Tnycjr 201603

MARCH 2016ISSUE 167
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
michael
formanek
going the distance
WOME
H I S TO N S
R
MONTH Y
CD RE
VI
EWS
PHILIP
CATHERINE
THOMAS
HEBERER
BILL
WATROUS
NINA
SIMONE
Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
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MARCH 2016ISSUE 167

New York@Night
Interview : Philip Catherine
Artist Feature : Thomas Heberer
On The Cover : Michael Formanek
Encore : Bill Watrous
Lest We Forget : Nina Simone
LAbel Spotlight : Corbett vs. Dempsey
VOXNEWS
In Memoriam
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Staff Writers
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Ken Dryden, Donald Elfman,
Philip Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Marc Medwin,
Russ Musto, John Pietaro,
Joel Roberts, JohnSharpe,
Elliott Simon, Andrew Vlez,
Ken Waxman
Contributing Writers
Brian Charette, Brad Cohan,
George Kanzler, Matthew Kassel,
Mark Keresman, Ken Micallef, Ivana Ng,
Eric Wendell, Scott Yanow
Contributing Photographers
Peter Gannushkin, Jacky Lepage,
Alan Nahigian, John Rogers
R.I. Sutherland-Cohen, Jack Vartoogian
nycjazzrecord.com
CD Reviews
Miscellany
Event Calendar
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6
7
8
10
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11
11
12
14
37
38
by ken dryden
by clifford allen
by ken waxman
by marcia hillman
by donald elfman
by ken waxman
by suzanne lorge
by andrey henkin
Theres an old jazz adage that a bass player will always have work. Perhaps Michael Formanek
(On The Cover) misheard it as a bass player should always make more work for himself; he
certainly has with The Distance (ECM), the debut of his Ensemble Kolossus, over a ton of
New York Citys finest players (he even needed another bassist, Mark Helias, to conduct!).
After a triumphant debut at Winter Jazzfest in January, the band gets its first NYC club date
at Jazz Standard for two nights. Veteran Belgian guitarist Philip Catherine (Interview) is also
making more work for himself by leaving the cozy confines of Europe for a rare trip stateside,
in this case the cozy confines of Jazz at Kitano. And trumpeter Thomas Heberer (Artist
Feature) also knows all about work, having plenty of it in both his native Europe and adopted
home of New York. He appears around town with various ensembles. And its nearly impossible
to calculate the amount of work put in by trombonist Bill Watrous (Encore) and late vocalist/
pianist Nina Simone (Lest We Forget) over the decades but well try. Finally, in honor of
Womens History Month, we devote the front-end of our CD Reviews (pgs. 14-21) to recent
releases from some of the hardest working women in showbiz.
In physics, Work is defined as Force times Displacement. Sounds like a jazz album title to us...
On The Cover: Michael Formanek (Peter Gannushkin/DOWNTOWNMUSIC.NET)
Corrections: In last months Interview, the new Bill Charlap album Notes from New York
is being released by Impulse!. In the William Hooker CD review, his label was Reality Unit
Concepts and Soy/Material was a trio with Mark Miller and David Murray. And the
correct date of Birthday Spotlight Hilliard Greene is February 26th.
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
2 MARCH 2016 | THE NEW YORK CITY JAZZ RECORD
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BEN FLOCKS - NOAM WIESENBERG
FEATURING
kevin hays
& antonio
sanchez
THU-SUN MAR 17-20
TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY [2015] -NEW YORK MAGAZINE
TUE-WED MAR 1-2
CHRIS BERGSON BAND

STEVEN BERNSTEIN - JAY COLLINS - CHRIS KARLIC - ELLIS HOOKS
CRAIG DREYER - MATT CLOHESY - TONY MASON
THU-SUN MAR 3-6
ALFREDO RODRIGUEZ
ganavya
TRIO DORAISWAMY
WITH
SPECIAL
GUEST
PETER SLAVOV - HENRY COLE
TUE-WED MAR 8-9
joey calderazzo BAND

ADAM ROGERS - DAVID BINNEY - ORLANDO LE FLEMING - BEN PEROWSKY
steve kuhn TRIO

STEVE LASPINA - BILLY DRUMMOND
TUE MAR 15
ryan keberle & catharsis

CAMILA MEZA - MIKE RODRIGUEZ - JORGE ROEDER - ERIC DOOB
HLIO ALVES - PAUL SOCOLOW - ADRIANO SANTOS - DENDE
TUE-WED MAR 22-23
michael formanek
ensemble kolossus
THU-SUN MAR 24-27
guillermo klein
y los guachos
TUE-SUN MAR 29-APR 3H11:30PM SET ON SAT ONLY
ravi coltrane void

the
THU-SUN MAR 10-13
vinicius cantuaria
quintet
RALPH ALESSI - ANDRAE MURCHINSON - GLENN ZALESKI - DEZRON DOUGLAS - KUSH ABADEY
HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH
MON MAR 7, 14, 21 & 28
MINGUS BIG BAND
HJAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM [EXCEPT 3/27]-DIRECTED BY DAVID OROURKEH
NEW YORK @NIGHT

The death of pianist Paul Bley on Jan. 3rd, 2016 at age
83 was a huge loss for the jazz communityfew who
had the opportunity to be one of Birds worthy
constituents remain alive and even fewer who also
performed as part of the October Revolution in Jazz
(NYC, 1964) or embraced the Moog synthesizer in early
70s electronic improvisations. So, Bley was an original
and while not a formal memorial service, the standingroom-only celebration at Greenwich House Music
School (Feb. 11th) was an event in itself. The program
was instigated by Bleys fellow pianists Frank
Kimbrough and Rob Schwimmer and emceed by The
Bad Plus Ethan Iverson. In addition to these three,
short sets were performed by Lucian Ban, Matt
Mitchell, Jacob Sacks and Aaron Parks. The only nonpianist onstage was alto saxophonist Lee Konitz, who
had worked often with Bley in a variety of groups in
the 70s and onward and closed the proceedings with a
warbling but powerful, partly sung and partly played,
coda. Schwimmer, who was primarily associated with
Bleys ex-wife and compositional collaborator Annette
Peacock, was a particular revelation; like some of the
participants, he had more than a few Bley stories and
also spoke accurately of the joy that Bley could bring to
absolute desolation, sadness and doldrums-like
passages. Schwimmer also performed Ida Lupino,
including a teaching moment by rendering note-fornote a chunk of Bleys solo on that tune from the 1966
Clifford Allen
ESP LP Closer.
H ighlights
2016 Jack Vartoogian/FrontRowPhotos
R.I. Sutherland-Cohen / jazzexpressions.org
in Jazz, the citys oldest jazz concert

series, fted its 44th season at Tribeca Performing Arts
Center (Feb. 4th) with two tradition-bearing bands.
The first, cornet player Warren Vach, tenor saxophonist
Scott Robinson, pianist Ted Rosenthal, bassist/vocalist
Nicki Parrott and drummer Alvester Garnett, warmed
up the audience with standards, contrafacts (new lines
written over old chord changes) and Robinsons own
Step Into My Dreams, a highpoint of the first set
thanks to his ever so tasteful performance. The room
temperature went up at least a few degrees with the
onstage arrival of vocalist Catherine Russell, the
daughter of two jazz legends and an artist who brings
new vitality to classic repertoire. Led by guitarist Matt
Munisteri, her band included trumpeter Jon-Erik
Kellso, saxophonist/clarinetist Evan Arntzen, pianist
Mark Shane, bassist Tal Ronen and drummer Marion
Felder. Her eclectic song list contained less performed
gems such as her father Luis 1931 Goin to Town,
Lil Greens eight-bar blues Romance In the Dark,
Virginia Listons double entendre Youve Got the
Right Key, But the Wrong Keyhole (written by Eddie
Green), Cab Calloways Long About Midnight and
Irving Berlins Harlem on My Mind. Like a method
actor, Russell inhabited each song, changing character
to suit the lyric, delivering the role with swing and
soul. The two bands joined forces for the finale, How
High the Moon, with the bassists and drummers
trading places and solos all around. Tom Greenland
Lee Konitz @ Greenwich House Music School
Warren Vach @ Tribeca Performing Arts Center
N ot all residencies at The Stone are as celebratory as To cap his four-part lecture/demonstration series on
the week of Feb. 9th was for drummer and bandleader
William Hooker, who has been an integralif
sometimes overlookedpart of the Downtown music
scene for the better part of four decades, recently
commemorated by an archival boxed set on NoBusiness
Records (titled Light). Feb. 10th brought the drummer
together with several longtime confrresbassists
Hilliard Greene and Larry Roland, string multiinstrumentalist David Soldier, trumpeter Ted Daniel
and trombonist Dick Griffinas well as recent
conscripts in bassist Shayna Dulberger, guitarist Chris
Welcome and alto saxophonist Michal Attias. Both
sets were continuous improvisations based on hues
in this case, Green. The first sets brass players were
running late and Soldier filled in, casting a reverberant
scrawl on violin with Roland and Greene alternating
glorious, nattering arco and strumming pizzicato,
offset by stark conga jabs. Hooker is part stirring
country preacher, part Drill Sergeant in his constant
entreaties to the other musicians, although it is all in
service of giving oneself completely to a higher state of
consciousness and the proceedings were filled with
jovial honesty and concentrated peace. If the opening
sextet was earthy and rowdy, the second set (Soldier,
Welcome, Dulberger, Attias, Daniel) exuded spiky,
protracted waves bookended by duetting alto and
rimshots that stripped Attias quixotically inflected
(CA)
bop down to its pure sonic roots.
stride piano at the National Jazz Museum in Harlem

(Feb. 2nd) at its new 129th St. location, host/pianist
Ethan Iverson asked seven peersEhud Asherie,
Adam Birnbaum, Aaron Diehl, Ted Rosenthal, Jacob
Sacks, Christian Sands and Stanley Cowellto join
him in performing James P. Johnsons notoriously
difficult benchmark piece Carolina Shout. After
providing background on the man and the music,
Iverson opened with a faithful rendition of the piece,
full of graceful figurations and laid-back triplets. Next
up, Asherie took it at a faster clip, employing more
muscle and stressing the dynamic contrasts. Birnbaum,
one of four contestants who confessed theyd never
played the piece in public before, gave a more modern
reading, creating excitement with light comping and
freestyle flights. Diehl also put his own stamp on it,
injecting incisive but unexpected accents and creative
reharmonizations. In Rosenthals hands it began as
a slow hymn, soon accelerating to double-time, adding
a few Giant Steps-style chord changes en route to a
strident coda. Sacks offered the most avant garde
interpretation, decomposing the piece into pixels and
fractals while retaining its essence. Sands mostly
avoided the traditional left-hand patterns, opting for
lightening-fast runs layered over low-droning basstones. Cowell, senior professor of the group, closed
with a more orthodox, suavely swinging version,
followed by an extended original composition.
(TG)
Musicians are often referred to as performers without

any real thought given to the theatricality inherent in
that term. It was fully on display by Lori Freedman
during her solo show The Virtuosity of Excess at
Roulette (Feb. 4th), part of the Interpretations series
and an 11-city Canadian-American tour. The 77-minute
program was actually only 64 minutes of music; in
between, stagehands adjusted microphones and music
stands and Freedman left the stage each time. Already
the concert felt like a multi-act play; all that was
missing was a dropped curtain. And with six pieces
five commissioned by Freedman for five different
composers and one spontaneously created in reaction
to the opening Time and Motion Study I (Brian
Ferneyhough)the audience witnessed Freedman
literally playing six different roles. In addition to bass
clarinet and paperclip contrabass clarinet, Freedman
incorporated her voice sparingly on Paolo Perezzanis
Thymos and quite actively on Richard Barretts
Interference, adding a confrontational rather than
complementary kick drum to the latter piece. She
explored the full range of her instruments expressive
abilities, whether in feral cries, nearly electronic
sputters or spectral whispers. The music was dense
and complex, the diminutive Freedman often hidden
behind the scores, and rarely beautiful, except on her
own Solor. The closing Dcombres, by Raphal
Cendo, was the most extreme, Freedman in desperate
battle with strident live electronics. Andrey Henkin
The hallmark of post-Coltrane modal piano jazz,

McCoy Tyner remains as vital and energetic today as
when he first emerged over a half-century ago in the
bands of trombonist Curtis Fuller. With guest
saxophonist Gary Bartz out front, Tyner powered his
working band of bassist Gerald Cannon and drummer
Francisco Mela through a Monday one-nighter at the
Blue Note (Feb. 1st). Taking the stage to a resounding
ovation, the septuagenarian bandleader opened up the
set with a pretty solo piano intro to his Fly With The
Wind, leading into Bartz statement of the uplifting
melody, the altos quavering bittersweet tone soaring
over resolute drumming and a potent bass vamp.
Cannon followed Bartz impassioned solo with his
own lyrical interlude, prefacing Tyner s orchestral
improvisation, anchored by relentless lower-register
chords, after which Mela followed with a clamorous
solo revealing deep affection for Elvin Jones. Tyner
jokingly introduced his Blues On The Corner with a
tale from his young Philadelphia days before launching
into the melody with a down-home groove that lived
up to the songs title and prompted a particularly
soulful Bartz outing. The packed house cheered loudly
upon hearing Cannons opening ostinato to Tyner s
classic Walk Spirit, Talk Spirit, their shouts and
clapping inspiring a round of fiery solos. A short solo
piano rendition of I Should Care set up the quartets
swinging set closer, Ellingtons In A Mellow Tone.

Russ Musto
W H AT S N E W S
Winners of the 58th Annual GRAMMY Awards have been
announced. Relevant winners are: Best Improvised Jazz Solo:
Cherokee, Christian McBride, Live At The Village Vanguard (Mack
Avenue); Best Jazz Vocal Album: For One To Love, Ccile McLorin
Salvant (Mack Avenue); Best Jazz Instrumental Album: Past Present,
John Scofield (Impulse!); Best Large Jazz Ensemble Album: The
Thompson Fields, Maria Schneider Orchestra (ArtistShare); Best
Latin Jazz Album: Made In Brazil, Eliane Elias (Concord Jazz); Best
Traditional Pop Vocal Album: The Silver Lining: The Songs Of
Jerome Kern, Tony Bennett & Bill Charlap (RPM Records/Columbia
Records); Best Contemporary Instrumental Album: Sylva, Snarky
Puppy & Metropole Orkest (Impulse!); Best Score Soundtrack For
Visual Media: Birdman, Antonio Sanchez (Milan Records); Best
Instrumental Composition: The Afro Latin Jazz Suite, Arturo
OFarrill & The Afro Latin Jazz Orchestra Featuring Rudresh
Mahanthappa), Cuba: The Conversation Continues (Motma Music).
For more information, visit grammy.com.
A free screening of the new documentary film Thomas Chapin,
Night Bird Song about the late saxophonist will take place at SVA
Theatre Mar. 13th. For more information and to RSVP, visit
thomaschapinfilm.com.
2016 Recipients of the Lincoln Center Emerging Artist Awards, as
chosen by Lincoln Centers 11 resident organizations, will be honored
at a ceremony Mar. 2nd at The Appel Room. Sullivan Fortner was the
winner chosen by Jazz at Lincoln Center (JALC). For more
information, visit lincolncenter.org. In related news, JALC was named
an Official Charity Partner of the 2016 United Airlines NYC HalfMarathon, which takes place Mar 20th. Runners interested in
participating under JALCs sponsorship should contact
specialevents@jazz.org or call 212-258-9980.
Peter Gannushkin/DOWNTOWNMUSIC.NET
G.R.I.O.T (Global Rhythms of Our Time), a program of New York

City Mission Society co-founded last year with Arturo OFarrills Afro
Latin Jazz Alliance with the mission of teaching children the history of
Afro-Latin jazz and musical instruments and lessons, has just
received a $75,000 grant from the American Honda Foundation. For
more information, visit nycmissionsociety.org/about-griot.
The DC Jazz Festival has announced the inaugural DCJazzPrix, a
national jazz band competition. The winner will be awarded $15,000,
a year-long association with DC Jazz Festival and a 2017 DC Jazz
Festival appearance. The application deadline is Mar. 4th. For more
information, visit dcjazzprix.org.
alan nahigian
A symposium in the African Drum moderated by Lewis Nash and

featuring Candido, Jorge Alab, Bonga and Neil Clarke will take
place at New School Tishman Auditorium Mar. 31st at 7pm.
For more information, visit newschool.edu.
Lori Freedman @ Roulette
McCoy Tyner @ Blue Note
Choice is an inherent and crucial part of creating art.

Musicians make choices on stage all the time. But they
also make them before starting a concert, which has as
much impact as those decided in the moment. Dawn of
Midipianist Amino Belyamani, bassist Aakaash
Israni and drummer Qasim Naqvichose to have their
performance at The Kitchen (Feb. 10th) take place in
near darkness and to have the cavernous industrial
performance space filled with wafting smoke. As such,
the continuous 55 minutes became as much a visual
spectacle as an aural one through variations in lighting,
both hue and saturation. Another choice was made
beforehand by Naqvi: his drumkit had no cymbals
apart from a tightly clamped hi-hat scorned for most of
the set. When he did utilize it, it was to produce a
clipped, almost robotic sound well in keeping with
Belyamanis muted strings and Isranis stiff pizzicato,
three acoustic instruments creating an electronic
soundscape, especially when piano and bass played
just out of phase of each other, scolded by a relentless
kickdrum. Dawn of Midi has moved away from its
earlier improvised sets to playing composed music but
the melodies were hardly static, as vaporous as the
smoke that hung ominously over the trio. There were
flashes of Ambient, Techno, Drone, Glassy minimalism,
INXS Mediate, even Mykola Leontovychs Carol of
the Bells, with the cumulative effect a feeling of
hanging on to the constantly shifting inverted
pendulum of a giant mechanical metronome.
(AH)
Closing out its 50th Anniversary Celebration at the

Village Vanguard (Feb. 8th) the Vanguard Jazz
Orchestra kicked off the final set of an eight-night
engagement, which also marked the release of All My
Yesterdays, a double-CD recording of the ensembles
first nights (as the Thad Jones-Mel Lewis Orchestra),
with a couple of compositions from the album,
beginning with Hank Jones Ah, Thats Freedom.
The piece, number one in the bands book of nearly 300
arrangements, opened up with pianist Michael Weiss
soloing over David Wongs walking bass. Muted brass
softly blew the melody, then trombonist John Mosca
stretched out as the lone horn soloist. Tenor saxophonist
Ralph Lalama was featured on Mornin Reverend,
a tour de force Thad Jones piece driven by John Rileys
energetic drumming. Rich Perry and Dick Oatts dueled
on tenor and alto saxophones, respectively, on Jim
McNeelys Off The Cuff, a thorny oddly metered
outing, which confirmed the orchestras status as one
of the tightest large ensembles in jazz today. Alto
saxophonist Jerry Dodgion, an original member of the
Jones-Lewis aggregation, joined the band as a guest,
regaling the crowd with anecdotes from the groups
first gigs and then blowing bluesily on a pair of his
originals: jaunty Oregon Grinder and Ellington
tribute Thank You. The set ended with another Thad
Jones piece from All My Yesterdays, Once Around,
featuring Billy Drewes soprano, Gary Smulyans
(RM)
baritone and Terell Staffords trumpet.
Anthology Film Archives will screen a recently discovered print of the

thought-to-be-lost 1966 film Whos Crazy by Thomas White,
featuring a score spontaneously recorded by the late Ornette
Coleman and his trio of David Izenzon and Charles Moffett. (available
on the Jazz Affinity album of the same name). The film will be shown
Mar. 25th-27th at 8 pm. For more information, visit
anthologyfilmarchives.org.
British saxophonist/bass clarinetist John Surman, a longtime
resident of Norway, was awarded the 2015 European Jazz Musician
award as selected by the Paris Acadmie du jazz de France. For
more information, visit academiedujazz.org.
Bassist Marcus Miller will host The NYC Jazz Scene, a three-day
local jazz tour of eight concerts at seven venues Mar. 20th-23rd. For
complete information and to make reservations, visit
mmnycjazz.com.
The Seattle Womens Jazz Orchestra (SWOJO) has announced its
fourth annual jazz contest for women composers. The winning
composition will be performed and recorded live by the Seattle
Womens Jazz Orchestra and the composer will receive a $400
honorarium, audio recording of her piece performed live and
publication by SWOJO. The deadline for submission is Jun. 30th. For
more information, visit swojo.org.
Bronx Community Board 3 voted unanimously to name Lyman Place
between Freeman Street and E. 169th Street after pianist Elmo Hope.
Chicagos famed Jazz Record Mart, in business since the 50s in
various locations and owned by Bob Koester, founder of Delmark
Records, closed its doors last month due to rising rent costs.
A trailer has been released for Born to be Blue, a film written and
directed by Robert Budreau about the later years of trumpeter/
vocalist Chet Baker. Ethan Hawke plays the role of Baker. The film
will see limited theatrical release starting Mar. 25th and be available
On Demand Mar. 31st. For more information, visit ifcfilms.com/films/
born-to-be-blue.
Submit news to info@nycjazzrecord.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2016
I NTERVIEW
PHILIP
Jacky lepage
CATHERINE
by ken dryden
O ver the past 40-plus years, Philip Catherine has made his
mark as a jazz guitarist known for stylistic diversity. Born

in London to a Belgian father and English mother, Catherine
and his family returned to Belgium after World War II. His
exposure to jazz lit a spark that took time to ignite, though
once it did, Catherine became an in-demand player due to
his gift for creating great melodies. Still very active
performing and recording at 73, Catherine is generous with
praise for his fellow musicians while being self-effacing
about his own playing.
The New York City Jazz Record: Tell me about your
early exposure to music.
Philip Catherine: I never heard the guitar on the radio,
only piano, violin, trumpet and singers, before I heard
George Brussels, this French singer, composer and
poet, in 1954. I decided to buy a guitar because I liked
his melodies and the sound of the instrument.
TNYCJR: Did you have formal lessons?
PC: I asked the shop where I bought my guitar about a
teacher and he showed me many things. I learned to
read basic chord changes. When I was playing with
him, he would play the melody and improvise as
I comped. Little by little, I wanted to do the same. I
quickly understood a bit of the basics of the relationship
between melody and chords. Two or three times a year
he would have each of his students play a song in front
of the rest of us. I discovered playing for other people
with his initiative. He was interested in jazz and
Django Reinhardt and I quickly bought a 78 of his
music. I started listening to the Jazz Messengers [with
Horace Silver, Donald Byrd and Hank Mobley], Erroll
Garner and later, Barney Kessel. I was always attracted
more to great improvisers instead of just guitarists.
Thats why I liked Miles Davis, Red Garland, Wynton
Kelly, later on Herbie Hancock and people like that.
TNYCJR: What led to you playing professionally?
PC: I started playing with professional musicians while
still at school. The first time I played in a jazz club, my
father had to come with me because you had to be 18 to
enter. Daniel Humair, the Swiss drummer, invited me
and convinced my father that I should come with an
amplifier and play there. I played with him and his trio
and who came to sit in but Sonny Stitt! I think I was 16.
That wasnt a gig but a jam session. When I was 17,
Lou Bennett, an organist from Baltimore who was
playing with Kenny Clarke in Paris, needed a guitar
player and I got the gig. I had to be careful because I
was still at school, which was my priority, not music.
When I started playing with him and a beautiful
drummer, Oliver Jackson, I was put into the path of
this great swing concept, basslines played by the
organists left hand. I had the chance to discover what
I was really hearing on records by Paul Chambers,
Philly Joe Jones, Red Garland, rhythm sections I liked

very much and I could have a taste of that with Lou
Bennett and Oliver Jackson. Every time there was a
holiday, Lou would hire me and we played in Spain
a lot, Czechoslovakia and Poland. He often had a great
drummer like Billy Brooks from Philadelphia and
Edgar Bateman, whos not so well known. I was so
happy to play with these two people because I learned
so much. I did that until I was 28. I was at the university
for five years, but all my life outside studies was jazz.
TNYCJR: What was it like with Stphane Grappelli?
PC: It was nice and I enjoyed also hanging around with
him on planes and trains. He was a very funny guy.
Musically, when I listen to him before the war with
Django Reinhardt, I think he was playing incredibly
well. When I was playing with him, I didnt have the
kind of intensity of feeling that I would have with Chet
Baker, for instance. We did a very nice record called
Young Django in 1979, with [guitarist] Larry Coryell
and [bassist] Niels-Henning rsted Pedersen.
TNYCJR: How did you meet Jean-Luc Ponty?
PC: I met him first in 1966 while he was in the army.
I met him at an international European meeting in
Baden-Baden. He wrote to me in 1970. I received his
letter on November 25th, the day I was leaving the
army after 12 months. He asked me to join his group,
which I was so happy to do, and thats when I stopped
my studies. I am very grateful because I dont know
what would have happened if he hadnt written me.
TNYCJR: So you hadnt yet made up your mind to be
a full-time musician?
PC: I had no intention to become a professional
musician! (laughs) Maybe its because what I loved in
jazz wasnt improvisation but the swing and the groove
and the capacity of musicians like Django Reinhardt,
Donald Byrd or Hank Mobley. They placed nice
melodies in their solos and I was attracted to Jimmy
Smith and James Browns funk music in the 60s. It
comes from something deep in the human being. When
I listen to Erroll Garner or George Benson, I hear
something very similar, for instance.
TNYCJR: You fit in effortlessly to so many different
styles of jazz recordings.
PC: I just made a record called The String Project, which
I arranged for strings. I like writing melodies. Thats
also an aspect of my personality. Another, which
nobody notices, is that people find it very easy to play
with me. That comes from all kinds of musicians,
whether fusion, bop or swing, or just playing a melody.
What I like is not so much how I play but how the
group is playing when Im there. How does the general
thing sound for the people who are listening? The

relationship between the drums, bass, piano and guitar
are all important, I like them to be complementary. I
like dynamics and tensions. People need to understand
if the soloist is playing something very complicated,
thats a moment for the comping guys to play very
simple. Thats why I always loved the Miles Davis
Quintet, especially when he had Red Garland and
Philly Joe Jones, then later with Coltrane, Wynton
Kelly and Cannonball. This quintet always sounded
fantastic and the groove was so strong. Sometimes
I would hear rhythms with other bandleaders and it
would still be high quality but not the magic thing

(CONTINUED ON PAGE 46)
MIKE
MCGINNIS
Thursday, March 24th &
Friday, March 25th
sets at 8pm & 10pm
LANDE
ART
IBeam Brooklyn
168 7th Street
Brooklyn, NY 11215
STEVE
SWALLOW
Peter Gannushkin/DOWNTOWNMUSIC.NET
ARTIST FEATURE
THOMAS
HEBERER
For more information, visit thomasheberer.com. Heberer is

at HiArt Studio Mar. 1st, The Stone Mar. 20th with
Angelica Sanchez and Cornelia Street Cafe Mar. 21st with
Mostly Other People Do the Killing. See Calendar.
Recommended Listening:
Thomas HebererChicago Breakdown: The Music of
Jelly Roll Morton (JazzHausMusik, 1989)
ICP OrchestraOh, My Dog (ICP, 2001)

Andreas Schmidt/Samuel Rohrer/Thomas Heberer
Pieces For A Husky Puzzle (Jazzwerkstatt, 2008)
Thomas HebererClarino (NoBusiness, 2010)

Joe HertensteinHNH (Clean Feed, 2013)
Nu BandThe Cosmological Constant (Not Two, 2014)
by clifford allen
In the often rowdy and eminently detailed ten-piece
ensemble known as the Instant Composers Pool
Orchestra (ICP), which counts both Dutch and
American musicians among its members, situated
between the ruddy antics of drummer Han Bennink
and obstinate reserve of [former] pianist Misha
Mengelberg, is a clarion-toned straight man.
Trumpeter Thomas Heberer brings calculated strength
and methodical shredding of formalism into the ICP
strategy, a daring aplomb serving him well in his own
ensemble projects both in Europe and stateside.

Born in Schleswig in the North of Germany on Sep.
24th, 1965 Heberer began playing trumpet as an
11-year-old, later enrolling at the Cologne Conservatory
where he studied under trumpeter Manfred Schoof, an
architect of modern European jazz. As Heberer puts it,
with Manfred my communication was very close. He
didnt talk about the trumpet as much as he did about
what it means to be an artist and finding yourself. Jazz
in schools was at a very early stage and I lived in
Cologne, which was the only place where one could
study at the conservatory level in Germany. There
wasnt a strict curriculum and the teacher decided
what you did. Heberer s early years on the German
scene involved playing with pianist Achim Kaufmann
and bassist Dieter Manderscheid, as well as a notable
stint in the Berlin Contemporary Jazz Orchestra
directed by pianist Alexander von Schlippenbach. The
orchestra performed two of Mengelbergs pieces on
their eponymous ECM LP and Misha liked what I did
with his pieces and asked if I would be interested in
joining ICP. Of course I was very excited. He wrote me
a letter and sent a bunch of trumpet parts in 1993,
inviting me to a festival in Bremen. I have been a
member of the group ever since.

In addition to orchestral work, Heberer taught at
the conservatory in Frankfurt and led his own groups.
By 1995 hed started directing the stage band for a
German variant on The Tonight Show theme, Die Harald
Schmidt Show, which lasted through 2007 and allowed
a stable income and visibility. But New York called and
Heberer relocated in 2007, quickly becoming involved
with fellow German expats of a slightly later
generation, hooking up with drummer Joe Hertenstein
and bassist Pascal Niggenkemper in HNH, a malleable
trio that has released two discs on Clean Feed. He also
formed Clarino with Niggenkemper and Belgian
reedplayer Joachim Badenhorst and joined the quintet
of Israeli tenor saxophonist Yoni Kretzmer.

Heberer s language, while rooted in a very pure
sound, is also one that employs a healthy dose of
extended technique. I always have been interested in
them and in recent years I have picked up a few that I
feel a very strong affinity for. One thing I do is circular
breathing, which is very challenging on the trumpet
and I find it interesting because it makes you think in a
different way. Removing the horn from his mouth,
Heberer makes use of buzzing from the lips, which
came out of necessity. Its from the fact that in circular
breathing, sooner or later the blood going through my

lips would cease to move and as a trumpeter you need
that. I was looking for a way to continue the sound and
at the same time remove the mouthpiece so that the
blood would continue to circulate. The only way to do
that would be to buzz from my lips, overcoming a
weakness in circular breathing. Coming to Heberer s
metallic arc as a new listener, this vocalized natter
might unseat ones expectations of what a trumpet solo
should sound like, but dryly expressive ululations fit
perfectly within his pensive, rhythmically free swagger.

It would stand to reason that being associated with
ICP, von Schlippenbach, Schoof and other doyens of
European
contemporary
music,
Heberers
compositional itch would be strong. In addition to solo
works written for the choreography of Pina Bausch and
his own solo LP One (NoBusiness, 2010), Heberer uses a
group format he calls Cookbooks. Over time I thought
I could abandon the idea of conventional notation.
I developed a language that is based on graphics and
the source of it is the idea of instant memory. At a
certain point we will freeze, mentally, what we are
playing. Everybody memorizes their part, so its an
instant head based on specifics that I have given.
Instead of having a continuous flow of improvisation
we would go back to something wed improvised a
while ago and it would create this strange sensation of
we have been here before. There might be information
only for one or two players. Repetitions and other
specifics like a loop or unison playing are also
represented. Ive done some Morse Code systems where
you attach two opposing forces to either dots or lines.

Ever busy on both sides of the Atlantic, recent
projects include a trio with bassist Ken Filiano and
Achim Kaufmann (Interstices, Nuscope, 2015) and
work with bassist James Ilgenfritz and koto player
Miya Masaoka. Heberer also joined the Nu Band, a
long-running outfit credited to saxophonist Mark
Whitecage, drummer Lou Grassi, bassist Joe Fonda
and, until his death in 2014, trumpeter Roy Campbell,
Jr. Ive been a member of the Nu Band since 2014 and
literally joined the day after Roys passing. They had a
three-week European tour scheduled for February 2014
and they needed someone right away. I had worked
with Lou and Joe before and I think their goal was to
find a trumpeter who would be very different while
bringing something fresh to the table. At 50, Heberer
is solidly a force in this music, but hes also still
learning: relocating to NYC has really broadened my
perspective. I fit in very well with older players
because we have a lot of shared vocabulary and the
difference, as far as I see it, is in the way that language
was generated. They developed their thing mostly
through osmosis while I developed my music through
careful analysis. But I feel that only in recent years
have I been able to catch up to the cats. When
I joined the ICP I was sort of locked into the German
way of playing; ICP and situations like it allowed me
to loosen up and get a broader view. v
INSTANT COMPOSERS POOL
Restless in Pieces is the newest CD from

Amsterdams half-century-old ICP Orchestra.
With new member Guus Janssen at the piano,

guest vocalist Mattijs van de Woerd on two
tracks, and the standard handful of stalwart
Downbeat Critics Poll honorees on board, the
band pinballs their way through an especially
eclectic set of tunes including Monk and Nichols
standards, a Charles Ives medley, and a pop
song (!) written by Misha Mengelberg dating
back to the late 1960s...the band the New York
Times calls scholars and physical comedians,
critics and joy-spreaders, continuing to stretch
and subvert musical forms into serious fun.
MORE: ICPORCHESTRA.COM
ON THE COVER
MICHAEL
John Rogers / ECM Records
FORMANEK
going the distance
by ken waxman
Bassist Michael Formanek admits that until recently

he never really loved big band music, even though he
had played his share of it during a quarter-century
spent in New York before 2003. As an in-demand
sideman, among his other jobs, he put in time with the
Mingus Big Band plus large groups led by pianist
Toshiko Akiyoshi and saxophonist Bob Mintzer. But
Formanek, 58, who, gigging almost constantly since
18 in his native San Francisco with major innovators
including drummer Tony Williams and trumpeter
Freddie Hubbard, was identified in NYC with what he
calls more intense improvisation. He led his own
small acoustic groups and was featured in many
so-called Downtown bands, most prominently those
led by alto saxophonist Tim Berne.
His enthusiasm for large ensemble forms has
heightened over the past few years, with the most
arresting result being The Distance, his new ECM disc
recorded by an 18-piece orchestra. Formanek, now a
full-time faculty member of the Jazz Studies
Department at the Peabody Institute, composed a
series of memorable pieces for some of jazz most
accomplished players, a band he calls Ensemble
Kolossus.

It was a natural evolution, explains Formanek,
who now resides in Towson, MD, near the Baltimorebased Institute, a division of Johns Hopkins University.
Besides teaching double bass and jazz history at
Peabody, he also directs small and large student
ensembles. It was because of the latter that his
appreciation for the large ensemble sound has grown.
For teaching purposes I began studying lots of scores,
doing a lot of listening and dealing with the language
of Gil Evans, Sam Rivers, Duke Ellington, Jim McNeely
and others, he recalls. After composing music for the
student ensembles, as well as some forays into Third
Stream-style notation, matching jazz groups with the
local Peabody Concert Orchestra, I decided I wanted
to do a project to sum up what I had thought about up
until that time. A residency fellowship at the Virginia
Center for the Creative Arts gave him time to work and
most of what became The Distance was created.

Like Ellington, at the same time as he conceived of
the music he was composing with certain musicians in
mind for each part, with the understanding that their
individual approaches would contribute to the overall
sound. I thought of the music together with the people
who would play it and the best kind of ideas started to
unfold, he reveals. Ensemble Kolossus consists of
Loren Stillman (alto saxophone), Oscar Noriega (alto
saxophone, clarinet and bass clarinet), Chris Speed
(tenor saxophone and clarinet), Brian Settles (tenor
saxophone and flute), Tim Berne (baritone saxophone),
Kirk Knuffke (cornet), Dave Ballou, Ralph Alessi and
Shane Endsley (trumpets), Alan Ferber, Jacob Garchik,
Ben Gerstein and Jeff Nelson (trombones) with a
rhythm section of Kris Davis (piano), Mary Halvorson
(guitar), Patricia Brennan (marimba) and Tomas
Fujiwara (drums). Fellow bassist Mark Helias is the
conductor. The 19th Beatle, jokes Formanek.

Initially Formanek had tried conducting the band
himself, but it was difficult to do from within the

ensemble, especially during a recording session.
Confident in Helias skills, which he had observed
first-hand in New York, Formanek asked if he could
help out during the two-day recording session and
later live dates. I was able to keep the flow going
without getting in the way and keep everyone clear on
the forms, as well as shape the performances, notes
Helias. The band reacts quickly to any needed
direction. Fundamentally, my job is to set the tempos
where needed, cue formative signposts and listen to
the improvisations so that I have a sense of the overall
shape of the piece and bring sections in at the
appropriate time. Pointing out that Mark not only
can conduct but knows how to improvise, Formanek
adds that as bassists he and Helias share a particular
perspective. Its all about balance, proportion and
tension and release. He has great instinct, is thoughtful
and intuitive and knows at which spots to bring in the
band.

Building on improvisers skills, Formanek explains
that even the small groups he leads play music with as
few cues as possible. Halvorson, who works alongside
the bassist in the Thumbscrew trio notes that,
In Thumbscrew, all of his compositions for the trio
have a strong identity and are really written for the trio
members. As for the larger ensemble, she adds:
I had never heard Michaels big band writing before
Ensemble Kolossus and it felt like I was hearing his
composing style magnified and multiplied. The music
is masterfully orchestrated and arranged, structured
yet open. I try to understand the intention and energy
in each piece and do my best to play to that. Theres
one Ensemble Kolossus composition where Michael
wrote a guitar part for me which he based around a
wide-leap, triplet-based warm up exercise he always
hears me play before gigs. This is a great example of
Michael writing to musicians individual styles and
interests.

Although not program music, the compositions on
The Distance have some symbolic elements. Even the
bands name, which reflects the colossal undertaking it
is, also relates to the powerful image the bassist
imagined when he first heard the track I Am Colossus
performed by Swedish extreme metal band Meshuggah.
Meanwhile, Exoskeleton refers to that extra layer of
emotional armor that some people have that can be
difficult to break down. Its something that I can relate
to, admits Formanek. The Distance reflects the same
concept of distance between people, but its also
related to the idea of going the distance or going all
the way or being in it for the long haul kind of clich.

Different sections of the compositions are notated
to varying degrees. Most of the music is written out,
except for the solos; some transitions are more notated
than others depending on the section while others are
mostly improvised. The point for me isnt so much
what is written and what isnt but whats the most
effective way to handle any given section, the bassist
states. Additionally, while using marimba in the band
not only adds warmer resonation when its range is
displayed alongside the reeds, he notes, but a fivepiece rather than the standard three-piece rhythm
section links the ensemble to traditional big bands.
I try to create a dialogue between the player as an
improviser and me as the writer, Formanek clarifies.
I write in such a way that makes things work. That is
why, for instance, Exoskeleton initially didnt
include the Prelude section, but it was added just
before the recording for greater clarity.

Berne, who has worked with Formanek since the
early 90s when the bassist was part of his Bloodcount
band and he worked in several Formanek projects,
says he wasnt surprised when he was asked to join
Ensemble Kolossus. Mikes a great writer and player
who is driven by the excitement of making music and
taking on new challenges. He really knows how to put
together a band and how to orchestrate. Earlier in the
century Berne played baritone saxophone frequently
and Formanek must have heard him play hundreds of
times, he relates, which is how he ended up in that
chair. Im sort of relieved he didnt ask me to play
lead alto, Berne jokes. In the band I play lighter in a
way, kind of texture upon texture upon texture. I often
double with the trombones and the bass. When I play
in unison I want the baritone to be noticeable, but not
to call attention to it.
Of course, Formanek admits that adding the
responsibility of organizing such a large ensemble to
his other commitments is trying. When a recent
Baltimore performance was cancelled after the city was
blanketed with 29 inches of snow, for instance, getting
it rescheduled took a lot of time. But hes adamant that
hes as committed to the large group as his smaller
ones.

When I was coming up music wasnt formal. It
was discovering things, learning from the experiences
of playing with people and discovering a lot of music
in an informal environment. Now Im very fortunate to
be able to assemble this incredible group of people
who happen to be great musicians and make this whole
thing happen. What could be better than this? The
concept may not be practical, but its hard for me not
to accept that I can indulge my fantasy and love these
minutes. v
For more information, visit amibotheringyou.com. Ensemble
Kolossus is at Jazz Standard Mar. 22nd-23rd. See Calendar.
Attila ZollerMemories of Pannonia (Enja, 1986)
Tim Bernes BloodcountThe Paris Concert I-III:
Lowlife/Poisoned Minds/Memory Select

(JMT/Winter & Winter, 1994)
Michael FormanekAm I Bothering You?
(Screwgun, 1997)
Tim Berne/Michael Formanek
Ornery People (Little Brother, 1998)
Michael FormanekThe Rub and Spare Change
(ECM, 2009)
Michael Formanek Ensemble Kolossus
The Distance (ECM, 2014)
ENCORE
BILL WATROUS
by marcia hillman
Trombonist Bill Watrous is called a musicians

musician by his fellow players and by knowledgeable
jazz fans because of his incredible technique and
expressive warm tone. He has been one of the workingest musicians on the jazz scene for decades.

