Tnycjr 201606

JUNE 2016ISSUE 170
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
LESTER BOWIE
brass memories
REZ
ABBASI
MIKE
REED
BOBBY
PREVITE
CHICO
OFARRILL
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nycjazzrecord.com
JUNE 2016ISSUE 170

New York@Night
Interview : Rez Abbasi
Artist Feature : Mike Reed
On The Cover : Lester Bowie
Encore : Bobby Previte
Lest We Forget : Chico OFarrill
LAbel Spotlight : El Negocito
VOXNEWS
In Memoriam
Festival Report
CD Reviews
Miscellany
Event Calendar
4
6
7
8
10
10
11
11
12
13
14
41
42
by ken micallef
by ken waxman
by kurt gottschalk
by john pietaro
by ken dryden
by ken waxman
by suzanne lorge
by andrey henkin
Jazz is a magical word. While acknowledging its complex history, in 2016 it is synonymous
with freedom. When you hear the word spoken it opens doors rather than closes them. There
should be a thousand definitions of the word, as different as the people who play it.
This months features embody that freedom. Late trumpeter Lester Bowie (On The Cover)
balanced entertainment and art like few could. His long-running Brass Fantasy is celebrated
at Tribeca Performing Arts Center with a number of original participants. Guitarist Rez
Abbasi (Interview) upends notions about his instrument as well clichs like fusion. His new
Cuneiform album gets release concerts at Greenwich House Music School and Red Hook Jazz
Festival. Drummer Mike Reed (Artist Feature) has brought together generations and styles
and built foundation in his adopted home of Chicago. He makes a rare-ish NYC appearance as
part of Vision Festival. Drummer Bobby Previte (Encore) splits his time between Manhattan
and Upstate yet hasnt lost his urban groove. He leads a band at Red Hook Jazz Festival and
is at Cornelia Street Caf with Jane Ira Bloom. And Chico OFarrill (Lest We Forget) helped
change the entire trajectory of jazz by blending it with the music of his native Cuba.
Libert, galit, Fraternit is the motto of France. It could be a jazz slogan too...
On The Cover: Lester Bowie (photo by Alan Nahigian)
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
2 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD
JUNE 2016
W W W. B LU E N OT E JA Z Z . CO M
SCOFIELD /MEHLDAU /
GIULIANA
ROSA PASSOS
CHRISTIAN MCBRIDE
QUARTET
JUNE 9 - 12
ROBERT GLASPER
JOSHUA REDMAN 4TET
JUNE 21 - 26
JUNE 28 - JULY 3
TRIO;
W/ JASON MORAN;
W/ TAYLOR MCFERRIN & MORE
JUNE 14 - 19
JUNE 1 - 30, 2016 NEW YORK
ARTURO SANDOVAL
JUNE 6 - 8
MAY 31 - JUNE 5
JAZZ FESTIVAL
W/ AARON GOLDBERG, LARRY GRENADIER,

GREG HUTCHINSON
TALIB KWELI WITH LIVE BAND + SPECIAL GUESTS JUNE 13 REBIRTH BRASS BAND JUNE 20
INDELIBLE: SONIA SANCHEZ & GARY BARTZ PRODUCED BY JILL NEWMAN PROD JUNE 25 AN EVENING WITH THE NIGEL HALL BAND JUNE 27
SUNDAY BRUNCH -
ll:30AM & l:30PM, $35 INCLUDES BRUNCH MUSIC AND DRINK
GILAD HEKSELMAN TRIO JUNE 5 EMILIO SOLLA TANGO-JAZZ QUARTET JUNE 12 JOE ALTERMAN TRIO JUNE 19 GREGOIRE MARET & KEVIN HAYS DUO JUNE 26
LATE NIGHT GROOVE SERIES -
l2:30AM
AL STRONG JUNE 3 ALEXIS HIGHTOWER JUNE 4 XSPIRITMENTAL PRESENTS SPIRITCHILD JUNE 10 RABBI DARKSIDE JUNE 11 KILLIAM SHAKESPEARE JUNE 17
SOUL INSCRIBED JUNE 18 BEN WILLIAMS & SOUND EFFECT JUNE 24 TBA JUNE 25
TWO SHOWS NIGHTLY 8PM & l0:30PM
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Page 1
TUE JUNE 21
JAZZTOPAD FESTIVAL PRESENTS:
TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY [2015] -NEW YORK MAGAZINE
WED JUNE 1
LUIS PERDOMO
MIMI JONES - RUDY ROYSTON
& CONTROLLING
EAR UNIT
THU-SUN JUNE 2-5
AZAR LAWRENCE
QUARTET
DEE DEE
BRIDGEWATER
THEO CROKER
ANTHONY WARE
MICHAEL KING
ERIC WHEELER
KASSA OVERALL
TUE JUNE 14
DARCY JAMES argues
JAMISON ROSS
CHRIS PATTISHALL
BARRY STEPHENSON - RICK LOLLAR
FRI-SUN JUNE 24-26
CLAYTON BROTHERS
QUINTET
LONNIE SMITH TRIO
LONNIE SMITHS
TUE-THU JUNE 28-30
DR.
DR.
JONATHAN KREISBERG - JOHNATHAN BLAKE

FRI-SUN JULY 1-3
evolution
JONATHAN KREISBERG - ALICIA OLATUJA - MAURICE BROWN

JOHN ELLIS - JOHNATHAN BLAKE - JOE DYSON
SECRET SOCIETY
WED-SUN JUNE 15-19
VIJAY IYER TRIO
WED-THU JUNE 22-23
JEFF CLAYTON - JOHN CLAYTON

GERALD CLAYTON
TERELL STAFFORD - KENDRICK SCOTT
BENITO GONZALEZ
BUSTER WILLIAMS
MARVIN SMITTY SMITH
TUE-SUN JUNE 7-12
OBARA INTERNATIONAL
OLE MORTEN VAGAN
QUARTET DOMINIK WANIAGARD-NILSSEN
HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH
STEPHAN CRUMP
MARCUS GILMORE
MON JUNE 6, 13, 20 & 27
MINGUS BIG BAND
NEW YORK @NIGHT

As
Trio 3 closed the first set of their final night at

Village Vanguard (May 1st), celebrating 25 years
together, saxophonist Oliver Lake recited a poem
centered on the phrase Separationput all my food
on the same plate and declared the uniting factors
among different strands of Black music. In cadences
recalling St. Louis poet Ajul Rutlin, with whom he
once collaborated, the alto saxophonist outlined what
were essentially the precepts behind the trio and its
longevity. Lake is a very different player from bassist
Reggie Workman and drummer Andrew Cyrillethe
three performed lengthy unaccompanied soli that
preceded Separationalternating between Parkeriana and ebullient, grotesque trills, which led into
Workman expounding on a balladic form with
quavering arco and harp-like pizzicato glisses and the
drummer exploring a tightly-wound thesis on the
linkages between bebop drumming and Central or
West African drum choirs. When Lake relocated
eastward in 1973, he brought a spaciousness that was
rare in New Yorks bustling avant garde and his lines
still unfold with a gentle logic belying their spiky,
fibrous centers. Across six pieces, including renditions
of clarinetist John Carter s Encounter and pianist
Adegoke Steve Colsons Leaving East of Java, Trio 3
made a distinct case for their brand of supergroup as
a unity of complementary approaches standing
decidedly sure on their own, but that look and taste
wonderful occupying a single dish.
Clifford Allen
2016 Jack Vartoogian/FrontRowPhotos
George Council/PoeticElegancePhotography.com
Circumstances required that the Craig Taborn Quartet

spend all day working on a new album for ECM before
rushing over to The Jazz Gallery to finish a two-night
run (May 5th). The band memberspianist/
keyboardist Taborn, tenor saxophonist/clarinetist
Chris Speed, bassist Chris Lightcap and drummer
Dave Kingmay have been tired but it didnt show in
the vibrant, rhythmically entrancing music that flowed
from the bandstand. The first untitled pieces were full
of mystery and sonic abstraction. Taborn began by
coaxing ominous sounds from a small Vox organ before
switching over to acoustic piano. Similarly, Lightcap
alternated between upright and electric bass, pizzicato
and arco, as the music evolved through loping legato
unisons, raw freely improvised passages, intricate
ensemble work and pulsating grooves somewhat
reminiscent of Taborns Junk Magic project (also with
King on drums). Roscoe Mitchells Jamaican
Farewell, a ballad that Taborn once played on the
AACM icons Nine to Get Ready, served as a melodic
oasis of sorts, with Speed taking up clarinet to offer
lyrical expressions and powerful, cleanly executed
high-register tones. Taborn closed the brief but
explosive set with the originals New Glory and
Ancient, pieces that bore yet more fruit in terms of
beat logic and momentum. Cycling a hypnotic line on
electric bass, Lightcap let it gather steam and then
slyly dropped an octave, setting King off to burrow
deeper in search of timbral oddity.
David R. Adler
Craig Taborn @ The Jazz Gallery
Trio 3 @ Village Vanguard
Reconvening the quintet personnel from his superb

2012 Clean Feed release Spun Tree (with pianist Jacob
Sacks subbing for Matt Mitchell), alto saxophonist
Michal Attias dove into his first set at Cornelia Street
Caf (May 12th) with a bright, busy, freely improvised
and untitled opener. The band began together at close
to full intensity, though drummer Tom Raineys
deliberate brushwork cooled the music out, allowing
subtleties in the interplay between Attias and trumpeter
Ralph Alessi to speak. Bassist Sean Conly brought a
full-bodied pizzicato touch to shifting lines and
patterns, which served as essential transition points in
all of this music. Scribble Job Yin Yang brought the
tempo down, as a stuttering, dissonant theme emerged
and the instrumental voices crisscrossed at a measured
pace, with Sacks playing only single notes. The pianist
introduced Moonmouth with a beautiful abstract
rubato statement, cueing the band in with an elegant
arpeggiated pattern. The carefully wrought dynamics
and lyrical unisons of this piece contrasted with the
funky, far more aggressive vibe of Hexway Liner
(a bloodbath, as Attias termed it when it ended). The
leaping-interval lines, compelling solos and vamped
tag ending, preceded by Raineys wildest drum fills,
yielded to Goodbye Rumination with its spacious
rubato atmosphere, followed by the closing romp
Many Skins. These were short, focused tunes that
still offered collective improvisational freedom and not
a few individual tours de force as well.
(DA)
After Charlie Parker s death in 1955, the collection of

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

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

an embarrassment of riches, referring to the eight
other guitarists heard during the Alternative Guitar
Summit at Drom (May 11th). Each act covered
compositions by Joni Mitchell and/or Carla Bley,
making for a less pyrotechnical, more song-centered
concert. Mike Baggetta began with a crackly, whining
medley of Case of You and Ictus, floating uncanny
sounds over incessant electronic hum. Sheryl Bailey,
paired with bassist Harvie S, demonstrated her
crystalline acoustic tone on Hissing of Summer Lawns
and Sad Song. Wolfgang Muthspiel fingerpicked
sensitive renditions of Amelia and Floater, layering
flatpicked solos over looping chords. Harrisons trio
enlisted Muthspiel for Vox Humana, vocalist Everett
Bradley for Borderline, then did The Jungle Line,
featuring bassist Jerome Harris vocals and drummer
Allison Millers funky bare-handed beats. Steve
Cardenas, Miller and bassist Ben Allison played one of
the events shortest but most satisfying sets, a mash-up
of Yvette in English and King Korn. Nels Cline and
Julian Lage achieved equally intimate repartee on
Temporarily and A Fiddle and Drum, followed by
Ben Monders rumbling sonic earthquakes under Jo
Lawrys vocals to Mitchells Sunny Sunday and a
second version of Lawns. Trumpeter Dave Douglas
trio with Camila Meza and Heather Masse preceded the
finale: a seven-guitar romp over Ida Lupino and
The Circle Game.
Tom Greenland
W H AT S N E W S
2016 Doris Duke Award winners have been named. Recipients in the
jazz category are Dave Douglas, Fred Hersch, Wayne Horvitz, Jason
Moran, Matana Roberts, Jen Shyu, Wadada Leo Smith and Henry
Threadgill. For more information, visit ddpaa.org. In related news, the
Doris Duke Charitable Foundation also announced recipients of its
new Leadership Grants Program, five organizations receiving grants
totalling $1 million: City Parks Foundation of the Charlie Parker Jazz
Festival ($75,000); Detroit Jazz Festival Foundation ($200,000); Jazz
Institute of Chicago of the Chicago Jazz Festival ($225,000); Monterey
Jazz Festival ($400,000); Newport Festivals Foundation ($100,000).
For more information, visit ddcf.org.
Pianist Robert Glasper and author Ashley Kahn will present a class
on Miles Davis this fall at New York Universitys Clive Davis Institute of
Recorded Music. For more information, visit tisch.nyu.edu.
Mack Avenue Records has acquired the MAXJAZZ imprint, home of
Carla Cook, Nancy King, the late Mulgrew Miller, Ren Marie and
Geoffrey Keezer. For more information, visit mackavenue.com.
ASCAP (American Society of Composers, Authors and Publishers)
has established an award in honor of the late composer Fred Ho
(1957-2014), which will be presented annually to innovative emerging
composers. For more information, visit ascap.com/eventsawards/
awards/foundation/awards/fred-ho.aspx.
Bobby McFerrin will lead a week-long workshop, Aug. 19th-26th, on
the improvisational singing technique Circlesongs. The workshop will
take place in Rhinebeck, NY and feature a faculty of David Worm, Judi
Donaghy Vinar, Rhiannon, Christiane Karam, Karen Goldfeder and
Joey Blake. For more information, visit eomega.org/workshops/
circlesongs-0#-workshop-video-block.
The 14th annual International Junior Jazz Meeting will take place Jul.
26th-30th in Emmental, Switzerland as part of the 26th Langnau Jazz
Nights. The meeting is an opportunity for young aspiring artists to meet
fellow musicians as well as internationally acclaimed stars in a great
musical gathering. Applicants must be under 25 years old. For more
information, visit jazz-nights.ch/en/workshops/junior-jazz-workshop.
Woodlawn Cemetery will offer jazz trolley tours to visit the graves of
Duke Ellington, Miles Davis, WC Handy, Coleman Hawkins and others
Jun. 5th and 26th, Jul. 24th, Aug. 7th and Sep. 4th. Tours begin at 1 pm
and are $15. For more information, visit woodlawnconservancy.org.
Enid Farber 2016
photo by scott friedlander
Alvin Reed, Sr. has won his trademark litigation in the case of
ownership of the name/mark Lenox Lounge, previously used for the
club of the same name in Harlem. The decision allows Reed to use the
name for another club or other licensing arrangements.
New England Conservatorys 2016 Honorary Degree recipients were

in attendance at last months commencement ceremonies. Relevant
winners are Anthony Braxton and Bernie Worrell. For more information,
visit necmusic.edu.
Mike Baggetta @ Drom
Joe Lovano & Ravi Coltrane @ The Appel Room
Although he now makes his home in New York (after

Hurricane Katrina destroyed his house), blind pianist
Henry Butler hasnt lost his Crescent City accent,
which was readily audible to Dizzys Club patrons
(May 2nd). After a live radio interview with WBGOs
Rhonda Hamilton, he began the early set with 1927s
Aint She Sweet, his left leg stomping time, his big
hands rolling chords to a propulsive stride bass while
the Fifth Avenue skyline, visible through the clubs
panoramic picture windows, rose over Central Parks
trees in the late-late afternoon. September Song was
delivered in a similarly New Orleans-drenched dialect,
followed by Samba C, which featured lightning-fast
flourishes over a relaxed but propulsive montuno, the
two hands in a seemingly equal partnership. After
The Blues, from a suite by Alvin Batiste, Butler gave
The Beatles Eleanor Rigby a complete facelift, the
new rhythms and harmonies giving a fresh look to an
old familiar friend. The next three numbers, LEsprit
de James, Booker Time and Mardi Gras in New
Orleans, homages to James Booker and Professor
Longhair, respectively, all evoked the zesty flavors of
jazz hometown, a spicy roux of gospel, blues, rumba
and boogie, played in that laid-back Southern rhythmic
style that gives a groove its deepest funk. As the magic
hour advanced into darkness, the Fifth Avenue
apartment lights winking on behind him, Butler ended
his extended soliloquy with two free-form blues sung
in a harsh but redolent tenor.
(TG)
O ne of the leading instrumental voices to emerge out

of Cuba to enrich the New York jazz scene, alto
saxophonist Yosvany Terry continues to push forward
the Latin Jazz idiom with an innovative merging of the
musical traditions of his native and adopted
homelands. Leading his AfroCuban Sextet at Symphony
Space Leonard Nimoy Thalia (May 5th) Terry proved
himself to be not only a commanding saxophonist, but
also an inventive composer. Opener Looking In
Retrospective was an episodic adventure of intricate
construction, the leader exchanging serpentine melodic
lines with trumpeter Michael Rodriguez and pianist
Osmany Paredes over the ever-shifting rhythms of
Yunior Terrys bass and Ludwig Afonsos drums in a
heady mix that moved from cacophonous M-Base
complexity to grooving Messenger-ish swing. Cuban
hand drummer Mauricio Herrera joined the ensemble
for Nuevo Jazz Latino, opening the Terry anthem
with an extended bata drum outing ushering in the
horns blaring fanfare over driving piano montuno,
setting up bass, trumpet and alto solos that climaxed in
an exciting Afonso-Herrera duet. Yunior Terrys taut
bass introduced Rodriguez Eastern-tinged Mikeys
Tune and was featured on his own melancholic
Winds of Sorrow. Two rhythmically driving pieces
by the leader ended the set: Contrapuntistico,
a showcase for his masterful cheker playing, and
Noticero, a propulsive AfroCuban free-for-all with a
vocal coro.
(RM)
The winners of the 2016 Jazz Journalists Association Jazz Awards

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

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

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

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

(CONTINUED ON PAGE 50)
photo courtesy of the artist
ARTIST FE ATURE
MIKE
REED
For more information, visit mikereed-music.com. Reed is at Judson

Memorial Church Jun. 12th as part of Vision Festival. See Calendar.
Recommended Listening:
Mike ReedIn The Context Of (482 Music, 2004)
Mike Reeds Loose AssemblyLast Years Ghost
(482 Music, 2005)
Mike Reeds People, Places & Things
Stories and Negotiations (482 Music, 2008)
Jason Adasiewicz SunroomsSpacer (Delmark, 2011)

Roscoe Mitchell/Mike ReedIn Pursuit of Magic
(482 Music, 2013)
Mike Reeds People, Places & Things
A New Kind of Dance (482 Music, 2014)
by ken waxman
Chicago drummer Mike Reed, 42, is a realistand a
visionary. More than a dozen years ago he experienced
his own epiphany about the (jazz) music business and
his place in it while working part-time as a bartender.
I was thinking about my future and how I didnt want
to still be a bartender when I was 39or 49, he recalls.
Reed, who had been involved with different bands in
Chicagos music ferment since his mid 90s return after
completing a degree in English and Psychology at the
University of Dayton Ohio, was already co-curating a
series of Sunday sessions at the Hungry Brain club
with cornet player Josh Berman. Earlier, while working
for a marketing agency, he had helped organize city
concerts encouraging people to vote in the presidential
election. Promotion seemed to be the appropriate
career choice and within a year, he had partnered with
Pitchfork, a Chicago-based online music magazine, to
create the annual summer Pitchfork Music Festival.
Related to his booking expertise, but more sui
generis to the jazz community was another series of
incidents that happened about five years ago. Reed,
looking for investment property, found out that the
owners of the Viaduct Theater in Chicagos northwest
wanted to sell. Almost simultaneously an e-mail
arrived from Links Hall, the venerable arts organization
offering space to performing artists for the research,
development and presentation of new works. Rising
rents meant Links needed a new location and it was
willing to sign a multi-year lease to obtain it. With
Links as a committed tenant, Reed could afford to
purchase and renovate the theater. Since the space had
already been zoned to include a bar and Links need
was during the day, why not create a club there as
well? Before getting fully involved he wrote three long
memos listing the pros and cons and showed them to
friends involved in business. Most thought it a viable
proposition. He received a small business grant to help
with the conversion and within three years
Constellation has become one of the prime venues for
progressive music in the city and pays for itself.
Business is actually organizing a system and working
out logical plans and processing, explains Reed.

Besides Pitchfork and Constellation commitments,
Reed is also part of the programming committee of
Chicagos city jazz festival and was Vice-Chairperson of
the Association for the Advancement of Creative
Musicians (AACM) from 2009-11. Last year Reed and a
partner bought Hungry Brain, which has a similar
booking policy as Constellation. Citing his commitment
to local music, Reed was recently named one of the citys
most influential people by Chicago Magazine.

This business acumen shouldnt distract from the
fact that Reed is very much an active recording and
touring musician, part of many bands, the newest of
which, Flesh & Bone with long-time associates alto
saxophonist Greg Ward, tenor saxophonist Tim
Haldeman, bass clarinetist Jason Stein as well as new
recruits Ben Lamar Gay (cornet) and Kevin Coval and
Marvin Tate (spoken word), will perform at this
months Vision Festival. Reed has long been drawn to

lyrics, so an association with spoken-word artists isnt
a stretch. Growing up in Evanston, a Chicago suburb,
he was first interested in blues and classic soul music
and later rock and rap before getting into jazz.

Admitting that his parents werent very supportive
of having a jazz drummer in the house, playing music
was more or less put on hold until he entered the
University of Dayton. Deciding that he wanted to play
again he began spending his time with friends in the
schools jazz program. At that point the department
was so small he was allowed to participate as much as
he wanted.

On school breaks, he was able to attend shows by
local Chicago legends from swing drummer Barrett
Deems to bop saxophonist Von Freeman. Reeds desire
was to be Philly Joe Jones and move to New York but a
fellow university musician convinced him that the
Windy City would be a better choice. Reed soon started
playing as much as he could, attending sessions led by
Freeman at The Apartment Lounge or by tenor
saxophonist Fred Anderson at The Velvet Lounge.
That was a pivotal moment in Chicago, Reed
remembers. There was the emergence of underground
groups such as Tortoise, the various configurations of
Ken Vandermark and the Chicago Underground and
the reemergence of Fred Anderson. It opened the door
to a completely creative scene that if you felt you had
enough talent you could pull it off.
Around the same time Reed developed as a
composer. It didnt seem to be odd to write your own
tunes, he notes. He had begun composing in college
after he realized that rather than transcribing and
arranging tunes he liked, he could create his own in a
similar style. That skill was put to good use as he
formed bands such as People, Places & Things and
Loose Assembly, most of which feature the same
musicians involved in Flesh & Blood. Around 1999
I got involved with thinking what is jazz, began
appreciating different sounds and concentrating on
original music, he says. Reed, who had been working
and recording with musicians associated with the
AACM such as saxophonists Roscoe Mitchell and Ed
Wilkerson, cellist Tomeka Reid and flutist Nicole
Mitchell, was asked to join the association in 2004.
Besides putting his organizational skills to work, he
explains that his musical work with all AACM members
is on an equal footing, with them playing his
compositions as well as him playing theirs.

Reed, who devoted Proliferation, a CD with People,
Places & Things, to Chicago hardbop classics plus CDs
with Loose Assembly, The Speed of Change and
Artifacts, a trio with Mitchell and Reid, to versions of
AACM classics, feels theres a lot more jazz created
and played in Chicago that can be exposed nationally
and internationally. His work in the studio, at his
clubs, at concerts and with the local jazz festival is
designed to help promote the citys creative music
scene any way he can. v
billy lester
Solo piano concert
at
the Drawing room,
56 Willoughby St. #3,
Brooklyn nY 11201.
Saturday, June 11th
7pM. $25 admission
info@drawingroommusic.com
new music.
billylestermusic.com
youtube.com/user/
billylestermusic
ON THE COVER
lester bowie
brass memories
Chicago doesnt have a history of being good to local

heroes, but it does love a homecoming. While the citys
Association for the Advancement of Creative Musicians
(AACM) has held strong in town for five decades and
counting, its only when members leave and return
again that they get the star treatment. Such was the
case last summer, when AACM co-founder Muhal
Richard Abrams reunited his Experimental Big Band
for the Chicago Jazz Festival or in 1995 when association
member Henry Threadgill brought an expanded
version of his Very Very Circus to the lakefront stage.
And such was also the case in 1992, when Lester Bowie
appeared at the annual free festival with his aptly
named Brass Fantasy.
Bowie was among the first AACM members to
break out of Chicagos city limits. His international
fame began with the Art Ensemble of Chicago (AEC),
who set up residency in Paris in the late 60s and went
on to become about as big a name as an avant garde
jazz band can hope to be.

The bespectacled trumpeter, in lab coat and pointed
beard, charmed the AECs audiences. Drawing on his
background with R&B acts Albert King, Rufus Thomas
and Jackie Wilson, Bowie was never too proud to please
the crowd. In the midst of percussion jams or free
blowouts, Bowie could blow a few swinging notes and
the band would stop on the dime he dropped. If they
were there to inject tribal rhythm into jazz
experimentalism, Bowie was going to make sure
Broadway and Tin Pan Alley werent left out of the mix.

That hot September night in 1992 was an unusually
strong one for the historically hit-and-miss festival.
The Brass Fantasy took the stage to close the night:
trumpeters Earl Gardner, Eddie E.J. Allen and Gerald
Brazel; trombonists Frank Lacy and Luis Bonilla;
Vincent Chancey on French horn and Bob Stewart on
tuba; and percussionists Vinnie Johnson and Famoudou
Don Moye, all decked out in blue sequin jackets that
hung well past their hips. After a star-denoting pause,
the leader strutted out, his jacket sparkling in silver.

They swung hard like only a brass band can. They
played jazz standards and popular songs of the day, as
a good entertainment review is wont to do. Near the
end of the set, they played a haunting rendition of
God Bless the Child during which Bowie staggered
backwards, reached into his jacket, pulled out a pistol
and fired into the air. They left the audience stunned
and screaming when they left the stage and when they
returned for an encore, the band was bedecked in silver
and Bowie all a-glitter in gold. The band was there to
put on a show and thats just what they did.

Years later, the band (without Bowie, who died at
his home in Brooklyn in 1999 at the age of 58) is coming
together again to play again. At the Tribeca Performing
Arts Center, Brass Fantasy will take the stage once
again as a part of the Lost Jazz Shrine series. While
memories of the charismatic trumpeter will no doubt
be thick in the air, the evening will actually celebrate
the West Village club Sweet Basil, which enjoyed a run
just down the street from the Village Vanguard from
1974-2001. It was one of the relatively few clubs the
band played in America. Ironically, according to

Chancey, Bowies populist tendencies made the band a
hard sell stateside. Its a band that didnt play a lot in
the States because a lot of club owners and festival
promoters had the Art Ensemble in mind as to what
Lester would do, Chancey remembered. But from
the moment he formed the band he said, This is going
to be a show band. He wanted it to be in that kind of
vein. We even had our costumesthat the musicians
werent so excited to wear.
Chancey is one of the Brass Fantasy alumni
returning for the reunion. Bonilla, Lacy and Earl
McIntyre will be on hand, along with Steve Turre,
noted for playing seashells along with his trombone.
Trumpeter Stanton Davis will also return and holding
down the bottom will be a trio of tuba playersMarcus
Rojas, David Scheiman and Bob Stewartall of whom
played in Bowies original lineup. The evening will
include a number of guests, including trumpeter
Steven Bernstein, vocalist Renee Manning and students
from the jazz big band Stewart directs at The Juilliard
School. His son Curtis Stewart, who plays violin in the
PUBLIQuartet, will also join in. Bringing in younger
players is an effort to keep the band fresh, both
conceptually and musically, he said.

Letting new voices find a place in the band is in
keeping with Bowies style of leadership, according to
Stewart, who is serving as band director for the reunion
show. He was a bandleader in the tradition of Duke
Ellington, Stewart said. Lester hired you because he
trusted you and he let you go ahead and play.

Just about everyone who came through the Brass
Fantasy has gone on to have their own ensemble, he
added. Its one of the first things that Lester
encouraged. I remember at one point he said to me,
Dont just do this and let it be over. Do this and make
it mean something. Your own group has to be smoking
or youll just be the tuba player in Brass Fantasy. It
was liberating for me.
Perhaps a product of Bowies concept for the
bandwhich, in short, may be described as giving
everyone room to play and making sure you give the
audience a showis the fact that the Brass Fantasy
was very much a live band. Whether it be in front of
thousands at the Chicago Jazz Festival, any number of
festivals across Europe, the cozy confines of Sweet
Basil or augmented into a big band with rappers,
playing the Celebrate Brooklyn festival in Prospect
Park as the Hip-Hop Feel-Harmonic, the band fed off
the energy of the audience. It was a live band but
Lester had a way of making everybody feel comfortable,
even in the studio, Chancey conceded when asked
about the difference an audience made.
An unfortunate byproduct of the band having
been a living, breathing, organism may be that of the
ten albums they released (including one posthumously),
only two really show them in top form. The 1990
double-disc Live at the 6th Tokyo Music Joy 90 catches
the band on their own and as a double band with the
AEC (who also play their own set). Its a good record
but even better is 1992s The Fire This Time, recorded
alan nahigian
by kurt gottschalk
live in Switzerland and easily the best they put out.

Touching on Billie Holiday, Jimmie Lunceford, Rahsaan
Roland Kirk, Ray Charles and Michael Jackson, the
album shows how the Brass Fantasy may have
exemplified Bowies notion of Great Black Music
Ancient Into the Future even better than the AEC,
who routinely invoked Bowies credo.

Stewart acknowledged that there was something
about the band that only happened onstage.Some of
Brass Fantasys best recorded work was done live, he
said. Certain things arent necessarily going to happen
in the studio that happen live. There were no two
performances that were alike. There were times that
the horns would just levitate.

Beyond Bowies leadership and charm, of course,
was his musicianship. Dave Douglas, the president
and co-founder of the Festival of New Trumpet Music
and a prolific artist in his own right, said he was slow
to come around to Bowies unusual playing and choice
in material, but once he did he learned a lot.

I listened to Lester Bowie in high school but the
people I was really chasing in terms of style and sound
were Miles Davis and Woody Shaw, Douglas said.
The impact of what Lester was doing only came to me
later in my career. The thing that struck me when
I went back to listen was how his use of extended
technique was all at the service of melody and how
much he was able to draw from different styles and be
free to explore different styles of music.

Bowie was really brave to enter the realm of
humor in music, Douglas said. The costumes and pop
covers all put him at risk of not being taken seriously
by audiences. But then this was a man who, in 1989,
gave a Brass Fantasy album the title Serious Fun. With
covers of songs by James Brown, Bobby McFerrin and
Sade alongside the more expected jazz tunes, the
album epitomized Bowies belief that music doesnt
really live in the boxes people put it inat least not if
its played with purpose.
At the root of it, Lester was a great melody
player, Douglas said. When he played a melody, like
you can hear him play a Whitney Houston song and
its the most beautiful song youve ever heard. The
idea of freedom that I took away from him was the
freedom to move in and out of different styles and do
whatever you want at any given moment, he added.
The freedom of Lester gave permission to all of us. v
A tribute to Bowie led by Bob Stewart is at Tribeca Performing
Arts Center Jun. 4th as part of Lost Jazz Shrines. See Calendar.
Roscoe MitchellSound (Delmark, 1966)
Lester BowieNumbers 1 & 2 (Nessa, 1967)
AECFanfare for the Warriors (Atlantic, 1973)
David MurrayLive at the Lower Manhattan Ocean
Club, Volumes 1 & 2 (India Navigation, 1977)
Lester Bowies Brass Fantasy
I Only Have Eyes For You (ECM, 1985)
Lester Bowies Brass FantasyThe Fire This Time
(In + Out, 1992)
JAZZ FESTIVAL
JUNE 1 - 30, 2016 NEW YORK
WWW.BLUENOTEJAZZFESTIVAL.COM
AL JARREAU - SAT, JUNE 25 THE TOWN HALL

KAMASI WASHINGTON ROBERT GLASPER
MCCOY TYNER ROY HAYNES RON CARTER
CHRISTIAN MCBRIDE JOSHUA REDMAN
SCOFIELD/MEHLDAU/GIULIANA
ARTURO SANDOVAL AVISHAI COHEN
REBIRTH BRASS BAND GILBERTO SANTA ROSA
JASON MORAN DIZZY GILLESPIE AFRO CUBAN ALL STARS
TERRACE MARTIN TAYLOR MCFERRIN ROSA PASSOS
SANGAM: CHARLES LLOYD, ZAKIR HUSSAIN, ERIC HARLAND
AVERAGE WHITE BAND BOBBY CALDWELL
MICHAEL FRANKS SONIA SANCHEZ CORY HENRY
HYPNOTIC BRASS BAND GARY BARTZ NIGEL HALL
& MANY MORE!
Kate Previte
ENCORE
BOBBY PREVITE
by john pietaro
Drummer Bobby Previte is preoccupied, stuck in the

composing shed, working intensely on several new
pieces while also planning a tour. To complicate life
just a bit more theres a special project, the performance
of a goth metal mass hes been consumed with for
the better part of a decade. It might be more accurate
to call this composing hell, he exclaimed,
contemplating the need to get away from the
manuscripts and back on stage.

Though hes into some pretty heady work, this
month Previte can be also found behind the drumkit in
more than one settingand more than one city. My
quartet with guitarist Mike Gamble, bassist Kurt
Kotheimer and saxophonist Michael Kammers will be
playing the Red Hook Jazz Festival and also Club
Helsinki [in Hudson, NY]. Ive been splitting my time
between NYC and Hudson, so its been great becoming
a part of the scene in the Hudson Valley, he stated.
Previte built a studio in his upstate house and has
already made good use of it. And the New Standards
Trio I have with Jamie Saft and Steve Swallow will
record its second album up there in June as well. It will
be very bluesy, simple. A radical departure from the
music we are usually associated withthat was the
whole idea.

The drummer s fame was built on his recording
and performing with top-tier experimentalists like
John Zorn, Elliott Sharp, Tom Waits, Wayne Horvitz,
Bill Frisell, Anthony Coleman, Marty Ehrlich, Sonny
Sharrock, Robert Quine, Jerome Harris, Tim Berne,
Christian Marclay, punk auteur Lenny Kaye and a wide
array of others. The magic is that, in addition to this
encyclopedic list of collaborators, Previte stands out as
a composer whose leader discography dates back
almost as far as his career as an instrumentalist. From
the start, his desire for change has been prevalent.
While his abilities behind the kit brought him first-call
status early on, Previte didnt exactly escape the
frequent drummer issue of having to struggle for full

acceptance by other musiciansor his own sense of
self. I had to prove to myself that I could write beyond
a standard jazz lineup, so Claudes Late Morning
[Gramavision, 1988] featured a very disparate lineup
and the parts were fully orchestrated. We recorded it
all live after just a few days rehearsal. This was such an
important album to me, he recalls with pride.

Not long after achieving global success as a leader,
he was called on by the Moscow Circus to compose a
score, one that strained traditional Russian brass
sounds through very NYC-based improv. The powerful
music he composed is only half of the story as Prevites
time in Moscow was concurrent with the tumultuous
political change that felled the Soviet Union. I had to
ask my interpreter, as we looked out of the hotel
window, if it was normal for tanks to flank the
Kremlin!

Since that time, Previte the composer is as welcome
to new music settings as Previte the drummer and
sometimes its hard to differentiate the two. Terminals
(Canteloupe Music), composed in 2015, unites the
celebrated percussion ensemble S Percussion with
several noted improvisers in as many concertos: Zeena
Parkins, Greg Osby, Nels Cline and John Medeski;
Previte himself is the featured soloist on another. These
days, hes deep into writing the followup to this: Its a
commission from the Greenfield Foundation, wherein
the singular improvisers will function as an ensemble.
I added vocalist Jen Shyu to make it a sextet.

And what of his goth metal mass? Its a ninemovement work comprising an early music ensemble
with an organist, plus an electric quartet of heavy
metal guitar and bass with my drumset. The early
music is based on Missa Sancti Jacobi by 15th century
composer Guillaume DuFay. Ive arranged it and
written the crush metal in Messiaen-inspired graphic
notation, he explained excitedly. Ive been fascinated
by DuFays music since college and began to conceive
of this project a decade ago. Last year I began the real
work on it. Im pleased that RareNoise will release this
in 2017.

With all of the far-edge music Previte has driven
for decades, a close look at his technique as a drummer
reveals something not quite as radical. His chops and

sense of swing indicate a connection to Gene Krupa,
Louie Bellson and Cozy Cole. For all of his Lower East
Side street cred, Previte harkens back to those
drummers of the Swing Era, right down to his
preference for white marine pearl finishes on his fourpiece kits. I dont have that kind of self-reflection and
I try to never look at videos of my own performances,
he added, but Ive been told about the Gene Krupa
connection before. I dont know but I do love that oldstyle swing, R & B and rock. Thats where I come from.

When asked to look back on the Downtown new
music scene that launched his notoriety, Previte stated:
I was extremely lucky. I landed here in NYC in 1979,
the last possible moment to get into the scene. So much
was going on, there were so many places to play then,
so many friends to makebut all things must pass.
A few of the musicians from then carry the torch, but
young people today will find their own way, their own
Downtown, metaphorically and physically. Theyre
following their generations path. With gentrification
and artists being priced out this may not be the New
York I knew and thats sad, but musicians will always
find each other. Something will be happening in
basements and garages. Something will always happen
to change everything. v
and Buddy Rich, which boosted his career with its

brilliant blend of big band jazz and Cuban music.
Producer Norman Granz was impressed and signed
him to record a series of albums for his Clef and
Norgran labels over the next several years.

OFarrill returned to Cuba in 1955 then relocated
to Mexico two years later, where he worked in both
studios and television. In 1965, OFarrill returned to
New York City where he served as the arranger and
music director for the television series Festival of Lively
Arts. He continued to write arrangements for various
leaders, including Count Basie (the hip but overlooked
Basie Meets Bond), Clark Terry (Spanish Rice), Art Farmer
(The Aztec Suite), Cal Tjader and Gato Barbieri, but he
was frustrated with being restricted to AfroCuban jazz
as he had wider interests. Aside from a 1975 reunion
session with Dizzy Gillespie and Machito, AfroCuban
Jazz Moods (Pablo), his focus was almost exclusively
outside of jazz, OFarrill opting to write for symphony
orchestras, television, commercials and only the
occasional jazz chart for the Mingus Big Band, Mario
Bauza, Willie Bobo and others.

