YOUR FREE GUIDE TO THE NYC JAZZ SCENEOCTOBER 2021—ISSUE 234

NYCJAZZRECORD.COM

JEREMYPELTLOOKING BACKTO THE FUTURE

BILLY
DRUMMOND

AVA
MENDOZAHERB
BUSHLERHAROLD
LAND

Managing Editor:
Laurence Donohue-Greene
Editorial Director &Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628

OCTOBER 2021—ISSUE 234
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : BILLY DRUMMOND

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : AVA MENDOZAON THE COVER : JEREMY PELT

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Calendar:calendar@nycjazzrecord.com
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ENCORE : HERB BUSHLERLEST WE FORGET : HAROLD LANDVOXNEWS

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Staff Writers
Duck Baker, Stuart Broomer,
Robert Bush, Kevin Canfield,
Marco Cangiano, Thomas Conrad,
Pierre Crépon, Ken Dryden,
Donald Elfman, Phil Freeman,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen, Tyran Grillo,Alex Henderson, Robert Iannapollo,
Mark Keresman, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Dan Bilawsky, Jordannah Elizabeth,
Pierre Giroux, Kira Grunenberg,
George Kanzler, Monique Ngozi Nri
Contributing Photographers
Roberto Cifarelli, Alan Nahigian,Sherry Rubel, Robert I. Sutherland-Cohen,
Adrien H. Tillmann, Ra-Re Valverde,
Niclas Weber
Fact-checker
Nate Dorward

OBITUARIESALBUM REVIEWSMISCELLANY
EVENT CALENDAR

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by tyran grillo
by george grellaby marilyn lester
by anders griffen
by mark keresman
by suzanne lorge
by andrey henkinby andrey henkin

Trumpeter Jeremy Pelt (On The Cover) has recently released a new album and a book ofinterviews with jazz elders. Both share the title Griot, apt for a music whose proliferation
is most honestly and effectively done through word of mouth or, say, word of instrument,
the famed “university of the bandstand”. For a music rooted so deeply in history, ininterpretation, in the parsing of what has come before in order to create that which willcome, the lessons passed down by the musical griots are found in every note played on
all the bandstands in the world.
All of our features, Pelt, drummer Billy Drummond, guitarist Ava Mendoza, bassist
Herb Bushler and the late saxophonist Harold Land are of the lineage of their respective
instruments but, if one remembers the childhood game of telephone—kids in a circle
whispering a phrase to one another—the message changes with each person, the lineage
is never a line, not even a branch from a tree. How jazz has developed and will continue
to develop is too complex to assign hierarchy. For every elder who took a new player
under their wing, a younger musician changed an established musician’s way of
thinking. Musicians are the sum of their influences yet that mathematical term does not
fully express how abstractly that absorption happens.
The griot tells a tale to those who will listen. That tale will make its passage, changing
along the way. Jazz is that tale, a never-ending story still being written.

nycjazzrecord.com

On The Cover: Jeremy Pelt (photo by Ra-Re Valverde / courtesy of the artist)
Corrections: In last month’s Encore, Crister Bothén does not play atabal. In the Label Spotlight,
Andrea Parkins was referred to as a harpist when it was Zeena Parkins who was intended. In the
Recommended New Releases, Mankwe Ndosi’s album is on Auspice NOW. And in the StevenBernstein CD review, the album was written and recorded pre-pandemic.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

A Selection of Our 2021 Releases

SOMETHING GOLD SOMETHING BLUEHighNote Records • Savant Records

DENISE DONATELLIWHISTLING IN THE DARKThe Music of Burt Bacharach
Savant Records SCD 2196
Vocalist Denise Donatelli in a beautifully produced
and imaginative program of Bacharach’s music.

JEREMY PELTGRIOT: This is Important!
HighNote Records HCD 7341
Trumpeter and composer Jeremy Pelt channels theAfrican griot tradition documenting the creative
spirit of Black jazz musicians in words & music.

HOUSTON PERSONLIVE IN PARISHighNote Records HCD 7338
Tenor saxophone legend Houston Person captured
in a rare live performance at the 2019 Festival Jazzá la Villette in Paris with his organ quartet.

MIKE LeDONNEIT’S ALL YOUR FAULT
Savant Records SCD 2183
Mike LeDonne is at the organ in the famed Rudy Van
Gelder Studio leading a big band and quartet
featuring Eric Alexander, Jim Snidero and others.

NICOLE GLOVERSTRANGE LANDS
Savant Records SCD 2191
Tenor saxophonist Nicole Glover makes her Savant
debut with a cutting edge trio, innovative
compositions & the great George Cables at the piano.

JD ALLENQUEEN CITY
Savant Records SCD 2194
It is just JD Allen and his tenor saxophone on
this introspective and touching album of musicinspired by the difficult times experienced by all.

GEORGE CABLESTOO CLOSE FOR COMFORTHighNote Records HCD 7335
The extraordinary pianist George Cables in a
program of jazz standards and pop tunes, impishly
named for our current social-distancing practices.

HARVIE S TRIOGOING FOR IT
Savant Records SCD 2195
Bassist Harvie S with Mike Stern and Alan Dawson
in an exhilarating live performance from 1985,
the tapes of which were thought to be lost.

CHARLIE SEPÚLVEDA& THE TURNAROUNDTHIS IS LATIN JAZZHighNote Records HCD 7331
The Latin Jazz trumpeter live at Dizzy’s with guests
Randy Brecker, Miguel Zenon, Nestor Torres & others.

JIM SNIDERO
STRINGS
Savant Records SCD 2199
The alto saxophonist’s critically acclaimed
album is re-issued on Savant Records newly
remastered and boasting superb sound.

Coming in November on Savant Records
PAT BIANCHI: SOMETHING TO SAY - The Music of Stevie Wonder SCD 2190
LOUIS HAYES: CRISIS with Abraham Burton, Steve Nelson, David Hazeltine & others SCD 2192

NEW YORK @ NIGHT
The unusually loud clamor attending the musicians as Singer/lyricist/arranger Jon Hendricks has been
they walked out between floor tables to mount thestage could have been college football fans at ahomecoming game. This (Sep. 14th) was the Village
Vanguard’s first in-person concert in 18 months so the
live-jazz-starved crowd was more than ready to cheer
for cornet player Ron Miles’ quintet with guitarist Bill
Frisell, pianist Jason Moran, bassist Thomas Morgan
and drummer Brian Blade. It was second set and theband, warmed up from the first, quickly found aspringy groove over Miles’ “I Am a Man”, helped inhuge part by Blade’s kinetic, full-bodied immersion in
the music. In fact, it was hard not to watch him as herolled forwards and backwards across his kit, shouting
encouragements, his face creased in an ecstatic smile,
his playing a paradox of ebullience and restraint.
Featuring Miles’ bop-tinged originals, the set radiatedan Americana quality, partly due to Frisell’s distinctive
style, front and center throughout, partly due to thegentle, unhurried nature of the song lines. Moran,energetic but empathetic, lay low until “In My Father ’sHouse”, where he delivered a muscular solo. Miles,a soft-spoken leader, made his musical points inclipped and burred tones until a more extroverted
statement on “Binder”. Morgan didn’t get many solos
but his beautiful tone was memorable. “The Rumor”,
full of conversational phrases, was the closer andkeeper, creating a space where, as Miles had noted
earlier, “We’re all listening together”. —Tom Greenland

NICK SANDERSPHANTOMS OF
MEMORYSSC 1642

AVAILABLE 10/15/21

On his new album Phantoms of Memory, Nick Sanders
has stepped away from the safety of ensemble playing to showcase an original compositional style thatblends his influences of classical and jazz music.

C

NICK SANDERS pianolassical music influences were always near to mind, as
Sanders had recently been listening to, and performing works by, Claude Debussy, Frédéric Chopin, Sergei
Prokofiev, Robert Schumann, Scott Joplin and J.S. Bach.
To challenge himself, the pianist began to write classicallyinspired pieces, not in the style of any of these great composers but in respect for the repertoire they had provided
him.

gone only four years, making his centenary celebration
at Dizzy’s Club (Sep. 10th) all the sweeter for recent
memories. The superb talent collective included
Hendricks’ daughters Aria and Michele, plus Kevin
Burke and host Kurt Elling. These adepts of vocalese,
the art form pioneered by Hendricks, clicked
wondrously, with deep respect balanced bylightheartedness. There was pure fun in “Gimme That
Wine”, as well as in Elling’s interpretations of“Doodlin” and “Home Cookin’” (both Horace Silver).
To “prove” Hendricks was music’s first rapper, Michele
Hendricks performed part of the narration to George
Russell’s 1958-59 album New York, New York. Although
missing from the program was Hendricks’ “Cottontail”(Duke Ellington) for pioneering jazz group Lambert,
Hendricks & Ross, his “Short Indigo” twist on
Ellington-Barney Bigard-Irving Mills’ “Mood Indigo”
was a superb substitute. Guest vocalist Jazzmeia Horn,sans saxophone, offered “Social Call” (Gigi Gryce) and“No More” (Hubert Laws), proving scatting chops but,as many of her generation, singing with the idea thatlouder is better. Pianist Steven Feifke and bassist Neal
Miner were in the pocket with every variation of
vocalizing. Andy Watson miraculously demonstrated
that even drums can scat. Guest artist Andy Farber
added just the right touch of expert saxophone texture
to many of the program’s numbers, beginning with
“Come on Home” (Silver).
—Marilyn Lester

THOMAS HEBERER
THE DAY THAT ISADRIEN H. TILLMANN - WWW.AHT1985.COM

SSC 1637

The Day That Is presents music concerned with sharing
and creating together, fighting the ideals of those who
decided to attack the Capitol Building on that day inJanuary 2021.
THOMAS HEBERER Trumpet
INGRID LAUBROCK Tenor & Soprano Saxophones
JOHN HÉBERT Bass
MICHAEL SARIN Drums

AMBER withORRIN EVANSNO ONE IS ANYONE
SSC 1638
AVAILABLE 10/29/21

The depth of the band Ember’s collaborative energy
and understanding are eye and ear opening. Caleb
Curtis, Noah Garabedian, and Vinnie Sperrazza create
music that is inspirational and meaningful.
CALEB CURTIS Alto Saxophones
NOAH GARABEDIAN Bass
VINNIE SPERRAZZA Drums
ORRIN EVANS Piano (tracks 6-9)

www.sunnysiderecords.com

ALAN NAHIGIANAVAILABLE 10/22/21

Ron Miles @ Village Vanguard

Aria Hendricks & Kurt Elling @ Dizzy’s Club

Saxophonist Aakash Mittal, whose global approach to F rom the start, jazz has offered a vast playground for
improvised music draws on jazz and Indian classicalmusic, presented two versions of his vision at MerkinHall (Sep. 10th). The first set, an album release party
for Awaz Trio’s debut album Nocturne had guitarist
Miles Okazaki and mridangam player Rajna
Swaminathan. After a song in honor of ancestors(broadly defined), the set comprised a five-movement
programmatic suite ‘describing’ Kolkata nightlife. The
complex rhythms, based on Carnatic tala (beat cycles),were additive and layered; harmonies less prescriptive
and more suggestive than those of mainstream jazz,omitting Major and/or minor thirds in favor of more
ambiguous ‘color ’ tones, such as seconds, fourths andsevenths, while Mittal’s echoing, vocal-like melodic
style linked it all together. The mridangam and guitar ’s
rhythmic simpatico was particularly exciting during“Nocturnes II” and “V”, drawing house applause. The
second set was the world premiere of Mittal’s Breathe
project, a song cycle performed by the trio and vocalists
Jasmine Wilson and Shurmila Dhar, violinist Eddie
Kwon, violist Trevor New and bassist Stephan Crump.
First came a prayer with the ensemble playing silver
dishes, the audience singing an ad hoc chord, Wilson
reciting spoken word in the manner of operatic
recitative, followed by three songs, “In This Time andPlace”, “Breathe” and “I Am”, all featuring Wilson’scharismatic vocals, ending with “Street Music”,
a quirky but catchy, highly danceable tune.
(TG)

4 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

violinists. Sara Caswell easily joins the ranks offorebear greats such as Stuff Smith, Joe Venuti and
Eddie South. Her mastery of an already demanding
instrument applied to the fast tempos andimprovisational skills of jazz was evident out of thegate at The Jazz Gallery (Sep. 9th). Her flexibility infingering and bowing on opener “South Shore” (Nadje
Noordhuis) set the tone for riches to come. With
guitarist Jesse Lewis, bassist Ike Sturm anddrummer Jared Schonig, Caswell breezed gracefully
through a varied repertoire. While Caswell isaccomplished at standards, this set concentrated on
mostly original works, from her own “Warren’s Way”,
with its classical feel, to Sturm’s haunting “Shine”.
This is a group that loves making music and theirdelight was palpable. Lewis is as laidback as it gets,delivering sounds effortlessly, with a tuned-in
sensibility akin to that of a piano accompanist.
Sturm’s energetic, gymnastic style of play was as muchfun to watch as hear while Schonig not only playedwith abandon, but with a superb subtlety and any
number of innovative techniques tailored to each tune.
A special treat was “O Que Tinha De Ser/What Had toBe“ (Antônio Carlos Jobim), with Caswell on her
Hardanger d’amore fiddle, a ten-stringed instrument
producing a rich sound just right for this evocativepiece. A downside of the set was over-amplification,
often too much for the intimate space.
(ML)50 years since the launch of Strata-East Records with As Sheila Jordan, bassist Harvie S and guitarist Roni
the release of the first Music Inc. album by Max Roach
Quintet bandmates trumpeter Charles Tolliver andpianist Stanley Cowell, much of the music put out on
the label remains as relevant today as when it was firstrecorded. So too does the company’s founding
philosophy of the need for African American jazzmusicians to maintain control and ownership of theirwork. As such, it was fitting for the label’s surviving
founding partner to gather a group of colleagues fromthe company’s early days under the banner Charles
Tolliver and the Strata-East All Stars for a week-longengagement at Birdland celebrating the imprint’s
golden anniversary. The quintet with tenor saxophonist
Billy Harper, pianist George Cables, bassist Buster
Williams and drummer Lenny White kicked off thesecond set (Sep. 2nd) with a song from Harper ’s 1973
debut album Capra Black, the then-aptly-titled “NewBreed”. The soulful outing was anchored by White’s
insistent two and four drumbeat, the composer
stretching out mightily with what remains one of themost recognizable sounds in jazz today. Tolliver lauded
his late partner Cowell, noting, “We had a ball in thisendeavor”, before introducing the pianist’s stirring
waltz “Effi”. Cables was featured on a moving solo
piano rendition of a second Cowell piece, the beautiful
ballad “Trying to Find A Way”. Virtuosic bass
introduced Tolliver ’s ominous march “Suspicion”,
ending the set on a powerful note.
—Russ Musto

Ben-Hur walked onstage, Hurricane Ida poured violent
torrents over NYC. But it takes more than tropicalonslaught to stop a jazz legend. At 92, Jordan has seenit all and lived to tell the tale with wry humor andconsiderable strength. This show at Soapbox Gallery(Sep. 1st) was part of the trio’s tour honoring Jordan’s
1962 debut, Portrait of Sheila. No small irony that bydownbeat, her Comes Love: Lost Session 1960, was soon
to drop. With so much focus on the vocalist’s roots, theevent could have been drenched in nostalgia, but she
has never been trapped in the past. Jordan andcompany launched into a set filled with energy,
interweaving newer tunes and reminiscence amid thetitles put to vinyl nearly 60 years before. “Hum DrumBlues” by songwriter/activist Oscar Brown, Jr. flowed
into the vocalist’s “The Bird/Tribute”, swinging slow
and sinewy. Though Jordan bantered jokingly about
forgetfulness, her recall of lyrics was as unstoppable as
her drive toward musical expansiveness. Performingwith only bass accompaniment frightens most singers,
but Jordan and S in tandem is a perennial, particularly
on “Dat Dere”, with the latter ’s driving improvisationallines wrapped about the former ’s tenacious dark alto.
Ben-Hur ’s colorful wide chordal fills and solos only
emphasized their singular voice/bass concept further.
Standout moments? Too many to cite but Abbey
Lincoln’s “Bird Alone” and Jordan’s solo take on a
Robert Creeley poem were among them. —John Pietaro

W H AT ’ S N E W S
The 25th anniversary edition of EdgeFest will take place in person at
Kerrytown Concert House in Ann Arbor, Michigan from Oct. 28th-30th
and all concerts will also be live-streamed. For more information, visit
kerrytownconcerthouse.com/edgefest.
Milford Graves: Fundamental Frequency, a retrospective exhibitionand event series dedicated to the late percussionist, will be at Artist
Space NYC Oct. 8th, 2021 - Jan. 8th, 2022. For more information, visit
artistsspace.org.
The latest recipients of grants from the Robert D. Bielecki Foundation
have been announced: Henry Threadgill, $20,000 Project Grant insupport for “Immigration and the Return of the Cheap Suit”, a multimedia project, premiering at Roulette in May 2022; Artists Space NYC,
$10,000 Exhibition/Performance Grant in support for Milford Graves:Fundamental Frequency Exhibition and Performance Series,
premiering Oct. 8th; Sound American, $7,000, underwriting support forSound American’s omnibus print edition of Volumes 1-20; Avreeayl Ra,$5,000 Unrestricted Grant; Catalytic Sound Festival, $5,000, in support
for performances at Fridman Gallery on Oct. 23rd-24th; Edgefest,$5,000, in support for the 25th Anniversary of Edgefest in Ann Arbor,
Michigan; Sun Ra House Part 2, $4,000 Additional Repairs /Restoration; hatHut, $3,500 in support for the release of New York
Contemporary Five Consequences Revisited; William Parker, $2,500,
in performance support for Trail of Tears performance at the Son
D’Hiver Festival on Feb. 18th, 2022; Nick Mazzarella, Ingebrigt Håker
Flaten and Avreeayl Ra, $1,000 Recording Grant in support for a
forthcoming recording on Astral Spirits; and Phyllis Chen, $500
Composition Commission, in support for “Tone Grove”, a piece for two
music boxes based on the weavings of Bauhaus artist Anni Albers (incollaboration with LigoranoReese). For more information, visit rdbf.org.
pfMENTUM Records, founded in 1999 by Jeff Kaiser, has announced
it will cease operations at the end of 2021 after more than 100 releases.
For more information, visit pfmentum.com.

