel 7:30, 10:30 pm Town Hall 8 pm $55-85
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop; Alexi David • Eugene Pugachov Quartet with Chris Bacas, Chris Wright, Evan Hyde
Fat Cat 7, 9 pm 12:30 am $10 Uke Hut 8 pm $20
êTim Berne, Ryan Ferreira, Nasheet Waits; Ben Monder, Gary Wang, Diego Voglino êJulian Lage Trio with Jorge Roeder, Dave King
Halyard’s 8, 10 pm $10 Village Vanguard 8:30, 10:30 pm $35

48 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Friday, January 17 êJulian Lage Trio with Jorge Roeder, Dave King
Village Vanguard 8:30, 10:30 pm $35
êMaceo Parker Blue Note 8, 10:30 pm $45
êJeff “Tain” Watts 60th Birthday Celebration
• Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Café Bohemia 8, 10 pm $40
• Craig Brann Trio with Nick Morrison, Sanah Kadoura Saturday, January 18 • Walter Blanding Quartet Dizzy’s Club 7:30, 9:30 pm $45
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Ragnhild May solo; Cecilia Lopez/Joe Moffett; Michael Eaton/Seth Davis
êCount Basie Orchestra directed by Scotty Barnhart • Paul Bollenback Trio with Alexander Claffy, Tommy Campbell Downtown Music Gallery 6, 7, 8 pm
Birdland 8:30, 11 pm $40-50 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Mediterranean Jazz Festival: Petros Klampanis Irrationalities with Kristjan Randalu and
êMaceo Parker Blue Note 8, 10:30 pm $45 êCount Basie Orchestra directed by Scotty Barnhart guest Eleni Arapoglou; Panagiotis Andreou solo; Layale Chaker Sarafand with
• Winter Jazzfest: Kendra Morris; Felix Pastorius and Hipster Assassins with Chris Ward, Birdland 8:30, 11 pm $40-50 Jake Charkey, Phillip Golub, Nick Dunston, Adam Maalouf;
Tyler Blanton, Devin Collins; Kung Fu; DJ Logic and Friends with Billy Martin, êMaceo Parker Blue Note 8, 10:30 pm $45 Christos Rafalides’ Mediterranean Miles
Shanir Blumenkranz Brooklyn Bowl 7:30 pm $35-75 • Roy Meriwether and The Wade Barnes Tribute Band Drom 6:30 pm $25
• Scott Sharrard Grant Green Tribute Brownsville Heritage House 3 pm êTerry Waldo’s Gotham City Band Fat Cat 6 pm $10
Café Bohemia 8, 10 pm $25 • Peter Maness and The Master Keys Café Bohemia 8, 10 pm $15 êDavid Murray Octet with Lakecia Benjamin, Josh Evans, Terry Green III, Mingus Murray,
• Dan Furman Duo Cleopatra’s Needle 8 pm • Jon Weiss Duo Cleopatra’s Needle 8 pm David Bryant, Russell Carter Jazz Standard 7:30, 9:30 pm $30
• Walter Blanding Quartet Dizzy’s Club 7:30, 9:30 pm $45 • Walter Blanding Quartet Dizzy’s Club 7:30, 9:30 pm $45 • Bennett Paster, Ed Howard, Joe Strasser; Panas Athanatos
• Jacob Melsha Dizzy’s Club 11:15 pm $10 • Jacob Melsha Dizzy’s Club 11:15 pm $20 Mezzrow 7:30, 10:30 pm $20
• Ken Fowser; Hudson Horns The Django at The Roxy Hotel 7:30, 10:30 pm • Richie Vitalie Quintet; Endea Owens and The Cookout • Erli Perez Trio with Sean Fitzgerald, Yoshi Waki
• Gregorio Uribe Drom 9:30 pm $15 The Django at The Roxy Hotel 7:30, 10:30 pm North Square Lounge 12:30, 2 pm
êDavid Weiss Point of Departure Fat Cat 10:30 pm $10 • Mediterranean Jazz Festival: Adam Maalouf solo; Bulgarian Voices Trio: Vlada Tomova, • Pucci Amanda Jhones, Paul Odeh, Lou Vega, Motoki Mihara
êJohnny O’Neal Ginny’s Supper Club 8 pm $25 Valentina Kvasova, Shelley Thomas with guest Angelo di Loreto; Carola Ortiz Trio with Russian Samovar 3 pm
êPatricia Brennan’s Raíces Jarochas with Michael Formanek, Mauricio Herrera, Sandrine Robilliard, Bartolomeo Barenghi and guest John King • Miro Sprague Trio Saint Peter’s Church 6 pm
Noel Brennan Happylucky no.1 8 pm $20 Drom 6:30 pm $25 • Kazuki Yamanaka Quartet with Russ Lossing, Cameron Brown, Jesse Simpson
• Winter Jazzfest: Huck; People’s Champs; Mwenso and The Shakes • Mathis Sound Orchestra Ginny’s Supper Club 8 pm $20 Scholes Street Studio 7 pm $25
House of Yes 6:30 pm $30-55 êPatricia Brennan with Jon Irabagon, Adam O’Farrill, Matt Mitchell, Tomas Fujiwara • Nick Hempton Group; JC Stylles/Steve Nelson Quintet with Jon Davis, Dmitri Kolesnik,
• Soul 4 Life with Pam Cornelius Jazz 966 8 pm $20 Happylucky no.1 8 pm $20 Byron Landham; David Gibson Smalls 7:30, 10:30 pm 1 am $20
êScott Robinson Quartet with Helen Sung, Martin Wind, Dennis Mackrel êScott Robinson Quartet with Helen Sung, Martin Wind, Dennis Mackrel • Cyrus Chestnut Birthday Celebration with Eric Wheeler, Chris Beck
Jazz at Kitano 8, 10 pm $34 Jazz at Kitano 8, 10 pm $34 Smoke 7, 9 pm $38
êDavid Murray Octet with Lakecia Benjamin, Josh Evans, Terry Green III, Mingus Murray, êDavid Murray Octet with Lakecia Benjamin, Josh Evans, Terry Green III, Mingus Murray, êYimba Rudo: Kevin Norton, Steve LaSpina, Jim Pugliese
David Bryant, Russell Carter Jazz Standard 7:30, 9:30 pm $30 David Bryant, Russell Carter Jazz Standard 7:30, 9:30 pm $30 Spectrum 7 pm $15
• Jeb Patton/David Wong; Marc Devine • Classics From the Classic Era of Swing—Basie, Dorsey, Ellington, Goodman, Miller and • E.J. Decker Symphony Space Bar Thalia 7 pm
Mezzrow 7:30, 10:30 pm $20 Shaw: Juilliard Jazz Orchestra led by Scotty Barnhart êJulian Lage Trio with Jorge Roeder, Dave King
• Winter Jazzfest: QNA; L’Rain; Phony Ppl; Kneebody: Adam Benjamin, Shane Endsley, Juilliard School Peter Jay Sharp Theater 7:30 pm $20 Village Vanguard 8:30, 10:30 pm $35
Ben Wendel, Nate Wood and guest Mark Guiliana; Shigeto; Daedelus • Jeb Patton/David Wong; Jon Davis Mezzrow 7:30, 10:30 pm $20 • Ed MacEachen Weill Art Gallery 3 pm
Music Hall of Williamsburg 7 pm $30-55 êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould
• Winter Jazzfest: Sasha Berliner; Sphere Ensemble: Meshell Ndegeocello, Minton’s 7:30, 9:30 pm $25 Monday, January 20
Elio Villafrance, Chris Bruce; Quantic êJD Allen Trio Nublu 151 9 pm $15
National Sawdust 10:30 pm $30-55 • Tongue Depressor: Zach Rowden/Henry Birdsey; Matt Sargent êMike Stern 55Bar 10 pm
• Gordon Grdina’s Nomad Trio with Matt Mitchell, Jim Black; Tomoki Sanders; Scholes Street Studio 8 pm êMiles Okazaki Trio with Anthony Tidd, Nasheet Waits
Casey Benjamin Nublu 151 8 pm $15 • Brandon Sanders MLK, Jr. Tribute Sistas’ Place 9, 10:30 pm $20 Bar Lunàtico 8:30, 10 pm $10
• Winter Jazzfest: Keyon Harrold with Nir Felder, Shedrick Mitchell, Burness Travis, • Kenny Davis Quartet with Eddie Allen, Luciano Minetti, Jarrett Walser; • Panas Athanatos Trio with Kimon Karoutzos, Itay Morchi; Melissa Stylianou Trio with
Charles Haynes; Aneesa Strings; Taali’s Were Most of Your Stars Out?; Jean-Michel Pilc Trio with Sam Minaie, Jerad Lippi; Mimi Jones and The Lab Session Gene Bertoncini, Josh Marcum Bar Next Door 6:30, 8:30, 10:30 pm $12
Ben Williams’ I Am A Man with Marcus Strickland, Big Yuki, David Rosenthal, Smalls 7:30, 10:30 pm 1 am $20 • Senri Oe Trio with Matt Clohesy, Mark Ferber
Bendji Allonce; José James’ No Beginning No End 2; J. Hoard • Cyrus Chestnut Birthday Celebration with Eric Wheeler, Chris Beck Birdland Theater 8:30 pm $20-30
Rough Trade NYC 6:45 pm $30-55 Smoke 7, 9 pm $38 êJoel Ross Good Vibes Blue Note 8, 10:30 pm $25
• Kenny Davis Quartet with Eddie Allen, Luciano Minetti, Jarrett Walser; • Piano Hang: Hyuna Park, Luke Marantz, Alex Pryrodny, Gary Fischer, • Dave Miller Ensemble; Stephen Gauci, Adam Lane, Kevin Shea; Hans Tammen,
Jean-Michel Pilc Trio with Sam Minaie, Jerad Lippi; Corey Wallace DUBtet Idris Donivan Frederick Soapbox Gallery 3 pm $10 Frederick Galiay, Edward Perraud, Andrew Levine; Welf Dorr Ensemble; Ayumi Ishito,
Smalls 7:30, 10:30 pm 1 am $20 • Annette A. Aguilar’s StringBeans St. Mary’s Recreation Center 2 pm Daniel Carter, Stelios Mihas, Damien Richardson, Josh Rosenberg;
• Cyrus Chestnut Birthday Celebration with Eric Wheeler, Chris Beck • Laugh Ash: Jennifer Choi, Anna Webber, Nate Wooley, Oscar Noriega, Cory Smythe, Alec Goldfarb Ensemble Bushwick Public House 7 pm $10
Smoke 7, 9 pm $38 Ches Smith The Stone at The New School 8:30 pm $20 • The Hot Club with Matthew “Fat Cat” Rivera
êJonathan Finlayson, Stephan Crump, Ches Smith • Jazz Across the America—Argentina: Arturo O’Farrill Afro Latin Jazz Orchestra with Café Bohemia 8, 10 pm $15
The Stone at The New School 8:30 pm $20 guests Pablo Aslan, Sofía Rei, Leo Genovese, Franco Pinna, Juancho Herrera, • Jazz at Lincoln Center Youth Orchestra
êWinter Jazzfest: Big Terminal: Tim Berne, David Torn, Aurora Nealand; Gabriel Senanes Symphony Space Peter Jay Sharpe Theatre 8 pm $25-45 Dizzy’s Club 7:30, 9:30 pm $45
Jessica Pavone String Ensemble with Abby Swidler, Erica Dicker, Angela Morris; êJulian Lage Trio with Jorge Roeder, Dave King êGeorge Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10
Wayne Horvitz/Sara Schoenbeck; Dan Weiss Starebaby with Craig Taborn, Village Vanguard 8:30, 10:30 pm $35 êGordon Grdina Quartet with Oscar Noriega, Russ Lossing, Satoshi Takeishi
Matt Mitchell, Ben Monder, Trevor Dunn; Salami Rose Joe Louis; Ibeam Brooklyn 8:30 pm $15
Chris Lightcap’s SuperBigmouth with Tony Malaby, Chris Cheek, Jonathan Goldberger, Sunday, January 19 • A Bu, Philip Norris, Cameron MacIntosh; Pasquale Grasso
Curtis Hasselbring, Craig Taborn, Dan Rieser, Gerald Cleaver Mezzrow 7:30, 10:30 pm $20
The Sultan Room 6:15 pm $30-55 • JT Lewis, Marc Ribot and Friends Bar Lunàtico 8:30, 10 pm $10 êSam Newsome Quartet with Angelica Sanchez, Hilliard Greene, Reggie Nicholson;
• Jazz Across the America—Argentina: Arturo O’Farrill Afro Latin Jazz Orchestra with • Scott Reeves Orchestra Birdland 5:30 pm $30 Joe Farnsworth Group; Ben Barnett Smalls 7:30, 10:30 pm 1 am $20
guests Pablo Aslan, Sofía Rei, Leo Genovese, Franco Pinna, Juancho Herrera, êBill O’Connell Quartet Birdland Theater 7, 9:45 pm $20-30 • JC Stylles Trio with Paul Odeh, Gerry Gibbs
Gabriel Senanes Symphony Space Peter Jay Sharpe Theatre 7 pm $25-45 • Adam Moezinia Folk Element Trio Blue Note 11:30 am 1:30 pm $39.50 Zinc Bar 7:30, 9 pm $20