For nearly three decades OFarrill made no new
jazz recordings under his own name and his jazz
exposure remained limited until he was signed by
Milestone in 1995. The magic in his writing was still
present and he assembled a top-notch AfroCuban
orchestra. OFarrills sophisticated, often fiery charts
brought him critical acclaim for the three CDs that he
made for the label, two of which were nominated for

Grammys. He also was featured in Calle 54, the first
full-length film dedicated to Latin jazz. In addition to
being commissioned to write for Jazz at Lincoln Center,
he had a regular booking at Birdland during his final
years with his son, brilliant pianist/composer Arturo,
as a part of his orchestra (Arturo now leads the band
Sundays at Birdland). In a 2015 interview for this
paper, Arturo said: My father was a forward-looking
musician. He wasnt content to sit on what made his
bread and butter. He wasnt content to write mambos
for Count Basie records... My father was a searcher, he
was a wanderer, he spoke the truth. He sought art over
commerce and thats the legacy that I want to continue.
Chico OFarrill died Jun. 27, 2001 in New York City. v
For more information, visit bobbyprevite.com. Previte is at

Cornelia Street Caf Jun. 5th with Jane Ira Bloom and Urban
Meadow Jun. 19th as a leader as part of Red Hook Jazz
Festival. See Calendar.
Bobby PrevitePushing the Envelope
(Gramavision, 1987)
Bobby PreviteWeather Clear, Track Fast (Enja, 1991)
John Zorn/Bobby PreviteEuclids Nightmare
(Tzadik, 1997)
Bobby PreviteThe 23 Constellations of Joan Mir
(Tzadik, 2001)
Bobby Previte & BUMPCounterclockwise
(Palmetto, 2002)
Groundtruther (Charlie Hunter and Bobby Previte)
Longitude (with DJ Logic) (Thirsty Ear, 2004)
LEST WE F ORGE T
CHICO OFARRILL
by ken dryden
Chico OFarrill, born Arturo OFarrill, was one of the
main contributors to the development of Afro-Cuban jazz

in the late 40s and early 50s. Born in Cuba on Oct. 28th,
1921 to an Irish father and German mother, he came to
the U.S. to attend military school in Georgia between
1936-40, where he learned trumpet and became a fan of
big bands. After returning to Cuba, OFarrill pursued
classical studies and composition, in addition to playing
in Havana clubs and leading his own big band.

Initially, OFarrill considered a lot of Cuban music
to be somewhat simplistic. He found that integrating
its infectious rhythms with bebops intricate harmonies
produced compelling results. Following his move to
New York in 1948, he ghost-wrote charts for the busy
arranger Gil Fuller and was recommended by clarinetist
Stan Hasselgard to Benny Goodman for the clarinets
brief venture into bop. Goodman dubbed OFarrill
Chico and OFarrill contributed the memorable
original Undercurrent Blues. The Cuban also wrote
for Stan Kenton (Cuban Episode), Dizzy Gillespie
(Manteca Suite) and many others. It was AfroCuban
Jazz Suite, written for a 1950 session by fellow Cuban
Machito and that featured Charlie Parker, Flip Phillips
MachitoAfro-Cuban Jazz Suite: The Music of
Chico OFarrill (Clef-Verve, 1950)
Dizzy Gillespie and his OrchestraAfro [Manteca]
(Verve, 1954)
Art Farmer and his OrchestraThe Aztec Suite
(United Artists, 1959)
Count Basie and His OrchestraBasies Beatle Bag
(Verve, 1966)
Chico OFarrill & New York Latin All-Stars
Latin Roots (Philips, 1976)
Chico OFarrill and His Afro-Cuban Jazz Orchestra
Pure Emotion (Milestone, 1995)
L ABELSPOTLIGHT
EL NEGOCITO
by ken waxman
Two words that sum up the appeal of the Ghent,

Belgium-based label El Negocito (EN) are organic and
street-wise. Our label is run from a collective of
musicians by somebody that isnt a musician, explains
Rog Verstraete, describing himself as ENs instigator
and who prefers to be known by his first name. The
labels street-wise reputation comes from mostly
documenting the work of a couple of generations of
local musicians in Belgiums third largest city. The
label is organic as well as one part of Rogs activities
alongside concert and festival promotion.

The label started and grew organically as well.
A little more than a decade ago Rog, who had spent a
year traveling around South America, decided to open
a Chilean restaurant called El Negocito, which in
Spanish means, little corner store with the
understanding that some negotiation is possible,
explains Rog. Soon he decided to put a touch of
myself into it. That touch involved live concerts,
which quickly multiplied from a few every month to
around 150 a year. El Negocito became a place where
improvisation and jazz was heard daily even though it
was pretty much a Latino bar where quite a few
regulars had to endure the sometimes experimental
music, he recalls.

Rog first gave carte blanche to local musicians
like trumpeter Bart Maris, drummer Giovanni Barcella
and tenor saxophonist Jeroen Van Herzeele, but the
Bums
Feecho
twice left handed / shavings

Ifa Y Xango Tentet
space soon attracted international guests like

saxophonist Marshall Allen and trumpeter Jean-Luc
Cappozzo. With Rog friendly with musicians from
nearby Holland, the caf also became a regular part of
their touring circuit. It was music that had to be
heard, Rog insists.

Eventually, hearing it involved starting the record
label in 2009. With Barcella and Van Herzeele playing
the caf weekly, Monday Nights Live at El Negocito
became EN 001. Other discs followed quickly.
We used to perform a lot in the El Negocito bar and
later in the bar La Resistenza, remembers Maris, who
is featured on five EN releases. So when Rog started
to focus on records, we were first in line to come up
with material. Rog would hear the music being played
live in the bar and judge on that to give it a go for
recording. He even invested in high-end equipment for
our recording sessions. Hes the one dealing with
money, so he finds the budgets needed for the
production and releases it, a miracle these days of
restrictions in many cultural domains.

It didnt feel like a label in the beginning but
more as an appreciation for music by interesting
musicians, confirms Rog. Sessions moved to
La Resistenza, a larger club, for another three years
until the landlord sold the building. Live at La Resistenza
by saxophonist John Dikeman, bassist William Parker
and drummer Hamid Drake is a souvenir of the final
concert. Nowadays Rog, as Citadelic, hosts monthly
concerts at contemporary art museum S.M.A.K. and
organizes a summer festival in the citys Citadel Park.
By now the caf is on a firm financial footing, with
Rog mostly overseeing such tasks as preparation,
bookkeeping and promotion. The caf has maybe 10
Drop Your Plans

Bambi Pang Pang w/ Andrew Cyrille
concerts a year at least, he states. But thats nothing

in comparison with the early years. Today I almost do
two full-time jobs, with maybe a bit more time put into
music.

Meanwhile EN has become a full-fledged label.
To decide what the label puts out there are two
thought patterns, elaborates Rog. One, the musician
closely involved get full artistic freedom. We make a
strategy together and decide what path is the most
effective or efficient for the project. Two, other music is
heard by what I call the circle of wise men, who tell
me what they think. Because Im funding the operation,
I make the end decision taking in cost, artistic validity,
exposure, relevance for the label, etc. I look at an idea
and try to make it happen with a lot of patience as my
partner.

Pianist Seppe Gebruers, who has been featured on
three EN discs and with three in the works, had selfreleased his first CD with the Ifa y Xango band and
helped form Troika, a musicians collective, when he
moved from Antwerp to Ghent. I met Rog, played in
his clubs and got closer to him after I moved. He
became interested in the piano duo with Erik Vermeulen
and opened the door for me to be part of the label. I can
bring out upcoming projects on EN and, more
importantly, we talk about the label, concerts and
strategy for our collective to make music as accessible
as possible. Rog is sufficiently realistic to see that a
CD label is not financially very viable. Hes just looking
for ways to present this music, based on improvisation,
to the largest possible audience.

That means outsiders are recording for EN. All
circumstances are possible, Rog relates. We invited

Live at La Resistenza
Dikeman Parker Drake
The First Sound

Basssss
VOX NEWS
JAZZ HARBINGERS
by suzanne lorge
Harbinger Records specializes in artists who interpret
the Great American Songbook, though typically

Broadway stars rather than jazz stylists. The catalogue
stretches back to 1983, almost two decades after the
popular ear had turned away from vocal jazz. Even so,
co-founders Ken Bloom and Bill Rudman saw an
opportunity in Francis Ford Coppolas 1985 film The
Cotton Club and set out to make an album with Maxine
Sullivan, one of the few remaining Cotton Club singers
still actively performing at the time. (She was 73.)
Maxine Sullivan: Great Songs from The Cotton Club, now
stands as a historical record of one of the most influential
singers from the formative years of jazz history.

Harbinger, under the auspices of its parent, Ohiobased The Musical Theater Project (TMTP), has
rereleased this Grammy-nominated album of 15 tunes
by composer Harold Arlen and lyricist Ted Koehler,
the preeminent writing duo during The Cotton Clubs
heyday. The liner notes contain little information about
Sullivans contribution to the recordingor the clubs
history, for that matter. But the vocals give us a better
understanding of the unerring, unadorned swing of
the 30s than the printed word ever can. On each tune
Sullivan holds the groove tight to her chest, placing

each note, each lyric, just so in pianist Keith Inghams
arrangements. Her performances are an object lesson
in musical economy. Beyond some of the well-known
tunes (Stormy Weather and Ive Got the World On a
String), the recording contains three never-beforerecorded, now-forgotten Arlen-Koehler compositions:
Neath the Pale Cuban Moon (1931), In the Silence
of the Night (1932) and Primitive Prima Donna
(1934). These tunes dont have the appeal of the pair s
more celebrated pieces, but they give us a glimpse into
The Cotton Clubs stock-in-trade: savvy singers, hip
musicians and romanticized exoticism.
Harbinger has also just released an intriguing
recording of singer Mark Murphy from 2008, Live in
Athens, Greece. Electric guitarist/producer Spiros
Exaras had invited Murphy to perform in Athens for
three days, two shows a day. The indefatigable Murphy,
who had just turned 76, charmed the Greek fans with
intelligence, wit and sheer, churning force of his vocal
ideas. In these performances Murphy sticks to
standards (My Funny Valentine, Summertime,
Autumn Leaves), feeling his way through with long
stretches of melody sung acappella, calls and shouts,
vocal percussion and his inimitable scats. This CD
vocal improv at its purestis a departure for Harbinger
but a welcome one, so soon after Murphys passing.
Its easy to imagine that were in Gazarte Club with
him, just a short walk from the Parthenon, both
seeming to defy time itself.

Even while Murphy was scatting away in the
worlds top jazz clubs, singer Al Jarreau was the one
who managed to revive some popular interest in scat
singing with his chart-topping hits, each a fusion of
R&B, jazz and pop. Jarreau has retained his popular
audience and is a dependable headliner at jazz
festivals. Eagle Rock has just released one of his
Montreux performances on CD, Live at Montreux 1993.
This concert was the run-up to his 1994 album
Tenderness and contains much the same material (Mas
Que Nada, Try A Little Tenderness, Your Song)
mixed in with some perennial favorites (Were In This
Love Together, Alonzo). Local fans can catch him at
the Blue Note Jazz Fest at Town Hall (Jun. 25th).
Svetlana and The Delancey Five will also appear
in the Blue Note Jazz Fest at Lucilles at B.B. Kings
(Jun. 24th). Theyll be working their swing with
trombonist Wycliffe Gordon in an Ella & Louis
tribute to the 60th anniversary of the eponymous Verve
recording featuring the Oscar Peterson Quartet. Most
likely theyll play some selections from their first
album together, Night at the Speakeasy (OA2)modern,
horn-resplendent interpretations of some highly
danceable swing tunes (Gershwins Lady Be Good)
and deeply affecting pop tunes (The Beatles Because
and The Beach Boys God Only Knows). One spin of
this disc and youll understand why this group is
everywhere these days. v
11
I N MEMORIAM
GATO BARBIERI
by andrey henkin
EVERY THURSDAY JAZZ JAM NO COVER

6/3 Skip & Dan Wilkins with Larry McKenna
6/4 Five Play
6/5 Bill Mays & Tommy Cecil
6/10 Denny Carrig, Skip Wilkins & Friends
6/11 Michael Stephans Quartette Oblique
6/12 Joanie Samra & Friends
6/17 Vicki Doney, Walt Bibinger, Zach Brock
6/18 Bob Dorough Trio
6/19 Michele Bautier
6/24 Marianne Solivan Quartet
6/25 Sue Terry: Meeting of Muisical Minds,
featuring Rachel Z
6/26 Randy Napoleon
6/27 Phil Woods COTA Orchestra an 18
piece jazz ensemble
JAZZ PACKAGES AVAILABLE
includes music, lodging, dinner, breakfast
Serving breakfast & lunch at The Morning Cure
on Fridays, Saturdays, and Sundays
DEER HEAD INN 5 MAIN STREET DELAWARE WATER
GAP PA 18327 570-424-2000
WWW.DEERHEADINN.COM
LIVE AT THE DEER HEAD INN RECORDINGS

Phil Woods Quintet
Five Play
Nancy Reed & John Coates, Jr.
Guitar Trio: Bucky Pizzarelli, Ed Laub,
Walt Bibinger
Quartet: Joe Locke, Bill Goodwin, Jim
Ridl, Tony Marino
Sweet Sue Terry & Friends
WWW.DEERHEADRECORDS.COM
BILL HENDERSON (Mar. 19th, 1926

Apr. 3rd, 2016) The vocalist (also
prolific actor) began his career in the
late 50s on Blue Note backed by the
Jimmy Smith Trio and a star turn on
Horace Silver Quintets recording
Seor Blues, made albums for MGM
(backed by the Oscar Peterson Trio) and Discovery, had
a brief spell with Count Basie and, many years later,
was featured on Charlie Haden Quartet Wests The Art
of the Song. Henderson died Apr. 3rd at 90.
Photo courtesy Blue Note Club
OLDEST CONTINUOUSLY RUNNING JAZZ CLUB

IN THE COUNTRY
JUNE SCHEDULE
DENNIS DAVIS (Aug. 28th, 1951

Apr. 6th, 2016) The drummer was
known for his association with David
Bowie but had 70s jazz credits with
Roy Ayers, Ronnie Foster and George
Benson. Davis died Apr. 6th at 64.
G ato Barbieri, arguably the most famous jazz player

to come from Argentina and whose career as a
saxophonist went from avant garde excursions to more
culturally specific work, especially with his soundtrack
to Last Tango in Paris, for which he won a Grammy
award, died Apr. 2nd at 83.

Barbieri was born Nov. 28th, 1932 (as Leandro) in
Rosario, Argentina. His love of jazz came early, as he
related to our own Brad Farberman in a 2012 interview:
When I was 12 years old, I listened to my first record
of Charlie Parker. For me, something opened. I was
waiting for something and it came. Several years
later, Barbieri relocated to the Argentine capital of
Buenos Aires where he became a soloist in the orchestra
of Lalo Schifrin, a noted composer of music for film
and television. Within a few years, the saxophonist
moved to Europe and, in Rome, met trumpeter Don
Cherry, who would strongly influence Barbieris career.
Working with Don Cherry was an incredible
experience...I already listened to the quartet with Don
Cherry, Ornette Coleman, Charlie Haden and Ed
Blackwell... Don Cherryyou never know whats
happening. So I started to learn to listen. In 1965-66,
Barbieri appeared on Cherrys Complete Communion
and Symphony For Improvisers (Blue Note) and
Togetherness (Durium) before making his debut as
leader with In Search Of The Mystery (ESP-Disk, 1967),
recorded after Barbieri had moved to New York. In the
late 60s-early 70s, he worked with the Jazz Composer s
Orchestra, Gary Burton, Alan Shorter, Charlie Hadens
Liberation Music Orchestra and Carla Bley on her
three-LP Escalator Over The Hill. As the 70s progressed,
Barbieri made albums for Flying Dutchman, Impulse
and A&M, with more overt connection to the music of
his homeland, smoothing out the rougher edges of his
earlier sound.

This was exemplified by the music he wrote for
Bernardo Bertoluccis 1972 film Last Tango in Paris,
starring Marlon Brando. As Barbieri told Farberman,
I was a friend of Bernardo Bertolucci. And he knew
I made a lot of records...some records I do some tango.
Different tangos. And one day he called me and he
said, Its time to write a beautiful melody, because
I want you to make the music for Last Tango in Paris....
It was a really good experience. Bernardo told me,
I dont want a Hitchcock movie. I dont like European
music. I want in between. So what I did was that.

Throughout his career, Barbieris lush tone and
epic playing was unmistakable, no matter the context.
But the saxophonist was self-effacing when discussing
it, comparing it to something very important in his
native country: I dont like to make big solos. I like to
have, like, when you play socceryou give the ball to
another one, to make an assist. I played a lot of soccer
when I was young.
GTATCHW MKURYA (Mar. 14th,

1935Apr. 4th, 2016) The saxophonists
recordings are hard-to-find releases
from his native Ethiopia in the 50s-70s
but he came to international prominence
via collaborations with Bostons Either/
Orchestra in 2004 and Hollands The Ex
in 2006-12. Mkurya died Apr. 4th at 81.
PETE YELLIN (Jul. 18th, 1941Apr.
13th, 2016) The saxophonist led albums
for Mainstream in the 70s and then a
pair for Mons and Metropolitan in the
90s and had sideman credits starting in
the mid 60s with Buddy Rich, Eddie
Palmieri, Joe Henderson, Sam Jones and
Bob Mintzer. Yellin died Apr. 13th at 74.
F ESTI VAL REPORT
OPEN PLAN: CECIL KATOWICE JAZZART DOEK ABC

by ken waxman
Radosaw Kamierczak
(c) Susan OConnor www.jazzword.com
by andrey henkin
R.I. Sutherland-Cohen / jazzexpressions.org
by clifford allen
Cecil Taylor & Min Tanaka @ Whitney Museum
AUKSO & Motion Trio @ NOSPR
Axel Drner @ Caf de Ceuvel
There is the assumption that once an artist reaches the

academy, the work is already beyond what institutions
can properly codify and disseminateif it isnt already
over. The latest incarnation of the Whitney Museum, in
the Meatpacking District, is a large and airy building
jutting out in glassy overcrops that stretch over the
Hudson River. In 2016, the Whitney began its Open
Plan series, which gives over the museums lengthy
fifth floor to rotating installations cycling through a
range of contemporary artists in a variety of media.

Curated by Whitneys Jay Sanders and Lawrence
Kumpf (Issue Project Room), pianist Cecil Taylor s
60-year career arc was the subject of an ambitious
schedule (Apr. 15th-24th). The approach was to pivot
Taylor somewhat from his place in the modern jazz
canon and into the context of trans-media developments
from mid 50s onward. Concerts were interleaved with
readings, movement, archival footage, symposia and a
rare performance of playwright Adrienne Kennedys
A Rats Mass (1968). The latter was cast as an operatic
work in 1976, with Taylor s Unit providing musicin
the Open Plan, this was partly recalled by prerecorded
piano, though Hilton Als austere direction gave the
work a likely different, mercurial imprint.

A makeshift stage was installed with river views,
the remainder of the floor occupied by vitrines and wall
mounts holding archival material and dotted by TVs
screening rare performance footage. Taylors musical
segment from the 1981 documentary Imagine the Sound
was on a canted large screen on a loop. It should be
noted that while not Taylors first Whitney rodeo, this
was certainly the largest: he warmed up his 1969 Unit
for their famed European tour at the old Whitney Breuer
building on Madison and returned in 1975 opposite
pianist Mary Lou Williams. There was the hope that
Taylor would perform often and the schedule was left
flexible enough that he could play nine nights or not at
allthus, the musical component included a number of
musicians either in his bands (drummer Andrew Cyrille;
bassists Henry Grimes and William Parker; trumpeter
Enrico Rava) or directly influenced by his music (i.e.,
Ensemble Muntu; poets Nathaniel Mackey, Fred Moten
and Steve Dalachinsky; drummer Susie Ibarra).

The opening fte, with a massive standing ovation
as the diminutive Taylor was walked out to the stage,
heralded a curious trio of Butoh-schooled dancer Min
Tanaka and English percussionist Tony Oxley, who had
traded his customary metal armatures for live sampling
devices. Oxley and Tanaka are longtime collaborators
with Taylor, the drummer since 1988 and the dancer
since the early 90s, though theyd never shared the
stage as a trio. Tanaka often seemed to be leading the
group; in a green canvas suit, he crept across the risers,
The Polish city of Katowice is a metropolis of

competing identities. Its resource-rich region of Upper
Silesia was a wartime prize passed between Prussia
and Austria in the 18th Century and then Germany
and Poland during the World Wars. Incorporated as a
mining town in 1865, Katowice is a relatively modern
city in a country with a complicated, centuries-long
history; as such, its architecture is capped by the
futuristic Spodek Sports Arena rather than the Gothic
Wawel Castle in Krakw an hour to the east. With a
population of just over a quarter-million, its small-city
vibe has been thrust onto the world stage as the first
Polish City of Music in the Creative Cities Network of
UNESCO. And, as happens with many cities whose
existence relied upon heavy industry, it has had to
reinvent itself in the 21st Century, coal mines replaced
by cultural institutions, dusty miners with hip
nightgoers filling the 24-hour bars of Mariacka Street.

The JazzArt Festival (Apr. 25th-30th), now in its
fifth year, reflects this multi-facetedness. International
stars such as Jack DeJohnette and The Thing are
presented alongside regional performers like the RGG
Trio and Raphael Rogiski. Concerts are held in the
beautiful environs of the recently built concert halls of
the National Polish Radio Symphony Orchestra
(NOSPR) or the gritty upstairs Jazz Club Hipnoza.
Sedate afternoon film screenings complement the
energetic evening performances. World-class branding
is applied, grass-roots style, to store windows, novelty
cars and oversized three-dimensional displays dragged
through the city streets by employees of Katowice
Miasto Ogrodw, which also runs the Street Art and
World Music festivals. And there was as much
enthusiasmas shown by consistently full houses
for the music on offer as for the World Hockey
Championship Division I-Group A qualifier happening
concurrently (sadly, Poland did not advance).

JazzArt is unusual in that its programming runs
from Monday-Saturday with either one concert per
evening (Monday, Wednesday and Thursday) or two
(Tuesday, Friday and Saturday). For those worrying
about getting bang for your zoty, it is refreshing to
have time to reflect upon a performance without
rushing off to ten more in the same night. This approach
also allows for the programming to take on a discernible
narrative arc.

The 2016 edition opened and closed at Hipnoza to
standing-room-only crowds with twin Scandinavian
explosions The Thing and Selvhenter. The former
should have dedicated their set to Lufthansa, which
prevented Ingebrigt Hker Flatens upright bass from
arriving in time for the show; it was a rare instance
where he was heard exclusively on electric bass.
W ith many parts of the Netherlands reclaimed from
the sea over the centuries, the Dutch have long been
adroit at recycling and repurposing. So its no surprise
that, except for the Bimhuis, with its magnificent
waterfront view, most venues for this year s Doek ABC
Improvisation Festival in Amsterdam (Apr. 29th-May
4th) had been built as schools, warehouses and even a
dungeon. These locations were particularly pertinent
for this year s fest, which united local improvisers (A)
with visitors from Berlin (B) and Chicago (C). The
festival also demonstrated how different musicians
repurpose the jazz and improvised traditions.
Probably the most spectacular instance of this
came in the three round midnight performances by
Hook, Line & Sinker (HLS) at the Spinhuis. A former
dungeon located beneath the Multatuli Bridge, the
cramped, subterranean space was an ideal setting for
the unique sensibilities of slide trumpeter Axel Drner,
tenor saxophonist/clarinetist Tobias Delius, cellist
Tristan Honsinger and bassist Antonio Borghini.
Seeming at times either performance of Waiting for
Godot or vaudeville act, the concert relied as much on
verbal as instrumental improvisation. The wordplay,
usually sparked by Honsinger, often devolved into
skits, with the foursome continuously changing places
in the room, singing pseudo-sea shanties or acting out
neo-Dadaist playlets. Euphonious as well as
entertaining, innate musical sophistication allowed
Delius to slurp pre-modern styled balladry and postmodern screeches with the same conviction he used to
deflect the cellists puns and Drner to growl split
tones from his bell or rhythmically advance a tune
blowing raspberries sans trumpet.
Another musician who epitomized rhythm and
humor was South African reed player Sean Bergin
(1948-2012), an Amsterdam resident from 1976 until
his death. His music was celebrated as the climax of
the festivals five-stop bicycle tour at De Ruimte, an
abandoned factory converted to a caf. The packed
house swayed and sometimes danced along to Bergin
tunes that transmuted kwela jive into swinging jazz.
Celebrants represented all three cities: cornet players
Eric Boeren and Josh Berman; trombonists Jeb Bishop
and Wolter Wierbos; tenor saxophonists John Dikeman
and Delius; vibraphonist Jason Adasiewicz; bass
guitarist Jasper Stadhouders; and drummer Frank
Rosaly. Contrasts between Bishops contemporary
gutbucket and Wierbos polished emotionalism were
clear, as was Delius creamy tone stacked up against
Dikemans
frenetic
New
Thing-like
textures.
Adasiewicz energetic clanking sparked the ensemble
while Rosaly cannily suggested steel pan vibrations
and African drum beats.
13
CD REVIEWS
The Silver Lining (The Songs of Jerome Kern)

Tony Bennett/Bill Charlap (RPM-Columbia)
by Andrew Vlez
W ith Tony Bennett singing some of the very greatest
songs from the Great American Songbook, of which he

is arguably the current premier custodian, this
collaboration with pianist Bill Charlap is popular
music artistry at its finest. Not since the now-classic
1975-76 sets with Bill Evans has Bennett had quite so
perfect a partner as he does in Charlap, who is perhaps
the leading mainstream jazz pianist of his generation.
As Bennett approaches his 90th birthday in August, his
baritone pipes remain as gravelly golden, virile and
expressive as ever.

From the contemplative opening lines of All the
Things You Are until the last piano notes on Look for
the Silver Lining, Bennett and Charlap are in sync on
every level for this celebration of the music of Jerome
Kern. When Charlap takes a solo, he, like Bennett, puts
the story of the song first. Together they are emotionally
expressive and yet, when given the opportunity, as
with Pick Yourself Up, their swinging is infectious.
The fun they are having is apparent in the finale when
Bennett exuberantly ad-libs, take me home and
Charlap does just that with a rollicking finale.

Mention must be made of the other stars of this
production. Ace pianist Renee Rosnes joins Charlap for
several rich double piano numbers. There is rock-solid
support from bassist Peter Washington and drummer
Kenny Washington, Charlaps longtime trio members,
completing the orchestrations. And, of course, with
lyrics by Ira Gershwin, Johnny Mercer and Oscar
Hammerstein II, among others, its the crme de la crme
of American songwriters.

Bennett has a unique way of highlighting a word
or a phrase. With The Song is You, he and Charlap
build together to a stirring climax with the final
statement of the song and then follow it with
another and still higher moment with the final is
YOU. Still later on Yesterdays, Bennetts final shout
of yesterdays! is triumphant. Its basic to Bennetts
unique way with music and lyrics. So when he delivers
a deeply moving The Way You Look Tonight, how he
achieves such profound eloquence without an iota of
emotional excess is a fine mystery to be savored.
For more information, visit columbiarecords.com. Charlap
is at Birdland through Jun. 4th. See Calendar.
Montage
Luis Perdomo (Hot Tone Music)
by Elliott Simon
Luis Perdomo arrived in NYC from Venezuela in 1993
but it took the pianist a while to make his first CD as a

leader (Focus Point, RKM Music, 2004). It was an
ambitious outing that gave glimpses, in the context of
the powerful septet, of his developing voice. As with
that first release, Perdomo has purified the elements of
his style over the past decade. He distills Latin and

classical leanings as well as avant garde into his work
all in evidence on Montage, his first solo release.
Five of these 15 pieces are titled Montage
followed by a descriptor (Fleeing, Sleepwalker, Angst,
Air, The Ascent). Each serves as an opportunity for
Perdomo to express himself without the constraints of
tight arrangements. Taken together they form a
stunning suite translating sensation, emotion and
feelings through exquisite touch and lines. This effect
is greatly enhanced by listening to them in sequence.
Originals and tunes from different parts of
Perdomos development make up the more structured
material and show his breadth and adaptability: it is
intriguing to hear the angles in Monks Dream
smoothed out; a sophisticated cocktail piano take on
Thinking of You; the intense emotional aspect of
Body and Soul purified; a buoyant yet touching
Mambo Mongo; La Revuelta de Don Fulgencio,
composed by Perdomos first teacher Gerry Weill,
openly melding classical with Latin; the big band
trappings stripped away from Si Te Contara; and the
underappreciated contributions of Cal Massey by
pianist Stanley Cowell reflected.

The three originals present a side of Perdomo that
is gracefully melodic. Amani flows peacefully
through warm changes while The Sky Beyond is
meditative and The Boundary Law is an extended
exploration that elegantly ebbs and flows. Montage is
aptly titled as head, heart and hands come together for
a carefully planned, diverse and entertaining release.
before Morrissey enters with a figure that anchors the

structure of the song.
The lone cover is Johnny Was, originally
performed by Bob Marley under the title Johnny Was
a Good Man. The quartet does its best to translate the
original feel but it ultimately sounds a little aimless,
more of a rendering than an interpretation.

Guilianas near-mastery of the musical sleight of
hand is what makes Family First so appealing. It zags
more than it zigs and eagerly kicks sand in the face of
expectation.
For more information, visit markguiliana.com. Guiliana is
at Blue Note through Jun. 5th. See Calendar.
TJD Online
The Jazz Discography Online
Everything you need to

know about virtually any
jazz record ever released
So much more than just a jazz discography
For more information, visit hottonemusic.com. Perdomo is

at Jazz Standard Jun. 1st, Terraza 7 Jun. 9th, Smalls Jun.
15th with Marc Miralta and The Jazz Gallery Jun. 16th
with Ricky Rodriguez. See Calendar.
Family First
Mark Guiliana Jazz Quartet (Beat Music Prod.)
by Eric Wendell
Whether sideman to bassist Avishai Cohen or Donny
McCaslin or leader of his genre-bending Beat Music,

drummer Mark Guilianas precise way of using drums
to export his musical ideas is both keen and exact. Such
precision is on display with his latest release.

What makes Family First successful is the control
Guiliana and Co. maintain as tempos, dynamics and
moods shift and sway throughout the nine tracks.
From the opening serrated rhythms of One Month to
hardbop resonance of Long Branch, Guiliana
maintains an ordered sense of control his quartet of
saxophonist Jason Rigby, pianist Shai Maestro and
bassist Chris Morrissey reflect beautifully.

Thats not to say that Family First is all twists and
turns but rather expertly constructed to undermine
listener expectations. Abed begins as an eventempoed piece before a mid-song tug of war between
saxophone and piano pulls it towards a faster postbop
encounter. The Importance of Brothers spends much
of its duration feeling like a static march before
deconstructing to a solo piano interlude where Maestro
offers a contemporary classical exercise before the
band resumes the march feel.

What is most congratulatory is Guilianas ability
to shape a melody, carefully constructing each note to
fit the character at hand. This is featured most
prominently on Welcome Home, where Rigby
employs long dulcet tones reflecting an abstract ballad
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Idris Ackamoor & The Pyramids

We Be All Africans (Strut)
JD AllenAmericana (Savant)
Jane Ira BloomEarly Americans (Outline)
Cadentia Nova Danica
August 1966 Jazzhus Montmartre (Storyville)
Katja CruzI Am The Wind (Unit)
Tomasz Dabrowski
S-O-L-O: 30th Birthday/30 Concerts/
30 Cities (Barefoot)
Erwin Ditzner/Lmsch Lehmann Duo
II (Fixcel)
Jungle: Mat Walerian/Matthew Shipp/
Hamid DrakeLive at Okuden (ESP-Disk)
Masabumi KikuchiBlack Orpheus (ECM)
Pat MethenyThe Unity Sessions
(Nonesuch)
Laurence Donohue-Greene, Managing Editor
Duke Ellington & His Orchestra
Rotterdam 1969 (Storyville)
Fire!She Sleeps, She Sleeps
(Rune Grammofon)
Jungle: Mat Walerian/Matthew Shipp/
Hamid DrakeLive at Okuden (ESP-Disk)
Jemeel Moondoc/Hilliard Greene
Cosmic Nickelodeon (Relative Pitch)
LOK 03 +1 (Aki Takase/Alexander von
Schlippenbach/DJ Illvibe/Paul Lovens)
Signals (Trost)
Glenn Spearmann
Blues for Falasha (Tzadik)
Starlite MotelAwosting Falls (Clean Feed)
ThumbscrewConvallaria (Cuneiform)
Tiziano Tononi/Daniele Cavallanti
The Brooklyn Express: No Time Left!
(Long Song)
Finn von EybenPlays Finn von Eyben/
Finn von Eyben Workshop &
Radiojazzgruppen (1966-1967) (Storyville)
Andrey Henkin, Editorial Director
Groundwork
Willie Jones III (WJ3)
by Scott Yanow
W illie
Jones III has been a major straightahead

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

It would benefit this allstar group to make a live
album where they can stretch out away from the studio.
For more information, visit williejones3.com. Jones is at
Village Vanguard through Jun. 5th with Russell Malone
and Smoke Jun. 8th-9th with Steve Turre. See Calendar.
Blues and Ballads

Brad Mehldau (Nonesuch)
by Joel Roberts
While
Brad Mehldau has been heralded for his

impressionistic solo piano work and experimental
efforts involving everything from chamber orchestras
to electronics, the piano trio has remained his bread
and butter for more than two decades. Starting with his
1995 debut and many Art of the Trio albums, Mehldaus
long-running group with bassist Larry Grenadier and
drummer Jeff Ballard (replacing Jorge Rossy a decade
ago) has earned a spot as one of the top trios this side of
Keith Jarrett.

Its a noteworthy event then when Mehldau and
his deeply empathic trio return with a new recording,
their first in four years. While Mehldau is an established
composer, the new release, like its predecessor, Where

Do You Start, is comprised entirely of covers. As the
title implies, the focus here is on ballads and blues.
While his classical background, lyricism and
romanticism would tend to suggest hes more attuned
to the former than the latter, Mehldau sets a
convincingly bluesy tone on the opener, an intensely
soulful, almost down-and-dirty take on Since I Fell
For You. And even if youve heard These Foolish
Things a thousand times before, Mehldaus slow,
patient, picture-perfect version is worth a listen.

As has been his wont for many years, Mehldau
deftly mixes standards with more contemporary nonjazz material drawn from the worlds of rock and pop.
So we get reimaginings of familiar fare from Cole
Porter (I Concentrate on You) and Charlie Parker
(Cheryl) alongside a sweet ballad (Little Person)
by pop producer and frequent collaborator Jon Brion.
And, as he often has in the past, Mehldau digs into The
Beatles catalog, turning the seemingly slight And I
Love Her into a rich, melancholic excursion and one
of the albums highlights, along with a little-known (at
least to these ears) but exquisite recent Paul McCartney
composition, My Valentine.

The Mehldau trio is one of those groups with the
seeming ability to anticipate one another s moves and
all three musicians here are in stellar form and always
in sync. Its a welcome return and a fine outing filled
with some hauntingly beautiful moments.
For more information, visit nonesuch.com. Mehldau is at
Blue Note through Jun. 5th. See Calendar.
Ballads and Standards

Marc Mommaas/Nikolaj Hess (Sunnyside)
by Terrell Holmes
Standards are welcome signposts on the jazz landscape
to help players and listeners navigate its frequently

exhilarating and often challenging terrain. Pitfalls can
occur when a standard is played too close to its original
form, with neither the imagination nor risk to make the
journey more compelling. Tenor saxophonist Marc
Mommaas and pianist Nikolaj Hess new project has
more substance than the elemental title suggests.

They examine the harmonies of each song and
then use their expansive improvisational skills and
opulent tonalities to enrich its sound and structure.
They establish their approach on The Peacocks,
Mommaas fixing his perch at the high end of the
tenor s register; Hess has such strength and resonance
it sounds like piano and bass simultaneously.

Bassist Thomas Morgan joins the duo on Ask Me
Now, giving the tune more depth and color.
Interpreting Monk can be a tricky proposition but this
reading is filled with Mommaas sure-handed and
exclamatory arpeggios and Hess eschews any overt
suggestions of Monks angularity in favor of his own
crisp, more linear approach. Morgans pulse also gives
an added dimension to The Shadow of Your Smile
and Never Let Me Go while guitar master Vic Juris
warm phrasing and silky texture underscore the
eternally hopeful Over the Rainbow. Perhaps the
most striking is In a Sentimental Mood. It begins
unsettlingly somber and dark, with Hess saturnine,
metronomic intro downshifting the theme from wistful
to dark. With Mommaas impassioned wailing in the
soprano range and breathiness at the end, this duo
expresses not sentimentality but despair. And while
Mommaas and Hess clearly relish their explorations

they also know their limits. Its surely no coincidence
that Body and Soul, an oak tree among chestnuts, is
the shortest, most-played-straight song on the album.