Born William Russell Watrous III on Jun. 8th, 1939
in Middletown, Connecticut, he grew up in a household
no stranger to music. His father, who also played the
trombone, was the one who provided the instrumental
choice, but Watrous was mainly self-taught for the first
four or five years. It came to me pretty early. I could
always play along with the radio, he claims. My
father tried to pull me away from music, he continued.
But Watrous wanted to play in the band by the time he
got to New London High School, where he encountered
teacher Richard (Dick) Benvenuti. He was very
inspirational and took me to the Ted Mack Amateur
Hour radio show where I played when I was 17 years
old, Watrous remembers. It was also in high school,
he recalls, that I wanted to be a professional baseball
playerplaying centerfield. At one point, the New
York Yankees wanted to sign me. (Years later in Texas
where he was playing at a jazz festival, he was offered
a contract to play by the manager of the ball club there,
but he turned it down. It wasnt a bad offer, but I
didnt want to quit the music.)

By the time Watrous was 19, he was serving in the
United States Navy and during this period studied jazz
with pianist Herbie Nichols. He was mostly stationed
in San Diego but four years later in 1960 he was
discharged at the Brooklyn Navy Yard and settled in
New York City. At this time, there were plenty of
recording opportunities and studio work and Watrous
was kept busy. Recording with such jazz giants as
Maynard Ferguson, Quincy Jones, Woody Herman and
Kai Winding, among others, Watrous made his first
album as leader: In Love Again with the Richard Berkhe
Strings (MTA Records, 1968). He also was heard
playing in the house band for The Merv Griffin Show

from 1965-68 and also formed his own group, The
Manhattan Wildlife Refuge (recording two albums for
Columbia Records in the 70s).
In 1971, always looking for new avenues of
expression, Watrous played with the jazz-fusion group
Ten Wheel Drive for a while. Regularly busy and
touring, he stayed still for three and a half years to do
a stint with the Bobby Rosengarden Band on televisions
The Dick Cavett Show. After the Cavett show, I was on
the road and wound up in L.A. One night at a club
called Dantes, I met the woman who became my wife
and that led to my relocating to Los Angeles, Watrous
recalls. At this point in time, much of the recording
industry had also relocated on the West Coast, so there
was a lot of studio work and performance venues. Even
though he has kept a lower profile since moving to the
West Coast, Watrous has kept busy touring both in the
United States and in Europe. He also has recorded
heavily through the years , with an accumulation so far
of close to 30 albums under his own name. La Zorra: The
Solo Trombone of Bill Watrous with the New Bill Watrous
Quartet (Famous Door, 1980) was recently reissued by
Progressive. Watrous makes periodic trips to San Diego
to play with KUSI-TV host Dave Scott, a former student
and good friend. The pair recorded an album together
this past December. One standout in his discography is
the 1980 international and multi-generational
collaboration with Kai Winding, Albert Mangelsdorff
and Jiggs Whigham released as Trombone Summit
(MPS).

As an educator, he has published (with collaborator
Alan Raph) an instructional manual detailing various
trombone techniques and conducts workshops and
concertizes at colleges and universities around the
country. One of these concerts can be found on a
recording he did in 2013 with the Pennsbury High
School Concert Jazz Band in Fairless Hills, PA (Then &
Now). Regarding his devotion to education, Watrous
feels that the exposure to music helps a student
achieve higher grades in their education overall.
Though still Los Angeles-based, Watrous tours,
plays and records wherever and whenever and
considers himself fortunate to be working at doing
something he loves. I play what I want and what I

believe in. I enjoy improvising, he says. Ive been
doing this all of my life. Its Gods gift. Those of us who
can do this have been given something, he continues.
In the last few years Watrous has played such East
Coast locations as Virginia and Pennsylvania. Id love
to play New York again. If somebody would invite me,
Id be glad to perform there anytime, he remarks. v
Phillips and finally RCAand perform, her repertoire

defied definition. Her classical training was evident
but she drew on gospel, folk, blues, jazz and more.
When the Civil Rights Movement began, Simone
became a voice for the anger and frustration but also
the hopes and dreams of that movement. She responded
musically to the killing of Medgar Evers and the
bombing of a church in Alabama with Mississippi
Goddam and to the assassination of Martin Luther
King, Jr. with Why (The King of Love is Dead).

Simone found and sang material from all stripes
that appealed to audiences. There was pop material
I Put a Spell on You and Dont Let Me Be
Misunderstood. There was sensual material for RCA
like Do I Move You and I Need a Little Sugar in My
Bowl (once sung by Bessie Smith). She sang songs by
Bob Dylan, George Harrison, The Bee Gees, Tina Turner
and more. Every song was defined by a fully animated
sense of drama, personal interpretation and sense that
Simone inhabited the worlds of which she sang.
Despairing of the music business and political
racism in America, Simone sang in other countries
before finally settling in the south of France. She took a
break from recording until 1978 when she released
Baltimore, an album named for a bleak but powerful
song about urban reality penned by Randy Newman.
Again, she put her own very powerful spin on the
reading. Her career experienced a brief rebirth in the
late 80s when an older version of My Baby Just Cares
For Me was used on a perfume commercial and she

published an autobiography, I Put A Spell On You. She
still was able to reach large audiences as evidenced by
a 1998 New York concert, which moved New York Times
writer Jon Pareles to note, there is still power in her
voice. In that same year, she attended the 80th
birthday celebration for Nelson Mandela.
Simone died in Carry-le-Rouet, France on Apr.
21st, 2003. She has inspired artists as diverse as Aretha
Franklin and poet Sonia Sanchez and has been the
subject of the 2015 book and film What Happened Miss
Simone?. The RCA compilation To Be Free: The Nina
Simone Story collects material from most of the labels
with which she was associated, a DVD of a 1970 TV
show about her life and virtually all of the songs that
define this extraordinary artist. v
Kai WindingDirty Dog (Verve, 1966)
Bill Watrous and The Manhattan Wildlife Refuge
The Tiger of San Pedro (Columbia-Wounded Bird, 1975)
Kai Winding/Albert Mangelsdorff/Bill Watrous/
Jiggs WhighamTrombone Summit (MPS, 1980)
Bill WatrousLa Zorra: The Solo Trombone of
Bill Watrous with the New Bill Watrous Quartet
(Famous Door-Progressive, 1980)
Shelly Manne & His Hollywood All Stars
Hollywood Jam (Atlas-Toshiba, 1981)
Bill Watrous QuartetLive at the Blue Note
(Half Note, 1998)
Kettle & Thread
Coffee, Tea, and Community

Live Music, Open Mics, and Jazz Jams
347-789-3108
1219 Church Avenue, Brooklyn, NY 11226
kettleandthread.com
LEST WE FORGET
NINA SIMONE
by donald elfman
Maybe Nina Simone was hard to categorize, but the

quality informing everything she did was passion and
that was what ultimately drew her many fans.
Simone was born Eunice Kathleen Waymon in
Tryon, North Carolina on Feb. 21st, 1933. She learned
to play piano at age four, sang in the church choir and
also studied classical music. She showed academic and
musical talent, enough so that her community raised
money for her to study at Juilliard in New York. She
applied to the Curtis Institute in Philadelphia, seeking
admission as a classical pianist, but was not accepted
and she turned to teaching and performing jazz, blues
and American standards as Nina SimoneNina from a
nickname meaning little one and Simone after the
French actress Simone Signoret. After an extended gig
at Atlantic Citys Midtown Bar and Grill, she drew the
attention of writers such as James Baldwin and
Lorraine Hansberry. In the late 50s, the record industry
found out about her. She was signed to Bethlehem
Records where she first was required to sing songs
chosen by owner Syd Nathan but later allowed to
choose the kind of tunes she had been performing in
her shows. As she continued to recordfor Colpix,
For more information, visit ninasimone.com. A Simone tribute is

at Highline Ballroom Mar. 6th with Ramona Renea. See Calendar.
Nina SimoneLittle Girl Blue (Bethlehem, 1957)
Nina SimoneAt Newport (Colpix-Roulette, 1960)
Nina SimoneAt the Village Gate
(Colpix-Roulette, 1961)
Nina SimoneSings the Blues (RCA-Legacy, 1966)
Nina SimoneEmergency Ward! (In Concert)
(RCA Victor, 1972)
Nina SimoneLet It Be Me (Verve, 1987)
L ABELSPOTLIGHT
CORBETT VS. DEMPSEY

by ken waxman
As commerce continues to be divided between mass

and class, the music business has followed suit. On one
side are the remaining major record companies turning
out product as cheaply and quickly as they can and
on the other so-called boutique labels whose releases
are selected and manufactured with the utmost care.
One of the quirkiest of the latter is Corbett vs. Dempsey
(CvD), a decade-old Chicago-based imprint, which,
along with a publishing outlet, is a division of an art
gallery co-owned by noted jazz and art scholar John
Corbett and cinema expert Jim Dempsey. CvD has so
far put out 25 discs, ranging from reissues of major LPs
by saxophonists Joe McPhee and Peter Brtzmann and
obscurities by the likes of saxophonist George Davis
and guitarist Staffan Harde to brand-new CDs by
guitarist Thurston Moore and saxophonist Mats
Gustafsson.

Says Corbett: The primary criterion for release on
CvD is that its music that moves us deeply. Were not
committed to a specific style or aesthetic; there are
things in very different arenas that trip our trigger and
were happy to work with them. Of course, weve been
more involved with jazz and improvised music, from a
production standpoint, than anything else, but as it
was with the Unheard Music Series, Im very happy to
throw a curve ball into the game when needed.

The Unheard Music Series (UMS) was an imprint
of Chicagos Atavistic Records that Corbett, who has
Nation Time
Joe McPhee
Torturing The Saxophone

Mats Gustafsson
authored several books on music, curated from 1999 to

2010, releasing about 75 sessions from the 60s-70s. A
couple of years after the CvD gallery, which specializes
in contemporary art, was founded in 2004, Corbett
tapered off his UMS activities, though that operation
along with reissues was added to the mandate.
Another change was presentation, which today
encompasses distinctive high-quality formats. We
take great care with the packaging and weve learned a
lot in the last few years about how to manufacture
CDs. Now were doing tipped-on covers that act like
mini LPs. We tend to do small runs of 1,000 or 1,500,
reprinting if needed. Theres no rule except whatever
seems to be needed by the project at hand, elaborates
Corbett. The gallery hosts concerts every six weeks or
so and among the books it has published are Wadada
Leo Smiths notes, three volumes of Brtzmanns art
and a Brtzmann brochure relating his work as graphic
designer and musician. We work with a few musicians
who are also very accomplished artists and in
Brtzmanns case we also represent his visual art,
states Corbett.
Most CDs replicate the initial packaging. For
instance, reports Corbett, with [Danish pianist] Tom
Prehns Axiom CD, we made sure the tip-on matched
the original, which only went about one-third of the
way around the back of the cover. Details count.
Except for one seven-inch single, Joe McPhees Cosmic
Love, most CvD records are single CDs. The exception
is McPhees Nation Time, a three-CD boxed set. The
McPhee box required a full new design, but it has the
original designs on the CD slipcases inside, notes
Corbett. Declares Gustafsson, who is featured on three
CvD CDs and co-produced the session by guitarist
Axiom
Tom Prehn Quartet
Staffan Harde: I think the packaging is really ideal

nowthick cardboards rules! The only negative aspect
being its not vinyl. I am a vinyl freak, but I do see the
advantages with the CD: easier to handle and ship,
etc., and when the design is on the level as is the case
with CvDit rules!

With eight releases and counting McPhee is the
artist most represented on CvD and for good reason.
Ive produced many different records with Joe for
various labels and am close friends with him, as is
Jim, states Corbett. We both think hes one of the
most important musicians of our time. Hes been very
productive over the years and not all of his recordings
including some of the very besthave seen light of
day. Weve set ourselves the task of reissuing his most
significant LPs and continuing to issue new and neverbefore-released music. McPhee, who has worked with
numerous labels in his long career, echoes this
enthusiasm with his usual concision: Working with
Corbett vs Dempsey is a dream given form. Great care
and attention is given to every project with the respect
due a work of art.

Gustafsson says that he and Corbett are talking
about projects, new and old, all the time. We have an
ongoing discussion with each other about rare vinyl,
rare tapes, etc. etc., anything with spectacular music.
I call John right away when I find something extremely
rare and vice versa. And whenever CvD wants to make
a record with me, I usually say yes. I like the mix of
what CvD is doing: new and old...old and newold
and dreams. Isnt it amazing how much great music
there is out there not released or forgotten? Some of it
just has to come out. So, why not do it?

1971
Brtzmann/Van Hove/Bennink
(CONTINUED ON PAGE 46)
Eponymous
Staffan Harde
VOXNEWS
SINGERS WITHOUT BORDERS

by suzanne lorge
Musical ideas travel across the globe these days as

quickly as fire. Through any number of tech-dependent
cultural exchanges, a musician can share an idea within
seconds of its conception. Of all musicians, though,
singers alone face a hurdle that limits their ability to
collaborate across cultures: barring those who rely
solely on vocal improvisation, all singers must make
themselves understood verbally. When a cultural
exchange of vocal jazz music does happen, its almost
always in English. Lately, however, a few multicultural
jazz singers have begun to challenge the notion of
English as the lingua franca of vocal jazz.

Antiquariat, a gypsy jazz band out of Germany,
stands on the edge of this changing world order. The
band is inspired by the instrumentation of Django
Reinhardts Hot Club of Francetwo guitars, violin,
upright bass. But this isnt a cover band. The group,
fronted by singer Marion Preus, writes its own tunes
with lyrics in French, German and English; interprets
cabaret tunes like Zuhlterballade by Kurt WeillBertolt Brecht and folk tunes like the Romani anthem
Djelem Djelem; and adapts text by authors such as
Rudyard Kipling (If). The group takes the title of its
latest recording, Vida de Carrusel (Acoustic Music

Records), from their Spanish-language tune Carrusel,
with lyrics by guitarist Carlos Gabriel Klein Schindler.
The tune likens life, with all of its comings and goings,
rises and falls, to a carousel. On the tune, Preus
vocally agile, rhythmically nimbletakes a circumspect,
almost light-hearted approach to this universal theme
of love and loss. Her work reminds us that Europe, too,
has an ever-growing songbook tradition.
The concept album Fugitive Beaut (Ignoring
Gravity) features Dutch singer Vera Westera on several
compositions fusing poetry and spoken word with
vocal solos, vocal harmonies and improvised
instrumental solos. To create the recording, Serbianborn, German-raised composer/poet Bojan Vuletic
took his inspiration from Charles Baudelaires Les
Fleurs du mal, a reflection on the role of happiness in a
troubled world. Vuletic had Westera and two U.S.
musiciansZeena Perkins (harp) and Nate Wooley
(trumpet)riff on his musical and lyrical ideas in the
studio. He then relocated pieces of the recording to
build an impressive montage of impressionistic horn
lines, percussive interjections and poetry sung in
English, German, French and Croatian. Suffice it to say
that Vuletics vision is far cheerier than Baudelaires
(not hard to accomplish); his words in Westeras voice
are actually quite lovely and life-affirming.

When London-based singer Stacey Kent visited
Rio de Janeiro, Brazil in 2011 to participate in a concert
celebrating the 80th anniversary of the Christ the

Redeemer statue atop Corcovado, she happened to
meet Brazilian guitarist/composer Roberto Menescal,
an early adopter of the Bossa Nova, backstage. This
brief meeting has led to two musical collaborations so
far, the most recent being Tenderly (Sony Music). The
CD comprises 11 American standards in English and
one of Menescals originals in Portuguese, the latter
recalling the tunes the two performed together on
Kents initial foray into Brazilian jazz, The Changing
Lights (Parlophone/Warner) in 2014. On both projects
Menescals delicate, precise playing offsets Kents
smooth, dulcet vocals to perfection and Kents everflawless diction in whatever language shes singing
(French, Portuguese, English) continues to delight.
Experimental vocalist/composer Jen Shyu will
present Song of Silver Geese, an informed mashup of
dance, drama, music and language exploring the cultures
of Korea, Taiwan, East Timor and Indonesia at Roulette
on her birthday (Mar. 28th). Before this shell be at The
Met Breuer as part of Relation: A Performance
Residency curated by Vijay Iyer (Mar. 6th).

In memoriam: On Mar. 14th the Jazz Foundation
and Saint Peter s Church will sponsor a concert in
honor of singer Mark Murphy, who passed away last
October. The day would have been Murphys 84th
birthday. Among the 20+ musicians scheduled to
appear are Sheila Jordan, Alan Broadbent, Kurt Elling,
Jay Clayton and Annie Ross. v
11
I N MEMORIAM
swing
university
PAUL BLEY
by andrey henkin
spring term
ALFREDO ARMENTEROS (Apr. 4th,

1928Jan. 6th, 2016) The Cuban
trumpeter s long career in the worlds of
Salsa and Latin jazz included work with
Chico OFarrill, Mongo Santamaria,
La Playa Sextet, Tico All-Stars, Larry
Harlow, Eddie Palmieri, Cachao,
Machito, Eastern Rebellion, Steve Turre, Jimmy Bosch
and a number of albums under his own name.
Armenteros died Jan. 6th at 87.
FRANK COLLETT (May 3rd, 1941
Jan. 25th, 2016) The pianists career
began with Sarah Vaughan and
continued with his own trios and work
with Louie Bellson, Terry Gibbs/Buddy
DeFranco, Sam Most and Herb Alpert.
Collett died Jan. 25th at 74.
jazz 101
with john wriggle

MAR 22MAY 17 8 TUESDAYS
BILL DUNHAM (1928Jan. 11th, 2016)

The pianist was famed for co-founding
the Grove Street Stompers with Jimmy
Gribbon in 1962, a band that has since
played practically every Monday night
at West Village spot Arthur s Tavern.
Dunham died Jan. 11th at 87.
jazz 201
with vincent gardner

MAR 16MAY 11 8 WEDNESDAYS
jazz 301
with ben young

MAR 21MAY 9 7 MONDAYS
(OPTIONAL EXAM MAY 23)
benny carter
with ed berger
MAR 14APR 18 6 MONDAYS
billie holiday & the swing

song tradition
with phil schaap
MAR 15APR 12 5 TUESDAYS
evolution & development

of big band jazz
with john wriggle
MAR 16APR 20 6 WEDNESDAYS
max roach
with jerome jennings

MAY 31JUN 21 4 TUESDAYS
fletcher henderson
with rob vrabel
JUN 1JUN 22 4 WEDNESDAYS
enroll today 212-258-9922 jazz.org/swingu

All classes are held in the Irene Diamond Education
Center from 6:30pm8:30pm Jazz 301 ends at 9:30pm
Jazz at Lincoln Center gratefully acknowledges
The Irene Diamond Fund for its leadership support of
programming in the Irene Diamond Education Center.
P aul Bley, the pianist whose career bridged major jazz
movementsfrom bebop to free and who had close

to 100 albums as a leader, died Jan. 3rd at 83.
Bley was born in Montral on Nov. 10th, 1932.
At 17, Bley took over for Oscar Peterson at the Alberta
Lounge and, four years later, invited Charlie Parker to
participate in the new Montral Jazz Workshop
(Montral 1953, Uptown Records). Bley attended the
Juilliard School and quickly immersed himself in the
New York bebop scene, waxing his debut, Introducing
Paul Bley, for Charles Mingus Debut Records in 1953
(Bley was part of Mingus 1953 nonet, returning in 1960
for a couple of sessions). In 1958, he led a quintet in Los
Angeles with what would become the legendary
Ornette Coleman Quartet (released in 1971 as The
Fabulous Paul Bley Quintet on America Records).

In 1962-63, Bley released two notable trio sessions:
Footloose! (Savoy, 1962-63, with drummer Pete La Roca
and bassist Steve Swallow, the latter hed met as part of
the now-legendary 1961-62 Jimmy Giuffre Trio, which
reformed in the late 80s-early 90s) and Paul Bley With
Gary Peacock (with drummer Paul Motian, recorded in
1963 and released on ECM in 1970). His methodology
as a leader was established at this point, explained to
this author in a 2006 interview: You come to the
bandstand and you ask Whats the problem? Is
anybody not functioning properly? And if everyones
functioning properly, theres no need for you to enter
and to play because it already sounds good and you
wouldnt want to spoil it. But if after some time you
feel that the music could use some assistance, thats
when you enter and assist until the music is going well
and then you can drop out and save yourself for
another time when assistance is needed.

In 1964-65 Bley made a pair of albums for ESPDisk, Closer and Barrage, featuring the compositions of
then-wife Carla Bley (in the late 60s-early 70s, he
would feature the writing of second wife Annette
Peacock in projects where both played Moog synths).
His mid 60s-70s discography includes releases for
Fontana, Limelight, Polydor, Milestone, SteepleChase
and both the beginning of a long relationship with
ECM Records (a 2008 solo recording, Play Blue: Oslo
Concert, was released in 2014) and records made for his
own Improvising Artists, Inc., which included
collaborations with Lee Konitz, John Gilmore, Jaco
Pastorius and Giuffre. Many of his later records were
solo affairs but whenever he was part of a group, his
earlier methodology had turned cantankerous. I love
attack. Its rare; attack is really rare these days. It used
to be normal in the 50s and 60s. Destruction was one
of the key tools to improvisation...the idea is to unseat
the other person and to destroy their playing and see
how they respond to attack. That keeps the blood
flowing and the brain turning.
GIORGIO GOMELSKY (Feb. 28th,

1934Jan. 13th, 2016) The musical jackof-all-trades was best known for
managing rock bands like The Rolling
Stones and The Yardbirds but also, via
his Marmalade Records, releasing
important albums by John McLaughlin,
John Stevens Spontaneous Music Ensemble and Brian
Auger and being an early supporter of Soft Machine.
Gomelsky died Jan. 13th at 81.
JOE HARRIS (Dec. 23rd, 1926Jan.
27th, 2016) The drummer was a member
of Dizzy Gillespies late 40s-early 50s
bands, also working with Charlie
Parker separately at the time and then
Bud Powells trio in the early 60s, and
went on to compile an extensive
discography with Teddy Charles, George Russell, Rolf
Ericson/Benny Bailey, Freddie Redd, James Moody,
the Clarke-Boland Big Band, Milt Jackson and Nathan
Davis, much of it after a move to Sweden. Harris died
Jan. 27th at 89.
ALAN HAVEN (Apr. 1st, 1935Jan.
7th, 2016) The British organ player was
best known for his work with James
Bond film scorer John Barry but released
several jazz albums in the 60s on
Fontana and also appeared on the 1968
Ben Webster album Big Ben Time. Haven
died Jan. 7th at 80.
Jan. 7th at 93.
KITTY KALLEN (May 25th, 1922Jan.

7th, 2016) The Swing to Big Band Era
popular vocalist worked with Jimmy
Dorsey, Harry James, Tommy Dorsey,
Artie Shaw and Jack Teagarden and
released several albums of her own
from the mid 50s-mid 60s. Kallen died
JANUSZ MUNIAK (Jun. 3rd, 1941

Jan. 31st, 2016) The saxophonist came
up in his native Poland in the mid 60s
and was a member of countryman
trumpeter Tomasz Stankos early 70s
quintet and also worked with many
other Polish jazz musicians over the
years to complement a handful of recordings in the
90s-00s. Muniak died Jan. 31st at 74. v
CD REVIEWS
Dialogue
Myra Melford/Ben Goldberg (BAG Productions)
by Brian Charette
G uggenheim Fellow Myra Melford is a one of a kind
composer with a style informed by everything from

Buddhism to Aikido. The pianists new album is the
aptly-titled Dialogue with clarinetist Ben Goldberg,
13 short pieces by both, abounding in lovely melodies
and unconventional harmony. You cant quite place
what fantasyland the ethereal music comes from but it
has an earthiness and unmistakable bluesy tinge.

The opener, An Unexpected Visitor, begins with
meandering solo clarinet not afraid to squeak once in a
while. The complexity of the sound is augmented by
the metal-on-cork-pad noise of the keys. Melford
enters in unison, gently starting and stopping with
crunchy chords underneath. The piano has a great
sound and is the perfect canvas for Melfords gypsy
melody. The rhythm gets more urgent in the clarinet
before the piano emerges in the high register with
tremolo comping from Goldberg. As the piece ends, a
brief unison sounds with descending left-hand shell
voicings from Melford. Atonal counterpoint starts
The Kitchen, clarinet chiming single notes as a fugal
fit ensues in the piano below. Goldberg slowly gets
more active with micro-tonality and false fingerings as
Melford slows and stops. Both reenter with a Middle
Eastern melody before venturing into avant garde
realms with stabbed chords and shouty clarinet. A
short coda clarifies the din and closes the piece.

Goldberg brings five original compositions to the
disc. The most striking is the surprisingly traditional
Anymore, his ballad playing well informed by early
New Orleans jazz and Melford adding to the piece by
slyly referencing early American piano styles. The
great awwwww sound at a blown riff from Goldberg
cements the old time feel. Its great to hear two navigate
the standard jazz harmony with ease. The stock
cadence is the perfect ending for this tightly organized
selection of beautiful duos.
For more information, visit bengoldberg.net. Melford is at
Village Vanguard Mar. 1st-6th. See Calendar.
Doors: Chicago Storylines

Caroline Davis Quartet (ears&eyes)
by Donald Elfman
Doors is a spirited celebration, a tribute to the

longevity of jazz; in particular, it documents, via the
recollections of players, the history of some 20 years of
music, musicians and venues in Chicago.

Saxophonist/composer Caroline Davis quartet
guitarist Mike Allemana and bassist Matt Ferguson,
associates of renowned Chicago saxophonist Von
Freeman, and drummer Jeremy Cunningham, who
Davis met at a venue run by Freemanare the musical
core of the proceedings but are complemented by three
guests and the voices of the citys players. Out of an
opening recollection about the uniqueness of the time

and community comes a beautiful melody, Golden
Era, voiced by Chicago Symphony cellist Katinka
Kleijn in unison with the wordless vocal of Davis and
the deft percussion of Cunningham, all supported by
the band and trumpeter Russ Johnson. Its a loving
paean to bygone days and nod to the timelessness of
melodic and harmonic invention.

Words and music continue to go hand in hand.
Lincoln Land remembers Lincoln Avenue in a
melody both imaginative and, ultimately, groovebased and bluesy. Allemana solos with verve over the
pulse of Ferguson and Cunningham and is followed by
Johnson sailing triumphantly through the changes and
powerful rhythm.

Davis shines as a soloist in Lin, a loving response
to Chicago saxophone legend Lin Halliday, magically
pairing with pianist Ron Perrillo. The late Freeman is
heard speaking before Rounds: For the Horses, then
Davis and her cohorts take a hypnotic five-note motif
and develop it under a powerful groove. Davis soars in
her solo and the band plus Johnson riff, leading to a
sinuous guitar solo. The musical and oral celebration
in Doors is vital evidence that the tradition and
community from Chicagos past are still thriving today.
There are a couple of instrumentals in the mix as well:

guest keyboardist Marc Cary penned the vivacious So
Gracefully while a pulsating Bo Diddley beat drives
the funky Sophisticated Alice written by Don Pullen.

Hughes is a dynamite cellist who plays with soul
and verve. Her voice is average but she supplements it
by knowing how to sing with the strong emotions one
hears in her playing. One small problem is that
sometimes her voice is swallowed up by the production.
But thats a speed bump. New York Nostalgia is a
danceable, thought-provoking and entertaining album.
For more information, visit marikahughes.com. This project
is at Joes Pub Mar. 14th. See Calendar.
For more information, visit earsandeyesrecords.com. Davis is

at The Stone Mar. 5th and Fat Cat Mar. 11th. See Calendar.
New York Nostalgia

Marika Hughes (Hopscotch Dreams)
by Terrell Holmes
Cellist/vocalist Marika Hughes draws on a rich

musical heritage and cultural background on New York
Nostalgia, a bittersweet tribute to the city and music
that shaped and defined her. Hughes is accompanied
by her band Bottom Heavy: violinist Charlie Burnham,
guitarist Kyle Sanna, bassist Fred Cash Jr. and drummer
Tony Mason.

This diverse and heartfelt backward glance begins
with a trip to the dance floor via Chapter 4. Hughes
breathily sings the enigmatic lyrics above a galloping
disco beat recalling the best of Donna Summer. If this
song is a snapshot of a genre, others are more personal
reminiscences. Hughes references Gil Scott-Herons
urban poetry on the gritty Click Three Times,
a cautionary tale of how an encroaching drug plague
infringed on landscapes and friendships as she grew
up. This is the Sound is a more lighthearted
reflection, when getting high was emotional and
liberating instead of enslaving.

Hughes also looks at love in different forms and
stages: Fools Gold, anthemic and gospel-inspired,
deals with a relationship that may or may not blossom;
the Country-Western melancholy of Dream It Away
peeks in on a relationship at the beginning stages of
ending; the slow sad waltz of cello and violin embody
parting lovers in the brief, somber farewell For the
Last Time.

There is no genre in which Hughes isnt at home.
Guest Doug Wambles nasty slide guitar underscores
Hughes growling, live-for-the moment vocals on the
smoking blues No Dancing. Cello, violin, electric
guitar and percussion blend seamlessly on Single
Girl, a snapshot of loneliness and longing enhanced
by Hughes Judy Collins-inflected singing. And theres
the old-fashioned charm of A Kiss is Just as Sweet as
it Gets, an elemental and irresistibly delightful ditty.
ANGELICA
SANCHEZ
STONE RESIDENCY
MAR 15-20, 2016
Ave C, 2nd St. NYC, $15 per set

MARCH 15
8 pm Guillermo Gregorio, Kirk Knuffke, Kevin Norton,
Angelica Sanchez
10 pm Kenny Wessel, Omar Tamez, Angelica Sanchez
MARCH 16TH
8 pm William Parker, Pheeroan Aklaff, Angelica Sanchez
10 pm - Angelica Sanchez Trio with
Michael Formanek and Tyshawn Sorey
MARCH 17TH
8 pm - Angelica Sanchez, Judith Berkson,
Mark Helias, Satoshi Takeishi
10 pm Angelica Sanchez Trio with
Michael Formanek and Tyshawn Sorey
MARCH 18TH
8 pm Tierra Mestiza: Angelica Sanchez/Omar Tamez
10 pm Magico: Vincent Chancey, Angelica Sanchez, Omar Tamez
MARCH 19TH
8 pm Malaby/Sanchez/Rainey Trio
10 pm Fortuna: Omar Tamez, Harvey Sorgen, Steve Rust
MARCH 20TH
8 & 10 pm Angelica Sanchez Nonet with Thomas Heberer,
Kirk Knuffke, Chris Speed, Michal Attias, Ben Goldberg,
Omar Tamez, John Hbert, Sam Ospovat
ANGELICASANCHEZ.COM
THESTONENYC.COM
Sounds and Cries of the World

Jen Shyu & Jade Tongue (Pi)
by Ken Waxman
Vocalist
and multi-instrumentalist Jen Shyu, one of

many musicians of Asian heritage interpolating
currents from Eastern cultures into American-based
improvised music, approaches the task earnestly,
rejecting surface exoticism. While she may sing in
Javanese, Korean, Tetum (from East Timor), Indonesian
or English, no attempt is made to reproduce traditional
frameworks. Besides piano, she accompanies herself on
gat kim (2-string Taiwanese lute), gayageum (12-string
Korean zither), kkwaenggwari (Korean gong) and
kemanak (Javanese idiophone), integrated with Mat
Maneris viola, Ambrose Akinmusires trumpet,
Thomas Morgans upright bass and Dan Weiss drums.

On Blooms Mouth Rushed In and Aku Yang
Lahir Dari Air Mata | Bw Sid Asih, Shyus soaring
yelps are doubled by Akinmusires glossy effervescence
and she appropriates bell-shaped tones when
singing the English lyrics to Mother of Time.
Vocalizing in Korean on the same tune, Shyu swallows
her tones yet is in perfect sync with desolate idiophone
cracks. Her double-tracked delivery on the mystical
She Held Fire is amplified by strident trumpet notes
and reinforced by drum beats, so that the message
becomes as affecting as grieving widows wails.

The capstone comes with pieces about the East
Timor wars: Rai Nakukun Ba Dadauk Ona and Song
for Naldo. The former, sung in Tetum as she wallops
the piano keys, is as theatrically wrenching as a gospel
preacher testifying. Shyu is equally impassioned in the
Tetum lyrics for Song for Naldo, but when switching
to English pure anger pours through her recitation of
the atrocities inflicted on the East Timorese people.
Western instruments insert melancholy stresses on the
concluding Thoughts of Light and Freedom,
providing closure to the previous vocal passion.
For more information, visit pirecordings.com. This project
is at Roulette Mar. 28th. Shyu is also at The Met Breuer
Mar. 6th. See Calendar.
Spark
Hiromi (Telarc)
by Elliott Simon
S park is a high-energy release from pianist Hiromi and

her Trio Project of six-string bass guitarist Anthony
Jackson and drummer Simon Phillips. Many of these
nine tunes, more aptly called excursions, begin with
Hiromi stating and restating a catchy riff that Jackson
and Phillips support and color. Even without the
occasional keyboards, the trio sounds larger than it is.

The title cut begins with a deceptively innocent
toy-like piano solo, which turns into a wide keyboard
vista over which Hiromi throws out her first riff. The
rhythm section then provides the Spark that shatters
the innocence through a powerful musical statement.
Crisp drumming matches Hiromis rapid percussive

style in both precision and speed, a repartee defining
several tunes. This refrain continues on the quickstepping In a Trance, Phillips and Hiromi showcasing
powerful chops as the tune morphs into a Latin burner.
Both Take me Away and Indulgence are
respites. The former benefits from a lovely free-floating
piano figure while the latter is a leisurely forum for
Jackson and Hiromi to explore time. The pace picks up
again with Wonderland, a stylistically diverse tune
centered on Phillips tuned toms, before Dilemma, a
standout, dramatically alternates muscle and nuance
to delve into uncertainty. Jacksons pump and Hiromis
keyboards flaunt carefree funkiness on What Will Be,
Will Be before Wake Up and Dream, a surprisingly
tender solo piano piece, presages the upbeat
togetherness of closer Alls Well. Spark draws its
energy from the interaction of Hiromis precision,
clarity and speed with Phillips detail-oriented
drumming and Jacksons unique melodic facility for an
exciting, well-put together statement.
For more information, visit concordmusicgroup.com. This
project is at Highline Ballroom Mar. 30th-31st.
Back Home
Melissa Aldana (Word of Mouth Music)
by Thomas Conrad
There is a buzz on the street about Melissa Aldana. In

2013 she won the Thelonious Monk Competition and
placed first in the Rising Star/Tenor Saxophone
category of the DownBeat Critics Poll in 2015.

The buzz is legit. Back Home is her second album in
the pure, austere format of the saxophone trio, where
there is nowhere to hide. Aldana has the goods: an
abundance of stimulating ideas; improvisational
instinct for whole forms; patience and timing of a
natural storyteller. The first and last tracks, Alegria
and Back Home, are tributes to Wayne Shorter and
Sonny Rollins, respectively. The former deals with the
complexities of joy and starts with a celebratory outcry
that soon contains yearning; one link to Shorter is that
Aldana phrases asymmetrically, in bursts between
cryptic pauses. The latter is somewhat like a stop-andstart Rollins calypso and also recalls the saxophonist in
its wit and extravagance, its endless variations flowing
like a river. But Aldana sounds like herself. She likes
the upper register. Her tone and touch are subtle, clear
and firm. She rarely wastes notes.

Her colleagues here, bassist Pablo Menares and
drummer Jochen Rueckert, are full creative participants.
They wrote four of the tunes and Aldana wrote four
others. Menares Desde La Lluvia and Rueckerts
Obstacles show, respectively, that this trio can swing
intensely within a halting waltz or fly at several high
speeds. The only standard is Kurt Weill-Ira Gershwins
My Ship. It is a paradoxical truth that jazz musicians
often reveal more about themselves in great songs
written by others than in their own compositions. The
freshness of Aldanas conception, her airy freedom
with melody, is fully apparent.

A huge plus is the recorded sound achieved by
engineer James Farber at Sear Sound in Manhattan, the
trio set up in one room, with no isolation. This approach
entails risks, but here it works beautifully.
For more information, visit wommusic.com. This project is
at Birdland Mar. 30th-31st. See Calendar.
UNEARTHED GEM
Sophisticated Abbey (Live at the Keystone Korner)

Abbey Lincoln (HighNote)
by Anders Griffen
Abbey Lincoln first built her presence in the jazz

world in the 50s. While she didnt maintain her
prominence much later than 1962 (until signing with
Verve in the early 90s), it would be a mistake to
think she was idle. Throughout the 60s, Lincoln
continued to be a dedicated activist while her acting
career thrived. In 1964, she co-starred with Ivan
Dixon in Nothing But A Man and in 1968 with Sidney
Poitier in For Love of Ivy. The 70s found her back in
Los Angeles, where she conducted research and did
writing that would inform much of the music she
was yet to create. She also made numerous stage and
TV appearances (including episodes of All In The
Family and Mission Impossible and Black Omnibus
hosted by James Earl Jones), was an Assistant
Professor at California State-Northridge and traveled
to Africa with Miriam Makeba where she was given
the name Aminata by the President of Guinea and
Moseka by Zaires Minister of Information.

Her work wasnt always musical in nature, but
all of her efforts are at some point reflected in her
music, whether in her lyrics or the way she embodies
a song. As radio host David Jaye observes in his
notes to this album, she becomes the lyrics, she
breathes out deeply felt wordssometimes weaving
a labyrinthine set of emotions eliciting long-dormant
memories, fears and joys of our own. This was
Lincolns strength and she worked diligently to
develop it, including a longtime study of etymology;
she had a sophisticated understanding of a words
history and meaning. This increasingly informed
her performances as well as her lyrics. Ultimately,
her intellect served the expression of her soul.

This appearance at Keystone Korner marks the
beginning of Lincolns music reclaiming the
vanguard of her livelihood. She recorded Painted
Lady (Blue Marge, or Golden Lady on Inner City) with
Archie Shepp on Feb. 4th, 1980, one month before
this performance, and that original song swings
hard to open this set. Her association with pianist
Phil Wright dates back to 1957 and the whole group,
completed by James Leary (bass) and Doug Sides
(drums), displays tremendous rapport. Long As
Youre Living, an Oscar Brown, Jr. song Lincoln
originally recorded for her 1959 release Abbey Is Blue
is a blues groove in five. The band really gets into it
and Sides plays a fantastic solo over the piano and
bass. There are a number of spectacular ballads
where Lincoln employs punctilious textures and
Wright mines the harmonies with inventive
improvisations that continually engage the listener.
Lincolns People In Me brings the tempo up again
in its celebration of diversity. She also does her
unique renderings of God Bless The Child and
Stevie Wonder s Golden Lady. The medley of
The Nearness Of You/For All We Know is a
highlight in an outstanding set. With great live
sound in an intimate setting, a nuanced program
and a killing band, this is truly an unearthed gem.
For more information, visit jazzdepot.com
15
United
Dena DeRose (HighNote)
by Ken Dryden
Dena DeRose has grown into one of the most

acclaimed pianist/vocalists in jazz during her two
decades-plus as a professional. Although on faculty at
the University of Performing Arts in Graz, Austria for
several years, she still finds time on a regular basis to
tour the U.S. and record. United reunites her with
longtime collaborators Martin Wind (bass) and Matt
Wilson (drums), as well as guest appearances by
trumpeter Ingrid Jensen and guitarist Peter Bernstein.

DeRoses setlist is full of hidden treasures. She
begins with a blistering take of Wayne Shorter s title
track, for which she penned an upbeat lyric, soloing
with gusto as she shares the spotlight with an equally
inspired Jensen. Her intimate, spacious interpretation
of Only the Lonely is reworked into a soft samba
showcasing Bernstein. DeRose also wrote words to
Cedar Waltons Clockwise, though her intricate
piano is the dominant factor in this twisting postbop
piece. DeRose has been a long time fan of singer/
songwriter Carol King and the glistening arrangement
of So Far Away is occasionally spiced with a bit of
reverb in the vocal, adding emphasis to the distance
between the singer and her love. Gorgeous
arco bass introduces Winds original ballad Simple

Song of Love, DeRoses heartfelt lyric and delicate
arrangement adding to its considerable beauty.