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

A planned green space between Ste-Catherine Street W. and deMaisonneuve Boulevard in Montréal will be named for late Canadianpianist Oscar Peterson, with completion expected in 2025, the year ofPeterson’s centennial.
It has been reported that the New Orleans building formerly housing
the Karnofsky Shop, a music store where a childhood Louis Armstrong
worked and got his first instrument, was destroyed in Hurricane Ida.
An exhibition of our own Robert Sutherland-Cohen, both jazz photos
and his most recent series SOHO 2020: Photos from the Pandemic,
will be exhibited at J.P. Licks in South Boston through Feb. 12th, 2022.
PHOTO BY SHERRY RUBEL

Metropolitan Opera’s series of live transmissions will take place at BAM
Rose Cinemas, including Fire Shut Up in My Bones, trumpeter Terence
Blanchard’s adaptation of Charles M. Blow’s memoir on Oct. 23rd. For
more information, visit BAM.org.

Charles Tolliver @ Birdland

Keyboard player Robert Glasper has partnered with streaming
platform On Air to present two concerts, Robert Glasper Electric Trio
(Oct. 8th at 8 pm) and Dinner Party (Oct. 29th at 8 pm) in 4K UHD
resolution and Dolby Atmos sound. For more information, visit
onair.events.
Sheila Jordan @ Soapbox Gallery

The Labor Day holiday (Sep. 6th) had Smalls packed To the French, jazz has always been a vital art form.
to the walls for a pair of sets by Joe Farnsworth’sTenor Madness, featuring the saxophones of Eric
Alexander and Jeff Rupert, with Mike LeDonne (piano)and Peter Washington (bass). Farnsworth wasted notime setting a festive tone for the evening with a fierysolo intro into a rendition of the Rodgers-Hart warhorse“Lover“ at a breakneck tempo that did not waver for
13 minutes. Harmonizing the melody, the two horns
made for an interesting contrast, Alexander ’s earthy
Coleman Hawkins-esque tone blending nicely with
Rupert’s light airy Lester Young-ish sound before theyeach dug in for extended solos, followed by LeDonne
and a climactic drum exposition. After the applausedied down Farnsworth pointed his sticks at LeDonne,
instructing the pianist “to play a groove”, setting up
an impromptu blues, which had the tenors dialoguingin a manner recalling the sound of the Eddie ”Lockjaw”
Davis-Johnny Griffin Quintet. Rupert was featured on
the ballad “Nancy (With The Laughing Face)”, with
Alexander joining in on soprano. The quintet wrapped
up their set playing Cedar Walton’s “Bleecker Street
Theme” (with Alexander alternating on alto and tenor),but the show continued when Farnsworth invited
drummer Dan Weiss to sit in with LeDonne andWashington. After a break the band was back, swinging
hard on Coltrane’s “Lazy Bird”, then slipping into an
R&B groove with “Save Your Love For Me” and ending
with a blues and “The Theme”. 		
(RM)

Black ex-pats were hailed in Paris and the firstpublished study on the music, Le Jazz Hot, was authoredby Hughes Panassie. In that astonishingly fertile
period Paris reigned as the center of art and Josephine
Baker, unable to hold esteem in New York, led a hero’s
lifestyle in the city of lights. Many were encouraged tofollow. This time and place has been vastly lauded andin recent years vocalist/actress Chloe Perrier’s
celebration of it has been met with great acclaim. The
Triad Theatre (Sep. 8th) hosted her “American Divas in
Paris”, which began with Mademoiselle Baker before
reaching into the post-war years through the songs ofBlossom Dearie, Eartha Kitt and Helen Merrill. “I havemy own voice but want to remind you about these
women,” Perrier told the crowded house. “So, close
your eyes and let’s travel.” The titles, lilting cabaret
doused in jazz solos, ranged from standards like Cole
Porter ’s “C’est Magnifique” or the Gershwins’“S’Wonderful” to French works like Henri Betti’s“C’est si Bon”, all making mystic travel real. Pianist
Hyuna Park was featured as both soloist andaccompanist,swinging
counterpoint
andimprovisations with commanding flourishes, andbassist Jim Robertson played with focused drive,
adding Scott LaFaro-esque expansive lines. Towards
evening’s end, trombonist Amadis Dunkel came
onstage, his obbligato dancing about the vocalist, andit was Le Moulin Rouge on the Upper West Side.
(JP)

Australia’s ­­Earshift Music Festival 2021 will live-stream Oct. 1st-10that sima.org.au/earshift.
The DC Jazz Festival has announced Giveton Gelin Quintet andDayramir Gonzalez & Habana enTRANCé as co-winners of the sixth
annual DCJazzPrix. For more information, visit dcjazzfest.org.
A photography exhibition of the images of Omar Kharem, noted forwork appearing on albums by Ornette Coleman, Rashied Ali, AIR andothers will take place at Hey Check This Out Gallery through October.
For more information, visit heycheckthisoutgallery.com.
In addition to in-person concerts taking place in New York City as partof the Catalytic Sound Festival, live-streams of performances
throughout October from Vienna, Austria; Rotterdam, Haarlem andAmsterdam in the Netherlands, Trondheim, Norway; and Chicago andWashington, DC will be live-streamed at festival.catalyticsound.com.
The Kitchen presents “Jen Liu >< Fred Ho /// Electropore >< Warrior
Sisters”, video artist Liu’s response to the work of composer/baritone
saxophonist/activist Ho (1957-2014), available online through Dec.
31st at onscreen.thekitchen.org.
Issue Project Room’s 2021 Benefit will take place Oct. 13th andinclude performances by Kathleen Supové, Laura Barger, Savannah
Harris, Joanna Mattrey and Miya Masaoka. For more information, visit
issueprojectroom.org.
Blank Forms 4th Annual Gala honoring Neneh Cherry will take place
Oct. 19th. For more information, contact julia@blankforms.org.
SW!NG OUT, a show by choreographer Caleb Teicher, done incollaboration with LaTasha Barnes, Nathan Bugh, Evita Arce and Macy
Sullivan, about jazz and Lindy Hoppers with 12 dancers and the Eyal
Vilner Big Band will be at the The Joyce Theater Oct. 5th-17th. For
more information, visit joyce.org/performances/swing-out.
Intergenerational Jazz Jam’s Celebrating the birthday of Thelonious
Monk with Chembo Corniel’s Afro Blue Monk Project will live-stream
Oct. 10th at 2 pm at jazzpower.org/powerjam2021.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 5

ROBERTO CIFARELLI / COURTESY OF THE ARTISTINTERVIEW

BILLY

DRUMMOND
by tyran grillo
Billy Drummond took an interest in the drums as soon as

he could pick up a pair of sticks. He seems predestined tohave made a humble home for himself in the pantheon of the
instrument, playing on over 350 recordings alongside such
pillars as Horace Silver, Bobby Hutcherson and Sonny
Rollins, among many others. His 1995 leader date, Dubai,
was named a New York Times #1 Jazz Album of the Year.
Before and since then, Drummond has contributed toprojects too numerous to mention in full, including his“Freedom of Ideas” quartet, which is preparing to step into
the studio. This will mark his first leader record in morethan two decades, heralding a welcome return to the helm
for this much sought-after musician. Most recently, he wasinvited by Gábor Bolla to join the Hungarian saxophonist’s
own quartet under the auspices of the Copenhagen Jazz
Festival, where a 10-day stint culminated in two days ofrecording. In this interview, we check in with Drummond to
get his thoughts on the past, present and future.

practice now while you still can before all the obligations
and commitments of life start piling up.
TNYCJR: I imagine that COVID-19, though, was anunprecedented type of struggle for everybody.

Billy Drummond: As soon as I discovered the drums,
before I’d ever played with anybody, I knew that waswhat I wanted to do. It might seem fairytale-ish topeople, but the only person I know that knew me
before the drums is my older sister, Sheila and I wasjust a toddler. That being said, I don’t remember mylife prior to playing the drums.

BD: The rug was pulled out from under us overnight,
so our livelihood suffered greatly because of that.
Fortunately, for me, I teach at two major institutions
for music [Juilliard and NYU], so during the school
year, that kept the wolves a little farther from my door
in that regard. Teaching helps subsidize my performing
career and vice versa. I was able to keep my head above
water, but a lot of things just vanished. I had tours,
residencies, record dates and numerous gigs. Whenyou have those things on your calendar, you plan
accordingly and all of it went up in smoke. But here
I am. Things are slowly coming back, but it remains tobe seen what’s going to happen with different
variations on the theme, so to speak, of the virus. I got
on a plane for the first time in July, went to Europe, dida festival, a bunch of gigs and a recording. It felt likethe way I used to feel as a working musician from day
to day. The travel part of it is not for the faint of heart.
It was never really that luxurious, to say the least, but
as musicians, that’s what we have to do. We can’t justplay in our own back yards and expect to survive. For
most of us who rely on performance, you have to geton an airplane for it to be at least somewhat lucrative.

TNYCJR: Does that mean you took to the drums
naturally or did you struggle like everyone else?

TNYCJR: Would you say this speaks to the adaptabilityof those who make music?

BD: It may sound like a cliché, but you could say thedrums chose me, or mutual love at first sight, I don’t
know! Every instrument has its idiosyncrasies thathave to be dealt with; that’s the nature of the beast.
Brass musicians, for example, have to deal with theirembouchure, which is a constant struggle no matter
who you are. It’s a choice and depends on what you’retrying to achieve and bring to fruition. So, of course,
I had struggles and still do. You’ve got prodigies like
Buddy Rich. Then there’s Tony Williams, who played at
a level that was quite remarkable at such a young age.
But he also had an incredible work ethic and dedicatedhimself to emulating the drummers he loved andstudied as much as he could about playing the
instrument. There were a lot less options anddistractions, especially during that time [the mid ‘50s]
to keep one from pursuing such passions once they
were decided on. You could focus on one thing all day.
By the time he was 18, he had become one of the very
greats he aspired to be. And he wasn’t the only one.
Think about others like Clifford Brown, who started
later in life and developed rapidly. The challenges were
there then and are still present today. It’s hard workand most musicians have to stay up on the instrument.
At least I do. If I do take a break, I’m reminded of it thenext time I sit down and play. I tell all my students:

BD: You have to go into every situation with an open
mind and coalesce with everyone involved. The end
result is making the music come to life. You’representing the music. It’s not about me as a drummer,
showcasing my drumming. I can’t do that anyway! But
there are those who can wow you and still be incredible
contributors, like Tony Williams. Some are more overt
than others. I’ve flocked around drummers for otherreasons, like Billy Higgins, Al Foster and many others
I could name who amaze but not overtly so. It’s allabout musical conception, how the mind works in the
moment. It gets beyond the rat-a-tat-tat physicality of
all that. Why are they doing it and how did they comeup with it? What are they listening to and for and how
are they contributing to the big picture? They all havethese audacious concepts and they bring them tofruition. And all that just by hitting stuff with two
wooden sticks! It’s a question of how one does itcompletely differently while achieving musicalgreatness with a distinctive sound and style.

The New York City Jazz Record: Did you ever have a“eureka” moment with the drums?

TNYCJR: Going back to the topic of practice, how do
you keep yourself sharp? Do you have a set scheduleor just work it in when you can?
BD: As you mature and are confronted with more of

6 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

life’s responsibilities, it becomes more difficult toadhere to a schedule. That’s because you’ve got otherstuff to do all the time. If you’re planning on practicing,
things can interfere. When I do, I practice the samethings I’ve always practiced, such as the things we
drummers know as “rudiments”. Basically, these are
combinations of doubles and singles in certain patterns.
I also practice “time” because that’s what you’re doing
99.9% percent when playing with people. I play alongwith recordings, work on things I’d like to be able to
do and all that. You have to stay up on these basic
things to be able to bring whatever creativity that’s inyour mind to fruition. You need to have a reasonable
				(CONTINUED ON PAGE 13)

NICLAS WEBER / MONHEIM TRIENNALE

ARTIST FEATU RE

AVAMENDOZA

For more information, visit avamendozamusic.com
Recommended Listening:• Jacob Lindsay, Ava Mendoza, Damon Smith,Weasel Walter—Jus (Balance Point Acoustics, 2007)• Ava Mendoza—Shadow Stories (Resipiscent, 2009)• CavityFang—Urban Problems (Table & Chairs, 2012)• William Hooker—Remembering (feat. Ava Mendoza& Damon Smith) (Astral Spirits, 2017)• William Parker—Mayan Space Station(AUM Fidelity, 2020)• Gabby Fluke-Mogul, Matteo Liberatore,
Joanna Mattrey, Ava Mendoza—
Death in the Gilded Age (Tripticks Tapes, 2021)

by george grella
Ava Mendoza is not cutting back. Even with forced

public inactivity through much of the 2020-21
pandemic, the guitarist/singer/composer can be heard
on recent recordings with Stephen Gauci and Vijay
Anderson on one of the former ’s Studio Sessions; with
William Parker and Gerald Cleaver (Mayan Space
Station) and in a string quartet setting on cassette for
Tripticks Tapes (Death in the Gilded Age). Her Third
Landing band, with spoken word artist Abiodun
Oyewole—of The Last Poets—played at the Vision
Festival this past July and that alone was indicative of
the range of her performing collaborations, which
stretches from Marc Ribot’s Young Philadelphians toa duo with former Can vocalist Malcolm Mooney toa tour with the James Brandon Lewis Quintet.
That range, certainly, and maybe the inner drive,
could stem from Mendoza’s unique entry into theworld of jazz (or at least jazz adjacent) and improvisingmusic. “The medium-long story,” she says over a Skypecall, “is that I grew up playing classical guitar andpiano. I started classical guitar when I was seven. I wasreally serious about it and loved it a lot. But the older
I got, the more I wanted to play non-classical music
and I really wanted to improvise, but I hadn’t been
given the tools necessarily to do that so I would just try
and figure things out on my own. And by tools, I mean
I hadn’t been taught how to take a guitar solo or
anything like that, I just played notated music.
“So by the time I was a teenager in Southern
California,” she continues, “I was listening to musicthat had more and more improvising in it, coming frombeing into the punk rock that was around all the time...
getting into punk bands that loved free jazz, Sonic
Youth and all of Mike Watts’ bands.” Following
musicians like Nels Cline led her to “finding out who
John Coltrane was, who Captain Beefheart was.
Eventually I started listening to them and Cecil Taylor,
Sonny Sharrock, John McLaughlin with Tony Williams’
Lifetime.” She started playing with good friends inhigh school (including now Netherlands-based
saxophonist John Dikeman) who she says were “total
freaks”, learning what a blues scale was and “trying to
make music around that and also...making a bunch of
feedback and trying to use the guitar as a noisemaker.”
On top of that, she took classes in theory, learningmodes and vertical harmony on the guitar. “But I had
gotten into late ‘60s-70s free jazz already and that
captivated me right away. It just became clear that was
the direction it was going to go.” McLaughlin seems tohave been an important signpost in her development,
showing her, in Lifetime and with Miles Davis, ways toplay between jazz and rock without being beholden to
standards or even general song forms. Her own playing
has something of his twisting lines and shattered-glass
chord voicings, sustained notes with a heaping ofdistortion while still defining a specific pitch.
She explains that, “I guess I ended up playing thatway a lot I when I improvise with people, but I’m notagainst playing chords I guess. More recently, I’m trying

delve into the harmony of the music more,” developinga manner that’s more polyphonic. “I’m picking in
general,” she says, “and I’m also hybrid picking, using
two fingers at the same time,” though it is rare that sheplays in complete finger style with bands.
In between jazz and rock, that’s her path. She
points out that she “gravitates toward rhythmic
music,” but wants to play “off the beat, rather thannecessarily on the beat.” Rhythm is a major part of themusic she writes for herself and a great example of theway she fits herself in between the beats is with Parker
and Cleaver. “As an improviser playing with Parker,
for example...and Cleaver, they do things in time, all
the time, but in a way where it is very flexible andmalleable. And there’s not necessarily a sense of like,the one is here. It’s just time.”
Playing with so many different musicians means
bringing a whole bag of techniques, each one the proper
fit for that situation. “Right before COVID hit, I cameoff a tour with James Brandon Lewis...I think it’s fair tosay, like modal jazz and really beautiful groove-based
music,” she says. “And I had a recording session with
Matt Mitchell’s and Kate Gentile’s Snarkhorse, which issort of multi-tempo, every conceivable polyrhythmsmooshed into a one bar, like Conlon Nancarrow. And
then I had a recording session with Erik Friedlander
and that’s all melodies and chord changes and soloing
over a long form with lots of changes. To go back andforth between those is a challenge. And I’m trying tojust rein it in a little bit more at this point!”
The pandemic meant time not only to woodshed,but to cut back on adapting to different settings and toconcentrate on personal ideas. “I had been practicing
and then there were no gigs. And I thought, ‘Who am
I? What do I want to be practicing when I don’t havemy gig this weekend to get ready for?’ And that was
really interesting, because I ended up practicing
rhythmic music and a lot of blues...I spent a lot of timelearning Roy Buchanan solos, I went back and looked
at some McLaughlin things, I did some solo
arrangements of standards.” That practice led to her
new solo recording. She says, “I wrote some new solo
things out of that”, especially an arrangement of“Motherless Child”. That song was key to Mendoza,“I would say that the way I play solo was informed bythat more than anything, it really made me want toplay older blues tunes, public domain things and lookat the American Songbook and stuff like that.”
That album, recorded in her living room and titled
New Spells, comes out in November, on both Astral
Spirits (cassette) and Relative Pitch (CD). But is shereally cutting back? “I just recorded a duo album with
Gabby Fluke-Mogul,” she says, “and then I have a tour
coming up with Friedlander ’s trio in October andthen Nate Wooley’s Columbia Icefield and SevenStorey Mountain. I’m not good at cutting it down,”
she admits, “You know, ‘I’m going to teach more andplay less gigs every month,’ and then here I am, notdoing that!” v