Mommaas and Hess deconstruct these songs like
scientists. The experiments arent always seamless; at
times, there are residual moments of discord in the
search for balance and common ground. But these are
small missteps on the tightrope. Mommaas and Hess
invigorate some of jazz most enduring and often
played songs with vibrant new perspectives.
For more information, visit nonesuch.com. This project is at
Jazz at Kitano Jun. 1st. See Calendar.
UNEARTHED GEM
Reincarnation
Sonny Simmons (Arhoolie)
by Clifford Allen
Born in Louisiana in 1933, alto saxophonist Sonny
Simmons paid dues on the West Coast before moving,

along with fellow reed player Prince Lasha, to New
York in 1963 at Eric Dolphys behest. Simmons
worked alongside Dolphy, Clifford Jordan, Sonny
Rollins, Elvin Jones and McCoy Tyner, eventually
forming his own group with trumpeter Barbara
Donald (they also married). They recorded two dates
for ESP-Disk and recruited progressive improvisers
to come east from the Bay Area. By the end of the
decade, they and most of their peers had returned
west. Though part of a coterie of musicians playing
barreling and harmonically advanced postbop in
California, Simmons and Donald struggled to find
work, based partly on the fact that their interracial
musical and romantic partnership caused strife.
In the 70s, the pair relocated to Olympia,
Washington to raise their young son Zarak, though
they fared little better and eventually divorced
Simmons was playing on the streets of Oakland as
Blackjack Pleasanton by the following decade and
battling addiction. In the early 90s, Simmons
fortunes started to turn around and by 1994 hed
sign to Quincy Jones Qwest label (a rare major-label
turn for uncompromising music). By the time that
this live Simmons-Donald reunion disc was recorded
25 years ago this month, Zarak Simmons had become
an ebulliently swinging and fiery drummer. The
family band is fleshed out here by bassist Court
Crawford and pianist Travis Shook (who would also
appear on Simmons American Jungle in 1997) on a
program of three originals and renditions of the
standards Body and Soul and Over the Rainbow.
Simmons acrid flywheels are Bird-like (or Dolphyesque) in scope, yet with a deep, searching tonic that
responds to the modal depths plumbed by John
Coltrane. In tandem with the crackling waves of
energy that Donald puts forth and the rhythm
sections insistent, dense chug, Simmons driving
compositions are rendered with explosive, glorious
immediacy. Zarak has only appeared on one other
recording, 1994s Ancient Ritual, so its a treat to hear
more of his playing, especially in dialogue with his
parents vast inside-outside conception.
For more information, visit arhoolie.com
15
G LO B E U N I T Y: M O R O CCO
53rd Street
Robert Kaddouch/Gary Peacock (Odradek)
Kind of Violet
Abdelha Bennani Trio (JaZt TAPES)
Zarabi
Oum (Lof Music/MDC)
by Tom Greenland
Its
continually surprising how musicians from all

over the planet take inspiration from jazz, adopting
and adapting it according to their cultural awareness
and esthetic affinities. This month shows this
globalization through the lens of Moroccan musicians.

Using the concept of conductivity, Casablancaborn pianist Robert Kaddouch has taught children all
over Europe to improvise. More recently, he is using
what he has learned from teachinghow to play in a
more ductile (i.e., creative and personal) wayin a
series of duo recordings. 53rd Street is an intimate set
with bassist Gary Peacock, which includes standards,
originals, a French anthem and Hebrew songs.
Kaddouchs style is lush and lyrical, utilizing slightly
unusual chords and harmonic modulations to
revitalize standbys like A Foggy Day, Lover Man
and even Jingle Bells. His radical reharmonization
of the latter, coupled with the extreme independence
of his left hand, show off his individuality. Peacock,
an almost subliminal presence, anchors the harmonies
and pulse against the pianists constant ebbs, flows
and upwellings, becoming more interactive during
What Is This Thing Called Love?, perhaps the most
satisfying track.

Recently deceased tenor saxophonist Abdelha
Bennani was born in Fez and spent most of his life in
Paris. Kind of Violet, recorded live at Lilles Muzzix
Festival in 2011, is now available through the artistcontrolled JaZt TAPES. The highly collaborative trio
performance balances Bennanis mercurial tenor
usually subdued but prone to gruff outbursts
against Alan Silvas wide canvas of synthetic
keyboard textures and tones, ranging from full-blown
tutti sections of digital string, brass and wind sections
and warmer Rhodes piano sounds to eerie metallic
patches with micro-chromatic pitch-bends. Drummer
Didier Lasserre favors thin sticking and light
brushwork, low kettledrum rumbles, shimmering
cymbals, Chinese-style gongs and marching rolls.
The improvisations breathe, as if the musicians are
waiting to hear each others unfinished thoughts.
Marrakesh-raised vocalist/songwriter Oum
El-Ghat Benessahraoui, better known as Oum, melds
multiple elements of her Moroccan heritage
(including Sahrawi, Gnawa, Hassani and Berber
cultures) on Zarabi, her fourth album, aptly named
for the carpet-like headdresses of local weavers
made from recycled fabrics. Recorded in a makeshift
studio in southern Morocco at the edge of the Sahara
desert with oud player Yacir Rami, percussionist
Rhani Krija, bassist Damian Nueva and trumpeter
Yelfris Valds, the latter two from Cuba, the album is
bright and punchy, fired by Oums keening vocals,
sung in the Maghrebi Arabic dialect of Darija, and by
her catchy songs set to danceable beats.
Improvisational interest is supplied by Ramis deft
playing, which often ornaments the vocal lines before
and after extended solos, and by Valds trumpet, a
mellower counterpoint to Oums crystalline voice.
For more information, visit
janstrom.se and music-mdc.com
odradek-records.com,
Parallel States
Matthew Fries (Xcappa)
by Donald Elfman
F rom the first notes of this extraordinary recording, it

is clear that the relationship between music and art is
what inspired the project. Each of the works by pianist
Matthew Fries and his sister, mixed media artist Loryn
Spangler-Jones, is individual and exquisite.

On opener Muse, Fries starts elegantly with a
chordal voicing expanded upon during the course of
the tunes development. Motifs grow and intertwine
yet the central chord is ever-present. Its a piece about
the graceful expression of ideas and how they mature.
Spangler-Jones took inspiration from this sense and
the albums concept first took shape. The music reflects
a quiet passion for how artistic ideas grow.

The feel of Positive Attitude is a slow blues and
is a case of the music being inspired by the art. Fries
sees those blues as a powerful yet simple statement.
He digs down into some truly deep feelings but they
are never overwhelming. Instead the lines roll out
steadily and surely. That quiet subtlety informs both
the music and the art here even when the title, the
subject of the tune, seems to lead towards a narrative.
Just Keep Swimming opens with a repeated riff
suggesting the relentlessness of what?evolution?
persistence?but thanks to the economy of the artistry
what is suggested instead is space and peacefulness.

It ends up not really mattering who inspired whom
or which form came first. The closing tune, the simple
hymn-like Kerrie, tells us in a minute and a half that
this recording is simply about the magic of creation.
For more information, visit matthewfries.com. Fries is at
Hillstone Jun. 2nd, 6th, 16th, 27th and 30th and An Beal
Bocht Caf Jun. 3rd. See Calendar.
Christ Everlasting
Charles Gayle Trio (ForTune)
Live at Jazzwerkstatt Peitz
Charles Gayle/William Parker/Hamid Drake
(Jazzwerkstatt)
Gayle Force
Buell Neidlinger (K2B2)
by Clifford Allen
sentinel-like between the opposing storms of tenor,

piano and drums. Well You Neednt begins with
florid stabs from piano and bass before Kugels brash
stammers enter and the tune volleys through a tensile
display of stridence and clustered fireworks, then
moves into the freer juggernaut of Thy Father s Will.
A scumbled run through Giant Steps finds Gayle
working his fingers and breath into a blur, regularly
making blatting sidesteps as the rhythm section
charges through heated tempi. The opening Joy in the
Lord is an affirmation of Gayles command, upperregister twirls and hot, emphatic staccato blasts
rendered with clear linkages and graceful execution.

Just over a month later, Gayle teamed up with
bassist William Parker and drummer Hamid Drake for
a concert in Germany as part of the Jazzwerkstatt Peitz
series. This disc contains a program of four original
improvisations plus a ten-minute encore. The lengthy
first segment, Fearless, is a vehicle for tenor though
much stretching room is given for Parker and Drake to
spar on their own, breaks and bouncing Highlife flecks
nudging Gayles flights from braying, pathos-laden
cries to supple, jubilant runs. Much of the set, however,
features the leader on piano in bluesy fragments,
glinting boppish roil and elemental nods to boogiewoogie, which while executed with conviction also
change form on a seeming whim. Parker and Drake
ably keep up with Gayles impulses but experiencing
from the easy chair is a furrowed challenge.

While his ostensible first studio recording for ESPDisk has never surfaced, Gayle did make some
rehearsals while living in Buffalo and performing with
bassist Buell Neidlinger, who was then associated with
SUNY-Buffalo and the Center for the Creative and
Performing Arts. Neidlinger s regular trio was with
drummer John Bergamo and saxophonist Andrew
White and Gayles first sit-in with that group is the
stuff of local legend. Gayle Force captures a fall 1965
session sans White and, while brief at a hair over 30
minutes, it is impactful, including four original pieces
and a version of Ornette Colemans Lonely Woman.
Certainly low fidelity, the music here is essential for
completists, but beyond the tape hiss and pieces
abrupt beginnings and endings Gayles piercing,
voluminous wail is fully-formed and, if not a complete
phraseology in all cases, makes up for that in gobs of
temperature-raising energetic action. Bergamos dry,
allover shimmy and Neidlinger s perfect intonation
and robust invention (in glorious evidence on Lonely
Woman) make for a fascinating partnership and it
would have been something to get this trio properly
documented.
For more information, visit for-tune.pl, jazzwerkstatt.eu
and k2b2.com. Gayle is at Judson Memorial Church Jun. 7th
NYCJR12thPageAd0616.qxp_Layout
4/6/16 5:06
PM Page 1
with
Henry Grimes as part of Vision1Festival.
See Calendar.
Tenor saxophonist/pianist Charles Gayle has been an
imposing force on New Yorks improvised music

community for over 40 years, though documentation of
his work didnt really take off until 1988. Deep religious
convictions, intensely ascetic lifestyle, theatrical
personae and a very personal language traversing postColtrane freedom with a curious affection for bebop
contribute to Gayles enigmatic perception.

Christ Everlasting captures an April 2014 Gayle
concert at Poznas Dragon Club with Polish bassist
Ksawery Wjciski and German drummer Klaus Kugel
on open-form originals and a few standards or semistandards from the books of Coltrane, Monk, Rollins
and Ayler. Far from a pickup rhythm section, Kugels
airy constance and glinting temporal stirs are a rugged
platform and Wjciski continually chomps at the bit,
blocky pizzicato and sinewy arco occasionally stiff but
Photo:
Chris Drukker
Diane Mosers Composers Big Band

w/guest composer Timothy Miller and the Elizabeth High School
Upper Academy Jazz Band, directed by Wayne Dillon
Wednesday, June 8th 711 p.m.
For more info: dianemosermusic.com
TRUMPETS
J A Z Z C L U B
6 Depot Square Montclair, NJ 07042

For reservations, call 973-744-2600
www.trumpetsjazz.com
Row for William O.

Michael Bisio/Kirk Knuffke (Relative Pitch)
by John Sharpe
Wed, Jun 1

MARTIN NEVIN GROUP 8PM

Immanuel Wilkins, Sam Harris, Craig Weinrib
Thu, Jun 2

BEN VAN GELDER QUINTET 8PM

Mark Turner, Matt Brewer, Craig Weinrib
Fri, Jun 3

LAGE LUND 3 9PM & 10:30PM

Matt Brewer, Justin Faulkner
Sat, Jun 4

PETROS KLAMPANIS 9PM & 10:30PM

Julian Shore, Keita Ogawa, Rogrio Boccato, Maria Im, Eylem Basaldi,
Lev Zhurbin, Colin Stokes, Magda Giannikou
Sun, Jun 5

JANE IRA BLOOM EARLY AMERICANS 8:30PM

Mark Helias, Bobby Previte
Mon, Jun 6

DAVID AMRAM & CO 8:30PM

Kevin Twigg, Rene Hart, Elliot Peper
Tue, Jun 7

VOXECSTATIC: VALENTINA MARINO QUARTET CD RELEASE 8PM

Alberto Pibiri, Cameron Brown, Anthony Pinciotti, Maximilian Zooi
JOHN HART TRIO EXIT FROM BROOKLYN CD RELEASE 9:30PM
Bill Moring, Tim Horner; Deborah Latz, curator
Wed, Jun 8

NEW BRAZILIAN PERSPECTIVES: Q MORROW GROUP 8PM

Evan Francis, Sam Bevan, Rogerio Boccato
NEW BRAZILIAN EXPRESSIONS: KATHRYN CHRISTIE 9:30PM
Matt Aronoff, Ross Pederson; Billy Newman, host
Thu, Jun 9

SOFIA RIBEIRO GROUP 8PM

Sofia Ribeiro, Juan Andrs Ospina, Petros Klampanis, Marcelo Woloski
Fri, Jun 10

JON IRABAGON TRIO 9PM & 10:30PM

Gary Versace, Tom Rainey
Sat, Jun 11

KEVIN HAYS, NEW DAY TRIO 9PM & 10:30PM

Rob Jost, Greg Joseph
Sun, Jun 12

DJANGO AT CORNELIA STREET: ULTRAFAUX 8:30PM

Michael Joseph Harris, Sami Arefin, Eddie Hrybyk; Koran Agan, host
Mon, Jun 13

DAVID LOPATO QUARTET 8:30PM

Lucas Pino, Ratzo Harris, Mike Sarin
Tue, Jun 14

THE OUT LOUDS 8PM

Tomas Fujiwara, Ben Goldberg, Mary Halvorson
Wed, Jun 15

MARIO PAVONE/MIXED QUINTET 8PM

Tony Malaby, Dave Ballou, Oscar Noriega, Peter McEachern, Michael Sarin
Thu, Jun 16

JOHN HADFIELD: SAINTS OF PERCUSSION 8PM

Billy Drewes, Matt Kilmer, Tim Keiper, Shane Shanahan
Fri, Jun 17

JOHN HBERT QUARTET 9PM & 10:30PM

David Virelles, Tim Ries, Billy Drummond
Sat, Jun 18

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

Cameron Brown, Gerald Cleaver
Sun, Jun 19

JIM BLACK TRIO 8:30PM

Elias Stemeseder, Thomas Morgan
Tue, Jun 21

Mostly Other People Do the Killing 8 & 9:30PM

Ron Stabinsky, Moppa Elliott, Kevin Shea with special guest Matt Nelson
Thu, Jun 23

DAN WEISS TRIO 8PM

Jacob Sacks, Thomas Morgan
Fri, Jun 24

SCOTT DUBOIS QUARTET 9PM & 10:30PM

Jon Irabagon, Thomas Morgan, Kresten Osgood
Sat, Jun 25

JAZZTOPAD FESTIVAL: PIOTR DAMASIEWICZ QUINTET 9PM

Tony Malby, Maciej Obara, Dominik Wania,
Max Mucha, Krzysztof Dziedzic
JAZZTOPAD FESTIVAL 10:30PM
Tony Malaby, Gerard Lebik, Artur Tunik, Max Mucha, Krzysztof Dziedzic
Sun, Jun 26

PATRICK CORNELIUS OCTET 8:30PM

Matthew Jodrell, Sam Sadigursky, Nick Vayenas, Alex Wintz,
Fabian Almazan, Thomson Kneeland, Eric Doob
Tue, Jun 28

PAUL JONES/CURTIS OSTLE GROUP 8PM

David Berkman, Eliot Zigmund
ALEX LORE 4 9:30PM
Nick Sanders, Martin Nevin, Mark Whitfield Jr
Wed, Jun 29

ISRAELI JAZZ SPOTLIGHT: NOAM WIESENBERG 8PM

Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro, Tommy Crane
HAGGAI COHEN-MILO TRIO 9:30PM
Ben Wendel, Haggai Cohen-Milo, Ziv Ravitz; Or Bareket, host
Thu, Jun 30

MATT BREWER QUINTET 8PM

Ben Wendel, Lage Lund, Tommy Crane
Bassist Michael Bisio has waxed acclaimed duets in

his careerthose with pianist Matthew Shipp come to
mind while going further back, a brace with multiinstrumentalist Joe McPhee also hit the sweet spot. To
this list must now be added Row for William O., which
pairs the bassist with in-demand cornet player Kirk
Knuffke, a member of Bisios Accortet foursome (whose
well-received debut appeared on the same label last
year). The 37-minute program comprises four Bisio
originals, one joint confection and one by William
Overton Smith, the 90-year old dedicatee of the album,
who is perhaps best known as the clarinetist in Dave
Brubecks seminal octet, as well as being both a mentor
and teacher to Bisio in Seattle, Washington.
The pleasing contrast between Knuffkes floating
lyricism and Bisios brawny growling resonance, whether
in counterpoint or partnership, is evident from the start.
A jerky spacious unison engenders
freewheeling
interplay on Smiths Drago, notable for Knuffkes
breathy insouciance. They draw ample inspiration from
the compositions, as is obvious in Oh See O.C. where
Bisios solo plays off motifs in the head, with some of
those insistent figures that mesh so tightly with Shipp,
while Knuffke is at his most punchy and incisive. On
Bisios appealing I Want To Do To You What Spring
Does To Cherry Trees, Knuffke hews close to the tune
while Bisio extrapolates in spirited abandon.

On the improvised December, the stimulation
stems from one another. Emphatic pizzicato slurs
slither down the fretboard, prompting plaintive cornet
exhalations. Such fluid interchange exemplifies the set,
heard nowhere better than on the title track, where
Bisio shows how tone rows can generate not only
breezy unsentimental melody, but also dramatic give
and take. Finally, after a trilling acappella cornet intro,
the intimately choreographed dance of To Birds...
provides a fittingly accomplished end to a fine disc.
For more information, visit relativepitchrecords.com. Bisio is
at Judson Hall Jun. 8th with Connie Crothers and 9th as part
of Vision Festival and Ibeam Brooklyn Jun. 13th with Darius
Jones. Knuffke is at Urban Meadow Jun. 19th with Jeff Davis
and Matt Pavolka as part of Red Hook Jazz Festival.
What would appear to be a triangular relationship in

theory turns into a pyramidal one in practice. The
atmosphere is joyful and exciting and finds each
musician grabbing the wheel in succession with
idiosyncratic vigor. Its a formula that leads to
consistent piquancy in the remaining tunes, if at times
dulled by the compactness of the engineering, which
suffocates tunes like Peliel and Katzfiel. Other
places it works beautifully, however, as in Shoftiel.
Here Taborn balances sacred and secular impressions,
launching into his solos with territorial wanderlust.
But not even a few misfires at the mixing board can
reign in a double take on Talmai, of which the
landscape is vast and the rhythm sectioning robust.
As may be expected in anything branded Zorn,
abstractions are never too far away. Their wonders
enliven Katzfiel and Rogziel, the latter recalling its
composers fascination with the cartoon music of Carl
Stalling. In this respect, the trio allows the spirit at hand
to take the music where it needs to go, even if, like sand
in an hourglass, every particle of improvisation
eventually funnels into a steady passage of time. Which
is not to say that reveries are absent: Agbas and
Harbonah show sensitivity in kind, the latter an
atmospheric gem that draws an arco bass thread through
a stormy patchwork of piano and cymbals, teasing out
the indestructible heart of the whole enterprise.

The way these veterans ease into and out of such
eclectic themes is masterful, yielding a fresh take on
Zorn that may just be the standout disc of the series and
one that reasserts his position in the modern jazz canon.
For more information, visit tzadik.com. Taborn is at The
Stone Jun. 8th. McBride is at Blue Note Jun. 14th-19th.
Sorey is at JACK Jun. 12th with Charmaine Lee and The
Stone Jun. 25th. See Calendar.
FREE PERFORMING ARTS

IN ALL 5 BOROUGHS
MAY SEPTEMBER
John Zorn: Flaga

Craig Taborn/Christian McBride/Tyshawn Sorey
(Tzadik)
by Tyran Grillo
Eight tunes from The Book of Angels make up Flaga, the

27th installment in a series exploring the parallel opus
to John Zorns popular Masada series. His interpreters
this time are pianist Craig Taborn, bassist Christian
McBride and drummer Tyshawn Sorey. Machnia
puts listeners into the thick of things, highlighting the
playing as much as Zorns prolific gift for melody.
The season will feature more jazz performances than ever

before, including opening night on June 4 in Central Park,
featuring living legends McCoy Tyner, Roy Haynes, and
Ron Carter. Season highlights include Kamasi Washington
and Henry Butler in Central Park, Terence Blanchard in
Clove Lakes Park, Dianne Reeves in Queensbridge Park,
a tribute to Dave Valentin in Crotona Park, and a screening
of What Happened, Miss Simone? in Von King Park. And,
of course, our annual Charlie Parker Jazz Festival, which
assembles some of the most important legends of jazz
alongside the next generation of innovators, will feature
Jack DeJohnette, Donny McCaslin, Randy Weston, and
Cory Henry. Join us as we celebrate jazz all summer long!
Visit www.SummerStage.org for the full 2016 schedule.
@SummerStage
05-18-16A_NYCJazzAd.indd 1
@SummerStageNYC
@SummerStage
5/18/16 4:53 PM
Roots & Transitions

Alan Ferber Nonet (Sunnyside)
by George Kanzler
The eight parts of trombonist Alan Ferber s suite Roots

& Transitions functions as a modern theme and
variations. Ferber wrote the music on trombone rather
than piano to emphasize the predominance of singleline instruments. The nonet is Scott Wendholt or Shane
Endsley (trumpet), Jon Gordon (alto saxophone), John
Ellis (tenor saxophone), Charles Pillow (bass clarinet),
Nate Radley (guitar), Bryn Roberts (piano), Matt
Clohesy (bass) and brother Mark Ferber on drums.

At times the nonet resembles a modern version of
classic jazz polyphony, as each instrument plays distinct
lines in tandem with others, as on Flow and Cycles,
sections that also eschew conventional time signatures
and rhythms for a looser or more jangled beat. Rarely
are there sustained ensemble passages with sectionalstyle harmony, Ferber preferring to pit instruments
against or mirroring each other.

This is how the CD opens, as Quiet Confidence
begins with solo trombone soon echoed by bass clarinet
(its use instead of a baritone saxophone is one of the
nonets aural signatures), followed by thematic strains
from brass and reeds, segueing into weaving
instrumental voices ushering in deliberately paced
solos by piano and trombone. Although Pillow has only

one feature solo, his bass clarinet is an important part
of the overall sound, contributing to the chorale quality
of the two short ensemble pieces Hourglass and
Echo Calling. The former is followed by two of the
strongest tracks: Clocks begins with a tick-tocking
rhythm that breaks up as horn riffs dominate; Endsley
solos over suspended beats, then horns and guitar
contest in a controlled chaos reminiscent of Charles
Mingus before time returns with a piano solo and coda.
Wayfarer is the closest track to a traditional swinger,
recalling Miles Davis Birth of the Cool band, with a
traditional AABA format and muted brass, but a
surprisingly long, convoluted vamp-coda. Themes and
variations explored on the first seven tracks are reprised
in the concluding Cycles.
For more information, visit sunnysiderecords.com. This project is
at Threes Brewing Jun. 9th and Smalls Jun. 16th. See Calendar.
Live at Okuden
Jungle: Mat Walerian/Matthew Shipp/Hamid Drake
(ESP-Disk)
by Mark Keresman
P olish reed player Mat Walerian is one of those rare
musicians whose approach seems to span several eras
of jazz history, sometimes even within the same solo.

The alto saxophone is his main axe and he plays in a
deliberate, measured manner; while some noodle and
doodle until an idea alights, Walerian takes his time
yet never comes off as ponderous or tentative.

This double-CD set, recorded live in November
2012 at Toru, Polands Okuden performance space, is
the recorded debut of Jungle, the trio of Walerian,
piano ace Matthew Shipp and drummer supreme
Hamid Drake (Walerian, while mostly self-taught,
studied under both; he recorded a duo album with
Shipp, also live from Okuden, in May 2012). Like
Walerian, Shipp is primarily an outside/free player,
but both are of the generation of out cats that can
embrace rhythmic impetus, congenial inside playing
and influences outside jazz.
The angular Gentle Giants features Walerian
alternating tart, sleek blues phrasing with some
gloriously agitated, slightly vocalized runs, Shipps
percussive clusters and Drakes clattering yet
supportive drumming. One For begins with some
luminously lyrical Shipp, then Walerian gets furious
and cathartic, adding smooth, harmonious and even
suave bits along the way, Drake matching each gent in
intensity. The 18-minute suite-like Coach On Da Mic
begins with Shipp playing free(ly), spiky notes flying
out of the speakers (or earbuds)enter Walerian with
some gorgeous bluesy clarinet that grows to growl,
groan and shriek to the heavens. Jungle juxtapose the
cool with the hot, wild n wooliness with elegance and
gentle introspection with purifying proclamations.
For more information, visit espdisk.com. Shipp is at Judson
Church Jun. 9th with Jemeel Moondoc and Drake is there
Jun. 7th, 9th and 11th, all as part of Vision Festival. See
Calendar.
The Austrian Cultural Forum New York presents:
Austrian Jazz Guitarist
Andy Manndorff
solo acoustic guitar
performing music from his forthcoming

album, Pandora.
Thursday, June 2, 2016

07:30 PM at the ACFNY
(11 East 52nd Street, New York, NY 10022)
Manndorffs virtuoso technique is both

spontaneous and earthy, bringing forth a
multitude of colors and diversity of moods.
get your free ticket at www.acfny.org
19
The Distance
Michael Formanek Ensemble Kolossus (ECM)
by Stuart Broomer
Michael Formanek is best known as a bassist, whether

leading his own quartet with saxophonist Tim Berne or
in cooperative groups like Thumbscrew with guitarist
Mary Halvorson and drummer Tomas Fujiwara.
However, he also has a significant interest in large
ensembles and large-scale composition. His duties at
the Peabody Conservatory in Baltimore include
directing the Peabody Jazz Orchestra and he has
performed his Open Book there, a composition for
symphony orchestra and jazz soloists.

The Distance brings this side to the fore, introducing
his Ensemble Kolossus, an 18-member group that
follows the traditional big band model of five reeds,
four trumpets and four trombones then complements
it with the strings and percussion of Halvorson,
Fujiwara and Formanek as well as pianist Kris Davis
and Patricia Brennan on marimba, lending an orchestral
breadth to the traditional notion of a rhythm section.
To devote himself to his role as bassist, Formanek
enlists another bassist, Mark Helias, to act as conductor.

The scale of the band is no greater than the scale of
the work. The CD begins with the brief title piece, an
aptly named work that is filled with space, matching
airy held notes with a mysterious and dissonant

melody and a moody, reflective solo by tenor
saxophonist Brian Settles. Then follows an Exoskeleton
Prelude: its initially a similarly impressionistic piece,
which builds from deeply resonant unaccompanied
bass, through lyrical orchestration to the improvising
trio of Formanek, Davis and Fujiwara and increasingly
tense and anticipatory lines from the brass.

These two works serve almost as meditations,
preparing the listener for whats to come, the eightpart Exoskeleton, a work that is sometimes intense,
sometimes relaxed, exploring in myriad ways the
titles notion of reversal, mixing compositional styles
and traditions while providing solo spots for a
wonderful collection of improvisers, ultimately turning
increasingly to collective improvisation. The brassy
punctuations of Impenetrable may suggest
something from Anthony Braxtons Creative Orchestra
Music 1976 while Beneath the Shell owes a certain
debt to the slippery sounds and harmonies of Olivier
Messiaens Turangalla; there are more than passing
allusions to Charles Mingus methodology while
Echoes may not sound out of place in a Maria
Schneider performance. @heart and Without
Regrets are highlighted by the transformative
individual contributions of trombonist Ben Gerstein
and Halvorson, respectively.

With Part 6, the happily titled Shucking while
Jiving, group improvisation becomes a key component,
both with and without composed components, initially
with a brawling ensemble of Settles, Berne on baritone
saxophone, trombonist Jacob Garchik and bass
trombonist Jeff Nelson. A Reptile Dysfunction
includes a bright, chirping maze of marimba, drums,
piano and Oscar Noriegas clarinet while the concluding
Metamorphic has an improvised passage by the full
orchestra, a standout solo by trumpeter Dave Ballou
and dense, composed conclusion appropriate to the
works breadth and ambition.
This is a remarkable debut for Formanek as
orchestra leader and composer. He has put together a
work in which the compositions and the band fuse
multiple voices into a singular entity.
For more information, visit ecmrecords.com. Formanek is at
The Jazz Gallery Jun. 10th-11th with Mary Halvorson,
Urban Meadow Jun. 12th with Tomas Fujiwara as part of
Red Hook Jazz Festival and Ibeam Brooklyn Jun. 17th-18th
with Devin Gray. See Calendar.
June 14th
Mike Longo Trio annual
Oscar Peterson
Celebration
June 21st
Bill Warfield Band
June 28th
Rosemary George
Ensemble
New York Bahai Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
Behind the Vibration

Rez Abbasi & Junction (Cuneiform)
by Ken Micallef
Back in fusions heyday Frank Zappa was quoted as

saying, Jazz isnt deadit just smells funny. Rez
Abbasis latest release could be called a fusion record,
but its also a serious jazz recording and it thankfully
has no odor.

Of late, Abbasi has changed hats more often than
the Queen of England. 2014s Intents & Purposes turned
70s fusion on its ear, Abbasi reimagining classics from
Weather Report, Return To Forever, The Headhunters,
The Eleventh House and others with an entirely
acoustic palette. Prior to that Abbasi investigated all
manner of contemporary electric improvisation.
Behind the Vibration peeks into a different fusion era,
one without definitive roads to its destination.

Joined by Mark Shim on tenor and MIDI wind-
controller, Ben Stivers on gritty Hammond B3, Rhodes

and additional keyboards and rising drum star Kenny
Grohowski, Abbasi rips his liquid DAngelico semihollow body guitar through material recalling Allan
Holdsworths Secrets, Bill Connors Step It and even
further back to The Headhunters and, if stretching the
reference, Brand X. Abbasi and Co. perform his
originals with feet planted in fusions past while
carving out a brave new future. The rhythmic burn can
be credited to 25-year-old Grohowski, who pours his
influencesincluding Vinnie Colaiuta, Chris Dave and
Jon Christensenthrough a uniquely kinetic vision.
Abbasis tunes fly and soar, sail around corners and
bang upside your head. For all its acetylene burn,
Abbasis band is graceful and the melodies sustainable
and engaging.

Holy Butter opens with an itchy unison guitar
and wind-controller melody juggled over a displaced
groove. Hammond B3 steam and lyrical guitar drive
the humid pulse of Groundswell, followed by the
intimate ballad Inner Context, which recalls a lost
gem
from
John
McLaughlins
Extrapolation.
Uncommon Sense begins slowly, then lifts off into
metric-modulation hyperspace. The cerebral chiming
of New Rituals slips and slides, glowing like
shooting stars, saxophone and guitar tracing its
circuitous melody over multi-rhythmic groove. Closer
Matter Falls rages like an electric shark, splitting
waves, surfing whitewater, sleek in its mission as king
of the sea. Similarly, Behind the Vibration cuts a swift
course through contemporary jazz with style and
substance.
For more information, visit cuneiformrecords.com. This project
is at Greenwich House Music School Jun. 11th and Urban
Meadow Jun. 12th as part of Red Hook Jazz Fest. See Calendar.
PHOTO BY MARCO GLAVIANO
EX-SS
World-renowned guitarist and composer Fabrizio
Sotti with his signature DAngelico EX-SS. His trio,
featuring Peter Slavov and Francisco Mela, releases
their highly-anticipated new album, Forty, on June
10th, 2016. Available everywhere.
WWW.DANGELICOGUITARS.COM
A cosmic rhythm with each stroke

Wadada Leo Smith/Vijay Iyer (ECM)
Celestial Weather
Wadada Leo Smith/John Lindberg (TUM)
by Philip Freeman
Trumpeter Wadada Leo Smith is a brilliant arranger,

having created works for small groups and large
ensembles, as well as solo albums, but some of his
most emotionally potent and beautiful work has been
when paired with just one other musician. In recent
years, hes recorded duos with saxophonist Anthony
Braxton (Organic Resonance and Saturn, Conjunct The
Grand Canyon In A Sweet Embrace), pianists John Tilbury
(Bishopsgate Concert) and Angelica Sanchez (Twine
Forest), bassist Bill Laswell (Akashic Meditation) and
drummers Jack DeJohnette (America) and Louis
Moholo-Moholo (Ancestors), among others. Each pairs
his uniquely dry, introspective horn playing with an
improvising partner of thoughtful and generous
temperament. These latest discs are further
demonstrations of Smiths empathy.

His collaboration with pianist Vijay Iyer, A cosmic
rhythm with each stroke, is an extension of their work
together in the final iteration of Smiths Golden Quartet
on the album Tabligh (Cuneiform, 2005) and the Golden
Quintet split release Spiritual Dimensions (Cuneiform,
2008-09). The bulk of the album is taken up by the
52-minute title piece, a suite broken up into seven
movements. Smiths trumpet, often muted, wanders to
and fro as Iyer creates an ominous, melancholy
atmosphere, exploring the low end of the keyboard
almost like Matthew Shipp at times. When Smith plays
open horn, though, his slightly smeared tone and long,
wavering but expertly controlled notes, with frequent
lunges into the upper register, are matched by flurries
from the keyboard. This isnt a purely acoustic album,
either; Iyer contributes subtle electronics in places
where theyll create maximum impact with minimal
input, mostly background hums and rumbles. On the
third movement, A Divine Courage, theres an
almost subsonic reverberation, which slowly develops
into a minimal bassline recalling John Carpenter s
movie soundtracks; it gives the main instruments an
additional resonance, like a layer of reverb.

Smith teams up with another Golden Quartet/
Quintet member, bassist John Lindberg, on Celestial
Weather. Unlike the more structured, if still free, duos
with Iyer, these pieceswhich, like the other album,
include a multi-part title suiteare fully improvised.
The energy level is much higher throughout and the
music is slightly more raw and unadorned, with no
electronic instruments present. Lindberg bows the bass
with a fierce vigor, squealing into the instruments
upper register and diving deep into its low notes;
Smith responds with fast, flickering runs and dense
bursts of notes. When the bassist plucks the strings, the
trumpeter s playing grows slower and more spacious,
but his trademark piercing power is always present,
even when hes growling at the very bottom of the
trumpets range, as he does on the two-part album
closer Feathers and Earth.

Taken individually, these two albums are stark,
beautiful statements. Taken together, theyre a
reminder of the staggering power of the nowdisbanded groups that featured all three of these men
working together.
For more information, visit ecmrecords.com and
tumrecords.com. Smith is at Judson Church Jun. 11th as
part of Vision Festival. See Calendar.
The Puzzle
Expansions: The Dave Liebman Group
(Whaling City Sound)
by Ken Dryden
Dave Liebman has so many diverse projects underway

in his career he is like the man balancing spinning
dishes on poles on The Ed Sullivan Show. Expansions is
one of his most fascinating bands, as it features two
talented young men he mentored as they grew up with
him in the Poconos: keyboardist Bobby Avey and reed
player Matt Vashlishan. The rest of the band is also of
high caliber with veteran bassist Tony Marino (a
frequent collaborator) and drummer Alex Ritz.

One of the joys of Expansions is its continuous
ability to surprise the listener, whether via challenging
originals or a jazz standard. Marinos For J.A. is
dedicated to the late pianist Jimmy Amadie. It evolves
from a tense vamp into free territory with Vashlishans
expressive alto saxophone and Liebmans darting,
eerie soprano, with Avey adeptly alternating between
piano and electric keyboard and a superb undercurrent
by the composer and Ritz. Liebmans playful setting of
Tadd Damerons Good Bait provides some comic
relief from the earlier intense tracks, though the solos
are every bit as adventurous, particularly Aveys
galloping exploration, which detours far from the
usual path. Vashlishans Sailing is a richly textured

feature for his ethereal flute, Liebman making a
delayed entrance on soprano, providing a bit of
contrast, while sublime electric keyboard, nimble bass
and whispering percussion provide the perfect
backdrop. Liebmans title track is the CDs centerpiece,
a mysterious, dramatic workout with strong
contributions from the rhythm section as they fuel the
intriguing harmonic interaction between the leader
and Vashlishan. Aveys Continues to Ignore is a
powerful protest song about U.S. treatment of Haiti,
incorporating Haitian-inspired rhythms to accompany
the melancholy lines of the reed players, with the
composer s pensive, often sparse piano used to great
effect.

Expansions is a band that demands total focus, not
for background listening but rather intellectually
stimulating music revealing new facets with every
hearing.
For more information, visit whalingcitysound.com. Liebman
is at Judson Church Jun. 12th as part of Vision Festival and
Mezzrow Jun. 17th-18th. See Calendar.
Blue Dialect
Mario Pavone (Clean Feed)
by Ken Waxman
GUILLERMO KLEIN
LOS GUACHOS V
SSC 1414 - IN STORES 6/3/16
or 20 years, Guillermo Klein has been creating some of

the most singular and exciting music for his highly adept
11-piece ensemble, Los Guachos. His compositional style
has been evolving over the years, though always utilizing
elements of jazz, folkloric music of his native Argentina, rock
and modern classical music. Kleins musical voice has
established a number of unique composing concepts. His
new recording, Guachos V, heralds his use of a new
method: symmetries. To highlight this work, Klein has created two suites, Suite Indiana and Suite Jazmin, that use
familiar works of the jazz canon and his own material
reworked using mirroring, inversions and retrogrades of harmonies and melodies to create new compositions.
P rose masters such as Ernest Hemingway wrote with
an economy of style, with not a word out of place. In a

musical context the concept can be applied to the
playing and composing of bassist Mario Pavone. Thats
because nine originals that make up Blue Dialect mostly
feature his trio members, pianist Matt Mitchell and
drummer Tyshawn Sorey. When Pavone steps forward
for a brief solo or to add pinpointed phrasing or motion
to a line, he strengthens the performance without
bringing attention to himself.
Pavone, 75, has been a proponent of this
philosophy for years, having honed his skills with
such masters of understatement as pianist Paul Bley
and trumpeter Bill Dixon. This adherence has marked
most of Pavones recording career, which dates to 1979,
when Mitchell was just four years old and Sorey was a
year away from being born.