Horace Silver is a master composer of hardbop, but
Peace (for which he also wrote the lyric) proves his
mastery of ballads; DeRoses shimmering chart makes
ample use of space, featuring both Jensens muted and
open horn, then a sudden switch to uptempo
accompaniment of her still dreamy vocal. Bernstein
returns for a driving setting of Sunny in which both
he and DeRose swing hard without playing to excess.
DeRoses brief solo rendition of the witty ballad Not
You Again provides the perfect conclusion.
For more information, visit jazzdepot.com. DeRose is at
Birdland Mar. 31st. See Calendar.
Trying To Figure It Out

Grace Kelly (PAZZ)
by Mark Keresman
Alto saxophonist Grace Kelly (born 1992) has

accomplished much for one so young: shes studied
with Lee Konitz and Jerry Bergonzi; performed with
Esperanza Spalding and Jon Batiste; and co-helmed
albums with Konitz and Phil Woods. While some of
her previous platters have been blazing hardbop,
New from
ARBORS RECORDS
Great Jazz Lives On

Becky Kilgore and Nicki Parrott:
Two Songbirds of a Feather
Becky Kilgore and
Nicki Parrott showcase
their original vocal styles
performing the American
popular songbook with
their unique flair.
ARCD 19447
51 S. Main Ave., Suite 301, Clearwater, FL 33765
Phone: (727) 252-00123 Fax: (727) 466-0432
Toll Free: (800) 299-1930
E-mail: mrd@gate.net www.arborsrecords.com
U.S. and Canada distribution by Allegro
Trying To Figure It Out is a declaration of (stylistic)

independence as she interweaves an assortment of
approaches for, dare one imply, a crossover effort.
Wait, dont goKelly is not selling out; shes
bringing varied aesthetic strains together (including
some commercials ones) for an album worthy of that
mythical Wider Audience without sacrificing
musicality. There is some fine alto playing in the
context of sinuous funky grooves and balladry;
seductive singing and some slightly retro noir-ish jazz
textures. Opener Blues for Harry Bosch features
dialogue from the titular Amazon TV series and
restrained yet searing blues-rich playing from Kelly
over a shimmering backdrop that mixes movie music
with the funkier side of fusion circa the early 70s.
Theres straightahead lyricism on the restive Blues for
KC and the slightly free/out-inflected Somewhere
Over the Rainbow in which Kelly, with her somewhat
pinched, cutting tone, reaches the dizzying heights
and harrowing depths of late-period Art Pepper s
ballad playing.
The Other One is a hip-hop influenced pop
ballad, Kellys voice a mix of girlish lust and womanly
assuranceif I were talking to Dick Clark, Id tell him
this was the pick to click on the charts, with her
bittersweet saxophone evincing itself on the outro. The
original Amazing Grace is an engaging, slightly
loping strut deserving to be on smooth jazz radio
playlistsbut make no mistake, Kelly is very soulful
here, her rich, tart tone full of the same home-made
gravy as Lou Donaldson and David Sanborn.

Trying To Figure It Out is a fine, varied set full of
appeal beyond the hardcore jazz audience without
skimping on quality one bit.
For more information, visit gracekellymusic.com
Moxie
Jessica Jones Quartet (New Artists)
by Marc Medwin
Theres a wonderful passage in Jack Kerouacs Visions
of Cody where he talks about Lee Konitz playing April

in Paris as if it were the room he lives in. If there is a
New Artists aesthetic, it is not simply to be found in
that often-explored place where freedom and form
merge. Every inventive musician travels that terrain.
Its more about the direction from which that conjoining
is approached. New Artists artists tend to work from
the tunes inside outward and this new one from
saxophonist Jessica Jones exemplifies that approach.

For a taste of the complexities on offer, check out
Manhattattan, a previously recorded Jones tune
revamped and reharmonized for this date. Listen to
drummer Kenny Wollesens delicate but forceful rolls
as the duo of Jessica and husband/fellow saxophonist
Tony Jones glide through the newly tri-toned head.
Wollesen and bassist Stomu Takeishi place time and
swing in a zone halfway between pulse and stasis,
pulling the music in and out of easy grasp, as do the
newly minted harmonic ambiguities. The same holds
true for the quartets take on In a Sentimental Mood,
where Takeishi and Wollesen are even freer. Its easy,
especially on first hearing, to float away down a non-
temporal stream as the downbeat blurs, melts and

returns in a haze of string-against-fingerboard and
high-hatted and brushed syncopation.
Everything is summed up by the title track, a
grinding funky romp through controlled freedom. On
paper, it shouldnt work, as bass and drums create an
edifice of granite fours, fives, sevens and eights over
which the relatively soft-spoken saxophone duo solos.
Yet, as the latter wend their way forward, creating
gorgeous harmonies and unisons, it blazes a sweet and
bluesy trail complementing the groove. Rhythmic
looseness is there, harmonies are implied with varying
strength and all is supported by a rock-solid foundation.
This is a really fine disc, a perfect blend of nuance and
raw unadulterated expression, possibly the best this
quartet has offered so far.
For more information, visit newartistsrecords.com
Because of Billie
Molly Johnson (Universal)
by Marcia Hillman
The
first thing that strikes one upon listening to

Canadian vocalist Molly Johnson is her startling
resemblance to Billie Holiday: the heartbreaking catch
in her voice and sultry delivery. But as Johnson claims
on the album cover, she is not imitating Billie, but is

Because of Billie. This tribute contains 14 songs with
which Holiday was associated, including five she had a
hand in writing (God Bless The Child, Fine And
Mellow, Lady Sings The Blues, Now Or Never
and Dont Explain). Accompanied by a strong rhythm
section of pianist Robi Sotos, bassist Mike Downes
(who did the arrangements and also performs on
trombone) and drummer Terry Clarke, the recording
also includes guest spots for tenor saxophonist John
Johnson, alto saxophonist/clarinetist Colleen Allen and
trumpeter Bryden Baird.
Similarities aside, Johnson possesses a more
powerful vocal instrument than her idols soft and little
voice. Her version of God Bless The Child illustrates
this with an edginess more reminiscent of Dinah
Washington, building to an angry and intense last
chorus. There is also her sense of fun as heard in What
A Little Moonlight Will Do and Them There Eyes
the latter done in a New Orleans marching band
treatment with background vocals from members of the
band. Fine And Mellow is done in a call-and-response
arrangement, much like the version done by Holiday
and Lester Young. Johnson performs the iconic Strange
Fruit with just one straightforward chorus reading and
lets the powerful lyrics do their work. Worth mentioning
is Sotos, who contributes a reharmonization of chords
on You Go To My Head and a swinging solo on You
Cant Take That Away From Me.

Closing the album is a rendition of the killer Dont
Explain, on which Johnson most sounds like Holiday
and almost makes your heart break. This CD definitely
deserves a place alongside any Billie Holiday album
you have in your collection.
For more information, visit universalmusic.ca
Tuesday March 22nd 9pM

cd release concerT
KoncepTions Music series
aT Korzo
667 5Th avenue, BrooKlyn
DITMAS QUARTET:
BUTTERflIES AnD ZEBRAS
MIchAl ATTIAS, AlTo
EvA novoA, pIAno
MAx JohnSon, BASS
JEff DAvIS, DRUMS
DITMAS QUARTET: BUTTERflIES AnD ZEBRAS

RElEASED on fRESh SoUnD nEw TAlEnT
17
Hiromi
S P A R K
Dont Just Sing (An Anthology: 1963-1999)

Karin Krog (Meantime-Light in the Attic)
The Best Things In Life
Scott Hamilton/Karin Krog (Stunt)
by Alex Henderson
Busking
Hlne Labarrire/Hasse Poulsen (Innacor)
by Andrey Henkin
K arin Krog is not as well known in the United States Buskingfamiliar
Famed pianist/composer
Hiromi traces the SPARK
of inspiration on her
highly anticipated new
album. Features the
return of The Trio Project
with contrabass guitarist
Anthony Jackson &
drummer Simon Phillips.
SEE HIROMI
& THE TRIO PROJECT
LIVE
Highline Ballroom,
March 30th & 31st
2 shows each night
Info: 212.414.5994 or
highlineballroom.com
hiromimusic.com
as she in Europe, where the Norwegian singer has

enjoyed an enthusiastic following since the 60s. Those
familiar with her work know her to be an expressive,
broad-minded singer capable of performing a wide
variety of jazz.
Krogs versatility is very much in evidence on
Dont Just Sing (An Anthology: 1963-1999). Krogs early
influences include Billie Holiday and Cool School
favorites such as Anita ODay, Helen Merrill and Chris
Connor but Krog also takes inspiration from
instrumentalists like John Coltrane and Anthony
Braxton. This collection of recordings finds her
embracing everything from modal postbop on John
Coltranes Psalm (from A Love Supreme), Herbie
Hancocks Maiden Voyage (Krog sticking to wordless
vocalizing in a spirited 1968 performance) and the
John La Touche-Jerome Moross standard Lazy
Afternoon to avant garde jazz like Glissando and
Tystnaden (both Krog originals). A Latin flavor
asserts itself on pianist Steve Kuhns Raindrops,
Raindrops, which takes Krog into fusion territory,
while Cloud Line Blue (which Krog wrote with
saxophonist John Surman) hints at the AACM school of
outside expression.

Most of the musicians heard on Dont Just Sing are
Scandinavian, such as Norwegian saxophonist Jan
Garbarek and Danish bassist Niels-Henning rsted
Pedersen. But some Americans join Krog as wellmost
notably ex-pat tenor saxophone giant Dexter Gordon
on Berndt Egerbladhs Blue Eyes and Bobbie
Gentrys Ode to Billie Joe (both recorded in 1970),
the latter done in a bluesy soul-jazz mode.

Krog shows a very different side of herself on The
Best Things in Life, a 2015 date co-led with American
tenor saxophonist Scott Hamilton when he visited
Copenhagen (also on board are pianist Jan Lundgren,
bassist Hans Backenroth and drummer Kristian Leth).
Krog easily adapts to Hamiltons swing/bop outlook,
delivering solid performances on standards like Jack
King-Dorothy Parker s How Am I to Know, Vincent
Youmans Sometimes, Im Happy and Buddy
Desylva-Lew Brown-Ray Hendersons title track.

Parts of The Best Things in Life are clearly done in
homage to Billie Holiday, especially Jimmy McHughDorothy Fields I Must Have That Man, Porter
Grainger s Aint Nobodys Business If I Do and
Harry M. Woods What a Little Moonlight Can Do
and there are times Hamilton and Krogs interaction
recalls Holidays legendary collaborations with tenor
saxophonist Lester Young.

Krog lays out on Matt Dennis Will You Still Be
Mine, Erroll Garner s Shake It, But Dont Break It
and Carl Fischer s Well Be Together Again but the
strong chemistry that Krog and Hamilton enjoy
demonstrates that bringing them together as co-leaders
was an excellent idea.

If Krogs long career has taught us one thing, it is
that trying to pigeonhole her is an exercise in futility.
Krog has many different tricks up her sleeve and
whether she is embracing bop, Tin Pan Alley standards,
fusion, modal jazz or free-form improvisations, she has
been a valuable contributor to vocal jazz for decades.
For more information, visit karinkrog.no and sundance.dk
to any resident of a major city,

whether it is Gypsy accordion (Le Mtro), Nortea
guitar (MTA) or even traditional urhu ()has
its etymological roots in the 17th century verb busquer,
meaning to travel around, applied to itinerate
merchants. French bassist Hlne Labarrire and
Danish guitarist Hasse Poulsen may play in an
instrumental format found underground on tunes
accessible to the change-throwing masses but this is
not often easy-going fare for the morning commute.

On pieces known to American listeners, Labarrire
takes the melody on Leonard Cohens Take This Waltz
(recalling the Canadian vocalists timbre beautifully),
The Beatles Lucy in the Sky with Diamonds and
Alanis Morissettes Hand in my Pocket while Poulsen
recreates the vocal lines of Feists Let it Die and Bob
Dylans Farewell. Besides one Poulsen original, the
program is filled out by eclectic choices: Special to Me
from the 1974 horror musical Phantom of the Paradise;
Formidable by modern Belgian pop singer Stromae;
and, perhaps in homage to the pairs respective youth,
Les uns contre les autres from 80s French chanteur
Michel Berger and Stjerne til Stv by 80s Danish
singer-songwriter Sebastian.

Poulsen plays his guitar either as an acoustic or
runs it through an amplifier and effects throughout the
album, sometimes even within the same song. This
variable determines whether a song is pretty or
interesting, a terrible simplification to be sure (Lucy
in the Sky with Diamonds, that marvelous ode to
turning on, tuning in, dropping out, manages to be
both, with a nightmarish three-minute interlude in a
five-and-a-half-minute rendition). In the former group,
the by-the-fireplace warmth Labarrire gets from her
instrument is key while the latter pieces are driven by
Poulsens left-of-center plinkiness.

Most of the ten tunes fall in the five-to-six minute
range, with Take this Waltz under four and
Farewell not even three. This makes for a pithy
album, whose charm and unusual premise doesnt
overstay its welcome.
For more information, visit innacor.com
LESLIE PINTCHIK TRIO

Saturday, March 19th
Sets at 7:30 PM, 9:30 PM and 11:30 PM
Bar Next Door
129 MacDougal Street, NYC (212) 529-5945

...a gorgeous display of the trio...
WBGO
Leslie Pintchik - piano
Scott Hardy - bass
Michael Sarin - drums
NEW CD
TRUE NORTH
available on March 25th
at Amazon and iTunes
www.lesliepintchik.com
Tenderly
Stacey Kent (OKeh)
by Andrew Vlez
For some time Stacey Kent has been demonstrating her
understanding of the Great American Songbook and

complete simpatico with Brazilian music. Tenderly is
her latest outing, opening with Sammy Cahn-Benny
Carters gem Only Trust Your Heart totally refreshed
with bossa rhythms and the irresistible sound of
Roberto Menescals guitar. Also on hand is Kents
husband/longtime musical partner Jim Tomlinson,
who blows in on tenor saxophone for an expressive
chorus. Tomlinson, evocative emotionally and himself a
master of Brazilian sounds, is also capable of steely
moments reminiscent of Stan Getz. Together these three
make for a gently powerhouse trio.

Menescal, the recipient of the Lifetime Achievement
Award at the 2014 Latin Grammy Awards, is one of
Brazils most important 20th Century musical figures.
As a composer, guitarist, producer and a founding
father of Bossa Nova, his importance to contemporary
Brazilian music cannot be overstated. Kent is a lyricists
dream singer. On No Moon At All, she seems to
savor every word. There is a relaxed clarity that has a
fun edge of flirtatiousness. Oh, yes, and she swings.
Turning a bit more serious, she follows with If Im
Lucky, a rediscovered Edgar DeLange-Josef Myrow

treasure on which Menescal has a long, beautiful solo.
Together they sail through Menescals Agarradinhos,
on which Kent shows just how brilliantly and
completely at ease she is in Portuguese.

Each Kent and Menescal duet is just SO easy whether
it be Tangerine, a holdover from the Big Band Era, or
Ray Nobles oldie The Very Thought of You. Tomlinson
wafts in on the latter as welcome as a warm breeze.
Together each of the three becomes a reflecting part of the
other two. Their total affability throughout has a relaxed
intimacy and mutual appreciation.
For more information, visit okeh-records.com
NYC Five
Angelika Niescier/Florian Weber (Intakt)
by John Sharpe
Although jazz is a worldwide phenomenon, New York

still exerts a strong pull on musicians from across the
globe. Poland-born Germany-based saxophonist
Angelika Niescier is no stranger to The Big Apple. Her
first documented outing with its denizens was as long
ago as 2011s Quite Simply (Enja), which also featured
Tyshawn Sorey, the drummer on this new studio
session. Co-leader pianist Florian Weber, likewise based
in Cologne, is similarly familiar with the Atlantic

crossing. He studied at Berklee with Paul Bley and
Joanne Brackeen, as well as Lee Konitz, with whom he
has since regularly recorded. To complete their NYC
Five they have enlisted three of the citys best, bassist
Christopher Tordini and trumpeter Ralph Alessi
rounding out the quintet alongside Sorey.

Three compositions from the pen of each principal
form a program sitting comfortably in the modern
mainstream, though the attention to detail and nuance
in the writing is far from commonplace. Together they
display an egalitarian group ethos in which neither of
the leaders stands out more than anyone else. While
everyone gets their turn to strut their stuff, it is usually
as part of the fabric of the pieces, as when Sorey
unleashes a rumbling churn under a locomotive vamp
at the conclusion of the flagwaving opener The Barn
Thing. Earlier in the same cut, Niescier demonstrates
her chops as undulating legato lines beseech and wail
with barely suppressed energy.
Webers finest moment comes in the medium
tempo ballad Invaded where sparkling and tuneful
piano moves forward into rippling glissandi. Alessi
proves a fine foil for Niescier, alternately astringent
and lyrical, pushing a careworn melodicism on the
mournful ballad Parsifal. The band utilizes the
intricate but gripping charts to the full in their
accomplished interpretations. Case in point is Niesciers
unusually constructed The Liquid Stone, where her
circular-breathed patterns are referenced not only by
Alessi during his solo, but by Weber in his comping
behind the trumpeter. With such successful integration,
Niescier and Weber look set to remain frequent visitors
into the future.
For more information, visit intaktrec.ch
19
This Love
Kaja Draksler/Susana Santos Silva (Clean Feed)
If Nothing Else
Susana Santos Silva/Torbjrn Zetterberg/
Hampus Lindwall (Clean Feed)
by Ken Micallef
Lisbon-based trumpeter/flugelhornist Susana Santos
Silva is an extremely busy global musician who leads

or co-leads various groups of different sizes, but
always with her confident, nearly free approach as the
focus. Her sound is liquid yet fiery, resonant, strong
and flexible and her sharp command of the instrument
is typically expressed in creative improvising situations
where an ability both to blow torrents of sound and
compose compact melodic statementsall entirely in
the momentmake her a valuable asset in her many
recording and performance roles.

This Love, her duo recording with pianist Kaja
Draksler, is an open experiment. Santos Silva flutters
her trumpet at various rates on opening track Laurie,
the wobbly notes creating a decidedly un-trumpet-like
language that informs the entire recording. By setting
the music adrift, free from obvious trumpet tones and
norms, Santos Silva frees the listener to chart his/her
own course. Draksler chases Santos Silva in Laurie,
framing the trumpeter in flexible, wide-ranging chords
and running notes. Their cat-and-mouse game continues
for most of the CD. In Hymn to the Unknown, what
sounds like an incoming storm abetted by clanging
percussion (samples or Draksler inside the piano?)
serves as a rhythmic bed to Santos Silvas spastic,
middle-range cries; she sounds like a foghorn one
second, a hummingbird in flight the next. Foolish Little
Something resembles a test to see who can hammer the
most notes in the smallest amount of time. Draksler
begins Forgotten Lands with ominous, rolling figures,
to which Santos Silva adds a searching high-wire dance.
Closer You Persevere starts with what sounds like
ropes tightening on the mast of a ship as a long trumpet
note keens over the surface and then abruptly halts.

Santos Silva is accompanied by acoustic bassist
Torbjrn Zetterberg and organist Hampus Lindwall on
If Nothing Else, a haunting work recalling Don Ellis
foreboding soundtrack for The French Connection.
Santos Silvas cries echo from some forlorn space on
Distance, her sound expressing desolation, loss and
fear, held aloft by Zetterbergs exacting bass
improvisations, which are rent by thrumming notes
and dense slashes. Clear melodious trumpet squalls
trace dramatic lines over horror show organ bed in
Atonality, followed by the Bla Bartk-like clamor of
Stop Chords. The trio walks a crochety swing rhythm
in Power Walks, Santos Silva blowing blisters of
peeling notes as organ pumps the swing groove. Here,
Santos Silva projects windy blusters over her
overdubbed single-note spray and the stabbing accents
of organ and bass. Something resembling calm infuses
Fiddling, the organs simple chords recalling a
Catholic Mass yet disturbed by dissonant bass notes.

While much of Santos Silvas music may be outside
the friendly zone for many, there is no denying her
powerful attack, mighty tone and inspired
improvisations. Theres a unique strength in her every
note, a sense of power and precision informed by
fluidity separating her from so many flashy hardbop
stylists and cerebral beauty merchants. Silva presents
great depth, resolve and presence, adding up to a
unique sound and style that demands attention.
For more information, visit cleanfeed-records.com
Two Songbirds of a Feather

Becky Kilgore/Nicki Parrott (Arbors)
by George Kanzler
Separately, Becky Kilgore and Nicki Parrott are both
appealing middle-of-the-road jazz-pop vocalists, in the

vein of the late Rosemary Clooney. They both have
musical taste and a knowing, clever way with a song.
But together, they illustrate the durability of that old
saying, the whole is greater than the sum of the parts,
for this album is a delightful triumph of mainstream
jazz. Kilgore (with slightly deeper tone/timbre) and
Parrott have very similar clean voices, so it is
sometimes hard to distinguish whether they are
harmonizing or singing in unison. Adding to the
spirited feel of the proceedings are the swinging
rhythms of pianist Mike Renzi, drummer Chuck Redd
and Parrotts bass, with Harry Allen upholding the
Four Brothers tenor saxophone tradition and Kilgore
contributing occasional rhythm guitar.

A highlight of the CD is the fetching way the two
voices blend together, especially on the torchy Theme
from Valley of the Dolls, where a plaintive yearning is
intensified by the close harmonies on the last, sad
chorus. The interaction is much perkier on Two Little
Girls from Little Rock, a change from the Little
Girl of the song from Gentlemen Prefer Blondes, the
two singing together and then trading leads, with the
off voice providing exclamatory interjections. Other
winning examples of the blended voices include the
a cappella beginning of When I Grow Too Old To
Dream, with the two again harmonizing over a
churchy swing with Allen and the rhythm section to
take it out; quickfire trades and unison scatting on the
fastest track, Them There Eyes; and a clever shout
chorus of vocalese expanding S Wonderful.

Another plus is the repertoire here, mostly vintage
standards but weighted toward those that havent
worn out their welcome, like A Womans Prerogative
(Is To Change Her Mind), Life Is Peculiar, When
Love Goes Wrong (also from Gentlemen Prefer Blondes)
and They Say Its Spring. And for sheer chutzpah,
you cant beat their reimagining of two old saws,
Bluemoon and Moonglow, which they blend
together seamlessly into one delectable duet.
For more information, visit arborsrecords.com
Eeg Fonnesbk
Sinne Eeg/Thomas Fonnesbk (Stunt)
by Terrell Holmes
A vocal/bass duo is jazz reduced to its essentials.

Singer and bassist must have serious chops and strong
communication to make it work. Danish vocalist Sinne
Eeg has released acclaimed albums in Europe and
Japan and with the release of Eeg Fonnesbaek aims to
captivate American audiences in the same way. With
fellow Dane Thomas Fonnesbk on bass, Eeg takes a
confident stroll among several enduring jazz standards.
Approaching these well-known songs without
command or imagination would be like navigating a
minefield, but Eeg is a fearless, excellent singer. Her
phrasing and intonation makes Willow Weep for Me
sound painfully lived in as she skillfully extends the
lyrics along Fonnesbks brooding melodic line. She
has delicious fun with the table-turning irony (or equal
opportunity) of Evil Man Blues, crowing with the
grinning certainty that, even with her spitefulness, she
is irresistible. She scat-sings with joy on Taking It
Slow (the sole original, written with Fonnesbk),
Summertime and Beautiful Love. On lovely ballad
Fellinis Waltz her voice is reflective, almost regretful.

When performing songs that have been played ad
nauseum some variations are necessary. For example,
Eeg sings the first half of Come Rain or Shine not
directly on its melody but at its fringes. Fonnesbk
plays electric bass on You Dont Know What Love Is
and Body and Soul and Eeg responds to the different
texture with vocals not sung as much as confessed. The
longing in her voice is palpable and theres an openness
and honesty to the sound thats remarkable.

Sometimes Eeg ends songs on unexpected notes.
Fonnesbk might stray away from expected chord
progressions and take a circuitous route back to the
melody. Whats important, though, is that they listen
to each other intently and push to build a stimulating
and coherent dialogue.
For more information, visit sundance.dk. Eeg is at Dizzys
Club Mar. 15th. See Calendar.
The
Shiva
Ayelet Rose Gottlieb (482 Music)
by Elliott Simon
formal grieving period in Judaism is termed

Shiva and literally means seven, a prominent number
in this release. With the tragic deaths of three friends,
vocalist Ayelet Rose Gottlieb looked to both Judaism
and Buddhism, comforted by tradition and the Biblical
concept of Kol Dmamah Daqa, the voice of Thin
Silence. Death is silence and paradoxically it is in
utter silence where you are most apt to find Gods
voice. Gottlieb artfully represents that voice with
strings and a blanket of 49 bells that plays itself as she
elegantly juxtaposes Jewish and Buddhist elements.

Gottliebs vocals are absent until the seventh
piece, Thin Silence, has ended. This is a daring

artistic statement and respects the Shiva period. To get
to the voice in the Thin Silence is, of course, not easy
and first a destructive Wind and Rain storm,
superbly portrayed by percussionist Satoshi Takeishi,
blows through. The ETHEL string quartet is then
hesitantly introduced on Tightrope Walker, which
builds to a fervent climax followed by Earthquake
and Fire. Takeishis improvisations along with the
stellar string quartet are exceptional.

This is an LP-only release and a final physical
effort is required to hear the sound of Thin Silence
that starts after a Jewish/Asian-flavored Question
begins Side Two. Noa Charuvis painting of peopleless ruins, a creation in a different medium also borne
out of anguish, serves as the album cover. Gottlieb is in
powerful vocal form on the final tracks and the string
quartet is an apropos backdrop for the poetic Epilogue:
An Old Toolshed. The remaining songs are vintage
Gottlieb and perhaps represent a return to normalcy
with pianist Anat Fort providing welcome coloration.
A code enables digital download of the LP and the
superbly seductive Leavings, featuring bassist Sean
Conly, as a bonus cut. With Shiva, Gottlieb has
brilliantly created art out of despair.
For more information, visit 482music.com
Latina
Cristina Pato (Sunnyside)
by Alex Henderson
Although bagpipes are hardly the first instrument

that comes to mind when one thinks of jazz (though
the late Rufus Harley played with heavyweights like
Sonny Rollins and Dizzy Gillespie and Paul Dunmall
has released albums of improvised solo bagpipes),
Cristina Pato uses her gaitaa type of bagpipe
associated with Spain and Portugaland, to a lesser
degree, her acoustic piano to perform a wide variety of
world jazz, taking plenty of chances that pay off nicely.

Pato, who grew up in Galicia, Spain and now lives
in New York City, leads a quartet on Latina of Victor
Prieto (accordion), Edward Prez (upright bass) and
Eric Doob (drums). The album title may be a bit
misleading. Rather than offering traditional AfroCuban jazz of the Tito Puente/Machito/Poncho
Sanchez variety, Pato concentrates instead on an
assortment of Latin American and European influences.
Currulao de Crisis and Llegar, Llegar,
Llegar are the closest that Latina comes to a standard
Latin jazz-type of sound. Pato is delightfully
unpredictable elsewhere, combining jazz with
everything from Venezuelan joropo on Muieira de
Chantada and Peruvian land on Mara Land to
Spanish fandango on Prueba de Fuego, with hints of
the Moorish influence that continues to have a melodic
and harmonic impact on Spanish music.
Pato incorporates jazz with Italian folk on
Tarantella-Muieira, referencing the traditional
dance form of Southern Italy. Prietos accordion
playing hints at the bandonen, an accordion-like
instrument associated with Argentinean tango (made
famous by Astor Piazzolla, hailed as the Charlie
Parker of Tango), on The Highest Seas or Lets
Festa, fitting right in with the CDs world jazz
direction.
For more information, visit sunnysiderecords.com
Eponymous
Mette Henriette (ECM)
by Mark Keresman
In the 50s there was a jazz sub-genre known as Third

Streamessentially, a synthesis of jazz and classical
musicexplored by John Lewis, Gunther Schuller, Ran
Blake and Charles Mingus. While not exactly popular
critically or commercially, every now and again
musicians combine these two (seemingly) disparate
disciplines for amazing music. The self-titled two-CD
debut of Norwegian saxophonist Mette Henriette is
one such impressive work, drawing upon the spheres
of jazz and classical performers, free improvisation
and compositional notation, for a distinctive slice of
Scandinavian sound.
All Henriettes compositions are tantalizingly
short, as long as eight minutes and as brief as just
under one. Disc One is the trio of Henriette, pianist
Johan Lindvall and cellist Katrine Schitt. oOo is a
heart-tugging elegy where the piano notes fall like
raindrops, cello weeps and Henriette sparingly sings
in memory of something dear and gone, with some
tightly focused fire mixed within. Once has shades
of Ben Webster, tenor taking on a stately, breathy tone
over Schitts blues-hinted anguish wail.

Disc Two is devoted to a large-group setting.
Strings sigh, pluck, groan and swirl, playing lively
folk-based melodies and rhythms in a European
classical manner (sometimes recalling Bla Bartk).
Wildheart finds Henriettes agitated yet measured
tenor set before a string section and piano for an
intense build-up of tension both densely orchestral
and free jazz fever-pitched. Strangers By Midday is
anchored by Per Zanussis deep acoustic bass throb,
which takes listeners into some blues-tinged noir-ish
horn passages and Henriettes soulful yet restrained
blowing. She delicately employs extended techniques
such as overblowing in a manner nonetheless
sweltering and cathartic.

Disc One could use more diversityit can seem a
bit monochromatic, depending upon ones mindset.
Otherwise, this is a fine debut, displaying Henriettes
fascinating, fully formed voice as a saxophonist and
composer with much potential.
NYCJR12thPageAd0116.qxp_Layout
1 1/22/16 7:01 PM Page 1
For
more information, visit ecmrecords.com
Photo:
Chris Drukker
Diane Mosers Composers Big Band

19th Anniversary Concert!
with guest composer Linda Miksza
Wednesday, March 30th 811 p.m.
For more info: dianemosermusic.com
TRUMPETS
J A Z Z C L U B
6 Depot Square Montclair, NJ 07042

For reservations, call 973-744-2600
www.trumpetsjazz.com
21
Two
Chick Corea/Bla Fleck (Concord)
by Matthew Kassel
Pianist
Chick Corea and banjoist Bla Fleck are

seasoned duettists. The formers recordings with the
great vibraphonist Gary Burtona steady stream of
albums beginning in 1972 and extending to 2012are
sui generis while the latters Double Time put him
alongside such musicians as mandolinist David Grisman
and guitarist Tony Rice and he also teamed up with
pianist Marcus Roberts for Across the Imaginary Divide.
In 2007, Corea and Fleck themselves got together for a
fine album called The Enchantment; Two is a new doubleCD compendium from when they went on the road.

Banjo and piano are trebly and sometimes tinny
instruments, so the textural possibilities are a little
limited hereand the music tends to grate after
repeated listens. But when the instruments tonalities
are combined, they can sound satisfyingly full, kind of
like a steel drum. The great pleasure is hearing how
attuned the musicians are to one another. Both are
sensitive listeners and there is a tension that keeps the
album engaging; the songs are fast and largely
improvised, tight braids of sound, often with rubato
introductions. The tunes are, mostly, by Fleck and
Corea, aside from Brazil (Ary Barroso), Bugle Call
Rag (Jack Pettis-Billy Meyers-Elmer Schoebel) and
Prelude en Berceuse (Henri Dutilleux), which, along
with Coreas The Enchantment, functions like a
dreamy adult lullaby. Standout compositions include
Coreas brisk yet mysterious Joban Dna Nopia and
Flecks Mountain, an Appalachian-inflected original
containing elements of baroque counterpoint.

Corea, who is 74 and nearly 20 years Flecks senior,
mostly leads, tossing in dissonant harmonies here and
there, over which Fleck solos with aplomb. Theyre
both athletic performers and never once flag
throughout, despite some tortuous rhythms and a
stressful little number, as Fleck describes it to the
crowd, called Spectacle. Fleck, who is perhaps the
worlds greatest banjoist, has a tendency to downplay
his skills to the audience, which is part of his bumpkinish stage presence. It can be charming at first, but after
a while the act starts to feel disingenuous, like a kind
of false humility. If you can keep up with Chick Corea,
youve earned the right to brag a little.
For more information, visit concordmusicgroup.com. Fleck
is at 92nd Street Y Mar. 1st. See Calendar.
Aires Tropicales
Paquito DRivera & Quinteto Cimarrn (Sunnyside)
by Mark Keresman
Saxophonist/clarinetist Paquito DRivera has amassed
quite a list of accomplishments: sideman for Dizzy

Gillespie and Lalo Schifrin; member of Irakere;
performances with symphony orchestras; and 16
Grammy awards since extricating himself from his
native Cuba in 1981. DRiveras latest effort is a

collaboration with Quinteto Cimarron, a Spain-based
string quintet consisting of Cuban expatriates. Its a
brilliant recording blurring the so-called divisions
between jazz and classical music styles.

The opening five tracks are parts of the titular
suite, arranged for strings rather than woodwinds.
Alborada y Son finds fluid, full-bodied clarinet
virtually dancing with the strings, the latter echoing
and answering phrases, and then deep, melancholy
patches; in six minutes DRivera and the Cimarrons
take us on a tour of contrasting emotions and the
connections between early 20th century European
classical and Cuban cultures. Wapango sounds a bit
ominous yet lilting, DRivera adding asides and
finishing touches (and providing slight contrast to) the
Quintets construction of drama.

The rest of the album consists of pieces by Cuban
composers. Ivn Meln Lewis Notas de la Habana
begins as a courtly minuet until DRiveras silky,
wailing soprano injects bebop energy and classical
elegance. DRivera takes a time-out on Oscar Calvos
Zumolandia, the plucked strings at the start almost
sounding like a kalimba and the melody likely derived
from Cuban dance music. Coralia Lopez Isora Club
is slightly noir-ish and contains such heart-swelling
angst one might think Billy Strayhorn had a hand in
writing it. There are nods to tango and DRiveras tart
soprano weaves gently with romantic swing.
Throughout the language is predominantly
classical but the accents are Cuban and charged with
jazz. Aires Tropicales is perfect for those able to
appreciate the assorted traditions of European classical,
Cuban music and jazzreal crossover, no dilutions,
just a combination of the best from each sphere.
For more information, visit sunnysiderecords.com. DRivera is
at Tribeca Performing Arts Center Mar. 3rd as part of Highlights
in Jazz, Dweck Center at Brooklyn Public Library Central
Branch Mar. 12th and Blue Note Mar. 28th as part of the James
Moody Scholarship for Newark Youth Benefit. See Calendar.
Guitar Trio: Live at the Deer Head Inn

Bucky Pizzarelli/Ed Laub/Walt Bibinger (Deer Head)
by Scott Yanow
Bucky Pizzarelli has had a long and remarkable career.

As early as 1944, when he was 17, he was playing
rhythm guitar with the Vaughn Monroe Orchestra.
Pizzarelli was a staff musician at NBC in the 50s-60s,
worked on many occasions with bandleader Benny
Goodman and had a guitar duo with George Barnes
starting in the late 60s. A master of the seven-string
guitar, Pizzarelli developed a swing-based style that
was a throwback to the 30s Swing guitar of Carl Kress,
Dick McDonough and George Van Eps and was equally
skilled playing single-note lines and chordal-based
solos. Pizzarelli, who recently suffered a stroke, turned
90 in January.

Ed Laub, who is 63, has a similar style on the
seven-string guitar in addition to being a personable
and cheerful singer. Back in 1966 he studied with
Bobby Domenic (Buckys uncle) and a few years later
Pizzarelli helped him master the seven-string. The two
guitarists worked together regularly starting in 2002.
Walt Bibinger, about a decade younger than Laub, had
long dreamed of playing with Pizzarelli and he joined
forces with Pizzarelli and Laub a few years ago and
they performed throughout New York, New Jersey and
Pennsylvania, from whence this recording comes.

The guitarists, each of whom take turns being in
the lead and accompanying each other, blend together
beautifully. Melodic solos alternate with arranged
sections on such songs as All The Things You Are,
Deed I Do, Wave and an uptempo Three Little
Words. While the individual solos are unfortunately
not identified, the trio have such complementary styles
and approaches it really does not matter. The 20 strings
played by the three guitarists results in an ensemble
filled with quiet passion and truly beautiful music.
For more information, visit deerheadrecords.com. Ed Laub
is at Mezzrow Mar. 6th. See Calendar.
Maurcio de Souza
Bossa Brasil
Blue Note, March 11th

11:45pm-2am
Late Night Groove Series
131 W. 3rd Street,
New York, NY. 212-475-8592
For an up-to-date calendar, please visit
mauriciodesouzajazz.com
R
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Melissa AldanaBack Home

(Word of Mouth Music)
Michel Benita & EthicsRiver Silver (ECM)
Enrique HaneineInstants of Time
(Elegant Walk)
Muriel Grossmann
Natural Time (Dreamland)
Dre HocevarCollective Effervescence
(Clean Feed)
Thad Jones/Mel Lewis Orchestra
All My Yesterdays (Resonance)
Butch Lacy/Jesper Lvdal/Kresten Osgood
Being Playing (featuring Mark Dresser)
(ILK Music)
Jon Lundbom & Big Five Chord
Bring Their A Game (Hot Cup)
Angelika Niescier/Florian Weber
NYC Five (Intakt)
Roswell Rudd/Jamie Saft/Trevor Dunn/
Balazs PandiStrength & Power (RareNoise)
Laurence Donohue-Greene, Managing Editor
Moppa ElliottStill, Up In the Air
(Hot Cup Records)
Flow StateWhere the Sky Meets The Earth
(Ben Brody Music)
David Friesen/Glen MooreBactrian
(Origin)
High Definition QuartetBukoliki
(ForTune)
Ari HoenigThe Pauper & the Magician
(AH-HA/Lyte)
Achim Kaufmann/Frank Gratkowski/
Wilbert de JoodeOblengths (Leo)
KOHSeneca (Koya)
Nikolaus Neuser 5tetPink Elephant
(Jazzwerkstatt)
Raya Brass BandRAYA (s/r)
Alexander von Schlippenbach
Jazz Now! (Intuition)
Andrey Henkin, Editorial Director
A Sax Supreme
Peter & Will Anderson (SteepleChase Lookout)
by Ken Dryden
Its not every day that one hears identical twins who
co-lead a jazz record date, but Peter and Will Anderson
are no novelty act. They both have a Juilliard education
and studied with modern saxophone masters like
James Moody, Jimmy Heath and Frank Wess, plus,
with ample opportunities to record as co-leaders with
seasoned veterans accompanying them, their resums
are already impressive.

This live recording is a throwback to the kind of
blowing sessions popular in the 50s-60s. Peter (tenor
saxophone) and Will (alto) are joined by tenor
saxophonists Grant Stewart and Ken Peplowski, with a
strong rhythm section of pianist Ehud Asherie, bassist
Neal Miner and drummer Aaron Kimmel. Though not
explained in the liner notes, there are obviously basic
charts and preplanning of solo order. The setlist and
arrangements show a good deal of thought while each
solo is to the point, pressuring the musicians to make
the most of their respective chorus or two; Stewarts
hard blowing and Peplowskis raspy Ben Webster-like
vibrato stand out from the others.

Highlights begin with the brisk treatment of Thad
Jones Lets, as Peter sets a tough standard to follow,
though all three saxophonists match him. Billy
Strayhorns U.M.M.G. opens with the saxophonists
playing a richly textured, deliberate introduction
before revealing the famous theme in an uptempo
setting. A four-song medley of Great American
Songbook standards puts the spotlight on each
saxophonist in turn, a favorite feature of the late jazz
impresario Norman Granz during his J.A.T.P. days.
Sonny Stitts Whoops makes for a rousing finale,
with tight unison lines and passionate solos all around.
While this date doesnt break new ground, it does
demonstrate that the Anderson brothers are capable
soloists who learn well from their elders.
For more information, visit steeplechase.dk. The Andersons
are at Tribeca Performing Arts Center Mar. 3rd as part of
Highlights in Jazz and The Appel Room Mar. 4th-5th as
part of a Benny Goodman tribute. See Calendar.
Revisiting the Music of the Mwandishi Band

Infinite Spirit (FMR)
by Joel Roberts
If youre looking for insight on Herbie Hancocks

legendary Mwandishi band, pianist Bob Gluck wrote
the book. Literally. His 2012 opus Youll Know When
You Get There is an in-depth study of the groups
musical and cultural impact as it blended acoustic and
electronic sounds, African and Asian influences, rock,
bebop and funk in the heady days of the early 70s on a
series of albums for Warner Brothers and Columbia.
Infinite Spirit continues Glucks exploration of
this important, though somewhat neglected period in
Hancocks career, revisiting some of the original

Mwandishi tunes and adding a couple of adventurous,
like-minded originals from Gluck and bassist
Christopher Dean Sullivan. Wisely, Gluck doesnt try
to recreate or mimic the source material, a foolhardy
enterprise for music so highly improvised and
profoundly tied to its cultural/historical moment.
Instead, he and his quartet (featuring two Mwandishi
veterans in trumpeter Eddie Henderson and the great
Billy Hart on drums) present extended, open-ended
versions of classic compositions and let the music
guide them to unforeseen places. The best example of
this is the groups gorgeous, acoustic take on Hancocks
enigmatically titled Youll Know When You Get
There, an expansive tune featuring moments of pure
poetry and ecstasy from all members of the quartet.