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 7

ON THE COVER
RA-RE VALVERDE / COURTESY OF THE ARTISTJEREMY PELTLOOKING BACK TO THE FUTURE
by marilyn lester
Trumpeter Jeremy Pelt is something of a RenaissanceMan, a composer, recording artist, producer andeducator whose pursuit of knowledge and learning has
led him in many directions. Pelt has released over 18
leader dates and appears on over a 100 releases asa sideman. Most recently, his conversations with living(and now historic jazz figures) are compiled in a newbook, Griot: Examining the lives of Jazz’ great storytellers
Vol. 1, along with a HighNote album of the same name,which combines music with audio clips of some of thebook’s interviewees. It’s a project that Pelt says,“I knew I had to write.”
What has gone before is exceedingly important toPelt, as a matter of record and respect, an
acknowledgement of the accomplishments of forebears
and critical value of the past informing the present.
On his musicianship, this exploratory interest andintellectual curiosity has led him to find inspiration ina wide range of sources. His work is infused with
influences from the blues, funk, Brazil, electronica and
AfroLatin jazz, to name some, drawn from the work ofboth musicians and other creators, such as sculptor
August Rodin. On why he chose this instrument,
Pelt says, “It looked easy; it wasn’t, but it turns out I’ma natural trumpet player.” It’s a little-known fact,
though, that he has a passion for classical music, witha particular love of the cello; his first aspiration was tobe a conductor.
Griot contains 15 interviews with jazz elders. So
far, Pelt has conducted 80 interviews, to be released
over four more volumes. The audio clips on the album
were the result of the most impactful statements:“These are the ones that resonated,” he explains. “Themusic just followed. It was like film scoring. I could
hear what I wanted in the dialogue and tone of theinterview and so that’s what dictated the music.”
Pelt’s intention for undertaking this project was to
document and lift the voices of the unsung, Blackmusicians who have made significant contributions tojazz but may not have necessarily received recognition
for their artistry, let alone any level of fame. The title of
the work is a key to his objective. A griot is a bard, inessence. Such storytellers have existed throughout
history in varying cultures, be they called jongleur,shanachie, bhat or troubadour. In West Africa, the term
is griot—a poet, musician and storyteller in the oral
tradition who transmits the teaching of the ancestors
down through the generations. Thus, Pelt assumes therole, with the focus of his interviews on topics such as
Blackness and Black identity, gender, the transformationof the music and the future of jazz. Musing about theterm griot, he observes, “Through our instruments wetell stories. We must pass down that experience.”
Such an identity comes naturally to Pelt. His
maternal grandparents were, in their way, griots. Born
in Los Angeles in 1976, Pelt began spending summers
with his grandparents in the Bronx in 1983. “Some of
my fondest childhood memories were observing my
grandparents go through their day-to-day routine oflife,” he reports. With a mostly houseboundgrandfather, the trumpeter spent a great deal of time

listening to him relate stories about when he was Pelt’s
age and coming up. He has written in the introduction
to Griot: “I absolutely accredit my interest in history
and patience for learning to my grandfather.” In his
teen years, his mother received a package in the mailcontaining a tape from her parents. It was a recordingof each telling their life story. Griot is thus dedicatedto the memory of grandparents and to the futures of
his three children.
Cementing Pelt’s interest, love and commitment to
the tradition of the griot was his discovery in 1994,
while on a work-study program at the Berklee Collegeof Music library, of drummer Art Taylor ’s 1977 book,Notes and Tones: Musician-to-Musician Interviews, which
included many of Pelt’s favorites, such as Miles Davisand Art Blakey. What struck Pelt most profoundly,
beyond the biographical nature of the interviews, wasthat it was a groundbreaking work in understanding
Blackness. Taylor had created a safe space for Black
jazz musicians to relate their experiences beyond any
kind of impact that could result from any form of white
influence. The interviews were conducted in the late
‘60s and early ‘70s, when the Civil Rights and BlackPower movements were active in creating cultural andpolitical change.
Reflecting further on Notes and Tones, Pelt says,“This book, alone, created an indelible impression onme.” Further, he considered it his mission to create thesame feeling he had reading Notes and Tones. “I don’tknow why this tradition didn’t continue but I knew
I had to do it. So many of the grand masters havealready disappeared before I got here.” Heacknowledges that age often brings a heightened
appreciation concerning history. “I gravitate to getting
as much knowledge as possible,” he relates, “and I saw
that not a lot of my students, especially Black ones,
were gravitating to history.” Although urged to create
a podcast as the platform for his interviews, Pelt choseto release the material in book form. “A podcast is
fleeting,” he says. “A book is permanent and it invites
you to come back to it again and again.” He notes that
he grew up without the internet and thus savored theact of obtaining knowledge, which, aside fromschooling, could only be obtained through the libraryor in buying books or encyclopedia. He calls theinternet “weirdly ironic” for its ease in seeking
knowledge. “People take it for granted,” he conjectures.
“They get lazy about it because of the ease.”
What is central to the interviews in Griot is therealization that “whiteness” most always intrudes into
jazz history. “I realized that most jazz history that
I read in books, even if recounted to the author by the
subjects themselves, were still filtered through a whitelens,” he observes. Harkening back to the stories heard
from his grandparents, the meaning of Blackness came
more and more to the fore of his thinking, echoing astatement by Wynton Marsalis (and others) that Blackis a culture, not a color. What’s intrinsic to jazz is Black
culture, derived from African rhythms brought to theAmericas by the enslaved. These rhythms, from theearly days of Tin Pan Alley to the creation of the Great

8 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

American Songbook, changed the course of Americanmusic. Early on in his career, Duke Ellington insisted
that his music be called “American music”, as opposed
to jazz. Ellington knew what Taylor and now Pelt
know: it is imperative for Blacks to “control our own
narrative.”
As a statement of blunt, but essential truth, Pelt
notes that “the term jazz was assigned to this music bywhite people—this is the core of the issue.” Lest anyone
argue that proposition, Pelt notes that other types ofmusic don’t come with questions about origins.
Scholars with no political agenda have longacknowledged that almost the entirety of today’s
American culture—music, art, dance, language
religion, literature and more— has been informed fromthe start by the African culture of the enslaved. Black
intellectuals have long identified with this fact. But, as
Pelt notes, “so much has been stripped from Blackness,so anything we can get from our contributions, wehave to claim it.” In other words, claiming it is what
the late activist and U.S. Representative John Lewis
identified as “good trouble”.
“The big conversation is on white folks,” Pelt
firmly declares. Whites have and continue tomaintain the power structure, even as inroads havebeen made not only by Blacks, but other nonwhiteethnic groups, to have a voice and move toward
equality. “It’s important to embrace where jazz comes
from,” he says. “We don’t have to wave a flag; we justhave to agree.” Arriving at an equal plane, a levelplaying field starts with understanding, he notes—“and that’s a tough one.”A seminal event in Pelt’s life that informs his
philosophy and motivation came through ananniversary tribute to the groundbreaking The Cosby
Show, which ran on network TV from 1984-92. The
popular show centered on the lives of the Huxtablefamily: obstetrician Cliff, lawyer Claire and their fivechildren. In speaking of the impact the show had on
American culture, Phylicia Rashad, who played Claire,
said what made it special was that it was about a family“that just happened to be Black.” This wisdom led Pelt
to think about jazz in a similar way. “Jazz is how you
adapt and present it,” he says. Ideally, jazz willtranscend the notion that it’s great music that justhappens to be Black to the actuality that jazz is simply
great music. v
For more information, visit jeremypelt.net. Pelt is at Dizzy’s
Club Oct. 28th-30th. See Calendar.
Recommended Listening:• Louis Hayes and the Cannonball Legacy Band—
Dreamin’ of Cannonball (TCB, 2001)• Jeremy Pelt—Identity (MAXJAZZ, 2005)• Jeremy Pelt—The Talented Mr. Pelt (HighNote, 2010)• Jeremy Pelt—Tales, Musings and Other Reveries(HighNote, 2014)• Jeremy Pelt—Make Noise! (HighNote, 2016)• Jeremy Pelt—Griot: This Is Important!
(HighNote, 2020)

ChrisBotti

nov 5 - 21
Chaka
Khan
DianneReevesChristian
McBride

Anat
Cohen

Django Festival Allstars
featuring Samson Schmitt,
Ludovic Beier, Pierre Blanchard,
Doudou Cuillerier& Antonio Licusati
Fri, Nov 5 @ 6 & 8:30PM
With energy and swing, theDjango Festival Allstars pay tributeto legendary gypsy jazz guitarist
Django Reinhardt.
Chaka Khanwith special guest
Leela James
Sat, Nov 6 @ 8PM
You know it’s going to be a party
when Chaka Khan hits the stage!
Join us for an evening of fun
and funk at NJPAC.
Nimbus Dance
Sat, Nov 6 @ 7PM
Nimbus Dance joins forces with tango
virtuoso Pedro Giraudo for the world
premiere of Raucous Caucus Tango!

Christian McBride’s
The Movement Revisited:
A Musical Portrait of Four Icons
Thu, Nov 11 @ 7:30PM
Celebrate the great leaders of
the Civil Rights Movement in thisevening of readings and jazz
starring Christian McBride.
Divine Sass:
Lillias White Sings Sarah VaughanFri, Nov 12 @ 7PM
TONY® Award-winning singer
Lillias White and her trio return
to NJPAC for a tribute to thelegendary Sarah Vaughan.
Chris Botti
Fri, Nov 12 @ 8PM
GRAMMY® Award-winning trumpeter
Chris Botti is America’s largest-selling
jazz instrumentalist. Find out why!
Dianne Reeves and Artemis
featuring Renee Rosnes,
Anat Cohen, Ingrid Jensen,
Nicole Glover, Noriko Ueda
and Allison Miller
Sat, Nov 13 @ 8PM
An evening with the extraordinary
women of jazz!

Dorthaan’s Place:
Cyrus Chestnut
Sun, Nov 14 @ 11AM & 1PM
Enjoy the piano stylings ofCyrus Chestnut during brunch
at NICO Kitchen + Bar.
Sarah Vaughan International
Jazz Vocal Competition
Sun, Nov 14 @ 3PM
Celebrate the 10th annualcompetition with special
performances by jazz greats
Christian McBride andDianne Reeves!
A Celebration of George Weinfeaturing Anat Cohen and
the Newport All-Stars
Sat, Nov 20 @ 7:30PM
Featuring Kenny Barron,
Randy Brecker, Christian McBride,
Lewis Nash, Lew Tabackin,Peter Washington and Duchess.
Maria Schneider Orchestra
Sun, Nov 21 @ 3 & 7PM“Revelatory, riveting, daring
and beyond categorization”:
NEA Jazz Master Maria Schneider’sorchestra takes the stage.

Visit njpac.org or call 1.888.MY.NJPAC • For full jazz lineup visit njpac.org/jazz
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ENCOREHERB
BUSHLERby anders griffen
H erb Bushler was one of the busiest bassists in New

York from the mid ‘60s into the ‘80s. With a classicalbackground, he discovered jazz at the dawn of the ‘60s
and worked with prominent artists while becoming
very busy in the recording studio business.
Born in Brooklyn on Mar. 7th, 1939, Bushler took
piano lessons for a couple years before looking to join
the band in junior high school. “So, I went to the banddirector and I said I’d like to join the band. He said,‘what do you play?’ I said, ‘piano’. So, he said, ‘okay,sit down at the piano.’ He put a John Philip Sousa
march in front of me and said, ‘play that’. So, I played
it and he said, ‘I got just the thing for you.’ He cameout with a fucking tuba. (laughs). That’s what heneeded, you know?” Finding the tuba repertoire
somewhat limited (and marching in the cold not muchto his liking), Bushler soon switched to bass and got
deeply into classical music. His brother, David, was astudent at CCNY and they were doing concerts at Town
Hall. “They’d need a bass player, so, next thing I knew
I was going in and doing concerts in New York when
I was a sophomore in high school. Legit, you know?
Taking the train in to play Beethoven’s 8th Symphony,
El Amor Brujo by Manuel de Falla, Franck’s Symphonic
Variations and Bartók’s Divertimento.” He went to Long
Beach High School in Long Island, where he played indifferent community orchestras and twice a year
played in the Catholic church: Handel’s Messiah at
Christmas and Bach’s B minor mass at Easter.
Right out of high school, Bushler went into the
Navy. He purposely did not want to be a musician in
the Navy because he’d had enough Sousa in juniorhigh, so he was a radioman and learned Morse Code.
When he got out, he got a job with the New York Central

Railroad, but he started hearing jazz music, quit his day
job and just started practicing the new music every day.
“There was something creative going on here. I came toa bunch of realizations then. I was not being satisfied
with the classical music. There really isn’t anything
creative about being a classical musician. I mean,
Mozart wrote the G minor symphony 200 years ago.
That’s the creative process right there. And he’s dead. If
there’s anything that can be even considered slightly
creative, it’s the interpretation of the work and that’s up
to whatever prima donna is standing on the podium,
you know? It certainly isn’t up to the second chair bass
player or the third chair violist. So, I decided I just had
to get into jazz and that creativity. I quit my job at New
York Central Railroad and I just started practicing andwashing dishes for a living, which is a very interesting
thing to do: it’s like trying to get calluses on yourfingers and then [softening] your hands in hot, soapy
water every night.”
At that time, around 1960, there were a lot of places
where he could go sit in every night, learn to playstandards and get up and blow. “One thing that always
killed me about young musicians back then is that all
the trumpet players wanted to sound like Miles Davis.
And my premise was who the fuck needs another one?
And all the bass players, especially the white ones,
wanted to sound like Scott LaFaro. I didn’t want to dothat. I mean, if you don’t have a certain sound of yourown, you know, all you’re gonna do is be…just staythere, right in the middle.”
While Bushler was getting his chops together, he
used to go to the Showplace and hear Charles Mingus’
band with Ted Curson. The latter said he had work in
Europe but you had to pay your way over there. “My
mentor at that point was Warren Smith. Of course, he
was an excellent percussionist and was heavy into therecording business. He used to take me to all the gigs
that he was doing. So, I find myself in a band room, at
Basin Street East when he was working for Peggy Lee.
Or else I’d meet him at Columbia 50th Street Studios
and watch him do a recording. He opened up a lot ofdoors for me that way. As a matter of fact, he loaned me
the money for the first gig I had with Ted Curson.”In Europe, Bushler practiced five to eight hours

and played a gig just about every night. He got used to
the lifestyle. “Not like here, where people treat you likea second-class citizen. In Europe they really appreciate
you as an artist. I got very spoiled, man. The first time
I was over there, I was there for ten months. I got used
to the idea of having a gig every night and then I got
back to New York and reality reared its ugly head(laughs).” A recording of that group, which also
included tenor saxophonist Bill Barron and drummer
Dick Berk, was made in Paris in August of 1964 andsubsequently released as Curson’s Tears For Dolphy(Fontana). Back in New York they recorded The New
Thing & The Blue Thing (Atlantic, 1965) with the samegroup augmented by French pianist, Georges Arvanitas.
By 1966, Bushler realized that to work in thestudios he had to play the electric bass. “A lot of bass
players were furious, you know. They would refuse todeal with the electric bass. So, I just had to get mychops together on it and I realized, damn, I gotta dosome different shit because [the] positions on the bass
don’t work [the same way]. On instruments [with ahistory], there are certain method books that have beenaround for years and years that you can use, or teachers
will use to teach you; but a lot of people don’t
understand that it was every man for himself with theelectric bass. Everyone had their own technique.
Nobody learned from any method. So, I just had towoodshed that thing all of a sudden. And that’s someof the happiest times that I ever had, was when mychops on electric and acoustic were commensurate.”
He started getting studio work in July and Augustwhen so many of the first-call musicians would taketheir vacations. That’s how people started to hear him
and his name spread. By 1966-67, there started to be somuch work that he turned down more jobs than heaccepted. “These were the days when everybody was
making records. There was no oil embargo yet. I mean,
they were grabbing anyone off the street and giving
them record contracts, you know? Record dates werelike a dime a dozen in the studio and I mean I made somuch garbage that if you squeezed it all together andreduced it to its original petro-chemical base and got
a quart of oil out of it you’d be better off.”					(CONTINUED ON PAGE 13)