Symbolically dedicating a session to propelling
the musical equivalent of le mot juste doesnt mean
abject seriousness, however. The playing is frisky and
effervescent. Mitchell, responsible for most theme
statements, mates a light touch with brisk invention:
his crinkling and skittish timbres on a tune like
Suitcase in Savannah could pass for Bley; a logical
build up leads to thrilling, but understated Herbie
Nichols-like swing on compositions such as Blue;
and, on Trio Dialect, a joint improvisation, his
agitated staccato flow borders on Cecil Taylor-like
freedom. He and Pavone function like a reporter and
editor. With the pianist storytelling at a midrange
tempo, string plucks and stops provide the breaks and
punctuation to the yarn. There are places where Sorey
rockets the tempo, but his percussive jabs are constantly
edited to marvelous restraint.

Blue Dialect upholds the virtues of economical
timbre placement while showing that sparse yet
focused improvising is as fulfilling as dense extended
performance.
For more information, visit cleanfeed-records.com. Pavone
is at Cornelia Street Caf Jun. 15th. See Calendar.
CHRIS CHEEK
SATURDAY SONGS
SSC 1453 - IN STORES 6/24/16
n his new recording, Saturday Songs, Cheek has utilized a multitude of techniques and influences to generate compositions that are stimulating to musical theorists
and foot tappers alike.
uch of his compositional styles effectiveness stems
from his love and use of the guitar. Cheek has always
been drawn to the instrument and its openness of sound, the
plugged-in aspects of the electric guitar and bass being literal driving elements of his ensembles sound. The fret masters
that he enlists for the recording include guitarist Steve
Cardenas, pedal steel expert David Soler and electric bassist
Jaume Llombard. The musical polymath Jorge Rossy rounds
out the ensemble on drums, vibes and marimba. The addition
of the vibes and marimba added a certain flexibility that
Cheek enjoyed, these fixed pitch instruments blended well
with the non-fixed pitch of the pedal steel.
iTunes.com/GuillermoKlein
iTunes.com/ChrisCheek
www.sunn ysiderecords.com
23
was written, as not only a bandleader and arranger,

but also as a pianist.
Hyman has lived through a lot of jazz piano
history: he reached adolescence during the Swing Era
and was a young adult when Thelonious Monk and
Bud Powell became influential in the bop world. His
love of a broad range of piano styles continues to serve
him well on House of Pianos.
House of Pianos
Dick Hyman (Arbors)
by Alex Henderson
For more information, visit arborsrecords.com. Hyman is at

Saint Peters Jun. 15th and at Tribeca Performing Arts
Center Jun. 16th as part of Highlights in Jazz. See Calendar.
Dick Hyman, now 89, has not been an easy artist to

categorize throughout his career. Jazz of the prebop
variety (mainly stride piano and swing) has played a
prominent role in his recorded output, yet he has
hardly been oblivious to bop. Hymans versatility is
very much in evidence on House of Pianos, recorded
live at Farleys House of Pianos in Madison, Wisconsin
on Jun. 1st, 2014. Farleys is not a jazz club but, rather,
a store that sells and repairs pianos. Farleys also offers
educational clinics as well as concerts and Hyman
lectured there the day before he performed.
Hyman,
playing
unaccompanied,
tackles
everything from Stephen Sondheims Send in the
Clowns and three Thelonious Monk gems (Blue
Monk, Ugly Beauty and Misterioso) to the Jerome
Kern standards Yesterdays and All the Things You
Are. Hyman plays two originals as well: his theme
from Woody Allens 1985 film The Purple Rose of Cairo
and music (originally played on organ) from a late
60s-early 70s version of the game show Beat the Clock.
Listening to Hymans spirited six-minute version of
Billy Strayhorns Take the A Train, one can hear
that he admires Duke Ellington, for whom the song
30
Trio Da Paz (ZOHO)
by Marcia Hillman
In this age of instant stardom and obsolescence, it is a

miracle when a group stays together for 30 years. Trio
Da Paz celebrates this event with their newest, aptlytitled album. The trioRomero Lubambo (guitar),
Nilson Matta (bass) and Duduka Da Fonseca (drums)
are virtuoso musicians from Brazil now based in New
York City. This album not only features their
musicianship but also demonstrates their talent as
composers with four songs by Lubambo, three by
Matta and a pair by Da Fonseca. The only non-original
is Samba Triste by legendary guitarist Baden Powell,
an early virtuoso of Brazilian jazz.

Uptempo items such as Lubambos Sweeping The
Chimney and Samba Triste spotlight the guitarists
chord voicings and lightning-speed runs while Mattas
command of both the high and low registers of his
instrument and Da Fonsecas pulsing drumwork and
playing of complex rhythms (as in Alana where he
changes meter from 15/8 to 6/8 to a double 4/4 time
and back to 15/8 with incredible ease) is featured
throughout.

30 years of working together has produced a group
that is of one musical mind. A prime example of this is
on Mattas Aguas Brasileiras where Lubambos solo
is picked up by Matta for his lead in his highest register
so seamlessly that it takes a few seconds before you
realize that you are no longer listening to the guitar but
to the bass. Kudos to Trio Da Paz for capturing the
sheer joy they feel when making music together.
For more information, visit zohohomusic.com. This group is
at Tribeca Performing Arts Center Jun. 16th as part of
Highlights in Jazz. See Calendar.
The Three Voices

Victor Prieto (s/r)
by Matthew Kassel
The accordionist Victor Prieto, instruments in hands,

looms large and jubilantly over a city skyline on the
cover of his new album. The skyline is actually two
cities mashed together, which is easy to miss if you
arent looking closely: New York and Ourense, Prietos
home city in northwestern Spain. The cover, Prieto

said in an email, represents his music and his life
between two cities, two continents and two cultures
(Galician Celtic and urban American).

Prieto now lives in New York, where you dont
find too many jazz accordion players. That gives him a
secret advantage: he can assert himself on the scene as
a leader and establish an easily recognizable voice.
That comes out in more ways than one on his fifth
release as a leader, as the name suggests. Prieto uses
the record to showcase, in the last couple of tracks (the
title track and The Vibration), a style of Mongolian
throat singing in which he manipulates his vocal
chords independently to make a multi-tonal braid of
sound. While intriguing, this is hardly the highlight of
the disc, which mostly features Prietos own sprightly,
dance-based compositions. (There are two covers:
Michelangelo 70, by Argentine composer Astor
Piazzolla, and Two Door, by jazz guitarist Brad
Shepik, who doesnt appear on the record.)

Prietos voice is most impressive when he puts his
incredibly dexterous fingers to his instrument and you
can hear, as in the first track Chatting With Chris, the
physicality of the act. At one point, he makes his
accordion wheeze with the intensity of a full church
organ while in the last few seconds of Recuerdos, he
elongates a high note that sounds strikingly similar to
a violin. Guests include pianist Arturo OFarrill (his
appearance on the plaintive ballad Papa Pin is
particularly lovely), saxophonist John Ellis, violinist
Meg Okura and Cristina Pato on gaita, a kind of
Spanish bagpipe. Jorge Roeder on bass and Eric Doob
on drums round out the rhythm section.
For more information, visit victorprieto.net. This project is at
Symphony Space Leonard Nimoy Thalia Jun. 21st. See Calendar.
THE STONE RESIDENCIES

LOUIE BELOGENIS
JUNE 21-JUNE 26
Andrew Bemkey
Blue Buddha
Rob Brown
Daniel Carter
Dave Douglas
Charles Downs
Trevor Dunn
Ken Filiano
Flow Trio
Lou Grassi
Mark Hennen
Dave Hofstra
Darius Jones
Adam Lane
Bill Laswell
Russ Lossing
Tony Malaby
Joe McPhee
Billy Mintz
Ikue Mori
Joe Morris
William Parker
Roberta Piket
Ryan Sawyer
Matthew Shipp
Ches Smith
Tyshawn Sorey
Twice Told Tales
Michael Wimberly
Kenny Wollesen
Latest release:
Blue Buddha
Tzadik 4010
Downbeat Magazine
The Sydney Morning Herald

Best Jazz of 2015
Burning Ambulance
full calendar at t h e s t o n e n y c . c o m
THE STONE is located at the corner of avenue C and 2nd street
Hes available now! Call Steves cell at 630-865-6849.
Manhattans
Only Independent
Drum Shop
Great vibe
Friendly, knowledgeable staff
Vintage and custom specialists
Stock always changing
Always buying
Midtown Manhattan
723 Seventh Avenue, 3rd / 4th Floor
New York, NY 10019 Ph: 212-730-8138
www.maxwelldrums.com
member s surnameplayful, cryptic, philosophical.

For more information, visit for-tune.pl and doublemoon.de.
Dominik Wania is at Jazz Standard Jun. 21st with Obara
International and Cornelia Street Caf Jun. 25th, both as
part of Jazztopad Festival Presents. See Calendar.
Live in Misk Mazowiecki
Obara International (ForTune)
The Other Side Of If
NAK Trio (Doublemoon)
by Fred Bouchard
P oland
has stood firm in the vanguard of jazz in

Eastern Europe since the 50s, in the wake of
enthusiastic swing bands like Melomani, with gleeful
anti-Soviet fervor embracing decadence and strong
boosts from Willis Conover s Voice of America radio
programs. Theres way too much history to go into
here so lets fast forward to today.

Drummer Jacek Kochan writes NAK Trios book
and alto saxophonist Maciej Obara writes all but two
for his bands live set at the House of Culture in Misk
Mazowiecki, a Warsaw suburb. Their common thread
is the commanding piano of Dominik Wania, a canny
wild-man with classical chops, adventuresome fluidity
and dramatic flair, skills he honed studying on
scholarship in Boston with Danilo Prez.
Wania anchors Obara Internationals linear
wanderings as Sleepwalker gathers momentum and
applies chordal glue as horn lines dip and fray on
Magret but he also flies untethered in widening
gyres of Cecil Taylor-esque lightning arpeggios on
M.O. and clambers through thorny horn harmonies
to illuminate the aforementioned Magret with
Bartk-ian winking fireflies.

Obaras lyrical alto has roots in Herb Geller and
Charlie Mariano, which bear fruit in free-blown
sections, of which there are many, as the set evolves in
a languid flowing jam. British trumpeter Tom Arthurs
tart tone and lean technique make for a modest
counterfoil, especially as horn solos often overlap.
A Norse rhythm section fills out the band: bassist Ole
Morten Vgan goes from energetic pizzicato into
meditative arco on M.O. and drummer Gard Nilssen
scores atypical solos with long, quiet rolls early on and
pensive brushes on the closing ballad Joli Bord,
reminiscent of the world-weary style of trumpeter
Tomasz
Stanko,
a
revered
ex-boss.
Wania
doublehandedly turns One For from somnolent
dirge into frisky swagger with dominant technique
and runaway ideas; the horns stand tall to witness his
rolling into an extended coda. And Wania powers the
lively climactic Idzie Bokiem with aggressive lockhand chugging, then storms into a commanding,
tumbao-flecked solo over tight bass and chattering kit;
when the horns falter, he comes back for more, firing
off new-world heat into old-world languor.

Voices are in better balance in the NAK Trio, where
the creative exhilaration is mutual and the intimacy
immediately apparent in the highly synchronized
Fortitude. The title track rises amiably in 6/8, its
jagged cross-rhythms played tautly yet at their ease.
Everything Is A Good Sign emerges as a relaxed,
melodic ballad that confidently gathers speed and
raises body temperature. Wooing to Woo plays with
short phrases with beats added, cheerful accelerations,
careful attention paid by all while tumbling headlong,
as Kochan slips from sticks to brushes for Michal
Kapczuks bass solo. Between Now and Never
begins as an introspective piano ballad then builds
steam with marvelous cross-rhythms. Kapczuk opens
I Have Two But One Is Not Minejumpy left-handed
funk with a shuffling sidestep and dry dialogue
between piano and electric keyboard. Illegal Sleeping
wraps this three-way conversation with more natty
polyrhythmic games and speedy, elliptical free-play.
Whee, baby. NAK? Its just the last letter of each
Live at Montreux (1993)

Al Jarreau (Eagle Rock Entertainment)
by John Pietaro
Al Jarreau is an icon of crossover jazz. Far from a

slight, as the vocalist is one of the true talents of the
genre, an auteur of quality material in the company of
leading instrumentalists, he wears the honor well. For
the uninitiated, Jarreau was a staple of programming
on New Yorks long-lost WRVR-FM jazz radio due to
his unique reimagining of jazz vocals. His abilities are
on fine display on this live recording from 1993.
Though he appears to revel in faithfully reproducing
the hits, Jarreau leaves just enough space for
improvisation to keep the music fresh. His dreamy,
reaching sound, riding on subtle funk propelling the
rhapsodic, gospel-like turns of phrase, is only enhanced
with scat vocals to elevate the listener further still.

Super-star studio/fusion musicians like drummer
Steve Gadd, guitarist Eric Gale, keyboardist Joe
Sample, bassist Marcus Miller, synthesizer player
Philippe Saisse, percussionist Paulinho Da Costa and
horn player Patches Stewart lay it down well, though
many may wish they got to open up more. Still, there
are moments: check out a very hip Sample piano solo
on Mas Que Nada (yes, the wonderful old Sergio
Mendes hit) or Miller s hyper-funky flight on the
closing cut. Sample, Stewart and Gale also color The
Beatles Shes Leaving Home beautifully blue.
The selections cover a swath of Jarreaus early
discography, beginning with 1975s We Got By, but he
throws in a few surprises. Highlights include the
aforementioned titles, Gershwins Summertime,
Jarreaus Alonzo and a slow take on Samples Put It
Where You Want It. If Jarreau had closed the set with
his noted version of Take Five, all may be well in the
world, at least for a while.
For more information, visit eagle-rock.com. Jarreau is at Town
Hall Jun. 25th as part of Blue Note Jazz Festival. See Calendar.
While Were Still Young

Patrick Cornelius (Whirlwind)
by Thomas Conrad
Since
2006, Patrick Cornelius has released a good

record roughly every two years. He is a little late with
his new one, probably because it is the most ambitious
undertaking of his career. His first five albums showed
a top-tier alto saxophone improviser. While Were Still
Young is his breakout as composer, arranger and auteur.
It is a six-part suite inspired by the poetry of A.A.
Milne. It is initially paradoxical that Cornelius
describes his tribute to another artist as a musical

self-portrait but in Cornelius family, the verse of
Milne has been inseparable from childhood. His
grandmother read Milnes poems to his mother. His
mother read them to him. When his own daughter was
born, the family copy of the book that gives this album
its name was passed on to Cornelius.

This music about the joy and wonder of youth is
affirmational but never sentimental and only
sometimes tender. The band is Jason Palmer (trumpet),
John Ellis (tenor saxophone/bass clarinet), Nick
Vayenas (trombone), Miles Okazaki (guitar), Gerald
Clayton (piano), Peter Slavov (bass) and Kendrick
Scott (drums). Cornelius writes graceful melodies and
then sets his adept ensemble into motion to take his
themes through many shapes and colors. His
arrangements, intricate with secondary motifs and
contrasting counterlines, create vivid musical
counterparts for Milnes imagery. On Water Lilies,
Okazaki portrays quiet pools; Clayton bathes them in
light; Palmer introduces the action of the winds.

All eight individuals contribute compelling input,
but their solos are organic to the suite. They slip
seamlessly into and out of Cornelius evolving forms.
Vespers is probably Milnes best-known poem.
(Hush! Hush! Whisper who dares!/Christopher Robin
is saying his prayers) Okazaki opens it, his notes
glittering like stars in a night sky. Clayton, Palmer and
Cornelius each take the rapt moment away, expanding
and intensifying the story. Vespers fades away as it
began, with peaceful nocturnal guitar.

By the end, Cornelius self-portrait belongs to all of
us. In art, the universal always begins with the personal.
For more information, visit whirlwindrecordings.com. This
project is at Cornelia Street Caf Jun. 26th. See Calendar.
Oscar, with Love

His piano, his friends, his music, their way
To commemorate the 90th birthday of jazz piano legend, Oscar

Peterson, Kelly Peterson has produced a world premiere recording of
never-before heard original Oscar Peterson compositions, by some of
the most celebrated jazz artists in the world.
Oscar, with Love is available as a three-CD boxed set, a Deluxe
Edition CD with a 100-page commemorative book, a five-LP Limited
Edition Vinyl set and a very special Collectors Edition.
This recording easily ranks

among the best of the year.
Chicago Tribune
A one-of-a-kind tribute.
The New York Times
Oscar, with Love is an

album to be applauded and
treasured.
All About Jazz
Exclusively available at www.oscarwithlove.com
Fathers
Day Jazz
Brunch
Featuring
Black Art
Jazz
Collective
Co-Presented by
the brooklyn Conservatory of MusiC
& exCelsior MusiC studio
sunday June 19 | 3:00 pm

Wayne escoffery tenor saxoPhone
Jeremy Pelt truMPet
James Burton III troMbone
Victor Gould Piano
Vicente archer bass
Johnathan Blake druMs
Early Americans
Jane Ira Bloom (Outline)
by Elliott Simon
Sidney Bechet, Steve Lacy and fond memories of John
Coltranes version of My Favorite Things aside, the

soprano saxophone had not been among this reviewer s
favorite listening experiences. That is until Jane Ira
Bloom. Her warm, mellow tone (yes, I am speaking of
a soprano saxophone), bluesy swing, smooth phrasing
and spot-on intonation shatters all misconceptions.
Early Americans, surprisingly her first trio release,
presents these essentials of her sound and more in an
intimate setting.
Blooms mastery of the lower registers is on
display early with opener Song Patrol. Wonderfully
understated, bassist Mark Helias and drummer Bobby
Previte combine for a rhythm section that doesnt
overpower the more delicate aspects of Blooms
approach. With the exception of a poignant solo version
of Leonard Bernsteins Somewhere to close out the
session, the remaining 12 tunes are Bloom originals
and traverse an array of styles. The Native American
cadence of Dangerous Times does support some
judicious nasal snake-charming but Bloom is at her
best as the session heats up. The band changes direction
immediately after with Nearly, a beautiful tribute to
late trumpet player Kenny Wheeler.
Hips and Sticks has a soulful spirituality
reminiscent of vintage Pharoah Sanders while Singing
the Triangle is a bluesy adventure prominently
featuring Helias hip approach. Things get Sly Stone
funky with Rhyme or Rhythm and then abruptly
calm down as Mind Gray River washes over you like
a hot Southern rain. Previte makes sure the soundscape
stays loose on Cornets of Paradise and Bloom uses
shades of Bechet for a nod to both freedom and
Dixieland. Gateway to Progress and Big Bill revel
in the aforementioned roominess and Bloom and Co.
cook in these environs.
While there are some lighthearted moments,
Blooms soprano saxophone mainly speaks in serious
sentences on Early Americans.
For more information, visit janeirabloom.com. This project
is at Cornelia Street Caf Jun. 5th. See Calendar.
BKCM.ORG/EVENTS
$25 Food & drinks included
Covered
Robert Glasper (Blue Note)
Everythings Beautiful
Miles Davis & Robert Glasper (Columbia-Legacy)
by Eric Wendell
P ianist Robert Glasper has been the cupid to the will

58 Seventh Avenue, Brooklyn NY 11217
718-622-3300
This program is made possible by the New York State
Council on the Arts with the support of Governor
Andrew Cuomo and the New York State Legislature, and
supported, in part, by public funds from the New York
City Department of Cultural Affairs in partnership with
the City Council.
they, wont they? flirtation that has existed between

jazz and hip-hop for years. He has kept a foot in each
art form with brilliant results in both genres. On his
most recent outings Covered and Everythings Beautiful,
Glasper establishes that jazz may be his language, but
hip-hop is his voice.

Covered is an interesting take on both the live
album and covers album. Recorded in an intimate
setting at Capitol Records Studios in Los Angeles,

Covered features his trio of bassist Vicente Archer and
drummer Damion Reid, the rhythm section from his
previous albums Canvas and In My Element (Blue Note
2005 and 2007, respectively), as they interpret several
notable covers as well as selected material from
Glasper s catalogue.

Glasper immediately hits his stride on I Dont
Even Care, plaintive piano performing against a
frenetic drumbeat creating a sprawling dynamic.
Glasper s take on Victor Youngs Stella By Starlight
is both raucous and sentimental, torn between sudden
melodic outbursts and ornate passages. The covers on
the record attempt to canvas a wide array of material,
including Radioheads Reckoner and Joni Mitchells
Barangrill, both unfortunately feeling way too
straightforward coming from Glasper s fingertips.
The album is at its most successful when it
attempts to dig deep for emotions. Glasper aims for the
funny bone on In Case You Forgot, where he quotes
both Cyndi Lauper s Time After Time and Bonnie
Raitts I Cant Make You Love Me, delighting the
audience. On the other side is the closer Im Dying of
Thirst, which features a spoken word section of a
child reading a list of people that have died at the
hands of police brutality. Its a meditative end to an
album showing that Glasper doesnt just want to
entertain but leave the listener to contemplate.

On the other side of the spectrum is Everythings
Beautiful, a reimagining of several Miles Davis master
takes and outtakes featuring notable contemporary
R&B and hip-hop artists like Illa J, Erykah Badu and
Phonte as well as one-time Davis guitarist John
Scofield. Glasper and his guests beautifully weave a
tribute to the legendary trumpeter.

What is so noteworthy about Everythings Beautiful
is how consistently groove-oriented the music is, with
every beat inviting a bounce, every note adding nuance
and every song resulting in a smile. From the breathy
succulence of vocalist Bilals performance on Ghetto
Walkin to Phontes rhymes on Violets, the sheer joy
and love that permeates from Glasper and his guests is
hard to resist.

A highlight is Maiysha (So Long), Glasper s
electric piano solo from 2:50-3:20 providing a juicy,
lively tone that springs off the static drumbeat. Little
Church feels dream-like as the swells of sound become
transcendent.

The most direct link to Miles is Glasper s take on
Milestones, which features a beautifully steadfast
performance from singer Georgia Anna Muldrow,
taking the Miles standard to new heights.
For
more
information,
visit
bluenote.com
and
legacyrecordings.com. Glasper is at Blue Note Jun.
21st-26th. See Calendar.
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The Mood Im In
Miles And Miles Of Swing
ft: Warren Chiasson, Jay Leonhart

and Ronnie Bedford
ft: Roland Hanna, George Mraz

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ft: John Pearce, Paul Morgan,

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ft: Marky Markowitz, Al Cohn,

Scott Hamilton, John Bunch
and Milt Hinton
PCD-7038
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Bill Watrous Quartet
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Coronary Trombossa!
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ft: Tom Garvin and Peter Donald
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Supported by
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La Zorra
Bill Watrous Quartet (Famous Door-Progressive)
by Scott Yanow
Trombonist Bill Watrous, who turns 77 this month,

first gained attention for the two albums recorded with
his Manhattan Wildlife Refuge Big Band for Columbia
in 1974-75. He made some of his finest small group sets
for the Famous Door label, leading five impressive
albums during 1973-83. After moving to Los Angeles in
the late 70s, Watrous became involved in jazz
education. While Watrous has worked in the studios
and appeared in local jazz clubs in the years since, he
has recorded much less frequently and tends to be
overlooked despite his continuing excellence.

Watrous has long had the ability to play boporiented music as fast as any other trombonist while
always displaying a beautiful tone. La Zorra, originally
recorded for Famous Door in 1980, features him in top
form leading a quartet/quintet of Jim Cox on acoustic
and electric pianos, bassist Tom Child, drummer Chad
Wackerman and occasionally Dave Levine on
percussion and vibraphone.

The opening title track is ironically the most dated
performance due to the Fender Rhodes (Cox is much
stronger on piano) and the period rhythms. However,
despite that, the opening four-minute trombone solo is
a bit wondrous. Jitterbug Waltz would have made a
better opener; it is a true rarity in Watrous discography
as an unaccompanied trombone solo. He alternates his
melodic improvising with some low-note multiphonics
used for punctuation. Mudslide Solly, an uptempo
original, has rewarding solos from the trombonist, Cox
(this time on piano) and Child.

Harry Warren-Al Dubins Shadow Waltz, an
obscure tune from the film Gold Diggers of 1933 worth
reviving, is given a rollicking treatment. How About
You? begins with a slow melody chorus and then,
after Watrous takes an explosive break, is taken at a
swinging pace. Watrous tosses in an unaccompanied
chorus in the middle of his solo. Both The Song Is
You and the bonus cut There Is No Greater Love are
taken at burning tempos Watrous handles effortlessly.

La Zorra is one of Bill Watrous finest recordings
and serves as a perfect introduction to the playing of
the brilliant trombonist.
For more information, visit jazzology.com
Talk Thelonious
Terry Adams (Clang)
by Joel Roberts
A lot of pianists have recorded tributes to Monk but

few are as unique and personal as Talk Thelonious, the
new release from Terry Adams, longtime keyboard
maven for the hyper-eclectic rock band NRBQ.
Adams is no newcomer to Monks music. He
befriended Monk in New York in the early 70s and has
been playing Monk tunes with NRBQ for years,
alongside the bands high-spirited mix of rock, pop,

blues and just about everything else. Its a quirky
formula the group has been honing since it was formed
way back in 1966.

Talk Thelonious, recorded live in a Vermont club in
2012, features Adams idiosyncratic arrangements of a
dozen Monk compositions, performed with current
members of NRBQ (Adams is the last original member
still with the group) and some guests. The album opens
dramatically, Adams playing Reflections on pipe
organ, before switching to acoustic piano, where he
proves his chops in a traditional trio setting. Elsewhere,
Hornin In gets a rollicking, rockabilly treatment
with a terrific turn from guitarist Scott Ligon. Monks
Mood is appropriately moody with multiinstrumentalist Jim Hoke doubling on harmonica and
pedal steel guitar while Ask Me Now is performed
as a tender duet for Adams on piano and Ligon
(another accomplished multi-instrumentalist) on
Hammond B3 organ. Adams even revisits Monks take
on the childrens song This Old Man (retitled That
Old Man) featuring, naturally, Hoke on ocarina.

The two standout cuts come at the end and typify
Adams eccentric approach and willingness to cross
any and all musical boundaries. Straight No Chaser,
one of Monks most familiar tunes, is reimagined as, of
all things, a slice of Bob Wills-inspired Western swing,
replete with pedal steel guitar, slap bass and saloonhall piano. Thats followed by something completely
different and unexpected: a lush, beautiful studiorecorded version of Ruby, My Dear with strings. Its a
fitting end to Adams heartfelt, entertaining and utterly
original spin on the music of Monk.
For more information, visit nrbq.com. Adams is at The
Stone Jun. 17th with Hal Willner. See Calendar.
JULY 1928
ReNew
Shunzo Ohno (Special Sessions Music)
by Terrell Holmes
Trumpeter Shunzo Ohno presents songs with a

striking blend and balance of musical and cultural
influences on his excellent new album ReNew.

From the drop of the bass and drums, opener Easy
Does It confirms Miles Davis as Ohnos main stylistic
influence. With its funky street-corner cool and Ohnos
smooth, measured lines, this song is like the guy who
knows hes cool but doesnt need to say it. Ohno builds
solid harmonies with clear logic and rock-steady
tonality. Miles is his muse but Ohno has his own style,
playing with crisp rhythm and spacing, occasionally
underscoring his ideas with clustered trills.

The title cut is an emotive ballad, contemplative
and developed gradually, unfolding like one of those
elapsed-time films of flowers blooming. Ohno, guitarist
Paul Bollenback and keyboardist Clifford Carter
complement each other perfectly (Ohnos daughter,
Sasha, a cellist, joins her dad for the lovely reprise of
the tune). Another ballad, Alone, Not Alone, which
sounds like it has Round Midnight somewhere in its
lineage, is spare throughout and melancholy at its
edges, with Ohno overdubbed on trumpet and Carter
mimicking flute on the keys.

Ohno is admirably fluent in several subsets of
jazz, as he proves with Musashi and Leas Run,
forays into so-called acid jazz fueled by the passionate
vocals of slam poet George Yamazawa. His words are
inspirational and the pace is upbeat and urgent.
Returning to Miles, one may think of Doo-Bop or,
perhaps, hip-hop meets hagakure.

Ohno is quite adept at playing in the classic style.
Song for Sensei, written by bassist Buster Williams,
is a perfect study in hardbop execution, sparked by
Ohnos soaring play and a fantastic solo by Bollenback.
First Step is a similarly fierce race to the finish,
relentless drumming setting the pace. The percussive
genius of Cyro Baptista, tabla work of Ray Spiegel and
more of Carter s keyboard wizardry fuel the wonderful
Tairyo Bushi, a Japanese folk song Ohno translates
nicely into the jazz idiom.

ReNew will have something for everyone. All of
the songs are on point and the energy and enthusiasm
that Ohno and his fellow players bring to this project is
palpable throughout.
JIMMY GREENE
Tenor Sax
DONT MISS A BEAT

of summers hottest jazz festival with
artistic director BILL
CHARLAP
and six sizzling lineups.
FREDDY COLE
DICK HYMAN
JIMMY GREENE
HOUSTON PERSON
CAROL SLOANE
TED ROSENTHAL
GENE BERTONCINI
ANAT COHEN and many more!
Featuring
SPECIAL EVENT!
Screening of feature documentary
For more information, visit shunzoohno.com. Ohno is at

Club Bonafide Jun. 25th. See Calendar.
VINCE GIORDANO
THERES A FUTURE IN THE PAST
Sun, Jul 10, 6 pm
NEW YORK PREMIERE
ORDER TODAY!
92Y.org/Jazz | 212.415.5500
92nd Street at
Lexington Ave, NYC
An agency of UJA-Federation
Join Vince Giordano, Bill Charlap and

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

McPartland in 1994 and a lasting friendship was
developed. Pikets new album is a remarkable tribute
to her late friend, celebrating McPartland as a composer
and Pikets own composing, arranging and playing.

McPartland, who died in 2013, composed six of
the eight tunes. The opener is Ambiance and this
arrangement realizes McPartlands interest in Herbie
Hancock and Wayne Shorter. The impressionistic
melody is fueled by the horn section of Steve Wilson
(flute and alto), Virginia Mayhew (tenor saxophone)
and Bill Mobley (trumpet). Wilson and Piket solo
impressively over the distinctive mood of the changes
spurred on by the rhythm section of bassist Harvie S
and drummer Billy Mintz.

Of special note here is the inclusion of McPartlands
ballad Twilight World with lyrics by Johnny Mercer.
After a poignant introduction, with what sounds like
Piket playing inside the piano, guest vocalist Karrin
Allyson beautifully intones the luscious melody with
only Piket as accompaniment. (The idea for the duet
was suggested by producer Todd Barkan.)

McPartland is shown as an open-minded composer
on four other tunes: bittersweet In the Days of Our
Love; mournful and soulful Threnody (McPartlands
recollection of Mary Lou Williams); exotic Time and
Time Again and Kaleidoscope, the ever-changing
tune that served as the theme for Piano Jazz.

The title track and Saying Goodbye are Piket
tunes and they touch on the broad interests of
McPartland the musician and the person. The former is
a cooker with an intriguing melody and brief pointed
solos by Mayhew, Piket and Wilson while Piket played
the latter on McPartlands last Piano Jazz show and the
host liked its expression of positive sense of loss. Piano,
bass and trumpet solo and help express ongoing love
for this great woman of music.

For more information, visit thirteenthnoterecords.com. This
project is at Ibeam Brooklyn Jun. 4th. See Calendar.
Erik Friedlander
@ The Stone June 7 - 12
12 Sets / 11 Different Bands / 6 Premieres*

Sets are at 8p & 10p
The Stone is located at Avenue C and 2nd Street
June 7
8 pm - John Zorns Bagatelles: Mike Nicolas/Erik Friedlander
10 pm - Claws & Wings: Erik Friedlander, Sylvie Courvoisier, Ikue Mori
June 8
*8 pm - 50 Miniatures for Improvising Quintet: Jennifer Choi,
Sylvie Courvoisier, Trevor Dunn, Michael Sarin, Erik Friedlander
*10 pm - Vanishing Point: Craig Taborn/Erik Friedlander (cello)
June 9
*8 pm - Black Phebe "RINGS": Shoko Nagai, Satoshi Takeishi, Erik Friedlander
*10 pm - Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith
June 10
8 pm - Broken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander
*10 pm - Arrullo de la Noche Honda: Erik Friedlander, Lucia Pulido
June 11
*8 pm - The Time Quartet: Erik Friedlander, Mark Helias, Uri Caine, Ches Smith
10 pm - Oscalypso: Michael Blake, Erik Friedlander, Michael Sarin, Trevor Dunn
June 12
8 pm - Illuminations: Erik Friedlander
10 pm - Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander
For more info visit:

erikfriedlander.com/calendar
We the Artists Ask YOU to Help Sustain Vision Festival
at artsforart.org/support
An Open Letter
FOR YEARS, We Artists have looked forward to presenting our work
at Vision.
AFA runs programs that bring Improvisation to underserved children.

We hold meetings and panels to voice our concerns.
Because the Arts For Art Vision Festival is unlike any other festival.
Arts for Art has achieved an important place in the global

cultural landscape.
It is run by artists for artiststo help build community and forge

alliances and make sure that the contributions of
important FreeJazz Artists will be Visible and Celebrated.
This year several of their major donors find

themselves unable to donate at a loss to AFA
of over $30,000.
AFA receives no support from major corporations.

It is unique in presenting the Founders as well as the
new generation of creative improvising artists.
the creative option
June 7 - 12, Judson Church, NYC
AFA works to pass on the ideals to new diverse

generations of artists.
AFA stands for idealism and SOCIAL RESPONSIBILITY.
This year the city, after 18 years of consistent

support, cut funding to many small
organizations, including AFA.
This is an emergency Vision Campaign and

the donations will help stabilize Arts for Art and cover festival costs.
We the Artists ask that you JOIN US in Support of this important festival.
signed
William Parker
Henry Grimes
Bob Holman
Hamid Drake
Rob Brown
Karen Borca
Cooper-Moore
Roscoe Mitchell
Chris Dingman
Michele Rosewoman
Ras Moshe
Alvin Fielder
Larry Roland
Michael Bisio
Mike Reed
Jen Shyu
Matthew Shipp
William Hooker
Wadada Leo Smith
Steve Swell
Andrew Cyrille
Jason Hwang
Dave Burrell
Jo Wood-Brown
Oliver Lake
Jemeel Moondoc
David Mills
Hill Greene
James Brandon Lewis
Joel Futterman
Fay Victor
John Zorn
D.D. Jackson
Newman Taylor Baker
Marc Ribot
Andrew Cyrille
Milford Graves
Hamiet Bluiett
Quincy Troupe
Connie Crothers
Elektrotropizm
Zbigniew Chojnacki (ForTune)
Lungfiddle
Adam Matlock (Off)
by Clifford Allen
While accordion has a lengthy history in jazz, its far

from a common instrument. Indeed, it probably has far
more detractors than supporters, which is unfortunate
because the accordion is an incredibly versatile axe. The
most visible contemporary practitioners fall squarely in
the avant garde realm, building on expanded palettes
and a clear understanding of the instruments rich
preexisting vocabulary.
On the young Polish accordionist Zbigniew
Chojnackis unaccompanied debut Elektrotropizm, he
supplants a grimy Hammond B3-like insistence with an
array of pedals and a laptop (as well as occasional
wordless vocals). The music ranges from bright, folksy
melodies, like the closing Tuwim, to the fantasia of
measured blurts and sine-abetted darts that begins the
four-part Suite central to the disc. By its third section,
Chojnackis deft keyboard work and supple bellows are
in full view, creating intricate chordal patterns
advancing and receding in relation to dramatic melody
fragments, halting in curtailed blows as he builds an
emphatic slink into the lengthy fourth parts honking
minimalism. Elektrotropizm is a flawless, vast exploration
arrived at through singular means.

Accordionist, vocalist and composer Adam Matlock
is based in New Haven and is mostly known for his
work in the Tri-Centric orbit of composer Anthony
Braxton and related ensembles (Broadcloth; Dr.
Caterwauls Cadre of Clairvoyant Claptraps). Lungfiddle
is his latest acappella effort, a seven-tune outlay of
driving button-flecks, chewy particulars and whirling
drone. Matlock is a harried technician with frenzied
clarity and, unlike some of his peers, he avoids
electronics entirely. In hearing the controlled panoply
exhibited on this set, its hard to believe this constant
amalgam of breath and finger motion is unadulterated
yet the music shouldnt be entirely prized for physique,
as out of pure, shapely emotion and breathtaking runs
occasionally emerge fully realized structures. In the
pantheon of solo recordings of any stripe, accordion or
otherwise, Lungfiddle is a stunning achievement.
For more information, visit for-tune.pl and off-recordlabel.
blogspot.com. Matlock is at Soup & Sound Jun. 25th. See Calendar.
Buoyancy
Ingrid Laubrock/Tom Rainey (Relative Pitch)
by John Sharpe
It should come as no surprise that a duet by a husband
and wife team may be described as deeply personal.

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

journey distinguished by the principals fondness for
twists in the road.

Theres often a bracing sweetness to Laubrocks
progressions, perhaps reflecting the intimate context.
Both are masters of textural invention, allied in the
drummers case to an expansive rhythmic wit. Thats
demonstrated by the considered exchange that opens
the title track, where tenor banters conversationally
against pulsing cymbals. Charged animation comes
when an episode of staccato saxophone prompts martial
drum cadences, ramping up the intensity, until a return
to the initial gambit. And both know how to defy
expectations as exemplified by Twenty Lanes, which
generates a more discursive trip than most. After a start
of pattering percussion like lapping waves against
barely audible soprano tones, Laubrocks foghorn blurts
shatter the mood. In empathy Raineys abrupt
drumbeats erupt from a low-volume crackle. An
unforced evolution common to each of these pieces
finally leads to a sprightly folk dance, illuminated by
skronk over a snappy tattoo.