Like Hancock, Gluck is a master of electronics, as
well as a talented acoustic jazz pianist. For the most
part, his electronic textures fit seamlessly within the
albums overall concept, as in the spacey intro to
Hancocks Sleeping Giant, a sprawling composition
eventually giving way to a hard-driving funk section
propelled by propulsive piano and energetic trumpet.
Occasionally though, like Hancock, Glucks affection
for electronic devices can be a bit of a distraction, as on
Sullivans Spirit Unleashed.

Overall, however, this group effectively captures
the spirit of the Mwandishi band, putting a fresh and
personal imprint on complex music and propelling it
into the present day. Gluck and company have made a
worthwhile tribute to Hancock, but more importantly
created an album that stands tall all on its own.
For more information, visit fmr-records.com. Eddie Henderson
is at Dizzys Club Mar. 3rd-6th with Willie Jones III, Smoke
Mar. 10th with Marquis Hill and Mar. 25th-27th with The
Cookers, the latter also with Billy Hart. See Calendar.
jazz sprawl.
Sadigursky rounds out his ensemble with
vibraphonist
Chris
Dingman,
whose
strong
counterpoint on the standard String of Pearls
elevates the sound of the clarinet. String of Pearls
also features guest trumpeter Jason Palmer, who adds
a beautiful solo, helping the track reach a large
sonorous peak. The results show that there is a
continued future for the clarinet in modern jazz with
Sadigursky holding the stick high and mighty.
For more information, visit bjurecords.com. Sadigursky is
at The Stone Mar. 5th and Saint Peters Mar. 6th with Matt
Holman. See Calendar.
this is jazz...sort of
david aaron-saxophones
will mcevoy-bass
dave gould-drums
AVAILABLE @ DOWNTOWN
MUSIC GALLERY
WWW.SHORTMEMORY.ORG
Follow the Stick

Sam Sadigursky (BJU Records)
by Eric Wendell
F or more than a decade, multi-instrumentalist Sam

Sadigursky has made a name for himself in the New
York City jazz community as both sideman and leader.
Sadigurskys union of poetry and jazz resulted in The
Words Project, a series of albums showcasing the
understated symmetry between poetic verse and jazz
language. For his latest release, Sadigursky chooses to
showcase the stick, old slang for the clarinet.

Sadigursky, over the course of 13 tracks, portrays
the clarinet in a most marvelous fashion, using it as a
historical guidepost for jazz and its multitude of
subgenres and scenarios . Whether it is the bluesy foil
of opener Fast Money, translucent romanticism of
Looks Can Be Deceiving or freewheeling feel of
Deadly Sins, Sadigursky makes damn sure that the
clarinet is represented as a multi-faceted instrument
ready for more time in the spotlight.

Sadigursky performs brilliantly, showing masterful
efficiency. While the uptempo repertoire brings the
excitement, it is the slower, more ballad-like moments
that truly reveal his tender and emotional command of
the clarinets timbre. On Mule, Sadigursky and
pianist Bobby Avey weave an alluring musical dialogue
both joyful and heartbreaking. On Heart, Sadigursky
begins softly and slowly builds the dynamics with
drummer Jordan Perlsons embellishments on cymbals,
which Sadigursky then uses to go off in an almost free
PHILIP CATHERINE
& MARTIN WIND
Rare U.S. appearances for legendary
Belgian Guitarist PHILIP CATHERINE
Philip will be performing with his longtime
musical partner bassist Martin Wind,
plus special guest Matt Wilson on drums
Friday and Saturday,

March 11 and 12, 2016
Sets at 8 pm and 10 pm
Jazz at Kitano,
66 Park Ave at 38th Street
Reservations advised : 212.885.7119
23
G LO B E U N I T Y: P O L A N D
Cosmic Friction
Purusha (ForTune)
Jazz From Poland, Vol. 1
Maciej Fortuna Acoustic Quartet (Fortuna Music)
Chapters
Bartomiej Ole/Tomasz Dbrowski (Fenom Media)
by Tom Greenland
Although,
as trumpeter/pianist Maciej Fortuna

writes in the liner notes to his Jazz from Poland, Vol. 1,
it may be underrated at home, Polish jazz is not just a
knock-off of the American version but rather
constitutes a separate esthetic category. A close
listen to three recent releases shows the difference.

Purusha is a Warsaw-based free jazz power trio
comprising tenor saxophonist Pawe Postaremczak,
bassist/composer Wojciech Traczyk and drummer
Pawe Szpura, all veterans of Wacaw Zimpels
groups. On the surface, their debut Cosmic Friction
sounds much like Albert Aylers music because of its
ecstatic interpretations of folk-like melodies and
Postaremczaks full-blown, sound-for-its-own-sake
onslaught; but for all his hoarse-throated intensity,
the saxophonist retains a certain introspective quality,
a tendency to stop just at the brink, along with an
ability to sustain his energy level quietly over long
stretches. The trio sounds conversational, like
employees swapping gossip around the water cooler,
especially on See Sheep and Big Steps Lead to
Broken Bones, the two spontaneous improvisations
that introduce all manner of hummings and creakings,
growls and whimpers.

Maciej Fortunas Acoustic Quartet tributes four
influential
Polish
jazz
composersKrzysztof
Komeda, Zbigniew Seifert, recently departed Janusz
Muniak and Maciej Sikaaon Jazz from Poland, Vol.
1, its debut offering with acoustic/electric pianist
Krzysztof Dys, bassist Jakub Mielcarek and drummer
Przemysaw Jarosz. The leaders signature trumpet
sound is a study in tonal contrasts and manipulation,
varying from the rolling legato lines on Sikaas
Taniec Mikoaja and high notes and trills on
Komedas Dwaj Ludzie z Szaf to the sweet clarion
calls on Seiferts Taniec Garbusa. The quartet is
well matched, with an equality of roles that allows
busy but unobtrusive bass or brushed drums to
assume temporary leadership. The call and response
between Fortuna and the other three concluding
Seiferts Man of the Light is especially effective.

Drummer Bartomiej Ole enlisted chameleonic
trumpeter Tomasz Dbrowski for Chapters, a suite of
original compositions plus Thelonious Monks We
See. Like his monochromatic photos in the booklet,
one per track, much of the album is understated,
kick-drum and low tom-tom filling in the spare
canvas where a bassist might play, many tracks
making direct segues in an ongoing stream of musical
consciousness. His Latin-influenced beats are spare,
leaving out accents where another drummer would
leave them in. Dbrowskis horn assumes many
different aspects: half-toned vocalizations; laughing
phrases; single-note rhythmic variations; and high
clean pings, often in service of melodic shapes that
turn and expand in unusual directions. And although
Ole is the titular leader of the date, there is parity
between the two artists, a balance of leading and
following, foreground and background.
For more information, visit for-tune.pl, fortuna-music.com
and fenommedia.pl
Pictorial Atlas of Mammals

Simon Jermyns Trot A Mouse (Skirl)
by Brad Cohan
Skirl Recordsthe freethinking imprint and brainchild
of protean saxophonist Chris Speedhas played a

crucial role in chronicling Brooklyns left-field jazz
lexicon. Launched a decade ago in part as a vehicle for
Speed to release his own musical output, Skirl has
documented an underground jazz scene of grizzled
veterans and young upstarts.

One such newcomer to the Skirl fold is New York
City-via-Dublin
bassist
Simon
Jermyn,
who
distinguishes himself from the rest of his pack with his
instrument of choice, the six-string electric bass, while
keeping the company of luminaries drawn from the
citys landscape. In 2008, he made his debut as leader
with the eponymous Trot A Mouse, co-starring the
triple-reed threat of Speed, alto saxophonist Loren
Stillman and bass clarinetist Joachim Badenhorst. Fastforward roughly seven years: Jermyn has swapped
labels (Fresh Sound-New Talent for Skirl) while
revamping the original lineup with tenor saxophonist
Ingrid Laubrock, violist Mat Maneri and drummer
Tom Rainey. Pictorial Atlas of Mammals is a tencomposition set effortlessly hopping from sonically
breezy soul-searching to herky-jerky neck-breakers
sometimes within the same piece. Jermyn is a craftsman
of space and minimalism even as he affords Laubrock,
Maneri and Rainey free rein to explore clusters of
soundscapes, seemingly at their own discretion.

With the bulk of the set in the four-to-six minute
range, Mammals rarely veers off the rails, opting instead
to roam a path of minor chaos that is mostly kept in
check. Even when it reaches strident and knotty levels,
as it does on the Rainey-piloted thump and thud of
Victor and Circus, the prevailing vibe is one of airy
ambience. Jermyn proves to be an elegant tunesmith on
the infectious opener Otis, boasting arresting and
light melody lines courtesy of Laubrock, while Maneri
makes a star turn on the melancholy ballad Lean.
Even fortified with the unconventional stylings of the
six-string bass, Jermyn is an understated leader, ceding
the spotlight in lieu of spirited conversational chemistry.
But when he does take center stage, as heard on
Balance Itself Is The Good and Hive, his pulsating
mettle is Trot A Mouses loose-limbed backbone.
For more information, visit skirlrecords.com. This project is
at Rye Mar. 16th. See Calendar.
long been Europe. Arranger-conductor Vince Mendoza

conducts his arrangements with the Czech National
Symphony Orchestra and the St Blaises (jazz) Big
Band at a 2012 concert in Prague and features two
American jazz artists, trumpeters Randy Brecker and
Bobby Shew (who turns 75 this month).

Actually, three trumpeters are featured, the two
Americans joined by Jan Hasenhrl, founder of the
Czech Orchestra, who acquits himself quite well in
round-robin soloing with the other two and even
contributes a bit of baroque trumpeting to Thad Jones
Three and One, the highlight of the album.
Mendozas chart features the three trumpets in unison
and/or harmony on the main theme, with the
countermelody and bridge going to a woodwind-led
orchestra, before Hasenhrl solos against just drums
and full rhythm and orchestra back solo exchanges
from the three trumpeters. The three also engage in
high-flying exchanges and solo rounds on a tropical
Mendoza original, Rhumba Alias, and Caravan,
the Ellingtonia standard given a scintillating ride by
the trumpets and orchestra, so much so it returns for a
shorter encore at concerts end. Rounding out the
program is the only ballad, a sumptuous rendition of
Kurt Weills Lost in the Stars starring the melancholy
flugelhorn of Shew, and two Brecker originals featuring
the composer: Village Dawn, with its martial drum
moments and stirring strings and flutes, presents
intricacies fluidly embraced by Brecker while
Creature of Many Faces suggests symphonic jazzrock with its prominent backbeat and electric guitar.
For more information, visit summitrecords.com. Randy Brecker
is at Dizzys Club Mar. 7th with William Paterson University
Jazz Orchestra and Blue Note Mar. 28th as part of the James
Moody Scholarship for Newark Youth Benefit. See Calendar.
Mar. 5th
Lou Caputo Little Big Band
Mar. 15th
Mike Longo Trio
Celebrates Diz and Miles
Mar 22nd
Jay DAmico Group
Mar. 29th
Russ Kassoff Orchestra
with Catherine Dupuis
Trumpet Summit Prague: The Mendoza Arrangements Live

Randy Brecker, Bobby Shew, Jan Hasenhrl,
Czech National Symphony Orchestra &
St. Blaises Big Band (Summit)
by George Kanzler
Although some American symphony orchestras have

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Hes available now! Call Steves cell at 630-865-6849.
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www.maxwelldrums.com
NEW YORK PREMIERE
CHARLIE PARKERS YARDBIRD

A CO-PRODUCTION OF THE APOLLO THEATER AND OPERA PHILADELPHIA
MUSIC BY
DANIEL SCHNYDER
TEXT BY
BRIDGETTE A. WIMBERLY
STARRING
LAWRENCE BROWNLEE
AS CHARLIE PARKER
CONDUCTED BY
CORRADO ROVARIS
DIRECTED BY
RON DANIELS
Photo by Dominic M. Mercier
FRIDAY, APRIL 1 AT 8PM & SUNDAY, APRIL 3 AT 3PM
Apollo Theater Box Office

Ticketmaster 800-745-3000
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For Groups Call (212) 531-5355
Sponsored by
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Additional support from The Fan Fox and Leslie R. Samuels Foundation, Pat and Al
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Art of the Saxophone Vol. 1: The Tunnel Recordings

Briggan Krauss (s/r)
by Andrey Henkin
STEVE KUHN
STEVE SWALLOW & JOEY BARON

AT THIS TIME ...
SSC 1436 - IN STORES 3/18/16
n his new recording, At This Time..., pianist Steve Kuhn

found himself just in the right time and place to record a
trio record that feels timeless and truly inspired. The ensemble, which features legendary bassist Steve Swallow and
drummer Joey Baron, was happy to find itself in an extended engagement at Birdland Jazz Club in New York in August
2015 and found time to get into the recording studio before
heading to Europe on tour.
appearing @ JAZZ STANDARD

March 10-13
reservations: jazzstandard.com
In a town as neck-deep in experimental alto

saxophonists like New York, Briggan Krauss, a veteran
on the local scene since the mid 90s, is not spoken of
nearly enough, hardly commensurate with his ability
or pedigree. Perhaps it is that his individual
contributions are overlooked in the fabulous swirl of
SexMob or that his one album in the new millennium
(Red Sphere, Skirl, 2008, with Jim Black and Ikue Mori)
was not an easily digestible morsel. Splitting his time
in recent years between saxophone and guitar hasnt
helped either. It can only be hoped that Art of the
Saxophone Vol. 1: The Tunnel Recordings is his musical
equivalent of a debutantes stunning ballgown,
(re)introducing him to jazz society.

23 tracks go by in just over 23 minutes, the licenseplate-titled tracks ranging from the 15 seconds of
AS403 to the (relatively) epic 2:47 AS901. The
album title refers to the recording location, the I-90
pedestrian and bike tunnel in Krauss native Seattle,
which expands his marvelous tonal explorations and
lends them grandeur and gravitas. Krauss improvises
on snatches of composed themes in front of an audience
of engineer Randall Dunn and fellow saxophone
iconoclast Skerik, stopping on occasion for pedestrians
(explained in the notes on his website, where this
digital-only release can be downloaded for free, $1,000
or somewhere in between). Of course the effect is suitelike or perhaps closer to quickly flipping through a
book of photographs. It is an intensely personal
recording, almost voyeuristic, mixing the cerebral
depth of Anthony Braxtons For Alto with John
Butcher s site-specific experiments. In such a short
recital, Krauss manages to cover a large swathe of
musical environment while never losing his focus.
For more information, visit briggankrauss.bandcamp.com.
Krauss plays solo at Soup & Sound Mar. 8th. See Calendar.
SE
236 West 26 Street, Room 804

New York, NY 10001
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
iTunes.com/SteveKuhn
iTunes.com/ViniciusCantuaria
www.sunnysiderecords.com
EW
Tel: 212-675-4480
Fax: 212-675-4504
SSC 1428 - IN STORES NOW
appearing @ JAZZ STANDARD

March 17-20
reservations: jazzstandard.com
For more information, visit brainfeedersite.com. This project

is at Le Poisson Rouge Mar. 13th. See Calendar.
Monday-Saturday, 10:00-6:00
VINICIUS CANTUARIA
CANTA ANTONIO CARLOS JOBIM
he music of Brazil has left a treasure trove of unparalleled compositional gems, none as beloved as the catalog of Antonio Carlos Jobim. All contemporary Brazilian
musicians are indebted to Jobim so it is only natural that
one of the most important Brazilian voices of the past two
decades perform a tribute. On Vinicius canta Antonio
Carlos Jobim, the great vocalist/composer/guitarist
Vinicius Cantuaria performs the work of Tom Jobim solo
and with the help of some truly amazing co-conspirators,
including guitarist Bill Frisell, pianist/composer Ryuichi
Sakamoto, vocalist and MPB legend Joyce and jazz-pop
sensation Melody Gardot.
Endsley (trumpet), Kaveh Rastegar (electric bass) and

Nate Wood (drums)the quintet is anything but a jazz
ensemble. They swing with ease, deftly moving from
straightahead bebop to explosive rock energy. Daedelus
anchors them with his ambient techno leanings and
funky breakbeats. The hole is the albums focal
point, with its emphatic beats and amplified distortion.
Reminiscent of Tyft, a Brooklyn noise-metal-grungejazz trio, the song has Daedelus jagged electronic
feedback serving as the gentle counterpoint to dark
horns and menacing drums.

Drum Battle puts Daedelus searing breakbeat
at the forefront while Benjamins mentholated keys
offer support. Woods backlit percussions soar in
They are We, a solemn number with a chamber-like
lilt. Drums and electronic rhythms meld together
seamlessly as Daedelus lays down industrial ambient
noise behind subdued horns. The post-techno
Platforming features a straightahead bebop sax solo
and R&B-laced keys against a snappy electronic
groove. Move has a deep guttural feel to it, aided by
ethereal sampling and spasmodic drums. Ending with
the guttural humming of a deep-throated chorus, it
feels almost anticlimactic that the tension isnt
stretched further.
Each song represents a deeper synthesis of
electronic and acoustic sounds. Ambient rhythmic
pulses and thoughtful horn arrangements are mixed
and kneaded together in various proportions and
angles, supporting the theory of technological
singularitythe idea that computer technology and
human creativity could be virtually indistinguishable
time and again.
Kneedelus
Kneebody + Daedelus (Brainfeeder)
by Ivana Ng
Kneedelus,
a collaboration between Grammynominated jazz group Kneebody and experimental

electronic producer Daedelus, builds on what the two
have been exploring for years. In 2008, Daedelus had
remixed two songs from Kneebodys sophomore album
Low Electrical Worker. The following year, the two
performed together at Jazz Vienne. Going even
further back, Kneebodys saxophonist Ben Wendel and
Daedelus had been jamming together since they were
friends in high school. Kneedelus is a thoughtful
manifestation of disparate genres, fusing jazz horns
with soulful rock and funk and psychedelic electronica.
With traditional jazz instrumentationWendel
(saxophones), Adam Benjamin (keyboards), Shane
LPs, CD, Videos (DVD/VHS),

Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Fresh Sound, Criss Cross,
Ayler, Silkheart, AUM Fidelity,
Nagel Heyer, Eremite, Venus,
Clean Feed, Enja and many more
Eponymous
Great on Paper (Endectomorph)
by David R. Adler
For more information, visit greatonpaper.bandcamp.com.

Kevin Sun and Simn Willson are at Shapeshifter Lab Mar.
13th. See Calendar.
PHOTO BY WHIT LANE
Its a pleasure to report that Great on Paper, the

collaborative quartet of tenor and soprano saxophonist
Kevin Sun, pianist Isaac Wilson, bassist Simn Willson
and drummer Robin Baytas, has far more going for it
than its jesting name implies. The bands eponymous
debut includes just six tunestwo Sun originals, one
from Wilson, another from Willson, a standard and a
Messiaen interpretation. The 36 minutes go by fast and
yet the end result is substantial.

Sun is a prolific transcriber who has blogged
extensively about his study of everyone from Lester
Young to Mark Turner. You hear that work pay off not
only in the depth of his ideas but also in the warmth
and fullness of his tenor tone. Wilson is also an inspired
and technically adept soloist who knows when to give
Sun room and when to create more for himself. He and
Sun have a way of breathing together through every
unison line and harmonic wrinkle. The agile, flowing
swing and confident sound projection of Willson and
Baytas also shows a strong musical bond.

The open feel and rhythmic tension of Suns
opening Winnings and unique bebop derivation of
his Negative Bird bring the groups aesthetic into
focus. Willsons slower Slimy Toboggan, which

winds through exploratory rubato and builds intensity,
finds Sun and Wilson manipulating unison pitch in a
most unexpected way. Wilsons Torsion establishes
its layered complexity and groove from the first note.

But it is jam-session standby I Hear a Rhapsody
that elicits the longest take, lending the album
something like the arc of a live set. Here the band flexes
some muscle in a convincing down-the-middle swing
feel, with Willson getting a conclusive solo chorus as
well. Suns time in the transcription shed with the likes
of Sonny Rollins, Joe Henderson and Bob Berg is well
in evidence, though hes clearly a player who sees the
big picture and his evolving place within it.
AARON
DIEHL
Collective Effervescence
Dre Hocevar (Clean Feed)
by John Sharpe
N YC-based Slovenian drummer Dre Hocevar follows
up the well received Coding of Evidentiality (Clean Feed,

2015), placing the same trio at the heart of a five-piece
unit navigating his mysterious constructs. Even though
credited solely to Hocevar, the seven cuts seem like
improvisations in their abstraction and lack of rhythm
or melody. He makes subtle and varied use of his
constituent components, with two tracks for the core
trio completed by pianist Bram de Looze and cellist
Lester St.louis, two more adding just alto saxophonist
Chris Pitsiokos and a further three supplemented by
both him and the electronics of Philip White.

You have to listen hard to determine the source of
any sound and even who is playing and who not. De
Looze moves in scurrying fragments, tight clusters and
percussive effects, often in the bass register or on the
strings. St.louis coaxes croaks, groans and sudden
thwacks and thumps from his cello as much as angular
swooping lines. Pitsiokos revels in the rarefied end of
the sonic spectrum, dealing in squealing overtones and
anxious mutters, which can explode into caustic howls.
White contributes buzzes, bleeps and what might pass
for (yes) white noise, as well as some real-time signal
processing.

Its a nervy, restless recital, without overt solos,
but in which any instrument might take the lead role.
However, you might be pushed to identify Hocevar as
director based on the prominence of his drums. He
prompts, pulsates and explores texture rather than
meter, promoting a sense of restraint until the last three
animated numbers, which lends a narrative arc to the
programming. The spacey opening Unknown
Unknowns forms an atmospheric blend of distant
chimes and eerie barks while the two trio selections are
by turns doomy and plaintive. By the time we get to the
energetic Imaginary_Synthesis Within Sublime Inside
Hocevar has given the strong personalities involved
more free rein. 1987s concludes with off-kilter drums
accompanying extended whistling saxophone and The
Revolutions Of Many Others continues at the same
level. It feels as if all the interaction and coalescence has
produced just what the title promises.
For more information, visit cleanfeed-records.com. Hocevar
is at ShapeShifter Lab Mar. 13th and Spectrum Mar. 14th
and 18th. See Calendar.
moonglow: the magic of

benny goodman
MAR 45 7PM & 9:30PM
With narrator Wendell Pierce, pianist Christian Sands,
drummer Sammy Miller, vibraphonist Joel Ross, plus
clarinetists Peter Anderson, Will Anderson, Patrick
Bartley, and Janelle Reichman
aaron diehl: the real deal

MAR 1819 7PM & 9:30PM
Pianist Aaron Diehl with Warren Wolf, Dominick
Farinacci, saxophonist Joe Temperley, and more
spaces by wynton marsalis

APR 12 8PM
The Jazz at Lincoln Center Orchestra with Wynton
Marsalis and dancers Lil Buck and Jared Grimes debut
Wynton Marsalis latest work
steve miller: out of this world

with jimmie vaughan
when ma rainey meets miles davis
APR 6 7:30PM | APR 9 7PM & 9:30PM
Guitarist Steve Miller with Jimmie Vaughan, Shelly Berg,
Eric Harland, Yasushi Nakamura, Patrick Bartley, and
Craig Handy
bill charlap: broadway to harlem

APR 89 8PM
Pianist Bill Charlap with Ccile McLorin Salvant,
Freddy Cole, Houston Person, Ken Peplowski, Kenny
Washington, and Peter Washington
jazz at
lincoln center
jazz.org
Venue Frederick P. Rose Hall

Box Office Broadway at 60th, Ground Fl.
CenterCharge 212-721-6500
27
internationally acclaimed trumpeter
SHUNZO O H N O
Dogs
Nolatet (Royal Potato Family)
by John Pietaro
N ew Orleans has long been cited as the cradle of jazz
$30
Seniors $25
Day of Show $35
LYDIA LIEBMAN
PROMOTIONS//
since Buddy Bolden and that deep heritage lies central

to its latter-day sounds. This exciting new experiment
is no exception. The core of that tradition is heard
skimming the edges of Dogs with nary a quote from
King Oliver, The Meters or the aforementioned mythic
cornet player. The four musicians who comprise
Nolatet carry enough of a reputation that the bands
press agent dares call on the overly used term super
group in describing this assemblage. One listen to the
disc and youre hard pressed to scoff.

Vibraphonist Mike Dillon has been tearing up the
circuit for decades via derring-do often not associated
with the instrument. Listen to his gorgeous runs over
shimmering bars on Pops, but note the often staccato
attack and rolls exposing his post-punk discography;
Dillon taps into New Orleans rhythmic pulsations and
when you least expect it he kicks it out on tabla, temple
blocks or other percussives (Theres No Fire), turning
your listening experience inside out. Drummer Johnny
Vidacovich exemplifies the second line, but breaks it
up imaginatively over the components of his kit. Like
breathing, Vidacovich extols a swinging march
disguised as a hip groove and only lets on when the
usual jazz 4/4 ride cymbal rhythm shifts along crazily
(Melon Ball and Nails). Bassist James Singleton
lays down thoughtful, provocative lines, which creep
in and through the band, dancing melodically, lazily at
points, and punctuating the intensely odd accents
driving that second line along, occasionally colored by
a fuzz pedal. No wonder this pair have been an
in-demand rhythm section in New Orleans since the
70s. The quartets pianist, Brian Haas, is the only
member without clear roots in the Crescent City and
yet his embrace of the musics history is undeniable:
strains of Ellington (Singletons tune Bongo Joe),
Earl Hines and the post-modernists share space. He is
a celebrated composer and fearless musical warrior,
pulling together the sound sources of Nolatet with
brash clusters, stinging high-register accents and thick,
alluring harmonies. Take the ride into daring realms of
new music with Dillon and Singletons Morphine
Drip/Lento and Singletons Nails, a Haas feature
that exudes a century of the avant garde as it drives the
disc home. With a vengeance.
For more information, visit royalpotatofamily.com. This
project is at The Hall at MP Mar. 16th. See Calendar.
Canta Antonio Carlos Jobim

Vinicius Cantuaria (Sunnyside)
by Marcia Hillman
O ne of the most interesting aspects of this offering

from vocalist/guitarist Vinicius Cantuaria is that
although all of the songs are sung in Portuguese, one
doesnt have to understand the language to get the

message. He pays tribute to the legendary Brazilian
composer Antnio Carlos Jobim with some of his less
familiar songs (Ligia and Por Causa De Voce)
along with the well-known titles such as Garota de
Ipanema, Felicidade and Insensatez.

The CD features Cantuaria on vocals and playing
most of the music himself (acoustic and electric guitars
and percussion), joined on some tracks by guitarists
Bill Frisell, Chico Pinheiro, Celso Fonseca and Ricardo
Silveiro, pianist Ryuichi Sakamoto, bassists Riyoji
Sakahara and Jiyogi Sawada, cellist Ayumi Hashimoto
and vocalists Joyce (Moreno) and Melody Gardot.

Cantuaria (now based in New York) possesses a
soft, expressive voice, which fits the sensuous sounds
of his native language perfectly. He uses vocal shadings
to create moods, most very romantic, and extracts a
variety of sounds from his guitars, including making it
sound like a harp (Caminhos Crusado). He interprets
Jobims material in a way reminiscent of Jobim himself
yet manages to bring fresh approaches to even the
most often recorded repertoire.

There are many highlights: Frisells lively solo on
So Danco Samba; the lovely sound of Hashimotos
cello on Este Seu Olhar; Cantuarias joyous rendition
of Felicidade. The most notable track is a version of
the classic Caminhos Cruzados, done as a duet with
Joyce Moreno. There is something magical about the
blend of their voices, which wonderfully expresses
finding new love after heartbreak.

For Jobim fans, this is one that will prove a
welcome addition to your record libraries, one that
would have made Jobim smile.
For more information, visit sunnysiderecords.com.
Cantuaria is at Jazz Standard Mar. 17th-20th. See Calendar.
Hosted by trombonist/composer CRAIG HARRIS,

a major figure in jazz for over thirty years.
Rendall Memorial Presbyterian Church

th
59 W. 137 Street
st
(between Lenox and Fifth Aves.)
1 set 12 12:45pm ~ 2
nd
set 1 1:45pm
Admission is just $15!
(discount for students, seniors and groups)
Call 212-662-7779 or purchase at the door

harlemjazzboxx.com or welcometoharlem.com
TOUR COMPANIES ARE WELCOME
Celebrating the music of Melba Liston

Trombonist/Composer/Arranger
March 1st
Jay Rodriguez
March 8th
TK Blue
March 15th
Jeff King
March 22nd
Vincent Chancey
March 29th
Eddie Allen
pauses between them would make this CD more

palatable to some. Perhaps adding other playersor
some strong black coffeewould have given a boost to
this session. Whatever is needed Upward is the last
word that comes to mind when describing this music.
For more information, visit prescottrecordings.blogspot.com.
This project is at Spectrum Mar. 20th and Barbs Mar. 23rd.
See Calendar.
Upward
Ross Hammond/Sameer Gupta (Prescott)
by Ken Waxman
Looking for a soundtrack for your next folksy New

Age Raga party? Sacramento-based 12-string guitarist
Ross Hammond and Brooklyn-based tabla player
Sameer Gupta combine the most jejune rhythmic
variations with the most tedious string strumming.

Indian-inflected sounds have been used since the
mid 60s by tone searchers such as John Coltrane and
Joe Harriott to bring something unique to standard
musical forms. But Hammond and Gupta have gone
the other way. The former has stripped all the drama
and emotion out of his playing, except for the odd
bottle-neck-like crunch on For Chris Ferreira and
darker, staccato chording on Kenyatta, The Professor
and The Redeemer. But these high points vanish as
quickly as spots on the sun, leaving an undisturbed
surface. Gupta, also a jazz percussionist working
regularly with pianist Marc Cary and others, sounds
the same monotonous pattern throughout each of the
tunes. Even when the two play slightly faster for a bit
on Farm to Tabla, momentum is quickly lost. The
fact that most tracks fade before completion is another
clue to the unraveling of this sonically passive program.

Perhaps listening to one track at a time with long
Solo Trumpet
Dave Ballou (Clean Feed)
by Stuart Broomer
Over the past two decades, trumpeter Dave Ballou has
performed in orchestral projects by figures as unalike as

Maria Schneider and Satoko Fujii while also distinguishing
himself as a leader. Hes capable of sustained reflection
and intrepid invention, qualities that distinguish his
entry into the realm of solo performance.

While solo trumpet improvisation has taken flight
on the wings of extended techniques (e.g., Axel Drner,
Peter Evans, Nate Wooley), Ballou makes relatively
sparing use of circular breathing and mutated sounds,
emphasizing qualities long evident in his work and
employing Bb trumpet, flugelhorn, piccolo trumpet and
assorted mutes to provide some of the timbral variety.
Ballou uses composed elements on just two of the ten
selections: pensive, muted Another Fool and LAF.
While the latter is a model of logic and linear flow, there
are pure improvisations, like the subtly inflected and,
yes, tightly constructed opener Tightly, that are just
as composed, his even tone and shifts in range elements
of a distinct voice. As it turns out, the muffled, slightly
quavering legato of the concluding Loosely is just as
much an aspect of that personality.

Ballou has a keen sense of the horns lineage, much
of it delivered with a signature wit, including sputtering
half-valves of Mumbling, an instrumental homage to
Clark Terrys scat-singing, and strange pitch shifts and
sustained bends of Wooley Warmth. Theres another
voice on Sheets, Ballou deploying piccolo trumpet on
a piece that works its way from high-speed flurries
with circular breathing to isolated pointillist tones.
Broken Wing finds emotional force in multiphonics
while the highpoint is likely the ten-minute Construct,
a work of beautifully sustained depth and order that
never deviates from a traditionalbright, even,
consideredtrumpet sound.
First Take. This disc is his second for the Posi-Tone

label, following 2012s Its All Good and his fifth overall.
The album blurs the lines between jazz, funk and soul,
opening with a version of Kool and the Gangs Let the
Music Take Your Mind, but also including tunes by
Jimmy Heath (A New Blue), Mal Waldron (Soul
Eyes), Freddie Hubbard (Little Sunflower), John
Coltrane (Central Park West), Harold Land (Ode to
Angela), Dave Brubeck (In Your Own Sweet Way)
and Horace Silver (Peace), along with two Cherry
originals, Rachels Step and Little Girl Big Girl.

Cherry is backed throughout by organist Kyle
Koehler and drummer Anwar Marshall. Together they
create a sound rooted in the 60s, but with modern
touches. Marshalls playing has a precision and
lightness that 21st Century microphones and recording
techniques capture in a way that just wasnt possible in
Rudy Van Gelder s studio in 1963. His solo on In Your
Own Sweet Way is a crisp, cracking eruption leading
into a full-trio coda thats straight out of Memphis.
Cherry is a player of many faces; he can be extremely
clean, letting chords ring out within a gentle cloud of
reverb, but can also bust loose in an almost aggressively
funky manner, as on Rachels Step, where the entire
band is barreling ahead so fast it makes you wonder if
Rachel is a woman or a racehorse. Koehler s organ
work lacks the weirdo experimentalism of Larry Young
(or Brian Charette, for that matter), but hes more
creative than, say, Jared Gold, willing to head for the
gutter when the music calls for that, or just create a
radiant fog around the guitar. Soul Tree has a romantic
edge at times (the title is a pun), but when it revs up
and grooves, it goes hard.
For more information, visit posi-tone.com. Cherry is at The
Django at Roxy Hotel Mar. 23rd-26th. See Calendar.
For more information, visit cleanfeed-records.com. Ballou is

at Jazz Standard Mar. 22nd-23rd with Michael Formaneks
Ensemble Kolossus. See Calendar.
Soul Tree
Ed Cherry (Posi-Tone)
by Philip Freeman
G uitarist Ed Cherry has been on the scene since the

70s, but didnt make an album as a leader until 1993s
29
Ambon
Lloyd Swanton (Bugle)
Spill Plus
Magda Mayas/Damon Smith/Tony Buck (Nuscope)
A Heart That Responds From Schooling
Alessandro Bosetti/Chris Abrahams (Unsounds)
by Kurt Gottschalk
Bassist Lloyd Swanton is the least heard member of The
Necks outside the trio, or at least outside the trio and its
native Australia. If hes regularly cooking up projects
like the remarkable double-CD set Ambon, its a shame
they arent getting heard more often in this hemisphere.
The deeply personal yet eminently approachable project
is concerned with the titular Pacific island, now a part of
Indonesia, where Swantons uncle was stationed during
WWII. Using diaries and personal affects, Swanton
creates a soundtrack for his uncles time on the island.
But rather than composing music about the hardships of
war, Swanton, for the most part, reflects what his uncle
(also a bassist) would have been playing and listening
to, drawing from an ensemble of 13 players and, at
times, disassembling instruments to approximate what
would have been available to his uncles band. There are
more contemporary sections that build the drama but
rarely beyond the drudgery of military life away from
home. While the music doesnt go for historical or
political jugulars, the 36-page booklet included in the
bound package makes clear the turmoil of the largely
forgotten islands past life.

Through it all is Swantons steadfast bass and
hearing him in such different contexts only accentuates
his role in The Necks. A piano trio, essentially a rhythm
section in isolation, the three members build precise
and slowly shifting improvisations with Swanton as
anchor and drummer Tony Buck as meticulous
timekeeper. Buck is found in very different environs on
Spill Plus, a trio with bassist Damon Smith and Magda
Mayas at the prepared piano. Buck and Mayas (an
unusually percussive player) have recorded together
before and developed a keen sense of shared rhythm.
Smiths presence opens the ground and their playing
becomes sparser and more expansive, making the
moments when they fall into line all the more
rewarding. The trio had been working together for
several years by the time of this recording but their
design of treating sounds as events in and of themselves
keeps the music almost necessarily fresh.

By far the most unusual of these three Neck-laced
projects is A Heart That Responds From Schooling, the
second album by The Necks pianist Chris Abrahams
with sound experimenter Alessandro Bosetti (vocals
and electronics). The latter s work often relies at least
as much on text as tonality and he can at times come
off as stubbornly anti-musical (only an indictment
insofar as the listener wants it to be). Quick piano/
laptop chases are interspersed with surprising
realizations of pieces by Steve Lacy and Milton
Nascimento. Its not an easy listen and Bosettis singing
is especially perplexing, but they somehow manage to
make it drip with sentimentality. Abrahams plays
beautifully from beginning to end, matching Bosettis
settings perfectly. In the end, its more than a little
reminiscent of the impassioned tensions made by
vocalist Phil Minton and pianist Veryan Weston.

Abrahams, Swanton and Buck have been at it for
going on 30 years now. With how singular and unending
their work together seems, its not just enjoyable to
hear them in other contexts, its nicely informative.
For more information, visit buglerecords.com, nuscope.org
and unsounds.com. The Necks are at Whitney Museum
Mar. 24th-25th. See Calendar.
clamor of Singing Psalms, the densest piece and one

that is utterly pathos-laden. Bloodmist presents a
concentrated, far-ranging headphone stew that grants
more than its elements.
For more information, visit 5049records.com
Its about time!!

New on Ride Symbol from the unique
pianist and composer Joel Forrester.
Sheen
Bloodmist (5049 Records)
by Clifford Allen
When I was first exploring jazz and improvised music
in the mid 90s, there was a section in the CD racks in

my local record store titled Noise-Jazz. It was usually
more jazz than noise and they didnt have a ton of
either music in stock, so they combined the two. At the
time I thought it was, in fact, a jazz sub-genre (this was
around the time I was starting to hear bands like The
Flying Luttenbachers and Laddio Bolocko, so my
assumption wasnt entirely out of the question). Now,
nearly 20 years later, the hybridization of noise music
and free improvisation is a certifiable working method,
supported by a range of technological and technical
possibilities. The music of clarinetist and composer
Jeremiah Cymerman, who also works extensively with
electronics, real-time processing and shaping music in
post-performance, is one exponent. Active since 2011,
Bloodmist is a trio of Cymerman, Toby Driver (electric
bass, guitar and effects) and Mario Daz de Leon (laptop
and electronics). Sheen is their first disc and features a
suite of six pieces, released on Cymermans own 5049
Records imprint.
The music of Bloodmist is heavily rooted in
atmosphere, an intimate landscape of processed and
looped twitters and flecks, which, in a performance last
month at Roulette, finding the hall and the stage partly
bathed in blue light, granted an otherworldly cast
(though the fact that the musicians maintained some
spatial distance from one another belied the hushed,
close-quarters nature of the pieces). The music has a
rumbling, shapely drift too active to be merely
ambient, though the Aeolian curves applied to Driver
and Cymerman are both sculpted to be room-like and
fill in each corner with dappled and phased dust. The
Mad Road takes snippets of dialogue from 1984 Harry
Dean Stanton vehicle Paris, Texas and weaves dusty
string interplay and harmonic washes around them,
character Travis Hendersons voice alternately booming
and distant. Bare Arms, Black Dresses begins with
hoary warble and splays it out amid feedback, sparsely
loping strums and grainy programmed clicks. Looped,
reedy screams are blistered and nearly unrecognizable
as electronics and processing swell and fall back in a
tough orchestral drift, leading towards the harsh, grim
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Charles Lloyd & The Marvels (Blue Note)
by Russ Musto
Charles Lloyds latest effort for Blue Note finds the

idiosyncratic saxophonist leading a singular unit
through an eclectic program, which reaches back into
his-half-century-old songbook while remaining
steadfastly forward-looking. The quintet pairs
guitarists Bill Frisell and Greg Leisz (the latter on pedal
steel) with Lloyds longtime rhythm team of bassist
Reuben Rogers and drummer Eric Harland. The group
sound is simultaneously ethereal and earthy, well
suited to the wide-ranging material.

The date opens with a powerful reading of Bob
Dylans Masters Of War, which makes much sense
for Lloyd, considering his pacifist demeanor and
association with 60s rock counterculture. Setting the
tone for the rest of the record, Lloyd initiates the
proceedings with a bold statement of the melody, his
opulent sound darkened with a woody bassoon-like
timbre that differs distinctly from the lighter tonality
of his ECM recordings. Switching to alto flute he
reaches back in time to reprise the title track from his
sophomore record date, Of Course, Of Course, swinging
the poppish melody over the dual guitars, which at
times recall the heady interplay of The Grateful Deads
Jerry Garcia and Bob Weir.