beckoned: Land joined the Brown/Roach Quintet, oneof the big-time bop groups of the West Coast era. He
also found the time to brighten the bands and recording
sessions of Herb Geller, Cal Tjader, Victor Feldman,
Elmo Hope and Frank Rosolino, among others.
Land was a true son of the bebop generation andpossessed—or was possessed by, depending on one’s
point of view—a surging and confident sense of swing.
British writer John Fordham said Land had an“affection for elegant improvising without hyperbole
or hurry, careful crafting of a melody line to maximize
its narrative impact without blunting its spontaneous
immediacy and a patient use of space, rather thanpostwar jazz’ more familiar inclination to fill every
chink with hurtling fusillades of notes.” Or to put it
more coarsely: Land knew when to testify and when tochill, when to wail and when to let the quiet(er) spots
do the talking for him.
While a son of the bebop generation, he was notartistically hemmed-in by its orthodoxies. Land
diversified, releasing Jazz Impressions of Folk Music(Imperial, 1963) with a quintet including the somewhat
underrated Carmell Jones (trumpet) and bassist James“Jimmy” Bond. There were also sessions with Art
Pepper (the [ahem] ambiguously titled Smack Up),
Gerald Wilson, Thelonious Monk, Wes Montgomery,
Curtis Counce, Chico Hamilton, Les McCann andsingers King Pleasure and Jimmy Witherspoon. Land
also appeared on the soundtrack to one of the morenotorious movies of the early ‘60s, The Manchurian
Candidate, starring Frank Sinatra and music written byDavid Amram.
In the ‘70s Land co-led outfits with vibraphonist
Hutcherson and helmed sessions for assorted labels
including Mainstream, Muse, Concord and Galaxy.
More recently, an excellent collection of archival
recordings has come to light courtesy of the redoubtable
Reel To Real label: Westward Bound! collects material
recorded at Seattle, Washington’s The Penthouse in
1962-1965. Originally recorded for live broadcasts, theperformers include trumpeter Jones, pianists Hampton
Hawes and Buddy Montgomery, bassist Monk
Montgomery and drummers Philly Joe Jones andJimmy Lovelace. (Sonic quality is excellent but the bass
could be a touch louder, perhaps.)
Highlights include the Land-penned midtempo
medley “Happily Dancing/Deep Harmonies Falling,”
wherein he goes to town with rich, deceptively
easygoing bop dissertation. He croons a little like
Sinatra in world-on-a-string swaggering mode and a
lot like Dexter Gordon careening with easy grace in
the Scandinavian Northern lights but he blends these
influences so deftly, so seamlessly, he sounds like noone else. Near the conclusion Land and Jones join forsome inspired, zig-zagging, joy-charged unison
passages. By its very title Joseph Kosma’s “Autumn
Leaves” evokes mindsets mellow and wistful but Land
					(CONTINUED ON PAGE 13)

LEST WE FORGETHAROLD
LAND
by mark keresman
H arold Land was an ace tenor saxophonist who, while

never becoming a real star, made his mark as a reliable,
first-rate master of his craft. He made several finealbums under his own leadership but is perhaps best
known for his membership in the seminal Clifford
Brown/Max Roach Quintet (he recorded five albums
with this ensemble) and later on for co-leading a bandwith Bobby Hutcherson (nine albums). Land hasa song named after him on the debut disc of UK
progressive rock band Yes. Of this, the band’s drummer
at the time, Bill Bruford, said in 2010, “[He] was a
hardbop tenor saxophone player, dead now, but quite
why we named a song after him I can’t remember.”Land was born in Houston, Texas on Dec. 18th,
1928 and grew up in San Diego, California. Sweet 16
found him taking to the big-toned swagger of the tenor
and he made his first recordings via the modestlymonikered Harold Land All-Stars for Savoy. In 1954
the big city, namely Los Angeles, and the big time

10 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORDVOXNEWSA SINGER’S MIND
by suzanne lorge

In August, singer Tony Bennett’s son and manager,

Danny Bennett, announced that the beloved superstar
would be retiring from live shows after more than 75
years of performing. The Bennett team then cancelled
all of the singer ’s fall 2021 concert dates. The reason is
medical rather than musical: 95-year-old Bennett,
diagnosed with Alzheimer ’s five years ago, has lostmuch of his cognitive functioning, even though hissinging remains intact.
This seeming contradiction is one of the mysteriesof neuroscience, points out journalist John Colapinto,
who interviewed Bennett at the singer ’s apartment lastNovember. Colapinto’s poignant telling of Bennett’s
battle with the progressive disease, published in the
February 2021 issue of AARP Magazine, not only honors
Bennett’s lifelong dedication to the Great American
Songbook, but also offers a sympathetic view of those
who suffer from the disorder. Bennett still rehearses
twice a week with his regular pianist Lee Musiker andcontinues to live a full life, the article asserts, thus
offering a much-needed hopeful message to Alzheimer
sufferers and their families. This message is“just another gift that [Tony] can give to the world,”
Susan Crow, Bennett’s partner of almost four decades,
told Colapinto.
Bennett performed two live shows with Lady Gaga
at Radio City Music Hall in early August, right before
the retirement announcement. Gaga is only one ofmany jazz and pop artists with whom Bennett has

collaborated à deux; besides two iconic albums withpianist Bill Evans in the ‘70s, he’s recorded duet albums
featuring singers as wide-ranging as Diana Krall,Sting, Amy Winehouse, Tim McGraw, Barbra
Streisand, Andrea Bocelli, Aretha Franklin, Stevie
Wonder and Norah Jones.
But in 2014, when Gaga and Bennett released Cheek
to Cheek (Columbia/Interscope), the collaboration
created magic of a singular order: debuting at number
one on Billboard and winning the Grammy for Best
Traditional Pop Album. A sequel seemed likely and in
2018 the duo began work on a Cole Porter tribute, LoveFor Sale, for the same joint label, after Bennett’s
diagnosis, as the disease was proceeding to take greaterhold of his faculties. A filmmaker was on hand,chronicling both Bennett’s evolving cognitivedifficulties and Gaga’s emotional reaction to her
mentor ’s illness. The film, when released, will likely
reveal to us the part of Bennett’s mind that has trouble
processing everyday things. But the new album,
released on Oct. 1st, will show us the part of his mind
that remains impervious to decline, still as vibrant as
when the singer, just a teenager from Queens, firstpicked up a microphone.
This summer UK-based Avid Group released a
two-disc collection of four of Bennett’s most wellknown albums, made for Columbia in 1959-62, when
the crooner was at the apex of his career. This collectionof remastered hits, Four Classic Albums plus Second Set,
would be a good place for those unfamiliar with
Bennett’s massive oeuvre to start. The 54 tracks onthese four albums—To My Wonderful One, My Heart
Sings, Tony Sings For Two and I Left My Heart In San
Francisco—plus four bonus tracks from Alone Together,
contain a huge swath of Bennett’s hits: blockbuster“I Left My Heart In San Francisco”; wistful “Smile”;
full-throated “September Song”; and swinging “TheBest Is Yet To Come”, for instance. (It should be notedthat not everyone appreciates the sound quality of
Avid’s “Classic” rereleases, but what a convenience tohave all of this history in one tidy package, completewith the original liner notes).
Jay Clayton celebrates her 80th birthday—and 60
years of performing—at The Jazz Gallery on her actual
birthday (Oct. 28th). Clayton, with more than 40
albums, added two more during the pandemic: Alone
Together (Sunnyside), a sparkling foray into free
improvisation with the recently departed drummer
Jerry Granelli, and 3 For The Road (MeisteroMusic), a
trio album with pianist Fritz Pauer and trombonist Ed
Neumeister, recorded in Austria in 2001. Clayton’s
nimble vocalizations and poetic discursions charm anddisarm throughout.
A roundup of vocal gigs this month: Stacey Kent is
at Birdland (Sep. 28th-Oct. 2nd); Joanie Pallatto takes
the stage at Pangea (Oct. 1st) and Judy Wexler (Oct.
6th), Benny Benack (Oct. 13th), Judy Niemack (Oct.
20th) and Mary Foster Conklin (Oct. 27th) are also
there; Teri Roiger is at Entwine Wine Bar (Oct. 3rd,
10th and 17th); Libby York plays Mezzrow (Oct. 5th);
Melissa Stylianou hosts Saint Peter ’s Church Jazz
Vespers (Sundays through Oct. 24th); Samara Joy is at
Dizzy’s Club (Oct. 17th); Alyson Williams and Nat
Adderley, Jr. present “Ella, Billie, Sarah, Dinah, Carmen
and Nancy Too!—The Legendary Ladies Of Jazz &Blues” at National Arts Club (Oct. 18th); early swing
aficionados Sweet Megg and Ricky Alexander play
Littlefield (Oct. 22nd); Roseanna Vitro’s Sing a Song ofBird is at Soapbox Gallery (Oct. 28th); and Janis Siegel
has two nights at Birdland Theater (Oct. 29th-30th). v

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212.721.6500
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JAZZ.ORG

Camille Thurman by Lawrence Sumulong

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 11

IN MEMORIAM

CHARLIE
WATTS
by andrey henkin

COLIN BOWDEN (1932 - Aug. 1st,2021) The British drummer was amember of Ken Colyer ’s Jazzmen in themid ‘50s-early ‘60s and also had later
credits with Colyer, The Crane River
Jazz Band, Alexis Korner, Ian Wheeler,
Phil Mason, Sonny Morris, Mike Cox
and Kenny Davern. Bowden died Aug. 1st at 89.
RONNELL BRIGHT (Jul. 3rd, 1930 Aug. 12th, 2021) The pianist came up in
the mid ‘50s with Rolf Kühn, Frank
Wess, Johnnie Pate and Sarah Vaughan
and led three of his own dates forRegent, Vanguard and Polydor in that
decade, going on to work with Coleman
Hawkins, Anita O’Day, Shirley Scott, Buddy Tate andSuperSax. Bright died Aug. 12th at 91.

Charlie Watts, the British drummer who financed his

love of jazz via a day job with The Rolling Stones, most
famously convening his Charlie Watts Orchestra in the‘80s, packed with a few generations of U.K. jazz stars,
died Aug. 24th at 80 of unspecified causes several
weeks after heart surgery that caused him to pull outof an upcoming Stones tour this fall.
Watts was born Jun. 2nd, 1941 in London andraised in Wembley. His early work was with rhythm
and blues bands, including with the U.K.’s premierprogenitor of the genre in Alexis Korner, prior to
becoming a permanent member of The Rolling Stones
in 1963. When asked whether he had any hopes ofbeing a jazz drummer in his youth for a 2012 interview
in this gazette, Watts replied, “Not very. I used to playthe drums and the only drumming I knew was jazz
drumming. Eventually I was asked to play with various
R&B bands but it’s not an easy adventure trying to bea jazz musician. You live on the end of a telephone.
I was pleased to be in a band. I’m not really a virtuoso.
I prefer to be a band member.” Watts listed Chico
Hamilton, Dave Tough, Big Sid Catlett, Shelly Manneand especially Roy Haynes as formative influences.
Despite The Rolling Stones’ massive success, Watts
never strayed far from jazz in one form or another. In
1964, a book he had produced (Watts trained as agraphic artist) was published, Ode To A High Flying
Bird, a children’s introduction to Charlie Parker. In
1968, he produced the eponymous debut of The People
Band, released two years later on Transatlantic, anavant garde group with members like George Khanand Lyn Dobson. He also invested some of the proceedsfrom The Rolling Stones into memorabilia: “I have lotsof guys’ drums. I have one of Joe Morello’s drum kits.
Sonny Greer. I have some things of Stan Levey. I got
Jake Hanna’s snare drum. Big Sid Catlett’s cymbals arerecently obtained. They’re just lovely things to have.”
The mid ‘80s saw his most ambitious project, theCharlie Watts Orchestra, which included players as
disparate as Peter King, Jack Bruce, Stan Tracey, Alan
Skidmore, Evan Parker, Bobby Wellins, Don Weller,
Harry Beckett, Chris Pyne, Paul Rutherford, Jimmy
Deuchar and Bill Eyden and John Stevens as the otherdrummers. The band released a 1986 concert, Live At
Fulham Town Hall, on CBS and toured the U.S. Other
jazz albums would follow in the ‘90s and into the newmillennium, including A Tribute To Charlie Parker With
Strings, a duo project with fellow drummer Jim Keltnerfêting legends of jazz drumming (“We were just talking
and started naming my favorite drummers. If you got
to call it ‘Stormy Weather ’, you might as well call it
Shelly Manne. I thought it was a way to get thedrummers’ names on the label. Give the drummer
some.’), two albums of boogie-woogie and a 2010
collaboration with the Danish Radio Big Band.

THURSTON BRISCOE (Jul. 4th, 1947 Aug. 16th, 2021) The former drummer
was a longtime radio host on KLCC in
Eugene, OR, then producer of NPR
performance series Jazz Alive! and, from1990-2013, Program Director and thenVice President of Programming and
Production for WBGO. Briscoe died Aug. 16th at 74.
FRANCESC BURRULL (Oct. 18th, 1934
- Aug. 28th, 2021) The Spanish pianist/
vibraphonist/composer worked with
Tete Montoliu and Catalònia Jazz
Quartet and had his own albums for
Vergara, Concentric, Belter and Pequeñas
Cosas. Burrull died Aug. 28th at 86.
MICHAEL EVANS (Oct. 11th, 1957 Aug. 13th, 2021) The drummer had
credits under John Zorn, Eric Mingus,
David Grubbs, Gordon Beeferman and
Ken Vandermark, membership in the
Fulminate Trio and collaborations with
Jeff Arnal, LaDonna Smith, Yoni Kretzmer
and Pascal Niggenkemper. Evans died Aug. 13th at 63.
ROY GAINES (Aug. 12th, 1937 - Aug.
11th, 2021) The guitarist, though
primarily a blues player, did havecredits with Jimmy Rushing, The Jazz
Crusaders, Hugh Masekela, Les McCannand Milt Buckner in the late ‘50s-mid‘70s. Gaines died Aug. 11th at 84.
LARRY HARLOW (Mar. 20th, 1939 Aug. 20th, 2021) The pianist worked in
the Latin jazz world both as a performer
with albums since the mid ‘60s on
Fania, Coco, Tropical Budda, Inca,
Songo, Manzana, Latin Cool and otherimprints and credits under flutist
brother Andy, Fania All Stars, Chico O’Farrill andothers as well as via hundreds of producing credits for
Coco, Cotique, Discophon, Fania, Inca, Salsa and Vaya.
Harlow died Aug. 20th at 82.
GEORGE HORN (c.1934 - Aug. 26th,2021) The mastering engineer at Fantasy
Studios had thousands of production
credits including reissues in the Original
Jazz Classics series by Miles Davis, Don
Ellis, Gene Ammons, Harold Mabern,John Coltrane, Flora Purim, Herbie
Hancock, Zoot Sims, Sonny Rollins, Art Pepper, Tommy
Flanagan, Ray Brown/Jimmy Rowles and others andnew Concord releases by Dave Brubeck, Dave McKenna,
Cal Tjader, Kenny Burrell, George Shearing/Marian
McPartland, Al Cohn, Stan Getz and many more. Horndied Aug. 26th at 87 of complications from COVID-19.