A similar trajectory holds sway on the briefer
The Museum Of Human Achievement, where a gentle
ruminative opening suddenly pivots on a contorted
phrase to take a darker turn with rumbling toms and
overblown squawks. Thunderbird shows some of the
unexpected destinations where such capers can lead.
It features droney tenor and furtive percussive rustlings,
set amid lots of space. Rainey contributes an emphatic
unaccompanied flourish, before the piece finishes with
a steady pulse fading to silence.
For more information, visit relativepitchrecords.com. This
project is at Barbs Jun. 15th and Zrcher Gallery Jun. 30th.
See Calendar.
Escape Velocity
Theo Croker (OKeh)
by George Kanzler
Trumpeter
Theo Croker and his band DVRK FUNK

bring a decidedly pop-funk electric orientation to his
sophomore recording, one not quite as eclectic as his
debut AfroPhysicist. The 15 tracks range from just over
the two minute mark to a couple that barely broach five.
With heavily layered rhythms and textures and
emphasis on ensemble themes over improvised solos,
many of these tracks resemble funk-jazz tunes suitable
for commercial radio stations.

Croker is front and center as trumpet lead and
soloist, often layering his playing with reverb and/or
overdubbing lines from open trumpet and wah or
Harmon-muted trumpet. His open sound is tart and low
vibrato, capable of growls and clean high, long notes as
on Meditations, one of the few acoustic (sextet) tracks,
a recollection of hardbop with an elongated tag finale.
He displays creative flair on the duo track A Call to the
Ancestors, soloing over African percussion with open
trumpet reminiscent of Hugh Masekela, but layered
with bleats from trumpet mouthpiece. At the center of
the album is a pair of tunes with Black Lives Matter
inspiration: We Cant Breathe evokes the killings of
Trayvon Martin and Eric Garner, powered by churning
rhythms and emotive organ and tenor saxophone solos,
followed by Its Gonna Be Alright, an upbeat response
over chattering beats, which includes a vocal chorus of
the title phrase.

A highlight is Love from the Sun, featuring Dee
Dee Bridgewater, Crokers early mentor, wherein the

earnest vocal and echoing trumpet triumph over the
synth-heavy backgrounds. However, other tracks seem
too abrupt or unfinished. Because of You is a
promising power ballad, which, despite being one of the
longer tracks, ends before any soloing really starts. And
although just over two minutes long, the closer,
Rahspect (Amen), resonates as a completely satisfying
duo (trumpet-piano) ballad.
For more information, visit okeh-records.com. Croker is at
Jazz Standard Jun. 7th-12th with Dee Dee Bridgewater and
Herbert Von King Park Jun. 29th as part of SummerStage.
See Calendar.
finding love in
an oligarchy on a
dying planet
Joe Lovano
Kate McGarry
Noah Preminger
Gary Versace
Masa Kamaguchi
Brendan Burke
Available now on
Brooklyn Jazz Underground Records
www.bjurecords.com
www.robgarciamusic.com
In My View
Michael Gibbs & The NDR Big Band (Cuneiform)
by Mark Keresman
Michael
Gibbs, composer, arranger, conductor and

educator, has long been one of jazz most prized assets.
That lovely song Sweet Rain from the Stan Getz album
of the same name? His tune. Hes also collaborated with
Gary Burton and The Mahavishnu Orchestra and while
based in the UK Gibbs orchestras featured the cream of
British jazz (and occasionally rock) talent. In My View,
Gibbs directing the estimable NDR Big Band of Germany,
is an album split almost evenly between Gibbs originals
and choice (and none too obvious) standards.

In My View is in the tradition of Toshiko AkiyoshiLew Tabackin, Gil Evans, late-period Duke Ellington
and Woody Herman circa 1970-75a swinging modern
big band with a brassy style, imaginative arrangements
and concise but inspired soloing. But Gibbs keeps it
fresh and unpredictable. His Tis As It Should Be
opens with a Latin-tinged cha-cha-cha rhythmic lilt,
bright, yearning brass lines and the buttery swagger of
Claus Sttters flugelhorn. Carla Bleys Ida Lupino,
an elegant homage to the late actress and director,
evokes a J.S. Bach chorale, then the soundtrack to a film
noir (such as Lupino directed) thanks to the moody,
blues-hinted piano solo by Vladyslav Sendecki and
warm, fluid clarinet of the recently passed Lutz Bchner.
Monks Misterioso gets a sumptuous Ellington-like
treatment until it takes a punchy, darting tone, followed
by burlesque-like orchestral backgrounds over which
the trombone section goes to town with aggrieved
growls, mock-tortured wails and suavely agreeable
bluster. Gibbs maintains Ornette Colemans Ramblin
country and blues undertones while adding some offkilter old-school riff-heavy swing la Count Basie.

Attention, big band fansGibbs finds a middle
path between the creative approaches of Evans and Bley
and the visceral drive of Thad Jones-Mel Lewis and
Herman and traverses that path with plenty of
distinctive class and top-shelf technique.
For more information, visit cuneiformrecords.com. Gibbs is
at The Stone Jun. 14th with Hal Willner. See Calendar.
The Out Louds

Ben Goldberg/Mary Halvorson/Tomas Fujiwara
(Relative Pitch)
by Stuart Broomer
The Out Louds is a new formation of three accomplished
improvisers: clarinetist Ben Goldberg, guitarist Mary

Halvorson and drummer Tomas Fujiwara. While
improvising ensembles usually work within a style, The
Out Louds seem to be living up to their name, literally
thinking out loud, seeking different ways to meld
their musical thoughts.

Distinct approaches arise everywhere here, whether
its a lead voice establishing a distinctly odd tack or
supportive bits that wander far afield, sometimes almost
immediately. Its apparent from the first track, as

Goldberg initiates Starry/False with an ascending
phrase around which Halvorson begins to present lines
that initially agree then diverge. False Goats Beard
covers tremendous ground, ultimately arriving at mere
wisps of evanescent sound when Goldberg lowers the
volume to the point where his clarinet seems to be
whispering secrets. Yellow Queen has Halvorson
playing tentatively, sounding like shes literally looking
for something she hasnt heard yet; when Goldberg
enters, his sound is so liquid as to suggest the sound
may be found underwater and Fujiwaras distinct taps
seem to be measuring depths.

Obedience is a gentle tangle of overlapping
repeating phrases that eventually becomes a throbbing
field of dense, buzzing guitar and drums. Pink Home
Run demonstrates Goldbergs knack for pure
spontaneous melody, setting it in a woody lower register
suggesting Jimmy Giuffre; cymbals and snare provide a
frame while the guitars pitches bend off into space.
Sometimes consistent patterns emerge and strong
continuous play develops, presenting another
dimension. Trout-Lily begins as a kind of free cool
jazz only to become increasingly chromatic and
agitated; Goldberg and Fujiwara generate intense free
jazz on Nearly Wild.

Those titles are the names of flowers (False Goats
Beard is a species of astilbe common in woodlands;
Pink Home Run is a rose) and its an inspired match
for music that seems to be playing with its own genetic
codes, from things as they are to mixes of unconscious
patterns, new hypotheses and sudden interventions.
Magnarellis powerful opening title track is postbop at

its best while Davis Easy has the laid-back feeling of
a walk on a spring day. With its many twists, DiRubbos
The Step Up is infectious, with terrific call-andresponse and tight harmonies. The quintet is up to
tackling two Coltrane works, a boisterous rendition of
26-2 and a thoughtful treatment of Central Park
West, showcasing expressive trumpet and creative
organ. French Impressionist Claude Debussys music
has been explored by jazz groups though rarely as
focused as Magnarellis swaggering arrangement of the
ballad My Reverie. This consistently high performance
practically demands a follow-up session.

With over three-and-a-half decades in the New
York jazz scene, beginning with Buddy Rich and Toshiko
Akiyoshi, Walt Weiskopf is long established as a hardblowing tenor saxophonist and creative composer.
Accompanied by Charette, up-and-coming vibraphonist
Behn Gillece and Fidyk, most of The Way You Say It
focuses on Weiskopfs potent originals, starting with the
percolating blues Coffee and Scones. The catchy
unison theme of Blues Combination is negotiated
with the confidence of a working band, Fidyk providing
a strong undercurrent. Alex Kramer-Joan WhitneyMack Davids Candy was long favored by soul jazz
saxophonists and this understated interpretation pays
homage to past greats, with sublime organ and soft
brushwork supplying the perfect backdrop. Theres a
change in direction with the dramatic setting of Weather
Reports Scarlet Woman, then an effortless galloping
through Charlie Parkers bop gem Segment before
cooling off the listener with the lush title ballad.
For more information, visit relativepitchrecords.com. This

project is at Cornelia Street Caf Jun. 14th. See Calendar.
For more information, visit posi-tone.com. Charette,

Magnarelli and Weiskopf are at Club Bonafide Jun. 24th
with the Posi-Tone Allstars. See Calendar.
Once & Future

Brian Charette (Posi-Tone)
Three on Two
Joe Magnarelli (Posi-Tone)
The Way You Say It
Walt Weiskopf (Posi-Tone)
by Ken Dryden
Brian
Charette has been a rapidly rising star of the

Hammond B3 organ for the past few years and his latest
CD is a salute to his fellow players, ranging from greats
of the Swing Era to current players. Well accompanied
by guitarist Will Bernard and drummer Steve Fidyk,
Charette is interested in modernizing vintage tunes
while putting his stamp on them. Starting with Fats
Wallers Jitterbug Waltz, Charette swings but the
peppy rhythm section gives this jazz favorite a new
flavor. His funky take of Larry Youngs blues Tyrone
downplays John Coltranes influence on its composer
and turns it into a percolating number for partying. The
band engages in shout-outs of the title to Jack McDuffs
engaging funky blues Hot Barbecue, though
Charettes keyboard fireworks merit the real attention.
Bud Powells Dance of the Infidels isnt commonly
heard on organ, but this imaginative treatment may
open the door for others to conduct further explorations.
Charette wraps the session with his hip Blues For 96.
The future of Hammond B3 is in great hands.

Trumpeter Joe Magnarelli relocated from Syracuse
to New York City in the mid 80s and has steadily built
a solid reputation as a leader and sideman. On Three on
Two, his ninth CD, he is joined in the frontline by
trombonist Steve Davis and alto saxophonist Mike
DiRubbo, with the two being Charette and drummer
Rudy Royston. This release has an engaging vibe that
makes it sound like a working group rather than
musicians who rehearsed a few tunes for a record date.
uly 29 - 31, 2016
Norah Jones Chick Corea trilogy w/ Christian McBride & Brian Blade Gregory Porter Kamasi Washington
Robert Glasper Experiment Joey Alexander Trio Nels Cline: Music from Lovers Anglique Kidjo
Charles Lloyd New Quartet w/ Jason Moran, Reuben rogers & Eric Harland John Scofield/Joe Lovano Quartet
The Bad Plus performs Ornette Colemans Science Fiction Galactic Potter, Holland, Loueke & Harland Jos James
Donny McCaslin Group Lizz Wright Christian Scott aTunde Adjuah Presents Stretch Music Kneebody
Darcy James Argues Secret Society Tierney Sutton: After Blue The Joni Mitchell Project Mary Halvorson
Monty Alexander Harlem-Kingston Express Kenny Barron Trio Steve Coleman & Five Elements Anat Cohen Tentet
Dave Liebman Expansions Group Edmar Castaeda World Ensemble The Heath Brothers Toshiko Akiyoshi
Etienne Charles & Creole Soul Butler, Bernstein & The Hot 9 Marc Ribot & The Young Philadelphians
Stefon Harris Sonic Creed Django Festival All Stars Yosvany Terry Quintet Peter Apfelbaums Sparkler
Tyshawn Sorey & Alloy Ben Williams & Sound Effect W/ Gilad Hekselman & Christian Sands The Hot Sardines
Sullivan Fortner Quartet Eric Revis Parallax W/ Ken Vandermark, Kris Davis & Nasheet Waits The Westerlies
Kris Davis Terry Waldo Rossano Sportiello Cory Smythe Roxy Coss Quintet: 2016 ASCAP Herb Alpert Composer
Berklee Global Jazz Ambassadors featuring Danilo Prez University of Rhode island Big Band
Massachusetts & Rhode island Music Educators Associations All-State Jazz Bands
n e w p o r tj a z z f e s t.o r g
NEED A R I D E f ro m NYC ? TA K E T H E W B G O N E W PO R T J A ZZ E X PR E S S B U S. VI S I T NEW PORTJ AZ Z .ORG/ TRAVEL
Newport Jazz Festival is a registered trademark of Newport Festivals Foundation, Inc., a 501(c)(3) not-for-profit organization. All rights reserved.
9.5x12.indd 2
5/12/16 11:53 PM
Solidarity
Matt Lavelles 12 Houses (Unseen Rain)
by Ken Waxman
Multi-instrumentalist Matt Lavelle, true believer in

the latitude of free jazz, has worked in ensembles with
such advanced figures as William Parker and Butch
Morris. Now, like a post-doctoral fellow ready to take
his mentors research in new directions, Lavelle has
organized a 16-piece band, whose in-the-moment unity
splendidly reflects the experiences designated by the
horoscopes 12 houses.

The six tracks are satisfying because Lavelle has
blended additional currents into the program. Building
on the large-group acumen in Parker s bands and
utilizing conduction Morris initiated, Lavelle, who
plays cornet, flugelhorn and alto clarinet here, moves
beyond expected jazz tropes and instrumentation.
Besides the usual saxophones, piano, guitar, bass and
drums, 12 Houses is inhabited by piccolo, bassoon,
violin, cello, percussion, banjo and mandolin plus the
wordless vocalization of Anas Maviel.

The result is chameleon-like themes, which, for
example, have pianist Chris Forbes cracking out
dynamic kinetics in Brooklyn Mountain as if he was
Cecil Taylor on Unit Structures, yet playing so
straightforward on Faith that the linkage is to 19th
Century Romantic tropes, with a detour into a
devotees parlor for a church hymn.

Besides Lavelle, the standout soloists are alto
saxophonist Charles Waters and tenor saxophonist Ras
Moshe, especially during those moments of altissimo
ecstasy on the title track and elsewhere as if they were
Archie Shepp and John Tchicai on Ascension. Maviel
too has the ability to alter her tessitura to blend with
the strings or double the reed parts. Lavelle harmonizes
the bowed and plucked strings to provide interludes of
delicate reserve. Its an indication of his wit and the
groups freedom that on Cherry Swing, prodded by
bassist Franois Grillots symmetrical pulse, cadence
turns to cacophony when banjo player Jack DeSalvo
uncorks a salvo of twangs as if Earl Scruggs has pushed
his way into a Count Basie jam.

Solidarity is the equivalent of research that builds
on its antecedents to affect a breakthrough. But its a
lot more fun than an academic paperdig the gospellike handclapping at the climax to Faith.
For more information, visit unseenrainrecords.com. This
project is at Nublu Sundays. See Regular Engagements.
Quintessential Birthday Trio, Vol. II

Fred Anderson (Asian Improv)
by George Kanzler
Tenor saxophonist Fred Anderson, who died six years

ago this month at 81, was one of those formidable
musicians who fall through the cracks, never garnering
the reputation he deserved because he spent his
working life in Chicago, much of it operating his own
jazz club and mentoring local talent. He was a founding

member of the AACM but, unlike its members, rarely
ventured far from his Midwest base. Presumablythe
CD lacks discographical informationthis album was
recorded at the same concert as Vol. I, March 22, 2000
(his 71st birthday), at his Chicago club The Velvet
Lounge with bassist Tatsu Aoki and erstwhile Chicago
drummer Chad Taylor.

For a point of reference, the pianoless trios of
Sonny Rollins from the 50s-60s are a good start. Like
Rollins, Anderson exhibits an orotund tone and
copious, proliferating ideas in solos that pour out with
fertile, seemingly boundless imagination.

Opener Its Us finds him reeling off dozens of
choruses in an initial ten-minute-plus solo, all
constructed over a teeming background with bass
suggesting half-time and drums double-time to his
intrepid swing pace. Then he returns with another long
solo over slower, more syncopated rhythms.

For a bare-bones trio performance, theres a lot of
variety here, with each of the four tracks quite
distinctive and developing in multiple sections with
changed-up rhythms and textures. Prime Moment
begins with Aokis fluttering, vibrating arco ostinato,
tenor intimately fashioning lines on top as Taylor
enters playing drum heads with his hands. Then tone
and texture shift as saxophone creates a staccato
rhythm picked up by sticks for the second part.
Hoistin begins with a walking bassline introducing
a slow drag shuffle beat from drums, tenor deliberate
and bluesy. But the piece keeps evolving, the beat
accelerating to a fast clip la Mingus romps.

Andersons late 70s composition Wandering
closes, beginning with a long cadenza from tenor, first
acappella, then joined by rubato bass and brushes.
That too morphs from the initial expansive ballad into
a rolling toms tattoo under a climactic solo to end it.
For more information, visit asianimprov.org
Zurich (1979)
Joe McPhee (Astral Spirits)
by Stuart Broomer
Zurich
(1979) is a work that immediately insists on

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

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

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

A Biography of Henry Grimes, Sonny Rollins recalls his
first encounter with the young bassist in Philadelphia:
He seemed to hear and immediately respondin an
unbroken circuit between muse and man. Likewise,
German historian Barbara Frenz lovingly penned
biography wires an unbroken circuit between reader
and subject.

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

Various Artists (Two Lions)
by Ken Dryden
Following
the death of Oscar Peterson in 2007, his

treasured nine-foot Bsendorfer Imperial grand piano
sat unused in his home studio. Inspired by a technicians
comment that the great instrument needed to be played,
Kelly Peterson (the composers widow) began planning
a recorded tribute in his honor to celebrate what would
have been his 90th birthday, inviting musicians of
different age groups, many of whom Peterson knew and
respected, along with young lions who have emerged in
recent years. One of the joys of this three-CD set is the
emphasis on Peterson as a composer, especially on a
number of pieces not previously recorded or performed.
Each pianist captures the essence of the composers gift
for melody and even though there is no attempt to try to
play like the master, a bit of influence cant help but
appear from time to time.

With so many artists taking part, it is hard to give
everyone sufficient space, though every track is of high
caliber. Makoto Ozones elegant rendition of previously
unrecorded The Contessa conveys Petersons lyrical
side and is a perfect opener to the set. Its a joy to hear
veteran Canadian pianists who dont get as much
attention outside their homeland like Robi Botos, whose
expressive rendition of Blues For Smedley sounds as
if the composer is standing behind him, giving him
encouragement. Delightful husband-wife team of Bill
Charlap and Renee Rosnes romp through Sushi and
bring back memories of Petersons two appearances on
Marian McPartlands Piano Jazz. Justin Kauflin, the
young blind pianist mentored by the late Clark Terry,
plays with the skills of a veteran for On Danish Shore,
the Peterson influence coming to the surface in his
blazing right hand. Kenny Barrons sensitive, spacious
arrangement of Ballad For Benny Carter makes it
seem like a lullaby.

Disc Two is full of gems as well. Benny Green, who
Peterson honored with a special prize and invited to
accompany him on a rare duo piano date back in the
90s, pays homage with his touching treatment of the
ballad If Only You Knew. Monty Alexander and Dave
Young, Petersons bassist for many years, join forces for
The Gentle Waltz, which gradually transforms from a
quiet setting into a robust, bravura performance.
Gerald Clayton debuts Morning as if he had rehearsed

it with the composer. Michel Legrand, a noted composer
and pianist himself, plays a shimmering rendition of
Harcourt Nights, which best reveals the capabilities
of Petersons treasured piano.

The third disc begins with Chick Coreas One For
Oscar, an introspective portrait of the late jazz master.
Lance Anderson, not as well known outside of Canada,
makes the first recording of a piece Peterson wrote in
his honor, Sir Lancewell; Andersons hip stride is not
to be missed while his jaunty version of OPs Boogie
(which the two pianists co-wrote) recalls Petersons
early career. Hiromis jaunty original Oscars New
Camera recalls the pianists playful side, showcasing
her tremendous technique and appreciation for
Petersons wide stylistic range. Goodbye Old Friend
was written by Peterson for bassist Niels-Henning
rsted Pedersen when he left his quartet; performed
often but never recorded, David Youngs unaccompanied
bass pays a fitting tribute to both virtuosos.

This package was issued in four different editions
last November: a three-CD set and an expanded edition
with a deluxe book containing extensive program notes
and loads of delightful photographs of the artists and
sessions by Tracey Nolan, along with others from the
Peterson family archives, including numerous photos
taken by the late pianist, who was a big camera buff.
There is also a limited edition five-LP set and a special
collectors version (with just 20 numbered copies),
which adds an LP of unissued performances by Peterson.
No matter which version is purchased, it will become a
treasured part of your collection. It seems unlikely for
Oscar, With Love to be a one-off project, as additional
players and other Peterson works deserve to become a
part of forthcoming volumes.
For more information, visit oscarwithlove.com. A Peterson
tribute by Mike Longo is at NYC Bahai Center Jun. 14th.
See Calendar.
Portraits and Places

Scott Reeves Jazz Orchestra (featuring Steve Wilson)
(Origin)
by Ken Dryden
Arranger/composer
Scott Reeves has only recorded

under his own name on occasion over the past 20 years
and though he has been leading a large ensemble since
2008, this is his first recording with it. Reeves makes
good use of top-shelf instrumentalists, which include
more than a few leaders and in-demand session players
in New York City. His instrument, when he isnt
conducting, is the infrequently heard alto flugelhorn.

The Soulful Mr. Williams is a tribute to the
beloved late jazz pianist and educator James Williams.
This fleshed-out postbop arrangement captures the
spirit of its namesake, with a brooding undercurrent for
a superb mix of horns and reeds, featuring the leader
and pianist Jim Ridls darting, dramatic solo. The
sophisticated 3 n 2 employs sudden changes in
direction, infectious Latin rhythm and passionate solos
by tenor saxophonist Tim Armacost and trumpeter Bill
Mobley. Osaka June is initially a beautiful tone poem
featuring Sara Serpa on wordless vocals, but the texture
changes following the use of two Japanese speakers in a
brief dialogue, turning the work into a lush aural
landscape, showcasing Steve Wilsons playful soprano
sax in brief passages. Reeves modern setting of Antonio
Carlos Jobims bossa nova gem guas de Maro
(Waters of March) takes its time to reveal itself, but this

boisterous interpretation has terrific interplay between
sections and effective use of more wordless vocals.

The L & T Suite is a three-movement work
dedicated to Reeves wife Jane: hard-driving Wants to
Dance is bold and brassy, featuring Wilsons effusive
alto saxophone; somber yet at times whimsical
A Trombonists Tale naturally showcases that horn, in
this case, Matt McDonald; and Ridl takes center stage in
the rousing finale Hip Kitty. Scott Reeves use of big
band has enabled him to broaden his musical palette.
For more information, visit origin-records.com. This project
is at ShapeShifter Lab Jun. 17th. See Calendar.
ON SCREEN
A Man In A Hurry
Tubby Hayes (Mono Media)
by Ken Waxman
Tenor saxophonist Tubby Hayes, who died 43 years

ago this month at 38, is acknowledged as the prefree music British player who could hold his own
with any American innovator; we have the LPs he
made with Clark Terry and Roland Kirk as proof.
This documentary is a classic look at the
musician, including performance footage plus
interviews with 21 observers, who outline the
circumstances that made him the musician he was,
yet contributed to his early death. Hayes got his first
saxophone at 12 and was playing professionally at
15. He looked young, stood five foot five and
weighed close to 200 pounds. Yet, as tenor
saxophonist Ronnie Scott, his partner in The Jazz
Couriers says, the first time he played with him, he
was nearly blown off the stand.
Hayes formed his first group in 1954 and
thrived during hardbops heyday. Dressed in sports
jackets and narrow tie, the saxophonist projected a
hip, Mod look in contrast with the scruffy Trad Jazz
followers. Teaching himself flute and vibraphone,
Hayes also did studio and movie worktheres a
clip of him camping it up during an on-screen
appearance in Dr. Terrors House of Horrors and at
one point he hosted and played on two prime-time
TV shows. Hayes was acclaimed in the U.S. as well,
with featured gigs at The Half Note but musicians
union exchange rules kept him home.

Another drawback was Hayes habits. As Scott
says, he burned the candle at both ends and started
working on the middle. A prodigious drinker,
Hayes was arrested for hemp possession in the
early 50s and soon turned to heroin. The rock music
explosion then upset his world as audiences turned
away from jazz. While Hayes grew his hair and tried
to keep uptheres a clip of the sad looking
saxophonist running the changes on Hey Jude
his addiction caught up with him. An arrest for
possession coincided with his singer-girlfriends
fatal overdose. His stretch in rehab revealed serious
heart problems. Surgery corrected the defect for a
while, but Hayes didnt change his lifestyle. Finally
so weak he couldnt play, he was back in hospital
and died during surgery.
For more information, visit amaninahurry.london
39
B OXED SE T
The Complete Remastered Recordings

on Black Saint & Soul Note
Andrew Hill (CAMJazz)
by Anders Griffen
Late pianist Andrew Hill, who would have turned

85 this month, recorded seven amazing albums for
Blue Note from September 1963-June 1964: Joe
Hendersons Our Thing and Hank Mobleys No Room
For Squares along with his own visionary sides Black
Fire, Smokestack, Judgment!, Point Of Departure and
Andrew!. While the progress of jazz continued to
fracture convention, Hill burst forth with a sound all
his own. He is best known for this prolific period,
but his later oeuvre is not to be missed.

This set consists of two solo piano discs, one trio
record and one quartet session. The album titles on
the box appear in the order they were released, not
the order they were recorded. Jun. 13th-14th, 1980
produced the music for Strange Serenade and Faces Of
Hope, in that order, while Jul. 3rd-4th, 1986 resulted
in Shades and Verona Rag was recorded on Jul. 5th,
1986. The group sessions were recorded prior to the
piano solos in each case.

Hills music emphasizes group improvisation
but demands attention to form and harmony. The
Spring 2011 issue of Journal of Jazz Studies contains an
insightful article by Jeffrey Lovell called Out of the
Ordinary in which he points out: Features of Hills
style include shifting tempos and meters, expressive
dissonances, percussive chords and angular melodic
lines with elastic rhythmic phrasing. He goes on to
observe that, Hills compositions tend to be wellconceived roadmaps, with specific (and quite taxing)
parts and roles assigned and a definite sense of
harmonic direction and climaxthis compositional
forethought hardly makes his performances safe or
predictable. These remarks can be applied to
virtually all of Hills music.

After 1975, with his Hommage (East Wind) and
Live At Montreux (Arista/Freedom), solo piano is a
recurring vehicle. Faces Of Hope opens with Rob It
Mohe and exhibits Hills trademark language and
percussive touch. Lee Morgans Ceora (from
1965s Cornbread, Blue Note) is well obscured by
reharmonization and changing rhythms. The softly
geometric Bayside 1 and Bayside 2 call to mind
Hills informal study with composer Paul Hindemith,
about which Hill has said: What we talked about
was musical shapes and spaces more than harmony.

Alan Silva (bass) and Freddie Waits (drums) are
phenomenal on Strange Serenade, one of Hills most
free group performances. Merriam-Webster defines
Serenade as a complimentary vocal or
instrumental performance; especially one given
outdoors at night for a woman being courted. The
record in hand, then, is indeed strange. The title
track becomes rather boisterous and probably too
JUN 15
JUN 20
monty alexander
lucas pinos no net nonet
JUN 6
JUN 21
jazz at lincoln center youth

orchestra
the steve davis quintet

featuring larry willis
JUN 7
J U N 2 2 2 3
dan block quintet: mary lou

wiliams and benny carter
meet hard bop
jazztopad festival
presented in partnership with
the polish cultural institute of
new york
JUN 89
dominick farinacci:
short stories album release
J U N 2 4 2 6
victor goines
JUN 27
J U N 1 0 1 2
dion parson & 21st century

band
band director academy

faculty band
J U N 2 8 2 9
J U N 1 3*1 5
ali jackson trio

*monday nights with wbgo
etienne charles
JUN 30 JUL 3
renee rosnes quartet
J U N 1 6 1 9
tom harrell quintet:

70th birthday celebration
swing by tonight
set times
7:30pm & 9:30pm
jazz.org / dizzys
Jazz at Lincoln Centers Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
fraught for courtship. Reunion is a swinging affair

and Andrew, written by Hills second wife, organist
Laverne Gillette, is mellower than the other pieces.
When listening to Verona Rag without first
noting the content of the set, Darn That Dream and
Afternoon In Paris are surprising and revelatory.
The melodies are not as obscured as with Ceora,
but these unique readings evince tradition in various
guises. The aforementioned Lovell article contains a
thorough analysis of Hills Verona Rag: This
employment of standard chord relationships makes
Verona Rag something of an anomaly among Hills
compositions
standard
chord
relationships
strengthen the link to the historical ragtime model.

Shades is a quartet with Clifford Jordan (tenor
saxophone), Rufus Reid (bass) and Ben Riley
(drums). Monks Glimpse consists of not only
Monks rhythmic influence, but also features his
three-note chromatic phrase ending from Bye-Ya.
Tripping
further
demonstrates
thematic
development and rhythmic elasticity. Jordan tears
apart the upbeat 12-bar blues of Chilly Mac. And,
with its magnificent modulation from 4 to 3, Ball
Square is illustrative of what Richard Cook and
Brian Morton described in The Penguin Guide to Jazz
on CD as tempos too subliminal to be strictly
counted.

In the 90s, returning to the East Coast and to
Blue Note, Hill broadened his influence and
solidified his place among the masters. As Anthony
Braxton wrote, These compositions are sonic gold
and can be mined for musical secrets forever.
Andrew Hill resonates with vitality throughout.
For more information, visit camjazz.com
M ISCELLANY
ONTHISDAY
by Andrey Henkin
Satin Doll
Dexter Gordon (SteepleChase)
June 29th, 1967
Walking Down
Bennie Green (Prestige)
June 29th, 1956
Trying
The trombonists star burned brightly
to pick one thing for which

tenor saxophonist Dexter Gordon was
most famous is tough but in the mix
should be his ballad playing, much
featured during a prolific relationship
with his adopted home of Denmarks
SteepleChase Records between 196276. This particular album was released
some 22 years after his death and
documents a concert from Jazzhus
Montmartre in Copenhagen with
regular foil Kenny Drew on piano but
the unusual rhythm section of Bo Stief
and Art Taylor on a program of four
standards including the title track.
but not for too long, beginning with

1950 sessions with Gene Ammons and
Sarah Vaughan to his final appearances
at the 1972 Newport Jazz Festival five
years before his death. But he was a
prolific leader with nearly 20 albums
between 1951-64. This was his final
Prestige session before moving to Blue
Note, a date with, apart from Basie
tenor Eric Dixon, a band of obscure
playersLloyd Mayers (piano), Sonny
Wellesley (bass) and Bill English
(drums)playing four standards and
Greens East of the Little Big Horn.
Taros Mood
Terumasa Hino (Enja)
June 29th, 1973
The Classic Concert Live

Torm/Mulligan/Shearing (Concord)
June 29th, 1982
Celebrated Blazons
The Feel Trio (FMP)
June 29th, 1990
After a series of albums made in his

native Japan, trumpeter Terumasa
Hino released two albums for
Germanys Enja Records in the early
70s (as well as appearing on LPs by
Hal Galper and Mal Waldron later in
the decade). Unlike the international
cast of 1971s Vibrations, this live album
from Munichs Jazzclub Domicile is an
all-Japanese quintet of Mikio Masuda
(piano), Yoshio Ikeda (bass), Motohiko
Hino (drums) and Yuji Imamura
(congas) playing three Hino originals:
Alone, Alone And Alone, the title
track and side-long Predawn.
This concert from Carnegie Hall brings
Pianist Cecil Taylor is the venerated

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

vocalist Mel Torm (aka The Velvet
Fog), baritone saxophone legend Gerry
Mulligan and blind British bebopping
pianist George Shearing. Backing up
the threesomeShearing, 62; Torm,
56; Mulligan 55is the latters Concert
Jazz Band (which included Laurie
Frink, Rick Chamberlain and Rich
DeRosa) on a program of Monk,
Ellington, Basie, The Gershwins,
songbook standards and Mulligan
originals, the three leaders all singing
on a couple of tunes.
BIRTHDAYS
June 1
Nelson Riddle 1921-85
Herbie Lovelle 1924-2009
Hal McKusick 1924-2012
Lennie Niehaus b.1929
Rossano Sportiello b.1974
June 6
Jimmie Lunceford 1902-47
Raymond Burke 1904-86
Gil Cuppini 1924-96
Grant Green 1931-79
Monty Alexander b.1944
Zbigniew Seifert 1946-79
Paul Lovens b.1949
G. Calvin Weston b.1959
June 2
Ernie Hood 1923-91
Gildo Mahones b.1929
John Pisano b.1931
Pierre Favre b.1937
Irne Schweizer b.1941
Matthew Garrison b.1970
Noah Preminger b.1986
June 3
Carl Pruitt 1918-1977
Al Harewood 1923-2014
Phil Nimmons b.1923
Dakota Staton 1932-2007
Bob Wallis 1934-91
Ted Curson 1935-2012
Grachan Moncur III b.1937
Corey Wilkes b.1979
June 4
Teddy Kotick 1928-86
Oliver Nelson 1932-75
Alan Branscombe 1936-86
Mark Whitecage b.1937
Ted Daniel b.1943
Anthony Braxton b.1945
Paquito DRivera b.1948
Winard Harper b.1962
June 5
Kurt Edelhagen 1920-82
Specs Powell 1922-2007
Pete Jolly 1932-2004
Misha Mengelberg b.1935
Jerry Gonzalez b.1949
June 7
Gene Porter 1910-1993
Tal Farlow 1921-98
Tina Brooks 1932-74
Norberto Tamburrino b.1964
Devin Gray b.1983
June 8
Billie Pierce 1907-74
Erwin Lehn 1919-2010
Kenny Clare 1929-85
Bill Watrous b.1939
Julie Tippetts b.1947
Uri Caine b.1956
June 11
Clarence Pine Top Smith
1904-29
Shelly Manne 1920-84
Hazel Scott 1920-81
Bob Gordon 1928-55
Nils Lindberg b.1933
Bernard Pretty Purdie b.1939
Jamaaladeen Tacuma b.1956
Alex Sipiagin b.1967
Assif Tsahar b.1969
June 12
Marcus Belgrave 1936-2015
Kent Carter b.1939
Chick Corea b.1941
Jesper Lundgaard b.1954
Geri Allen b.1957
Oscar Feldman b.1961
Christian Munthe b.1962
Peter Beets b.1971
June 13
Charlie Elgar 1885-1973
Doc Cheatham 1905-97
Eddie Beal 1910-84
Phil Bodner 1919-2008
Attila Zoller 1927-98
Buddy Catlett 1933-2014
Frank Strozier b.1937
Harold Danko b.1947
Mike Khoury b.1969
June 9
Les Paul 1915-2009
Jimmy Gourley 1926-2008
Eje Thelin 1938-90
Kenny Barron b.1943
Mick Goodrick b.1945
June 10
Chink Martin 1886-1981
Willie Lewis 1905-71
Dicky Wells 1907-85
Guy Pedersen 1930-2005
John Stevens 1940-94
Gary Thomas b.1961
Charnett Moffett b.1967
Jonathan Kreisberg b.1972
Ben Holmes b.1979
June 14
John Simmons 1918-79
Burton Greene b.1937
Pete Lemer b.1942
Marcus Miller b.1959
Gary Husband b.1960
Diallo House b.1977
Loren Stillman b.1980
Ben Syversen b.1983
June 15
Allan Reuss 1915-1988
Erroll Garner 1921-77
Jaki Byard 1922-99
Mel Moore b.1923
Tony Oxley b.1938
June 16
Lucky Thompson 1924-2005
Clarence Shaw 1926-73
Joe Thomas b.1933
Tom Harrell b.1946
Fredy Studer b.1948
Mike Baggetta b.1979
Ryan Keberle b.1980
June 21
Dewey Jackson 1900-94
Jamil Nasser 1932-2010
Lalo Schifrin b.1932
Jon Hiseman b.1944
Chuck Anderson b.1947
Eric Reed b.1970
June 22
Ray Mantilla b.1934
Hermeto Pascoal b.1936
Heikki Sarmanto b.1939
Eddie Prevost b.1942
Ed Milko Wilson b.1944
June 26
Teddy Grace 1905-92
Don Lanphere 1928-2003
Jimmy Deuchar 1930-93
Dave Grusin b.1934
Reggie Workman b.1937
Joey Baron b.1955
Bill Cunliffe b.1956
Mathias Eick b.1979
June 27
Elmo Hope 1923-67
George Braith b.1939
Todd Herbert b.1970
JULIAN PRIESTER
June 29th, 1935
June 18
Sammy Cahn 1913-93
William Hooker b.1946
June 23
Eli Robinson 1908-72
Milt Hinton 1910-2000
Eddie Miller 1911-91
Helen Humes 1913-81
Lance Harrison 1920-2000
George Russell 1923-2009
Sahib Shihab 1925-89
Hank Shaw 1926-2006
Donald Harrison b.1960
June 28
Jimmy Mundy 1907-83
Arnold Shaw 1909-89
Gene Traxler b.1913
Pete Candoli 1923-2008
Bobby White b.1926
John Lee b.1952
Tierney Sutton b.1963
Aaron Alexander b.1966
Jesse Stacken b.1978
June 19
Joe Thomas 1909-86
Jerry Jerome 1912-2001
Al Kiger 1932-2013
Chuck Berghofer b.1937
Paul Nieman b.1950
Billy Drummond b.1959
John Hollenbeck b.1968
June 24
Charlie Margulis 1903-67
Manny Albam 1922-2001
George Gruntz 1932-2013
Frank Lowe 1943-2004
Clint Houston 1946-2000
Greg Burk b.1969
Bernardo Sassetti 1970-2012
June 29
Mousey Alexander 1922-88
Ralph Burns 1922-2001
Ove Lind 1926-1991
Julian Priester b.1935
Ike Sturm b.1978
June 20
Doc Evans 1907-77
Lamar Wright 1907-73
Thomas Jefferson 1920-86
Eric Dolphy 1928-64
Joe Venuto b.1929
Anders Nilsson b.1974
June 25
Jean Roberts 1908-81
Johnny Smith 1922-2013
Bill Russo 1928-2003
Joe Chambers b.1942
Marian Petrescu b.1970
John Yao b.1977
June 17
Lorenzo Holden 1924-87
Frank E. Jackson, Sr. 1924-2013
Chuck Rainey b.1940
Tom Varner b.1957
June 30
Harry Shields 1899-1971
Grady Watts 1908-86
Lena Horne 1917-2010
Andrew Hill 1937-2007
Chris Hinze b.1938
Jasper Vant Hof b.1947
Stanley Clarke b.1951
Ken Fowser b.1982
The trombonist has been an

unsung hero on his instrument
for decades, partially because
his leader output has been so
sporadic. He made a pair of
LPs in 1960 for Riverside and
Jazzland in the heavy
company of Jimmy Heath,
Tommy Flanagan, Sam Jones
and Elvin Jones (Keep
Swingin) and Walter Benton,
Charles Davis, McCoy Tyner,
Sam Jones and Arthur Taylor
(Out Of This World); a pair of
mid 70s albums for ECM;
a smattering of obscure
releases on either side of the
new millennium; and, most
recently, duo sets with David
Haney or Jimmy Bennington.
But his voluminous sideman
credits include everyone from
Dinah Washington to Max
Roach to Sun Ra to Duke
Ellington to Mwandishi to Art
Blakey, to name just some of
the highlights.
(AH)
CROSSWORD
1
10
11
13
12
14
15
16
17
18
23
25
By Andrey Henkin
19
20
21
22
24
26
ACROSS
1. 1975 John Tchicai-Irene Schweizer-Group
album Willi The ____: Live At The Willisau
Jazz Festival
4. Stan Tracey received this honor in 2008
(abbr.)
7. Saxophonist Mark that will keep
things steady?
9. Swiss saxophonist Yves who records for
Unit Records
10. Yusef Lateef converted to this faith
12. Israeli pianist Fort
13. ____ of Jazz: Time Life Records series
15. John Coltrane performed the entire
A Love Supreme suite at this French festival
16. Saxophonist Michael or trumpeter Randy
17. Orchestra founded by Russ Gershon
in 1985
18. ____ Jones, vocal alter-ego of bassist
Miriam Sullivan
19. Italian soundtrack composer covered by
F.Hubbard, R.Galliano, M.Peyroux
and others
23. Tokyo-based audio equipment
manufacturer
24. 2002 Keith Rowe, Otomo Yoshihide,