Bossa Brasil® at Jazz Forum Club

In Town for Jazz Congress/APAP? Come check us out!
Sunday, January 12th, 2019. Sets at 4pm and 6pm.
1 Dixon Lane, Tarrytown, NY
Featuring compositions by Maurício de Souza, Tom Jobim, Milton
Nascimento, Egberto Gismonti, Ary Barroso, Franz Schubert
Maurício de Souza (drums) Andrew Beals (alto sax) Bob Rodriguez (piano)
Dave Kingsnorth (bass)

Tickets: $15.00/$20.00.

www.mauriciodesouzajazz.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 49

 Tuesday, January 21 êE.J. Strickland’s Pads N Loops with Jaleel Shaw, Marcus Strickland, Ben Williams,
JSWISS Bar Lunàtico 8:30, 10 pm $10
• Leni Stern 55Bar 10 pm • Tom Dempsey Trio with Chris Berger, Vince Ector
• Owen Chen Trio with Sean Hannon, Josh Roberts; Mike Bono Trio with Rob Jost, Bar Next Door 7:30, 9:30, 11:30 pm $12
Jamie Eblen Bar Next Door 6:30, 8:30, 10:30 pm $12 • Karrin Allyson with Rod Fleeman, Miro Sprague, Marty Jaffe, Jerome Jennings
• Aryeh Kobrinsky Quintet with Kenny Warren, Adam Dotson, Jeremy Viner, Birdland 8:30, 11 pm $40
Jason Nazary Barbès 7 pm $10 • Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35
• Karrin Allyson with Rod Fleeman, Miro Sprague, Marty Jaffe, Jerome Jennings • Jarien Jamanilla Quartet Café Bohemia 8, 10 pm $15
Birdland 8:30, 11 pm $40 • Kuni Mikami Trio Cleopatra’s Needle 8 pm
• Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35 • Benny Green Trio with David Wong, Aaron Kimmel
• Pasquale Grasso solo Café Bohemia 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $40
• Sean Mason Trio with Butler Knowles, Malcolm Charles; Vuyo Sotashe • Carl Maraghi Dizzy’s Club 11:15 pm $10
Dizzy’s Club 7:30, 9:30 pm $35 • Ken Fowser Quintet; Antoinette Montague Experience
• Carl Maraghi Dizzy’s Club 11:15 pm $5 The Django at The Roxy Hotel 7:30, 10:30 pm
• Manuel Valera Quinteto Cubano; Los Hacheros • David Bryant Fat Cat 10:30 pm $10
The Django at The Roxy Hotel 7:30, 10:30 pm • Valentina Marino Gin Fizz Harlem 8, 9:15 pm $15
• Saul Rubin Zebtet Fat Cat 7 pm $10 • Eric Brown Ginny’s Supper Club 8 pm $25
• James Carney Quartet with Chris Lightcap, Mark Ferber; Bruce Barth, Ugonna Okegwo, êWendy Eisenberg Happylucky no.1 8 pm $20
Diego Voglino Halyard’s 8, 10 pm $10 • Whitney Marchelle Quintet with Patience Higgins, Anthony Wonsey, Brandi Disterheft,
êImmanuel Wilkins, Joel Ross, Nazir Ebo Winard Harper Jazz 966 8 pm $20
InterContinental New York Barclay’s Penthouse Suite 7 pm $35 • Helio Alves Quartet with Steve Wilson, Peter Washington, Duduka Da Fonseca
• Daisuke and Kuriko’s Farewell Jazz at Kitano 8 pm Jazz at Kitano 8, 10 pm $34
êEd Cherry Trio with Kyle Koehler, Anwar Marshall • Becca Stevens’ Regina with Michelle Willis, Jan Esbra, Chris Tordini, Jordan Perlson
Jazz Standard 7:30, 9:30 pm $30 The Jazz Gallery 7:30, 9:30 pm $35
• Jesse Harris, Jon Dryden, Tony Scherr, Kenny Wollesen; Vanisha Gould • Dave Stryker Quartet with Warren Wolf, Jared Gold, McClenty Hunter
Mezzrow 7:30, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30
• Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins • Terence Blanchard with Manhattan School of Music Studio Orchestra
New York City Baha’i Center 8, 9:30 pm $15 Manhattan School of Music Neidorff-Karpati Hall 7:30 pm
• Benjamin Tiberio Trio SEEDS 8:30 pm êAaron Diehl solo; Jeremy Manasia Mezzrow 7:30, 10:30 pm $20
êJD Allen Trio with Ian Kenselaar, Nic Cacioppo; Frank Lacy Group; Malik McLaurine • Brad Whiteley Organ Trio Room 623 at B2 Harlem 10 pm $10-20
Smalls 7:30, 10:30 pm 1 am $20 • John Bailey Sextet with Stacy Dillard, Stafford Hunter, Edsel Gomez, Victor Lewis;
• David Berkman Trio Soapbox Gallery 7:30 pm Paul Nedzela Group; Wallace Roney, Jr.
êJen Shyu/Thomas Morgan The Stone at The New School 8:30 pm $20 Smalls 7:30, 10:30 pm 1 am $20
êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields, êAl Foster Birthday Celebration with Nicholas Payton, Vincent Herring, David Hazeltine,
Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35 Dezron Douglas Smoke 7, 9 pm $35
• Randy Ingram/Aubrey Johnson Soapbox Gallery 8 pm $20
Wednesday, January 22 êJen Shyu, Leo Genovese, Simon Barker
The Stone at The New School 8:30 pm $20
êMike Stern 55Bar 10 pm êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields,
• While We Still Have Bodies: Ben Gerstein, Michael Foster, Sean Ali, Flin van Hemmen; Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35
Tony Malaby/Kenny Warren Balboa 8 pm $10 • Jerry Weldon Quartet with John DiMartino, Neal Caine, Jason Brown
• Adam Birnbaum Trio with David Wong, Rodney Green Zinc Bar 7:30, 9 pm $30
Bar Bayeux 8 pm
• Erich Jonhnson Trio with Marcelo Maccagnan, Clemens Grassman Saturday, January 25
Bar Next Door 6:30 pm
• Karrin Allyson with Rod Fleeman, Miro Sprague, Marty Jaffe, Jerome Jennings • Mark Kleinhaut Trio with Kim Cass, Allan Mednard
Birdland 8:30, 11 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12
• David Finck Quartet with Joe Locke, Jim Ridl, Cliff Almond and guest • Karrin Allyson with Rod Fleeman, Miro Sprague, Marty Jaffe, Jerome Jennings
Birdland Theater 7, 9:45 pm $20-30 Birdland 8:30, 11 pm $40
• Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35 • Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35
êLarry Willis—A Life in Jazz: Willie Jones III, Gerald Cannon, George Cables, • Cosimo Boni’s 427 Quintet Café Bohemia 8, 10 pm $15
Justin Robinson, Steve Davis, Jeremy Pelt • Soul Gard Band Cleopatra’s Needle 8 pm
Dizzy’s Club 7:30, 9:30 pm $30 • Benny Green Trio with David Wong, Aaron Kimmel
• Carl Maraghi Dizzy’s Club 11:15 pm $5 Dizzy’s Club 7:30, 9:30 pm $45
• Jason Marshall Quintet The Django at The Roxy Hotel 10:30 pm • Carl Maraghi Dizzy’s Club 11:15 pm $20
• Raphael D’lugoff Trio +1; Stafford Hunter and Continuum; Ned Goold Jam • David Gibson Quintet; “King” Solomon Hicks
Fat Cat 7, 9 pm 12:30 am $10 The Django at The Roxy Hotel 7:30, 10:30 pm
• Mark Wade Quartet with Terri Leggio Wade, Tim Harrison, Scott Neumann • C. Anthony Bryant Ginny’s Supper Club 8 pm $25
Jazz at Kitano 8, 10 pm $18 êMike Baggetta Trio with Jerome Harris, Billy Mintz; Mike Baggetta/Nick Millevoi
• Kendrick Scott Oracle Jazz Standard 7:30, 9:30 pm $30 Greenwich House Music School 7:30 pm $20
• Tyler Blanton, Drew Gress, Johnathan Blake; Sullivan Fortner êWendy Eisenberg Happylucky no.1 8 pm $20
Mezzrow 7:30, 10:30 pm $20 • William Hooker’s The Symphonie Excerpts with Marc Edwards, Mara Rosenbloom,
• Howard Williams Orchestra Saint Peter’s Church 1 pm $10 Stephen Gauci, Adam Lane, Theodore Woodward, Matt Chilton, Devin Waldman
• Matt Pavolka’s Horns Band with David Smith, Charlotte Greve, Jacob Garchik, Ibeam Brooklyn 8 pm $15
Mark Ferber; Tomas Janzon Quartet with Steve Nelson, Hilliard Greene, • Helio Alves Quartet with Steve Wilson, Peter Washington, Duduka Da Fonseca
Chuck McPherson; Kyle Benford Smalls 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $34
• John Farnsworth Sextet with Duane Eubanks, Ku-umba Frank Lacy, Rick Germanson, • Becca Stevens’ Regina with Michelle Willis, Jan Esbra, Chris Tordini, Jordan Perlson
James Cammack, Joe Farnsworth Smoke 7, 9, 10:30 pm $20 The Jazz Gallery 7:30, 9:30 pm $35
êJeb Patton solo Soapbox Gallery 7:30 pm • Dave Stryker Quartet with Warren Wolf, Jared Gold, McClenty Hunter
êJen Shyu, Kris Davis, Thomas Morgan Jazz Standard 7:30, 9:30 pm $30
The Stone at The New School 8:30 pm $20 êAaron Diehl solo; Anthony Wonsey Mezzrow 7:30, 10:30 pm $20
êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields, êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould
Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35 Minton’s 7:30, 9:30 pm $25
• Megumi Yonezawa, Masa Kamaguchi, Ken Kobayashi
Thursday, January 23 Rockwood Music Hall Stage 3 7 pm $15
• New Language Collaborative +2: Eric Zinman, Glynis Lomon, Syd Smart, Larry Roland,
• Jinjoo Yoo Duo 1986 Est. Wine Bar & Lounge 8 pm Ras Moshe Burnett; Matt Lavelle’s Night River with Chris Forbes, Jack DeSalvo,
êOrlando le Fleming Trio with Mark Turner, Jeff “Tain” Watts Cheryl Pyle, Mary Cherney, Lee Odom, Tom Cabrera; JD Parran/Dave Ross;
55Bar 7 pm Music Now! 2020: JD Parran, Ras Moshe Burnett, Rosi Hertlein, Dafna Naphtali,
• Noah Becker Trio with Nick Dunston, Lesley Mok; Vaughn Stoffey Trio with Gene Perla, Caitlin Cawley, Chris Forbes Scholes Street Studio 7 pm $20
Lenny White Bar Next Door 6:30, 8:30, 10:30 pm $12 êThe Music of the Adderley Family: Nat Adderley, Jr.
• Rob Silverman Birdland 5:30 pm $25-30 Sistas’ Place 9, 10:30 pm $20
• Karrin Allyson with Rod Fleeman, Miro Sprague, Marty Jaffe, Jerome Jennings • John Bailey Sextet with Stacy Dillard, Stafford Hunter, Edsel Gomez, Victor Lewis;
Birdland 8:30, 11 pm $40 Paul Nedzela; Brooklyn Circle Smalls 7:30, 10:30 pm 1 am $20
êRemembering John Abercrombie—John Abercrombie Scholarship Foundation Benefit: êAl Foster Birthday Celebration with Nicholas Payton, Vincent Herring, David Hazeltine,
Marc Copland, Jack deJohnette, Dave Liebman, Mark Feldman, Drew Gress, Ben Dezron Douglas Smoke 7, 9 pm $35
Monder, Rale Micic, Adam Nussbaum, Steve LaSpina and guests êBilly Lester Soapbox Gallery 8 pm $20
Birdland Theater 7, 9:45 pm $30-40 êJen Shyu/Simon Barker The Stone at The New School 8:30 pm $20
• Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35 • Miki Yokoyama Symphony Space Bar Thalia 7 pm
êCafe Bohemia Quartet led Jon Erik Kellso êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields,
Café Bohemia 8, 10 pm $15 Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35
• Benny Green Trio with David Wong, Aaron Kimmel
Dizzy’s Club 7:30, 9:30 pm $40
• Carl Maraghi Dizzy’s Club 11:15 pm $10
• Jeffery Miller Quintet; Ian Hendrickson-Smith