12 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORDPETER IND (Jul. 20th, 1928 - Aug. 20th,2021) The British bassist had early
credits with Lennie Tristano, Lee Konitz,
Paul Bley, Jutta Hipp and Buddy Rich,
plus a leader album on his Wave imprint,then, after returning to the U.K., ranboth the label and a studio, releasing his
and sessions by Konitz, Warne Marsh, Kenny Barron,
Duke Jordan and others, and, from 1984-94, helming theBass Clef club. Ind died Aug. 20th at 93.
ULRICH KURTH (Sep. 28th, 1953 Aug. 12th, 2021) The German pianist
transitioned from a performer in the‘70s to a producer in the ‘90s for labels
like hatART, JazzHausMusik, JMT,
Enja, ACT, Leo and Tutu. Kurth diedAug. 12th at 67.
DAVID LEE, JR. (Jan. 4th, 1941 - Aug.
4th, 2021) The drummer had one leader
date in 1973 plus credits since the ‘70s
under Dizzy Gillespie, Leon Thomas,
Joe Zawinul, Albert Dailey, Roy Ayers,
Harold Alexander, Sonny Rollins, Chet
Baker, Lonnie Liston Smith, Mike
Longo, Charlie Rouse, Alan Braufman, Richard Wyands
and Ellis Marsalis. Lee died Aug. 4th at 80.
JEMEEL MOONDOC (Aug. 5th, 1946 Aug. 29th, 2021) The saxophonist was apart of the NYC Loft Jazz scene in the‘70s, leading his Muntu band and later
Jus Grew Orchestra, working with
William Parker, Saheb Sarbib, Butch
Morris, Denis Charles, Khan Jamal,
Steve Swell and releasing albums on Cadence Jazz,
PolJazz, Soul Note, Praxis, Eremite, Ayler, Relative
Pitch and RogueArt. Moondoc died Aug. 29th at 75.
JOHN SHERIDAN (Jan. 20th, 1946 Aug. 24th, 2021) The pianist worked
with Allan Vaché, Jim Cullum,
Turk Murphy, Dan Barrett, Evan
Christopher, John Allred and Dick
Hyman and had many albums on
Arbors. Sheridan died Aug. 24th at 75.
PIERRE SPREY (1937 - Aug. 8th, 2021) The
French-born, NYC-raised aeronauticalengineer, after a career at The Pentagon,
produced albums from the late ‘80s-mid‘00s for his Mapleshade label by Clifford
Jordan, Hamiet Bluiett, Harold Ashby, John
Hicks, Larry Willis, Raphé Malik, Steve
Davis, Ted Nash and others. Sprey died Aug. 8th at 83. v

(INTERVIEW CONTINUED FROM PAGE 6)
amount of facility to put your opinions out there. If
you don’t, those ideas never come out. That’s what’s soremarkable about the thinking process of great
drummers. We only hear the end result, but you can
bet they worked on the nuts and bolts to move us withthe music.
TNYCJR: Who embodies that philosophy for you?
BD: Pretty much anyone who played with Sonny
Rollins, Miles Davis, Horace Silver, Jimmy Smith,Nancy Wilson, Art Blakey, Jackie McLean and all theothers I grew up listening to. Max Roach, Roy Haynes,
Jimmy Cobb, Philly Joe Jones...the list goes on. It’s all
good stuff that I still find today to be the top of theheap in that genre of music. But you’ve also got torealize that, back in those days, you never saw theseguys on television for obvious reasons. The star
drummer in the public eye in those days was Buddy
Rich, so I was enamored with him because he wasbilled as the world’s greatest and was more of anentertainer and a personality than some of the others
I mentioned might have been perceived to be. So there
he was, playing the drums and doing it really, reallywell. This being the early ‘60s, I was attracted to what
was on television. It was a natural thing. You had
Batman, the Green Hornet and Buddy Rich.
TNYCJR: Who were your more immediate mentors?
BD: I would have to point to my parents and my father
in particular because, being a former drummer himself,
he’s the one who turned me on to jazz and the drums.
As I look back on it now, he also had an incredible
record collection. I was hearing all that music I
mentioned as a youngster. I didn’t even know what it
was, but at that age, you absorb whatever ’s going onaround the house. When I gravitated toward thedrums, the two connected like that. Both of my parents
were very supportive and encouraging of myendeavors. I was very fortunate in that regard.
TNYCJR: How have you changed the most since then?
BD: For one thing, I hope that I’ve improved as amusician who plays the drums and, with that, I hopethat coincides with my improvements as a human being.
Sometimes, I wish that I could go back and do things alittle differently both on the personal and musical sides.
For example, I think about being able to play withcertain people I played with 30 years ago, only with themindset I have now. When you’re in your 20s, you havea whole different thing going on when you arrive in
New York. There’s nothing wrong with that; that’s theway life is. As we grow older, we hopefully have a better
understanding of things pertaining to life. I’m trying tounderstand by looking at things from a different
perspective. You tend to do that when there’s a lot lessahead of you than there is behind you. Now it’s like,“I’ve got to get this next stuff as close to right as possible
because I’ve got no time to waste.”way. But we creative people think about it 24/7 andthat could be a problem because there are other things
we have to think about, too. Society isn’t set up for
creative people because we don’t fit into that same
foundation.
TNYCJR: How does this relate to your life as acomposer?
BD: I’m working at it. One thing I could look back onand regret is that I didn’t take the piano seriously when
I had the opportunity to so now here I am at this age,struggling, just to put two notes together that soundlistenable! I’ve had access to a piano for a large part ofmy adult life and childhood as well, but I don’t
consider myself a composer. I’ve written some tunes.
Horace Silver, Carla Bley, Andrew Hill and many,
many others I’ve had the pleasure of working with:those are composers.
TNYCJR: Have you changed at all as a listener?
BD: I’ve always been a listener of recordings. No one
plays in a vacuum. Listening is one of the things
I consider that I do well. I can’t play anything if I don’tlisten to what’s going on around me. I like to instigate
and react to an action. The drummer is the de facto
leader in some ways, controlling the tempo andvolume, all of which can impede on or contribute to
the proceedings. It’s also the loudest instrument on the
bandstand, at least in an acoustic setting. But beyond
that, the drummers that I admire and am influenced by
are great musicians and listeners and that’s why
they’re great drummers. I could name hundreds.
TNYCJR: What is the best compliment you ever got?
BD: Compliments said to me by people whose opinion
I have a great deal of respect for. Beyond that, I’d say
the greatest compliment is having people hire me toplay with them. They could’ve had anybody, many ofwhom are pictured up on my own wall of drummers
I admire. To be hired from that pool and the manyother fantastic drummers out there? There’s no greater
compliment. That’s enough to be grateful for andI certainly am. v
For more information, visit billydrummonddrums.com.
Drummond is at Mezzrow Oct. 1st with Peter Zak, Jamaica
Center for Arts and Learning Oct. 2nd with Danny
Simmons, The Jazz Gallery Oct. 28th with Jay Clayton andSmalls Oct. 29th-30th as a leader. See Calendar.
Recommended Listening:• Out of The Blue—Spiral Staircase(Something Else-Blue Note, 1989)• Billy Pierce—Epistrophy (King-Evidence, 1992)• Billy Drummond Quartet—Dubai (Criss Cross, 1995)• Carla Bley, Andy Sheppard, Steve Swallow,
Billy Drummond—The Lost Chords (WATT, 2003)• Steve Kuhn- I Will Wait For You (Venus, 2010)• Stephen Riley—Friday the 13th (SteepleChase, 2018)

TNYCJR: How does being a better person make you
a better musician and vice versa?

(ENCORE CONTINUED FROM PAGE 10)

BD: You’re a human being first and foremost. You’re
faced and blessed with all the things that humans haveto deal with. When you’re a musician, especially one
who has devoted your whole life to music, it becomesso intertwined with your vocation as such. As someone
who has surrendered his whole life to music, musicand everyday life are intertwined. You wake up in themorning and a large part of your thought process isabout music: playing, rehearsing, writing, listening, allof those things. I don’t think people who do certain
other things for their livelihood necessarily think that

“But there are certain records you make where you
say, I really want the credit on that because… I did two
albums with Jobim. The first album I did was called
Jobim (MCA, 1972) and I really enjoyed working withthis guy, it was fabulous. So, the album comes out andit says, ‘bass: Ron Carter ’. I said, ‘what the fuck is that?
I did half the album.’ Nothing I could do about it. Six
months went by and the producer, Claus Ogerman,
called me up, ‘you know, we really enjoyed the way
you played on that first album.’ I said, ‘well, if you
enjoyed it so much, motherfucker, why didn’t you put

my name on it?’ And he went into his lame-ass shit,‘Oh, I wasn’t responsible, just following orders’ orwhatever. So, I did the second one too (Urubu, Warner
Brothers, 1975) and he did it to me again.”He also cites the self-titled album by Gil Evans and
Penny Arcade with Joe Farrell among highlights onrecord. Meanwhile, one of his favorite gigs, creatively,
was a duo with Tony Williams. “It was a music shop
out in Long Island. He was going to do a drum clinic
out there. So, there’s nothing but drummers in theaudience, right? It’s packed and they could give a fuckor less about me. They didn’t care who I was. They
were there to see Tony. And we just started playing,
you know, just sort of feeding off each other. We did
this for like 45 minutes or an hour. I had so much fun.
That was one of the best gigs, creatively, I can recall.”Bushler was working with everybody, doingrecord dates, jingles, film scores, you name it. David
Horowitz was a longtime associate and dear friend.
They met in 1968 and did some records with [folksinger] Tom Paxton and others. Bushler got him into
bands with Gil Evans and Tony Williams. In 1979,
Horowitz started David Horowitz Music Associates,
Bushler did the contracting and they were successful
as a leading jingle company in New York.
Bushler appreciates being in the right place at theright time. “It was a great time. I was very, very lucky
to be active in the time that I had, you know? Because
there was just so much going on and there was, like,a recording studio on every block. I mean, there was
God knows how many fucking nightclubs you could
play at. I used to go up to Bradley’s with Joe Beck andwe’d go in there for like six weeks at a time. And theBlue Note or the Half Note or the Bottom Line, theVillage Gate, the Village Vanguard, you know? We
used to live at the Vanguard, Beck and I with Joe
Farrell. That’s all gone, man. There’s no way foranybody to make a living as a freelance musician in
New York City anymore. If there’s anything I missabout the old days, it was like being on the top of the
pyramid. You know? Knowing that I could playanything anybody wrote for the bass. Without everhaving seen it before, I could play it at performancelevel the first time.” v
Recommended Listening:• Ted Curson—Tears for Dolphy (Fontana, 1964)• Gil Evans Orchestra—Blues in Orbit (Enja, 1969/1971)• Tony Williams—The Old Bum’s Rush (Polydor, 1972)• Joe Farrell—Penny Arcade (CTI, 1973)• Joe Chambers—New World (Finite, 1976)• James Moody—Beyond This World (Vanguard, 1977)(LEST WE FORGET CONTINUED FROM PAGE 10)
ups the ante with some intensely focused uptempo
dissertations. While this standard can fall into the
autopilot zone, Land and company give it a verve andlilt that sidesteps coyness and facileness. The pianist isJohn Houston and he achieves a righteous balance ofSaturday night strut and Sunday afternoon stroll.
Land died of a stroke at age 72 on Jul. 27th, 2001.
While he never rose to the level of fame ascontemporaries Rollins, Getz and Gordon, Land left arich, vibrant legacy. v
Recommended Listening:• Clifford Brown and Max Roach—Study in Brown(EmArcy, 1955)• Harold Land—Harold In The Land of Jazz(Contemporary, 1958)• Harold Land—Westward Bound!
(Reel to Real, 1962/1964-65)• Bobby Hutcherson—Spiral (Blue Note, 1968)• Harold Land—Xocia’s Dance (Muse, 1981)• Harold Land—A Lazy Afternoon (Postcards, 1994)

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 13

ALBUM REVIEWSMy Original Plan (featuring Fareed Haque)
Joanie Pallatto (Southport)
by Alex Henderson

O n My Original Plan, Chicago-based vocalist Joanie

Pallatto successfully brings together the vocal jazz andsinger/songwriter worlds with the help of veteran
guitarist Fareed Haque. This is not an easy album tocategorize. Pallatto wrote most of the material, leaning
towards jazz on “About a Song”, “Rest”, “Jon’s Place”
and the Brazilian-flavored “Open Your Eyes”, yet more
mindful of pop-rock on “Do Butterflies Cry?” and“A Simple Time”. Pallatto employs a reggae beat on“They Sentenced Us to Paradise” while the title track
has a jazz-funk edge.
While eclectic and unpredictable, the album
doesn’t sound disjointed or unfocused and Haque cantake some credit. A veteran of the Chicago jazz scene,
Haque produced and arranged the album with Pallatto
and is featured prominently on both acoustic andelectric guitar. The lineup varies but Haque is aconstant and rises to the occasion whatever type ofsong Pallatto gives him.
Born in 1954, Pallatto is very much a member ofthe Baby Boomer generation and doesn’t try to hide
her age; in fact, it becomes a source of creative
inspiration on “Almost 65” (using ‘60s British Invasion
rock references, including The Rolling Stones and The
Beatles, to get her point across) and the introspective
album finds Pallatto looking back on her life witheverything from melancholy to humor. The somber
folk-rock ballad “The Confessional”, for example, isperformed from the perspective of a troubled Catholic
who goes to a priest looking for answers even though
she hasn’t been to confession since 1972 .
Despite its moments of melancholy, My OriginalPlan ultimately looks at the glass as half full. It ends onan optimistic note with “Lucky to Belong to You”,
which has a pop-rock melody that recalls ‘70s-era
Carole King. Pallatto uses a variety of music to tell her
story and does so with satisfying results.
For more information, visit chicagosound.com. This projectis at Pangea Oct. 1st. See Calendar.

Stockholm Vol. 2
Ron Carter Foursight (In+Out)
by Joel Roberts

Ron Carter is the most recorded jazz bassist in history,

with over 2,200 credits, a feat earning him a spot in the
Guinness Book of World Records. But for all his many
accomplishments in jazz and virtually every othermusical genre, he’s still arguably best known for his timewith the second great Miles Davis Quintet in the ‘60s.
On his latest release, Carter and his Foursight
Quartet revisit the spirit and some of the material of
the classic Davis ensemble. The album is the second
volume from a live date recorded in Stockholm,
Sweden in 2018, when Carter was 81, though you’dnever guess his age from the vibrancy, creativity andtechnical facility of his playing on the hour-long set.
His sound remains instantly recognizable and withoutpeer, his long, deep notes resonating like no one else’s.
The rest of the group also plays at an exceedingly highlevel with pianist Renee Rosnes recalling the harmonic
sophistication Herbie Hancock brought to the Davis
Quintet while Jimmy Greene channels the energy ofearly Wayne Shorter on tenor saxophone and Payton
Crossley provides a dynamic presence on drums.
The tunes covered include the Carter originals“595” and “Mr. Bow Tie”, as well as a pair of wellknown Davis compositions: “Seven Steps to Heaven”,
with Greene taking flight, and an especially lush andnuanced “Flamenco Sketches”. Carter pushes thefamiliar “You Are My Sunshine” into unpredictable
territory on an exquisite solo feature while he andRosnes share a gorgeous, impressionistic duet turn on“My Funny Valentine”. It’s a stellar outing by a genuine
jazz master, who shows few signs of slowing down in
his ninth decade.
For more information, visit inandout-records.com. Carter is at
Jamaica Center for Arts and Learning Oct. 2nd with Danny
Simmons, Birdland Oct. 5th-9th as a leader and Dizzy’s Club
Oct. 15th-16th with Mike LeDonne. See Calendar.

same result and action, not surprisingly, carry acrossthe remainder of the program. “Right Resolve” deals in
slow, weighted time as it explores the concept ofintention. “Right View”, with its arced energy
trajectory, traces a state of wisdom. “Right Livelihood”
goes all in while telling no lies. And “Right
Mindfulness”, with its contemplative/pacifying sixnote motif and soothing descents, points straight to theideal. Borrowing from its source of inspiration while
also growing beyond it, Eightfold Path—and the man
behind it—leaves a deep impression.
For more information, visit littleimusic.com. Lederer is at Bar
Bayeux Oct. 6th and Bar Lunàtico Oct. 18th. See Calendar.

David Janeway Trio
Appearing:
October 3rd from 8-10
Jazz Forum Jam Session
jazzforumarts.org
November 3rd
sets at 7:30 and 9 pm
Mezzrow Jazz Club, NYC:
smallslive.com“...Janeway is not afraid to experiment in the
moment and has a range of technique thatallows him to test the waters fearlessly... he isconstantly evolving, and I have never heard one
player have so many different ways oftexturizing.” (Monique Avakian, The Patch)“David Janeway is an extraordinary pianist withgreat facility and a wealth of ideas. He exhibits
maturity and depth in his playing.”(Eddie Henderson)

CDs, downloads and streaming
available at Amazon, Statesidemusic.com,
Apple Music, Spotify & YouTube

Eightfold Path
Jeff Lederer Sunwatcher (little(i)music)
by Dan Bilawsky

Several topics travel with Jeff Lederer as he walks theEightfold Path. Numerical significance, Buddhist
principles, the value of kinship and a triumph overcircumstances all move along with the tenor
saxophonist and his Sunwatcher bandmates: organ
player/pianist Jamie Saft, bassist Steve Swallow anddrummer Matt Wilson.
As the eighth child in his family, born at eighto’clock on Aug. 8th, Lederer ’s octadic origins
essentially paved the way for this purpose. And inusing the quietude of the summer of 2020 to delve
deeply into Vietnamese monk Thich Nhat Hanh’s
writings about the titular Buddhist practices, theimportance of the number was magnified. Turning tothose texts for some guiding light and with Saft’s offer
to record a project outdoors that summer acting as a
key motivator, Lederer conceived of and constructed aseriesofshort,
eight-measurecompositional
springboards, which represent or align with thisparticular movement toward understanding. Then,just one day after he penned all of the pieces, in the
open-air safety of Saft’s yard, he brought the band
together to breathe life into those works.
Comprised of first takes, this eight-part
investigation speaks clearly to acts of discovery andself-examination. “Right Concentration”, opening oneight mini-gong strikes, blends the emphatic andecstatic in its engagement with the art of focus. “Right
Speech”, bookended by Lederer and Wilson’s
rhythmically probing unison, uses its core to deliver
blustery swing that says no wrong. “Right Effort”,
leaving unrestrained ambitions behind, focuses on thecalm and dreamy. And “Right Action”, grounded bya bass ostinato, periodically opening up for brief solo
breaks and presenting positive vibes, never wrongly
grasps for what is not given.
With each of those pieces, direct knowledge is
discovered through creation and application. And the

14 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORDDavid Janeway Triofeaturing
Cameron Brown, bass
Tony Jefferson, drums
For further info and bookings:
DavidJaneway.com orconnect on facebook.com/
david.janeway.5

Fabrizio Spera—N-EST (Fundacja Słuchaj!)R • Benoît
4—Gentle Ghostse (JazzdorDelbecq
Series)
Ciocarlia—c • Fanfare
It Wasn’t Hard To Love You (Asphalt Tango)
Fujii—Piano Music (Libra)o •• Satoko
Champian Fulton—
Live From Lockdown (s/r)
m • Sheila
m ComesJordan—
Love: Lost Session 1960 (Capri)• Nils Landgren—Nature Boy (ACT Music)e • Steph Richards (with Joshua White)—
Zephyr (Relative Pitch)n • Gonzalo
Rubalcaba/Ron Carter/
Jack DeJohnette—Skyline (5 Passion)d • Lucy
Gould—e In HerYeghiazaryan/Vanisha
Words (s/r)
d Laurence Donohue-Greene, Managing Editor• Marco Colonna/Dario Miranda/