Taku Sugimoto album on Alcohol
25. ____ Nova, Philadelphia jazz concert series
26. British saxophonist Tony
DOWN
1. Evan Parker label
2. Fifth tune from Alice Coltranes
Huntington Ashram Monastery
3. Evans, Coggins or Goldstein
4. 70s free jazz label _____ of the World
5. Trumpets, trombones, tubas, etc.
6. Trio of Ido Bukelman, Daniel Davidovsky
and Ofer Bymel
8. Attractive 1986 album from Steps Ahead?
9. Birthplace of guitarist Frank Gambale
11. Latin jazz saxophonist Frohman
14. Dorsey Brothers saxophone stalwart Jack
15. Keyboardist Susumu and
clarinetist Yasuhiko
16. Accordion player Ludovic
18. Motma Music catalogue prefix
20. Reissue series initiated by Fantasy (abbr.)
21. Steve Lacy/Andrea Centazzo Ictus album
22. All The Things You ____
visit nycjazzrecord.com for answers
41
CALENDAR

Wednesday, June 1
John Scofield, Brad Mehldau, Mark Giuliana

Blue Note 8, 10:30 pm $55
Monty Alexander
Dizzys Club 7:30, 9:30 pm $40
Brandon Bain
Dizzys Club 11:30 pm $5
Herb Alpert/Lani Hall
Caf Carlyle 8:45 pm $70-135
Bill Charlap Trio with Peter Washington, Kenny Washington

Birdland 8:30, 11 pm $40
Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III

Village Vanguard 8:30, 10:30 pm $30
Luis Perdomo and Controlling Ear Unit with Mimi Jones, Rudy Royston

Jazz Standard 7:30, 9:30 pm $25
Marc Mommaas /Nikolaj Hess Quartet with Vic Juris, Thomas Morgan

Jazz at Kitano 8, 10 pm $17
Eric Alexander Quartet
An Beal Bocht Caf 8, 9:30 pm $15
Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector

Smoke 7, 9, 10:30 pm $12
Eugenia Choe Trio with Danny Weller, Alex Wyatt; lvaro Domenes Desvelo with
Briggan Krauss, Josh Sinton, Devin Gray

ShapeShifter Lab 8:15, 9:30 pm $8-10
Flin van Hemmen, Brandon Seabrook, Pascal Niggenkemper;
Caroline Davis/Greg Saunier
Rye 9, 10:15 pm
Becca Stevens
Rockwood Music Hall Stage 3 8:30 pm $12
Art Hirahara/Walt Weiskopf
Mezzrow 8 pm $20
Jonathan Kreisberg Quartet with Dave Kikoski, Rick Rosato, Colin Stranahan;
Jure Pukl Quartet with Matt Nowak, Matt Brewer, Johnathan Blake; Sanah Kadoura

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

Fat Cat 7, 9 pm 12:30 am
Martin Nevin Group with Immanuel Wilkins, Sam Harris, Craig Weinrib

Cornelia Street Caf 8:30 pm $10
Gracie Terzian; Hailey Niswanger PDX Soul

Club Bonafide 7:30, 9:30 pm $10-15
Mika with Andr Vasconcellos, Rafael Barata

Zinc Bar 7 pm
Dark Mountains: Nicolas Letman-Burtinovic, Jacob Varmus, Benny Woodard

Bar Chord 9 pm
Alan Kwan Duo
Tomi Jazz 8 pm
Organ Trio Fuego; EJB Quartet Silvana 6, 7 pm
Paul Abler/James Weidman
Whole Foods Market Union Square 6 pm
Mike Alfieri Trio
Shrine 6 pm
Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran,
Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano

ShapeShifter Lab 1 pm $15
David Chamberlain Band of Bones Saint Peters 1 pm $10
Bertha Hope
Bryant Park 12:30 pm
Thursday, June 2
Azar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin Smitty Smith

Ben van Gelder Quartet with Matt Brewer, Mark Turner, Craig Weinrib

Miles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman

The Jazz Gallery 7:30, 9:30 pm $15
Andy Manndorff solo
Austrian Cultural Forum 7:30 pm
Tulivu Cumberbatch
Harlem Safe House Jazz Parlor 8 pm $60
Carte Blanche; Joe Breidenstine Quartet with Matthew Fries, Phil Palombi,
Vince Cherico
Club Bonafide 7:30, 9:30, 11 pm $10-15
Andrew Suvalsky Quintet with Dan Zinn, Asen Doykin, Trifon Dmitrov, Pete Zimmer

Sebastian Noelle/Danny Fox
Dominique Bistro 9:30 pm $10
Ehud Asherie solo; Alex Claffy/Michael Stephenson; Davis Whitfield

Mezzrow 8, 9, 11:30 pm $20
Jonathan Kreisberg Quartet; Dan Pratt Quartet with Michael Eckroth, Matt Clohesy,
Allan Mednard
Smalls 7:30, 10:30 pm $20
Dan Aran; Saul Rubin Zebtet; Tadataka Unno

Dan Hartig Trio with Ari Kessler, Ben Silashi; Justin Lees Trio with Noah Jackson,
Lawrence Leathers
Bar Next Door 6:30, 8:30, 10:30 pm $12
Jeff Warschauer, Deborah Strauss, Aaron Alexander and Friends

Jalopy 8:30 pm $15
Peter Maness Quartet
Cavatappo Grill 9, 11 pm $8
Luciana Menzes
Tomi Jazz 9 pm $10
Steve Elmer Duet
Cleopatras Needle 7 pm
John Venezia Project
Shrine 7 pm

Monty Alexander
Brandon Bain


Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector

Smoke 7, 9, 10:30 pm $12
Pete McGuinness
Silvana 6 pm
Matthew Fries Trio with Phil Palombi, Vince Cherico

Hillstone 6 pm
Bertha Hope
Roberta Gambarini Quartet
Citigroup Center Plaza 12:30 pm
Friday, June 3
Frank Kimbrough Trio with Jay Anderson, Jeff Hirshfield

Ben Allison Trio with Ted Nash, Matt Wilson

Neighborhood Church of Greenwich Village 8, 9:30 pm
Helen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston

Smoke 7, 9, 10:30 pm $38
Lisle Atkinsons Neo-Bass Ensemble

Symphony Space Leonard Nimoy Thalia 8:30 pm $30
Vinicius Canturia
Bar Luntico 8:30, 10 pm $10
Manuel Valera Trio with Hans Glawischnig, E.J. Strickland

Terraza 7 8:30 pm $10
Gregorio Uribe Big Band
Ginnys Supper Club 7:30, 9:30 pm $20
Lage Lund 3 with Matt Brewer, Justin Faulkner

Cornelia Street Caf 9, 10:30 pm $10
Luis Bonilla, Jon Snell, Andy McKee

Knickerbocker Bar and Grill 9, 10:15 pm $3.50
Chet Doxas/John Escreet
Ibeam Brooklyn 8:30 pm $15
Sacha Perry solo; Bill Mays; Johnny ONeal

Mezzrow 8, 9:30 pm 12:30 am $20
Patrick Wolff Quartet with Glenn Zaleski, Christian Van Voorst Van Beest, Matt Wilson;
Rob Scheps Core-tet with Jim OConnor, Jamie Reynolds, Cameron Brown,
Sylvia Cuenca; Joe Farnsworth Smalls 7:30, 10:30 pm 1:30 am $20
Guillermo Gregorio, Ratzo B. Harris, Omar Tamez

The Firehouse Space 8 pm $10
Paul Meyers Trio with Leo Traversa, Vanderlei Perreira

Bar Next Door 7:30, 9:30, 11:30 pm $12
Victor Gould
Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran,
Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano

Sunset Park High School Theater 7 pm
718 Electric Trio: Matthew Fries, Phil Palombi, Eric Halvorson

An Beal Bocht Caf 9 pm
Carlos Cuevas Trio; Jared Gold/Dave Gibson; Ray Gallon

Fat Cat 6, 10:30 pm 1:30 am
Devin Bing and the Secret Service; Gin Fizz; Nomar Negroni with Jose Negroni,
Josh Allen
Club Bonafide 7:30, 9:30, 11 pm $10-20
Craig Brann Trio
Tomi Jazz 9 pm $10
Masami Ishikawa Trio


Monty Alexander
Brandon Bain


Bertha Hope
Saturday, June 4
Lost Jazz Shrines: Sweet BasilRemembering Lester Bowie: Bob Stewart,
Stanton Davis, Randall Haywood, Riley Mulherkar, Earl McIntyre, Nick Finzer,
Marcus Rojas, David Scheiman, Vincent Chancey, Buddy Williams and guests
Renee Manning, Steven Bernstein, Gerald Brazel, Luis Bonilla, Frank Lacy, Steve Turre

Tribeca Performing Arts Center 8:30 pm $25
SummerStage/Blue Note Jazz FestivalThe Legends Honor McCoy: McCoy Tyner,
Ron Carter, Roy Haynes
Central Park SummerStage 6 pm
Jamie Baum and Short Stories with Gregoire Maret, Gilad Hekselman, Andy Milne,
Joe Martin, Jeff Hirshfield
Ronny Whyte Quartet with Sean Harkness, David Silliman

Ben Monder Trio with Matt Brewer, Johnathan Blake

Bar Next Door 7:30, 9:30, 11:30 pm $12
Tatran: Tamuz Dekel, Offir Benjaminov, Dan Mayo

Iridium 8:30 pm $25
Roberta Piket Band with Steve Wilson, Virginia Mayhew, Shunzo Ohno, Harvie S,
Billy Mintz
Petros Klampanis with Julian Shore, Keita Ogawa, Rogrio Boccato, Maria Im,
Eylem Basaldi, Lev Zhurbin, Colin Stokes, Magda Giannikou

Lummie Spann Quintet; Raphael Dlugoff Quintet

Fat Cat 7, 10 pm
Brenda Navarette Trio with Melvis Santa; Simona Premazzi Quartet

The Cell 8, 10 pm $15
Monday Michiru; David Bixler Auction Project with Heather Martin Bixler,
Arturo OFarrill, Victor Prieto, Carlo De Rosa, Vince Cherico; No Codjia

Club Bonafide 7:30, 9:30, 11 pm $10-15
E.J. Decker Quartet with Claire Daly, Les Kurtz, John Lang

Caf Noctambulo 7, 9 pm $20
Dorian Devins Trio with Lou Rainone, Jeff Dingler

Symphony Space Bar Thalia 9 pm
Nich Mueller; Hsinwei Chiang Duo Tomi Jazz 8, 11 pm $10
Phill Briggs
Nick Di Maria
Silvana 7 pm
Verve Quartet; Valentina Marino Shrine 6, 7 pm

Smoke 7, 9, 10:30 pm $38
Luis Bonilla, Jon Snell, Andy McKee

Spike Wilner; Bill Mays; Jon Davis Mezzrow 8, 9:30 pm 12:30 am $20
Eliot Zigmund Quartet with Matt Garrison, Allen Farnham, David Kingsnorth;
Rob Scheps Core-tet with Jim OConnor, Jamie Reynolds, Cameron Brown,
Sylvia Cuenca; Eric Wyatt Quartet Smalls 7:30, 10:30 pm 1:30 am $20


Monty Alexander
Brandon Bain
Caf Carlyle 8:45, 10:45 pm $80-155


Kat Modiano/Adam Lane
Morris Jumel Mansion 6 pm
Rosi Hertlein solo
Gallery 440 4:40 pm $5
Sunday, June 5
Jane Ira Bloom Trio with Mark Helias, Bobby Previte

Michael Dessen Trio with Chris Tordini, Dan Weiss

Adam Birnbaum/Ccile McLorin Salvant; David Wong/Martin Bejerano

Mezzrow 7, 10:30 pm $20
Ai Murakami Trio with Sacha Perry; Johnny ONeal Trio; Bruce Harris Sextet with
Frank Basile, Jeb Patton, Dmitry Baevsky, Clovis Nicolas, Peter Van Nostrand;
Hillel Salem
Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
Terry Waldos Gotham City Band; Jade Synsteliens Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
Sara Serpa/Andr Matos
Rockwood Music Hall Stage 3 7 pm $10
Kyoko Kitamura Tidepool Fauna with Ken Filiano, Ingrid Laubrock;
Carate Urio Ensemble
Downtown Music Gallery 6, 7 pm
Tamuz Nissim/George Nazos Band with Willie Applewhite, Danny Weller, Ronen Itzik

ShapeShifter Lab 9:30 pm $8
Stan Nishimura, Claire de Brunner, Evan Gallagher, Blaise Siwula; Alex Soreff solo

ABC No-Rio 7 pm $5
Valentina Marino
Club Bonafide 7 pm $10
Marcus Goldhaber with Gabrielle Stravelli, Ron Affif

Symphony Space Bar Thalia 7, 8:30 pm $5
Yako Eicher
Tomi Jazz 8 pm
Shrine Big Band
Shrine 8 pm
Alex Simons Gypsy Swing Ensemble

Radegast Hall 7 pm

Smoke 7, 9, 10:30 pm $38


Monty Alexander

Ike Sturm and Evergreen
Saint Peters 5 pm
John Zorns Bagatelles: Matt Mitchell Trio with Kim Cass, Dan Weiss

The Stone 3 pm $20
Gilad Hekselman Trio
Blue Note 11:30 am 1:30 pm $35
Catherine Dupuis Trio with Russ Kassoff, Jay Anderson

North Square Lounge 12:30, 2 pm
Academy Records
& CDs
Contravening state, local
and natural law, not to
mention the advice of
our attorney and the
collective wishes of our
upstairs neighbors,
Academy Records
proudly presents the
GHOSTS OF THE HOLY
GHOST SPERMIC
BROTHERHOOD
in a musical bloodletting,
aka FREE Concert
Sunday, June 12 at 5:30.
(Tickets for the previously
announced Budapest String
Quartet recital will be honored)
Open 7 days a week 11-7
12 W. 18th Street NY, NY 10011

212-242-3000
Monday, June 6
Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvo

Blue Note Jazz Festival: Supermambo! A Vibes Tribute To Tito Puente

Subrosa 8, 10 pm $15
Walter Smith III/Jason Moran; John Merrill

Mezzrow 8, 10:30 pm $20
Jordan Piper Trio with George DeLancey, Noel Sagerman; Jonathan Barber

Smalls 7:30, 10:30 pm 1 am $20
Malang Jobarteh; Behn Gillece Quartet; Billy Kaye Jam

Mingus Big Band
David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper

Scott Neumann Trio with Michael Blake, Mark Helias

Kate Mohanty solo: Yes Deer: Sigourney Delmar/Avram Vestman

Delroys Cafe and Wine Bar 9, 10 pm $10
Jazz at Lincoln Center Youth Orchestra

Dave Juarez Trio with Marty Isenberg, Rodrigo Recabarren; Marianne Solivan Trio with
Ethan Mann, Matthew Parrish
Bar Next Door 6:30, 8:30, 10:30 pm $12
Wayne Batchelor/Miki Hayama Boudoir 7:30 pm
Julia Ehninger
Silvana 7 pm
Matterhorn
Shrine 6 pm
Matthew Fries Trio with Rusty Hollaway, Akira Tana

Hillstone 6 pm
Dona Carter
Tuesday, June 7
Vision FestivalHeny Grimes Lifetime Achievement Celebration: Opening Invocation:
Hamid Drake, Whit Dickey, Patricia Nicholson; Henry Grimes Quartet with
Graham Haynes, Geri Allen, Andrew Cyrille; Karma Mayet Johnson,
Meshell Ndegeocello, Lisa Sokolov, Dwight Trible, Imani Uzuri, Henry Grimes;
Henry Grimes Septet with Charles Gayle, Melanie Dyer, Nicole Mitchell, Tomeka Reid,
Marc Ribot, Chad Taylor
Judson Memorial Church 6:30 pm $40
Concert for Clean Power: Mago: John Medeski/Billy Martin; Marco Benevento;
Yuka C. Honda
Brooklyn Bowl 8 pm
Blue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars

Dee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler,
Kassa Overall
Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin,
Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez,
Keith OQuinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund,
Frank Kimbrough, Jay Anderson, Clarence Penn

Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams

John Zorns Bagatelles: Mike Nicolas/Erik Friedlander; Claws & Wings: Erik Friedlander,
Sylvie Courvoisier, Ikue Mori
The Stone 8, 10 pm $20
PRISM Quartet and S Percussion Roulette 7:30 pm $20-25
Its DeLovelyA 125th Birthday Celebration of Cole Porter: Matt Baker, Spencer Day,
Dawn Derow, Marcus Goldhaber, Kim Grogg, Jeff Harnar, Lindsey Holloway,
Annie Hughes, Martha Lorin, Kristoffer Lowe, Tammy McCann, Beckie Menzie,
Tom Michael, Carolyn Montgomery-Forant, Molly Pope, Julie Reyburn, Steve Ross,
Josephine Sanges, Jacob Storms, Ronny Whyte, Amra Faye-Wright

Weill Recital Hall 8 pm
Mary Lou Williams and Benny Carter meet Hard Bop: Dan Block Quintet with
Godwin Louis, Adam Birnbaum, Jennifer Vincent, Alvester Garnett

Michela Marino Lerman
Rob Clearfield with Marquis Hill, Caroline Davis, Curt Bley, Quin Kirchner

Camille Bertault
Mezzrow 8 pm $20
Jeremy Manasia Quartet with Peter Bernstein, Mike Karn, Charles Ruggiero;
Smalls Legacy Band; Kyle Poole Smalls 7:30, 10:30 pm 1:30 am $20
Saul Rubin Zebtet; John Benitez; Yoshi Waki

Voxecstatic: Valentina Marino Quartet with Alberto Pibiri, Cameron Brown,
Anthony Pinciotti, Maximilian Zooi; John Hart Trio with Bill Moring, Tim Horner

Beekman: Kyle Nasser, Yago Vasquez, Pablo Menares, Rodrigo Recabarren

Korzo 9, 10:30 pm
PLS.trio: Pier Luigi Salami, Martin Fowler, Shawn Crowder

Club Bonafide 7:30 pm $10
Yuto Kanazawa Trio with with Zack Westfall, Ray Belli; Paul Bollenback Trio with
Nilson Matta, Rogrio Boccato Bar Next Door 6:30, 8:30, 10:30 pm $12
Stephen Fuller Trio
Tomi Jazz 8 pm
Billy Test solo
Jazz at Kitano 8 pm

Peter Watrous
Silvana 6 pm
Dona Carter
David Murray
Rendall Memorial Presbyterian Church 12, 1 pm $15
Wednesday, June 8
Vision Festival: Jen Shyu Song of Silver Geese with Satoshi Haga, Olivia De Prato,
Erica Dicker, Victor Lowrie, Mariel Roberts, Mat Maneri, Chris Dingman,
Thomas Morgan, Anna Webber, Dan Weiss; Quincy Troupe; Connie Crothers Trio with
Michael Bisio, Warren Smith; Sun Ra Arkestra 60th Anniversary led by Marshall Allen
with Danny Ray Thompson, James Stewart, Cecil Brooks, Dave Davis,
Vincent Chancey, Tyler Mitchell, Dave Hotep, Calvin Edwin Newborn, George Burton,
Wayne Anthony Smith, Jr., Elson Nascimento, Atakatune, Tara Middleton

Judson Memorial Church 7 pm $40
Kirk Lightsey Group with Ed Cherry, David Happy Williams, Steve Williams;
Nick Finzer Sextet; Aaron Seeber Smalls 7:30, 10:30 pm 1:30 am $20
Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and
Tedd Firth Big Band
The Appel Room 7 pm $65-120
The Great Jewish American Songbook: Ted Rosenthal, Randy Brecker, Joel Frahm,
David Grossman, Tim Horner
Riverdale Y 7:30 pm $15-30
Raphael Dlugoff Trio +1; Harold Mabern Trio; Ned Goold Jam

Mike DiRubbo Quintet with Josh Evans, Brian Charette, Matt Dwonszyk,
Jason Tiemann; Dor Sagi; Marko Churnchetz 4 with Mark Shim, Ricky Rodriguez,
Ludwig Afonso
Club Bonafide 7:30, 9:30, 11 pm $10-20
The Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis,
Corcoran Holt, Willie Jones III
Smoke 7, 9, 10:30 pm $12
Dominick Farinaccis Short StoriesDizzys Club 7:30, 9:30 pm $35
50 Miniatures for Improvising Quintet: Jennifer Choi, Sylvie Courvoisier, Trevor Dunn,
Michael Sarin, Erik Friedlander; Vanishing Point: Craig Taborn/Erik Friedlander

Jaimie Branch Quartet with Tomeka Reid, Jason Ajemian, Chad Taylor;
Jooklo Duo with Brandon Lopez Rye 9, 10:15 pm
Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic;
Marko Djordjevic Sveti with Isamu McGregor, Evan Marien

ShapeShifter Lab 8:15, 9:30 pm $12
Thaisa Olivia Quartet with John di Martino, Ed Howard, Vince Cherico

Leon Parker with Jazzmeia Horn, Lafayette Harris, Calvin Jones

Mezzrow 8 pm $20
Q Morrow Group with Evan Francis, Sam Bevan, Rogrio Boccato; Kathryn Christie
with Matt Aronoff, Ross Pederson Cornelia Street Caf 8, 9:30 pm $10
Rebecca Angel and Dennis Angel Band with Gottfried Stoger, Jon Werking, Gregory Jones,
Nadav Snir Zelniker
Metropolitan Room 7 pm $20
Hironobu Honshuku Trio
Tomi Jazz 8 pm
Hot Club of Flatbush
Radegast Hall 9 pm
Kassa Overall



Whole Foods Market Bowery 6 pm
John Venezia Project
Silvana 6 pm
Toshiko Akiyoshi, Lew Tabackin, Steve Whipple, Tim Horner

Saint Peters 1 pm $10
Dona Carter
Thursday, June 9
Vision Festival: Douglas Dunn Dancers/Bill Cole UnTempered Trio with Ras Moshe,
Lisette Santiago, Jules Bakshi, Emily Pope, Paul Singh, Jin Ju Song-Begin;
Jemeel Moondoc The Zookeepers House with Matthew Shipp. Nathan Breedlove,
Hilliard Greene, Newman Taylor Baker; Tonya Foster; Steve Swell Quintet with
Rob Brown, Connie Crothers, Larry Roland, Chad Taylor; Garland of Blessing:
Hamid Drake, Kidd Jordan, Cooper-Moore, Michael Bisio

Arturo Sandoval
Henry Butler
Dave Schnitter Quintet; Greg Glassman Quintet; Todd Herbert

Black Phebe: Shoko Nagai, Satoshi Takeishi, Erik Friedlander;
Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith

Brian Drye Trio; Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby,
Charles Pillow, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber;
Wing Walker Orchestra
Threes Brewing 8 pm $10
Water Birds: Darius Jones, Jaimie Branch, Brandon Lopez, Chad Taylor;
Charles Rumback Quartet with Tony Malaby, Jason Stein, John Tate

Manhattan Inn 10 pm $10
Bruce Gertz Quartet with Jerry Bergonzi, Gabriel Guerrero, George Schuller

Blue Note Jazz Festival: Fabrizio Sotti Trio with Peter Slavov, Francisco Mela

Highline Ballroom 8 pm $20-40
Luis Perdomo, John Benitez, Marc Miralta

Terraza 7 8:30 pm $10
E.J. Strickland Transient Beings Ginnys Supper Club 7:30, 9:30 pm $15
Spike Wilner solo; Rob Scheps Trio with Jamie Reynolds, Cameron Brown;
Davis Whitfield
Mezzrow 8, 9, 11:30 pm $20

SEEDS 9 pm $10
Rodrigo Recabarren Trio with Jeff Miles, Shin Sakaino; Rotem Sivan Trio with
Haggai Cohen-Milo, Colin Stranahan

Bar Next Door 6:30, 8:30, 10:30 pm $12
Kal Rodrguez-Pea Sextet with Kazemde George, Sami Stevens, Gabriel Chakarji,
Nick Dunston, Amaury Acosta; Ralph Irizarry and Timbalaye with Adan Perez,
Ivan Renta, Alex Ayala, Roberto Quintero, Dennis Hernandez, Hommy Ramos;
Chip Shelton PeaceTime Ensemble with Tom Charlap, John Cotsonals, Jim Klein,
Will Terrill
Club Bonafide 7:30, 9:30, 11 pm $10-20
Judimarie Canterino Quartet with Mark Shane, Steve Lamatina, Jerry Bruno

Sofia Ribeiro Group with Juan Andrs Ospina, Petros Klampanis, Marcelo Woloski

Cornelia Street Caf 8 pm $10
Bass Holograms: Floyd Krouchi, Mark Bingham, Emilie Lesbros and guests

Keigo Hirakawa Trio
Sam Raderman Trio
Brian Glassmans Klezmer Jazz Alliance

Jalopy 8:30 pm $15
Blue Note Jazz Festival: Professor Cunningham and His Old School New York Jazz Band

Lucilles at B.B. Kings 7:30, 9:30 pm $15
Shane Hampsheir Swing Band Metropolitan Room 9:30 pm $24
The Highliners
Tomi Jazz 9 pm $10
Dan Furman Duet
Kirk Lightsey Group with Ed Cherry, David Happy Williams, Steve Williams;
Nick Hempton Quartet
Smalls 7:30, 10:30 pm $20
Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and
Tedd Firth Big Band
The Appel Room 7, 9 pm $65-120
The Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis,
Corcoran Holt, Willie Jones III
Smoke 7, 9, 10:30 pm $12
Dominick Farinaccis Short StoriesDizzys Club 7:30, 9:30 pm $40
Kassa Overall


Sam Hoyt
Silvana 6 pm
Dona Carter
Johnathan Blake Band
Friday, June 10
Vision Festival: William Hooker Triangle with Chris DiMeglio, Adam Lane, Mark Hennen,
Goussy Celestin; Fay Victor SoundNoise Quartet with Sam Newsome, Melvin Gibbs,
Reggie Nicholson; Bob Holman/Todd Nicholson; Cooper-Moore Quartet with
Alan Michael, Brian Price, Michael Wimberly; Michele Rosewomans New Yor-Uba with
Alex Norris, Chris Washburne, Roman Filiu, Stacy Dillard, Yunior Terry, Robby Ameen,
Roman Diaz, Mauricio Herrera, Rafael Monteagudo, Amma Mcken

Dizzy Revisited: Jimmy Heaths Queens Jazz Orchestra

Flushing Town Hall 8 pm $42
Tribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer,
Dezron Douglas, Ronnie Burrage, Neil Clark

Smoke 7, 9, 10:30 pm $38
Ehud Asherie solo; Kirk Lightsey Trio with Ed Cherry, David Williams; Johnny ONeal

Mezzrow 8, 9:30 pm 12:30 am $20
Tom Guarna Quartet with Jon Cowherd, Henry Cole, Ricky Rodriguez;
Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter;
Corey Wallace
Smalls 7:30, 10:30 pm 1:30 am $20
Tal Ronen; Full Circle; Paul Nowinski

Fat Cat 6, 10:30 pm 1:30 am
Lush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra
with guest Johnny ONeal
Rose Theater 8 pm $40-135
Broken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander;
Arrullo de la Noche Honda: Erik Friedlander/Lucia Pulido

Mary Halvorsons Code Girl with Amirtha Kidambi, Ambrose Akinmusire,
Michael Formanek, Tomas Fujiwara

Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost,
Reuben Rogers, Carlton Holmes, Alioune Faye

Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb

John Raymond Trio with Chris Smith, Jochen Rueckert

Bar Next Door 7:30, 9:30, 11:30 pm $12
Daniel Freedman
Guillermo Gregorio/Nicolas Letman-Burtinovic Intersection 6et with Ernesto Llorens,
Nick Jozwiak, Leonor Falcn Pasquali

Spectrum 8:30 pm
Jon Irabagon Trio with Gary Versace, Tom Rainey

Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold

Infrequent Seams Spring Festival: Lucie Vitkova/James Ilgenfritz;
Providence Research Ensemble; Red Desert Ensemble: Devin Maxwell/Katie Porter;
Jen Bakers Polyverse Ensemble with Ingrid Laubrock, Anas Maviel

The Firehouse Space 7:15 pm $10
Luiz Simas Trio with Itaiguara, Mauricio Zottarelli; ITA Jazz Competitions

Club Bonafide 9:30, 11 pm $10-20
Rale Micic/Peter Bernstein
Yes Deer: Sigourney Delmar/Avram Vestman; The Ghost: Michael Foster, Henry Fraser,
Connor Baker
New Revolution Arts 8, 9 pm
Michael Mwenso and the Shakes Ginnys Supper Club 7:30, 9:30 pm $15-20
The Buffalo Band Trio: Geoff Countryman, Zack Eldridge, Chris Bonner

The Cave at St. Georges Episcopal 7:30, 9:30 pm $10
Wataru Uchida Quartet with Yago Vazquez, Kim Clarke, Lucianna Padmore

Inkwell Caf 7:30 pm
Takenori Nishiuchi
Tomi Jazz 9 pm $10
Libby Richman Trio
The Valentine Quintet; Rebecca Sullivan

Silvana 6, 7 pm
Jon Sheckler Trio
Shrine 7 pm
Mark Sganga/Larry DAlbero
Arturo Sandoval
Kassa Overall
Keith OQuinn, Ryan Keberle, Marshall Gilkes, George Flynn, Ron Oswanski,
Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn


IN/TER\SECT: Sandbox Percussion; Andy Lin and Kelly Lin; Andy Akiho and
The Foundry; Jonathan Finlaysons Sicilian Defense;
Chris Potter Underground Orchestra

Bryant Park 5 pm
Dona Carter
Saturday, June 11
Blue Note Jazz Festival: Charles Lloyds Sangam with Zakir Hussain, Eric Harland

Town Hall 8 pm $47.50-125
Vision Festival: Wadada Leo Smith/Miriam Parker; Hamiet Bluiett Quartet with
DD Jackson, Bob Stewart, Hamid Drake; David Mills; Wadada Leo Smith Viola Quartet
with Stephanie Griffin, Jason Kao Hwang, Hardedge; Paradox of Freedom:
Dave Burrell/Hamid Drake
Time Quartet: Erik Friedlander, Mark Helias, Uri Caine, Ches Smith;
Oscalypso: Michael Blake, Erik Friedlander, Trevor Dunn, Michael Sarin

Rez Abbasis Junction with Mark Shim, Ben Stivers, Kenny Grohowski

Greenwich House Music School 8 pm $15
Billy Lester solo
The Drawing Room 7 pm $20
Kevin Hays New Day Trio with Rob Jost, Greg Joseph

Marc Carys Harlem Story
Rick Stone Trio with Harvie S, Joe Strasser

Bar Next Door 7:30, 9:30, 11:30 pm $12
Sammy Figueroa with Silvano Monasterios, Gabriel Vivas, Dennis Hernandes,
Carlos Averhoff, Jr., Ludwig Afonso; Jeremy Warren and the Rudiment

Club Bonafide 7:30, 9:30, 11 pm $10-120
Ivan Renta Quintet
Fat Cat 7 pm
Adam Birnbaum Trio with Matt Clohesy, Quincy Davis and guests Gillian Bell,
Natalie Kress, Amy Galluzzo, Caitlin Lynch, Caleb van der Swaagh

Canoe Studios 10 pm
Jay Rattman Quintet
The Cell 8 pm $15
Colleen Clark Collective with Lauren Sevian, Adam Larson, Julian Shore,
Bam Bam Rodriguez
Rockwood Music Hall Stage 2 7:15 pm
Daniel Bennet Group; Chika Tanaka

Tomi Jazz 8, 11 pm $10
Richard Clements Trio
Mike Serrano Band with Stephen C. Josephs

University of the Streets 8 pm $10
Valentine Quintet; Rodrigo Bonelli Shrine 6, 7 pm

Smoke 7, 9, 10:30 pm $38
Spike Wilner; Kirk Lightsey Trio with Ed Cherry, David Williams; Anthony Wonsey

Mezzrow 8, 9:30 pm 12:30 am $20
Peter and Will Anderson Quintet with Jeb Patton, Clovis Nicolas, Phil Stewart;
Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter;
Philip Harper Quintet
Smalls 7:30, 10:30 pm 1:30 am $20
Lush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra
with guest Johnny ONeal
Rose Theater 8 pm $40-135
Mary Halvorsons Code Girl with Amirtha Kidambi, Ambrose Akinmusire,
Michael Formanek, Tomas Fujiwara


Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb

Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold

Infrequent Seams Spring Festival: Seth Parker Woods; Philip White solo;
Hate Speech: Charlie Looker/Jeremiah Cymerman; Anagram Ensemble

Mark Sganga/Larry DAlbero
Arturo Sandoval
Kassa Overall
Caf Carlyle 8:45, 10:45 pm $80-155


Thomas Music Study Club Concert: Chip Shelton/Dotti Anita Taylor

Saint Peters 3 pm
Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin,
Jay Rodriguez, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy,
Brandon Seabrook, Ken Filiano PS 189 11 am
43
Sunday, June 12
Vision Festival: Breath through Stone: David Mills, Patricia Nicholson, Djassi Johnson,
Yoshiko Chuma, Jason Kao Hwang, Michael TA Thompson; Mike Reeds Flesh & Bone
with Ben Lamar Gay, Greg Ward, Tim Haldeman, Jason Stein, Jason Roebke,
Kevin Coval, Marvin Tate; James Brandon Lewis Trio with Luke Stewart,
Warren Trae Crudup III; Dave Liebman, Sam Newsome, Jeff Coffin, Tatsuya Nakatani;
Kidd Jordan Ensemble with Joel Futterman, Harrison Bankhead, Alvin Fielder and
guest Marlon Jordan
Erik Friedlander solo; Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander

International Anthem Summer Showcase: Makaya McCraven with Junius Paul,
Justefan, Greg Ward, Marquis Hill; Rob Mazurek/Chad Taylor; Jaimie Branch Quartet
with Tomeka Reid, Jason Ajemian, Chad Taylor

Le Poisson Rouge 9:30 pm $22
Marshall Gilkes with Donny McCaslin, Adam Birnbaum, Matt Clohesy, Eric Doob

Northern Spy: Michael Bates, Michael Blake, Jeremy Bean Clemons;
Charles Evans/Ron Stabinsky; VUDUnification: Paul Austerlitz, Alexis Marcelo,
Jean-Marie Brignol
Threes Brewing 8, 9, 10 pm $15
Charmaine Lee with Tyshawn Sorey, Joanna Mattrey, Henry Fraser, Leila Bordreuil

JACK 8 pm $10
Ai Murakami Trio with Sacha Perry; Johnny ONeal Trio; Behn Gillece Quartet with
Nate Radley, Clovis Nicolas, Jason Tiemann; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
Ehud Asherie; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam

Fat Cat 6, 8:30 pm 1 am
Simone Parker
Constance Cooper Arc Welding Trio; Stone Arabia: Robyn Siwula, Michael Irwin,
Dmitry Ishenko, Joe Hertenstein ABC No-Rio 7 pm $5
The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and
guests Jim Saporito, Harrison Hollingsworth

Ken Kobayashi
Tomi Jazz 8 pm

Smoke 7, 9, 10:30 pm $38
Kirk Lightsey Trio with Ed Cherry, David Williams

Mezzrow 9:30 pm $20

Infrequent Seams Spring Festival: Anagram Ensemble

Arturo Sandoval
Kassa Overall

Mari Koga Quintet
Birdland 6 pm $25
Ghosts Of The Holy Ghost Spermic Brotherhood: Michael Evans, David Grollman,
Andy Haas
Academy Records 5:30 pm
Chris Whittaker Quartet
Saint Peters 5 pm
John Zorns Bagatelles: John Zorn/Dave Douglas Quartet with Brad Jones, Ches Smith