• Pedrito Martinez
The Django at The Roxy Hotel 7:30, 10:30 pm tomas
janzon
Ginny’s Supper Club 7, 9 pm $25
• AirTrain Jazz Festival: Corey Garcia
Jamaica Air Train Station 5 pm
êSteve Swell Quartet with Rob Brown, William Parker, Michael TA Thompson
Jazz at Kitano 8, 10 pm $18
• Massimo Biolcati Quartet with Dayna Stephens, Sam Yahel, Jongkuk Kim tomas janzon
The Jazz Gallery 7:30, 9:30 pm $15
• Kendrick Scott Oracle Jazz Standard 7:30, 9:30 pm $30 Quartet
êStephane Wrembel’s The Django Experiment V with Thor Jensen, Ari Folman Cohen,
Nick Anderson and guest Nick Driscoll, Daisy Castro jan. 22 at 10:30 Pm
Joe’s Pub 7 pm $35 smalls
• Bill Goodwin, Jon Ballantyne, Evan Gregor; Spike Wilner 183 W. 10th street
Mezzrow 7:30, 10:30 pm $20 smallslive.com
• Orlando Le Fleming Trio with Mark Turner, Jeff “Tain” Watts; Stafford Hunter and
Continuum with Taeko Fukao, Josh Evans, Davis Whitfield, Ryan Berg, Darrell Green; steve nelson
Davis Whitfield Smalls 7:30, 10:30 pm 1 am $20 (vibraPhone)
êAl Foster Birthday Celebration with Nicholas Payton, Vincent Herring, David Hazeltine,
hilliard Greene
Dezron Douglas Smoke 7, 9 pm $35 (bass)
• Hayes Greenfield Soapbox Gallery 7:30 pm $20
êJen Shyu, Nels Cline, Thomas Morgan chuck mcPherson
The Stone at The New School 8:30 pm $20 (drums)
• Augustin Grasso Trio with Mike Eskenazi, Nathan Garrett
Uke Hut 8 pm $20
êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields, neW album
Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35 130th & lenox!
Friday, January 24
tomasjanzon.com
• Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm photo Warren Berman