The quintets reading of Latin American folk song
La Llorona, previously recorded by the leader on his
Mirror disc, is introduced by the guitars, sighing lines
conjuring the spirit of the weeping woman of the
songs legend. Tenor blends seamlessly with the strings
on ruminative arrangements of traditional Americana
piece Shenandoah (a page out of Frisells songbook)
and spirituals All My Trials and Abide With Me.
In between Lloyd is heard on flute, revisiting his Latintinged Sombrero Sam. Ringers Willie Nelson and
Norah Jones make respective cameo appearances on
Ed McCurdys protest song Last Night I Had The
Strangest Dream and ballad You Are Too Beautiful.
The disc concludes with the dates sole new
composition, Lloyds Barche Lamsel, a slow-building
feature for meditative flute and penetrating tenor.

At Jazz at Lincoln Center s The Appel Room (Jan.
26th) Lloyd & The Marvels proved themselves to be a
formidable improvising ensemble in a set mixing songs
from the album with new arrangements of older
selections from the Lloyd canon. Opening with the
leader on alto flute playing his East Virginia, West
Memphis, the band exuded a jubilant spirit, buoyed
by funky electric basslines and melody-trailing drums.
Tenor and drums opened Doroteas Studio, a
narrative expedition moving from powerful intensity
to airy impressionism. Versions of All My Trials,
Strangest Dream and Sombrero Sam found the
band stretching out, building on the foundations laid
in the albums open-ended arrangements, until finally
exploding on Requiem and Tone Poem and the
evenings encore, Prayer.
For more information, visit bluenote.com
Solo, trio and quartet performances

including the first recording of Joels
monumental Industrial Arts!
Joel Forrester
in New York in March
3/1
solo, Stop Time, 7 pm
3/4
quartet with Peggy Spina Tap Company

115 Prince, shows at 6 and 8:30
3/5
quartet with Peggy Spina Tap Company

115 Prince, shows at 6 and 8:30
3/6
solo, Grace Gospel Church, 11 am
3/6
Microscopic Septet,
Shapeshifter Lounge, evening
3/8
3/13
solo, Grace Gospel, 11 am
3/15
3/20
solo, Grace Gospel, 11 am.
3/20
trio, Little Branch, 10:30 pm to 1 am
3/22
3/25
trio, Cleopatras Needle 8 to 12 pm
3/27
solo, Grace Gospel, 11 am
3/29
www.joelforrester.com
31
Eponymous
Albert Nicholas/Herb Hall (GHB)
by Scott Yanow
W hile
Tue, Mar 1

VOXECSTATIC: ANDREA WOLPER QUARTET 8PM

John Di Martino, Ken Filiano, Michael TA Thompson
JAY CLAYTON IN AND OUT 9:30PM
John Di Martino, Ken Filiano, Michael TA Thompson
Deborah Latz, curator
Thu, Mar 3

LORIN COHEN GROUP 8PM

Jon Irabagon, Jeremy Manasia, Brevan Hampden
YVONNICK PRENE QUARTET, CD RELEASE: BREATHE 9:30PM
Peter Bernstein, Jared Gold, Allan Mednard
Fri, Mar 4

JASON RIGBY DETROIT-CLEVELAND TRIO 9PM & 10:30PM

Cameron Brown, Gerald Cleaver
Sat, Mar 5

PETROS KLAMPANIS Contextual 9PM & 10:30PM

Julian Shore, Keita Ogawa, Gokce Erem,
Eylem Basaldi, Peter Kiral, Colin Stokes
Sun, Mar 6

NEW BRAZILIAN EXPRESSIONS:

THE REUNION PROJECT 8PM
Felipe Salles, Chico Pinheiro, Tiago Costa, Bruno Migotto, Edu Ribeiro
Billy Newman, host
Tue, Mar 8

KLAZZ-MA-TAZZ 8PM
Benjamin Sutin, Elijah Shiffer, Grant Goldstein,
Benjamin Rosenblum, Mat Muntz, Benjamin Zweig
MATT PANAYIDES GROUP 9:30PM
Rich Perry, Bob Sabin, Mark Ferber
Wed, Mar 9

JEFF DAVIS DRAGON FATHER BAND 8PM

Jason Rigby, Kirk Knuffke, Jon Goldberger, Russ Lossing, Eivind Opsvik
SEBASTIAN NOELLE QUARTET SHELTER 9:30PM
Marc Mommaas, Matt Clohesy, Raj Jayaweera
Thu, Mar 10
BEN MONDER & ANDREW CYRILLE 8 & 9:30PM
Fri, Mar 11

JACOB SACKS QUINTET 9PM & 10:30PM

Jacob Garchik, Ben Gerstein, Eivind Opsvik, Vinnie Sperrazza
Sat, Mar 12

TONY MALABY QUARTET 9PM & 10:30PM

Hank Roberts, Michael Formanek, Ben Perowsky
Sun, Mar 13

SATOSHI KATAOKA QUARTET 8:30PM

Simona Premazzi, Danny Weller, Rodrigo Recabarren
Tue, Mar 15

MARTA SANCHEZ QUINTET 8PM

Jerome Sabbagh, Roman Filiu, Rick Rosato, Colin Stranahan
SIMONA PREMAZZI 9:30PM
Wed, Mar 16

AUBREY JOHNSON SEXTET 8PM

Tomoko Omura, Michael Sachs, Matt Aronoff, Jeremy Noller
LEALA CYR GROUP 9:30PM
John Ellis, Elias Meister, Francesco Marcocci, Mark Ferber
Thu, Mar 17
MATT BREWER QUARTET 8PM & 9PM
Sat, Mar 19

MICHAEL BATES 9PM & 10:30PM

Chet Doxas, Jerermy Bean Clemons
Sun, Mar 20

DJANGO AT CORNELIA STREET 8:30PM & 10PM

Jenn Jade Ledesna; Trio FAB
Koran Agan, host
Mon, Mar 21

MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM & 10PM

Thomas Heberer, Jon Irabagon, Dave Taylor, Brandon Seabrook
Ron Stabinsky, Moppa Elliott, Kevin Shea
Tue, Mar 22

ELLIOTT SHARP PLAYS MONK, PLAYS SHARP 8PM

BOOTSTRAPPERS, ELLIOTT SHARP & FRIENDS 9:30PM
David Hofstra, Don McKenzie
Wed, Mar 23

GERALD CLEAVER/GIOVANNI GUIDI QUARTET 9PM & 10:30PM

Stacy Dillard, Dezron Douglas
Thu, Mar 24

Nitai Hershkovits, Petros Klampanis, Ziv Ravitz
Fri, Mar 25
Sat, Mar 26
Tyshawn Sorey Trio 9PM & 10:30PM

Cory Smythe, Chris Tordini
Mon, Mar 27
BEN VAN GELDER 8:30PM & 10PM
Tue, Mar 29

ROBIN VERHEYEN NY QUARTET, CD RELEASE:

A LOOK BEYOND (CAP-VERT ILLUMINATIONS) 8:00 & 9:30
Russ Johnson, Drew Gress, Jeff Davis
Wed, Mar 30

LOREN STILLMAN TRIO 8PM & 9PM

Gary Versace, Nate Radley
Wed, Mar 31

ALEX CONDE TRIO 8PM

Haggai Zohen, Ziv Ravitz
dan rufolo trio 10PM
Oded Tzur 8 PM
the title of this CD makes it appear that

clarinetists Albert Nicholas and Herb Hall play
together, they are actually featured individually on
sessions separated by 12 years. Nicholas (1900-73) was
one of the all-time greats. He had his own sound by the
20s and worked with King Oliver, the Luis Russell
Orchestra, Red Allen, Louis Armstrong, Jelly Roll
Morton and Bunk Johnson. Nicholas decision to move
permanently to France in 1953, where he worked
regularly during his last two decades, resulted in him
being less known in the U.S. than he deserved.

On his set from 1969, originally released as a
separate LP, Nicholas teams up with a British quintet
led by fellow clarinetist John Defferary. A former
student of Barney Bigard, Defferary holds his own
with Nicholas, harmonizing behind the master and
taking many fine solos of his own. Joined by a solid
rhythm section featuring pianist Pat Hawes, Nicholas
is heard in prime form throughout this spirited set.
Highlights include Bugle Call Rag, Dear Old
Southland and a medium-tempo blues by the two
clarinetists called Wadsworth Mill Grind.

Herb Hall (who died 30 years ago this month just
shy of his 89th birthday) was the younger brother of
the superb clarinetist Edmond Hall. He had a smoother
and softer tone than Edmonds more piercing sound.
Despite being active from the 20s on, including
associations with Don Albert, Sammy Price and Eddie
Condon, Herb remained in his brother s shadow until
Edmonds death in 1967. Then, starting with an album
with the great cornet player Wild Bill Davison, Hall
had a more visible presence during the next 20 years.

The five Herb Hall selections from 1981 went
unreleased for 34 years for unknown reasons (certainly
not the quality of the music). The group is similar to
the one on the Nicholas date including Defferary and
drummer Trevor Richards; the latter is the leader this
time. The interplay between Hall and Defferary is on
the same exciting level as the Nicholas set, pianist Bob
Barton does a fine job as both soloist and accompanist
and the ensembles get particularly hot during What Is
This Thing Called Love and Oh Baby.
The music on both of these sessions falls between
New Orleans jazz and Swing, making this CD a delight
for lovers of vintage jazz clarinet.
For more information, visit jazzology.com
About Time
Joel Forrester (Ride Symbol)
by Ken Dryden
J oel Forrester s enticing compositions draw from a

diverse mixture of styles, delighting with their
unexpected twists and turns. The pianist has led
distinctive small groups such as The Microscopic
Septet, People Like Us and The Truth. About Time

compiles recent recordings by a quartet of saxophonist
Vito Dieterle, drummer Matt Garrity and Micros
veteran Dave Hofstra on bass, with one track featuring
the rhythm section and some vintage 1998 solo piano.
Daddy Destiny is the surprising opener, a
harmonically rich ragtime piece, which has the flavor
of early 20th Century yet with a modern touch. The
quartet negotiates Forresters percolating, slippery
The Cop-Out with finesse, buoyed by energized
tenor saxophone. Forresters breezy bop vehicle What
She Does has a whimsical air with a nod to Charlie
Parker. Rapture is the sole trio performance, a jaunt
rekindling the joy of youth. Its a Beautiful Day (For
The Moment) is a tantalizing ballad spiced with just
enough melancholy to suggest that bad news is just
around the next corner. Forresters demanding Let It
Go tests the mettle of the quartet with a rapid-fire
theme frequently shifting focus; one cant miss the
influence of Thelonious Monk. Your Little Dog is a
lush ballad conveying both the affection and playfulness
of a pet that died, highlighted by its touching unison
line featuring the composer and Dieterle.

Forrester saves his most ambitious piece for last,
the nearly 35-minute Industrial Arts, which began as
an eight-hour-long composition in the 70s. Its repeated
phrases subtly shift every few bars as Forrester
gradually picks up the tempo while unraveling a
magical improvisation. Listen to it on headphones to
appreciate the intricacies of this masterpiece fully.
For more information, visit ridesymbol.com. Forrester is at
ShapeShifter Lab Mar. 6th with Microscopic Septet, Little
Branch Mar. 20th, Cleopatras Needle Mar. 25th, Stop Time
Tuesdays and Grace Gospel Church Sundays. See Calendar
and Regular Engagements.
At This Time...
Steve Kuhn Trio (Sunnyside)
by Joel Roberts
V eteran pianist Steve Kuhn has operated somewhat
below the radar for decades despite a long and varied

career that has included notable gigs with John
Coltrane (preceding McCoy Tyner in the classic
quartet), Stan Getz, Art Farmer and Sheila Jordan. Now
78, he has settled into a steady groove as a leader in
recent years, turning out consistently excellent albums
of expressive mainstream jazz, primarily fronting trios.

Kuhns latest finds him in the esteemed company
of bassist Steve Swallow and drummer Joey Baron,
both with whom he has worked frequently in the past,
including on Kuhns splendid 2011 ECM recording,
Wisteria. The easy rapport among the three artists is
evident right from the top in their relaxed rendering of
Harold Arlens classic My Shining Hour. Like most
of what follows, the tune is delivered with an unhurried
expertise, all members of the trio given the time and
space to show off their chops and personalities.

The setlist is split between Kuhns lyrical originals,
including a gorgeous solo piano version of the wistful
The Feeling Within, and well-chosen, somewhat
unexpected covers from the likes of Al Cohn, Quincy
Jones and Leonard Bernstein. A spry romp through
Kurt Weills This Is New is the closest the album
comes to an uptempo number, highlighted by Kuhns
exceptionally crisp, clear solo lines.
This is a recording of quiet moments and subtle
joys, like the moving interplay between piano, bass
and drums on the whisper-soft closing version of the
Gil Fuller-Dizzy Gillespie ballad, I Waited for You.
Its an impressive outing by an experienced artist with
nothing left to prove, but plenty more to say.
For more information, visit sunnysiderecords.com. Kuhn is
at Jazz Standard Mar. 10th-13th and Birdland Mar.
22nd-26th. See Calendar.
Azul Infinito
Ryan Keberle & Catharsis (Greenleaf Music)
by Eric Wendell
Latin Jazz is an umbrella term littered throughout
the history of jazz. Azul Infinito, trombonist Ryan

Keberles third release with his group Catharsis, sets
out to differentiate itself by focusing on South
American music styles and chamber jazz, resulting in a
compelling marriage of aesthetics.

Keberle navigates the lack of a chordal instrument
beautifully. From the opening number I Thought I
Knew, voice (Camila Meza), trumpet (Mike
Rodriguez) and trombone each gets a repetitive
melodic figure while bassist Jorge Roeder plays a
beautiful ostinato underneath the group, Keberle
showcasing lush counterpoint that becomes the most
memorable part of the album. The lyrical content adds
much of the emotional weight, Meza elegantly
delivering the words while emphasizing each songs

emotional display. On Cancion Mandala, she mimics
the laid-back groove set by Roeder and drummer Eric
Doob in a simple yet intricate articulation of the lyrics.
On the ballad She Sleeps Alone, Meza hangs on to
every syllable while the bands dynamic slowly builds,
hitting the listener right in the heart.

While the lyrics provide beautiful arcs to the
album, the way that the main melodic figures weave in
harmony is also thrilling. On La Ley Primera, Meza,
Keberle and Rodriguez create seamless harmony that
cuts right through the ensemble and shows Keberles
ability to be simultaneously muscular and tender.

The most memorable tune is Mr. Azul, which
represents the best parts of Keberles compositional
talents and the ensembles musicianship. From the
blending of the melodies and Roeder s flawless solo to
Keberle and Rodriguez trading masterful solos, the
song highlights the groups innovative take on a genre
we thought we knew.
For more information, visit greenleafmusic.com. This
project is at Jazz Standard Mar. 15th. See Calendar.
The Music of Jackie McLean

Jacknife (Primary)
by George Kanzler
Here is an album that displays the benefits of exploring,
reviving and reinvigorating repertoire from the past.

Assembled by alto saxophonist Steven Lugerner from
members of the Stanford Jazz Workshop where he was
on the faculty, Jacknife, a quintet of all 20-somethings,
essays tunes recorded by alto saxophonist Jackie
McLean for Blue Note between 1959-65, when McLean
was in his late 20s and early 30s (he died ten years ago
this month at 74). Clocking in at just over 40 minutes,
the six-track CD is the same approximate length as the
12-inch LPs from which it draws. But aside from the
nine-plus-minute On the Nile, the tunes average
about six minutes each, often much shorter than the
original versions. So there is more emphasis on the
compositions (three by McLean, two by Charles Tolliver
and one by Jack DeJohnette) here, where they are more
fully fleshed out in arrangements that are as much the
focus as the individual solos.

A good example is one of McLeans most famous
tunes, Melody for Melonae. On Let Freedom Ring
(1962), McLeans theme seems to be just an appetizer
for over a dozen minutes of serious blowing. Here, on
a six minute track, the tune is treated to a fully detailed,
Monk-ish quintet arrangement at both ends, with
grumbling piano solo (Richard Sears) followed by
Lugerner s alto and J.J. Kirkpatricks trumpet dueling
in tandem solos and trades as the tempo flexes and
retards to a coda-like suspension before the head
returns.

One of the advantages of a repertory band over
one playing originals or familiar standards is that an
honorees best work can be gleaned quite selectively.
The pieces here, from modal On the Nile to funky
Das Dat, all have memorable themes and the band is
inspired by them as well as by the original playing of
McLean and his cohorts. Lugerner, especially, channels
the creative heat and searing, tart tone of the young
McLean. Jacknife proves to be a sharp, cutting-edge
band, even with a repertoire over 50 years old.
For more information, visit primaryrecords.org
1971
Peter Brtzmann/Fred van Hove/Han Bennink
(Corbett vs.Dempsey)
by Ivana Ng
1971 is a snapshot of a momentous time for European

free jazz. Leading the charge were Peter Brtzmann
(reeds, who turns 75 this month), Fred Van Hove
(piano) and Han Bennink (drums). Three years prior,
the trio had collaborated, along with five others, on
Brtzmanns Machine Gun. That album helped catapult
the still-vibrant European free jazz movement.

Brtzmann, Bennink and Van Hove collaborated as
a trio for several years post-Machine Gun. 1971 features
three tracks from this time period. Just for Altena is a
26-minute piece from the 1971 Internationales New Jazz
Meeting Auf Burg Altena. Bennink and Brtzmann dive
right in with explosive horns and incandescent, clashing
percussion while Van Hove is frenzied yet understated.
Amid the chaos, intriguing sounds and textures emerge.
Brtzmann moves from sandpapered honks and throaty
crescendos to blustery breaths with cinematic scope. But
for the few rare moments when he teases with dulcet
tones, he is focused on breaking down the conventions
of his instrument. Van Hoves melodic forays are more
elongated, which only makes it all the more suspenseful
when he does descend into uncharted territory. Bennink
augments his kit with metal and steel found objects,
adding a tropical, steel-drum quality to the percussion
palette. He commands the audience with dialectic beats
and fierce yips and howls. Only Brtzmanns piercing
screeches can match his beatific shouts.

The other two tracks are studio sessions recorded
shortly before the Altena festival. In Filet Americain,
Brtzmann starts off focusing heavily on breath play,
but gasping staccatos quickly give way to heady, fullbodied tenuto chords. Then Van Hove and Bennink
engage in a call and response, with the latter s metallic
tinkering and vigorous drum rolls almost overpowering
the former s ethereal keys. The final track, I.C.P. No.
17, draws out Brtzmann further, oscillating from
voluptuously guttural drones to high-pitched peaks
and valleys. 1971 showcases this trios command of
their instruments and the varied textures they draw
out of them in both live and recorded settings.
For more information, visit corbettvsdempsey.com
After 40 years of
PAYING HIS DUES,

he shouldnt have to struggle
to pay his rent.

photography by Bradley Smith.
Call 1-800-JFA-JAMS or
visit jazzfoundation.org to help.
The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036
33
Mimico
Flip City (Short Memory)
by John Pietaro
F lip
City is a trio comprised of saxophonist David

Aaron, bassist Will McEvoy and drummer Dave Gould,
each frequently heard on the NYC free jazz circuit in a
variety of ensembles. On Mimico, their sophomore
release, the band delves into thick tapestries of sound,
which, more often than not, bring to mind a much
larger ensemble.

Some of the works presented here have composed
sections but the overall effect is one of a thoughtful,
multi-part
free
improvisation,
dramatic
and
compelling. Aarons presence on both tenor and
soprano is equally forceful, with long-held, arcing
phrases commanding the atmosphere like a tugboats
call tearing through a thicket of fog. Just when you feel
he will resolve some of his strained melismata, he
doesnt. McEvoy offers strong statements as well,
crafting lines of artful tone, intense counterpoint and
carefully plotted supportive work. And Gould is a
champion of the timpani mallet, rolling over (what
seems to be) an extended kit including various metal
and wooden surfaces, creating pulsing, at times
burning patterns, which rarely move out of mezzoforte and really thrive at much softer levels. Flip City
are master listeners, something not always engaged in
by champions of the shock of the new.

The drama inherent in this slower, sometimes
pensive brand of free music is further accentuated by
the credits, which inform us that opener Upfront
Sometime was inspired by works of Oscar Wilde. To a
more contemporary point, Your Response is
dedicated to Aimee Goodman, host of the celebrated
left activist radio program Democracy Now!, its title
based on Ms. Goodmans frequent retort to guests after
shes hit them with tough commentary. And it all seems
fitting as Flip City, if in a less direct manner,
challenges listeners.
For more information, visit shortmemory.org. This project
is at The Backroom Mar. 22nd. See Calendar.
Vertigo
The Necks (Fish of Milk-Northern-Spy)
by Philip Freeman
The Necks are an Australian triopianist/organist

Chris Abrahams, bassist Lloyd Swanton and drummer
Tony Buckwhose music employs extended duration
almost as a weapon. The vast majority of their releases,
18 albums in a timeline starting nearly 30 years ago,
consist of single tracks, generally running just under or
just over an hour and released on their own label Fish
of Milk (with U.S. distribution by Northern Spy).

Vertigo isnt really a journey, the way long
pieces tend to be; rather, like Miles Davis He Loved
Him Madly (the 1974 sidelong track from Get Up with
It), its an event, an atmosphere the listener dwells in
for a while, with no overriding melody or traditional

structure. It begins slowly, with Abrahams releasing
almost Cecil Taylor-esque flurries of notes that become
repetitive motifs, as Buck stays mostly silent, only
intermittently attacking the kit like he stumbled while
trying to walk around it. Swanton seems to rise up
from the ground between them, emitting an uncannily
steady drone that has got to be the result of a bow and
a pedal.

Each man throws idea after idea into the pot as the
piece progresses, whether it is Bucks striking of small,
ritualistic-sounding gongs or a hard-to-pin-down
rustling sound that could come from anyone at all.
About 10 minutes in, the music becomes extremely
haunted-house, with what sounds like two different
piano lines going at once, creepy electronic zaps and
squiggles in the margins and cymbals rattling like
insect wings. Somewhere past the halfway mark, it
takes another turn and starts to sound like Pink Floyds
Echoes, with ominous organ notes fed through
oceans of reverb, slowly ticking cymbals and a strange
sound like the worlds largest camera shutter or a giant
paper cutter slicing over and over.
The Necks music on Vertigo is extremely
compelling because it is genuinely unpredictable. Too
much improv-based music retains rules that are easy
enough to figure out and therefore predict the results.
For its entire 44-minute running time, this piece never
loses the power to surprise.
For more information, visit northernspyrecords.com. This
group is at Whitney Museum Mar. 24th-25th. See Calendar.
Haunted Heart
Stephen Riley/Peter Zak (SteepleChase)
by Ken Dryden
Tenor saxophonist Stephen Riley has earned critical

praise for his series of SteepleChase CDs over the past
few years. This session is his third meeting with pianist
Peter Zak, whose sensitive accompaniment allows
Riley the breathing room he thought could only be
found in pianoless groups. This time, however, its just
the pair, finding new avenues through a mix of jazz
standards and gems from the Great American
Songbook. Without timekeeping by a rhythm section,
the players rely on intuition to anticipate their joint
path.

While there are a lot of ballads in their setlist, it
isnt a laid-back date, but instead often invigorating.
Isfahan, written by Billy Strayhorn originally as a
feature for Duke Ellington alto saxophone great Johnny
Hodges, finds Riley a bit more aggressive in his attack,
complemented by Zaks inventive support. Their
rhapsodic, swinging setting of Cole Porter s You Do
Something to Me brings new life to this overlooked
gem as they engage in imaginative interplay. The
Intimacy of the Blues is another well-known Strayhorn
gem, highlighted by Zaks superb down-home solo
and Rileys cool vibrato recalling Ben Webster. The
latter s breathy approach in the very deliberate setting
of Howard Dietz-Arthur Schwartz Haunted Heart
makes him sound conversational in this emotional
performance.
Saxophonists automatically seem to choose a
racehorse tempo when they tackle John Coltranes
Moments Notice; Riley opts to hold back the reins
just a bit as he gradually builds up some steam, then
suddenly veers into a mellow waltz. The wistful
arrangement of Richard Rodgers Theres A Small

Hotel is a spacious affair while the light-hearted
reading of Sammy Fain-Bob Hilliards Alice in
Wonderland cant but help to lift a dark mood. Arthur
Johnston-Johnny Burkes Pennies From Heaven has
been subjected to so many clich-ridden recordings,
but Riley alters the typical approach by opening with a
lush, improvised solo introduction, leading into a
jaunty duet with the nimble Zak. With Haunted Heart,
Stephen Riley and Peter Zak have achieved that rare
chemistry that demands future projects together.
For more information, visit steeplechase.dk. Riley is at The
Appel Room Mar. 18th-19th with Aaron Diehl. See Calendar.
ON SCREEN
Night Bird Song: The Thomas Chapin Story

Stephanie Castillo (Olena Media)
by Mark Keresman
Saxophonist Thomas Chapin (1957-98) was both a
jazz success story and tragic figure, born 59 years

ago this month and dying far too young (at 40 in
1998) with much more to accomplish. Chapin
spanned styles effortlessly. In some ways he was, to
borrow Duke Ellingtons phrase, beyond category.
While considered part of the NYCs genre-b(l)ending
Downtown Sound of the 80s-90s, Chapin played
standards with the best of them. And when he did
play free, he did so in a manner that was always
powerfully melodic and rhythmic. Chapin had an
inclusive view of sound, always seeking new ways
to express himself, and was a true showman, unafraid
to let his joie de vive show on the bandstand.
There is background on Chapins youthful
beginnings via still photographs, film clips from
music lessons and marching bands and interviews
with family, friends and teachers. Theres a live clip
of one of Chapins early inspirations, Rahsaan
Roland Kirk, and interviews with musicians
involved in his education, including Paul Jeffrey,
Kenny Barron and Larry Ridley, and collaborators
like bassists Mario Pavone, Ray Drummond and
Pablo Aslan and drummer Michael Sarin. Much of
the performance footage is of Chapins working trio
with Pavone and either Sarin or Steve Johns in
Europe and the Newport Jazz Festival. We are
privileged seeing Chapins established position
within a major big bandLionel Hamptons, in
which he was not only a soloist but musical director.
Conversely, Chapin is also seen in a free jazz
orchestra conducted by Walter Thompson and the
thorny improv collective Machine Gun.

What stands out about Night Bird Song is that
filmmaker Stephanie J. Castillo not only captured
the depth and breadth of Chapins music (in varied
contexts) and his dedication to music in general (not
just jazz) but a sense of the person himself within a
historical context. There are many complete
performances as opposed to highlightsit makes
for a lengthy movie but it never feels overlong. For
anyone with an interest in creative music in the 80s90s, Night Bird Song is essential viewing.
For more information, visit thomaschapinfilm.com. This
film will be screened at SVA Theatre Mar. 13th.
IN PRINT
Echoes from Rudolphs

John Carter (NoBusiness)
by Stuart Broomer
Until
recently its been hard to find John Carter s

work from the early to late 70s. That changed markedly
in 2015 with the release of No U-Turn - Live in Pasadena,
1975, with co-leader Bobby Bradford on the French
Dark Tree label, and this two-CD set from the
Lithuanian label NoBusiness.

In the mid 70s, Carter was in the process of giving
up his saxophones and flute to devote himself entirely
to the clarinet. Echoes from Rudolphs catches him near
the end of that process, with just the soprano saxophone
still present as a kind of wide-bore complement to the
clarinet. The first disc reissues the obscure LP that
appeared on Carter s Ibedon label, recorded in
September 1976 and released in an edition of 550 copies
in late 1977. The second CD issues a slightly later
broadcast.

Echoes from Rudolphs commemorates a makeshift
performance space in Los Angeles where Carter, who
died 25 years ago this month at at the tragic age of 61
from lung cancer, played on Sunday afternoons
between 1973-76 with a trio of his son Stanley on bass
and drummer William Jeffrey. His focus on the clarinet
was leading to a rare and explosive virtuosity, with
Carter developing fluency and an expressive breadth
hitherto unknown on the instrument in free jazz. Its
present in the coiling lines of the title track, with an
introduction in which Carter leaps from a woody lower
register to singing, sometimes stinging, highs, then,
with the entry of the rhythm section, focusing on rapid,
tightly knotted phrases in the middle register.

The lyrical Fallen Poppy, with the trio joined by
the ethereal voice of Melba Joyce and Chris Carter
(another son) on finger cymbals, introduces another
dimension: Carter s gift for barely adorned, intensely
realized melody. His improvisational brilliance comes
to the fore on Angles, a sustained unaccompanied
solo (recorded in July 1977) in which his lines stretch,
twist and burn, while Amin, the sole soprano
saxophone performance on this disc, is a burnished,
metallic complement to the liquid grain of the clarinet.
The broadcast on the second CD is a direct
continuation from the LP, recorded six months later in
March 1977, with the same first two tunes as the LP,
but the music is looser, more intense and more
developed. The difference shows in the literal lengths
to which the band stretches: the running time of
Echoes doubles. While the five pieces of the LP run
to 39 minutes, the six tunes of the broadcastfour of
them untitled and played as a continuous suite
expand to 79.
Six months may be a long time in the life
of a reedplayer who has decided to become a clarinetist
and the performance level is like that of Angles: the
command of multiphonics and the upper register is
stunning on the unaccompanied introduction to
Unidentified Title 2; however, it seems here like an
even longer time in the life of the young rhythm
section, with Carter and Jeffrey generating more drive
and a higher level of interactivity, both with one
another and with the leader.

This is an important document of John Carter s
career and Southern California free jazz, charting an
significant period and a neglected band.
For more information, visit nobusinessrecords.com
The Kitchen Improvises: 1976-1983

Various Artists (Orange Mountain Music)
by Clifford Allen
W hile
the 80s are often viewed as a time of arch

conservatism in American jazz and the arts
concomitant with the lean years of the Reagan
administrationin actuality there was a wide array of
cross-disciplinary investigation and new areas of
structural research. Though major labels like Columbia
and Arista had previously signed artists like
saxophonist Arthur Blythe and reedplayer Anthony
Braxton, respectively, the new decade saw creative
musicians going underground or to Europe, but that
didnt mean they werent thinking and working on a
large scale. The Kitchen, a venue for dance, performance
and new music in lower Manhattan, is celebrating its
45th anniversary in 2016.

The Kitchen Improvises: 1976-1983 is a new singledisc set presenting six archival recordings from the
venues history with free music. At the time these
pieces were recorded, The Kitchen was located in
SoHo, then still a feasible location to make and view
art. The Kitchen in the early 80s was curated by
trombonist/electronic composer George Lewis, who
had come to New York several years prior and who
reprised this central role (Feb. 9th) by bringing together
vocalist Thomas Buckner, reedplayers Michael Lytle,
Oliver Lake and Earl Howard (also a keyboardist), the
electronics of Ikue Mori and Andrea Parkins, accordion
player Lucie Vtkov and the koto of Miya Masaoka for
a program of duos, trios and larger group formations
culminating in a small orchestra improvisation,
primarily of an electroacoustic nature. Lewis is one of
the most significant proponents of improvisational
programming and workshopped influential strategies
as a denizen of The Kitchen.

The disc closes with a version of Lewis Homage
to Charles Parker recorded in October 1979 during
composer Rhys Chathams curation, differing from the
LPs lineup in that cellist Abdul Wadud is added to the
core of synthesizer player Richard Teitelbaum, pianist
Anthony Davis and reedplayer Douglas Ewart.
Graceful electronic strings act as a bedrock for Ewarts
sweetly spry alto and the thick chortle of the leader s
bass trombone. Howards Particle W opens the disc,
with his synthesizer acting as a conduit and foil for the
occasionally distant, globular shards of Davis piano in
a 1983 performance curated by musician Anne
DeMarinis (ex-Interference and Sonic Youth). The most
traditional piece features a short quartet from alto
saxophonist Oliver Lake with guitarist Michael
Gregory Jackson, drummer Pheeroan akLaff and late
bassist Fred Hopkins, the drummer s stirring charge a
topographic force juicing the volume pedal-actuated
surge of Jacksons intervallic leaps and the leader s
skirling, dry phrases.
Rounding out the disc are a fine solo from
percussionist Gerry Hemingway; the rigorously odd
trio of Buckner, reedplayers Roscoe Mitchell and
Gerald Oshita; and Meltable Snaps It, featuring the
warped reeds of Michael Lytle and George Cartwright
with the adapted electro-acoustic clatter of Michael
Moss. The Kitchen Improvises: 1976-1983 presents a
fascinating and crisply-rendered window into creative
music performance within the intermedia environment
of early 80s SoHo.
Better Git It In Your Soul:

An Interpretive Biography of Charles Mingus
Krin Gabbard (University of California Press)
by Clifford Allen
The
life and career of bassist-composer Charles

Mingus has always presented itself as extremely
complicated, frustratingly so and few successful
biographies have been written about him (compared
to, say, Miles, Coltrane or Monk). Brian Priestleys
Mingus: A Critical Biography has been on the shelves
since 1982, but the go-to volume on the composer
has, since the early 70s, been his autobiography,
Beneath The Underdog. Filled with mythology and
self-excavation/contradiction and little analysis of
the music and musicians he worked with, it has
nevertheless held sway for over 40 years as the
primary chronicle of Mingus life. Enter Better Git It
In Your Soul: An Interpretive Biography of Charles
Mingus by Krin Gabbard, trumpeter and film
professor recently retired from SUNY-Stony Brook.
This book offers several lenses through which to view
Mingus and his musicthe milieu in which he lived,
wrote and played; literary life; closest musical
associations; and as a coda his experience in film.
Mingus has always existed between several
areas of the music and Gabbard eloquently describes
this fact as not just aesthetic but biographical: born to
a light-skinned father who could easily pass and a
mother who was of black and Chinese heritage,
Mingus was never light enough to be considered
white and never dark enough to fit wholly within
with the black community in Watts. Inspired by the
Watts Towers99-foot structures made of found
objects, wood and metal by the illiterate outsider
artist Sam Rodiaas Gabbard points out, Mingus,
the nascent jazz musician, was especially intrigued
by Rodias constant revision of his sculptures [and]
Mingus Jazz Workshop always presented music in a
state of becoming. As a composer, fixity was not
Mingus strong suit or his point; early pieces whittled
out bridged Ellingtonia with unsettled classicism and
flirted with the nascent language of bebop.

Relocating to New York in 1951, Mingus and
drummer Max Roach founded Debut Records, one in
a long line of efforts to circumvent the poor treatment
and robbery musicians faced at the hands of record
companies, promoters, club owners and other
musicians (this latter point crops up repeatedly in the
text). One could easily say that Mingus himself was
among those who complicated these relationships
making off with the tapes from the 1963 New Jazz
Society of Toronto concert that produced Jazz at
Massey Hall and coming to blows with musicians in
his bands (altercations with trombonist Jimmy
Knepper being among the most sadly notable). There
is much in Better Git It In Your Soul to limn ones
understanding of and approach to Mingus
tremendous body of work as well as the challenges he
faced and orchestrated as a black artist in America.
Yet, as Gabbard would presumably echo, the most
effective biography is in the music.
For more information, visit ucpress.edu. Mingus tribute
ensembles are at Jazz Standard Mondays. See Calendar.
For more information, visit orangemountainmusic.com
35
B OXED SE T
The Complete Remastered Recordings

on Black Saint & Soul Note
Mingus Dynasty/Big Band Charlie Mingus (CAM Jazz)
by George Kanzler
Thanks
to his widow Sue Mingus, appreciation of

Charles Mingus has expanded exponentially since his
death 37 years ago. The Mingus Dynasty, formed
weeks after the bassists passing, had been in existence
over three years, with a revolving door of personnel,
when the first of the two Dynasty albums collected
here, Reincarnation, was recorded in April 1982. The
second, Mingus Sounds of Love, was made in March
1987. The final two CDs in this set feature Big Band
Charlie Mingus, an early version of what has become
the Mingus Big Band on Live at the Theatre BoulogneBillancourt Paris, Vols. 1 and 2, recorded Jun. 8th, 1988.
That Mingus music was unique is amply
demonstrated. He was never content with easy jazz
conventions, writing tunes that stretched the song
form; had multiple or contrasting themes and tempos
and/or time signatures; were performed with shifting
dynamics, frames and parameters, including but not
limited to the varying accompaniment to solos, solos

overlapping or played in tandem; and the dropping
out of the ensemble for a cappella moments. Mingus
preferred singing or humming parts to teach them to
his band rather than handing out written scores. So
one of the challenges of the early Mingus Dynasty
bands was notating the music and creating scores but
many of the early members had worked with Mingus
and the leader-conductor and main arranger on all
this music was trombonist Jimmy Knepper, one of
Mingus most notable alumni.
On Reincarnation, a sextet led by Knepper is
joined by Mingus alumni Richard Williams (trumpet),
Ricky Ford (tenor saxophone) and Sir Roland Hanna
(piano), as well as bassist Reggie Johnson (along with
Knepper the only constant on all four discs) and
drummer Kenny Washington. The repertoire leans
towards more bebop/hardbop-oriented tunes,
including East Coasting, Jump Monk and
Reincarnation of a Love Bird, the last delivered in
alternating fast and slow tempos. The centerpiece is
Duke Ellingtons Sound of Love, Hanna conjuring
Ellingtons piano style in an indelible performance.
Rounding out the album are two of Mingus gospelsoul stompers: Wednesday Night Prayer Meeting
and Ecclusiastics. The latter and Jump Monk are
heard again later fleshed out on the big band album.
Hanna is back with the Dynasty edition on
Mingus Sounds of Love, a septet with Mingus alumni
trumpeter Randy Brecker, tenor saxophonist Craig
Handy (who plays alto with the big band) and
drummer Dannie Richmond (Washington is on one
track), plus flutist James Newton. The six tunes all
allude to women in Mingus life. Richmond, whose
tenure with Mingus was longer than any other
MAR 1
MAR 15
gerald clayton trio
sinne eeg
MAR 2
M A R 1 6 1 7
tia fuller quartet
an evening with audrey shakir
MAR 36
M A R 1 8 2 0
willie jones iii quintet
walter blanding: fantasy in blue
MAR 7
MAR 21
william patterson university

jazz orchestra and ensembles
rob rodriguez trio
MAR 8 |
FLIP SIDE SESSIONS
7:30pm: christie dashiell quartet

9:30pm: shenel johns quartet
MAR 22
juilliard jazz ensembles

MAR 23
M A R 9 1 0
alex sipiagin quintet
helen sung quartet
M A R 2 4 2 7
MAR 11
sherman irby and momentum
the linda oh 5
MAR 28
M A R 1 2 1 3
msm afro-cuban jazz orchestra
dr. michael white quartet
MAR 29
MAR 14
amina figarova sextet
new york youth symphony

with special guest jon faddis
swing by tonight
set times
7:30pm & 9:30pm
MAR 3031
brubecks play brubeck
jazz.org / dizzys
Jazz at Lincoln Centers Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
musician, invigorates the performances, driving and

commenting on the ensembles and solos, as when he
echoes Newton on snare in The Eye of Hurricane
Sue or recreates the castanets and mariachi/flamenco
rhythms of Ysabels Table Dance. He also deftly
maneuvers the tricky dynamics and tempos of Sues
Changes. Three ballads show how melodic Mingus
could be, with lyrical solos all around, the triumph
being Caroline, a tender duet for flute and piano.