Dunmall/Mark Sanders—n • PaulUnity (577 Records)
In Airports x Aarhus Jazz Orchestra—e • Girls
Leap (Kaja)
Hargrove/Mulgrew Miller—w • Roy
In Harmony (Resonance)• Joel Harrison—Guitar Talk

(AGS Recordings)r • Mikko
Innanen/Stefan Pasborg/
Cedric Piromalli—This Is It (Clean Feed)e • Jeff
Lederer Sunwatcher—l Eightfold
Path (little(i)music)• Stefano Leonardi/Antonio Bertoni—e Viandes (Astral Spirits)
Richards (with Joshua White)—a • Steph
Zephyr (Relative Pitch)
Vaughan—Live at The Berlins • Sarah
Philharmonie 1969 (The Lost Recordings)e • Wadada Leo Smith—Trumpet (TUM)
s Andrey Henkin, Editorial Director

Duplexity
John Blum/Jackson Krall (Relative Pitch)
by John Sharpe

Duplexity offers slabs of volcanic energy from stalwartsof the free jazz underground. Since coming on the scene
in the early ‘90s, pianist John Blum has appeared onrecord relatively infrequently, though his appearanceswith William Parker, Sunny Murray and Steve Swellattest to the high regard in which he is held. Drummer
Jackson Krall remains similarly underexposed, in spiteof a profile-boosting tenure with pianist Cecil Taylor.
Although Blum and Krall worked together in thegroups of Marco Eneidi and in the Associated Big Band,regular duet encounters have gone undocumented,
until the 2018 session yielding these two tracks.
Both cuts draw deep from what resembles a riverin full spate, eddying and swirling but never stopping
the flow of spontaneously generated excitement. Blumdazzles in a barely relenting outpouring, at times
recalling Taylor, his one-time teacher, in his forcefulstream of evenly accented notes and thunderous
chording. But that comes allied with a Bud Powell-likefacility and speed in the treble register, sparkling righthand runs resembling glissandos except that he clearly
separates each keystroke. In-the-moment feeling seems
paramount, reiterated figures more concerned withestablishing momentum than any notion of form.
Even though he takes an essentially supportive
role, it is Krall who supplies a sense of trajectory to theperformance, varying the density of his accompanimentto cast the piano maelstrom in differing lights, as headroitly shadows the pianist. Crisp rolls, sparepunctuation and cymbal coloration allow room for
piano lines to breathe while the occasional waves ofsound add even more weight and impulse to the
instrument’s kinetic power. The end result is abreathless dash, akin to running a marathon at thepace of a 1,500 meters. You may not get nuance, but thespirited thrills provide their own reward.
For more information, visit relativepitchrecords.com. Blumis at Michiko Studios Oct. 2nd. See Calendar.

Fleet from the HeatAlex Norris (SteepleChase)by Russ Musto

O nly his third leader effort in a career stretching over

two-plus decades and boasting an impressive list of
big band and Latin jazz credits, Fleet from the Heat
debuts trumpeter Alex Norris’ working quintet ofsaxophonist Ari Ambrose, pianist Jeremy Manasia,
bassist Paul Gill and drummer Brian Floody. Ten
original compositions unabashedly hearken to thesound and spirit of ‘60s Blue Note albums by the likesof Donald Byrd, Lee Morgan and Freddie Hubbard.
The group opens things up bopping soulfully on
the title track, a grooving midtempo outing with ahummable melody, bouncing bassline and harmonic

depth, allowing for inspired soloing by Norris,
Ambrose and Manasia, who then engage in a series of
melodic exchanges with Floody. Things change gears
with Norris switching to flugelhorn, his warm soundblending smoothly with moody tenor on “No Fair, It’s
Mine”, a breezy jazz waltz with a lively beat.
Four new pieces comprise the disc’s centerpiece,
sardonically titled “The Famous Original Pandemic
Suite”. The opening movement, “What Normal”, is a
sprightly blues that has Norris soloing with cadenced
swagger, followed by Ambrose, Manasia and Gill, who
keep the buoyant mood flowing. The atmosphere turns
ominous on “Quarandemic”, dark-toned tenor andeerie muted horn over repetitive ostinatos. Ambroselays out on “Ballad For 2020”, a feature for flugelhorn
aptly conveying the sense of loss the year brought to somany. The suite ends on an upbeat note with “Dude,
Where’s My Deli”, a funky boogalooing escapade in
the tradition of Morgan’s “Sidewinder” and Herbie
Hancock’s “Watermelon Man”.
The quintet swings on “Holiday Blues”, evincing
both the celebratory spirit and hectic pace of the festive
season and stays in the groove on “Night Bus”, a songthat dates back to Norris’ 1999 debut New Beginnings.
Norris credits Jackie McLean’s compositional style as
the inspiration for “Untamed Land’, a Jazz Messengerish anthem with dramatic flourishes. The date ends as
it began with the band bebopping “Grapple With A
Snapple”, a cleverly reharmonized take-off of Charlie
Parker ’s “Scrapple From The Apple”.
For more information, visit steeplechase.dk. This project is
at Smalls Oct. 3rd. See Calendar.

Friendship: Lucid Shared Dreams and Time Travel
Jessica Ackerley/Daniel Carter (577 Records)
by Anna Steegmann

This is the debut duo recording of guitarist Jessica

Ackerley and omni-instrumentalist Daniel Carter. The
pair played a few outdoor concerts in August 2020 ina downtown Manhattan park. Then, in September ofthat year, they were ready to record. Both are wellknown in the New York free jazz community. Carter,born in 1945 and called “one of the legendary mastersof creative music”, has recorded with William Parker,
Yo La Tengo, Matthew Shipp and Federico Ughi, toname a only a small percentage of his credits. Ackerley,
many years Carter ’s junior, is well known in Canada
and the U.S. as a guitarist, composer and bandleader.
She has worked with Tyshawn Sorey, Marc Edwards
and Jason Nazary among others.
Ackerley usually plays electric guitar but this is
her first record on acoustic. Carter plays flute, alto andsoprano saxophone, trumpet and clarinet. If you arefeeling stressed by the ongoing pandemic, financial
and health worries or suffering from anxiety or
depression, the album will be a welcome relief. This
glimpse into the joyful inner musical world of two
friends, its tranquil, meditative and dreamy quality,
will put you at ease. Ackerley’s tender and vulnerable
improvisations complement Carter ’s exquisitely warm
playing of his various instruments.
There are eight tracks and everything here is freely
improvised. The opener, “Welcome, Our Friends”,
starts with gentle acoustic guitar followed by soothing
clarinet. The instruments coalesce into a beautiful
sound, a relaxed mood more accessible than much freejazz. Ackerley and Carter pull the listeners in andallow them to unwind. “Converging” starts withmellow alto, then invites the guitar in organically.
Twirling sounds alternate with moments of silence,
which give the listener space to breathe and focus as
one would during meditation. “Dream State”, again
featuring alto saxophone with rippling guitar strums
and an increase in tempo, feels more experimental.
All the improvisations blend into one another tocreate an intimate, meditative synthesis. Hopefully,
there will be more collaborations to come.
For more information, visit 577records.com. Ackerley is at
Bushwick Public House Oct. 4th and Downtown Music
Gallery Oct. 16th. See Calendar.

UNEARTHED GEM

In Harmony
Roy Hargrove/Mulgrew Miller (Resonance)by George Kanzler

We have Larry Clothier, the late trumpeter Roy

Hargrove’s manager, to thank for this instant classic. He
taped the two concerts comprising this album, the firstat New York’s Merkin Hall in January 2006, the second
at Lafayette College in Easton, PA in November 2007.
Digital remastering has rendered the sound pristine.
Hargrove, who died in 2018, is joined by pianist
Mulgrew Miller, who passed in 2013. This is Hargrove’s
only duo album and Miller’s only one with a hornrather than a bass. The repertoire is pop standards andjazz chestnuts, including two each from Thelonious
Monk and Dizzy Gillespie. The one original is a
traditional style blues from Hargrove.
Both had superb rhythmic sense and seem to play
as if hearing some internal rhythm section, so that bass
and drums are not missed. The first CD kicks offemphatically, Cole Porter’s “What Is This Thing Called
Love?”, trumpet romping through a solo filled withlively, boppish runs, Miller following with a vigorous,
two-handed solo before the pair trade fours. Anotherstandard given a swinging rendition is “Just In Time”.
Bronisław Kaper’s “Invitation” is also taken at a fast
clip, trumpet bouncing and rising to high notes,
returning for sprightly four-bar exchanges after a fast,
fluid piano solo. But the best romp is Blue Mitchell’s“Fungii Mama”, piano and trumpet conjuring thespringy calypso feel sans aide of percussion instruments.
Hargrove was an extraordinary ballad interpreter.
Highlights include “This Is Always”, flugelhorn singing
over a steadily slow-walking semi-stride from Miller,
and an indelible take on Benny Golson’s “I Remember
Clifford”, lovingly enunciated with emotional
resonance. “Never Let Me Go”, a Hargrove favorite,
introduced by Nat King Cole in the 1956 film noir, The
Scarlet Hour, is another masterly flugelhorn rendering.
On Hargrove’s “Blues for Mr. Hill”, the trumpeter
applies smears, blats and pinched tones in his solo,
Miller invoking barrelhouse blues. The two Monk tunes(back to back on Disc 2) remind us how important theright tempo was for him. And the Dizzy Gillespie tunes
that close each CD (“Con Alma” and “Ow!”) encapsulate
the empathy and vibrancy of this unique pairing.
For more information, visit resonancerecords.org. A Hargrove
tribute is at The Jazz Gallery Oct. 15th-16th led by Jason
Marshall. See Calendar.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 15

G LO B E U N I T Y

Irene of Boston
Francesco Cafiso (E Flat)
Promises
Floating Points/Pharoah Sanders/
The London Symphony Orchestra (Luaka Bop)
Trio
Timo Lassy (We Jazz)by Tom GreenlandEver since 1949-50’s Charlie Parker with Strings

proved the compatibility of jazz saxophone andorchestral strings, many instrumental heirs havebeen inspired to try the combination.
Italian alto saxophonist Francesco Cafiso, aphenom at 13 now in his early 30s, recorded Irene of
Boston with his quintet and the London SymphonyOrchestra [LSO]. Comprised of originals andarrangements (pianist Mauro Schiavone co-credited
for the latter), the album is inspired by the fantasticaladventures of comic book sailor/adventurer Corto
Maltese as told by his magically regenerated boat
(whose name furnishes the album title). Though notindicated who arranged what, the LSO’s lush sound isvital to the musical impact: from the first postmodern
clang-chord of “Bouchee Dorée-Apparition” to thepolyphonic density of “Far Flow”, woodwind choraleof “S’Irendipity” and moody cinematic layers of “Fluid
Remembrance”. Cafiso is strong enough to balance theorchestra, especially on “Rasputin”, “Bluelogue” andcloser “Bouchee Dorée-Disparition”, where he uses
multiple overdubs to create dovetailed phrases.
Tenor saxophonist Pharoah Sanders, who turns
81 this month, hadn’t recorded anything in ten years
when English electronic musician/DJ Floating Points(aka Sam Shepard) corralled him into his Promises
project, initially recorded as a duo, adding the LSO
strings later. Running 46 minutes, its nine movements
segue directly, generating a long suite unified by the
opening seven-note arpeggiated theme (played with amix of four keyboard sounds), which establishes the
key of E-flat Major/C minor through slow pulsing
chords. The harmonic uniformity has a calming,
spiritual, raga-like effect. Many tracks are enlivened
by Sanders’ breathy soulfulness, one also including
his burbling vocals. Shepard’s keys are prominent
elsewhere, often doubling acoustic string sounds withelectronic counterparts. One arrangement featuressolo violin, another all the strings in a rally of cluster
chords and gentle trills driving to a massive climax.
Finnish tenor saxophonist Timo Lassy employs
the Budapest Art Orchestra on four of seven tracks on
Trio, supplementing the core group (bassist Ville
Herrala and drummer Jaska Lukkarinen) with stringarrangements by Marzi Nyman. Although the strings
are occasionally used as harmonic pads (at the
beginning of “Foreign Routes” and over the lopsided
hiphop groove of “Orlo”), more often they areinteractive: answering the tenor melody on the former
and stretching its harmonies, stuttering short trills on“Better Together” and jabbing counterpunches at
Lassy’s improvisational thrusts on “Sunday 20”. As
such, strings provide a crucial reactionary role,
opening up the sound, even if the trio tracks areequally energetic, sustained by Lassy’s ability to ‘tell
stories’ on his horn by measuring out equal parts
narrative ingenuity and raw emotion, best heard on“Pumping C”, a standout trio number.
For more information, visit eflat.eu, luakabop.com andwejazz.fi

Solo Ballads
Pasquale Grasso(Sony Music Masterworks)
by Tom GreenlandIf you’ve had some jazz training it’s not too hard to

figure out what guitarist Pasquale Grasso is doing on
Solo Ballads, an album-length expansion of his 2020 EP
Solo Ballads, Vol. 1. He’s orchestrated ten Great
American Songbook pieces (over half from the ‘30s)
following this general format: a short intro >rubato melody statement on the high strings while
simultaneously using the remaining fingers toarticulate moving chord patterns (à la Barry Harris),
mortaring the cracks between song phrases with long,
intricately ornamented descending or ascending runs
played extremely quickly with fluid legato technique(à la Art Tatum or Bud Powell) > moving into a steady(or steadier) time feel and more improvisational/
single-line approach for the second harmonic cycle >ending with a reprise and new treatment of the tune
and a tastefully dazzling and/or harmonicallyinventive coda.
What’s harder to figure out is how he manages to
execute this astounding level of complexity and‘swingfulness’ with such poise and precision. The
melodic, harmonic and improvisational vocabularyaren’t new, but nobody (Joe Pass included) has yet
been able to articulate these ideas as well as Grasso
does, setting a new standard for solo guitarists. The
rapid-fire runs, accomplished with hammer-ons andpull-offs, are precise and stunning, but some of themost exciting moments—Harold Arlen-Yip Harburg’s“Over the Rainbow”, Jerome Kern-Otto Harbach’s“Smoke Gets in Your Eyes”, Cole Porter ’s “Ev’ry TimeWe Say Goodbye” and especially Johnny GreenEdward Heyman-Robert Sour-Frank Eyton’s “Bodyand Soul” and Jimmy McHugh-Dorothy Fields’ “Don’t
Blame Me”—occur at the melody’s reprise, when
Grasso typically applies some of his most ingenious
and daring techniques.
For more information, visit sonymusicmasterworks.com.
Grasso is at Mezzrow Oct. 4th, 11th, 18th and 25th andDizzy’s Club Oct. 17th with Samara Joy. See Calendar.

selection across Hope.
Punk-torn avant garde (or was that art-damaged
punk?) still features highly into Ribot’s welcome
world, but strains of rural folksong and urban blues
are vital to this release, but in a different manner thanon his 2018 album Songs of Resistance; here, the forms
are a means to draw Ribot perhaps even further out of
himself. The opening piece, “B-flat Ontology”, hasbeen described as existentialist and this moniker may
be appropriate to its downtrodden vocal, but Ribot’s
fire never allows authentic nihilism in.
The album’s title speaks volumes. Recorded in
May 2020 during the throes of COVID, it speaks of thaturgent moment and (as per Ribot’s liner notes) “thenon-response of our would-be-dictator-president”.
Throughout, Ceramic Dog’s outpouring of raw but
artful emotion reminds the listener exactly what wewere up against and the drive toward somethingliberating.
“The Activist” and “Bertha the Cool” are two sidesof what would be a riveting R&B single, with theformer ’s agitational hip-hop/spoken word and thelatter ’s chill-cool united by probing, perpetual motion
basslines and purple-blue guitar string bends. Adding
to this powerhouse core is guest alto saxophonist
Darius Jones on “They Met in The Middle” where heshreds the atmosphere with Albert Ayler-esque firemusic breaks.
And, bringing it all around full circle, vocalist Syd
Straw (of The Golden Palominos) adds breathy backing
voice to “Wanna”’s otherwise instrumental nostalgic‘post-rock’. For these still urgent moments, Hope wellaccompanies healing.
For more information, visit northernspyrecs.com. This
project is at The Bell House Oct. 7th. See Calendar.