50 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 Sunday, January 26 • The Hot Club with Matthew “Fat Cat” Rivera • Taru Alexander Quartet with Justin Robinson, Lou Rainone, Joseph Lepore, Hanka G;
Café Bohemia 8, 10 pm $15 Steve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold;
• Adison Evans Quartet with Silvano Monasterios, Josh Allen, Jongkuk Kim and guest • Benny Benack III’s A Lot of Livin’ to Do with Yasushi Nakamura, Ulysses Owens, Jr., Jon Elbaz Smalls 7:30, 10:30 pm 1 am $20
Sabeth Pèrez Birdland 5:30 pm $30 Keelan Dimick and guests Veronica Swift, Alita Moses, Benny Benack, Jr. êKris Davis Trio with Tony Malaby, Simon Barker
êJay Leonhart Trio Blue Note 11:30 am 1:30 pm $39.50 Dizzy’s Club 7:30, 9:30 pm $35 The Stone at The New School 8:30 pm $20
• Dizzy Gillespie All-Stars Blue Note 8, 10:30 pm $35 • Alexi David; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 êJakob Bro Quartet with Mark Turner, Thomas Morgan, Joey Baron
êTeri Roiger Birthday Celebration Café Bohemia 8, 10 pm $15 • Ed Fast and Conga Bop Iridium 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $35
• Bill Warfield The Cutting Room 2 pm $20-25 • JFA Jam Session Jazz Museum in Harlem 6:30 pm
• Benny Green Trio with David Wong, Aaron Kimmel êRyan Keberle/Vic Juris; Pasquale Grasso Wednesday, January 29
Dizzy’s Club 7:30, 9:30 pm $30 Mezzrow 7:30, 10:30 pm $20
êJeremiah Cymerman solo; Sam Newsome solo; Nick Dunston solo êGeorge Cables Trio with Ed Howard, Victor Lewis êMike Stern 55Bar 10 pm
Downtown Music Gallery 6, 7, 8 pm National Arts Club 9 pm $20 • Dierk Peters Trio Balboa 8 pm $10
êTerry Waldo’s Gotham City Band Fat Cat 6 pm $10 • Whitney Marchelle Jackson Quintet with Patience Higgins • Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Nasheet Waits
• Dave Stryker Quartet with Warren Wolf, Jared Gold, McClenty Hunter Patrick’s Place 7 pm Bar Bayeux 8 pm
Jazz Standard 7:30, 9:30 pm $30 êNels Cline’s From Cage to Cunningham with Ryland Angel, Zeena Parkins, • Wayne Tucker and The Bad Mothas
• Tom Guarna, Joe Martin, Clarence Penn Jorge Roeder Roulette 8 pm $25 Bar Lunàtico 8:30, 10 pm $10
Mezzrow 7:30 pm $20 • Stefon Harris and Blackout with Casey Benjamin, Marc Cary, Luques Curtis, • Andrew Cheng Trio with Marcello Maccagnan, Kelvin Andreas
êThe Stone Commissioning Series: Anna Webber’s Idiom VI with Nathaniel Morgan, Terreon Gully The Schomburg Center 7 pm Bar Next Door 6:30 pm
Yuma Uesaka, Erica Dicker, Joanna Mattrey, Mariel Roberts, Adam O’Farrill, • Joel Shapira Silvana 7 pm êThe Hot Sardines Birdland 8:30, 11 pm $40
David Byrd-Marrow, Jacob Garchik, Liz Kosack, Nick Dunston, Satoshi Takeishi • Ari Hoenig Group with Shai Maestro, Rick Germanson; Giveton Gelin Quartet with • Paul Marinaro Birdland Theater 7, 9:45 pm $20-30
National Sawdust 7 pm $25 Micah Thomas, Philip Norris, Savannah Harris; Sean Mason êAntonio Sanchez and Migration with Thana Alexa, Chase Baird, John Escreet,
• Roz Corral Trio with Josh Richman Smalls 7:30, 10:30 pm 1 am $20 Matt Brewer Blue Note 8, 10:30 pm $35
North Square Lounge 12:30, 2 pm • The 8-bit Big Band Sony Hall 8 pm $39-250 êTribute to McCoy Tyner: Benito Gonzalez Trio with James Genus, Jeff “Tain” Watts
• Brenda Earle Stokes’ The Motherhood Project with Julia Adamy • Rodney Jones Quartet with Dabin Ryu, Kenny Davis, Connor Parks Dizzy’s Club 7:30, 9:30 pm $40
Rockwood Music Hall Stage 3 7 pm $10 Zinc Bar 7:30, 9 pm $20 • Evan Sherman Big Band; Myron Walden’s Countryfied
• Benny Rubin, Jr., Ion McDonald, Whitney Marchelle The Django at The Roxy Hotel 7:30, 10:30 pm
Russian Samovar 3 pm Tuesday, January 28 • Raphael D’lugoff Trio +1; Ned Goold Jam
• Melissa Stylianou/Chris Dingman Saint Peter’s Church 6 pm Fat Cat 7 pm 12:30 am $10
• Charlie Kirchen Trio with Sam Decker, Marc Hannaford; Sam Weinberg, • Nick Marziani Trio with Nik Lukassen, Varun Das; Hashem Assadullahi Trio with êSam Gill/Simon Barker; Marc Hannaford, Scott Tinkler, Ingrid Laubrock, Josh Sinton,
Brandon Seabrook, Henry Fraser Scholes Street Studio 7 pm Leonard Thompson, Matt Wilson Bar Next Door 6:30, 8:30, 10:30 pm $12 Tom Rainey Ibeam Brooklyn 8:30 pm $15
• Chris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, • The Hot Sardines Birdland 8:30, 11 pm $40 • Erika Matsuo Quintet with Art Hirahara, Juancho Herrera, Moto Fukushima, Ronen Itzik
Phil Stewart; Johnny O’Neal Trio with Mark Lewandowski, Itay Morchi; Hillel Salem êAntonio Sanchez and Migration with Thana Alexa, Chase Baird, John Escreet, Jazz at Kitano 8, 10 pm $18
Smalls 7:30, 10:30 pm 1 am $20 Matt Brewer Blue Note 8, 10:30 pm $35 • Shai Maestro Quartet with Philip Dizack, Jorge Roeder, Ofri Nehemya
êAl Foster Birthday Celebration with Nicholas Payton, David Hazeltine, Dezron Douglas • Pasquale Grasso solo Café Bohemia 8, 10 pm $15 The Jazz Gallery 7:30, 9:30 pm $30
Smoke 7, 9 pm $35 êJames Morrison Quartet Dizzy’s Club 7:30, 9:30 pm $35 êVijay Iyer solo Jazz Standard 7:30, 9:30 pm $30
êJoe Lovano/Dave Douglas Sound Prints Quintet with Lawrence Fields, • Maria Raquel Quintet; Fleur Seule Latin Big Band êVic Juris/Gary Versace; Isaiah Thompson
Linda May Han Oh, Joey Baron Village Vanguard 8:30, 10:30 pm $35 The Django at The Roxy Hotel 7:30, 10:30 pm Mezzrow 7:30, 10:30 pm $20
• Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop • Leslie Pintchik Trio with Scott Hardy, Michael Sarin
Monday, January 27 Fat Cat 7, 9 pm 12:30 am $10 Saint Peter’s Church 1 pm $10
êRalph Alessi Group; Jon Cowherd, Masa Kamaguchi, Diego Voglino • Joel Shapira Shrine 7 pm
êMike Stern 55Bar 10 pm Halyard’s 8, 10 pm $10 • Carol Morgan Silvana 6 pm
êAdam Nussbaum’s Leadbelly Project with Steve Cardenas, Nate Radley, Ohad Talmor • Scott Henderson Trio Iridium 8 pm $35 êRonnie Burrage and Holographic Principle with Michal Wierba, Nimrod Speaks;
Bar Lunàtico 8:30, 10 pm $10 • Brubeck Brothers Quartet: Chris and Dan Brubeck, Mike DeMicco, Chuck Lamb Nicole Glover Trio with Daniel Duke, Nic Cacioppo; Neal Caine
êLisa Hoppe Trio with Dayeon Seok; Tammy Scheffer Trio with Moto Fukushima, Jazz Standard 7:30, 9:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20
Ronen Itzik Bar Next Door 6:30, 8:30, 10:30 pm $12 êMusic Influenced by Jazz—Steve Coleman, Dave Douglas, Marquis Hill and • Cynthia Scott with Patience Higgins, Jeb Patton, Paul Beaudry,
• Ben Paterson Quartet with Jerry Weldon, Luke Sellick, Charles Goold Kurt Rosenwinkel; Juilliard Jazz’s Dizzy Gillespie and Duke Ellington Ensembles led by Dwayne “Cook” Broadnax Smoke 7, 9, 10:30 pm $20
Birdland Theater 8:30 pm $20-30 Jonathan Finlayson Juilliard School Paul Hall 7:30 pm $20 êBorderlands Trio: Kris Davis, Stephan Crump, Ches Smith
êNicole Zaray Meter, Faye Kilburn, Mohamed Kubbara; Stephen Gauci, Adam Lane, • Nate Radley/Gary Versace; Lucy Yeghiazaryan The Stone at The New School 8:30 pm $20
Kevin Shea; Tony Malaby, Richard Bonnet, Mel Bauer; Mezzrow 7:30, 10:30 pm $20 êJakob Bro Quartet with Mark Turner, Thomas Morgan, Joey Baron
Juan Pablo Carletti’s Biggish Ensemble with Jake Henry, Kenny Warren, Yoni Kretzmer, êDave Chamberlain and Band of Bones J. J. Johnson Birthday Celebration with guests Village Vanguard 8:30, 10:30 pm $35
Christoff Knoche, Rick Parker, Kenneth Jimenez; Jeff Davis, Tony Malaby, Steve Turre, Steve Davis, Antoinette Montague
Eivind Opsvik, Simon Jermyn; Vinnie Sperrazza Ensemble New York City Baha’i Center 8, 9:30 pm $15
Bushwick Public House 7 pm $10

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 51

 Thursday, January 30
• Jinjoo Yoo Duo 1986 Est. Wine Bar & Lounge 8 pm REGULAR ENGAGEMEN T S Open at
7 pm!
• Ryan Hernandez Trio with Griffin Fink, Hank Allen-Barfield; Benjamin Lapidus Trio with
Alex Apolo Ayala, Willie Martinez Bar Next Door 6:30, 8:30, 10:30 pm $12
• Pureum Jin Quartet with Mike LeDonne, Luke Sellick, Jason Brown M O N D AY
Birdland 5:30 pm $30 • Richard Clements/Murray Wall Band
• The Hot Sardines Birdland 8:30, 11 pm $40 11th Street Bar 8 pm
• Yoko Miwa Trio with Will Slater, Scott Goulding • Grove Street Stompers Arthur’s Tavern 7 pm
Birdland Theater 7, 9:45 pm $20-30 • Earl Rose Bemelmans Bar 5:30, 9 pm
• Igor Butman and The Moscow Jazz Orchestra • Terry Waldo Gotham City Band Black Door 11 pm
Blue Note 8, 10:30 pm $35 • Jordan Young Bflat 8 pm
êCafe Bohemia Quartet led Jon Erik Kellso • Vince Giordano and The Nighthawks
Café Bohemia 8, 10 pm $15 Iguana 8 pm
êBurnt Sugar The Arkestra Chamber David Rubenstein Atrium 7:30 pm

!
• Iris Ornig Jam Session Jazz at Kitano 8 pm

t h
• Nilson Matta’s Brazilian Voyage with Helio Alves, Adriano Santos, Felipe Galganni,

o n
• Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Brian Lynch

M
Dizzy’s Club 7:30, 9:30 pm $40

This
• Kyle Colina and Friends Le Rivage 6:30 pm
• Charles Goold And Nubopcity; Lezlie Harrison • Stan Killian and Friends Queens Brewery 8 pm
The Django at The Roxy Hotel 7:30, 10:30 pm • Gil Defay Red Rooster 8 pm
• Pedrito Martinez Ginny’s Supper Club 7, 9 pm $25 • Misha Tsiganov Russian Vodka Room 7 pm