The two Big Band CDs are an early demonstration
of how full of possibilities Mingus music is in larger
ensemble formats. Sy Johnsons arrangement of The
Shoes of the Fishermans Wife Are Some Jive Ass
Slippers, the first discs centerpiece, builds from
opening rubato horns through rocking, tumbling riffs
to a solo piano interlude and tenor saxophone
(Clifford Jordan and David Murray) solos in 4/4 and
3/4 slowly engulfed by rising ensemble backgrounds.
Vol. 2 is centered around an almost half-hour
performance of the long-form masterpiece The Black
Saint and the Sinner Lady, a work that keeps
returning, cyclically, to an insistent, rolling rhythm
riff and employs many Ellington-ian gestures: plunger
mutes (including quotes from It Dont Mean A Thing,
If It Aint Got That Swing); a wah-wah trombone and
drums (Billy Hart) duet; a slow fugue section similar
to Ellingtons in A Tone Parallel to Harlem; and a
solo piano interlude (Jaki Byard). My Jelly Roll Soul
is imbued with a joyous spirit and Mingus famous
musical epitaph, Goodbye Porkpie Hat, spotlights
Murrays unforgettable bass clarinet, as well as John
Handys alto and Jordans tenor.
For more information, visit camjazz.com. Mingus tribute
ensembles are at Jazz Standard Mondays. See Calendar.
M ISCELLANY
ONTHISDAY
by Andrey Henkin
Harlem
Duke Ellington (Pablo Live)
March 9th, 1964
60 Years Jazz Edition, Vol. 1

Gillespie/Koller (Moosicus)
March 9th, 1953
The
Released 60 years after it was recorded,
title of this album, released 21

years after the fact, is misleading.
While it contains the title track,
Ellingtons orchestra is performing at
the Konserthuset in Stockholm,
Sweden in the midst of a European
tour (this album represents part of the
second of two performances that day).
Such Ellington stalwarts as Cootie
Williams, Cat Anderson, Jimmy
Hamilton, Russell Procope, Johnny
Hodges, Paul Gonsalves and Harry
Carney are featured on tunes like
Caravan, Tutti for Cootie,
Isfahan and Satin Doll.
this first of four volumes from

Moosicus is a nine-tune program split
between the Dizzy Gillespie Quintet
(five) and the Hans Koller New Jazz
Stars (four), recorded at Norddeutscher
Rundfunk Studio 10 in Hamburg,
Germany. The former is a short-lived
iteration of the band for a European
tour with Bill Graham (saxes), Wade
Legge (piano), Lou Hackney (bass)
and Al Jones (drums) while the latter
features the tenor saxophonist in a
quintet with Albert Mangelsdorff
(trombone) and Jutta Hipp (piano).
Purple Sun
Tomasz Stanko (Calig)
March 9th, 1973
Whatthefuckdoyouwant
Brtzmann/Sharrock (Trost)
March 9th, 1987
Polish trumpeter Tomasz Stanko

made one album for the short-lived
German Calig label (at least for jazz
anyway), a live set from the
Musikhochschule in Munich, a couple
of years before his ECM debut (perhaps
Manfred Eicher was in the audience).
He is joined by three countrymen:
(recently departed) saxophonist Janusz
Muniak,
violinist/saxophonist
Zbigniew Seifert and drummer Janusz
Stefanski, the quintet completed by
Swiss bassist Hans Hartmann. Seifert
wrote one of the four pieces to go along
with three Stanko originals.
Of
course German saxophonist Peter

Brtzmann would have an album
called Whatthefuckdoyouwant. This
brutal duo session with late American
guitarist Sonny Sharrock, released in
2014, was recorded at the Alzette
Kulturfabrik in Luxembourg and came
in the midst of the pairs collaboration
as part of Last Exit. In addition to his
usual tenor, Brtzmann plays bass
saxophone
and
trogat.
The
72-minute program is made up of 11
untitled improvisations running from
the three-and-a-half minute opener to
the nearly 10-minute ninth piece.
(Hence The Reason)

BassDrumBone (Enja)
March 9th, 1996
BassDrumBone
is the partnership
between
Mark
Helias,
Gerry
Hemingway and Ray Anderson, three
musicians all born from 1950-55 and
part of the Downtown jazz firmament
in 70s-80s New York. In 2017, the
band will celebrate 40 years together
and their first albums were not made
under the current moniker (that started
in 1987). This album was their fourth,
after releases on Auricle, Minor Music
and Soul Note, a live recording from
the Bimhuis in Amsterdam, which, like
the rest of their catalogue, is a mix of
originals from the three members.
BIRTHDAYS
March 1
Glenn Miller 1904-44
Teddy Powell 1906-1993
Benny Powell 1930-2010
Gene Perla b.1940
Ralph Towner b.1940
Vinny Golia b.1946
Norman Connors b.1947
Elliott Sharp b.1951
March 2
Eddie Lockjaw Davis
1921-86
Doug Watkins 1934-62
Buell Neidlinger b.1936
Bob Neloms b.1942
Wolfgang Muthspiel b.1965
March 3
Barney Bigard 1906-80
Cliff Smalls 1918-2008
Jimmy Garrison 1934-76
Luis Gasca b.1940
March 4
Don Rendell 1926-2015
Cy Touff 1927-2003
Barney Wilen 1937-96
David Darling b.1941
Jan Garbarek b.1947
Kermit Driscoll b.1956
Albert Pinton b.1962
Dana Leong b.1980
March 5
Gene Rodgers 1910-87
Bill Pemberton 1918-84
Dave Burns 1924-2009
Lou Levy 1928-2001
Wilbur Little 1928-87
Pee Wee Moore 1928-2009
David Fiuczynski b.1964
March 6
Red Callender 1916-92
Howard McGhee 1918-87
Wes Montgomery 1925-68
Ronnie Boykins 1935-80
Charles Tolliver b.1940
Peter Brtzmann b.1941
Robin Kenyatta 1942-2004
Flora Purim b.1942
Dom Minasi b.1943
Ayelet Rose Gottlieb b.1979
March 11
Miff Mole 1898-1961
Mercer Ellington 1919-96
Ike Carpenter 1920-98
Billy Mitchell 1926-2001
Leroy Jenkins 1932-2007
Vince Giordano b.1952
Judy Niemack b.1954
March 16
Ruby Braff 1927-2003
Tommy Flanagan 1930-2001
Keith Rowe b.1940
John Lindberg b.1959
Woody Witt b.1969
March 12
Sir Charles Thompson b.1918
Hugh Lawson 1935-97
March 7
Ned Goold b.1959
Alexander von Schlippenbach Peter Knight b.1965
b.1938
Vinson Valega b.1965
Herb Bushler b.1939
March 13
March 8
Dick Katz 1924-2009
George Mitchell 1899-1972
Roy Haynes b.1926
Dick Hyman b.1927
Blue Mitchell 1930-79
George Coleman b.1935
Michael Jefry Stevens b.1951
Gabor Szabo 1936-82
Akira Tana b.1952
James Williams 1951-2004
Terence Blanchard b.1962
Biggi Vinkeloe b.1956
Shoko Nagai b.1971
Anat Fort b.1970
March 14
March 9
Joe Mooney 1911-75
Ornette Coleman 1930-2015
Les Brown 1912-2001
Keely Smith 1932-2015
Sonny Cohn 1925-2006
Kali Z. Fasteau b.1947
Mark Murphy 1932-2015
Zakir Hussain b.1951
Shirley Scott 1934-2002
Thomas Chapin 1957-1998
Dred Scott b.1964
Erica von Kleist b.1982
March 15
March 10
Jimmy McPartland 1907-91
Bix Beiderbecke 1903-31
Spencer Clark 1908-1998
Pete Clarke 1911-75
Harry James 1916-83
Don Abney 1923-2000
Bob Wilber b.1928
Louis Moholo-Moholo b.1940
Charles Lloyd b.1938
Mino Cinelu b.1957
Marty Sheller b.1940
Bill Gerhardt b.1962
Joachim Khn b.1944
Ofer Assaf b.1976
Anne Mette Iversen b.1972
March 17
Paul Horn 1930-2014
Grover Mitchell 1930-2003
Karel Velebny 1931-89
Jessica Williams b.1948
Abraham Burton b.1971
Daniel Levin b.1974
March 18
Al Hall 1915-88
Sam Donahue 1918-74
Bill Frisell b.1951
Joe Locke b.1959
March 19
Curley Russell 1917-86
Lennie Tristano 1919-78
Bill Henderson b.1930
Mike Longo b.1939
David Schnitter b.1948
Chris Brubeck b.1952
Michele Rosewoman b.1953
Eliane Elias b.1960
March 22
Fred Anderson 1929-2010
John Houston b.1933
Masahiko Togashi 1940-2007
George Benson b.1943
March 23
Johnny Guarnieri 1917-85
Dave Frishberg b.1933
Dave Pike 1938-2015
Masabumi Kikuchi 1940-2015
Gerry Hemingway b.1950
Stefon Harris b.1973
March 24
King Pleasure 1922-81
Dave MacKay b.1932
Kalaparusha Maurice

McIntyre 1936-2013
Steve Kuhn b.1938
Paul McCandless b.1947
Steve LaSpina b.1954
Renee Rosnes b.1962
Dave Douglas b.1963
Joe Fiedler b.1965
March 25
Cecil Taylor b.1929
Paul Motian 1931-2011
Larry Gales 1936-95
Lonnie Hillyer 1940-85
Makoto Ozone b.1961
March 20
Marian McPartland 1920-2013
Sonny Russo 1929-2013
March 26
Harold Mabern b.1936
Abe Bolar 1908-2000
Jon Christensen b.1943
Flip Phillips 1915-2001
Andy Hamilton 1918-2012
March 21
Brew Moore 1924-73
Hank DAmico 1915-65
James Moody 1925-2010
Mike Westbrook b.1936
Maurice Simon b.1929
Herbert Joos b.1940
Lew Tabackin b.1940
Amina Claudine Myers b.1942 Hiromi b.1979
March 27
Pee Wee Russell 1906-69
Ben Webster 1909-73
Sarah Vaughan 1924-90
Harold Ashby 1925-2003
Bill Barron 1927-89
Burt Collins 1931-2007
Stacey Kent b.1968
March 28
Paul Whiteman 1890-1967
Herb Hall 1907-96
Thad Jones 1923-86
Bill Anthony b.1930
Tete Montoliu 1933-97
Barry Miles b.1947
Donald Brown b.1954
Orrin Evans b.1975
Jen Shyu b.1978
March 29
George Chisholm 1915-97
Pearl Bailey 1918-90
Allen Botschinsky b.1940
Michael Brecker 1949-2007
March 30
Ted Heath 1900-69
Lanny Morgan b.1934
Karl Berger b.1935
Marilyn Crispell b.1947
Dave Stryker b.1957
Frank Gratkowski b.1963
Dan Peck b.1983
March 31
Santo Mr. Tailgate Pecora
1902-84
Red Norvo 1908-99
Freddie Green 1911-87
Jimmy Vass 1937-2006
Christian Scott b.1983
PAUL MCCANDLESS
March 24th, 1947
Though born in Pennsylvania,

Paul McCandless, who plays
oboe, English horn, flute,
soprano saxophone and bass
clarinet, is more synonymous
with Oregon, or at least the
band named for that Western
state. McCandless formed the
group with guitarist Ralph
Towner, late percussionist
Collin Walcott and bassist
Glen Moore (the latter the
only true Beaver in the group)
in 1970. The quartet has since
released nearly 30 albums for
Vanguard, Elektra, ECM,
Portrait, Intuition and CAM
Jazz. McCandless has also
brought virtuosity to his own
albums for Elektra, ECM,
Windham Hill and Synergy
Distribution as well as
collaborations with Paul
Winter, David Friesen, Art
Lande, Eberhard Weber, Jaco
Pastorius, Carla Bley and
Wynton Marsalis.
(AH)
CROSSWORD
1
10
11
12
13
14
15
16
17
19
18
20
21
22
23
By Andrey Henkin
visit nycjazzrecord.com for answers
ACROSS
DOWN
1. Buddy Collette 1957 ABC-Paramount album

____, Cool & Collette
5. Max Bennett, John Guerin, Robben Ford,
Larry Nash and Tom Scott played on
Joni Mitchells album Miles Of ______
under the monker The L.A. Express
7. Free jazz saxophonist Paul
9. Bernie Wayne-Marguerite JamesI Dont
Know Whether To Laugh ____ Cry Over
You covered by Dinah Washington
10. Sun Ra conga player Ananda
12. The Creator ___ a Master Plan
13. Songwriting brother/partner to George
14. 1958 Count Basie/Billy Eckstine
business entity?
15. German radion station that held an annual
Jazz Workshop for many years
16. O in ROVA
18. Cuneiform debut by jazz-rock band
Blue Cranes
19. This trumpeters debut recording was on
Monks Blue Note debut
22. West Coast-based avant keyboardist Scott R.
23. 1999 Charles Lloyd ECM album
The Water is ____
1. Veteran jazz travel agency based in San Diego

2. Jazz promoter Cobi Narita was married into
this music instrument sales family
3. Japanese 80s avant garde jazz label
4. Soul-jazz keyboardist Saunders
5. Circle drummer Barry
6. Piano company based in Astoria
7. When the Miles Davis Quintet played the
LOlympia in 1960, they were paid in these
8. Charlie Parker tune _____ With Yard
9. 1954 George Lewis Authentic New Orleans
Ragtime Band Jass At The ____ Union
double-LP reissued by Storyville
11. Paul Rutherford 1974 Emanem album
The Gentle ____ Of The Bourgeoisie
17. Jackie McLean tune ____ Poke
from Hipnosis
18. British designer Phil who has created
CD packages for reissues of albums by the
Brotherhood of Breath, Soft Machine and
Jack Bruce
20. Time between the beginnings or attackpoints of successive notes (abbr.)
21. Albert Mangelsdorff 1970 MPS album
Never Let It ____
37
CALENDAR

Tuesday, March 1
McCoy Tyner Trio with Gerald Cannon, Francisco Mela and guest Gary Bartz

Blue Note 8, 10:30 pm $45
Myra Melford Snowy Egret with Ron Miles, Liberty Ellman, Stomu Takeishi,
Tyshawn Sorey
Village Vanguard 8:30, 10:30 pm $30
Gerald Clayton Trio with Robert Hurst, Jeff Tain Watts

Dizzys Club 7:30, 9:30 pm $35
Lucas Pino
Dizzys Club 11:30 pm $5
Bla Fleck/Abigail Washburn 92nd Street Y 8 pm $46
Stephanie Griffin, Hilliard Greene, Thomas Heberer

HiArt Studio 8 pm $20
Claudia Acua
Mezzrow 7:30 pm $20
Molly Ringwald
Birdland 8 pm $50
Chris Bergson Band with Steven Bernstein, Jay Collins, Chris Karlic, Ellis Hooks,
Craig Dreyer, Matt Clohesy, Tony Mason

Jazz Standard 7:30, 9:30 pm $25
Matt Mitchell Quartet with Chris Speed, Chris Tordini, Dan Weiss

The Stone 8, 10 pm $15
Bryn Roberts/Lage Lund
The Jazz Gallery 7:30, 9:30 pm $15
Nate Radley; Josh Deutschs Pannonia with Zach Brock, Ryan Keberle, Gary Wang,
Ronen Itzik, Niki Pankovits
Korzo 9, 10:30 pm
Voxecstatic: Andrea Wolper Quartet with John Di Martino, Ken Filiano,
Michael TA Thompson; Jay Clayton In And Out with John Di Martino, Ken Filiano,
Michael TA Thompson
Cornelia Street Caf 8, 9:30 pm $10
Ehud Asherie Trio; Smalls Legacy Band; Kyle Poole

Smalls 7:30, 10:30 pm 1:30 am $20
Tadataka Unno Trio; Peter Brainin Latin Jazz Workshop; Craig Wuepper

Fat Cat 7, 9 pm 12:30 am
Ark Ovrutski Quartet with Patience Higgins, Benito Gonzalez, Jason Brown

Zinc Bar 7:30 pm
Yoni Kretzmer, James Ilgenfritz, Lou Grassi; Carlo Costa Quartet with Jonathan Moritz,
Steve Swell, Sean Ali; Josh Sinton/Jonathan Goldberger

Muchmores 9, 10, 11 pm $1-15
Alexander Claffy; Dida Pelled Joes Pub 9:30 pm $15
Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; JC Stylles Trio with
Jakob Dreyer, Mark Lockett
Bar Next Door 6:30, 8:30, 10:30 pm $12
Micah Thomas solo
Jazz at Kitano 8 pm
Bill Stevens, Rich Russo, Gary Fogel

Tomi Jazz 8 pm
Jason Prover Sneak Thievery Orchestra

Radegast Hall 8 pm
Sergej Avanesov
Silvana 6 pm
Tom Blatt Project
Shrine 6 pm
Jay Rodriguez
Rendall Memorial Presbyterian Church 12, 1 pm $15
Wednesday, March 2
Lee Ranaldo and Dither
Valery Ponomarev Sextet
Tia Fuller Quartet
Merkin Hall 7:30 pm $25

Zinc Bar 8, 10 pm 12 am
Lucas Pino
Larry Newcomb Quartet with Joe Tranchina, Dmitri Kolesnik, Jimmy Madison

Jazz at Kitano 8, 10 pm $15
Peter Bernstein/Rale Micic
An Beal Bocht Caf 8, 9:30 pm $15
Kate Gentiles Supergiant with Chris Speed, Matt Mitchell, Hank Roberts,
Adam Hopkins; Snark Horse: Jon Irabagon, Ben Gerstein, Mary Halvorson,
Matt Mitchell, Kate Gentile
Ray Gallon/David Wong; Sarah Slonim

Mezzrow 9:30 pm 12:30 am $20
Troy Roberts Quartet; Wayne Escoffery Group; Aaron Seeber

Smalls 7:30, 10:30 pm 1:30 am $20
Greg Murphy Trio; Groover Trio; Ned Goold Jam

Vadim Neselovskyi Trio with Dan Loomis, Ronen Itzik and guest Sara Serpa

Club Bonafide 7:30, 9:30 pm $15
Jacques Lesure Quartet with Donald Vega, Alex Claffy, Kyle Poole

Smoke 7, 9, 10:30 pm $12
Balkan Peppers: Brad Shepik, Seido Salifoski, Kenny Warren, Ethan Helm, Jeff Dingler;
Sam Weinberg 4 with Jaimie Branch, Brandon Lopez, Connor Baker

Rye 9, 10:15 pm
Prawit Siriwat Trio with Daniel Durst, Daveon Seck; Rafal Sarnecki Trio

Bar Next Door 6:30, 8:30, 10:30 pm $12
Kwami Coleman Trio
Harlem Stage Gatehouse 7:30 pm $15
Lady Got Chops Festival: Cheryl Pyle, Jamie Baum, Nora McCarthy, Claire Daly,
Shayna Dulberger, Madeleine Yayodele Nelson

Muchmores 7 pm $10
Ron Dabney and Barry Levitt Quartet

Metropolitan Room 7 pm $25
Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai

Tomi Jazz 8 pm
Queens Jazz OverGround Clinic and Jazz Jam

Flushing Town Hall 6, 7 pm $10
Tyshawn Sorey
Molly Ringwald
Birdland 8 pm $50
Chris Bergson Band with Steven Bernstein, Jay Collins, Chris Karlic, Ellis Hooks,
Craig Dreyer, Matt Clohesy, Tony Mason

Harry Smith Quintet
Silvana 6 pm
Ivan Srdjanovic Alternate Current Shrine 6 pm
Sweet Megg and The Wayfarers Saint Peters 1 pm $10
Thursday, March 3
Highlights In JazzSalute to Paquito DRivera: Paquito DRivera Quintet with
Diego Urcola, Alex Brown, Zak Brown, Eric Doob; Clarinet Summit: Paquito DRivera,
Ken Peplowski, Will and Peter Anderson, David Wong, Peter Washington

Tribeca Performing Arts Center 8 pm $50
Marc Ribot Y Los Cubanos Postizos with Anthony Coleman, Brad Jones,
E.J. Rodriquez, Horacio El Negro Hernandez

David Rubenstein Atrium 7:30 pm
Fiction: Matt Mitchell/Ches Smith The Stone 8, 10 pm $15
Alfredo Rodriguez Trio with Peter Slavov, Henry Cole and guest Ganavya Doraiswamy

Clarence Penn Quartet with Chris Potter, Manuel Valera, Matt Brewer

Willie Jones III Quintet with Eddie Henderson, Ralph Moore, Eric Reed, Buster Williams

Lucas Pino
Spike Wilner solo; Rick Germanson/Gerald Cannon; Davis Whitfield

Mezzrow 7:30, 9:30 pm 12 am $20
Rotem Sivan Trio with Haggai Cohen Milo, Colin Stranahan and guest Gracie Terzian

Magos Herrera
National Sawdust 9:30 pm $25
Jonathan Finlayson
Harlem Safe House Jazz Parlor 8 pm $60
Daniel Schnyder/David Taylor Duo Jazz Museum in Harlem 7 pm $24-52
Jon Burr Quintet with Tim Ouimette, Steven Frieder, Mike Eckroth and guest
McClenty Hunter
ShapeShifter Lab 9:30 pm $15
Sofia Ribeiro Group with Juan Andrs Ospina, Petros Klampanis, Marcelo Woloski and
guests
Emilio Valdes Quartet
Zinc Bar 8, 9:30 pm
Lorin Cohen Group with Jon Irabagon, Jeremy Manasia, Brevan Hampden;
Yvonnick Prene Quartet with Peter Bernstein, Jared Gold, Allan Mednard

Amy Cervini Quintet with Jesse Lewis, Michael Cabe, Matt Aronoff, Jared Schonig

55Bar 7 pm
Bobby Katz Trio with Jeff Dingle, Michael Winnicki; Kevin Clark Trio with Jeff Reed,
Sylvia Cuenca
Bar Next Door 6:30, 8:30, 10:30 pm $12
Davis Whitfield Maniacs of the Fourth Dimension; Saul Rubin Zebtet; Yoshi Waki

Tantshoyz with Steve Weintraub; All-Star Fidl Kapelye: Alicia Svigals, Deborah Strauss,
Jake Shulman-Ment, Amy Zakar, Lily Henley, Keryn Kleiman, Pete Rushefsky,
Brian Glassman, Aaron Alexander Jalopy 8:30 pm $15
Terraza 7 Big Band
Terraza 7 9 pm $10
Steve Elmer
Cleopatras Needle 7 pm
Emily Ashers Garden Party
Radegast Hall 7 pm
Joris Teepe Quintet; Wayne Escoffery Group; Tyler Clibbon

Smalls 7:30, 10:30 pm 1:30 am $20
Jacques Lesure Quartet with Donald Vega, Alex Claffy, Kyle Poole

Smoke 7, 9, 10:30 pm $12
Tyshawn Sorey
Peter Mazza Trio with Misha Tsiganov, Thomson Kneeland

Birdland 6 pm $25
Molly Ringwald
Birdland 8:30, 11 pm $50
John Eckert
Silvana 6 pm
Friday, March 4
Vijay Iyer, Rajna Swaminathan, Yosvany Terry; Vijay Iyer Trio with Stephan Crump,
Marcus Gilmore
The Met Breuer 3:15, 6:30, 7:45 pm
George Cables Trio with Ed Howard, Victor Lewis

Marc Ribot Y Los Cubanos Postizos with Anthony Coleman, Brad Jones,
E.J. Rodriquez, Horacio El Negro Hernandez

Le Poisson Rouge 7:30 pm $25
MoonglowThe Magic of Benny Goodman: Christian Sands, Sammy Miller, Joel Ross
and guests Peter Anderson, Will Anderson, Patrick Bartley, Janelle Reichman

The Appel Room 7, 9:30 pm $75-95
Normal Remarkable Persons: Tim Berne, Travis LaPlante, Matt Mitchell, Ches Smith,
Dan Weiss, Ben Gerstein
Steve Lehman Quintet with Jonathan Finlayson, Chris Dingman, Matt Brewer,
Justin Brown
Javon Jackson Quartet with Jeremy Manasia, David Happy Williams, Louis Hayes

Smoke 7, 9, 10:30 pm $38
Jason Rigby Detroit Cleveland Trio with Cameron Brown, Gerald Cleaver

Mark Soskin/Harvie S
Knickerbocker Bar and Grill 9:45 pm $3.50
Bertha Hope Trio; E.J. Antonio and Edward Toney

South Oxford Space 8 pm $15
Ehud Asherie solo; Curtis Lundy/Donald Vega; Johnny ONeal

Mezzrow 7:30, 9:30 pm 12:30 am $20
Tardo Hammer Trio; Michael Olatuja Quintet; Joe Farnsworth

Smalls 7:30, 10:30 pm 1:30 am $20
Carlos Cuevas Trio; Jared Gold/Dave Gibson; Todd Herbert

Fat Cat 6, 10:30 pm 1:30 am
Owen Howard Trio with Donny McCaslin, Matt Clohesy;
Tone Collector: Tony Malaby, Mick Rossi, Eivind Opsvik, Jeff Davis

Prospect Range 7:30, 9 pm $20
Gregorio Uribe Big Band
Zinc Bar 10 pm 12 am
Mauricio Zottarelli Quartet with Oriente Lopez, Yotam Silberstein, Edward Perez

Terraza 7 9:30 pm $10
Cocomama
Club Bonafide 9 pm $15
Oscar Peas Trio with Moto Fukushima, Alex Kautz

Bar Next Door 7:30, 9:30, 11:30 pm $12
Madrugada Y Ms: Lauren Henderson, Josh Evans, Victor Gould, Dion Kerr,
Nathan Ellman-Bell
Lady Got Chops Festival: Meari Nam/Endea Owens

5C Caf 7, 9 pm
Lady Got Chops Festival: Nadia Washington Ensemble with Iris Ornig,
Rebecca Levinson, Barbara Merjan

Harlem on 5th 6 pm
Suzzanne Douglas
Metropolitan Room 9:30 pm $20
Iktus Duo; Ashcan Orchestra; Pretty Monsters: Mike Pride, Erica Dicker,
Owen Stewart-Robertson, Katherine Young

JACK 8 pm
Ed Rosenberg Glue Gun Optimism Spectrum 8:30 pm
Los Hacheros
The Django at Roxy Hotel 10 pm
Kate Cosco Trio


Lucas Pino
Tyshawn Sorey
Molly Ringwald
Short Memory: David Aaron, Spencer Katzman, Dimitri Moderbacher, Max Goldman

Silvana 6 pm
Saturday, March 5
Rajna and Anjna Swaminathan, Miles Okazaki, Stephan Crump, Maria Grand with guest
Vijay Iyer; Rajna Swaminathan/Vijay Iyer

The Met Breuer 6, 7:15, 8:30 pm
Harold Mabern Quartet
Ginnys Supper Club 7:30, 9:30 pm $25
Peggy King and Trio with Andy Kahn, Bruce Kamsinky, Bruce Klauber

Feinsteins/54 Below 9:30 pm $25-35
Fourth Floor: Matt Mitchell/Dan Weiss; Sprees: Caroline Davis, Anna Webber,
Katie Ambacher, Chris Speed, Mara Mayer, Sam Sadigursky, Ben Kono,
Sara Schoenbeck, Jonathan Goldberger, Matt Mitchell, Chris Tordini, Dan Weiss,
Ohad Talmor
The Stone 8, 10 pm $15-20
Sonelius Smith Trio with Kevin Ray, David Greenway

Steve Kroon Sextet with Craig Rivers, Igor Atalita, Ruben Rodriguez, Bryan Carrott,
Diego Lopez
Lucian Ban/Mat Maneri
Barbs 8 pm $10
Freddie Bryant Trio with Jennifer Vincent, Tommy Campbell

Bar Next Door 7:30, 9:30, 11:30 pm $12
Luiz Simas
Metropolitan Room 7 pm $20
Petros Klampanis Contextual with Julian Shore, Keita Ogawa, Gokce Erem,
Eylem Basaldi, Peter Kiral, Colin Stokes

Monk in MotionThe Next Face of Jazz: Veronica Swift with Aaron Johnson,
Greg Chen, Daryl Johns, Scott Lowrie

Tribeca Performing Arts Center 7:30 pm $25
Mavis Swan Poole/Jeremy Bean Clemons

Sistas Place 9, 10:30 pm $20
Livio Almeida Brazilian Dectet with Dan Glaude, Peter Sparacinno, Jonathan Saraga,
Nick Grinder, Jesus Viramontes, Helio Alves, Eduardo Belo, Denis Bulhoes

Zinc Bar 8 pm
Lady Got Chops Festival: Sheryl Bailey Trio with Kim Clarke, Sylvia Cuenca;
Arlee Leonard with Carol Sudhalter, Kim Clarke, Sylvia Cuenca, Sheryl Bailey

5C Caf 8, 9:30 pm
Ums N Jip: Ulrike Mayer-Spohn/Javier Hagen

Spectrum 8:30 pm
Roman Skakun Quintet; Raphael Dlugoff Quintet; Greg Glassman Jam

The Highliners Jazz Quintet: Melissa Fogarty, Debra Kreisberg, Steve Newman,
Adam Kahan, Tommy Mattioli
Tomi Jazz 8 pm $10
Jim Hickey and Friends
Symphony Space Bar Thalia 9 pm
George Cables Trio with Ed Howard, Victor Lewis

MoonglowThe Magic of Benny Goodman: Christian Sands, Sammy Miller, Joel Ross
and guests Peter Anderson, Will Anderson, Patrick Bartley, Janelle Reichman

Steve Lehman Quintet with Jonathan Finlayson, Chris Dingman, Matt Brewer,
Justin Brown

Smoke 7, 9, 10:30 pm $38
Mark Soskin/Harvie S
Spike Wilner; Curtis Lundy/Donald Vega; Anthony Wonsey

Mezzrow 7:30, 9:30 pm 12:30 am $20
Hayes Greenfield Quartet; Michael Olatuja Quintet; Philip Harper Quintet

Smalls 7:30, 10:30 pm 1:30 am $20
Los Hacheros


Lucas Pino
Tyshawn Sorey
Molly Ringwald
Matt Darriau
Barbs 6 pm $10
Kadawa
Silvana 6 pm
B.J. Jansen
Shrine 6 pm
Academy Records
& CDs
Cash for new and used
compact discs,vinyl
records, blu-rays and
dvds.
We buy and sell all
genres of music.
All sizes of collections
welcome.
For large collections,
please call to set up an
appointment.
Open 7 days a week 11-7
12 W. 18th Street NY, NY 10011

212-242-3000
Sunday, March 6
Joe Fiedler Trio; Microscopic Septet; Andy Biskins 16 Tons

ShapeShifter Lab 7, 8:15, 9:30 pm $20
William Hooker solo
Joes Pub 7 pm $15
Mad Homonyms: Matt Mitchell, Christopher Hoffman, Joanna Mattrey, Molly Germer,
Ava Mendoza, Katie Young, Ben Gerstein, Ches Smith; Phalanx Ambassadors:
Miles Okazaki, Matt Mitchell, Patricia Brennan, Satoshi Takeishi, Kim Cass, Kate Gentile
The Stone 8, 10 pm $15-20

The Reunion Project: Felipe Salles, Chico Pinheiro, Tiago Costa, Bruno Migotto,
Edu Ribeiro
Cornelia Street Caf 8 pm $10
Pasquale Grasso solo; Ed Laub with Frank Vignola, Martin Pizzarelli

Mezzrow 7:30, 9:30 pm $20
Ai Murakami Trio with Sacha Perry; Michela Lerman; Grant Stewart Group; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
Terry Waldos Gotham City Band; Jade Synsteliens Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
Margi Gianquinto with Michael Kanan

The Drawing Room 7 pm $20
Mostly Marcus: Marcus Goldhaber with Tessa Souter, Tony Romano

Symphony Space Bar Thalia 7, 8:30 pm $5
Jazz Jam with Evan Marien, Julian Pollack, Marko Djordjevic

Ums N Jip: Ulrike Mayer-Spohn/Javier Hagen

The Firehouse Space 8 pm $10
Shrine Big Band
Shrine 8 pm

Smoke 7, 9, 10:30 pm $38


Tyshawn Sorey
Purchase Latin Jazz Orchestra Birdland 6 pm $25
Avram Fefer/Michael Bisio
Downtown Music Gallery 6 pm
Matt Holman and The Tenth Muse with Sam Sadigursky, Chris Dingman, Bobby Avey

Saint Peters 5 pm
Andrew Drury solo
Gallery 440 4:40 pm $5
Lady Got Chops Festival: Andrea Brachfeld Quartet

Manna House 4 pm
John Zorns Bagatelles: Jim Black Guitar Quartet with Keisuke Matsuno,
Jonathan Goldberger, Simon Jermyn

The Stone 3 pm $20
Nicole Zuraitis Group
Blue Note 11:30 am 1:30 pm $35
Roz Corral Trio with Paul Bollenback, Rusty Holloway

North Square Lounge 12:30, 2 pm
The Music of Nina Simone: Ramona Renea

Highline Ballroom 12:30 pm $22-30
Jen Shyu, Mat Maneri, Satoshi Haga; Jen Shyu/Tyshawn Sorey; Jen Shyu,
Satoshi Haga, Ikue Mori with guest Vijay Iyer; Jen Shyu solo

The Met Breuer 10:30, 11:45 am 2, 3:15 pm
Monday, March 7
Jimmy Heath 90th Birthday Celebration

Vando Jam: Steve Wilson
Zinc Bar 10 pm
William Paterson University Jazz Orchestra and Ensembles with guest Randy Brecker

Mingus Big Band
John Merrill; Dave Stryker with David Berkman, Ed Howard; Theo Hill

Mezzrow 7:30, 9:30 pm 12 am $20
Justin Mullens Octet; Ari Hoenig Trio; Jonathan Michel

Smalls 7:30, 10:30 pm 1:30 am $20
Franois Nnang; Outspoken; Billy Kaye Jam

Benito Gonzales/Myron Walden Boudoir 7:30 pm
Dayramir Gonzalez
Subrosa 8, 10 pm $20
Womens Jazz FestivalSacred Revolution: Lakecia Benjamin, Kat Dyson,
Marcelle Davies Lashley, Christina Sayles, Shelley Nicole, Jhetti Lashley, Fred Cash,
Samuel Guillaume
Schomburg Center 7 pm $25
Forbes Graham/Daniel Levin; Sierpe: Josh Sinton, lvaro Domene, Devin Gray

Delroys Cafe and Wine Bar 9, 10 pm $10
Dave Juarez Trio with Marty Isenberg, Zach Berns; Nora McCarthy Trio with
Matt Sheens, Sam Verna
Bar Next Door 6:30, 8:30, 10:30 pm $12
Leonard Thompson Trio
Silvana 6 pm
New York Jazz Workshop
Shrine 6 pm
Tuesday, March 8
Latasha N. Nevada Diggs/Miya Masaoka; Vijay Iyer Trio with Stephan Crump,
Marcus Gilmore; Vijay Iyer Sextet with Graham Haynes, Steve Lehman, Mark Shim,
Stephan Crump, Marcus Gilmore The Met Breuer 10:30, 11:45 am 2, 3:15, 6:30, 8 pm
Bill Frisell/Thomas Morgan
Marcus Roberts Trio
Joey Calderazzo Band with Adam Rogers, David Binney, Orlando Le Fleming,
Ben Perowsky
Christie Dashiell Quartet with Allyn Johnson, CV Dashiell; Shenel Johns Quartet

Alexander Claffy Trio
Mary Halvorson with Ambrose Akinmusire, Craig Taborn

Roulette 8 pm $20
Lou Caputo Little Big Band with John Eckert, Dave Smith, Jason Ingram, Dale Turk,
Geoffrey Burke, Virginia Mayhew, Don Stein, Bill Crow, Joel Perry, Mike Campenni,
Eddie Montalvo, Susan Diedricksen

NYC Bahai Center 8, 9:30 pm $15
Frank Vignola Trio with Julien Labro, Gary Mazzaroppi

The Cutting Room 7:30 pm $25
Hal Galpers Youngbloods Quartet Club Bonafide 7 pm $15
Blood of the Stars: Dan Peck/Erica Dicker; Briggan Krauss solo; Sarah Mannings
Underworld Alchemy with Briggan Krauss, Simon Jermyn, Gerald Cleaver

Soup & Sound 7 pm $20
David Bryant Trio with Burniss Earl Travis II, Eric McPherson; Ramon Lopez,
Omar Tamez, Angelica Sanchez Korzo 9, 10:30 pm
Claire Chase/Joshua Rubin; Kyle Armbrust with guests

Stan Killian Quartet with Benito Gonzalez, Corcoran Holt, Jeremy Dutton

55Bar 7 pm
Klazz-Ma-Tazz: Benjamin Sutin, Elijah Shiffer, Grant Goldstein, Benjamin Rosenblum,
Mat Muntz, Benjamin Zweig; Matt Panayides Group with Rich Perry, Bob Sabin,
Mark Ferber
Cobi Narita
Seth Weaver Big Band; Erica Seguine/Shannon Baker Jazz Orchestra; Big Beat

JD Walter/Jim Ridl
Mezzrow 7:30 pm $20
Spike Wilner Trio; Theo Hill Group; Corey Wallace DUBtet

Smalls 7:30, 10:30 pm 1:30 am $20
Saul Rubin Zebtet; Cocomama; Ray Parker 4

Benno Marmur Trio with Matt Dwonsyk, Zach Berns; Alex Goodman Trio with
Zach Brown, Adam Arruda
Bar Next Door 6:30, 8:30, 10:30 pm $12
Mikhail Romanov solo
Jazz at Kitano 8 pm
Hsinwei Chiang; Yumi Ito
Shrine 6, 8 pm

TK Blue
Wednesday, March 9
Jack Wilkins Trio with Andy McKee, Billy Drummond

Helen Sung Quartet with John Ellis, Reuben Rogers, McClenty Hunter

Raphael Dlugoff Trio +1; Harold Mabern Trio; Ned Goold Jam

Marcus McLaurine/Lou Rainone; Sarah Slonim

Mezzrow 9:30 pm 12:30 am $20
Miguel Zenn Quartet; Mark Zaleski Sextet; Sanah Kadoura

Smalls 7:30, 10:30 pm 1:30 am $20
Jeff Davis Dragon Father Band with Jason Rigby, Kirk Knuffke, Jon Goldberger,
Russ Lossing, Eivind Opsvik; Sebastian Noelle Quartet with Marc Mommaas,
Matt Clohesy, Raj Jayaweera
Marquis Hill Blacktet with Sean Lyons, Jon Faddis, David Hazeltine, Bob Cranshaw,
Al Foster
Smoke 7, 9, 10:30 pm $12
Norbert Stachel and LehCats with Karen Stachel, Chris Biesterfeldt, Gary Fisher,
Mike OBrien, Daniel Gonzalez Club Bonafide 7:30, 9:30 pm $15
Ryan Muncy, Claire Chase, Joshua Rubin; Rebekah Heller/Ryan Muncy

Reza Khan
Drom 7:30 pm $20
Stephane Wrembel
Signal Problems: Danny Gouker, Eric Trudel, Adam Hopkins, Nathan Ellman-Bell
Rye 9, 10:15 pm

Isak Gaines Group with Alex Blade Silver, Ben Seacrist, Evan Slack, Matt Malanowski,
Gabriel Chakarji, Aron Caceres, David Jimenez

Marcus Roberts Trio
Joey Calderazzo Band with Adam Rogers, David Binney, Orlando Le Fleming,
Ben Perowsky

Jae Young Jeong
Silvana 6 pm
Vijay Iyer Trio with Stephan Crump, Marcus Gilmore
The Met Breuer 2, 3:15 pm

Sarah Partridge
Saint Peters 1 pm $10
Come Celebrate Cobi Narita's biG 9-0 birthday!