Lampkin Music Group andSouthport Records Present
Joanie Pallatto’s My Original Plan
CD Release Party
Friday, October 1st at 7 pm

HopeMarc Ribot’s Ceramic Dog (Northern Spy)by John Pietaro

Marc Ribot’s storied career is akin to that of historic

creative revolutionaries who reach beyond the agitprop, emulsifying art and Left activism at each turn,but fortifying each enough to stand independent of theother. Ceramic Dog is an immediately alluring entity,
probably his strongest band yet. Grown from the ashesof ye old, heralded Downtown, this trio of Ribot’s
guitar and voice, Shahzad Ismaily’s bass and keyboards
and Ches Smith’s drums and percussion effortlessly
paints a plethora of genres, sometimes within each

16 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

Cover: $25 (cash at door) $20 food/drink minimum
178 Second Ave., NYC 212-995-0900“Unplugged” Joanie Pallattowith Fareed Haque and Sparrow
Special Guests
Bill Nolte as “The Priest” and dancer Tânia Daley“Joanie Pallatto is a Female Powerhouse”-Adam Rothenberg/Call Me Adam, NY
Southport Records
chicagosound.com
Lampkin Music Group
lampkinmusicgroup.com

ThipHenry Fraser/John McCowen/Sam Weinberg(Tripticks Tapes)
Grist
Sam Weinberg/Henry Fraser/Weasel Walter(ugEXPLODE)
Bust
Henry Fraser/Sam Weinberg (Renfusa)
by George Grella

Thip is not only the title of one of the albums underreview, but also an excellent one-word description ofsaxophonist Sam Weinberg’s sound, style and concept,
the sound of a woody, tongue-snapping-off-of-reed
articulation far more common to Weinberg’s playing
than any specific, or even in-between, pitches.
Weinberg is a free player in the tradition of 20th
century avant garde, mainly occupying a space beyondsong-form, any kind of blues feeling and even standard
instrumental pedagogy and technique. He seems closer
to Derek Bailey than any other influences, some marker
of how out on his own he is. These albums are an example
of what seems to be his most dedicated work (and being
studio sessions give an incomplete picture, as Weinberg
specializes in playing outdoors, on sidewalks and inopen spaces, which is a whole other story).
Bassist Henry Fraser is the other common elementon these albums; Weasel Walter and John McCowen on
the other albums are not just guests but frequent partners.
They are all part of a community that floats around theouter boroughs and downtown spaces—and sidewalks—putting together a lingua franca of small, discrete musicalideas and light-footed responses and dialogues andworks out of advanced and experimental instrumental
techniques, briefly dipping into standard ideas ofphrasing before bouncing back into a skittering, flocking,vibrant bumper-cars of squeaks, chirps and thumps.
The
instrumental
combinations—Walter ’s
percussion and McCowen’s clarinet—delineate thesealbums, as does the reverberant space in which Thip
was recorded, but they are all of a piece, relating to theothers in an extended survey of Weinberg’s place inthis movement. Yes, it’s a movement and these arethree documents. As Bailey himself pointed out, free
improvisation has always been with us since humans
started making music and it’s been well-documented
not only since the mid 20th Century but especially
now, with the rise of Bandcamp as a platform forabsolutely DIY experimental explorations.
Thip, as extroverted as the extended techniques
seem, is inward-turning, even haunting. Weinberg and
McCowen often sound like two shepherds, playing to

Jay Clayton“80th Birthday
Celebration”
October 28th, 2021
The Jazz Gallery
7:30/9:30 pm sets
Gary Versace (piano)
Ed Neumeister (trombone)
Jay Anderson (bass)
Billy Drummond (drums)“It is not recent news
that Jay Clayton is one of themost phenomenal vocalists increative improvised music.”—Michael G. Nastos, AllMusicALSO APPEARING AT
VERMONT JAZZ CENTEROCTOBER 23RD
WITH RAY GALLON TRIOJAYCLAYTON.COM

each other across the fields, sharing what sounds likethe sounds of isolation, like the “Scène aux champ” inSymphonie fantastique. Fraser plays a supporting role
here while on Bust he’s tremendously active, swarming
around Weinberg as the saxophonist punches little
ideas out into the air and keeps batting them aloft.
Fraser is much more to the fore on Grist, but that
may also be because he and Walter are right up front in
the mix, nearly dominant except for a space furrowedout on the left of the stereo field for Weinberg. Walter
plays with nervous energy and it is exhilarating rather
than anxious. He has got an idea every moment and an
answer for everything around him. Even in relatively
more spacious tracks like “For The Pill” he carves thepath for the other two and Weinberg is often in acomplementary role. But even there, he shines.
The details across these albums are constantly
fascinating and accumulate into a feeling of musiciansmeeting and overcoming the challenge of time, of how
to look at each future moment and fill it with something
meaningful. These are winning examples ofcontemporary improvisational language, which,despite everything in life, is moving away from theemotional response to existential crises and into having
action produce meaning. Call it Sartre-jazz.

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For more information, visit triptickstapes.bandcamp.com,
weaselwalter.bandcamp.com and samweinberg.bandcamp.com.
Weinberg is at The Vale in Prospect Park Oct. 10th andBarbès Oct. 12th. See Calendar.

More Music
Joey DeFrancesco (Mack Avenue)
by Scott Yanow

J oey DeFrancesco is arguably the top jazz organ playerof the past 30 years, also known for playing muted
trumpet and taking a friendly vocal. On More Music(which could have been titled More Instruments), hestretches himself without losing his musical personality.
On the 11 songs, 10 of which are his originals,
DeFrancesco plays organ on just six. On three songs
apiece he is heard on either trumpet or (for the firsttime on record) tenor saxophone. He also doubles onelectric keyboard or piano during several of thenumbers and sings on “And If You Please”. DeFrancesco
is joined by drummer Michael Ode and guitarist Lucas
Brown, the latter who also plays organ or keyboards onseven of the selections. In fact, only three songs utilize
the standard organ-guitar-drums trio.
The style is close to what one would expect on a
DeFrancesco recording despite the number of originals.
The music swings, DeFrancesco takes fine solos nomatter the instrument (he proves to be quite effective
on tenor) and Brown’s organ playing is in the
DeFrancesco/Jimmy Smith tradition.
Among the highlights: opening uptempo rhythm
changes-based “Free”, which has a fluent trumpet solo;
the moody feature for tenor on “Lady G”; thoughtful
jazz waltz “In Times Of Reflection”; passionate tenor
on gospel-ish “Angel Calling”; hot trumpet on
straightahead blues “Where To Go” (which also
includes organ solos by both Brown and the leader);and goodtime closer “Soul Dancing”.
While More Music might be a different setting for
DeFrancesco, the results will satisfy.
For more information, visit mackavenue.com. This project is
at Dizzy’s Club Oct. 7th-10th. See Calendar.

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THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 17

IN PRINT

ZephyrSteph Richards (with Joshua White) (Relative Pitch)
Supersense
Steph Richards (Northern Spy)by Jordannah Elizabeth
Unstrung: Rants and Stories Of A Noise Guitarist
Marc Ribot (Akashic Books)
by Kevin Canfield

During a long, distinctive, admirable career,

Marc Ribot has maintained his cutting-edge credwhile making several mainstream detours. The
guitarist has played with artists as different as John
Zorn and Norah Jones, recorded a duly idiosyncratic
album of Albert Ayler compositions and performed
music for a Johnny Cash biopic. Unstrung, his firstbook, is an intelligent but choppy collection of
essays, fiction and prose experiments. Though hemisfires with some frequency, Ribot is a keenobserver of the irresolvable tension between
creativity and commerce.
“I don’t accept ANY aspect of capitalist society,”
Ribot writes in one of his “rants”. Though this may or
may not be his current position, it’s somewhat richcoming from an artist whose guitar-playing is heard in
Hollywood films. But, hey, who isn’t conflicted about
their bill-paying gigs? Ribot, who’s released two dozen
albums under his own name, is appropriately
frustrated with the power imbalance placing musiciansat the mercy of rapacious streaming services. But
instead of rehashing oft-heard complaints, he laments
the songs that never get written: “Big Tech’s beancounters can supply mountains of data on the dangers(to them) of providing too great an incentive. But who
will speak for the work left uncreated if we set
incentives too low?”
Ribot’s plea for a more humane pay scale dovetails
with his piece about the Haitian classical guitarist who
gave him lessons in the ‘60s. Frantz Casseus quit law
school to play music, Ribot writes, and lived on theUpper West Side when he finished Haitian Dances, hisstellar 1954 album. But even as a tendon injury,
inadequate medical care, racism and industry
accounting tricks pushed Casseus to “the edge ofpoverty”, he was undaunted. “Frantz chose this life
because he loved composing...he loved playing theclassical guitar. Love’s burdens are lightly borne.”
Elsewhere, Ribot tells vivid tales from the road—
he once accompanied a drummer who “play(ed)trumpet with his right hand while still nailing thesnare beats with his left”—and reflects on bittersweet
opportunities. Though he wasn’t a perfect match for
Susana Baca’s “Black Peruvian” sound, he was hired
to tour with her band “in order to present an uplifting
spectacle of social solidarity—of communication and‘oneness’—across cultural/national/racial lines.”
His insightful essays coexist with several forgettablepieces. Ribot’s short fiction often starts with fablelike language—“Once there was a man”—and takes
bizarre turns; in one story, Botox indirectly turns awoman into a killer. Short on descriptive detail andcharacters with nuanced traits, these can feel more
like drafts than fully realized stories. Likewise,
Ribot’s “film (mis)treatments”—humorous ideas for
surreal genre mashups—are at best moderately
diverting. At 226 pages, this isn’t a long book. But itshould have been 30 pages shorter.
For more information, visit akashicbooks.com. Ribot is at
The Bell House Oct. 7th. See Calendar.

There is an extrasensory undertone to trumpeter

Steph Richards’ music. She subtly engages with andcaptures the depth and vastness of the silence between
notes. Richards is an emerging force of nature
On Zephyr, Richards and pianist Joshua White
create a themed album on the sounds and images ofwater with Richards playing her trumpet throughdifferent vessels of water. She and White get on wellsonically, as the intermingling of trumpet and piano
embark on the journey through the undersea universe
ruled by the Greek goddess Amphitrite. Opener “Sacred
Sea: Zephyr” features a brief but healthy and clear solofrom Richards, setting the stage for White to establish a
melodic minor rhythm pattern over which trumpet
plays low sprawling tones. “Sacred Sea: Amphitrite” isadorned by the clatter of a tambourine, a single repeated
mid-tone percussive note and whisps of air fromtrumpet, Richards exploring how her instrument cancreate an intriguing sonic experience. Richards was withchild during the recording; consequently (possibly),
there is a calmness to the album, Richards offering richtones and playing as if she were at the bottom of the sea
as opposed to skimming the waves. The album is aunique interpretation of an ancient muse.
Supersense finds Richards leading a quartet of
pianist Jason Moran, electric bassist Stomu Takeishi and
Kenny Wollesen on drums and “Wollesonics”. While
exploring water on Zephyr, here she takes on the senseof smell, using different scents to inspire hercompositions and musical modes. The band was also
led by this sensory exploration and with it comes amanifestation of a collective merged in the midst of new
territory. The title track has a dissonantly dense piano
opening, a pair of repeated notes with intuitively spaced
pauses. Richards enters along with Wollesen, the latter
playing an off-kilter staccato pattern. Over the course ofa few seconds, the band begins to gel as they break intoa more traditional sound, which then falls apart andreforms into unpredictable formations. “Bunker” is akin
to experimental sound art: Instruments are plucked,
banged and scraped while found objects help create aneerie and expressive piece. The album is exciting and alittle eccentric, which was most likely Richards’ goal.
For more information, visit relativepitchrecords.com andnorthernspyrecs.com. Richards is at Roulette Oct. 13th,
including with her Supersense project. See Calendar.

Coming Down Roses
Billy Test Trio (Aveni Test Music)
by Marco Cangiano

As Jim McNeely states in his insightful liner notes,”this is not just a great ‘debut’ album, it’s a great album
period.” Billy Test’s name may not resonate with alarger audience but his resumé has seen the young

18 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

pianist peppering the New York scene in solo and trio
formats while a recent appointment to the piano chairof the Cologne-based WDR Orchestra is a testament to
his technical prowess, vast experience and taste.
The CD mostly features Test’s original compositions
besides Cole Porter’s well-throttled “All of You” andthe lesser-known “The Prince” by John Coates Jr., anearly influence on Keith Jarrett. The former opens theproceedings and makes quite an impression. It starts
with a bouncy intro, which switches into the theme
executed with lightness, respect and even somehesitancy at the same time. The pace then slows down
only to pick back up along with intensity and volume,
disclosing the true full sound of the trio, completed bybassist Evan Gregor and drummer Ian Froman.
The program then unfolds alternating lyricalethereal ballads such as “Spinning”, “Fates” and“Belonging” with real burners such as “Hardly” (listen
to Froman’s outstanding contribution), in which echoesof McCoy Tyner can be heard, and the title track,
wherein a build-up in pace brings the tune to anorgiastic climax followed by a beautiful bass solo.
Tunes such as “The Prince”, with a gorgeous Gregor
intro reminiscent of Charlie Haden both in sound andchoice of notes, and “Mother ’s Day” are based on
pedals, allowing the trio to explore quite freely while
reaching for the climaxes.
Within such a variety of moods and tempos, thetrio maintains its own sound and tightness. Closer“Empty Spaces” is a solo piano showcase, emphasizing
dynamics as a soft start is followed by increased
tension, peaking before landing back on the theme.
This great album bodes well for what will come next.
For more information, visit billytest.com. Test is at Mezzrow
Oct. 13th. See Calendar.

Family
Edmar Castañeda (Arpa y Voz)by George Kanzler

J azz may have been birthed in the United States, but it

is now a worldwide phenomenon, as the musicianshere prove. Not only do they all hail from othercountries, but the leader ’s instrument is indigenous toSouth America: a Colombian harp. Castañeda came to
U.S. from Columbia in the ‘90s. Drummer Rodrigo
Villalon hails from Germany via Colombia, where hegrew up; he now divides his time among thosecountries and the U.S. And soprano saxophonist
Shlomi Cohen is an Israeli whose family has roots in
Morocco and Yemen.
The repertoire here is international as well: two
tracks, “Cancion con Todos” and “Aqua Fresca”, areSouth American folk tunes; four are originals by
Castañeda, including one, “For Jaco”, paying tribute to
the late American electric bassist Jaco Pastorius; andone
isastandard,
RichardRodgers-Oscar
Hammerstein’s “My Favorite Things” from The Soundof Music, sung in Spanish by Andrea Tierra, who also
sings on “Cancion con Todos”.
Castañeda has revolutionized the jazz approach tothe harp. Instead of unified, wide-ranging arpeggiatedchords, he contrasts right and left hand, using the latterto play bass and counter lines, the former to create
guitar-like melodies and improvisations. Yet he is able
to combine the two hands to create complete music, ason the one solo track here, the mysterious, sumptuously
open, spacey ballad “Acts”. When this reviewer saw histrio a few years ago, the horn was a trombone. Sopranosaxophone gives the ensemble a more sprightly edge
and Cohen and Castañeda interact and trade solos withtrue empathy, especially on the multi-sectioned “Battleof Faith”, driven by polyrhythmic, peripatetic
drumming, as well as in their conversational trades on“My Favorite Things.” And on “For Jaco”, high-ranging
soprano is a perfect foil and contrast to the leader’s
bass-range-heavy playing.
For more information, visit edmarcastaneda.com. This
project is at Dizzy’s Club Oct. 14th. See Calendar.

It’s All Your Fault
Mike LeDonne (Savant)by Pierre Giroux

Mike LeDonne’s Groover Quartet, comprised ofhimself on organ, tenor saxophonist Eric Alexander,
guitarist Peter Bernstein and drummer Joe Farnsworth,is a full-throttle group, locked into the way notes areattacked, thus ensuring that the accents, rhythm andphrasing are on the intended sonic path. Its latest
offering finds the group both alone and integrated into
LeDonne’s big band. The eight tracks (three with the
Groover Quartet and the balance with the big band)
were recorded at the Van Gelder Studio, where
LeDonne was able to play the original Hammond C-3

organ used by Jimmy Smith in his sessions.
The album begins with the original title track.
From the opening bars, it is evident who is in charge as
LeDonne takes the theme with characteristic staccato
embellishments, leading to vigorous solos from
Alexander and Bernstein. The crackerjack arrangement
for this and all the big band numbers are by Dennis
Mackrel and structured in a way that allows LeDonneand the others to take chances with their improvisations.
“Matador” is the title track from a 1964 Blue Note
album by guitarist Grant Green, only released in 1979.
LeDonne and the band offer the number at a smartly
surging tempo, pushed along by steamroller
drumming. The solo interjections from Alexander,
Bernstein and LeDonne are sleek and intensely
focused. Another LeDonne original, “Bags And
Brown”, acknowledging associations with latevibraphonist Milt Jackson and bassist Ray Brown, isanother ebullient swinger through which Bernstein,Alexander and LeDonne channel their solo energy andprecise rapidity into harmonic empathy.
The quartet numbers, “ Still”, “Biggest Part Of
Me” and “Blues For Jed”, display the burning flourishes
that have come to be expected from this group.
“Biggest” is a full-out burner with Bernstein at his
fleet-fingered best and Farnsworth showing his
propulsive flair. Both LeDonne and Alexander tear into
the melodic line with fluidity and bracing power.
For more information, visit jazzdepot.com. LeDonne is at
Dizzy’s Club Oct. 15th-16th. See Calendar.

of the mix, playing an almost metronomic beat, its
prominence puzzling at first. However, the beat helps
establish structure and stability within the piece before
a subtle musical handoff wherein Lage’s semi-distorted
tone and improvised melodies nod to the freer spirit of
the song’s namesake town of Santa Rosa, California.
The unexpected extra time and space the trio
shared during the making of Squint gave way to Lage
writing from a place of more personal intention, thus
giving it a more appreciable character beyond plain
melodic enjoyment.
For more information, visit bluenote.com. Lage is at Village
Vanguard Oct. 19th-24th with Fred Hersch. See Calendar.