Live!
• Tomas Fujiwara solo; Arcturus: Ben Stowers, Lucas Saur, Odin Scherer, Nick Augusta, • Vincent Herring Quartet and Jam Session
Finn Carroll, Henry Mermer Ibeam Brooklyn 8 pm $10 Smoke 7, 9, 10:30 pm
• Scott Henderson Trio Iridium 8 pm $35 • Swingadelic Swing 46 8:30 pm
• AirTrain Jazz Festival: Bobby Sexton Jamaica Air Train Station 5 pm • John Benitez Jam Terraza 7 9:30 pm $7
• Taeko Fukao Quartet with Sharp Radway, Alex Blake, Victor Jones • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
Jazz at Kitano 8, 10 pm $18
• Shai Maestro Quartet with Philip Dizack, Jorge Roeder, Ofri Nehemya T U E S D AY
The Jazz Gallery 7:30, 9:30 pm $30 THR FA B I E N M A RY Q U I N T E T 7:30PM
êVijay Iyer Trio with Linda May Han Oh, Tyshawn Sorey • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm 1/2 MARK WHITFIELD 10:30PM
Jazz Standard 7:30, 9:30 pm $35 • Art Hirahara Trio Arturo’s 8 pm
• Mike Longo/Paul West; Spike Wilner Mezzrow 7:30, 10:30 pm $20 • David Budway Trio Bemelmans Bar 9:30 pm
• Mwenso and The Shakes National Sawdust 8 pm $25 • Janice Friedman Center Bar 6 pm (ALSO WED-SAT)
FRI KEN FOWSER QUINTET 7:30PM
• Simulacra: Anna Webber, Yuma Uesaka, Edward Gavitt, Shawn Lovato, Colin Hinton • Marc Devine Trio Cleopatra’s Needle 8 pm 1/3 MICHAEL ARENELLA & 10:30PM
Rockwood Music Hall Stage 3 10:30 pm $10 • Diego Voglino Jam Session Halyard’s 10 pm HIS DREAMLAND ORCHESTRA
• Transformation: Jazz at Lincoln Center Orchestra with guests Glenn Close, • Vince Giordano and The Nighthawks
Justin Vivian Bond, Adriane Lenox Rose Theater 8 pm $40-150
• Triocracy: JC Sanford, Chris Bacas, Andy Laster; JC Sanford Quartet with
Iguana 8 pm SAT DANNY JONOKUCHI 10:30PM
• Joe Graziosi Legacy Jam Minton’s 6 pm
Pete McCann, Dave Ambrosio ShapeShifter Lab 7, 8:15 pm $10 • Mona’s Hot Four Mona’s 11 pm 1/4 & THE REVISIONISTS
êDavid Liebman with Dezron Douglas, Willy Rodriguez; Tim Hegarty with Charlie Sigler, • Misha Tsiganov Russian Vodka Room 7 pm
Vince Dupont; Malick Koly Smalls 7:30, 10:30 pm 1 am $20 • Mike LeDonne Quartet Smoke 7, 9, 10:30 pm TUE A N T O I N E A LV E A R Q U I N T E T 7:30PM
êA Tribute to JJ Johnson: Steve Davis Correlations Sextet with Josh Bruneau,
Wayne Escoffery, David Hazeltine, Gerald Cannon, Jonathan Barber
• Hayes Greenfield Soapbox 7:30 pm 1/7 L A PA C H A M A M B O 10:00PM
• Louisa Lee Poster The Staybridges Suites 9 pm
Smoke 7, 9 pm $35 • George Gee Orchestra Swing 46 8:30 pm
• Kris Davis Quartet with Milena Casado Fauquet, Michael Formanek, Jeff “Tain” Watts WED NEW ALCHEMY JAZZ ORCHESTRA 7:30PM
The Stone at The New School 8:30 pm $20 W E D N E S D AY 1/8 WAY N E T U C K E R S E X T E T 10:30PM
• Middle Blue: Jeremy Danneman, Brad Farberman, Danny Tamberelli, Tim Kuhl
Troost 8, 9:30 pm • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
• Carol Morgan/Steve Nelson Uke Hut 8 pm $20 • Jason Marshall Trio American Legion Post 398 7 pm
THR VICTOR GOULD TRIO 7:30PM
êJakob Bro Quartet with Mark Turner, Thomas Morgan, Joey Baron • Eve Silber Arthur’s Tavern 7 pm 1/9 LAUREN HENDERSON 10:30PM
Village Vanguard 8:30, 10:30 pm $35 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Friday, January 31 • David Budway Trio Bemelmans Bar 9:30 pm FRI KEN FOWSER QUINTET 7:30PM
• Jordan Young Bflat 8:30 pm 1/10 R I TA F T. B R E N D A N S K I D M O R E 10:30PM
• David Ostwald’s Louis Armstrong Centennial Band
• Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Birdland 5:30 pm $20
• Ted Ludwig Trio with Tamir Schmerling, Geoff Clapp • Joel Forrester solo Bistro Jules 5:30 pm SAT M I K E D I R U B B O Q U A RT E T 7:30PM
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Les Kurtz Trio Cleopatra’s Needle 7 pm 1/11 FREDDY DEBOE BAND 10:30PM
êThe Hot Sardines Birdland 8:30, 11 pm $40 • Django Jam Session The Django 10:30, 11 pm
êDonald Vega Trio with Gerald Cannon, Willie Jones III • WaHi Jazz Jam Le Chéile 8 pm
Birdland Theater 7, 9:45 pm $20-30 • Noah Garabedian Jam The Nest 9 pm TUE TA N G O AT D J A N G O : 7:30PM
• Igor Butman and The Moscow Jazz Orchestra • Les Goodson Band Paris Blues 9 pm 1/14 P E D R O G I R A U D O TA N G O Q U A RT E T
Blue Note 8, 10:30 pm $35 • Glenn Crytzer Orchestra Secret Room NYC 7 pm LOS HABANEROS 10:30PM
• Dr. Merengue Vodou Band with Paul Austerlitz • Emmet Cohen Smoke 11:45 pm
Café Bohemia 8, 10 pm $15 • Stan Rubin Orchestra Swing 46 8:30 pm
• Steve Sandberg Duo Cleopatra’s Needle 8 pm WED FREDDIE HENDRIX 11:00PM
• Nilson Matta’s Brazilian Voyage with Helio Alves, Adriano Santos, Felipe Galganni, T H U R S D AY 1/15 QUINTET
Brian Lynch Dizzy’s Club 7:30, 9:30 pm $40
• Ken Fowser Quintet; Professor Cunningham and His Old School • Ray Blue Organ Quartet American Legion Post 398 7 pm THR J O E FA R N S W O RT H T R I O 7:30PM
The Django at The Roxy Hotel 7:30, 10:30 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm
êMilton Suggs Ginny’s Supper Club 8 pm $20 • David Budway Trio Bemelmans Bar 9:30 pm 1/16 SONNY STEP 10:30PM
êRoni Ben-Hur Quartet with George Cables, Harvie S, Victor Lewis • Café Bohemia Quartet with Jon Erik Kellso
Jazz at Kitano 8, 10 pm $34 Café Bohemia 8, 10 pm $20 FRI KEN FOWSER QUINTET 7:30PM
êTenors: Marcus Strickland, JD Allen, Stacy Dillard with Eric Wheeler, Rodney Green
The Jazz Gallery 7:30, 9:30 pm $30
• John McNeil/Mike Fahie The Douglass 9 pm 1/17 HUDSON HORNS 10:30PM
• Joel Forrester George’s 6:30 pm
êVijay Iyer Trio with Linda May Han Oh, Tyshawn Sorey • Steve Wirts/Joe Cohn Quartet Han Dynasty 6 pm
Jazz Standard 7:30, 9:30 pm $35 • Kyle Colina and Friends Le Rivage 7 pm SAT R I C H I E V I TA L I E Q U I N T E T 7:30PM
• Billy Drummond, Micah Thomas, Dezron Douglas; Greg Murphy • Les Goodson Band Paris Blues 9 pm 1/18 ENDEA OWENS & THE COOKOUT 10:30PM
Mezzrow 7:30 pm $20 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm
êGabriel Alegría AfroPeruvian Sextet 15th Anniversary Celebration • Rob Duguay Low Key Trio Turnmill NYC 11 pm
Minton’s 7:30, 9:30 pm $30 • Ms. Marie Special Showcase Uke Hut 8 pm
TUE M A N U E L VA L E R A 7:30PM
• Jordan Young Soul Juice Trio Room 623 at B2 Harlem 10 pm $10-20 1/21 QUINTETO CUBANO
• Transformation: Jazz at Lincoln Center Orchestra with guests Glenn Close, F R I D AY LOS HACHEROS 10:30PM
Justin Vivian Bond, Adriane Lenox Rose Theater 8 pm $40-150
• Alvin Curran’s Shofar Rags XXL Roulette 8 pm $25 • Jostein Gulbrandsen Aretsky’s Patroon 6 pm
• Neel Murgai Ensemble Rubin Museum 7 pm $30 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
WED JASON MARSHALL 10:30PM
• Scott Wendholt/Adam Kolker Quartet with Ugonna Okegwo, Adam Nussbaum; • Joel Forrester Baker’s Pizza 7 pm 1/22 QUINTET
Joe Farnsworth Group; Corey Wallace DUBtet • The Crooked Trio Barbès 5 pm
Smalls 7:30, 10:30 pm 1 am $20 • David Budway Trio Bemelmans Bar 9:30 pm THR J E F F E RY M I L L E R Q U I N T E T 7:30PM
êA Tribute to JJ Johnson: Steve Davis Correlations Sextet with Josh Bruneau, • Birdland Big Band
Wayne Escoffery, David Hazeltine, Gerald Cannon, Jonathan Barber
Birdland 5:15 pm $25 1/23 IAN HENDRICKSON-SMITH 10:30PM
• Bohemia Allstars Jazz Jam Café Bohemia 11:30 pm
Smoke 7, 9 pm $35 • Bennett Paster Trio Hillstone 6 pm
êKris Davis Trio with Charlie Lincoln, Tom Rainey • Gerry Eastman Quartet Williamsburg Music Center 10 pm FRI KEN FOWSER QUINTET 7:30PM
The Stone at The New School 8:30 pm $20 1/24 THE ANTOINETTE 10:30PM
êJakob Bro Quartet with Mark Turner, Thomas Morgan, Joey Baron
Village Vanguard 8:30, 10:30 pm $35 S AT U R D AY M O N TA G U E E X P E R I E N C E
• Eri Yamamoto Trio Arthur’s Tavern 7 pm
SAT D AV I D G I B S O N Q U I N T E T 7:30PM
Roni Ben-Hur Quartet • Bill Saxton
• Joel Forrester solo
Bill’s Place 8, 10 pm $20
Bistro Jules 6 pm 1/25 “KING” SOLOMON HICKS 10:00PM
Roni Ben-Hur, guitar • Stan Rubin Orchestra
• Yvonnick Prené
Carnegie Club 8:30, 10:30 pm
Henry’s 12:30 pm
George Cables, piano • Assaf Kehati Duo Il Gattopardo 11:30 am
TUE MARIA RAQUEL QUINTET 7:30PM
Harvie S, bass • Johnny O’Neal Trio Smoke 11:30 pm 12:45 am 1/28 F L E U R S E U L E L AT I N B I G B A N D 10:30PM
Victor Lewis, drums S U N D AY WED E VA N S H E R M A N B I G B A N D 7:30PM
1/29 M Y R O N WA L D E N “ C O U N T RY F I E D ” 1 0 : 3 0 P M
Friday-Saturday, • Creole Cooking Jazz Band; Stew Cutler and Friends
Arthur’s Tavern 7, 10 pm
January 31-February 1 • Matt La Von Jam Session Bā’sik 7 pm THR CHARLES GOOLD AND NUBOPCITY 7:30PM
• Peter Mazza Trio Bar Next Door 8, 10 pm $12 1/30 LEZLIE HARRISON 10:30PM
8 & 10PM • Stephane Wrembel Barbès 9 pm $10
• Arturo O’Farrill Afro Latin Jazz Orchestra
Jazz at Kitano Birdland 9, 11 pm $30 FRI KEN FOWSER QUINTET 7:30PM
66 Park Ave, at 38 Street, NYC • Joel Forrester solo Bistro Jules 4 pm 1/31 PROFESSOR CUNNINGHAM 10:30PM
212-885-7119 • Renaud Penant Trio Bistro Jules 7:30 pm & HIS OLD SCHOOL
• Keith Ingham Cleopatra’s Needle 4 pm
The Roxy Hotel
$34 cover, • Trampelman Dominie’s Astoria 9 pm