ThaT's righT. 90! (real birThdaTe: March 3rd) cobi is also
celebraTing her laTe husband Paul ash's birThday.
he'd be 87 on March 29
her grandchild froM ca, darliNG Narita (Jude's daughTer),
and darling's life ParTner, eriC CroNluNd, will Play
Their dVd, "memorial Photos from the life of Paul ash"
Two of Paul's beloVed legends of Jazz will be honored:
mable lee and yvette Glover. each will receiVe a Plaque and a check
for $2,000 froM cobi & Paul Plus iT's also The once-a-year
fundraiser for our Jazz CeNter of New york!
concerT iMMediaTely followed by a coffee/desserT recePTion
friday, marCh 18, 2016, from 7 to 10:30 P.m.

saiNt Peter's ChurCh
619 lexingTon aVe (cor. e 54Th sT)

suggesTed donaTion: $20.
sPonsored by The Jazz foundaTion of aMerica
a few* of The Many insTruMenTalisTs, singers and
dancers who are donaTing Their arTisTry:
frank owens Trio, Music direcTor & hosT
wiTh lisle aTkinson, greg bufford;
JiMMy heaTh, Jeb PaTTon, daVid wong, winard harPer;
Tina fabrique; Valerie caPers & John robinson;
helen sung; rob nariTa; eJaye Tracey;
Mickey daVidson; saul rubin; kuni MikaMi;
lafayeTTe harris; caroline harding;
Musical TribuTe To cobi froM
oPen Mic regulars: TradiTions in TaP
90th Birthday Party
*schedule PerMiTTing
39
Thursday, March 10
91st Birthday Celebration: Roy Haynes Band with Pat Metheny, Jaleel Shaw,
Martin Bejerano, David Wong
Steve Kuhn Trio with Steve LaSpina, Billy Drummond

Julian Lage Trio with Scott Colley, Kenny Wollesen; Screaming Headless Torsos
Rockwood Music Hall Stage 2 8:30, 10 pm $10-20

Ben Monder/Andrew Cyrille
Guy Klucevsek/Phillip Johnston Barbs 8 pm $10
Ayman Fanous/Denman Maroney Duo with guests; Ayman Fanous, Jason Kao Hwang,
Ned Rothenberg, Daniel Levin; Ayman Fanous/Ikue Mori Duo with guests
The Firehouse Space 7, 8, 9:30 pm $10

Winard Harper
Tom Pappas and Barry Levitt Trio with Jon Burr, David Silliman

Spike Wilner solo; Oran Etkin/Sullivan Fortner; Davis Whitfield
Mezzrow 7:30, 9:30 pm 12 am $20

Jennifer Curtis/Pauline Oliveros; Dan Peck, Rebekah Heller, Gareth Flowers

Livio Almeida with Leo Genovese, Edward Perez, Zack OFarrill and guest
Adam OFarrill
Jennifer Curtis/Pauline Oliveros; Dan Peck, Rebekah Heller, Gareth Flowers

Yuhan Su Quintet; Empyrean Atlas; Wing Walker Orchestra with guest Michal Attias
Threes Brewing 8 pm $10

Junbeom Kim Trio with Edward Perez, Felix Lecaros; Benjamin Bryden Trio with
Eivind Opsvik, Peter Kroneif
Bar Next Door 6:30, 8:30, 10:30 pm $12
Binyomin Ginzberg and Breslov Bar Band
Jalopy 8:30 pm $15

The Black Lodge: John Ortega, Johnny Tango, BroDan, M. Shraga, davidG. and
guests Rick Ventura, Master Lee ShapeShifter Lab 7 pm $10
Katsuko Tanaka Trio; Greg Glassman Quintet; Avi Rothbard

Horace Mann School Jazz Band Symphony Space Peter Jay Sharpe Theatre 7:30 pm $12
Jordan Piper Duet
Gloria Isaiah
Shrine 8 pm
Stephane Wrembel
Helen Sung Quartet with John Ellis, Reuben Rogers, McClenty Hunter

Miguel Zenn Quartet; Ken Fowser Quintet
Smalls 7:30, 10:30 pm $20

Marquis Hill Blacktet with Sean Lyons, Eddie Henderson, David Hazeltine,
Bob Cranshaw, Al Foster
Smoke 7, 9, 10:30 pm $12
Julie Kelly with Mark Soskin, Jay Anderson, Anthony Pinciotti, Billy Drewes
Birdland 6 pm $25

Marcus Roberts Trio
Art Baron and Friends
Silvana 6 pm
Vijay Iyer Trio with Stephan Crump, Marcus Gilmore
The Met Breuer 2, 3:15 pm

Friday, March 11
Philip Catherine, Martin Wind, Matt Wilson

Adam OFarrill/Vijay Iyer; Adam OFarrills Stranger Days with Chad Lefkowitz-Brown,
Walter Stinson, Zack OFarrill; Vijay Iyer Trio with Stephan Crump, Tyshawn Sorey;
Vijay Iyer Sextet with Graham Haynes, Steve Lehman, Mark Shim, Stephan Crump,
Tyshawn Sorey
The Met Breuer 10:30, 11:45 am 2, 3:15, 6:30, 7:45 pm
George Mraz, Camilla Mraz, Anthony Pinciotti
Zinc Bar 8 pm $25

Valery Ponomarev Our Father Who Art Blakey Big Band
Zinc Bar 10 pm 12 am

Carl Allens The Art of Elvin with Freddie Hendrix, Keith Loftis, Donald Vega,
Yasushi Nakamura
Smoke 7, 9, 10:30 pm $38
Linda Oh 5 with Ben Wendel, Dayna Stephens, Fabian Almazan, Justin Brown

Steve Baczkowski/William Parker Ibeam Brooklyn 8:30 pm $10
Jacob Sacks Quintet with Jacob Garchik, Ben Gerstein, Eivind Opsvik,
Vinnie Sperrazza
Manuel Valera New Cuban Express with Yosvany Terry, Boris Kozlov, Ludwig Afonso,
Mauricio Herrera
St. George Episcopal Church 7:30, 9:30 pm $10
Sacha Perry solo; Don Friedman with Rale Micic, Harvie S; Johnny ONeal

Mezzrow 7:30, 9:30 pm 12:30 am $20
David Schnitter Quartet; Neal Smith Group; Jovan Alexandre

Smalls 7:30, 10:30 pm 1:30 am $20
Caroline Davis; Alexi David
Fat Cat 6 pm 1:30 am
Michael Rodriguez
Cory Smythe/Dan Lippel; ICE: Phyllis Chen, Ryan Muncy, Jacob Greenberg and guests

Jon Davis/Gianluca Renzi
Lluis Capdevilas Diaspora
Rockwood Music Hall Stage 2 7 pm $10
Andr Carvalho Group
Rockwood Music Hall Stage 3 11:30 pm $10
Pasquale Grasso Trio with Ari Roland, Keith Balla
Bar Next Door 7:30, 9:30, 11:30 pm $12

Lady Got Chops Festival: Angleisha Rodgers with Jasmin Song, Caili ODoherty,
Adi Myerson, Lucianna Padmore; Pamela Hamilton Band with Kuriko Tsugawa

Harlem on 5th 6:30, 9 pm
Grt: Danny Wytanis, Patrick Arthur, Brandon Boone, Morgan Guerin;
Bright Dog Red: Joe Pignato, Righteous, Palemen, Mike MK Kemmlein,
Anthony Berman
ShapeShifter Lab 7, 8:15 pm $10
Michika Fukumori Trio
Bossa Brasil: Maurcio de Souza, Dmitry Baevsky, Jerry Weir, Bob Rodriguez,
Joonsam Lee
Blue Note 12:30 am $10

Ayman Fanous, Jason Hwang, Tatsuya Nakatani; Ayman Fanous, Tomas Ulrich,
Mark Feldman; Ayman Fanous/Andrea Parkins Duo with guests
The Firehouse Space 7, 8, 9 pm $10

Stephane Wrembel
Marcus Roberts Trio
Shawn Rhoades
Silvana 6 pm
Saturday, March 12
Dr. Michael White Quartet

Flamenco Meets Cuba: Esperanza Fernndez/Gonzalo Rubalcaba

Roulette 8 pm $40
Scott Colley, Joel Frahm and WORKS: Michel Gentile, Daniel Kelly, Rob Garcia
Brooklyn Conservatory of Music 7:30 pm $10

Tony Malaby Quartet with Hank Roberts, Michael Formanek, Ben Perowsky

Bridget Kibbey and guests; Peter Evans/Levy Lorenzo

Carla Cook
Mark Guiliana Quartet with Jason Rigby, Fabian Almazan, Chris Morrissey

Ari Hoenig
Revive Big Band
Lady Got Chops Festival: The D.O.M.E. Experience: Mimi Jones, ArcoIris Sandoval,
Miho Hazama, Jamie Baum, Frederika Krier, Maryam Blacksher, Clerida Eltime,
Jennifer Vincent, Nikara Warren, Goussy Celestin, Kristin D. Carpenter,
Camille Gainer Jones, David Gilmore, Ali Bello, David Kjar, Frank Fontaine,
Dayna Stevens, Jacob Garchik Pregones Theater 8 pm
Catherine Marie Charlton/J. Jody Janetta; lvaro Domene, Briggan Krauss,
Josh Sinton, Mike Pride
The Firehouse Space 8, 9:30 pm $10
Betty Carters Jazz Ahead
Apollo Music Caf 10 pm $20
Steve Blum Trio; Zaccai Curtis; Greg Glassman Jam

Jostein Gulbrandsen Trio with Andrea Veneziani, Mark Ferber
Bar Next Door 7:30, 9:30, 11:30 pm $12

Carlos Cuevas Trio with Edward Perez, Ronen Itzik
Terraza 7 9 pm $10

Janice and Vinnie Zummo; Maria Guida Quartet; Niles Thomas
Metropolitan Room 4, 7, 11:30 pm $20

Craig Brann Trio with Nick Morrison, Diego Ramirez

Tomi Jazz 11 pm $10
Mike Lattimore Trio
Philip Catherine, Martin Wind, Matt Wilson

George Mraz, Camilla Mraz, Anthony Pinciotti

Zinc Bar 8 pm $25
Yasushi Nakamura
Smoke 7, 9, 10:30 pm $38
Spike Wilner; Don Friedman with Rale Micic, Harvie S; Jon Davis
Mezzrow 7:30, 9:30 pm 12:30 am $20

Cory Weeds Quintet; Neal Smith Group; Brooklyn Circle
Smalls 7:30, 10:30 pm 1:30 am $20

Jon Davis/Gianluca Renzi

Stephane Wrembel
Marcus Roberts Trio
Matt Darriau
Barbs 6 pm $10
Moth To Flame
Silvana 6 pm
Nich Mueller
Shrine 6 pm
Paquito DRivera
Dweck Center at Brooklyn Public Library 4 pm
Lady Got Chops Festival: Annette Aguilar and Stringbeans

East Elmhurst Community Library 1:30 pm
Lady Got Chops Festival: Bertha Hope, Monnette Sudler and Friends;
Aqua Ninjaz Band: Susan Kramer, Deborah Debbe Cole, Angeleisha Rodgers,
Yayoi Ikawa, Portia Rolle, Michael Flythe, Kim Clarke
Langston Hughes Library 1, 3 pm

Okkyung Lee/Michelle Boule
Sunday, March 13
Kneedelus: Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood,
Daedelus
Le Poisson Rouge 8 pm $22
Greg Ward; Angela Morris Quartet with Curtis Macdonald, Max Jaffe; Romn Fili
Threes Brewing 8, 9, 10 pm $15

Earprint: Kevin Sun, Tree Palmedo, Simn Willson, Dor Herskovits;
Diametric: Elias Stemeseder, Henry Fraser, Dre Hocevar, Bryan Qu, Kevin Sun;
Zack Clarke Trio with Henry Fraser, Dre Hocevar

Satoshi Kataoka Quartet with Simona Premazzi, Danny Weller, Rodrigo Recabarren

Cornelia Street Caf 8:30 pm $10
Saul Rubin solo; Yotam Silberstein with Sullivan Fortner, Dezron Douglas

Mezzrow 7:30, 9:30 pm $20
Ai Murakami Trio with Sacha Perry; Falkner Evans Quintet with Marc Mommaas,
James Zollar, Belden Bullock, Matt Wilson; Bruce Harris Sextet; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
Terry Waldos Gotham City Band; Curtis Nowosad; Brandon Lewis/Renee Cruz Jam

Fat Cat 6, 8:30 pm 1 am
Jacob Greenberg, Rebekah Heller, Ryan Muncy; Ross Karre/Eli Keszler and guests

New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman with guests
Jim Saporito, Harrison Hollingsworth

Martina Fiserova with Carey Alex Clayton, Julian Smith, Hiroyuki Matsuura
Rockwood Music Hall Stage 1 8 pm

Jazz Jam with Christos Rafalides Trio

Dr. Michael White Quartet
Yasushi Nakamura
Smoke 7, 9, 10:30 pm $38

Steve Baczkowski solo
Downtown Music Gallery 6 pm
Magos Herrera Quartet with Luis Perdomo, Hans Glawischnig, Alex Kautz

Saint Peters 5 pm
John Zorns Bagatelles: Mark Feldman/Chris Otto
The Stone 3 pm $20

Steven Feifke
Richard Lanham Trio with Tony Regusis, Hilliard Greene

Teju Cole, Vijay Iyer, Patricia Franceschy, Linda Oh; Pamela Z solo

Monday, March 14
Mark Murphy Memorial: Itamar Borochov, Michael Bourne, Alan Broadbent,
Daniel aija, Jay Clayton, Richie Cole, Roz Corral, Carol Fredette, Kurt Elling,
Spiros Exaras, Giacomo Gates, James Gavin, Hanky Panky Trio: Alex Minasian,
Brandi Disterheft, Steve Williams, Sheila Jordan, Nancy Kelly, Francesco Pini,
Annie Ross, The Royal Bopsters, Sean Smith, Tessa Souter, Ronny Whyte

Saint Peters 7 pm
Jim Black Trio with Elias Stemeseder, Thomas Morgan

Le Poisson Rouge 10 pm $15

Ameen Saleems The Groove Lab with Sullivan Fortner, Craig Magnano,
Jeremy Bean Clemons, Stacy Dillard, Mavis Swan Poole, Ramona Dunlap

Marika Hughes Bottom Heavy with Charlie Burnham, Kyle Sanna, Fred Cash, Jr.,
Tony Mason and guest Jon Cowherd

Joes Pub 7:30 pm $15
Dedicated to Diz: New York Youth Symphony with guest Jon Faddis

Mitch Frohman Quartet with Zaccai and Luques Curtis, Joel Mateo
Subrosa 8, 10 pm $20

Marion Cowings
Mezzrow 7:30 pm $20
Jon Davis Trio; Ari Hoenig Quartet; Jonathan Barber

Smalls 7:30, 10:30 pm 1:30 am $20
Ned Goold Quartet; Billy Kaye Jam
Fat Cat 9 pm 12:30 am

Mingus Big Band
Michael Valeanu
Boudoir 7:30 pm
Womens Jazz FestivalThe Beat in Between: Camille A. Brown, Christelle Durandy,
Dormeshia Sumbry-Edwards, Meklit Hadero, Millicent Jhonnie

Zack Clarke, Henry Fraser, Dre Hocevar
Spectrum 7 pm

Michael Foster/Richard Kamerman; Brandon Seabrook, Pascal Niggenkemper,
Flin Van Hemmen
Tommy Holladay Trio with Rick Rosato, Mark Whitfield, Jr.; Les Grant Trio with
John Chin, Marco Panascia
Bar Next Door 6:30, 8:30, 10:30 pm $12
Andrew Kushnir Trio
Silvana 6 pm
Tuesday, March 15
Bill Frisells When You Wish Upon A Star with Petra Haden, Eyvind Kang,
Thomas Morgan, Rudy Royston Village Vanguard 8:30, 10:30 pm $30
Roy Hargrove
John Patitucci Electric Guitar Quartet with Adam Rogers, Steve Cardenas, Brian Blade

Iridium 8:30, 10:30 pm $30-40
Steve Smith Groove Blue with Vinny Valentino, Tony Monaco

Ryan Keberle and Catharsis with Camila Meza, Mike Rodriguez, Jorge Roeder,
Eric Doob
Sinne Eeg with Jacob Christoffersen, Johanes Weidenmueller, Clarence Penn

Evan Sherman Entourage
Mike Longo Trio
Guillermo Gregorio, Kirk Knuffke, Kevin Norton, Angelica Sanchez; Kenny Wessel,
Omar Tamez, Angelica Sanchez The Stone 8, 10 pm $15
Robert Sabin Dectet; John Yao and His 17-piece Instrument with Billy Drewes,
Alejandro Aviles, Tim Armacost, Jason Rigby, Andrew Hadro, John Walsh,
Jason Wiseman, David Smith, Andy Gravish, Luis Bonilla, Mark Patterson,
Tokunori Kajiwara, Jennifer Wharton, Jesse Stacken, Robert Sabin, Vince Cherico

Emel Mathlouthi
Lyce Franais de New York 7 pm $35
James Carney Quartet with Loren Stillman, Chris Lightcap, Mark Ferber;
Curtis Macdonald Quartet with Bobby Avey, Christopher Hoffman, Jason Nazary

Korzo 9, 10:30 pm
Marta Sanchez Quintet with Jerome Sabbagh, Romn Fili, Rick Rosato,
Colin Stranahan; Simona Premazzi

Spike Wilner Trio; Abraham Burton Quartet; Kyle Poole
Smalls 7:30, 10:30 pm 1:30 am $20

Chris Beaudry Trio; Alex Levine Trio with Ben Rolsten, Stephen Boegehold
Bar Next Door 6:30, 8:30, 10:30 pm $12

Shoko Igarashi
Silvana 6 pm
Terry Doc Handy
Shrine 6 pm
Jeff King
Miranda Cuckson/David Bird The Met Breuer 10:30, 11:45 am 2, 3:15 pm
Wednesday, March 16
Angelica Sanchez, William Parker, Pheeroan akLaff; Angelica Sanchez Trio with
Michael Formanek, Tyshawn Sorey

Aaron Parks with Ben Street, Lesley Mok; Sarah Slonim
Mezzrow 9:30 pm 12:30 am $20

Gilad Hekselman Trio; Harold Mabern Trio; Aaron Seeber
Smalls 7:30, 10:30 pm 1:30 am $20

Raphael Dlugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam

Thana Alexa Project with Ben Flocks, Taylor Eigsti, Noam Wiesenberg,
Antonio Sanchez
Brian Charette
Ms Blu Quartet with Billy Test, Jon DiFiore

Ulysses Owens New Century Jazz Quintet with Benny Benack III, Braxton Cook,
Takeshi Ohbayashi
Smoke 7, 9, 10:30 pm $12
Audrey Shakir
Aubrey Johnson Sextet with Tomoko Omura, Michael Sachs, Matt Aronoff,
Jeremy Noller; Leala Cyr Group with John Ellis, Elias Meister, Francesco Marcocci,
Mark Ferber
Art Lillards Heavenly Big Band Zinc Bar 8, 10 pm 12 am
Devin Gray/Kendrick Holz; Simon Jermyns Trot A Mouse with Ingrid Laubrock,
Mat Maneri, Tom Rainey
Rye 9, 10:15 pm
NOLATET: Brian Haas, Mike Dillon, James Singleton, Johnny Vidacovich

The Hall at MP 8 pm $18-30
Loop 2.4.3s Time-Machine_music: Yuhan Su, Istvan Peter BRacz, Colleen Clark,
Tom Burnett, Thomas Kozumplik; Tobias Meier, Gene Perla, Christian Windfeld

ShapeShifter Lab 8:15, 9:30 pm $10-15
Shelby Sangdahl; Craig Brann Trio

Shrine 6, 7 pm
Roy Hargrove

Iridium 8:30, 10:30 pm $30-40
Steve Smith Groove Blue with Vinny Valentino, Tony Monaco

Nick Grinder Group
Silvana 6 pm
Alex Leonard
Reiko Yamada Reflective with Vijay Iyer

The Met Breuer 10:30 am
BROOKLYN
ARTS
CENTER for the PERFORMING
2016 Grammy nominee
The Robert Glasper Trio

Sat, Mar 19, 2016 at 8pm, $35
AT BROOKLYN COLLEGE
Rhythm Revue: A Latin Soul Celebration

Featuring Joe Bataan and DJ Felix Hernandez
A Con Edison Music Masters Series Event
Sat, Apr 9, 2016 at 8pm, $25
Regina Carters Southern Comfort

Sat, Apr 16, 2016 at 8pm, $35
BrooklynCenter.org
or
718-951-4500
Whitman Theatre at Brooklyn College

2 to Flatbush Avenue / on-site paid parking available
Supported by:
Thursday, March 17
Becca Stevens, Linda Oh, Vijay Iyer; Teju Cole, Vijay Iyer, Patricia Franceschy, Linda Oh;
Raw Materials: Vijay Iyer/Rudresh Mahanthappa

The Met Breuer 10:30, 11:45 am 2, 3:15, 6:30, 7:45 pm
Sheila Jordan with Alan Broadbent, Harvie S, Paul Wells

National Sawdust 7 pm $25
Charlie Hunter/Bobby Previte
Eric Alexander Organ Quartet with Mike LeDonne, Dave Stryker, Joe Farnsworth

Angelica Sanchez, Judith Berkson, Mark Helias, Satoshi Takeishi;
Angelica Sanchez Trio with Michael Formanek, Tyshawn Sorey

Vinicius Cantuaria Quintet with Helio Alves, Paul Socolow, Adriano Santos, Dende

On Kaa Davis Djuke Music Society with Dalius Naujo, Najee Amani;
Ole Mathisen Outlier Ensemble with Julian Pollack, Marko Djordjevic;
Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic

ShapeShifter Lab 8:15, 9:30 pm $8-10
A Mighty Good Thing: Luis Bonilla, Amadis Dunkel, Hyuna Park, Andy McKee,
Austin Walker
Maja S. K. Ratkje/Tord Knudsen; Spunk: Maja S. Ratkje, Hild Sofie Tafjord,
Lene Grenager, Kristin Andersen Roulette 8 pm $20
Matt Brewer Quartet
Tomoko Omura Roots Quintet with Jeff Miles, Glenn Zaleski, Noah Garabedian,
Jay Sawyer
Yuto Kanazawa Trio with Zach Westfall, Ray Belli; Hendrik Meurkens Trio with
Misha Tsiganov, Eduardo Bello Bar Next Door 6:30, 8:30, 10:30 pm $12
Pete Rushefsky and Friends
Jalopy 8:30 pm $15
Scot Albertson/Flip Peters
Tomi Jazz 9 pm $10
Dan Furman Duet
Ayumi Ishito; The Alpha Band Shrine 6, 7 pm
Gilad Hekselman Trio; Nick Hempton Quartet

Smalls 7:30, 10:30 pm $20
Brian Charette
Ulysses Owens New Century Jazz Quintet with Benny Benack III, Braxton Cook,
Takeshi Ohbayashi
Smoke 7, 9, 10:30 pm $12
Audrey Shakir
Evan Sherman Big Band
Roy Hargrove

Iridium 8:30, 10:30 pm $30-40
Geoffe Burke
Silvana 6 pm
Friday, March 18
Cobi Narita 90th Birthday Celebration: Frank Owens Trio with Lisle Atkinson,
Greg Bufford; Jimmy Heath, Jeb Patton, David Wong, Winard Harper; Tina Fabrique;
Valerie Capers/John Robinson; Helen Sung; Rob Narita; Ejaye Tracey;
Mickey Davidson; Saul Rubin; Kuni Mikami; Lafayette Harris; Caroline Harding;
Michael Toes Tiranoff, Megan Haungs, Hank Smith; Jude Narita; Ira Lee Collings;
Al Heyward; Derek Hood; Emiko Mizoguchi; Mary Rocco; Richard Williams;
Ron Saltus; Shirl Carter
Teju Cole, Vijay Iyer, Patricia Franceschy, Linda Oh; Vijay Iyer, HPrizm, Okkyung Lee;
Raw Materials: Vijay Iyer/Rudresh Mahanthappa

The Met Breuer 10:30, 11:45 am 2, 3:15, 6:30, 7:45 pm $25
Harold Mabern 80th Birthday Celebration with Eric Alexander, John Webber,
Joe Farnsworth and guest Kurt Elling

Smoke 7, 9, 10:30 pm $40
Frank Kimbrough Trio with Jay Anderson, John Riley

Walter Blandings Fantasy in Blue with Freddie Hendrix, Emmet Cohen,
Yasushi Nakamura, Ulysses Owens

Aaron Diehls The Real Deal with Warren Wolf, Dominick Farinacci, Stephen Riley,
Paul Sikivie, Lawrence Leathers and guest Joe Temperley

Ehud Asherie solo; Hod OBrien/Daryl Johns; Johnny ONeal

Mezzrow 7:30, 9:30 pm 12:30 am $20
Ralph Lalamas Bop-Juice; Ethan Iverson Quartet; Jovan Alexandre

Smalls 7:30, 10:30 pm 1:30 am $20
Tierra Mestiza Duo: Angelica Sanchez/Omar Tamez; Magico: Vincent Chancey,
Angelica Sanchez, Omar Tamez The Stone 8, 10 pm $15
The Jazz Gallery 20th Anniversary Concert SeriesTillery: Rebecca Martin,
Gretchen Parlato, Becca Stevens The Jazz Gallery 7:30, 9:30 pm $30
Robby Ameen Days in Night Band Club Bonafide 7, 9 pm $15
Adam Larson Trio with David Wong, Chris Smith

Bar Next Door 7:30, 9:30, 11:30 pm $12
Zack Clarke solo; Kevin Sun, Bryan Qu, Elias Stemeseder, Henry Fraser, Dre Hocevar;
Jeremy Corren, Lester St.louis, Dre Hocevar

Spectrum 7, 8, 9 pm
Lady Got Chops Festival: Trudy Silvers Wheres The Outrage?;
Carol Sudhalter Quartet with Mala Waldron, Yuka Tadano, Doug Richardson;
Sue Maskaleris/Sarah James
5C Caf 7, 8, 10 pm
Svetlana Shmulyian and Seth Weaver Big Band

Zinc Bar 10, 11:30 pm 1 am $10-20
Matthew Fries/Greg Ryan
Denton Darien Trio
Charlie Hunter/Louis Cato


Brian Charette
Roy Hargrove

Iridium 8:30, 10:30 pm $30-40
Sigmar Matthiasson
Silvana 6 pm
Saturday, March 19
Randy Westons 90th Birthday Celebration: African Rhythms with TK Blue,
Cecil Bridgewater, Alex Blake, Neil Clarke

Zankel Hall 9 pm $44-52
Robert Glasper Trio with Vicente Archer, Damion Reid

Brooklyn Center for the Performing Arts 8 pm $35
Michael Blake Quartet with Frank Kimbrough, Ben Allison, Allan Mednard

Tony Malaby, Angelica Sanchez, Tom Rainey; Fortuna: Omar Tamez, Harvey Sorgen,
Steve Rust, Angelica Sanchez The Stone 8, 10 pm $15
Michele Rosewoman and Quintessence with Romn Fili, Richard Padron,
Yunior Terry, Tyshawn Sorey
The Cell 7:30, 9:30 pm $20
Leslie Pintchik Trio with Scott Hardy, Michael Sarin

Bar Next Door 7:30, 9:30, 11:30 pm $12

Joe Morris Arcade with Joe Moffett, Henry Fraser
Ibeam Brooklyn 8:30 pm $15

WitchcraftThe Jazz Magic of Cy Coleman: Billy Stritch, Scott Faris, Debby Boone,
La Tanya Hall, Nicolas King, Gabrielle Stravelli

92nd Street Y 8 pm $46
Michael Bates Trio with Chet Doxas, Jerermy Bean Clemons

Ben Williams
Monk in MotionThe Next Face of Jazz: Vuyo Sotashe
Tribeca Performing Arts Center 7:30 pm $25

Lady Got Chops Festival: Yuni Mojica/Jazzmeia Horn

Ali Bello Sweet Wire Band
Closeness Duets: Nicolas Letman-Burtinovic with Kyoto Kitamura, Daniel Carter,
Nick Jozwiak
541 7 pm
Michal Attias solo; Jon Lipscomb Quintet with Jaimie Branch, Sam Weinberg,
Brandon Lopez, Dave Treut; Ancestral Duo: Luke Stewart/Jamal Moore

New Revolution Arts 8, 9, 10 pm
Angela Morris/Anna Webber Big Band with Jay Rattman, Charlotte Greve,
Adam Schneit, Josh Sinton, Tim Vaughn, Curtis Hasselbring, Jackson Hardaker,
Nick Grinder, John Lake, Kenny Warren, Danny Gouker, Jake Henry, Dustin Carlson,
Patricia Franceschy, Edward Johnson, Adam Hopkins, Jeff Davis

Brooklyn Conservatory of Music 8 pm $10
John Minnock
Justin Lees Trio
Joe Farnsworth
Smoke 7, 9, 10:30 pm $40

Evan Sherman Big Band
Aaron Diehls The Real Deal with Warren Wolf, Dominick Farinacci, Stephen Riley,
Paul Sikivie, Lawrence Leathers and guest Joe Temperley

Spike Wilner; Hod OBrien/Daryl Johns; Anthony Wonsey
Mezzrow 7:30, 9:30 pm 12:30 am $20

Chris Byars Sextet; Ethan Iverson Quartet; Philip Harper Quintet
Smalls 7:30, 10:30 pm 1:30 am $20

The Jazz Gallery 20th Anniversary Concert SeriesTillery: Rebecca Martin,
Gretchen Parlato, Becca Stevens The Jazz Gallery 7:30, 9:30 pm $30
Matthew Fries/Greg Ryan
Charlie Hunter/Adam Cruz


Brian Charette
Roy Hargrove
Iridium 8:30, 10:30 pm $30-40

Matt Darriau
Barbs 6 pm $10
Noshir Mody Sextet
Shrine 6 pm
The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey,
Philip Harper, Alex Grassel, Dave Gibson

Brownsville Heritage House 3 pm
Vijay Iyer, Elena Pinderhughes, DJ ValINC; Teju Cole, Vijay Iyer, Patricia Franceschy,
Okkyung Lee
The Met Breuer 10:30, 11:45 am 2, 3:15 pm $25
Sunday, March 20
Angelica Sanchez Nonet with Thomas Heberer, Kirk Knuffke, Chris Speed,
Michal Attias, Ben Goldberg, Omar Tamez, John Hbert, Sam Ospovat

Gene Bertoncini
The Drawing Room 7 pm $20
Pasquale Grasso solo; Roni Ben-Hur/Harvie S

Mezzrow 7:30, 9:30 pm $20
Frank Kohl Quartet; Johnny ONeal Trio; Behn Gillece Quintet; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
Jenn Jade Ledesna; Trio FAB Cornelia Street Caf 8:30, 10 pm $10
Nora McCarthy and The People of Peace Quintet with Jorge Sylvester, Pablo Vergara,
Donald Nicks, Kenny Grohowski Nublu 9:30 pm
Jazz Jam with Benito Gonzalez Trio

Colleen Clark Collective
Soundpainting Workshop
Joel Forrester
Little Branch 8 pm
New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman with guests
Jim Saporito, Harrison Hollingsworth


92nd Street Y 2, 7 pm $46
Joe Farnsworth
Smoke 7, 9, 10:30 pm $40


Roy Hargrove
Ross Hammond/Ken Filiano; Gordon Grdina

Downtown Music Gallery 6, 7 pm
Jeff Morrison Quartet
Silvana 6 pm
Timo Vollbrecht Quartet
Saint Peters 5 pm
John Zorns Bagatelles: Matt Mitchell solo

The Stone 3 pm $20
Ross Hammond/Sameer Gupta Spectrum 3 pm $15
Alex Sipiagin NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $35
Roz Corral Trio with Ron Affif, Paul Gill

Vijay Iyer/Hans Tutschku; Mendi/Keith Obadike

Monday, March 21
Mostly Other People do The Killing: Thomas Heberer, Jon Irabagon, Dave Taylor,
Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Kevin Shea

Cornelia Street Caf 8 pm $10
George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am
Rob Rodriguez Trio
Steve Smiths Pathways of Motion The Cutting Room 7:30 pm $15
Mingus Big Band
Womens Jazz Festival: Alicia Hall Moran; Mal Devisa

Gianluca Pellerito Quintet
Alexis Cole
John Merrill; Mike Moreno/Jon Cowherd; Theo Hill

Mezzrow 7:30, 9:30 pm 12 am $20
Leon Parker Duo; Ari Hoenig Quintet; Jonathan Michel

Smalls 7:30, 10:30 pm 1:30 am $20
Guilhem Flouzat/Tony Tixier
Boudoir 7:30 pm
Sam Ospovat solo; Kim Cass solo Delroys Cafe and Wine Bar 9, 10 pm $10
Rafal Sarnecki Trio with Rick Rosato, Colin Stranahan; Dida Pelled Trio with Tal Ronen,
Andew Millar
Bar Next Door 6:30, 8:30, 10:30 pm $12
Florencia Cuenca/Jaime Lozano Metropolitan Room 9:30 pm $20

92nd Street Y 2, 7:30 pm $46
Jim Piela Project
Silvana 6 pm
Walter Fischbacher Trio
Shrine 6 pm
Tuesday, March 22
Michael Formanek Ensemble Kolossus with Loren Stillman, Oscar Noriega,
Chris Speed, Brian Settles, Tim Berne, Dave Ballou, Ralph Alessi, Shane Endsley,
Kirk Knuffke, Alan Ferber, Jacob Garchik, Ben Gerstein, Jeff Nelson,
Patricia Franceschy, Kris Davis, Mary Halvorson, Tomas Fujiwara, Mark Helias

The Tristano Project: Steve Kuhn, Greg Osby, Ben Allison, Matt Wilson

Fred Hersch Trio with John Hbert, Eric McPherson

Patti Austin
Juilliard Jazz Ensembles
Emmet Cohen
Jay DAmico Group
Mark Feldman/Sylvie Courvoisier Quartet with Scott Colley, Billy Mintz

Elliott Sharp solo; Elliott Sharp, David Hofstra, Don McKenzie

Eva Novoa Ditmas Quartet with Michal Attias, Max Johnson, Jeff Davis;
Brandon Seabrook, Pascal Niggenkemper, Flin Van Hemmen

Korzo 9, 10:30 pm
Simon Jermyn solo
Ibeam Brooklyn 7 pm
Flip City: David Aaron, Will McEvoy, Dave Gould

The Backroom 8:30 pm
Stan Rubins Tigertown Five with Barry Bryson

Zinc Bar 7 pm
Holly Hofmann/Mike Wofford Mezzrow 7:30 pm $20
Spike Wilner Trio; Lucas Pino Nonet; Corey Wallace DUBtet

Smalls 7:30, 10:30 pm 1:30 am $20
Tyler Luppi; Pravin Thompson; Jeff Miles

Peter Amos Trio with Michael Brownell, Tom Talavera; Yotam Silberstein Trio with
Yasushi Nakamura, Keita Ogawa Bar Next Door 6:30, 8:30, 10:30 pm $12
Mikhail Romanov solo
Jazz at Kitano 8 pm
Alex Simons Gypsy Swing Ensemble

Radegast Hall 8 pm
Tsuyoshi Yamamoto
Silvana 6 pm
Luis Gonzalez Trio
Shrine 6 pm
Manhattan School of Music Jazz Arts Combo Festival

Manhattan School Carla Bossi-Comelli Studio 5:30 pm
Vincent Chancey
Tyshawn Sorey Trio with Cory Smythe, Chris Tordini

Wednesday, March 23
Mark Feldman Quartet with Gary Versace, Drew Gress

Erik Friedlander
Alex Sipiagin Quintet with Seamus Blake, John Escreet, Matt Brewer, Donald Edwards

Emmet Cohen
Gerald Cleaver/Giovanni Guidi Quartet with Stacy Dillard, Dezron Douglas

Cornelia Street Caf 8, 9 pm $10
Ingrid Laubrock/Ava Mendoza
Happylucky no.1 8 pm
Ed Cherry Trio
Janice Friedman Trio with Kenji Yoshitake, Mike Campenni

Chris Pattishall/Neal Caine; Sarah Slonim

Mezzrow 9:30 pm 12:30 am $20
Will Vinson Quintet; Michele Polga Quartet; Sanah Kadoura

Smalls 7:30, 10:30 pm 1:30 am $20
Raphael Dlugoff Trio +1; Adison Evans Quintet; Ned Goold Jam

Charles Turner Quintet with Benny Benack III, Takeshi Ohbayashi, Josh Hari,
Mark Whitfield, Jr.
Smoke 7, 9, 10:30 pm $12
Newfoundsong: Lena Bloch, Russ Lossing, Cameron Brown, Billy Mintz

Chris Biesterfeldt Quartet with Gary Fisher, Michael OBrien, Eric Halvorson;
LehCats: Karen Stachel, Gary Fisher, Michael OBrien, Daniel Gonzalez,
Chris Biesterfeldt, Norbert Stachel; Jan Sturiale/Marco Panascia

Ross Hammond/Sameer Gupta Barbs 8 pm $10
Kenny Warren Quartet with JP Schlegelmilch, Noah Garabedian, Satoshi Takeishi

Rye 9 pm
Nicolas Letman-Burtinovic, Igor Lumpert, Tommy Crane

Bar Chord 9 pm
Michael Formanek Ensemble Kolossus with Loren Stillman, Oscar Noriega,
Chris Speed, Brian Settles, Tim Berne, Dave Ballou, Ralph Alessi, Shane Endsley,
Kirk Knuffke, Alan Ferber, Jacob Garchik, Ben Gerstein, Jeff Nelson,
Patricia Franceschy, Kris Davis, Mary Halvorson, Tomas Fujiwara, Mark Helias



Patti Austin
Luis Gonzalez Trio
Silvana 6 pm
Andy Winter Band
Shrine 6 pm

Trioing: Vijay Iyer, Tyshawn Sorey, Harish Raghavan; Vijay Iyer, Tyshawn Sorey,
Harish Raghavan, Jonathan Finlayson

Thursday, March 24
The Necks: Chris Abrahams, Lloyd Swanton, Tony Buck

Whitney Museum 8 pm $22
Martha Redbone with Aaron Whitby, Marvin Sewell; THUMS UP: Heems, Rafiq Bhatia,
Vijay Iyer, Kassa Overall; Tirtha: Vijay Iyer, Prasanna, Nitin Mitta

Mike McGinnis Trio with Art Lande, Steve Swallow

Guillermo Klein Y Los Guachos with Richard Nant, Diego Urcola, Taylor Haskins,
Sandro Tomasi, Chris Cheek, Bill McHenry, Miguel Zenn, Ben Monder,
Fernando Huergo, Jochen Rueckert

Sherman Irby and Momentum with Vincent Gardner, Eric Reed, Gerald Cannon,
Willie Jones III
Emmet Cohen
Mark Feldman, Joyce Hammann, Lois Martin, Sylvie Courvoisier

Sam Zerna Trio with Matt Marantz, Adam Arruda; IN Trio: Tim Amacost, Harvie S,
Chistian Finger
Bar Next Door 6:30, 8:30, 10:30 pm $12
Spike Wilner solo; Victor Gould; Davis Whitfield

Mezzrow 7:30, 9:30 pm 12 am $20
Point of Departure
Fat Cat 10 pm
Oded Tzur Quartet with Nitai Hershkovits, Petros Klampanis, Ziv Ravitz

Diane Monroe/Tony Miceli Duo and Friends with Tony Marino, Franois Zayas

Dominick Farinacci
Fraydele: Joanna Sternberg, Zoe Aqua, Eva Salina

Jalopy 8:30 pm $15
Lauren Lee Duet
Jason Prover Sneak Thievery Orchestra

Radegast Hall 9 pm
Ed Cherry Trio
Will Vinson Quintet; Tacuma Bradley Unity Band

Smalls 7:30, 10:30 pm $20
Charles Turner Quintet with Benny Benack III, Takeshi Ohbayashi, Josh Hari,
Mark Whitfield, Jr.
Smoke 7, 9, 10:30 pm $12


Patti Austin
Andres Rotmistrovky
Silvana 6 pm

Friday, March 25
The Cookers: Eddie Henderson, David Weiss, Donald Harrison, Billy Harper,
George Cables, Cecil McBee, Billy Hart

Smoke 7, 9, 10:30 pm $45
Richard Bona Group
Club Bonafide 7:30, 9:30 pm $40-55
Courtney Bryan/Brandee Younger; THUMS UP: Heems, Rafiq Bhatia, Vijay Iyer,
Kassa Overall; Tirtha: Vijay Iyer, Prasanna, Nitin Mitta

Sacha Perry solo; Jonny King with Steve Wilson, Ed Howard; Johnny ONeal

Mezzrow 7:30, 9:30 pm 12:30 am $20
Lew Tabackin Trio; Paul Nedzela Quintet; Joe Farnsworth

Smalls 7:30, 10:30 pm 1:30 am $20
Troy Roberts Nu-Jive 5
Fat Cat 10:30 pm
Mark Feldman/Sylvie Courvoisier The Stone 8, 10 pm $15
Ches Smith, Craig Taborn, Mat Maneri

Rubin Museum 7 pm $20

Brazil, Europe & USA Connection: Nilson Matta, John Snauwaert, George Dulin,
Anthony Pinciotti
Juan Felipe Mayorga Trio with Edward Perez, Alex Brown

Terraza 7 9 pm $10
Joel Forrester Trio with Dave Hostra, Matt Garrity

Magos Herrera
Erez Barnoy Trio with Jared Gold, Vince Ector

Bar Next Door 7:30, 9:30, 11:30 pm $12
Lady Got Chops Festival: Pucci Amanda Jones Quartet with Miki Hayama,
Sylvia Cuenca, Kim Clarke; Claudia Hayden Band

Harlem on 5th 7, 9:30 pm
Tacuma Bradley Unity Band
Rockwood Music Hall Stage 2 11 pm
Russ Kassoff/Jay Anderson
For Trees & Birds!: Jasper Dtz, Lee Meadvin, Chris Gaskell, Connor Parks

Inkwell Caf 7:30 pm
SkiM: Kody Glazer, Sonny Lalchandani, Maura Scanlin, Isaac Levien, Eli Cohen;
Gordon Grdina
ShapeShifter Lab 8:15, 9:30 pm $10
Craig Brann; The International Ensemble

Silvana 6, 7 pm
The Necks: Chris Abrahams, Lloyd Swanton, Tony Buck

Whitney Museum 8 pm $22
Mike McGinnis Trio with Art Lande, Steve Swallow
Ibeam Brooklyn 8, 10 pm $15


Willie Jones III
Emmet Cohen
Ed Cherry Trio
The Tristano Project: Steve Kuhn, Greg Osby, Melissa Aldana, Ben Allison, Matt Wilson


Patti Austin
Craig Brann Trio
Silvana 6 pm
James Labrosse Collective
Shrine 6 pm
Saturday, March 26
Frank Kimbrough Duo
Mark Feldman/Sylvie Courvoisier; Sylvie Courvoisier Trio with Drew Gress,
Kenny Wollesen and guest Mark Feldman

Tierra Mestiza: Omar Tamez/Angelica Sanchez; Elliott Sharp solo;

AfroHorn Duo: Francisco Mora Catlett/Sam Newsome

Clemente Soto Velez Cultural Center 7, 8, 9 pm $11-22
Henry Cole Trio with Adam Rogers, Joe Sanders