The Stone 3 pm $20
Red Hook Jazz Festival: Joe Fiedlers Big Sackbut with Ryan Keberle, Luis Bonilla,
Jose Davila; Tomas Fujiwara and The Hook Up with Mary Halvorson, Brian Settles,
Jonathan Finlayson, Michael Formanek; Rez Abbasis Junction with Mark Shim,
Ben Stivers, Kenny Grohowski; Judi Silvanos Zephyr Quintet with Bruce Arnold,
Kenny Wessel, Ratzo Harris, Bob Meyer; Sexmob: Steven Bernstein, Briggan Krauss,
Tony Scherr, Kenny Wollesen
Urban Meadow 1 pm $10
Emilio Solla Tango-Jazz Quartet with Joel Frahm, Edward Perez, Ferenc Nemeth

Roz Corral Trio with Howard Alden, David Silliman

Monday, June 13
Milford Graves/Deantoni Parks

Park Avenue Armory 8 pm $45
Marty Ehrlichs Travelers Tales with James Brandon Lewis, Brad Jones, Ben Perowsky

John Zorns Bagatelles: Secret Quartet: Cornelius Dufallo, Jennifer Choi, Ljova Zhurbin,
Yves Dharamraj; A New Quartet: Pauline Kim, Conrad Harris, William Hakim,
Okkyung Lee
Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura

Mara Rosenbloom Trio with Adam Lane, Chad Taylor; Darius Jones Quintet with
Ben Gerstein, Jason Stein, Michael Bisio, Jason Nazary

Ibeam Brooklyn 8:30, 9:30 pm $15
Calixto Oviedo with Bob Franceschini, Cesar Orozco, Robert Quintero,
Ruben Rodriguez
Evan Christopher/Ehud Asherie; John Merrill

Mezzrow 8, 10:30 pm $20
Torben Waldorff Quartet with Ingrid Jensen, Drew Gress, Johnathan Blake;
Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel

Smalls 7:30, 10:30 pm 1 am $20
Ned Goold Quartet
Fat Cat 9 pm 12:30 am
Mingus Big Band
David Lopato Quartet with Lucas Pino, Ratzo Harris, Mike Sarin

Jeb Bishop/Josh Sinton; CROOKS: Jaimie Branch, John Welsh, Brandon Lopez,
Sam Ospovat; Hero of Warchester: Anna Webber, Nathaniel Morgan, Liz Kosack

Delroys Cafe and Wine Bar 9, 9:30, 10:15 pm $10
Becca Stevens Band
Philippe Crettien Quartet with Patrick Mottaz, Sean Farias, Mike Connors

David Kuhn Trio with Daniel Durst, Diego Maldonato; Elisabeth Lohninger Trio with
Walter Fischbacher, Marco Panascia

Bar Next Door 6:30, 8:30, 10:30 pm $12
Tony Tixier/Damian Henderson Boudoir 7:30 pm
Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai

Tomi Jazz 8 pm
Danny Bacher Quartet
Le Cirque 7:30 pm
DUBtrio+1; Benji Kaplan Sextet Silvana 6, 7 pm
Joel Forrester
Tuesday, June 14
National Jazz Museum in Harlem 2016 Annual Benefit Concert: Ren Marie;
Monty Alexander and Harlem-Kingston Express

Kaye Playhouse 7:30 pm $35-55
Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart

Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers

Christian McBride Quartet
Blue Note Jazz Festival: Terrace Martin; Keyon Harrold

Highline Ballroom 8 pm $30-65

Oscar Peterson Celebration: Mike Longo Trio

NYC Bahai Center 8, 9:30 pm $15
The Out Louds: Ben Goldberg, Mary Halvorson, Tomas Fujiwara

Darcy James Argues Secret Society with Dave Pietro, Rob Wilkerson, Peter Hess,
Jon Irabagon, Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman,
Nadje Nooordhuis, Jason Palmer, Mike Fahie, Ryan Keberle, Jacob Garchik,
Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan

Amarcord Nino Rota: Hal Willner, Giancarlo Vulcano, Steven Bernstein, Michael Gibbs,
Karen Mantler, Doug Wieselman, Jane Scarpantoni, Jim White

Renku: Michal Attias, John Hbert, Satoshi Takeishi; Anna Webber, Teddy Klausner,
Devin Gray
Korzo 9, 10:30 pm
Deanna Kirk
Mezzrow 8 pm $20
Spike Wilner Trio; Brian Charette Trio with Steve Fidyk, Will Bernard; Jovan Alexander

Smalls 7:30, 10:30 pm 1:30 am $20
Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop

Fat Cat 7, 9 pm
Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; Mike Robinson Trio with
Dave Speranza, Connor Parks Bar Next Door 6:30, 8:30, 10:30 pm $12
Matt McDonald Group; John Yao and His 17-piece Instrument with Alejandro Aviles,
Aaron Irwin, Rich Perry, Jason Rigby, Andrew Hadro, John Walsh, Jason Wiseman,
David Smith, Andy Gravish, Luis Bonilla, Matt McDonald, Eric Miller, Jennifer Wharton,
Jesse Stacken, Robert Sabin, Vince Cherico

ShapeShifter Lab 7, 8:15, 9:30 pm $10
Victor Rendn Bronx Conexin Latin-Jazz Big Band

Nuyorican Poets Caf 9:30 pm $10
Jon Sheckler Trio with Steve Denny, Aron Caceras

Paul Corn Duo
Tomi Jazz 8 pm
Larry Corban Electric Trio
Silvana 7 pm
Billy Test solo
Jazz at Kitano 8 pm

Benny Benack III
Joel Forrester
Adegoke Steve Colson
Wednesday, June 15
Vijay Iyer Trio with Stephan Crump, Marcus Gilmore

Harris Eisenstadts Recent Developments with Jeb Bishop, Eivind Opsvik, Dan Peck,
Hank Roberts, Brandon Seabrook, Sara Schoenbeck, Anna Webber, Nate Wooley

Tom Rainey/Ingrid Laubrock
Barbs 8 pm $10
Romain Collin
Iridium 8:30 pm $27.50
Mario Pavone Mixed Quintet with Tony Malaby, Dave Ballou, Oscar Noriega,
Peter McEachern, Michael Sarin Cornelia Street Caf 8 pm $10
Marlene VerPlanck Trio with Tedd Firth, Boots Maleson

Jon Irabagon/Juan Pablo Carletti; Curtis Hasselbring Trio with Simon Jermyn,
Satoshi Takeishi
Rye 9, 10:15 pm
Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez,
Joel Mateo
Smoke 7, 9, 10:30 pm $12
Doing the Things We Want To: Hal Willner, Chloe Webb, Lee Ranaldo, Sim Cain,
Doug Weiselman, Steven Bernstein, Don Fleming, Jacob Faulkner

Ray Gallon
Mezzrow 8 pm $20
Marc Miralta Quartet with Luis Perdomo, Miguel Zenn, John Benitez;
Harold Mabern Trio; Sanah Kadoura

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

Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino; Costas Baltazanis;
Lucas Kadish Trio with Devon Gillingham, Connor Parks

Club Bonafide 7:30, 9:30, 11 pm $10-20
Matterhorn
Rockwood Music Hall Stage 1 11:30 pm
Dragonflies: Nicolas Letman-Burtinovic, Douglas Bradford, Peter Kronreif

Bar Chord 9 pm
Tsuyoshi Yamamoto Trio
Tomi Jazz 8 pm
Roger Davidson
Caffe Vivaldi 7:15 pm



Benny Benack III
Mike Alfieri Trio
Silvana 6 pm
Gioel Severini
Shrine 6 pm
Dick Hyman solo
Joel Forrester
Thursday, June 16
Highlights in JazzTrio Time: Dick Hyman Trio with Jay Leonhart, Howard Alden;
Trio Da Paz: Duduka Da Fosenca, Romero Lubambo, Nilson Matta

Tribeca Performing Arts Center 8 pm $50
Tom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett,
Ugonna Okegwo, Johnathan Blake

Benny Benack III
Ccile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers

St. Pauls German Lutheran Church 7:30 pm
Ben Allison Band with Joey Arias, Brandon Seabrook, Steve Cardenas, Allison Miller;
Sivan Arbel with Shai Portugaly, Nadav Shapira, Yogev Gabay, Ron Warburg,
Jack Sheehan, Ori Jacobson
ShapeShifter Lab 7, 8:15, 9:30 pm $10
Whoops Im An Indian: Martin Brumbach, Mocean Worker, Hal Willner and guest
Professor Irwin Corey; Homage to Joel Dorn: Adam Dorn, Hal Willner,
Martin Brumbach, William Eaton, William Fischer

Bobby Katz Trio with Perrin Grace, Tim Rachbach; Jon Irabagon Trio with
Chris Lightcap, Gerald Cleaver Bar Next Door 6:30, 8:30, 10:30 pm $12
Frank Vignola/Vinny Raniolo
Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby, Charles Pillow,
Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; JC Stylles Quartet

Smalls 7:30, 10:30 pm $20
Point of Departure
Fat Cat 10 pm
Ayako Shirasaki Trio with Noriko Ueda, Lewis Nash

Ricky Rodriguez Group with Myron Walden, Adam Rogers, Luis Perdomo,
Obed Calvaire
John Hadfield Saints of Percussion with Billy Drewes, Matt Kilmer, Tim Keiper,
Shane Shanahan, John Hadfield Cornelia Street Caf 8 pm $10
Sumie Kaneko; Marcus Machado Club Bonafide 7:30, 9:30 pm $15
Patrick Brennans Transparency Kestra with Eli Asher, Haruna Fukazawa,
Michel Gentile, Brian Groder, Lloyd Haber, Thomas Heberer, Patrick Holmes,
Jason Kao Hwang, Chris McIntyre, Dave Treut, David Sidman, Nico Soffiato,
Justin Wood
El Taller LatinoAmericano 7 pm $10
Eden Bareket
Ehud Asherie solo; Spike Wilner; Davis Whitfield

Mezzrow 8, 9, 11:30 pm $20
Susan Leviton and Lauren Brody Jalopy 8:30 pm $15
Scot Albertson
Tomi Jazz 9 pm $10
Lauren Lee Duet

Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez,
Joel Mateo
Smoke 7, 9, 10:30 pm $12

Sean Harkness Duo
Birdland 6 pm $25

New York Trombone Conspiracy Silvana 6 pm
Tsuyoshi Yamamoto
Shrine 6 pm
Matthew Fries Trio
Hillstone 6 pm
Joel Forrester
Monika Herzig
Friday, June 17
Gabriel Alegra Afro-Peruvian Sextet with Laura Andrea Legua,
Freddy Huevito Lobatn, Yuri Jurez, John Benitez, Franco Pinna;

Corners of the World: Andres Malagon, Yuma Uesaka, Paul JB Lee, Tony Lannen,
Diego Maldonado
Club Bonafide 7:30, 9:30, 11 pm $10-30
Sacha Perry solo; David Liebman; Johnny ONeal

Mezzrow 8, 9:30 pm 12:30 am $20
Jimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III

Smoke 7, 9, 10:30 pm $38
Jon Burr Quintet with Tim Ouimette, Steven Frieder, Michael Eckroth, Steve Williams;
Donald Edwards Quintet with Ralph Bowen, David Gilmore, Manuel Valera, Ben Wolfe;
Joe Farnsworth
Smalls 7:30, 10:30 pm 1:30 am $20
Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves,
Nilson Matta
Hal Willner with Terry Adams, Art Baron and guests; Hal Willner with Janine Nichols,
LeeAnn Brown, Nile Southern, Tony Torn, Steven Bernstein

Gene Bertoncini
John Benitez
Blue Note Jazz Festival: Williamsburg Salsa Orchestra

Subrosa 8:30 pm $12
Devin Grays Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek

Steve LaSpina/Gary Dial
John Hbert Quartet with David Virelles, Tim Ries, Billy Drummond

DIY Labels Festival: Joe Moffett solo; Yolt/Hero of Warchester: Weston Minissali,
David Grollman, Nathanile Morgan, Anna Webber; Gordon Beeferman Trio with
Michael Evans, Brandon Lopez; Michael Evans/Susan Hefner

Mark Cocheo Trio with Mark Zaleski, Brian Adler

Bar Next Door 7:30, 9:30, 11:30 pm $12
Vivian Reed
Erica Seguine/Shannon Baker Jazz Orchestra; Scott Reeves Jazz Orchestra

ShapeShifter Lab 8, 9:30 pm $15
Underground Horns
Radegast Hall 9 pm
Julio Botti Trio
Tomi Jazz 9 pm $10
Gustavo Moretto Trio
Rachel Linkovsky Quintet
Silvana 7 pm
Shigemasa Nakano
Shrine 7 pm

Benny Benack III



Joel Forrester
Saturday, June 18
SummerStage/Blue Note Jazz Festival: Kamasi Washington

Jason Rigby Detroit-Cleveland Trio with Cameron Brown, Gerald Cleaver

Brianna Thomas
Tord Gustavsen Trio with Simin Tander, Jarle Vespestad

Saint Peters 8 pm
Melissa Aldana/Glenn Zaleski Sextet with Ben van Gelder, Philip Dizack, Rick Rosato,
Craig Weinrib
DIY Labels Festival: Brian Osborne solo; Flin Van Hemmen Trio with Eivind Opsvik,
Christopher Hoffman; Dustin Carlson/Juan Pablo Carletti; Blood of the Stars: Dan Peck/
Erica Dicker
Hal WillnerGarth Hudson
Petros Klampanis Trio with Yotam Silberstein, John Hadfield

Bar Next Door 7:30, 9:30, 11:30 pm $12
Ali Bello and the Sweet Wire Band with Gabriel Chakarji, Bam Bam Rodrguez,
Ismael Maelo Baiz and guest; Buyu Ambroise Blues in Red Band;
Wataru Predawn Shenanigans Club Band with Abelita Mateus, Itaiguara Brando,
Vanderlei Pereira
Club Bonafide 7:30, 9:30, 11 pm $10-20
Scott Healy Ensemble with Brian Swartz, Andrew Lippman, Alex Budman, Rick Shaw,
Bill Wysaske, Aaron Heick, Bob Magnuson, Frank Greene, Jol Vasse

St. Pauls German Lutheran Church 7:30 pm
Jackie Gage Siren Songs
The Cell 8 pm $15
Astoria Big Band
Sunnyside Reformed Church 7 pm
Standard Procedures; Takafumi Suenaga

Ken Simon Trio
Noshir Mody Sextet
Shrine 7 pm
Spike Wilner; David Liebman; Jon Davis

Mezzrow 8, 9:30 pm 12:30 am $20

Smoke 7, 9, 10:30 pm $38
Eddie Diehl Quartet with Joel Fass, John Beal, Taro Okamoto; Donald Edwards Quintet
with Ralph Bowen, David Gilmore, Manuel Valera, Ben Wolfe; Brooklyn Circle

Smalls 7:30, 10:30 pm 1:30 am $20
Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves,
Nilson Matta
Devin Grays Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek

Steve LaSpina/Gary Dial

Benny Benack III



The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey,
Philip Harper, Alex Grassel, Dave Gibson

Brownsville Heritage House 3 pm
All-Female Jazz Residency

Artistic Director: Geri Allen
July 10 - 16, 2016 at Rutgers University-Newark

Young women work alongside the most
respected jazz musicians in the field.
Linda Oh
Bruce Williams
Ingrid Jensen
Geri Allen
Tia Fuller
Photo: Norman DeShong
#NJPACArtsEd
To register visit njpac.org/getacceptd

For more information: njpac.org/summer
artseducation@njpac.org 973.353.7058
NYC Jazz Record All-Female Jazz Residency Ad_9.5x12_ad.indd 1
Financial
aid
available
Apply today!
5/17/16 4:00 PM
Sunday, June 19
Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz

The Drawing Room 7:30 pm $15
Jim Black Trio with Elias Stemeseder, Thomas Morgan

Dave Chamberlain Band of Bones Club Bonafide 7 pm $20
DIY Labels Festival: Sean Conly solo; Booker Stardrum solo; Carlo Costa Quartet with
Steve Swell, Jonathan Moritz, Sean Ali; Yoni Kretzmer, Jason Ajemian, Kevin Shea

Uri Gurvich Quartet with Manuel Valera, Peter Slavov, Francisco Mela;
Braxton Cook Quintet
Rockwood Music Hall Stage 3 7, 10 pm $10-12
Lezlie Harrison Quartet; Joe Magnarelli Quartet; Hillel Salem

Smalls 7:30, 10:30 pm 1:30 am $20
Ehud Asherie; Brandon Lewis/Renee Cruz Jam

Fat Cat 6 pm 1 am
Josh Sinton/Guillermo Gregorio; Mike Sopko/Chris Pitsiokos

Eden Ladin
Mezzrow 9:30 pm $20
Scott May Ensemble; Evan Gallagher Ensemble

ABC No-Rio 7 pm $5
Luciana Menzes
Tomi Jazz 8 pm

Smoke 7, 9, 10:30 pm $38



Bucky Pizzarelli
Birdland 6 pm $30
David Love Trio
Silvana 6 pm
Nadje Noordhuis and Cablework Saint Peters 5 pm
John Zorns Bagatelles: Jim Black Trio with Elias Stemeseder, Chris Tordini

The Stone 3 pm $20
Black Arts Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III,
Victor Gould, Vicente Archer, Johnathan Blake

Brooklyn Conservatory of Music 3 pm
Eric Wyatt Band with Benito Gonzalez, Essiet Okon Essiet, Chris Beck

First Baptist Church Of Crown Heights 3 pm
Red Hook Jazz Festival: Jeff Davis Authorities Trio + 1 with Kirk Knuffke, Eivind Opsvik
and guest Jonathan Goldberger; Matt Pavolka Horns Band with Kirk Knuffke,
Loren Stillman, Jacob Garchik, Mark Ferber; Ari Hoenig Group;
James Brandon Lewis Trio with Luke Stewart, Warren G. Crudup III;
Bobby Previte and the Visitors with Mike Gamble, Michael Kammers, Kurt Kotheimer

Urban Meadow 1 pm $10
Joe Alterman Trio
Roz Corral Trio with Sheryl Bailey, Paul Gill

Monday, June 20
Rebirth Brass Band

George Braith
Mingus Big Band

Lucas Pinos No Net Nonet with Mat Jodrell, Alex LoRe, Nick Finzer, Andrew Gutauskas,
Rafal Sarnecki, Glenn Zaleski, Desmond White, Jimmy MacBride, Vuyo Sotashe,
Nancy Harms
Jerome Sabbagh/Danny Grissett; John Merrill

Mezzrow 8, 10:30 pm $20
Dan Cray Quartet with Dayna Stephens, Clark Sommers, Mark Ferber;
The Humanity Quartet: Leon Parker, Joel Frahm, Sean Smith, Fred Nardin;
Jonathan Michel
Smalls 7:30, 10:30 pm 1 am $20
Confirmed: Leonid Galaganov, Sana Nagano, Lester St.louis, Jordan Morton;
Polyverse: Jen Baker, Ingrid Laubrock, Stephanie Griffin, Anas Maviel

Delroys Cafe and Wine Bar 9, 10 pm $10
Jon Davis Trio
Henrique Eisenmann Trio with Jorge Roeder, Rogrio Boccato

Sandy Gabriel
Mark Phillips Trio with Peter Amos, Sam Zerna; Daniela Schchter Trio with
Marco Panascia
Bar Next Door 6:30, 8:30, 10:30 pm $12
Richard Sears/Karl McComas-Reichl

Boudoir 7:30 pm
Erena Terakubo
Tomi Jazz 8 pm
Roy Eaton
Tuesday, June 21
Stanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond

Robert Glasper Trio with Vicente Archer, Damion Reid

Jazztopad Festival Presents: Obara International Quartet: Maciej Obara,
Dominik Wania, Ole Morten Vgan, Gard Nilssen

Eliane Elias
Steve Davis Quintet with Mike DiRubbo, Larry Willis, Gerald Cannon, Joe Farnsworth

Sammy Miller Congregation
Bill Garfield Band
NYC Bahai Center 8, 9:30 pm $15
Midsummer Night Swing: Catherine Russell Septet

Damrosch Park 7:30 pm $17

Victor Prieto The Three Voices with Arturo OFarrill, Meg Okura, Daniel Blake,
Xohan Manuel Xil Paxaro, Carlo De Rosa, Eric Doob

Symphony Space Leonard Nimoy Thalia 8 pm $20
Flow Trio: Louie Belogenis, Joe Morris, Charles Downs and guest Joe McPhee

Mostly Other People Do the Killing: Ron Stabinsky, Moppa Elliott, Kevin Shea
and guest Matt Nelson
Michael Blake Quintet with Marcus Rojas, James Carney, Chris Lightcap,
Kresten Osgood; Ken Thomson Sextet with Anna Webber, Russ Johnson, Alan Ferber,
Adam Armstrong, Daniel Dor
Korzo 9, 10:30 pm
JC Sanfords Triocracy with Chris Bacas, Andy Laster; Aaron Irwin Group with
Marshall Gilkes, Pete McCann, Thomson Kneeland; JC Sanford 4 with Mike Baggetta,
Dave Ambrosio, Russ Meissner ShapeShifter Lab 7, 8:15, 9:30 pm $10
Daryl Sherman
Mezzrow 8 pm $20
Spike Wilner Trio; Lucas Pino No Net Nonet; Kyle Poole

Smalls 7:30, 10:30 pm 1:30 am $20
Saul Rubin Zebtet; Cocomama Fat Cat 7, 9 pm
Tommy Holladay Trio with Josh Crumbly, Kush Abadey; Tom Finn Trio with
Zwe Bell Le Pere, Bryan Carter Bar Next Door 6:30, 8:30, 10:30 pm $12
George Dulin
Tomi Jazz 8 pm
Billy Test solo
Jazz at Kitano 8 pm
Lauren Lee Trio
Silvana 6 pm
Roy Eaton
Kahlil Kwame Bell
Wednesday, June 22
Jazztopad Festival Presents: Marcin Wasilewski Trio; Lutoslawski Quartet with Uri Caine;
Piotr Damasiewicz Quintet

Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar

Connie Crothers, Louie Belogenis, Ken Filiano, Michael Wimberly; Rob Brown,
Louie Belogenis, Roberta Piket, Billy Mintz

Kendra Shank/Frank Kimbrough Jazz at Kitano 8, 10 pm $17
Victor Gould Sextet with Jeremy Pelt, Godwin Louis, Myron Walden, Ben Williams,
E.J. Strickland
Smoke 7, 9, 10:30 pm $12
Samuel Torres Group with Alex Norris, Tom Guarna, Manuel Valera, Ricky Rodriguez,
Pablo Bencid; Sandy Gabriel
Club Bonafide 7:30, 9:30 pm $15-20
Greg Lewis Organ Trio
Leon Parker Quartet
Mezzrow 8 pm $20
Rick Rosato Trio with Peter Bernstein, Craig Weinrib; Dave Baron Quartet with
Lucas Pino, Bruce Barth, Aaron Kimmel; Aaron Seeber

Smalls 7:30, 10:30 pm 1:30 am $20
Raphael Dlugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam

Martin Philadelphy, Trevor Dunn, Kresten Osgood; Jonas Kullhammar, Michael Blake,
George Braith, Goran Kajfes, Johan Berthling, Kresten Osgood

Ibeam Brooklyn 8:30, 10 pm $10
BMI Jazz Composers Workshop Showcase Concert

Christ-St. Stephens Church 7:30 pm
Hans Ldemann solo; Koi4: Teo Vanovski, Paul JuBong Lee, Marcio Garcia,
Zach Kirsimae
ShapeShifter Lab 7, 8:15 pm $8-10
Sam Weinberg Band; The Skellettes: Nathaniel Morgan, Angela Morris, Jason Ajemian,
Booker Stardrum
Rye 9, 10:15 pm
Shoko Igarashi Trio
Tomi Jazz 8 pm
Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron,
Dan Silverstone
Caffe Vivaldi 8:30 pm
Gypsy Jazz Caravan
Radegast Hall 9 pm

Robert Glasper Trio with Vicente Archer, Damion Reid

Eliane Elias
Whole Foods Market Bowery 6 pm
Tom Blatt Project
Silvana 6 pm
Benji Kaplan Sextet
Shrine 6 pm
Eyal Vilner Big Band
Roy Eaton
Thursday, June 23
Jazztopad Festival Presents: Piotr Damasiewicz Quintet; Lutoslawski Quartet with
Uri Caine; Marcin Wasilewski Trio Dizzys Club 7:30, 9:30 pm $30-40
Henry Butler
Darius Jones, Louie Belogenis, Adam Lane, William Hooker; Louie Belogenis,
Russ Lossing, Kenny Wollesen The Stone 8, 10 pm $20
Dean Johnsons Triology with Joel Frahm, Jim Ridl, Tim Horner

Dan Weiss Trio with Jacob Sacks, Thomas Morgan

Brandon Seabrook Die Trommel Fatale with Marika Hughes, Eivind Opsvik, Dave Treut,
Sam Ospovat, Chuck Bettis
Unidentified Fusion Orangement: Alexander Anderson, Cosimo Boni, Connor Steck,
David Milazzo, Bryant Jackson, Max Acree, Shin Sakaino, Tiago Michelin;
Roman Filius Quarteria with Ralph Alessi, Dayna Stephens, Maria Grand, David Virelles,
Matt Brewer, Craig Weinrib, Yusnier Sanchez

ShapeShifter Lab 7, 8:15 pm $10
SEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber;
Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump;
Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens

SEEDS 8:30 pm
Spike Wilner solo; Mike Longo; Davis Whitfield

Mezzrow 8, 9, 11:30 pm $20
Carl Bartlett Jr. Quartet with Yoichi Uzeki, Marcus McLaurine, Sylvia Cuenca;
Loren Stillman Quintet with Gary Versace, Nate Radley, David Ambrosio, Mark Ferber

Smalls 7:30, 10:30 pm $20
Roxy Coss Quintet with Alex Goodman, Miki Yamanaka, Rick Rosato, Craig Weinrib;
Chiara Izzi/Kevin Hays; Swingatto: Alex Woods, Antonio Feula, Giacomo Tagliavia

Club Bonafide 7:30, 9:30, 11 pm $10-15
Guillermo Gregorio Group with Brandon Lopez; Dustin Carlson Largetet with
Danny Gouker, Nathaniel Morgan, Eric Trudel, Adam Hopkins, Kate Gentile

Manhattan Inn 10 pm $10

Jazz Museum in Harlem 7 pm $10
Chris Turner/Killiam Shakespeare Ginnys Supper Club 7:30, 9:30 pm $15
Tribute to Sinatra: Perez
Isabella Lundgren and Carl Bagges Trio

Scandinavia House 7 pm $15
Sam Zerna Trio with Matt Marantz, Fabio Ragnelli; Mike Bono Trio with Jared Henderson,
Roberto Giaquinto
Bar Next Door 6:30, 8:30, 10:30 pm $12
Mike Sailors Quartet
The Workshop Band Performance; Dave Levitt Trio

Jalopy 8:30 pm $15
Emi Takada
Tomi Jazz 9 pm $10
Patrick Poladian Duet
Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar

Victor Gould Sextet with Freddie Hendrix, Godwin Louis, Myron Walden, Ben Williams,
E.J. Strickland
Smoke 7, 9, 10:30 pm $12

Robert Glasper/Jason Moran
Pucci Amanda Jhones
Birdland 6 pm $25
Eliane Elias
Beat Kaestli
The Archway 6 pm
Eric Plaks
Silvana 6 pm
Tom Blatt Project
Shrine 6 pm
Roy Eaton
David Weiss Sextet
Arturo OFarrill Fat Afro Latin Jazz Cats

Metrotech Commons 12 pm
Stephen Gauci/Philip White; Briggan Krauss/Alvaro Domene; Nick Demopoulos/

Jeremy Carlstedt
Jazztopad Festival Presents: Piotr Damasiewicz/Gerard Lebik Duo

Happylucky no.1 8, 9:30 pm $10
Marc Carys Harlem Story
Midsummer Night Swing: Mint Julep Jazz Band

Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda

Scott Dubois Quartet with Jon Irabagon, Thomas Morgan, Kresten Osgood

Aaron Parks and Little Big with Greg Tuohey, Immanuel Wilkins, Spencer Murphy,
Kush Abadey
Dan Loomis
Michael Sarian and The Chabones with Jim Piela, Ricky Alexander,
Christopher Misch-Bloxdorf, Michael Verselli, Josh Bailey

Blue Note Jazz Festival: Svetlana and The Delancey Five with guest Wycliffe Gordon

Lucilles at B.B. Kings 7:30, 9:30 pm $20-25
Falkner Evans/Paul Gill
Jerram Original Network: Jerry Griffin, Tyler Mitchell, Jahn Davis

Inkwell Caf 7:30 pm
Takenori Nishiuchi
Tomi Jazz 9 pm $10
Lluis Capdevila Trio
Gonalo Leonardo Group; Brian Harrington Group

Silvana 6, 7 pm

SEEDS 8:30 pm

Robert Glasper/Jason Moran
Ben Williams and Sound Effect Blue Note 12:30 pm $10
Eliane Elias
Roy Eaton
Saturday, June 25
SummerStage/New York Hot Jazz Festival: Butler, Bernstein and the Hot 9;
The Hot Sardines; Bria Skonberg and the New York Hot Jazz Festival All-Stars with
Anat Cohen, Vince Giordano, Wycliffe Gordon, Joe Saylor, Dalton Ridenhour

Blue Note Jazz Festival: Al Jarreau Town Hall 8 pm $45-130
Blue Buddha: Dave Douglas, Louie Belogenis, Bill Laswell, Tyshawn Sorey

Special Piano Extravaganza: Don Friedman, George Cables, Frank Kimbrough,
George Mraz, Anthony Pinciotti Jazz at Kitano 8, 10 pm $32
Jazztopad Festival Presents: Tony Malabys Polish Quintets with Maciej Obara,
Piotr Damasiewicz, Dominik Wania, Max Mucha, Krzysztof Dziedzic and Gerard Lebik,
Artur Tunik, Max Mucha, Krzysztof Dziedzic

Shunzo Ohno; Kat Vokes
Club Bonafide 7:30, 9:30, 11 pm $10-25
Jeff Pearring
Erik Deutsch
Rale Micic Trio with Steve LaSpina, McClenty Hunter

Bar Next Door 7:30, 9:30, 11:30 pm $12
Adam Matlock solo; Alexis Marcelo solo; Tom Blancarte Trio with Ron Stabinsky,
Kevin Shea
Soup & Sound 7 pm $20
Underground Horns
Nublu 11:55 pm
Monika Ryan
Metropolitan Room 9:30 pm $24
Sanah Kadoura Quintet
Fat Cat 7 pm
Yuko Ito; Yusuke Seki
Denton Darien Trio
B.J. Jansen
Silvana 7 pm
Buster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White

Smoke 7, 9, 10:30 pm $38
The Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford,
Kendrick Scott
Spike Wilner; Gary Smulyan Trio; Anthony Wonsey

Mezzrow 8, 9:30 pm 12:30 am $20
David Bixler Quintet; Freddie Hendrix Quintet with Abraham Burton, Theo Hill,
Chris Berger, Chris Beck; Philip Harper Quintet

Smalls 7:30, 10:30 pm 1:30 am $20
Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak

Feinsteins/54 Below 9:30 pm $30-70
Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder

Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda

Falkner Evans/Paul Gill

SEEDS 8:30 pm

Robert Glasper with guest Taylor McFerrin

Eliane Elias
Giant Dwarf: Martin Philadelphy/Jeremy Carlstedt

Downtown Music Gallery 6 pm
Sonia Sanchez/Gary Bartz
Blue Note 4 pm $20
Friday, June 24

Smoke 7, 9, 10:30 pm $38
Kendrick Scott
Ehud Asherie solo; Gary Smulyan Trio; Johnny ONeal

Mezzrow 8, 9:30 pm 12:30 am $20
Freddie Hendrix Quintet with Abraham Burton, Theo Hill, Chris Berger, Chris Beck;
Corey Wallace
Smalls 10:30 pm 1:30 am $20
Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak

Feinsteins/54 Below 9:30 pm $30-70

Posi-Tone Allstars: Brian Charette, Joe Magnarelli, Walt Weiskoff, Doug Webb,
Peter Bernstein; Sivan Arbel Septet with Nick Hetko, Nadav Shapira, Yogev Gabay,
Ron Warburg, Ori Jacobson, Jack Sheehan

Club Bonafide 7:30, 8:45, 10, 11:30 pm $10-15
Twice Told Tales: Tony Malaby, Louie Belogenis, Trevor Dunn, Ryan Sawyer

Wayne Krantz/Gabriela Anders ShapeShifter Lab 8:15 pm
John Hart Trio with Bill Moring, Tim Horner

Bar Next Door 7:30, 9:30, 11:30 pm $12
Tony Middleton Birthday Celebration 80 + 2 with Brandon Wright,
Joe Vincent Tranchina, Saadi Zain Jazz at Kitano 8, 10 pm $32
Celebrate FATHER'S DAY
with
Dave Chamberlains
BAND of BONES
CLUB BONAFIDE
June 19th, 7:00-8:15 (one set) $20

212 East 52nd St. between 3rd & Lex.
#6 train to 51st St.
Tight and crisp, and
almost Basie-esque!
DOWNBEAT
www.bandofbones.com
www.clubbonafide.com
Sunday, June 26
Louie Belogenis, Ikue Mori, Sylvie Courvoisier; Daniel Carter, Louie Belogenis,
Andrew Bemkey, Dave Hofstra, Lou Grassi

Jazztopad Festival Presents: Lutosawski Quartet with Uri Caine

National Sawdust 8 pm $25
Ben Allison/Michael Wolff
Mezzrow 9:30 pm $20
Nacka Forum: Jonas Kullhammar, Goran Kajfes, Johan Berthling, Kresten Osgood

Nublu 7 pm
Terrence McManus/John Hbert; Thomas Heberer/Jason Stein

Patrick Cornelius Octet with Matthew Jodrell, Sam Sadigursky, Nick Vayenas,
Alex Wintz, Fabian Almazan, Thomson Kneeland, Eric Doob

George Gee Swing Orchestra; Johnny ONeal Trio; Hillel Salem

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

Fat Cat 6 pm 1 am
Tali Rubinstein Quartet; Paola Quagliata Quartet

The Cell 8, 10 pm $15
Brad Lindes Team Players with Billy Wolfe, Aaron Quinn, Deric Dickens

Ibeam Brooklyn 8:30, 9:30 pm $15
Dialogue: Dan Davis, Cole McCormick, Eli Marzano

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

Kengo Yamada
Tomi Jazz 8 pm
Professor Cunningham and His Old School New York Jazz Band

Silvana 7 pm

Smoke 7, 9, 10:30 pm $38
Kendrick Scott


Robert Glasper with guest Taylor McFerrin

Kris Allen Quartet
Saint Peters 5 pm
Yaala Ballin/Ari Roland
John Zorns Bagatelles: Mark Feldman/Chris Otto Duo

The Stone 3 pm $20
Whitney Marchelle with Sweet Lee Odom, Willerm Delisfort, Lonnie Plaxico,
Camile-Jones Gainer
Richard Rogers Amphitheater 3 pm
Gregoire Maret/Kevin Hays
Paul Jost Trio with Jim Ridl, Boris Kozlov

Monday, June 27
Mingus Big Band

Band Director Academy Faculty Band

Blue Note Jazz Festival: The Music Of The Buena Vista Social Club with Francois Wiss,
Damian Quiones, Danny Valdez Subrosa 7:30, 9:30 pm $15
Sheryl Bailey 3 with Ron Oswanski, Ian Frohman

55Bar 7 pm
Jake Henry solo; Aryeh Kobrinsky solo; Ton Trio: Aram Shelton, Kurt Kotheimer,
Sam Ospovat
Delroys Cafe and Wine Bar 9, 9:45, 10:30 pm $10
Josh Davis Trio with Emmet Cohen; Ari Hoenig Trio with Or Bareket, Nitai Hershkovits;
Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
Saul Rubin Group
Chris Beaudry Trio with Timothy Norton, Ken Ychicawa; Melissa Stylianou Trio with
Orlando Le Fleming, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12
Marco Panascia/Mike Kanan
Boudoir 7:30 pm
Ikiz Cabin Crew with Jonne Bentlv, Joel Lyssarides

SlideAttack Quintet
Silvana 6 pm
Matthew Fries Trio
Hillstone 6 pm
Larry Ham
Tuesday, June 28
Dr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake

Ravi Coltrane Quartet
Joshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson

Blue Note Jazz Festival: Avishai Cohen Trio with Omri Mor, Daniel Dor

Highline Ballroom 8 pm $29.50-60
Anthony Coleman/Matt Wilson; Anthony Coleman/Eli Keszler

Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel,
John Davis
Kris Allen Quartet
Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder,
Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30
Rosemary George Ensemble NYC Bahai Center 8, 9:30 pm $15

Eco-Music Big Band
Roulette 8 pm $20
Balzs Elemr Group with guest Tim Ries

Drom 7:30 pm $20
Jesse Stacken Quartet with Tony Malaby, Sean Conly, Tom Rainey; Andr Matos Trio
with Tony Malaby, Billy Mintz
Greenwich House Music School 7:30 pm $15
Marianne Solivan
Mezzrow 8 pm $20
Ehud Asherie Trio; Josh Evans Group; Jovan Alexander

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

Aaron Burnett and The Big Machine

Korzo 9, 10:30 pm
A Tribute To Nat King Cole: Jerry Costanzo and His Orchestra

Iridium 8:30 pm $30
Paul Jones/Curtis Ostle Group with David Berkman, Eliot Zigmund; Alex LoRe 4 with
Nick Sanders, Martin Nevin, Mark Whitfield

Kyle Nasser Quintet
Sagi Kaufman Trio; Benny Benack Trio with Raviv Markowitz, Jimmy MacBride