Reservations Information
$20 minimum on food and drinks • The EarRegulars The Ear Inn 8 pm
• Joel Forrester solo
• Sam Taylor
Grace Gospel Church 11 am
The Grange 7 pm
2 AV E . O F T H E
“A formidable • Grassroots Jazz Effort Grassroots Tavern 9 pm AMERICAS
and consummately
• Idan Morim Trio Injera 7:30 pm (212 )519 .664 9 Cellar Level
lyrical guitarist”
• Tony Middleton Trio
• Christopher McBride
Jazz at Kitano 12 pm $40
Minton’s 7:30 pm $10
TH ED JA NG ON
YC co m Tribeca
• Marjorie Eliot Parlor Entertainment 4 pm
(Time Out NY) • Lu Reid Jam Session Shrine 4 pm
CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ!
• Roxy Coss Trio Smoke 10:30 pm
• John Benitez Jazz Jam Terraza 7 9:30 pm $7
• Sean Smith and guest Walker’s 8 pm
ronibenhur.com LOCATED IN THE OF TRIBECA

52 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 CLUB DIRECTORY
• 11th Street Bar 510 E. 11th Street • The Grange 1635 Amsterdam Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155)
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com Subway: F, V to Second Avenue www.rockwoodmusichall.com
• 55Bar 55 Christopher Street • The Green Room at Yotel 570 Tenth Avenue • Room 623 at B2 Harlem 271 W. 119th Street
(212-929-9883) Subway: 1 to Christopher Street www.55bar.com (646) 449-7700 Subway: 1, 2, 3, 7, A, C, E, S to 42nd Str. /Times Sq. (212-280-2248) Subway: B, C to 116th Street www.b2harlem.com
• 244 Rehearsal Studios 244 W. 54th Street www.yotel.com • Rose Theater Broadway at 60th Street, 5th floor
(212-586-9056) Subway: C, E to 54th Street www.244rehearsalstudiosny.com • Greenwich House Music School 46 Barrow Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
• 1986 Est. Wine Bar & Lounge 43 W. 32nd Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org www.jazz.org
(212-563-1500) Subway: B, D, F, Q, R to 34th Street-Herald Square • Halyard’s 406 3rd Avenue, Brooklyn • Rough Trade NYC 64 N. 9th Street
www.hotelstanford.com (718-532-8787) Subway: R to 9th Street www.barhalyards.com Subway: L to Bedford Avenue www.roughtradenyc.com
• American Folk Art Museum 65th Street at Columbis Avenue • Han Dynasty 215 W. 85th Street • Roulette 509 Atlantic Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (212-858-9060) Subway: 1 to 86th Street www.handynasty.net (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
• American Legion Post 398 248 W. 132nd Street • Happylucky no.1 734 Nostrand Avenue • Rubin Museum 150 W. 17th Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
• Apollo Theater & Music Café 253 W. 125th Street www.happyluckyno1.com • Russ & Daughters Café 127 Orchard Street
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street • Hari NYC 140 W. 30th Street, 3rd floor Subway: 1 to 28th Street (212-475-4881) Subway: F to Delancey Street
www.apollotheater.org • Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street www.russanddaughterscafe.com
• Aretsky’s Patroon 160 E. 46th Street • Hillstone 153 E. 53rd Street • Russian Samovar 256 W. 52nd Street
(212-883-7373) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street (212-888-3828) Subway: E, M to 53rd Street www.hillstone.com (212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com
www.aretskyspatroon.com • House of Yes 2 Wyckoff Avenue • Russian Vodka Room 265 W. 52nd Street
• Aron’s Place 166 N. 12th Street SStreetubway: L to Bedford Avenue (646-838-4937) Subway: L to Jefferson Street www.houseofyes.org (212-307-5835) Subway: C, E to 50th Street
• Arthur’s Tavern 57 Grove Street (212-675-6879) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues www.russianvodkaroom.com
Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: F to 4th Avenue www.ibeambrooklyn.com • Ryan’s Daughter 350 E. 85th Street
• Arturo’s 106 W. Houston Street (at Thompson Street) • Iguana 240 West 54th Street (212-765-5454) (212-628-2613) Subway: 4, 5, 6 to 86th Street
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com www.ryansdaughternyc.com
• Baker’s Pizza 201 Avenue A • Injera 11 Abingdon Square • Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-777-7477) Subway: L to First Avenue www.bakerspizzanyc.com (212-206-9330) Subway: 1, 2, 3 to 14th Street www.injeranyc.com (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• Balboa 1655 Bedford Avenue • InterContinental New York Barclay’s Penthouse Suite 111 E. 48th Street • Scholes Street Studio 375 Lorimer Street
(718-484-8291) Subway: 2, 5 to President Street (212-755-5900) Subway: 6 to 51st Street www.ihg.com (718-964-8763) Subway: L to Lorimer Street
• Bar Bayeux 1066 Nostrand Avenue • Iridium 1650 Broadway at 51st Street (212-582-2121) www.scholesstreetstudio.com
(347-533-7845) Subway: 2, 5 to Sterling Street Subway: 1,2 to 50th Street www.theiridium.com • The Schomburg Center 515 Macolm X Boulevard
• Bar Lunàtico 486 Halsey Street • Issue Project Room 22 Boerum Place (212-491-2200) Subway: 2, 3 to 135th Street
(917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org www.nypl.org/locations/schomburg
• Bar Next Door 129 MacDougal Street (212-529-5945) • JACK 18 Putnam Avenue • Secret Room NYC 707 8th Avenue at W. 45th Street
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (718-388-2251) Subway: A, C to Franklin Avenue www.jackny.org (917-708-8663) Subway: C, E to 50th Street www.secretroomnyc.com
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Jamaica Air Train Station 93-43 Sutphin Boulevard • SEEDS 617 Vanderbilt Avenue
Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: E, J, Z to Sutphin Boulevard-Archer Avenue www.panynj.gov Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org
• Bā’sik 323 Graham Avenue, Brooklyn • Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens • ShapeShifter Lab 18 Whitwell Place
(347-889-7597) Subway: L to Graham Avenue www.basikbrooklyn.com (718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Bemelmans Bar 35 E. 76th Street (212-744-1600) • Jazz 966 966 Fulton Street • Showman’s 375 W. 125th Street at Morningside
Subway: 6 to 77th Street www.thecarlyle.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com (212-864-8941) Subway: 1 to 125th Street
• Bflat 277 Church Street (between Franklin and White Streets) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: 1, 2 to Franklin Streets Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Silvana 300 West 116th Street
(212-281-0777) Subway: 2, 3 to 135th Street Subway: N, R to 28th Street www.jazzgallery.org (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
• Birdland and Birdland Theater 315 W. 44th Street (212-581-3080) • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
Subway: A, C, E, to 42nd Street www.birdlandjazz.com Avenues (212-348-8300) Subway: 6 to 125th Street (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Bistro Jules 60 St Marks Place www.jazzmuseuminharlem.org • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
(212-477-5560) Subway: 6 to Astor Place www.julesbistro.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: 1 to Christopher Street www.smallsjazzclub.com
• The Bitter End 147 Bleecker Street between Thompson and LaGuardia (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.com • Smoke 2751 Broadway between 105th and 106th Streets
Subway: A, B, C, D, E, F, V to W. 4th Street • Joe’s Pub at the Public Theater 425 Lafayette Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• Black Door 127 W. 26th Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • S.O.B.’s 204 Varick Street
(212-645-0215) Subway: R, W to 28th Street www.blackdoornyc.com www.joespub.com (212-243-4940) Subway: 1 to Varick Street www.sobs.com
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Juilliard School Paul Hall and Peter Jay Sharp Theater • Soapbox Gallery 636 Dean Street Subway: 2, 3 to Bergen Street
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street • Sony Hall 235 W. 46th Street
• Bowery Ballroom 6 Delancey Street www.juilliard.edu (212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com
(212-533-2111) Subway: F to Delancey Street www.boweryballroom.com • Le Chéile 839 W. 181st Street • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues)
• Brooklyn Bowl 61 Wythe Avenue (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com Subway: 2 to Sterling Street
(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Le Poisson Rouge 158 Bleecker Street • Spectrum 70 Flushing Avenue
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org www.lepoissonrouge.com • St. Mary’s Recreation Center 450 St Ann’s Avenue
• Brownsville Heritage House 581 Mother Gaston Boulevard • Le Rivage 340 W. 46th Street (718-402-5155) Subway: 2, 5 to Jackson Avenue www.nycgovparks.org
(718-385-1111) Subway: L to New Lots Avenue (212-765-7374) Subway: C, E to 50th Street www.lerivagenyc.com • The Staybridges Suites 340 W. 40th Street
• Bushwick Public House 1288 Myrtle Avenue • Made In New York Jazz Café 155 5th Avenue, Brooklyn (212-757-9000) Subway: 1, 2, 3, 7, A, C, E, S to 42nd Street/Times Square
(917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54 (718-640-7000) Subway: 2, 3 to Bergen Street www.jazzcafe.nyc www.ihg.com
www.bushwickpublichouse.com • Manhattan School of Music Neidorff-Karpati Hall Broadway and 122nd Street • The Stone at The New School 55 West 13th Street
• Café Bohemia 15 Barrow Street (212-749-2802, ext 4428) Subway: 1 to 116th Street www.msmnyc.edu (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com
Subway: 1 to Christopher Street www.cafebohemianyc.com • Mercury Lounge 217 E. Houston Street • SubCulture 45 Bleecker Street
• Café Carlyle 35 E. 76th Street (212-744-1600) (212-260-4700) Subway: F, V to Second Avenue (212-533-5470) Subway: 6 to Bleecker Street
Subway: 6 to 77th Street www.thecarlyle.com www.mercuryloungenyc.com www.subculturenewyork.com
• Carnegie Club 156 W. 56th Street • Mezzrow 163 W. 10th Street • Sugarhill 217 Nostrand Avenue
(212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (718-797-1727) Subway: G to Bedford-Nostrand Avenues
• City Vineyard 233 West Street • Michiko Studios 149 W. 46th Street, 3rd Floor www.sugarhillsupperclub.com
(646-677-8350) Subway: A, C, E, F to Canal Street (212-302-4011) Subway: B, D, F, M to 47-50 Streets • The Sultan Room 234 Starr Street
www.cityvineyardnyc.com www.michikostudios.com (612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com
• Cleopatra’s Needle 2485 Broadway (212-769-6969) • Minton’s 206 W. 118th Street (between St. Nicholas Avenue and • Swing 46 349 W. 46th Street (646-322-4051)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street Subway: A, C, E to 42nd Street www.swing46.com
• Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; www.mintonsharlem.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and
E, V to 53rd Street www.clubbonafide.com • Mirror Tea House 575 Union Street, #A Bar Thalia 2537 Broadway at 95th Street
• The Cutting Room 44 E. 32nd Street (917-909-0577) Subway: R to Union Street www.mirrorinthewoods.com (212-864-5400) Subway: 1, 2, 3 to 96th Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • MIST 40 W. 116th Street Subway: 2, 3 to 116th Street www.symphonyspace.org
• The Dance 428 Lafayette Street www.mistharlem.com • Teatro Latea 107 Suffolk Street
Subway: Q, R, W to Eighth Street www.thedance.nyc • Mona’s 224 Avenue B Subway: L to First Avenue (212-529-1948) Subway: F, J, M, Z to Delancey Street
• David Gage String Instruments 36 Walker Street • Music Hall of Williamsburg 66 N. 6th Street www.teatrolatea.org
(212-274-1322) Subway: A to Chambers Street www.davidgage.com (718-486-5400) Subway: L to Bedford Avenue • Terraza 7 40-19 Gleane Street
• David Rubenstein Atrium Broadway at 60th Street www.musichallofwilliamsburg.com (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • National Arts Club 15 Gramercy Park South • Tomi Jazz 239 E. 53rd Street
www.atrium.lincolncenter.org (212-475-3424) Subway: 6 to 23rd Street www.nationalartsclub.org (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • National Sawdust 80 N. 6th Street • Town Hall 123 W. 43rd Street
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
• The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600) • Neighborhood Church of Greenwich Village 269 Bleecker Street www.thetownhall.org
Subway: A, C, E to Canal Street; 1 to Franklin Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net • Troost 1011 Manhattan Avenue
www.thedjangonyc.com • The Nest 504 Flatbush Avenue (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (718-484-9494) Subway: B, S, Q to Prospect Park www.thenestbrooklyn.com • Turnmill NYC 119 East 27th Street
• The Douglass 149 4th Avenue • New York City Baha’i Center 53 E. 11th Street (212-222-5159) (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
(718-857-4337) Subway: R to Union Street www.thedouglass.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Uke Hut 36-01 36th Avenue
• Downtown Music Gallery 13 Monroe Street (212-473-0043) • New York Public Library 96th Street Branch 112 E. 96th Street (347-458-3031) Subway: N, W to 36th Avenue www.ukehut.com
Subway: F to East Broadway www.downtownmusicgallery.com (212-289-0908) Subway: 6 to 96th Street www.nypl.org • Village Vanguard 178 Seventh Avenue South (212-255-4037)
• Drom 85 Avenue A • Nhà Minh 485 Morgan Avenue Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
(212-777-1157) Subway: F to Second Avenue www.dromnyc.com (718-387-7848) Subway: L to Graham Avenue • Walker’s 16 North Moore Street
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • North Square Lounge 103 Waverly Place (212-254-1200) (212-941-0142) Subway: A, C, E to Canal Street
Subway: C, E to Spring Street www.earinn.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Webster Hall 125 E. 11th Street
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Nublu 151 151 Avenue C (212-353-1600) Subway: 6 to 14th Street-Union Square
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-979-9925) Subway: 6 to Astor Place www.nublu.net • Weill Art Gallery Lexington Avenue at 92nd Street
• Flushing Town Hall 137-35 Northern Boulevard, Flushing • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-415-5500) Subway: 6 to 96th Street www.92y.org
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue
• Freddy’s Backroom 627 5th Avenue, Brooklyn • The Owl Music Parlor 497 Rogers Avenue, Brooklyn (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org
(718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc • Whitney Museum 1845 Madison Avenue at 75th Street
• Fridman Gallery 287 Spring Street • Parlor Entertainment 555 Edgecombe Ave. #3F (800-944-8639) Subway: 6 to 77th Street www.whitney.org
(646-345-9831) Subway: C, E to Spring Street www.fridmangallery.com (212-781-6595) Subway: C to 155th Street • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
• Gin Fizz Harlem 308 Malcolm X Boulevard • Patrick’s Place 2835 Frederick Boulevard (718-384-1654) Subway: L to Bedford Avenue
(212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com (212-491-7800) Subway: B, D to 155th Street www.patricksplaceharlem.com • Zinc Bar 82 W. 3rd Street (212-477-8337)
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • The Penrose 1590 2nd Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.zincjazz.com
(212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com • Zürcher Gallery 33 Bleecker Street
• Grace Gospel Church 589 East 164th Street • Queens Brewery 1539 Covert Street, Ridgewood (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette
(718-328-0166) Subway: 2, 5 to Prospect Avenue Subway: L to Halsey Street www.queensbrewery.com www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 53