Warren Wolf
Lil Phillips
Lady Got Chops Festival: Kim Clarke and Friends with Bertha Hope, Erena Terakubo,
Bernice Brooks and guests
Afrikan Poetry Theatre 8 pm
Michael Valeanu Trio with Rick Rosato, Jake Goldbas

Bar Next Door 7:30, 9:30, 11:30 pm $12
Kayo Hiraki Trio

Smoke 7, 9, 10:30 pm $45
Richard Bona Group
Club Bonafide 7:30, 9:30 pm $40-55
Spike Wilner; Jonny King with Steve Wilson, Ed Howard; Jon Davis

Mezzrow 7:30, 9:30 pm 12:30 am $20
Lew Tabackin Trio; Paul Nedzela Quintet; Brooklyn Circle

Smalls 7:30, 10:30 pm 1:30 am $20

Russ Kassoff/Jay Anderson

Willie Jones III
Emmet Cohen
Ed Cherry Trio
The Tristano Project: Steve Kuhn, Greg Osby, Melissa Aldana, Ben Allison, Matt Wilson


Patti Austin
Roz Corral Quartet with Jim Ridl, Ugonna Okegwo, Kenneth Salters

55Bar 6 pm
Matt Darriau
Barbs 6 pm $10
Rodrigo Bonelli Septet
Silvana 6 pm
Vijay Iyer, Liberty Ellman, HPrizm; Vijay Iyer, Gregoire Maret, Okkyung Lee

Sunday, March 27
Mark Feldman/Jim Staley Duo; Mark Feldman solo

Ben Van Gelder Group
Cornelia Street Caf 8:30, 10 pm $10
Saul Rubin solo; Diego Figueiredo Mezzrow 7:30, 9:30 pm $20
George Gee Swing Orchestra; Johnny ONeal Trio; Ned Goold Quartet; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
New York Jazzharmonic Trio led by Ron Wasserman with guests JP Jofre,
Lara St. John
Symphony Space Leonard Nimoy Thalia 7 pm $25
Sam Yulsman/Martin Hiendl
Jazz Jam with Gabriel Guerrero Trio


Smoke 7, 9, 10:30 pm $45

Willie Jones III

Patti Austin
Henry P. Melbourne solo; Tierra Mestiza: Omar Tamez/Angelica Sanchez

Downtown Music Gallery 6, 7 pm
Jan Sturiale Duo; Chris Beaudry Silvana 6, 7 pm
Sivan Arbel; Rachel Terrien
Shrine 8, 9 pm
Ike Sturm and Evergreen
Saint Peters 5 pm
Sonny Fortune Quartet with Michael Cochrane, David Williams, Steve Johns

The West End Lounge 4 pm $25
John Zorns Bagatelles: Jon Irabagon Quartet with Matt Mitchell, Drew Gress,
Tom Rainey
The Stone 3 pm $20
Juilliard Jazz Brunch: Ensemble A led by Frank Kimbrough with Zoe Obadia,
William Hawley, John Whitcomb, Andrew Renfroe, Joel Wenhardt, Jake Chapman,
Dan Chmielinski, Andrew Wangemann

Andrea Wolper Trio with Paul Bollenback, Ken Filiano

Trioing: Vijay Iyer, Marcus Gilmore, Matt Brewer; Vijay Iyer, Marcus Gilmore,
Matt Brewer, Elena Pinderhughes, Adam OFarrill

Monday, March 28
6th Annual James Moody Scholarship for Newark Youth Benefit: Randy Brecker,
Todd Coolman, Paquito DRivera, Roberta Gambarini, Gil Goldstein, Billy Harper,
Freddie Hendrix, John Lee, Lewis Nash, Adam Nussbaum, Michael Wolff

Jen Shyus Song of Silver Geese with Satoshi Haga, Olivia De Prato, Leah Asher,
Victor Lowrie, Mariel Roberts, Thomas Morgan, Dan Weiss, Mat Maneri, Chris Dingman

Roulette 8 pm $20
Slavic Soul Party; Matthew Hartnett

Brooklyn Bowl 8 pm $8
Vincent Chancey/Jeremy Carlstedt; Reggie Sylvester, Bern Nix, Daniel Carter,
Franois Grillot and guest Lindsey Wilson; Nick Lyons Group with Hill Greene,
Roger Mancuso
Mingus Big Band
Womens Jazz Festival: Bernice Reagon Johnson with Toshi Reagon, Helga Davis,
Randy Jeter, Karma Mayet Johnson, Marcelle Davies Lashley,
Josette Newsam Marchak, Jason C. Walker

John Merrill; David Hazeltine; Theo Hill

Mezzrow 7:30, 9:30 pm 12 am $20
Steve Williams Trio; Ari Hoenig Trio; Jonathan Barber

Smalls 7:30, 10:30 pm 1:30 am $20
Brad Shepik Organ Trio with Gary Versace, Mark Ferber

55Bar 10 pm
Jon Cowherd/Yvonnick Prene Boudoir 7:30 pm
Roz Corral Trio with John Di Martino, Ugonna Okegwo

Anas Maviel, Lathan Hardy, John Murchison; Miriam Atkin

Mark Phillips Trio with Syberen Van Munster, Sam Zerna; Tammy Scheffer Trio with
Chris Ziemba, Daniel Foose
Bar Next Door 6:30, 8:30, 10:30 pm $12
Antenna: Leonor Falcn, Patricia Brennan, Juanma Trujillo, Zach Swanson,
Noel Brennan
ShapeShifter Lab 8 pm $10
Manhattan School of Music Afro-Cuban Jazz Orchestra

Jan Sturiale Duo
Shrine 7 pm
Norihiro Kikuta Trio; Jon Sheckler Trio

Silvana 6, 7 pm
Tuesday, March 29
Tom Harrell Quintet with Ralph Moore, David Virelles, Ugonna Okegwo, Adam Cruz

Ravi Coltranes The Void with Ralph Alessi, Glenn Zaleski, Dezron Douglas,
Kush Abadey
Marcus Miller All Stars with Terence Blanchard, Aaron Parks, Eric Harland

Wallace Roney, Buster Williams, Lenny White

Amina Figarova Sextet with Alex Pope Norris, Wayne Escoffery, Bart Platteau,
Luques Curtis, Jason Brown
Glenn Zaleski Trio
Russ Kassoff Orchestra with Catherine Dupuis

Meg Okuras The J-Orchestra The Stone 8, 10 pm $15
Dave Sewelson Sewelsonics with Joe Ruddick, David Hofstra, Steve Little;
RENKU: Michal Attias, John Hbert, Satshi Takeishi; Jeff Lederers Sangre de Caballo
with Allison Miller
Robin Verheyen NY Quartet with Russ Johnson, Drew Gress, Jeff Davis

Mike McGinnis Road*Trip with Jeff Hermanson, Matt Blostein, Justin Mullens,
Peter Hess, Brian Drye, Barry Saunders, Jacob Sacks, Dan Fabricatore,
Vinnie Sperrazza; Curtis Hasselbring

Korzo 9, 10:30 pm
Stan Rubins Tigertown Five with Barry Bryson

Zinc Bar 7 pm
Evan Christopher/Ehud Asherie Mezzrow 7:30 pm $20
Spike Wilner Trio; Josh Evans Group; Kyle Poole

Smalls 7:30, 10:30 pm 1:30 am $20
Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop

Jim Piela Group; Christian Li
Alicyn Yaffee Trio with Marty Isenberg, David Hardy; Hashem Assadullahi Trio with
Leonard Thompson, Matt Wilson Bar Next Door 6:30, 8:30, 10:30 pm $12
Micah Thomas solo
Jazz at Kitano 8 pm
Manhattan School of Musics Vinyl Live! hosted by Theo Bleckmann

55Bar 7 pm
Joe Breidenstine Quintet
Silvana 6 pm
Damian Allegretti Trio
Shrine 6 pm
Eddie Allen
Vijay Iyer/Craig Taborn
Wednesday, March 30
Fieldwork: Tyshawn Sorey, Steve Lehman, Vijay Iyer; Vijay Iyer/Wadada Leo Smith

The Met Breuer 10:30, 11:45 am 2, 3:15, 7 pm $25
Dianne Reeves with Peter Martin, Romero Lubambo, Reginald Veal, Terreon Gully

Stern Auditorium 8 pm $16-77
Hiromi The Trio Project with Anthony Jackson, Simon Phillips

Highline Ballrom 8, 10 pm $35-65
Dave Douglas and The Westerlies: Riley Mulherkar, Zubin Hensler, Andy Clausen,
Willem de Koch and guest Rudy Royston

The New School Arnhold Hall 7 pm
Brubecks Play Brubeck: Darius, Dan and Chris Brubeck, Dave OHiggins

Glenn Zaleski Trio
Melissa Aldana Trio with Pablo Menares, Jochen Rueckert

Eddie Allen Aggregation Big Band Zinc Bar 9, 11 pm
Grupo Los Santos: Paul Carlon, Pete Smith, David Ambrosio, William Beaver Bausch,
Max Pollack
Michael Kanan and Friends with Jane Monheit, Greg Ruggiero, Neal Miner

Weill Recital Hall 8 pm $35
Cynthia Scott Quintet with Lafayette Harris, Ark Ovrutski, Dwayne Cook Broadnax

Smoke 7, 9, 10:30 pm $12
Duology: Michael Marcus/Ted Daniel; Andrew Drurys Content Provider with
Ingrid Laubrock, Briggan Krauss, Brandon Seabrook; Sumari: Matt Lavelle,
Jack Desalvo, Tom Cabrera
Pharaohs Daughter I and II: Basya Schechter, Daphna Mor, Meg Okura,
Shanir Blumenkranz, Mathias Kunzli, Yuval Lion

Loren Stillman Trio with Gary Versace, Nate Radley

Chris Ziemba Quartet with Michael Thomas, Jay Anderson, Jimmy Macbride

Christine Tobin Duo; Phil Robsons Icicle Architects with Donny McCaslin,
James Genus, Adam Nussbaum; Craig Brann

The Swing Machine; Ed Cherry Trio; Aaron Seeber

Smalls 7:30, 10:30 pm 1:30 am $20
Anas Maviel
Rye 9 pm
Nicolas Letman-Burtinovic, Aaron Burnett, Chris Carroll

Bar Chord 9 pm
The Early Masters of JazzBuddy Bolden, Sidney Bechet, and Louis Armstrong:
Juilliard Jazz Artist Diploma Ensemble

Juilliard School Paul Hall 7:30 pm

Kush Abadey
Wallace Roney, Buster Williams, Lenny White

Tribute to Ettore Stratta
Universalist Society 6 pm
Matterhorn
Silvana 6 pm
Peter Lenz
Shrine 6 pm
Russ Kassoff
43
Thursday, March 31
Fieldwork: Tyshawn Sorey, Steve Lehman, Vijay Iyer; Tyshawn Sorey Conduction;
Vijay Iyer/Wadada Leo Smith
The Met Breuer 10:30, 11:45 am 2, 3:15, 6:30, 7, 7:45 pm $25
Steven Bernstein and guests Steve Cardenas, David Tronzo

Greenwich House Music School 8 pm $15
Omar Sosa Quarteto AfroCubano Blue Note 8, 10:30 pm $35
Daniel Carter/William Parker; Darius Jones Quartet with Amirtha Kidambi,
Jean Carla Rodea, Jaimie Branch; Antlers & Capillaries: Daniel Levine, Kenny Warren,
Adam Hopkins, Flin Van Hemmen Clemente Soto Velez Cultural Center 7, 8, 9 pm $11-22
Sam Newsomes The Straight Horn of Africa

Jazz Museum in Harlem 7 pm $10
Brian Marsellas iMAGiNARiUM with Cyro Baptista, Tim Keiper, Jason Fraticelli,
John Lee, Dan Blankinship, Meg Okura; Meg Okura/Kevin Hays Duo

Joaquin Pozo
Drom 8 pm $20
Valentina Marino Quartet with Nitzan Gavrieli, Maximillian Zooi, Anthony Pinciotti

Cory Smythe solo
Piktors Metamorphosis: Neil Alexander, Brian Mooney, Monroe Quinn, Danny Pagan;
Danny Green Trio with Justin Grinnell, Julien Cantelm and guests Chico Pinheiro,
Hotel Elefant
ShapeShifter Lab 7, 8:15, 9:30 $10-15
Alex Conde Trio with Haggai Cohen, Ziv Ravitz; Dan Rufolo Trio

Andy Farber Quintet; Carlos Abadie Quintet

Smalls 7:30, 10:30 pm $20
Point of Departure
Fat Cat 10 pm
Duo Argentos: Uri Gurvich/Leo Genovese

Dominique Bistro 8:30 pm
Svetlana and The Delancey 5 Club Bonafide 9 pm $15
Rodrigo Recabarren Trio with Jeff Miles, Shin Saikano; Brandon Coleman Trio with
Matt Wiles, Jeff Mellott
Bar Next Door 6:30, 8:30, 10:30 pm $12
Litvakus with Dmitri Slepovitch Jalopy 8:30 pm $15
Melanie Goerlitz and The Bianco Martinis

John Lang Duet
Claudia Hayden
Shrine 7 pm
Hiromi The Trio Project with Anthony Jackson, Simon Phillips

Highline Ballrom 8, 10 pm $35-65
Brubecks Play Brubeck: Darius, Dan and Chris Brubeck, Dave OHiggins

Brubeck Institute Jazz Quartet Dizzys Club 11:30 pm $10
Dena DeRose
Birdland 6 pm $25
Melissa Aldana Trio with Pablo Menares, Jochen Rueckert

Cynthia Scott Quintet with Lafayette Harris, Ark Ovrutski, Dwayne Cook Broadnax

Smoke 7, 9, 10:30 pm $12

Kush Abadey
RE G U L AR ENGAGE MENTS
M O N D AY
Richard Clements and guests 11th Street Bar 9 pm
Orrin Evans Captain Black Band Smoke 7, 9 pm $9
Vince Giordanos Nighthawks Iguana 8 pm (ALSOTUE)
Arthurs Tavern 7 pm
Grove Street Stompers
Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
Jazz Foundation of American Jam Session Local 802 7 pm
Arthur Kell and Friends
Bar Lunatico 8:30 pm
Renaud Penant Trio
Analogue 7:30 pm
Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
Stan Rubin All-Stars
Charley Os 8:30 pm
Smoke Jam Session
Smoke 10:30 pm
Svetlana and the Delancey 5 The Back Room 8:30 pm
Swingadelic
Swing 46 8:30 pm
Gracie Terzian
Bar Hugo 6 pm
Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
James Zeller Duo
Spasso 7 pm (ALSO SUN)
T U E S D AY
Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
Irving Fields
Ninos Tuscany 7 pm (ALSO WED-SUN)
George Gee Orchestra
Swing 46 8:30 pm
Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
Joel Forrester solo
Stop Time 7 pm
Loston Harris
Caf Carlyle 9:30 pm $20 (ALSO WED-SAT)
Art Hirahara Trio
Arturos 8 pm
Yuichi Hirakawa Trio
Arthurs Tavern 7, 8:30 pm
Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm
Monas Hot Four Jam Session Monas 11 pm
Annie Ross
The Metropolitan Room 9:30 pm $25
Bill Todd Open Jam
Diego Voglino Jam Session The Fifth Estate 10 pm
The Westet
Analogue 7:30 pm
W E D N E S D AY
Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
Lybane 9:30 pm (ALSO FRI)
Rick Bogart Trio
Rob Duguays Low Key Trio Turnmill NYC 11 pm
Jeanne Gies with Howard Alden and Friends Joe Gs 6:30 pm
Martin Kelleys Affinity
John Brown Smoke House 5:30 pm
Mark Kross and Louise Rogers WaHi Jazz Jam Le Chile 8 pm
Les Kurtz Trio
Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Ron McClure solo piano McDonalds 12 pm (ALSO SAT)
David Ostwalds Louis Armstrong Centennial Band Birdland 5:30 pm $20
Stan Rubin Orchestra
Swing 46 8:30 pm
Eve Silber
Arthurs Tavern 7 pm
Donald Smith and Friends Cassandras Jazz and Gallery 8, 10 pm $10
Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
T H U R S D AY
Marc Carys The Harlem Sessions Gin Fizz Harlem 10 pm $10
Dr. Dwight Dickerson
Cassandras Jazz and Gallery 8 pm $5
Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
Jazz Jam Session
American Legion Post 7:30 pm
Kazu Trio
Cleopatras Needle 11:30 pm
Martin Kelleys Affinity
Domaine Wine Bar 8:30 pm
Jon Langs First Name Basis Jam Session Symphony Space Bar Thalia 9 pm
Lapis Luna Quintet
The Plaza Hotel Rose Club 8:30 pm
Curtis Lundy Jam Session Shells Bistro 9 pm
Sol Yaged
Grata 8 pm
Eri Yamamoto Trio
Arthurs Tavern 7 pm (ALSOFRI-SAT)
F R I D AY
Scot Albertson
Parnells 8 pm (ALSO SAT)
Gene Bertoncini
Ryans Daughter 8 pm
Birdland 5:15 pm $25
Birdland Big Band
Rick Bogart Trio
New York Yankees Steakhouse 5 pm
The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka Barbs 5 pm
Day One Trio
Prime and Beyond Restaurant 9 pm (ALSO SAT)
Gerry Eastman Quartet
Williamsburg Music Center 10 pm
John Farnsworth Quartet Smoke 11:45 pm 12:45 am
Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
Sandy Jordan and Friends ABC Chinese Restaurant 8 pm
Frank Owens Open Mic
The Annex at Hamilton House 7 pm $10
Richard Russo Quartet
Capital Grille 6:30 pm
Bill Saxton and the Harlem Bebop Band Bills Place 9, 11 pm $15 (ALSO SAT)
Cleopatras Needle 12:30 am
Joanna Sternberg Trio
S AT U R D AY
Rob Anderson Jam Session University of the Streets 10 pm
Broadway Thai 7:30 pm (ALSO SUN)
Rick Bogart Trio
The Candy Shop Boys
Duane Park 8, 10:30 pm
Barbara Carroll
Birdland 6 pm $30
Curtis Lundy Trio with guests Shells Bistro 9 pm
Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm
Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Caf & Lounge 8:30 pm
Nabe Harlem 12 pm
Nabuko and Friends
Johnny ONeal and Friends Smoke 11:45 pm 12:45 am
James Zeller Trio
Spasso 1pm
S U N D AY
The Lambs Club 11 am
Avalon Jazz Quartet
New York Yankees Steakhouse 12 pm
Rick Bogart Trio
Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10
The Candy Shop Boys
The Rum House 9:30 pm
Creole Cooking Jazz Band; Stew Cutler and Friends Arthurs Tavern 7, 10 pm
Glenn Crytzer Group
Pegu Club 6:30 pm
Analogue 7:30 pm
Stefano Doglioni Trio
JaRon Eames/Emme Kemp The Downtown Club 2 pm $20
The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm
Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
Grace Gospel Church 11 am
Joel Forrester solo
Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominies Astoria 9 pm
Ian Hendrickson-Smith
The Strand Smokehouse 7 pm
Harlem Besame Latino Soul Lounge 1:30 pm
Jazz Brunch
Bob Kindred Group; Junior Mance Trio Caf Loup 12:30, 6:30 pm
Matt Lavelles 12 House Orchestra Nublu 9:30 pm
Peter Mazza Trio
Bar Next Door 8, 10 pm $12
Jazz at Kitano 11 am $35
Tony Middleton Trio
Arturo OFarrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm
Lu Reid Jam Session
Shrine 4 pm
Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm
CLUB DIRECTORY
11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
5C Caf 68 Avenue C
(212-477-5993) Subway: F, V to Second Avenue 5ccc.com
541 541 Argyle Road Subway: B, Q to Newkirk Avenue
55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
92nd Street Y Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
ABC - No Rio 156 Rivington Street (212-254-3697)
Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org
Afrikan Poetry Theatre 176-03 Jamaica Avenue, Queens
(718-523-3312) Subway: F to 179th Street
American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
An Beal Bocht Caf 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
The Appel Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
Apollo Theater & Music Caf 253 W. 125th Street
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street
www.apollotheater.org
Arthurs Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
Arturos 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
The Back Room 102 Norfolk Street
(212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street
www.backroomnyc.com
Bar Chord 1008 Cortelyou Road
(347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com
Bar Hugo 525 Greenwich Street
(212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com
Bar Lunatico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
Barbs 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Bills Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 125th Street
Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
Boudoir 135 Atlantic Avenue
Subway: 4, 5 to Borough Hall www.boudoirbk.com
Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
Brooklyn Bowl 61 Wythe Avenue
(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com
Brooklyn Center for the Performing Arts 2900 Campus Road
Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.org
Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street bqcm.org
Brownsville Heritage House 581 Mother Gaston Boulevard
(718-385-1111) Subway: L to New Lots Avenue
Caf Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Caf Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
Cassandras Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard
(917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com
The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
Charley Os 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street www.csvcenter.com
Cleopatras Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
Cornelia Street Caf 29 Cornelia Street
(212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street
www.corneliastreetcaf.com
The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
David Rubenstein Atrium Broadway at 60th Street
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.new.lincolncenter.org/live/index.php/atrium
Delroys Caf and Wine Bar 65 Fenimore Street
Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries
Dizzys Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
The Django at Roxy Hotel 2 Sixth Avenue
(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.roxyhotelnyc.com
Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350)
Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com
Dominies Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
Dominique Bistro 14 Christopher Street
(646-756-4145) Subway: 1 to Christopher Street www.dominiquebistro.nyc
The Downtown Club 240 E. 123rd Street
(212-868-4444) Subway: 4, 5, 6 to 125th Street
Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
The Drawing Room 56 Willoughby Street #3 (917-648-1847)
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com
Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
Dweck Center at Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
Elmhurst Community Library 9506 Astoria Boulevard
(718-424-2619) Subway: 7 to Junctiom Boulevard www.queenslibrary.org
Farafina Caf & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445)

Subway: 1 to 145th Street www.farafinacafeloungeharlem.com
Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
Feinsteins/54 Below 254 West 54th Street
(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com
The Fifth Estate 506 5th Avenue, Brooklyn
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com
The Firehouse Space 246 Frost Street
Subway: L to Graham Avenue www.thefirehousespace.org
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
Gin Fizz Harlem 308 Malcolm X Boulevard at 125th Street
(212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com
Ginnys Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
The Graham 190 Graham Ave (718-388-4682)
Subway: L to Montrose Avenue www.thegrahambrooklyn.com
The Grange 1635 Amsterdam Avenue
(212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com
Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
Harlem On 5th Restaurant 2150 5th Avenue
(212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com
Harlem Safe House Jazz Parlor 27 Mount Morris Park West
(between W. 122nd and 123rd Streets) (212-662-7779)
Subway: 2, 3 to 125th Street www.welcometoharlem.com
Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
HiArt Studio 227 West 29th Street Subway: 1 to 28th Street
Highline Ballroom 431 W 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
Inkwell Caf 408 Rogers Avenue between Lefferts and Sterling
Subway: 5 to Sterling Street www.plgarts.org
Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
Jalopy 315 Columbia Street, Brooklyn
(718-395-3214) Subway: F to Smith Street www.jalopy.biz
Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway:N, R to 28th Street www.jazzgallery.org
Jazz Museum in Harlem 104 E.126th Street between Park & Lexington
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway:6 to 28th Street www.jazzstandard.net
Joe Gs 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
Joes Pub at the Public Theater 425 Lafayette Street (212-539-8770)
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com
John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120)
Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com
Juilliard School Paul Hall, Peter Jay Sharp Theater 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
Kettle and Thread 1219 Church Avenue Subway: B, Q to Church Avenue
Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490)
Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com
Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
LIC Bar 45-58 Vernon Boulevard
(718-786-5400) Subway: 7 to Vernon-Jackson Boulevard
The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
Langston Hughes Public Library 100-01 Northern Boulevard Queens
Subway: 7 to 103rd Street
Le Chile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com
Little Branch 22 7th Avenue South
(212-929-4360) Subway: 1 to Houston Street www.littlebranch.net
Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
Lybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
Lyce Francais de New York 505 E. 75th Street
(212-439-3820) Subway: 6 to 77th Street www.lfny.org
McDonalds 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
Manhattan School of Music Borden Auditorium, Carla Bossi-Comelli
Studio Broadway and 122nd Street (212-749-2802 ext. 4428)
Subway: 1 to 116th Street www.msmnyc.edu
Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam
(212-501-3330) Subway: 1 to 66th Street-Lincoln Center
www.kaufman-center.org
The Met Breuer 945 Madison Avenue
(212-731-1675) Subway: 6 to 77th Street www.metmuseum.org
Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street
www.mezzrow.com
Mintons 206 West 118th Street (212-243-2222)
Subway: B, C to 116th Street www.mintonsharlem.com
Monas 224 Avenue B Subway: L to First Avenue
Muchmores 2 Havemeyer Street
(718-576-3222) Subway: L to Bedford Avenue
Music Hall at MP 470 Driggs Avenue
(718-387-4001) Subway: L to Bedford Avenue www.thehallbrooklyn.com
NYC Bahai Center 53 E. 11th Street (212-222-5159)
Subway:4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
National Sawdust 80 N. 6th Street
(646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org
New Revolution Arts 7 Stanhope Street
Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
New School Arnhold Hall 55 West 13th Street

(212-229-5600) Subway: F, V to 14th Street www.newschool.edu
New York Yankees Steakhouse 7 W. 51st Street (646-307-7910)
Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com
Ninos Tuscany 117 W. 58th Street (212-757-8630)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com
North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
Parnells 350 East 53rd Street #1(212-753-1761)
Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com
Pegu Club 77 W. Houston Street (212-473-7348)
Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com
The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
Pregones Theater 571 Walton Avenue at 149th Street
Subway: 4 to 149th Street-Grand Concourse
Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
Prospect Range 1226 Prospect Avenue
Subway: F to Fort Hamilton Parkway www.prospectrange.com
Radegast Hall 113 North 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
Rendall Memorial Presbyterian Church 59 W. 137th Street #61
Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
Roulette 509 Atlantic Avenue
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
Rubin Museum 150 West 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
Rue B 188 Avenue B
(212-358-1700) Subway: L to First Avenue www.ruebnyc188.com
The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
Ryans Daughter 350 E 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue
www.ryerestaurant.com
St. Georges Episcopal Church 4 Rutherford Place
(646-723-4178 Subway: L to Third Avenue www.calvarystgeorges.org
Saint Peters Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway:6 to 51st Street www.saintpeters.org
San Martin Restaurant 143 E. 49 Street between Lexington and Park
Avenues (212-832-0888) Subway: 6 to 51st Street
The Schomburg Center 515 Macolm X Boulevard
www.nypl.org/locations/schomburg
ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
Showmans 375 W. 125th Street at Morningside) (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street
Sistas Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1,2,3 to 14th Street www.smallsjazzclub.com
Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers
Avenues) Subway: 2 to Sterling Street
South Oxford Space 138 South Oxford Street, Brooklyn
(718-398-3078 Subway: C to Lafayette Street
Spasso 551 Hudson Street
(212-858-3838) Subway: 1 to Christopher Street www.spassonyc.com
Spectrum 121 Ludlow Street, 2nd floor
Subway: F to Delancey Street www.spectrumnyc.com
Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
The Stone Avenue C and 2nd Street
Subway:F to Second Avenue www.thestonenyc.com
Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue
The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231)
Subway: N, Q to Broadway www.thestrandsmokehouse.com
Subrosa 63 Gansevoort Street (212-997-4555)
Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com
Swing 46 349 W. 46th Street (646-322-4051)
Subway:A, C, E to 42nd Street www.swing46.com
Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
Terraza 7 40-19 Gleane Street (718-803-9602)
Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com
Threes Brewing 333 Douglass Street
(718-522-2110) Subway: R to Union Street www.threesbrewing.com
Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street
www.tribecapac.org
Troost 1011 Manhattan Avenue
(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
Universalist Society 160 Central Park West at 76th Street
(212-595-1658) Subway: B to 72nd Street www.4thu.org
University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300)
Subway: B, D to 182-183 Streets www.universityofthestreets.org
Village Vanguard 178 Seventh Avenue South at 11th Street
(212-255-4037) Subway:1, 2, 3 to 14th Street
www.villagevanguard.com
Walkers 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com
Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue
(212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org
The West End Lounge 955 West End Avenue at West 107th Street
(212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com
Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
Zankel Hall 881 Seventh Avenue at 57th Street
(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org
Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
45
(INTERVIEW CONTINUED FROM PAGE 6)

that Miles would be playing in the group. When I was
buying a Miles record, I wasnt listening to him, but to
the piano solo and Paul Chambers beautiful walking
lines and the way he followed the soloists.
TNYCJR: How does a new composition evolve for you?
PC: The starting point isnt always the same. I did some
tunes where I started with the harmonies and then
finding the melody on top. A rhythm concept or idea
can also be the starting point. When the rhythm of the
melody is right, you will find nice notes to put with it.
When you dont I find its very difficult. There are other
things that are mysterious, the feeling and emotion
sometimes. I think, for me, I wrote many tunes with a
different kind of approach, sometimes purely
intellectual, sometimes not. When I started writing, I
was often writing easier on the piano. I dont play very
well but it is easier to play with two hands, because my
technique on guitar is not polyphonic; Im a one note at
a time player, in general, though of course, I play
chords. When I got a computer in 1990, I would write a
rhythm, then put chords, then transform that sound
into a piano, then I would have to move the notes on
the screen so they would fit these chords I had put on
previously. Theres something spontaneous also. I also
use my guitar and connect it to the computer, play
something spontaneously, then refine it with the mouse.
TNYCJR: Do complete songs ever come to you?
PC: It doesnt happen so often. It happened for one
tune that I wrote five to six years ago. I havent written
any tunes for one or two years because I feel like
practicing to be a better guitar player. I try to broaden
my capacities of improvising, more choices. I would
also like to be able to play faster, because I never had
any good advice about my right hand when I was
younger. I was playing completely spontaneously.
TNYCJR: How did you end up working with Larry
Coryell?
PC: There are three or four sources to that. I was
playing in Europe with a wonderful bass player and
drummer from Philadelphia, John Lee and Gerry
Brown. They were both playing in Harlem and with
Larry Coryell in The Eleventh House. They introduced
me to Larry with the record we did together. Also,
Claude Nobs of the Montreux Jazz Festival brought us
together, as did the organizer of the Berlin Jazz Days,
George Gruntz.
TNYCJR: What about your work with Niels-Henning
rsted Pedersen?
PC: I first heard him in 1964 in the [Jazzhus]
Montmartre. He was 17 and playing with Dexter
Gordon. I had never heard such a good bass player
live. I was saying to myself, I wish I could play with
this guy one day. It happened in 1973. We played a
radio gig, a suite with a symphony composed by
[trumpeter] Palle Mikkelborg. ...We started playing in
a trio soon after with Billy Hart on drums for two
years, then continued as a duo. He was a virtuoso. I
played with him off and on for 20 years.
TNYCJR: And Chet Baker?
PC: I was invited to join him two or three times. I had
heard Chet Baker somewhere in a club and I didnt feel
any attraction. Finally, I accepted two gigs with Chet in
1981. I was very scared to play with him and I didnt
know what he was feeling. I felt it sounds so nice, yet
the music is so simple, I felt like thats too easy to do.
After the second concert, I felt very good, though
I didnt know why. I did a third concert in 1982 and

I had a recording of one of them and I started listening
and relistening to it, I couldnt believe how beautiful it
was. At that point I was very addicted to play with
Chet. I should not use that word, of course! It was so
astonishing since I didnt have any desire to play with
him in the beginning. Once when I was playing a solo,
I could see him doing the after-beat with his mouth. He
was always listening and concentrating on what I was
doing. I played the whole year of 1985 with him with
some ups and downs, though mostly ups. He was in
very good shape. He wasnt doing too many drugs and
playing unbelievably well and sometimes with
incredible chops. I didnt know Chet had so much
technique and could play so fast. He had beautiful
timing. Playing with bass, trumpet and guitar with
him, it was so easy, so musical and so free, even though
we were playing standards, it seemed fresh, like
something new. As a person, he was pretty pleasant. On
stage he wasnt trying to please people. He would start
a concert with a ballad like J.J. Johnsons Lament so
slow and you could feel the time. He had an incredible
time, which I had no idea about that quality of Chet. I
had the same feeling later with [trumpeter] Tom Harrell.
of them are first takes. Very melodic, but nothing

spectacular. It could be an homage to Chet Baker.
TNYCJR: Tell me what led you to work with Mingus.
Jean-Luc Ponty ExperienceOpen Strings (MPS, 1971)
Charles MingusThree or Four Shades of Blues
(Atlantic-Rhino, 1977)
Chet BakerStrollin (Enja, 1985)
Stphane GrappelliLive 1992 (Birdology-Verve, 1992)
Philip Catherine/Bert Joris/Brussels Jazz
OrchestraMeeting Colours (Dreyfus, 2005)
Philip Catherine/Martin WindDuo Art (ACT Music, 2013)
PC: Charles Mingus was in Montreux with Claude

Nobs, who showed him a video of me and Larry
Coryell in a duo. Then I was in New York in 1977,
recording with Larry Coryell and Alphonse Mouzon.
I was in the offices of WEA and the producer, Ilhan
Mimarolu, came to me and said, Mingus is making
his new record and he would like you to be at the
session. I was so astonished. Larry Coryell was also
there. It was two different days in the studio. When
I arrived I didnt even have a chance to say hello to
Mingus, just sit down, read some music and play. After
the first day, I was alone in the studio with Mingus and
he asked me many questions and was very nice. We
had a friend in common, Charlie Mariano, whom
I played with for about 20 years, so we spoke about
Charlie. We had a good time speaking and listening to
things that had been recorded. Two days later, I was
back, but recording with John Scofield and Ron Carter.
Mingus didnt call me Young Django then.
TNYCJR: Do you focus more on electric or acoustic
guitar these days?
PC: I play more electric guitar. When I travel, I only
take one guitar. Usually I can take it in a soft case and
put it in the overhead on a plane, so they dont put it in
with the luggage.
TNYCJR: You havent toured the U.S. much recently.
PC: I havent been playing in the states much at all in
the last ten years. I play mostly in Europe.

I had the chance to sit in with Elvin Jones in Boston
in 1972. I also had that feeling of really playing
together. Theres a big difference between playing with
someone. I have had people tell me they played with
me, though I felt like saying, Oh, you played at the
same time with me.
TNYCJR: Do you have any recording projects planned
or in the can for release in the near future?
PC: There was a record I made in December 1970 that
is coming out on a Japanese label and we were mixing
it today and the next two days. There are 12 songs and
two that I have never heard. I had completely forgotten
about them. I also made a Cole Porter album [on
Challenge Records], which isnt spectacular at all. The
[Dutch] piano player [Karel Boehlee] is absolutely
beautiful in his voicings. He played with Toots
Thielemans. We also play some less known tunes, most
TNYCJR: You worked with Toots Thielemans.

PC: We werent touring but I was often invited as a
guest soloist and we would finish with some tunes
together. I talk to him often on the phone, usually
every week. Hes 93 and retired at home, he always
plays harmonica on the phone to me.
TNYCJR: You also toured with Benny Goodman.
PC: Svend Asmussen, the Scandinavian violinist, was
also with us. It was funny because I was playing every
two to three days with Benny Goodman in the middle
of a tour where I was playing with Charlie Mariano
and Jasper van t Hof. So I was going from one group
to the other for two weeks. It was funny because I was
dressed up for Benny Goodman and like a hippy for
the other one. v
For more information, visit philipcatherine.com. Catherine
is at Jazz at Kitano Mar. 11th-12th. See Calendar.
(LABEL CONTINUED FROM PAGE 11)

Only rarely do musicians offer product to the label.
Even then, avers Corbett, our approach to producing
is artist-centered. Im less interested in putting my
stamp on something than I am in facilitating the artists
vision. Were here to get out of the way of the artists.
Our job is more or less the same on the newly recorded
and reissued music. In fact, there may be more
decisions to make in terms of curation on the older
material, where choices of what to include and exclude
are often involved. Adds Gustafsson: It has always
been like that with John. If you add his insane amount
of knowledge and wisdom into that picture, theres no
way back. There are a lot of enthusiastic label owners
that Ive worked with over the years but with John its
a special thing. Its mostly about the forgotten gems,
the hidden secrets of the scene, thats what we want to
reveal, archival shit. Most discs are remastered from
the original tapes. A few, such as two of McPhees
hatHUTS and Prehns Axiom were remastered from
vinyl while George Davis Scapula: Bop Acetates,
Chicago, 1949 was literally mastered from acetates.
CvD recently purchased around 40 tapes from
hatART, including most of its Steve Lacy sessions, and
all of McPhees. These will be released soon, along
with discs from Eugene Chadbourne. The next three
CvDs however will be Push-Pull, a Jimmy Lyons twoCD set; Philip Wilsons Esoteric, solos and duets with
Olu Dara; and Marshmallow Moon Decorum, a new
recording by Moore and drummer Frank Rosaly. Well
be issuing some sound poetry in the future and we
could imagine putting out contemporary classical
music or bluegrass, if the right things came along,
muses Corbett. For us, there should be some urgency
to issuing the music, either because it fills in important
gaps or its so powerful that it needs to be heard right
away. There are already so many labels that were very
selective, issuing fewer rather than more CDs. We try
to treat each one with the care it deserves. v
For more information, visit corbettvsdempsey.com
Americas foremost new-music group

ALEX ROSS
PHOTO: AR M E N E LLIOTT
ICE at The Stone

March 813
ICE takes over The Stone for
12 back-to-back shows of radical
music making, curated and performed
by ICEs superstar rosterincluding
Peter Evans, Cory Smythe, Pauline
Oliveros, and Claire Chase.
The Stone
2nd Street & Avenue C
Tickets: $10
MORE INFO
bit.ly/ice-stone
12 Shows 6 Days
18 ICE Musicians

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MARCH 2016ISSUE 167

YOUR FREE GUIDE TO THE NYC JAZZ SCENE

going the distance

MARCH 2016ISSUE 167

US Subscription rates: 12 issues, $40

2 MARCH 2016 | THE NEW YORK CITY JAZZ RECORD

TALIB KWELI WITH LIVE BAND:

JIMMY HEATH 90TH

91ST BIRTHDAY CELEBRATION

LATE NIGHT GROOVE SERIES

l3l WEST 3RD STREET NEW YORK CITY 2l2.475.8592 WWW.BLUENOTEJAZZ.COM

TERMS, CONDITIONS AND RESTRICTIONS APPLY

thana alexa project

THU-SUN MAR 17-20

CHRIS BERGSON BAND

PETER SLAVOV - HENRY COLE

TUE-WED MAR 8-9

joey calderazzo BAND

steve kuhn TRIO

ryan keberle & catharsis

HLIO ALVES - PAUL SOCOLOW - ADRIANO SANTOS - DENDE

TUE-WED MAR 22-23

TUE-SUN MAR 29-APR 3H11:30PM SET ON SAT ONLY

ravi coltrane void

THU-SUN MAR 10-13

HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH

MON MAR 7, 14, 21 & 28

MINGUS BIG BAND

NEW YORK @NIGHT

2016 Jack Vartoogian/FrontRowPhotos

R.I. Sutherland-Cohen / jazzexpressions.org

in Jazz, the citys oldest jazz concert

Lee Konitz @ Greenwich House Music School

Warren Vach @ Tribeca Performing Arts Center

4 MARCH 2016 | THE NEW YORK CITY JAZZ RECORD

stride piano at the National Jazz Museum in Harlem

Musicians are often referred to as performers without

The hallmark of post-Coltrane modal piano jazz,

G.R.I.O.T (Global Rhythms of Our Time), a program of New York

A symposium in the African Drum moderated by Lewis Nash and

Lori Freedman @ Roulette

McCoy Tyner @ Blue Note

Choice is an inherent and crucial part of creating art.

Closing out its 50th Anniversary Celebration at the

Anthology Film Archives will screen a recently discovered print of the

THE NEW YORK CITY JAZZ RECORD | MARCH 2016

mark as a jazz guitarist known for stylistic diversity. Born

Philly Joe Jones, Red Garland, rhythm sections I liked

6 MARCH 2016 | THE NEW YORK CITY JAZZ RECORD

thing sound for the people who are listening? The

(CONTINUED ON PAGE 46)

For more information, visit thomasheberer.com. Heberer is

Jelly Roll Morton (JazzHausMusik, 1989)

ICP OrchestraOh, My Dog (ICP, 2001)

Pieces For A Husky Puzzle (Jazzwerkstatt, 2008)

Thomas HebererClarino (NoBusiness, 2010)

breathing, sooner or later the blood going through my

INSTANT COMPOSERS POOL

Restless in Pieces is the newest CD from

With new member Guus Janssen at the piano,

THE NEW YORK CITY JAZZ RECORD | MARCH 2016

John Rogers / ECM Records

Bassist Michael Formanek admits that until recently