Bar Next Door 6:30, 8:30, 10:30 pm $12
Billy Test solo
Jazz at Kitano 8 pm
Marcos Rosa
Silvana 6 pm
Larry Ham
Kali Z. Fasteau Quartet
Wednesday, June 29
Anthony Coleman/Grant Calvin Weston; Michal Attias Without Autumn Sonata with
Anthony Coleman, Mike Pride The Stone 8, 10 pm $20

SummerStageSoul in the Horn: Theo Croker; Maurice Mobetta Brown;
Marcus Machado; Kendra Foster Herbert Von King Park 7 pm
Marque Inna Most Gilmore and the Burnt Sugar Arkestra with David Gilmore,
Mikel Banks, Greg Tate and guests

Kenny Warren Quartet with JP Schlegelmilch, Noah Garabedian, Satoshi Takeishi;
Hearts And Minds: Jason Stein, Paul Giallorenzo, Chad Taylor

Rye 9, 10:15 pm
Noam Wiesenberg with Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro,
Tommy Crane; Haggai Cohen-Milo Trio with Ben Wendel, Ziv Ravitz

Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck

Smoke 7, 9, 10:30 pm $12
Yasser Tejeda and Palotr with Kyle Miles, Jonathan Troncoso, Ely Vasquez;
3D Rhythm of Life
Club Bonafide 7:30, 9:30 pm $15
Jane Irving Quartet with Paul Odeh, Kevin Hailey, Brian Fishler

Sofie Salonika with Jessica Lurie, Katie Down, Arthur Kell, Rich Stein

Rob Schneiderman
Mezzrow 8 pm $20
Randy Napoleon Trio with Rodney Whitaker, Quincy Davis; Lafayette Harris Quintet
with Antoine Drye, Caleb Curtis, George DeLancey, Will Terrill; Sanah Kadoura

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

Kyle Hernandez Trio; Jao Martins Trio

Tomi Jazz 8, 11 pm


Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel,
John Davis
Kris Allen Quartet
Patti Dunham/Gary Haberman Saint Peters 1 pm $10
Larry Ham
Thursday, June 30
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash

Kris Allen Quartet
Anthony Coleman, Doug Wieselman, Billy Martin; Anthony Coleman solo

Ingrid Laubrock/Tom Rainey
Zrcher Gallery 8 pm $15
Mats Eilertsen Trio
Scandinavia House 7 pm $15
Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz

Michiko Studios 8 pm
Matt Brewer Quartet with Ben Wendel, Lage Lund, Tommy Crane

Tim Hegarty Quartet with Mark Sherman, Essiet Okon Essiet, Carl Allen

Ehud Asherie solo; Colin Stranahan; Davis Whitfield

Mezzrow 8, 9, 11:30 pm $20
Randy Napoleon Trio; Carlos Abadie Quintet

Smalls 7:30, 10:30 pm $20
Myriam Phiro with Hyuna Park, Elias Bailey, Rob Garcia and guests;
Festejation: Christelle Durandy, Eric Kurimski, Mike Eckroth, Juan Felipe Mayorga,
Kan Yanabe, Jeremy Smith, Edward Perez

Club Bonafide 7:30, 9:30, 11 pm $10-15
Midsummer Night Swing: Evan Sherman Big Band

Schuyler Tsudas Instrument Builder Series with Lea Bertucci, MV Carbon,
Tommy Martinez, Aaron Moore ShapeShifter Lab 7 pm $10
Yvonnick Prene Trio
Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan

Peter Amos Trio with Michael Brownell, Sebastian Chiriboga; Tony Mata Trio with
Jordan Ponzi, Tim Talavera
Bar Next Door 6:30, 8:30, 10:30 pm $12
Larry Newcomb Duet
Glen Crytzers Quartette
Radegast Hall 9 pm
Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck

Smoke 7, 9, 10:30 pm $12

Matt Baker Quartet with Jim Cammack, Montez Coleman, Joel Frahm

Birdland 6 pm $25

Brian Harrington Group
Shrine 6 pm
Matthew Fries Trio
Hillstone 6 pm
Larry Ham
Oxford University Jazz Orchestra Citigroup Center Plaza 12:30 pm
George Gray Groove Coalition with Jazzmeia Horn

Metrotech Commons 12 pm
ANTHONY
COLEMAN
THE STONE RESIDENCY
with:
Eli Keszler / J. T. Lewis / Billy Martin / Mike Pride
Tyshawn Sorey / Grant Calvin Weston / Matt Wilson
Michal Attias / James Brandon Lewis / Doug Wieselman
John Zorn / Ted Reichman / Tanya Kalmanovitch
Brad Jones / Survivors Breakfast and more
JUN 28-JULY 3, 2016

Ave C, 2nd St. NYC, $20 per set
thestonenyc.com
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)
Grove Street Stompers
Arthurs Tavern 7 pm
Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
Jazz Foundation of American Jam Session Local 802 7 pm
Arthur Kell and Friends
Bar Lunatico 8:30 pm
Renaud Penant Trio
Analogue 7:30 pm
Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
Stan Rubin All-Stars
Charley 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
Club Bonafide 9 pm $10
Diego Voglino Jam Session The Fifth Estate 10 pm
The Westet
Analogue 7:30 pm
W E D N E S D AY
Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
Rick Bogart Trio
Lybane 9:30 pm (ALSO FRI)
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 Ginnys Supper Club 10 pm $10
Dr. Dwight Dickerson
Cassandras Jazz and Gallery 8 pm $5
Harlem Renaissance Orchestra Swing 46 8:30 pm
Jazz Jam Session
American Legion Post 7:30 pm
Kazu Trio
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 Big Band
Birdland 5:15 pm $25
Rick Bogart Trio
New York Yankees Steakhouse 5 pm
The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka 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
Richard Russo Quartet
Capital Grille 6:30 pm
Bill Saxton and the Harlem Bebop Band Bills Place 9, 11 pm $15 (ALSO SAT)
Joanna Sternberg Trio
Cleopatras Needle 12:30 am
Rob Anderson Jam Session University of the Streets 10 pm
S AT U R D AY
Rick Bogart Trio
Broadway Thai 7:30 pm (ALSO SUN)
The Candy Shop Boys
Duane Park 8, 10:30 pm
Barbara Carroll
Birdland 6 pm $30
Agustin Grasso Quartet
Duet 8 pm (ALSO SUN 11 am)
Curtis Lundy Trio with guests 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
Nabuko and Friends
Nabe Harlem 12 pm
Johnny ONeal and Friends Smoke 11:45 pm 12:45 am
James Zeller Trio
Spasso 1pm
S U N D AY
Avalon Jazz Quartet
The Lambs Club 11 am
Rick Bogart Trio
New York Yankees Steakhouse 12 pm
Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10
The Candy Shop Boys
The Rum House 9:30 pm
Creole Cooking Jazz Band; Stew Cutler and Friends Arthurs Tavern 7, 10 pm
Glenn Crytzer Group
Pegu Club 6:30 pm
Stefano Doglioni Trio
Analogue 7:30 pm
JaRon Eames/Emme Kemp The Downtown Club 2 pm $20
The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm
Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
Joel Forrester solo
Grace Gospel Church 11 am
Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominies Astoria 9 pm
Ian Hendrickson-Smith
The Strand Smokehouse 7 pm
Jazz Brunch
Harlem Besame Latino Soul Lounge 1:30 pm
Bob Kindred Group; Junior Mance Trio 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
Tony Middleton Trio
Jazz at Kitano 11 am $35
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
55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
ABC - No Rio 156 Rivington Street (212-254-3697)
Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org
Academy Records 12 W. 18th Street (212-242-3000)
Subway: F, M to 14th Street; L to Sixth Avenue www.academy-records.com
American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
An Beal Bocht 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
The Archway Water Street Brooklyn Subway: F to York Street
www.dumbo.is
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
Austrian Cultural Forum 11 East 52nd Street at Madison Avenue
(212-319-5300) Subway: 6 to 51st Street www.acfny.org
The Back Room 102 Norfolk Street
(212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street
www.backroomnyc.com
Bar Chord 1008 Cortelyou Road
(347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com
Bar Hugo 525 Greenwich Street
(212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com
Bar Luntico 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 Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street bqcm.org
Brownsville Heritage House 581 Mother Gaston Boulevard
(718-385-1111) Subway: L to New Lots Avenue
Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org
Caf Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Caf Noctambulo at Pangea 178 Second Avenue
(212-995-0900) Subway: L to First Avenue www.pangeanyc.com
Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
Canoe Studios 601 W. 26th Street #1465
(212-924-9020) Subway: C, E to 23rd Street www.canoestudios.com
Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
Cassandras Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard
(917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com
Cavatappo Grill 1712 First Avenue
(212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com
The Cell 338 West 23rd Street (646-861-2253)
Subway: C, E to 23rd Street www.thecelltheatre.org
Central Park SummerStage, Rumsey Playfield 72nd Street and Fifth Avenue
(212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org
Charley Os 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
Christ-St. Stephens Church 120 W. 69th Street
Subway: 1, 2, 3 to 72nd Street
Citigroup Center Plaza 53rd Street and Lexington Avenue
Subway: 6 to 51st Street
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
Damrosch Park at Lincoln Center Broadway and 62nd Street
Subway: 1 to 66th Street
Delroys Caf and Wine Bar 65 Fenimore Street
Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries
Deweys Pub 135 W. 30th Street
(212-685-7781) Subway: 1 to 28th Street www.deweyspub-hub.com
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
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
Duet 37 Barrow Street (212-255-5416)
Subway: 1 to Christopher Street www.duetny.com
The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
El Taller LatinoAmericano 225 West 99th Street
(212-665-9460) Subway: 1, 2, 3 to 96th Street
Farafina 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
First Baptist Church of Crown Heights 450 Eastern Parkway
(718-778-1200) Subway: 2, 3, 4, 5 to Franklin Avenue www.myfbcch.org
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
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
Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
Harlem Safe House Jazz Parlor 27 Mount Morris Park West
(between W. 122nd and 123rd Streets) (212-662-7779)
Subway: 2, 3 to 125th Street www.welcometoharlem.com
Herbert Von King Park 670 Lafayette Avenue (718-622-2082)
Subway: G to Bedford-Nostrand Avenue www.nycgovparks.org
Highline Ballroom 431 W. 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
Hillstone 153 E. 53rd Street (212-888-3828)
Subway: E, M to Lexington Avenue/53rd Street www.hillstone.com
Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
Inkwell 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
Issue Project Room 22 Boerum Place (718-330-0313)
Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org
JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
Jalopy 315 Columbia Street, Brooklyn
(718-395-3214) Subway: F to Smith Street www.jalopy.biz
Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway:N, R to 28th Street www.jazzgallery.org
Jazz Museum in Harlem 104 E.126th Street between Park & Lexington
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway:6 to 28th Street www.jazzstandard.net
Joe 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
Judson Memorial Church 55 Washington Square South
Subway: A, B, C, D, E, F, V to W. 4th Street
Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207)
Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu
Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490)
Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com
Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
Le Chile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
Le Cirque One Beacon Court, 151 East 58th Street (212-644-0202)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com
Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com
Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
Lybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
McDonalds 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
Manhattan Inn 632 Manhattan Avenue
(718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com
Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
Metrotech Commons corner of Flatbush and Myrtle Avenues
(718-488-8200) Subway: A, C, F to Jay Street/Borough Hall
Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street
www.mezzrow.com
Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011)
Subway: B, D, F, M to 47-50 Streets www.michikostudios.com
Mintons 206 West 118th Street (between St. Nicholas Avenue and Adam
Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com
Monas 224 Avenue B Subway: L to First Avenue
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
Neighborhood Church of Greenwich Village 269 Bleecker Street
(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street
New Revolution Arts 7 Stanhope Street
Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
New York Yankees Steakhouse 7 W. 51st Street (646-307-7910)
Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com
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
Nuyorican Poets Caf 236 E. 3rd Street between Avenues B and C

(212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org
Opia 130 E. 57th Street
(212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com
Park Avenue Armory 643 Park Avenue
(212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org
Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
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
Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
PS 189 1100 E. New York Ave, Brooklyn (718-756-0210)
Subway: 3 to Sutter Avenue-Rutland Road www.schools.nyc.gov
Radegast Hall 113 North 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
Rendall Memorial Presbyterian Church 59 W. 137th Street #61
(212-283-2928) Subway: 2, 3 to 135th Street
Richard Rogers Amphitheater at Marcus Garvey Park
120th Street between Mt. Morris Park and Madison Avenue (212-201-PARK)
Subway: 2, 3, 4, 5, 6 to 125th Street
Riverdale Y 5625 Arlington Avenue (718-548-8200)
Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org
Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
Rose Theater Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org
Roulette 509 Atlantic Avenue
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com
Rubin Museum 150 West 17th Street
(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org
Rue B 188 Avenue B
(212-358-1700) Subway: L to First Avenue www.ruebnyc188.com
The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
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. Pauls German Lutheran Church 315 W 22nd Street
(212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.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
Scandinavia House 58 Park Avenue at 37th Street (212-879-9779)
Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org
SEEDS 617 Vanderbilt Avenue
Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org
ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
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
Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1,2,3 to 14th Street www.smallsjazzclub.com
Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers
Avenues) Subway: 2 to Sterling Street
Spectrum 121 Ludlow Street, 2nd floor
Subway: F to Delancey Street www.spectrumnyc.com
The Stone Avenue C and 2nd Street
Subway:F to Second Avenue www.thestonenyc.com
Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue
The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231)
Subway: N, Q to Broadway www.thestrandsmokehouse.com
Subrosa 63 Gansevoort Street (212-997-4555)
Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com
Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997)
Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org
Sunset Park High School Theater 153 35th Street, Brooklyn (718-840-1900)
Subway: D, N, R to 36th Street www.sunsetparkhighschool.org
Swing 46 349 W. 46th Street (646-322-4051)
Subway:A, C, E to 42nd Street www.swing46.com
Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
Terraza 7 40-19 Gleane Street (718-803-9602)
Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com
Town Hall 123 W. 43rd Street (212-997-1003)
Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org
Threes Brewing 333 Douglass Street
(718-522-2110) Subway: R to Union Street www.threesbrewing.com
Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org
Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300)
Subway: B, D to 182-183 Streets www.universityofthestreets.org
Urban Meadow President and Van Brunt Streets
Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus
Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway:1, 2, 3 to 14th Street www.villagevanguard.com
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
Whole Foods Bowery 95 East Houston Street
Subway: F, V to Second Avenue
Whole Foods Union Square 4 Union Square East
Subway: 4, 5, 6, L, N, R to 14th Street-Union Square
Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
Zrcher Gallery 33 Bleecker Street (212-777-0790)
Subway: 6 to Bleeker Street www.galeriezurcher.com
49
(INTERVIEW CONTINUED FROM PAGE 6)

RA: I practice expression. Scales, technique, etc. are all
subservient to expression so even when I need to do
them, its from a place of expression. I am, however,
writing a guitar book for Hal Leonard that gets into
some complex ideas that Ill need to learn fluidly and
record for the CD insert.
TNYCJR: Can you detail your rig as heard on the new
record? Guitar, amps, pedals, software?
RA: Rather not because its the end result that matters.
Ill save that answer for Guitar Player magazine.
TNYCJR: What advice can you give to jazz composers
trying to break free of constraints or their own history?
RA: I think if someone really wants to grow they
should try to be as objective as possible and aware of
being objective. This means not letting the ego do the
steering. If youre always right, how can you grow?
More technically, maybe get away from your instrument
as being the only source of expression. Obviously,
listen to music thats outside of your wheelhouse.
TNYCJR: Backwards guitar in Uncommon Sense?
Pedal used or what? How was this created?
RA: Its a delay pedal that I use usually to enhance my
Indian phrasing. I never had the desire to sound like a
sitar or sarod player but did want to reflect the subtlety
of that phrasing. Effects allow me to phrase a little like
them while still sounding unique.
TNYCJR: And I You sounds like an outtake from a
horror movie with the Hammond and the brushed
drums. Spooky. Whats the message?
RA: Thats interesting you hear it that way. People hear
darkness differently. I think that is one of the most
beautiful pieces Ive written. One day long after
I wrote it I started hearing the melody not knowing
whose tune it was but also thinking what a deep feeling
it carried. I was stoked when I realized it was one of
mine!
TNYCJR: With essentially three melodic instruments
up front, are we hearing triple-played melodies?
RA: Sometimes yes and sometimes its counterpoint
with all three. I do like the feeling of a unison melody
because, like in Qawwali music, it captures a spiritual
strength that just cant be found in a singular voice.
TNYCJR: Why no bass player?
RA: Why bass? But really, I have bass: its keyboard
bass. The keyboard creates a wider sonic range plus it
allows Mark to play occasional bass parts on his MIDI
instrument. Keyboard bass and the MIDI instrument
contributed in making this project unique, I believe.
TNYCJR: Whats next as far as touring, recording,
commissions, etc.?
RA: Well tour more in October and November. I also
have another album in the mixing stage. Its a
commissioned work by Chamber Music America for my
Invocation group with Rudresh Mahanthappa, Vijay
Iyer, Johannes Weidenmueller, Dan Weiss and Elizabeth
Means. It concludes a trilogy I set out to do based on
three types of South Asian musics: Hindustani, Qawwali
and now Carnatic. Thatll hit in late 2017 and from what
Ive listened back to its pretty magical. I have two other
projects in mind but whats the rush, right? v
For more information, visit reztone.com. Abbasis Junction is at
Greenwich House Music School Jun. 11th and Urban Meadow

Jun. 12th as part of Red Hook Jazz Festival. See Calendar.
Rez AbbasiModern Memory (Cathexis, 1996)
Rez AbbasiSnake Charmer (Earth Sounds, 2003)
Rudresh Mahanthappas Indo-Pak Coalition
Apti (Innova, 2008)
Rez AbbasiThings to Come (Sunnyside, 2008-09)
Rez Abbasis InvocationSuno Suno (Enja, 2010)
Rez Abbasi & JunctionBehind the Vibration
(Cuneiform, 2015)
(LABEL CONTINUED FROM PAGE 11)
Charles Gayle to our festival a few years ago because
I believed he would be great to perform with Barcella.
Now theyve already toured and will release an album
before summer. Other musicians send a mail when
they have a project. For example Feecho [pianist Kaja
Draksler and drummer Onno Govaert] were touring
and asked if I wanted to bring out something for the
tour. In the end, time became too short, so we released
the concert in La Resistenza because it was a good one.
Naked Wolf was the first band I had no relationship
with except that [Amsterdam drummer] Gerri [Jger]
played at my festival. Naked Wolf was a hard nut to
crack even though the group came highly
recommended. So I took it mostly with the vision of
seeing what this would mean for the label. We just
brought out a duo with [saxophonist] Yedo Gibson of
Naked Wolf, so the story continues.
All my projects were established organically,
notes Gebruers. Ifa y Xango started as a bunch of
friends jamming in the garage. Antiduo arose from
improvisation sessions at piano lessons and Bambi
Pang Pang featuring Andrew Cyrille was recorded after a
concert at Jazz Middelheim where Ifa y Xango got carte
blanche and invited [drummer] Cyrille. Rog and
I brainstorm a lot about what the label could be and
also about my personal steps. He gives me his opinion
about how I could better take care of my musical career
without making artistic compromises.

Rog is ENs only employee. Subsidy-wise our
organization is too organic to get proper funding, he
reveals. Were perceived as a guerrilla music
movement. Plus, if you want to write [grant
applications] you need somebody to do that and theres
no possibility to pay somebody else a proper wage.
Referring to the Ancient Roman patron, he jokes,
I always say Im a Maecenas without any money. The
caf works well, so EN and Citadelic surf on that
wave. Among the EN projects to be released in 2016
are a disc featuring five double bass players called
Basssss; a trumpet-piano duo with Maris; and a double
CD celebrating the 80th birthday of Belgian free jazz
pioneering bassist Paul Van Gysegem.

My biggest motivation to work with Rog is his
vision of the Ghent community of alternative and
young improvisers, says Maris. He creates
opportunities for them to meet the established players
and this really makes young musicians believe in what
theyre doing and to look for their own voices. For
most other labels the work we produce is too
alternative.

Because of his organic business plan and links to
ever-changing street-wise music, Rog feels the
musical situation will only get better in the future.
Time is on our side, like a steam train getting nearer
and nearer. v
For more information, visit elnegocitorecords.com. Artists
performing this month include Andrew Cyrille at Judson
Church Jun. 7th with Henry Grimes as part of Vision
Festival; Hamid Drake at Judson Church Jun. 7th, 9th and
11th as part of Vision Festival; and Simon Jermyn at Rye
Jun. 15th with Curtis Hasselbring. See Calendar.
(TAYLOR CONTINUED FROM PAGE 13)

hanging onto the windows overlooking the Hudson
and centering his movements on slow revolutions as
head and arms, stretched upward, accentuated the
slowness of time and the somewhat reserved, narrower
sound world Taylor chose to occupy. After an initial
flurry, Oxley mostly sat out, observing the interactions
between body and space, body and sound and body
and room. There was gleeful drama in Tanakas
movementhes like the Fred Astaire of Butohand
at one point, he crept behind Taylor, wrapped his arms
around the maestro, miming caress and embrace while
resting his head on the pianists shoulder. Meanwhile,
Taylor played elegant, dusky overlaps and quietly
gnarled, small masses, eyes mostly locked on Tanaka.

But there was a second set and it seemed like the
Whitney staff were caught off-guard by the pianist
showing up with several musicians in towdrummer
Jackson Krall, saxophonists Harri Sjstrm, Elliott
Levin and Bobby Zankel, cellist Tristan Honsinger,
bassist Albey Balgochian and vocalist Jane Balgochian,
billed as the Cecil Taylor New Unit. Whereas the first
set was a gentle, floral unfolding, this was an oldfashioned blowout, to the extent that piano was almost
inaudible under the mass. Balgochians vocal entreaties
and raps (Id hesitate to call them poetic) were doubly
perplexing, as Taylor is an accomplished poet and text
is a significant part of his aesthetic worldviewif its
there, it should be done right. Clearly unrehearsed, it
was a strange cap tacked onto a sublime evening.

The 15th brought back Sjstrm and Honsinger in
trio with cellist Okkyung Lee; the Finnish soprano
saxophonist has been one of Taylor s right-hand men
since the early 90s and this trio had him in fine form,
curling and popping with a present dance amid the
grind and skirl of the two cellos. Honsinger s everpresent vocal soundings and caricatures of parlor
tradition brushed up against Lees straight-edged
grapple. A different aggregate of onetime collaborators
followedGrimes, dancer Cheryl Banks-Smith and
poet Thulani Davis. The concentrated openness of
dance was sometimes challenged by isolationist
contrabass rumble, though Davis poetry seemed
unencumbered (she also read one of Grimes pieces).
On the 16th, longtime Taylor Unit drummer Cyrille
presented a lengthy, gorgeous solo recital, ritual motifs
drawing from AfroCaribbean and Central African
traditions, coaxing micro-patterns out of his kit and
building them into percussive chorales, gradually
modulating forms into recognizable jazz elements that
recalled Kenny Clarke, Max Roach and Art Blakey in a
true master class on the drums in Black music.

The closing performance on the 23rd was hotly
anticipatedthe band that emerged consisted of
Taylor, Oxley, Lee, Sjstrm and Krall in an explosive
performance primed to blow the roof off the Whitney.
Electronic palimpsests were fairly difficult to hear
under the constant, churning dialogue of piano and
percussion, Taylor spitting out furious runs as Krall
stitched together a swinging wall with occasional J.C.
Moses-like breaks and backbeats while cello and
soprano barked and trilled over and around hurtling
bricks and swiped fields. They stuck to one long set
divided into piano-led and poetic-textual portions, the
latter featuring a lengthy and somewhat William
Burroughs-esque delivery on a thesis of systems,
biology, botany, evolution, gender and ancient cultures.
Brushy, delicate ensemble work limned this reading,
which closed with Taylor s speech accompanied only
by ghostly electronics and cello filaments, the phrase
gives amplitude to the leaf ringing out in the hall.

If this is the last time we get to see Taylor perform
in public, we know that he gave us everything we need
to move forward as a creative species. v
For more information,
OpenPlanCecilTaylor
visit
whitney.org/Exhibitions/
(JAZZART CONTINUED FROM PAGE 13)

And Mats Gustafsson also added soprano saxophone
to his arsenal (the military term is apt in his case) of
baritone and tenor for only the second time in the
groups history. Alongside drummer Paal NilssenLove, the trio, recalling the just-about-to-fall-off-therails energy of 80s Corrosion of Conformity, played
for 75 minutes, giving just what audiences expect of
them yet constantly surprising, whether it be a lengthy
and apocalyptic bass solo (making lemonade?); Hker
Flaten and Nilssen-Love channeling Geezer Butler and
Bill Ward; a celebration of seminal Japanese free jazz
via Yosuke Yamashitas Chiasma; or three minutes of
scratch-and-sniff for their second encore after the bass
amp finally gave out. Selvhenter was more unhinged.
The quartet of Jaleh Negari (drums), Maria Bertel
(trombone), Sonja LaBianca (saxophone) and Maria
Diekmann (violin) played for just under an hour but
packed ten tunes into that duration, each stopping
suddenly in glorious punk fashion. Sounding like Led
Zeppelin passed through a meat-grinder or Ministry
without the dance hooks, the unusual instrumentation
was rendered even more abstract via doom-laden
effects, so much so that you could be excused for
thinking you were listening to guitars and bass. Negari
occupied the Gina Schock role, keeping the maelstrom
grounded. The volume and intensity only occasionally
overwhelmed the underlying complexity of these postjazz morsels. (As a postscript to the festivalputting
other attempts at community outreach to shame
Selvhenter played an afternoon concert at the local
detention center for female inmates in what was this
correspondents most unique concert experience ever.)

Tuesday night focused on Polish performers with
Katowices RGG Trio at NOSPRs smaller hall and
Podkowa Lesnas Rogiski in the wood-paneled
coziness of the upstairs performance space Drzwi
Zwane Koniem. RGGukasz Ojdana (piano), Maciej
Garbowski (bass) and Krzysztof Gradziuk (drums)
are one of many young groups adapting the standard
piano trio to their needs. Ojdana is the newest member
and the most interesting while Garbowski veers
between folksiness and harmonic reinforcement of
Ojdanas musings. The weak link was Gradziuk; quite
simply, he overplayed and trotted out every tired
modern drumming trope there is, whether the music
called for it or not. He became a distraction against the
sensitive interaction between piano and bass.
Rogiskis solo guitar exposition had no such problem.
For nearly 90 minutes, he held the audience entranced
by his minimalist explorations of a vast array of styles:
cowboy balladry; psychedelia; meditative koans. With
his case open next to him like he was busking, Rogiski
came across like a medieval lute player transported
into the 21st Century, especially when he split his
instrument in two via a pair of capos or inserted a stick
by the guitar bridge to produce a wooden flute sound.

Wednesdays concert was the world music entry
with Israeli-Spanish vocalist Yasmin Levy at Sala
Teatralno-Kinowa Paacu Modziey. Fronting a quartet
of clarinet/duduk, piano/synthesizer, guitar and
percussion, Levy warned, it is going to be a sad
concert because I love melancholia. She was even
appropriately dressed in black funereal crpe. The
warning was a bit of a czerwony led, however, as she
introduced
pieces
about
betrayed
love
or
gravediggersoriginals and traditional works sung in
Spanish, Hebrew Ladino and even Polishwith
charming dark humor. Levys gorgeous voice pleaded
to the entire audience yet whispered in each ear. She
narrowly avoided a riot by giving two encores.

Thursday was a multi-media affair coinciding with
the opening of the Graphicology exhibition: jazzinspired, comic-book-style drawings of Belgian artist
Philip Paquet at Katowice Miasto Ogrodws
headquarters. After the reception, the crowd moved to
the Soviet-esque concert hall of the building for the
Polish debut of a collaboration between Paquet and the

Brussels Jazz Orchestra (BJO). Paquets drawings are
charming and lively and the BJO is a crack European
big band yet it took a while for the mind not to split its
attention between the visual and aural elements. Oddly,
the multi-part title suite was the least successful
pairing; far more compelling and connected was the
mildly terrifyingboth visually and musicallyThe
Blues (both were commissioned by the BJO while the
rest of the program repurposed earlier Paquet works).

Friday night began at NOSPRs smaller hall with
Jack DeJohnette in a solo performance not behind his
customary drumkit but at the keyboard of a Steinway
Grand as part of a solo tour supporting his new
subscription-only release on Newvelle Records.
DeJohnette is a functional pianist who tended to stay
within the framework of his repertoire, though he
became more expansive as the concert progressed.
Originals like Ebony or Silver Hollow, first done
with bands, seemed thin in solo arrangements while
DeJohnette had more fun deconstructing Giant Steps
or Flamenco Sketches and inhabiting the child-like
lullaby of Milton Nascimentos Ponta De Areia.
Afterwards it was back to Drzwi Zwane Koniem for
another unusual CD release concert: the twin Ole
Brothersbassist Marcin and drummer Bartomiej
celebrating their Fenom Media album One Step From
The Past. The obvious question was how does a rhythm
section exceed its role? The answer was by not trying
to do too much. Marcin added variety through multiple
techniques and Bartomiej changed textures via sticks
or brushes or mallets. The bass had the tone of a
strongly brewed cup of tea while drums had a coffeelike jitteriness. The hour-long set was split into three
medleys of varying length, melodies often looping in
on themselves and a dirge-like open E string as the
connecting motif. The effect was trance-like if a bit
static; a shorter set may have shown fewer limitations.

Prior to the closing Hipnoza concert on Saturday,
JazzArt audiences in the marvelously sci-fi large hall at
NOSPR (seating 1,800) were treated to the fascinating
pairing of the 22-piece AUKSO Chamber Orchestra
from Tychy, just south of Katowice, and Krakws
Motion Trio, comprised of accordion players Janusz
Wojtarowicz, Pawe Baranek and Marcin Gaayn. That
the audience kept encouraging the musicians for
encore after encore and that they obliged (the show
was two hours!) gives some sense of the success of the
partnership. The virtuosity of the accordion players
was featured in pieces just for the trio and leavened by
the orchestra in the full ensemble works. The lighting
reflected the mood: red for demonic; blue for solemn;
green for bizarre. Founder Wojtarowicz composed
most of the pieces, which had accordions chasing
strings like cartoon cops and robbers; recalling
Krautrock; soaring like hair-metal power ballads; or
pounding like a construction sites worth of
jackhammers. Accordions functioned as piano, organ,
harpsichord, brass and even percussion. It was a
marvelous distillation of and exclamation point on the
weeks programming.

As the festival progressed, an unseasonable chill
gave way to sunshine warm enough to defrost even the
cold Slavic heart of your correspondent. But the music
and atmosphere at JazzArt had done that already. v
For more information, visit jazzartfestival.eu
(DOEK CONTINUED FROM PAGE 13)

Other drum distinctions were presented at a rare
showcase in the Bimhuis bar the next night with
Amsterdams Onno Govaert, Berlins Christian
Lillinger and Chicagos Mikel Avery. Lillinger, whose
immense energy and jerky, marionette-like motions
were prominently showcased with comfortable
cohesion during an earlier Bimhuis set with his long-
running Hyperactive Kid trio, swept and slugged

every implement in sight while chopping the beat into
tinier particles. Avery, whose playing appeared
fragmented and tame as part of Amsterdam pianist
Oscar Jan Hooglands otherwise all-Windy City quartet
of tenor saxophonist Keefe Jackson and bassist Josh
Abrams, which ran through abrupt versions of Monk
and Herbie Nichols tunes following the Hyperactive
Kid set, was a revelation in the Bimhuis percussion
discussion. His illusion of sluggishness was, in fact,
restraint and Avery scored with modest motions:
rubbing a mini-cymbal on the snare; balancing a small
tin on a drum stick; shaking a bell; and intermittently
setting up hypnotic press rolls. Govaert chose the
middle course, using mallets, stick and brushes either
to complement the Germans bluster or stimulate the
Americans rhythmic latitude.

Hoogland, who emceed most performances and
participated in terpsichorean plus musical fashion in
some of the meetings between instrumentalists and
seven dancers during the festival, directed a salute to
Sun Ras music during an earlier bicycle tour stop at a
permanently moored boat converted into an arts space.
Hoogland, playing mostly clavichord and synthesizer,
was joined by Drner, Lillinger, bass clarinetist Jason
Stein, bassist Josh Abrams and drummer Mike Reed.
The wiggling foot-tappers from Ras 50s-60s period
were perfect melodies for a sunny afternoon and
demonstrated that Drner, who was seeing the charts
for the first time, was as effective playing in a nearmainstream context as with experimental music.

Experimental sounds were paramount at Zaal 100
on the festivals penultimate day with a band of Bishop,
Dikeman, Borghini, Lillinger and pianist Kaja Draksler.
Barefoot and bellicose, with the exaggerated moves of
an arena rock guitarist, Dikeman produced reed
splutters and cries that at times may have seemed
random and epileptic but relaxed into an unexpectedly
melodious interlude during the sets final minutes.
Lillinger worked up a continuous sound barrage from
behind his three-cymbal kit. Borghini vibrated a stick
between his strings and whacked bridge with bow for
maximum percussiveness and even Draksler used
mallets to wham the pianos string set sporadically
when she wasnt providing continuum with focused
chording. Bishop was in his element, as he shook out
elongated smears to match Dikemans expositions.
More mannerly contemporary improvisation followed
with a quintet uniting Chicagoans Reed, Adasiewicz
and alto saxophonist Greg Ward with hosts Boeren and
bassist Wilbert de Joode, whose every move nailed the
compositions expositions. Tuneful where the previous
band had been spiky, this quartet blended cornet,
vibraphone and bowed bass tones, with Wards
unexpected smoothness contrasting nicely with Reeds
rugged rim shots. The most memorable moment came
when Boeren uncorked a perfectly constructed
unaccompanied solo both audacious and admirable.
Boeren and Draksler were two of the eight
Amsterdam residents who provided a variant of new
Dutch swing at the festivals openingflawlessly
executed, if lacking an edgeBimhuis concert. Featured
was alto saxophonist/clarinetist Michael Moores Bigtet
with Wierbos, baritone saxophonist Giuseppe Doronzo,
guitarist Jorrit Westerhof, former Willem Breuker
Kollektif stalwart bassist Arjen Gorter and ICP Orchestra
co-founder/drummer Han Bennink. The latter
epitomized the festivals cooperative theme, adding a Big
Sid Catlett-like momentum to Moores compositions.
Transmitted by horn riffs to which Draksler sometimes
added melodica harmonies, Moore alluded to Tin Pan
Alley ditties, boogie blues, Ellington-like elegance and
the Battle Hymn of the Republic. The presence of so
venerable a Dutch improviser as Bennink and one as
young as Draksler in the same band confirmed the
continued vitality of the Dutch improvisational scene. v
For more information, visit doekfestival.org
51
June 5 Anthology Film Archives

June 712 Judson Memorial Church
Celebrating Lifetime of Achievement the Legendary
Henry Grimes
A joy to perform with Henry

Im thrilled to be included in
I am honored to be playing with
Grimes at Vision 21 for his
the celebration of this very
Henry Grimes for his Lifetime
Lifetime Achievement award. special artist, Henry Grimes! Achievement Award...
Geri Allen
Nicole Mitchell
Marc Ribot
Marshall Allen
Celebrating the 60th Anniversary
of the Sun Ra Arkestra
Photos: Hollis King (Grimes), John Rogers (G. Allen), Luciano Rossetti (Mitchell), Barbara Rigon (Ribot), Luciano Rossetti (M. Allen)
View entire schedule & purchase tickets:
bit.ly/vision-21

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JUNE 2016ISSUE 170

YOUR FREE GUIDE TO THE NYC JAZZ SCENE

JUNE 2016ISSUE 170

2 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

JOSHUA REDMAN 4TET

JUNE 1 - 30, 2016 NEW YORK

W/ AARON GOLDBERG, LARRY GRENADIER,

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

LATE NIGHT GROOVE SERIES -

TWO SHOWS NIGHTLY 8PM & l0:30PM

TERMS, CONDITIONS AND RESTRICTIONS APPLY

JAZZTOPAD FESTIVAL PRESENTS:

THU-SUN JUNE 2-5

DARCY JAMES argues

FRI-SUN JUNE 24-26

JONATHAN KREISBERG - JOHNATHAN BLAKE

JONATHAN KREISBERG - ALICIA OLATUJA - MAURICE BROWN

WED-SUN JUNE 15-19

VIJAY IYER TRIO

WED-THU JUNE 22-23

JEFF CLAYTON - JOHN CLAYTON

TUE-SUN JUNE 7-12

HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH

MON JUNE 6, 13, 20 & 27

MINGUS BIG BAND

NEW YORK @NIGHT

Trio 3 closed the first set of their final night at

2016 Jack Vartoogian/FrontRowPhotos

Circumstances required that the Craig Taborn Quartet

Craig Taborn @ The Jazz Gallery

Trio 3 @ Village Vanguard

Reconvening the quintet personnel from his superb

After Charlie Parker s death in 1955, the collection of

4 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

J oe Lovano celebrated The Spiritual Side of John

was, as curator Joel Harrison observed in closing,

Enid Farber 2016

photo by scott friedlander

New England Conservatorys 2016 Honorary Degree recipients were

Mike Baggetta @ Drom

Joe Lovano & Ravi Coltrane @ The Appel Room

Although he now makes his home in New York (after

O ne of the leading instrumental voices to emerge out

The winners of the 2016 Jazz Journalists Association Jazz Awards

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

photo courtesy of the artist

Guitarist Rez Abbasi is one of jazz more restless spirits.

metal, electronica, pop, Carnatic and Hindustani

6 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

RA: This is the only track that actually carries a true

(CONTINUED ON PAGE 50)

photo courtesy of the artist

For more information, visit mikereed-music.com. Reed is at Judson

(482 Music, 2005)

Mike Reeds People, Places & Things

Stories and Negotiations (482 Music, 2008)

Jason Adasiewicz SunroomsSpacer (Delmark, 2011)

(482 Music, 2013)

Mike Reeds People, Places & Things

A New Kind of Dance (482 Music, 2014)

months Vision Festival. Reed has long been drawn to

THE NEW YORK CITY JAZZ RECORD | JUNE 2016

Chicago doesnt have a history of being good to local