(INTERVIEW CONTINUED FROM PAGE 6) ranting against Glen Campbell and talking about how Recommended Listening:
awful he thought country music was. And yet, Charlie • Art Blakey & The Jazz Messengers—
DH: If I listen to opera, I can hear how it can go into Parker liked country music. Bird enjoyed listening to Oh-By The Way (Timeless, 1982)
jazz. If I’m listening to James Brown, I can hear how it Hank Williams, Sr. • Donald Harrison/Terence Blanchard—
goes into jazz. If I’m listening to Lena Horne doing Black Pearl (CBS/Columbia, 1988)
Broadway, I can hear how it goes into jazz. If I’m DH: Buddy Rich was a great drummer; you can’t take • Donald Harrison—Indian Blues (Candid, 1991)
listening to hip-hop, I can hear how it goes into jazz. that away from him. But sometimes, people can have • Roy Haynes—Te-Vou! (Dreyfus, 1994)
blinders on. I don’t have a problem with him not • Donald Harrison—Nouveau Swing (Impulse!, 1996)
TNYCJR: When did you first become aware of hip-hop? listening to that music, but I don’t think you should • Donald Harrison/Ron Carter/Billy Cobham—
put other people down for liking what they like. This Is Jazz (Live at the Blue Note) (Half Note, 2011)
DH: I became aware of hip-hop with a song called Personally, I grew up when Glen Campbell was on the
“Rapper ’s Delight”. I think that was the late ‘70s. radio. He was on the radio in my youth and if I heard
him, I would have a good time listening. And plus, my (label CONTINUED FROM PAGE 11)
TNYCJR: 1979. The Sugarhill Gang. mother and my father played every style of music that
you can imagine at home. Indian music, classical Destiny’s discography has started to gain the
DH: 1979. So then, when I was going to New York, music, Broadway, Charlie Parker, Etta James, James attention of the mainstream jazz press. In their review
I started going to the Bronx to see where this music Brown, Hank Williams, everything. I don’t have any of Tommy Howards’ Storybook, The Austin Chronicle
was coming from. And I got a chance to see some of musical prejudices. I listen to everything because of stated, “Always impressive but never flashy, Storybook
those early hip-hop groups. I went to Madison Square how my parents were. shows off its bandleader ’s skills as player and
Garden, where I saw Whodini and Run-D.M.C. I composer without self-indulgence.” Presence by pianist
started doing rhymes and started doing my thing with TNYCJR: What are some of your current projects? Brad Whitely received high praise from DownBeat:
hip-hop and actually, I mentored one of the guys who “New York pianist-organist Brad Whiteley offers more
was considered the king of East Coast rap in the ‘90s, DH: I just did a record with Dr. Eddie Henderson. His than a smart record. He shows us how it’s done.”
The Notorious B.I.G., and helped him put jazz elements invention was so relentless. There was so much to While Destiny doesn’t have any far-reaching goals
in hip-hop. I was able to play with Guru’s Jazzmatazz decipher. And I have a new recording called The Eclectic for the next several years, they want to maintain a
and a group called Digable Planets. I keep working on Jazz Revolution of Unity. It’s a two-CD set; the first CD is steady course. Shields states, “I want us to stay natural
trying to sharpen my rapping skills and I get some an acoustic jazz band. The second CD is a lot of different and without manufactured intention or self-imposed
respect as a rapper. types of music, from jazz with hip-hop influences to ambition. We don’t necessarily have a standard that we
straight hip-hop to R&B/soul, Chicago stepping music. try to keep things to. I almost want to keep our footprint
TNYCJR: What are some of your memories of working Dr. Lonnie Smith is on there...For organ players, slightly less than obvious. I want to let each artist and
with The Notorious B.I.G.? Lonnie’s the man. To get support from Lonnie is really piece of music be what it would be on its own and
wonderful. Lonnie has helped a lot of young musicians. anything we do to improve it to be in the background. I
DH: The Notorious B.I.G. was a hard worker. If you gave He’s a great master. I’ll be playing with him at the end can’t say exactly what it will look like—number of
him an assignment, he would come back the next day of [December] down in New Orleans. albums, types of artists, styles of music even—but I
and he had mastered it. Not just worked on it, mastered want the music to become what it was meant to
it. He took things like putting the snare drums from a TNYCJR: Another organ icon you’ve played with is regardless of what we do or are.” Mizell states,
jazz solo into hip-hop into his rhymes. And he lived the the late Jack McDuff. “I would like to see Destiny Records continue to grow
lifestyle he was rapping about. Even though some older as a label for creative music. Ultimately, we do this out
people may not understand what he was saying, the kids DH: I started with Roy Haynes—Roy showed me a lot of the love Mike, George and I have for making music,
understood it. The Notorious B.I.G. was a symbol of of things as well—but my second gig was with Jack so the direction we go and the choices we make will all
hope to those who were considered less than. He was McDuff. When I see George Benson, we talk about Jack be rooted in whether or not the work is fulfilling and
telling the downtrodden they could achieve. McDuff. When you play with certain bands, it’s like a brings value to our lives. We have no control over
brotherhood of musicians who play with people—like where the music industry will go or what the monetary
TNYCJR: Obviously, you’ve never been the type of Miles Davis has his brotherhood, Art Blakey has his value of recorded music will be in the future. All we can
jazz musician who only likes jazz. brotherhood. George has a reverence for Jack McDuff. control is the quality of the music we release and I hope
that in 5-10 years we’ll be able to look back and feel like
DH: Without other styles of music, jazz wouldn’t be TNYCJR: You also played with Miles Davis in the ‘80s. we helped some great artists make their best work.” v
what it is. Jazz was born of mixing different elements
together. If they’re happy playing a style of music and DH: The first time I played with Miles Davis, I was a For more information, visit destinyrecordsmusic.com.
don’t want to add anything else to it—just want to changed person. There was something about his Artists performing this month include Tyler Blanton at Fat
explore from that perspective—then I think they have proficiency and how the music was put together; every Cat Jan. 9th and Mezzrow Jan. 22nd; Michael Eaton at
the right to do that. But I don’t think that jazz is the note was just in the right place. That’s the lesson I got. v Downtown Music Gallery Jan. 19th; Mike Fahie at The Jazz
only music that should exist. Gallery Jan. 9th-10th with Darcy James Argue; Tom Guarna
For more information, visit donaldharrison.com. at Made In New York Jazz Café Jan. 11th with Lenny White
TNYCJR: On YouTube, there’s a clip of Buddy Rich Harrison is at SubCulture Jan. 11th with The Cookers as and Mezzrow Jan. 26th; and Brad Whiteley at Room 623 at
appearing on The Mike Douglas Show in 1971 and he’s part of Winter Jazzfest and Drom Jan. 16th. See Calendar. B2 Harlem Jan. 24th. See Calendar.

54 JANUARY 2020 | THE NEW YORK CITY JAZZ RECORD

 CAMILLE
(Pančevo CONTINUED FROM PAGE 43) nabbed several big awards in her native Italy:
Multiculturita Europe Contest; Premio Claudio
pretty much fallen off the jazz radar. The most common Abbado; Premio Nazionale delle Arti; and Lucca Jazz
question asked about him is, “Whatever became of Donna Award. For the Vaughan challenge, she chose

BERTAULT
Charles Tolliver?” some of the most eclectic repertoire of all the finalists:
His concert in Pančevo proved that what became Kenny Wheeler ’s “Everybody’s Song But Not My
of Tolliver is that he is still playing blistering hardbop Own”, with lyrics by Norma Winstone, opening with
at 77. He performed music from Paper Man, his debut a high-risk, neatly executed a cappella intro, and Pat
recording as a leader 50 years ago, with a hot quintet Metheny’s “The Road to You”, featuring an intricate,
(Jesse Davis, alto saxophone; Keith Brown, piano; self-penned vocalese. While these two numbers
Buster Williams, bass; Lenny White, drums). World-
class hardbop always sounds current. Tolliver ’s solos
showed off Spalletta’s penchant for innovation, it was
on the straightahead “Stella By Starlight” that she
“The new voice of jazz”
were commanding announcements and staccato
assaults. The encore was “‘Round Midnight”, also fast
distinguished herself as a powerful, lyrical scatter with
an extensive range and a resolute swing.
Vanity Fair
and loose until the band, for the first time all night, Viktorija Gečytė, who took third, hails from
slowed to linger on a melody that is part of our
collective subconscious.
Lithuania originally, though she now resides in Paris
and performs internationally. Like her first- and US Tour January 2020
Mark Guiliana’s Beat Music was the one dud of the second-ranked counterparts, Gečytė is a superb vocal
festival. Technological funk bands sound alike.
Guiliana’s quartet had not one but two people, Samuel
improviser, though her approach to a tune is decidedly
cooler than that of the other contestants. Gečytė, too, January 8
Crowe and Nicholas Semrad, pushing sliders on
Yamaha synthesizers, generating oscillations and
selected less-familiar standards for two of her three,
choosing Dinah Washington’s ‘50s effervescent hit Mezzrow
twitterings and inorganic cycling squeals. The loud “Destination Moon” and the moody “Angel Face”,
minimal patterns of Guiliana’s drums and Chris with music by Hank Jones and Abbey Lincoln. In a Camille Bertault & Leo Genovese
Morrissey’s bass initially created a little suspense, but surprising reversal, however, she closed with the oft-
the expectation for something to happen went
unfulfilled and the wait was boring.
sung “Night and Day,” sweetening the known melody
with intriguing twists and unexpected phrasings. January 10-11
Festivals programmed by Pantić typically include
the best Serbian groups and also emerging leading-
This year was the second Sassy competition for
California-born Christine Fawson, a vocalist and Jazz Forum
edge bands from greater Europe. The Dragan Ćalina
Quartet is not known outside of Serbia but plays highly
trumpeter currently based in New Mexico, who came
in third in 2017. A high-energy, musically astute
Camille Bertault with
refined postmodern bop and contains a rising star: alto performer, she’s worked with the DIVA Jazz Orchestra Leo Genovese
saxophonist Lukas Ignjatović. He has a gorgeous pure
alto sound and improvises in serial outbreaks of new
and the vocal group Syncopation and spent 14 years
teaching on the Berklee College of Music’s brass
Diego Figueiredo
melody. faculty. In her set, Fawson slipped easily between
The young European act that stood out was Little
Rosies Kindergarten. They are a witty, outrageous
contrasting vocal personas, one moment fully lost in
the pathos of “It Never Entered My Mind” and the next
January 14
12-piece ensemble from Austria, with two violins and
two talented (mostly wordless) singers named Anna
churning out a hypersonic bebop scat on “A Night in
Tunisia”—arguably the most difficult solo of the
Rockwood Stage 3
(Anderluh and Widauer). Their irresistible hooks afternoon. Camille Bertault with
reminded you of Snarky Puppy, but the Kindergarten Vivian Sessoms, an experienced vocalist who has
is less polished and their rough edges are part of their worked with the likes of P. Diddy, Michael Jackson, Mederic Collignon
charm. Their compositions and arrangements Donna Summer, Sinéad O’Connor and Stevie Wonder,
contained a baffling variety of moods and sonorities, received the loudest acknowledgement from the David Helbock
sometimes including impressionism, always including audience for her powerhouse vocals and commanding
sharp solos, always arriving at clamorous mayhem. stage demeanor. She opted for short, tight arrangements
The most entertaining moments came when Judith on her three pieces, all standards, injecting some earthy
Schwartz left her drumkit and began to practice what R&B into her jazz interpretations of “Love For Sale”
Butch Morris called “Conduction”: With hand signals, and “Stardust”. But it was on her electric, gospel
improbably but successfully, Schwartz herded the cats rendition of “At Last” that Sessoms revealed the full
of this orchestra. extent of her considerable power as a singer, providing
Paolo Fresu closed the festival on a high note— a fitting, exhilarating close to the contestants’ program.
or rather, on one long, lingering flugelhorn note. He The judges for this year ’s competition—singers
appeared with a new project, Tempo di Chet, with Dee Dee Bridgewater and Jane Monheit, bassist
pianist Dino Rubino and bassist Marco Bardoscia. Chet Christian McBride, radio host Monifa Brown and
Baker, flawed and doomed though he was, has achieved music producer Matt Pierson—hail from many
jazz sainthood in Italy. Fresu’s trio played songs different parts of the jazz world. Among them they can
associated with Baker like “Blue Room” and also lay claim to dozens of notable accolades, including
originals deep in the Baker atmosphere. Rubino’s multiple Grammy nominations and wins; this
“In the Silence of Your Heart” was a melody so ethereal experience with the more rivalrous side of the industry
it sometimes became mist. Fresu’s creativity with doubtless helped them parse the crucial differences
electronics enables him to create trumpet choirs, and among each of the five singers’ commendable
also to create the illusion that haunting lyricism flows performances.
from his horn without effort. “My Funny Valentine” is Notably missing from the competition, however,
the national jazz anthem of Italy. It was written by were male singers. Three years ago, in 2017, the Sassy
Richard Rodgers-Lorenz Hart but Baker owned it. Awards management made the decision to open the
Fresu, Baker ’s direct artistic descendant, ended the competition to both male and female vocalists and for
song and the Pančevo festival with an electronically two years men made it onto the NJPAC stage: Fabio
extended note that filled the auditorium and went on Giacolone (finalist, 2017) and Oleg Akkuratov (second
almost forever. v place, 2018). It was with this decision that the Vaughan
competition crossed the final hurdle to inclusion:
For more information, visit facebook.com/jazzfestivalpancevo unsigned jazz singers of any gender, nationality and
almost any age (at least 16) can now submit their music
for a try at a Sassy Award. The organization urges
(sassy CONTINUED FROM PAGE 43) interested singers to check their website this May for

Before taking second-place honors in the Sarah

information on the 2020 contest. v
CAMILLEBERTAULT.FR
Vaughan Competition, Daniela Spalletta had already For more information, visit sarahvaughancompetition.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2020 55

 OVER 40 YEARS ENTIRELY
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JOËLLE IN MUSIC.
TIRELESS, ALWAYS

LÉANDRE INNOVATIVE, NEVER

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