Judy Wexler
Wednesday, October 6th
PANGEA, NYC
pangeanyc.com
Jim Ridl, Essiet Essiet, Tim Horner
Saturday, October 9th
THE SIDE DOOR, Old Lyme, CT
thesidedoorjazz.com
th
Jim Ridl, Bill Moring, Tim Horner“Indie jazz sensation, versatileand sensual vocalist Judy Wexler
weaves magic, charm andemotionally resonant grace throughan array of exquisitely arranged
contemporary songs." – Jazziz Magazine

SquintJulian Lage (Blue Note)by Kira Grunenberg

Those who have heard a good portion of guitarist

Julian Lage’s discography, even just his bandleader
releases, could believe they have some clairvoyanceprior to hearing Squint, his Blue Note debut. There is
logic in this presumption, as the album bears aspects ofLage’s artistry rooted in his well-established style.
However, Squint was also built from an abundance ofartistic reconsideration, which largely stemmed fromsetbacks with recording due to lockdown and theglobal protests over George Floyd’s murder, resulting
in a more defined and deliberate purpose thanoriginally planned. The band and the music display arenewed sense of vision after closer reflection, befittingof the album’s title.
Lage revisits the musical chemistry initially struck
with bassist Jorge Roeder and drummer Dave King on
his 2019 album Love Hurts. Where the latter served to
introduce the newly discovered artistic and influential
commonalities, Squint shows what the group is capableof with familiarity in tow. The pieces offer thoughtfulcontemplation through melodies and rhythms, without
requiring excessive concentration.
“Etude” is almost like a bait-and-switch
introduction. The precision-minded form teases literalclarity, before leading to the rest of the album’s looser
imaginative ideas. “Quiet Like a Fuse” plays with its
titular imagery; Lage repeatedly plays a descending
scale motif, seeming to pull back at the last momenteach time, until he cycles through three ascending
notes faster and faster before reaching an apex, where
the trio finally unites. Yet, the group never embraces afull bombastic shift, retaining a modicum of suspense.
“Saint Rose” puts King’s dry snare hits at the forefront

Billy Test: Piano
Evan Gregor: Bass
Ian Froman: Drums

www.billytest.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 19

A Fireside Chat with Lucifer
Sun Ra & His Arkestra (Modern Harmonic)
by Monique Ngozi Nri

This reissued album’s new liner notes by Sun Ra estateadministrator Irwin Chusid provide insight into thestory of the recording, which adds a nuttier flavor tothe music: the ongoing use of the Variety Recording
Studios in Manhattan after the band moved toPhiladelphia; the anecdote John Szwed tells in his bookthat Sun Ra had asked fledgling members of the bandto call him “Lucifer”; and the fact that the words
motherfucker and ass were not part of Sun Ra’s daily
vocabulary on or off stage. As the recently departed
Phil Schaap made plain, the stories of the making of
the music are just as important as the music itself.
The opening track is “Nuclear War”, Sun Ra at his
most playful. The call-and-response vibe, Sun Ra’s
characteristic chords and a danceable rhythm all makethe heavy message easier to swallow whole. The factthat it is a studio recording accounts for the clarity ofvoices as Tyrone Hill and June Tyson sing with Sun Ra
as if right in your living room:“Nuclear War (yeah) / They talkin’ ‘bout (They talkin’‘bout, yeah) / Nuclear War (yeah) / It’s a mother fucker,
don’t you know / (If they push that button, your ass
got to go) / What you gonna do without your ass?”

What indeed? Perhaps reflect as Sun Ra does on
the next track, “Retrospect”, where sonic tones incontrast to somber horns seem to be seeking a solar
frequency. From those high plains, we swing into
“Makeup”, a composition that could be a standard
played at the Vanguard tonight.
The B Side is the title track, filled with soothing andfrenetic solos over strobing, pulsing rhythms. There are
no voices save the instruments (alto saxophonist/flutist
Marshall Allen, tenor saxophonist John Gilmore, baritone
saxophonist/flutist Danny Ray Thompson, trumpeter
Walter Miller, French horn player Vincent Chancey,
trombonist Hill, bassoonist/percussionist James Jacson,bassists Hayes Burnett and John Ore, drummer Samarai
Celestial and percussionist Atakatune). Towards theend, Sun Ra has a quiet conversation with the devil on
keyboards. Stuart Baker writes in the iconic Freedom
Rhythm and Sound: “Sun Ra felt the recordings weremessages for a future time when people would better
understand the music he was creating ...They were also
created for the ‘private library of God’ and dedicated tothe creator.” That future time is now.
For more information, visit sunramusic.bandcamp.com.
Sun Ra Arkestra is at BRIC House Ballroom Oct. 22nd as
part of BRIC Jazzfest.

Eponymous
Broken Shadows (Intakt)
Light Line
Chris Speed (Intakt)
by Stuart Broomer

Chris Speed appears here on two recordings that arevery different yet closely related, one by a highlyinteractive quartet recorded in 2018, the otherinsistently focused on a single instrumental voice, apandemic recording from 2020. His own identities—astenor saxophonist and clarinetist—are similarly
distinct, but there is also a certain relationship ofrepertoire. The band Broken Shadows’ eponymous CD
is largely devoted to Ornette Coleman compositions
while the solo Light Line has a single Coleman work as
well as other pieces from the early avant jazz era.
Broken Shadows consists of Speed (on tenor), Tim
Berne (alto) and The Bad Plus rhythm team of bassist
Reid Anderson and drummer Dave King. They playeight Coleman themes, two by Julius Hemphill and one
each by Charlie Haden and Dewey Redman. Associationsin the project are strong, both with the material andamong the musicians. Berne joined John Zorn on 1989’s
Spy vs. Spy to play harsh, rapidly sped-up versions ofColeman compositions with truncated solos while The
Bad Plus recorded Coleman’s “Street Woman” in 2003
and “Broken Shadows” in 2016, both revisited here.
King has played in Speed’s trio and Speed recently
joined a new quartet version of The Bad Plus.
While the treatments are relatively brief whencompared to the original recordings, this isn’t Spy vs.
Spy: the brevity comes via shorter solos and thematicemphasis rather than accelerated tempos. Berne andSpeed create a definite ensemble identity; whether it isthe expressive keening of “Street Woman” or the madjoy of “Toy Dance”, they invest every line with its own
urgency. Meanwhile, the spare, precise propulsion thatcharacterizes Anderson and King’s work contributes tothe structural clarity. The result is a wonder of free jazz
funk, especially so for the emphatic roots of Hemphill’s“Body” and “Dogon A.D.”, but true of everything else
as well. It’s familiar ground to Berne, whose invention
and intensity never falter while Speed’s solos manage

20 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

to be gruff, vague and specific at the same time, withevery short phrase and multiphonic aside given its
own detailed inflection, harsh or delicate, tonal andtimbral elements combining into multi-dimensional
events, in a kind of sonic cubism.
Speed’s clarinet is an utterly different voice fromhis tenor saxophone. In place of the distorted, vocalic
tenor, the clarinet timbre of Light Line approaches akind of absolute purity. Speed’s response to the
lockdown was to practice clarinet intensively, with thegoal of a solo record with (according to Anthony Burr ’s
liner notes) “limited improvising, no extended
techniques, no textures”. There are inflections of voice,but each of the 15 pieces presents its own consistency,
whether woody, plaintive or almost flute-like, a qualityof voice that could be applied to an album of clarinet
solos assembled from members of Les Six, say Milhaud
and Poulenc and their predecessor Satie had such a
notion occurred to them. Skúli Sverrisson’s “Drifting”
has a continuous flow accomplished with flawless
circular breathing while Andrew D’Angelo’s “Sphasos
Triem” has a dancing woodland quality that Debussy
could concoct to summon up Pan. “Miss Ann” is an
improvisation barely suggesting its roots, eventually
becoming Eric Dolphy’s whimsically convoluted line.
There are 15 pieces here, including improvisations
and Speed originals, an inspired and lyrical pathoccasionally marked along the way by familiar, orfamiliar sounding, events like Coleman’s “Enfant” andJohn Coltrane’s “Sun Ship”, the arc through the music’s
memory and invention arriving ultimately at thereflective pool of Paul Motian’s “It Should’ve
Happened a Long Time Ago”.
For more information, visit intaktrec.ch. Speed is at Joe’s
Pub Oct. 26th-30th with The Bad Plus. See Calendar.

Smith played piano with Mark Murphy and Bobby
Hutcherson and brother (also Smith) is a multiinstrumentalist. She was at the Monterey Jazz Festival
when she was 12. Asked about pop and jazz in 2013, shesaid, “I wish to do both forever”. Girl Talk then, featuring
lots of assertive input from guitarist Peter Bernstein, is
proof she can do both. The program is a mix of standards(some obscure) and more modern material.
The Neal Hefti-Bobby Troup title song track (withNorah Jones on backup vocal) may sound sexist now,
but it sure swings and Dobson knows how to purr thething. “Better Days” has boppish guitar, wordlessinterplay and swinging drums from Dred Scott. Gus
Arnheim-Charles N. Daniels-Harry Tobias’ “Sweet andLovely” has some wobbly moments on held notes,
unique here, but the scat is assured.
“Perhaps Perhaps Perhaps” by Joe Davis andOsvaldo Farres was originally recorded by Doris Day
and Dobson plays it straight. It’s more ‘50s pop thanjazz but not bad. Dobson’s “You’re the Death of Me”
has a great lyric and a relaxed interpretation. Curtis R.
Lewis’ “The Great City”, about the perils and snares of
New York, with its “cocktail of beads and berets”, isgroovy stuff, well done as a gentle swinger. Bassist
Neal Miner arranged Oscar Hammerstein-Sigmund
Romberg’s “Softly as in a Morning Sunrise” on a
cushion of vibraphone (via her brother). A gentle “Timeon My Hands” (Vincent Youmans-Harold AdamsonMack Gordon) could use more passion, true of Josef
Myrow-Kim Gannon’s “Autumn Nocturne ” too.
Given the presence of slide trumpet genius StevenBernstein and alto saxophonist Ian HendricksonSmith, the horn section could have gotten more use
and picked up the pace occasionally. As it is, they’reused only on Dobson’s take on Lee Hazlewood’s“These Boots are Made for Walking”, which closes out
the album. Bernstein is down in the mix, but hisswinging interjections are invaluable to making thisversion work. Nancy Sinatra couldn’t scat like that.

reflect the other. He’s also a professor, painter andmodel of self-sufficiency on the artistic fringe. Amid allof that, it sometimes seems as if his absolute proficiency
across the saxophone family could be missed.
The easiest, but hardly the only, testament to
Mitchell’s instrumental virtuosity is in his solo
concerts. He has less often committed his solo work torecord, but there have been occasions over the years, as
far back as The Roscoe Mitchell Solo Saxophone Concertsfrom 1974. In 1997, he issued Sound Songs, introducing
percussion and multi-tracking to his unaccompanied
performance. But 2003’s Solo [3] remains the strongest
statement of Mitchell working alone, with percussion
and saxophone, single takes and layered structures.
DOTS doesn’t displace Solo [3] as the most vital of
his solo recordings, nor does it try to. It’s a very
different effort, but one that fits neatly alongside thethree discs of the 2003 release. Recorded at home andunder lockdown, it is 19 tracks, most falling between
three and four minutes, of saxophone and small
percussion and a shockingly beautiful record. There’s
always a strong intellect in Mitchell’s music, but here it
seems somehow divorced from the maker. It could
almost be called ‘meditative’, but is too choppy forthat. It could almost be called ‘arbitrary’ but a close
listen quickly shows it to be deeply considered, ifspontaneous, music. What it actually seems like is thework of reeds, chimes and woodblock somehow
granted sentience. This is far too fanciful a description—
this is not a record of happy smiles and Disney eyes
painted onto inanimate objects, but Mitchell has beenat this long enough (his first record came out 55 yearsago) to know how to replicate group dynamic, even
if he’s the only one in the room. The saxophone ends
up taking a back seat as the album’s hour passes andlisteners expecting fires and avalanches will bedisappointed, but DOTS is a rare and engaging
example of busy contemplation in sound.
Those looking for a more singeing listen might bewise to hunt down The Ritual and The Dance, Mitchell’s
duo with drummer Mike Reed. Like DOTS, it’s a recordof saxophone, percussion and measured thought, but
the parallels end there. It is, clearly, not a solo recording
but a duet with one of the stronger drummers to comeout of Chicago in recent decades. Mitchell and Reedhave worked together before, in duo and groupsettings, and clearly they enjoy the collaboration.
The Ritual and The Dance is a single, 37-minute (on CD
and download, the LP is necessarily split)
improvisation recorded live in Belgium in 2015. The
ideas run fast and are never left without response. It’s
not the uncommon document that DOTS is, but it is afast and fun ride.

For more information, visit sashadobson.com. Dobson is at
Mezzrow Oct. 19th and Birdland Theater Oct. 25th.
See Calendar.

For
more
information,
visit
widehive.com
andastralspiritsrecords.com. Mitchell is at Roulette Oct. 28thas part of Interpretations. See Calendar.

Girl Talk (with Peter Bernstein)
Sasha Dobson (s/r)
by Jim Motavalli

Singer Sasha Dobson was actually born into it—dad

DOTS
Roscoe Mitchell (Wide Hive)
The Ritual and The Dance
Roscoe Mitchell/Mike Reed (Astral Spirits)
by Kurt Gottschalk

There are plenty of labels and superlatives one canpaste upon Roscoe Mitchell. As the founder andco-leader of the Art Ensemble of Chicago, he has seen
a level of commercial viability perhaps unparalleled inBlack avant garde music. As a composer andconceptualist, he has straddled the jazz/new music
divide, making neither seem a pretense to reshape or

jazz seasoned with Latin. Kramer and Siegel, wellknown for her work with The Manhattan Transfer,both have beautiful voices and although their Yiddish
accents and delivery are not ‘classic’ they carry thesefamiliar tunes into new territory.
Di Martino’s arrangements make this project much
more than parody or a sentimental trip down memorylane. Opener “Zug Es Mir Noch Amool”, a Barry Sisters
standard, contains a wonderful jazzy flute section from
Aaron Heick that is the perfect counterpoint to Siegel’s
scat vocals whereas Di Martino’s Latin treatment
breathes new life into the well-worn classic “My
Yiddishe Momma”. The most overtly modern jazz
makeover is “Bei Mir Bistu Sheyn” with solos frombassist David Finck, trumpeter Tim Ouimette’s andespecially tenor saxophonist Eric Alexander stretchingout the song in a slightly avant direction.
An important aspect of Yiddish music is to capture
heartache and humor in the same line. Violinist Sara
Caswell elegantly presents this juxtaposition on a
lovely “Rozhinkes Mit Mandlen (Raisins and Almonds)”
and often-played folk melody “Tumbalalaika”, whichhighlights a special connection between Siegel andKramer. New powerful prose from Siegel and a string
quintet with Caswell and bassist Mary Ann McSweeney
renew a touching “Glick/My Grandfather’s House”.
Tenor saxophonists Jerry Weldon and Alexander
combine with Siegel’s considerable strength in theswing/blues tradition to force “Mahzel” to jump muchhigher than it is customary. To close, Siegel uses her
prodigious blues chops on “Vi Ahin Zol Ich Geyn?
(Where Can I Go?)” to reshape its question for all
people in search of a place without oppression.
For more information, visit mazelthealbum.com. Siegel and
Di Martino are at Birdland Theater Oct. 30th. See Calendar.

Mazel
Janis Siegel/Cantor Daniel Kramer/John Di Martino(Jamarka)
by Elliott Simon

Mid 20th Century American Jewish music combined

Yiddish theater with jazz for an interesting marriage.
Mazel, a clever take on this genre, expands on theunion. Vocalists Janis Siegel and Cantor Daniel Kramer
along with pianist John Di Martino selected a nice mix
of guest musicians for this synthesis of Yiddish and

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 21

Back to the Garden
Judy Wexler (Jewel City Jazz)
by Alex Henderson

Although Judy Wexler has included rock and R&B

songs on previous albums, Back to the Garden is a
departure for the L.A.-based jazz vocalist in that her
focus is ‘60s-early ‘70s rock, given postbop makeovers,
often with elements of soul-jazz incorporated.
Back to the Garden was recorded during the summerof 2020, which Wexler accurately describes as a “veryturbulent era”—not unlike the ‘60s. The expressive
vocalist has no problem making political classics morethan half a century old sound relevant today, including
Bob Dylan’s “The Times, They Are A-Changin’”,Stephen Stills’ “For What It’s Worth”, Chet Powers’“Get Together” and Joni Mitchell’s “Big Yellow Taxi”.
In Wexler ’s hands, the latter two pieces are edgier thanthe originals: “Get Together” was gentle and breezy in1967 but Wexler brings a greater sense of urgency toPowers’ lyrics; and while Mitchell sounded
contemplative in 1970, Wexler is funky and aggressive.
Much of the album, however, is more introspective
than political, including Judy Collins’ “Since You’ve
Asked”, Fred Neil’s “Everybody’s Talkin’” and theGerry Goffin-Carole King favorite “Up on the Roof”.
R&B-ish“ Up on the Roof” and quintessential ‘60s folk-

GB1571rock “Everybody’s Talkin’” are both about the need tofind some type of escape and Wexler performs themfrom the perspective of someone needing distancefrom the stress of 2020. She is no less imaginative onlate singer/songwriter Sandy Denny’s “Who Knows
Where the Time Goes”, a definitive example of British
folk-rock Wexler gives a jazz and R&B sheen.
The musicians backing Wexler on this CD varyfrom one selection to the next, but whoever supports
her, this is an impressively consistent effort. Wexler
offers many unlikely arrangements of familiar songs
and her risk-taking pays off.
For more information, visit judywexler.com. Wexler is atPangea Oct. 6th. See Calendar.

Like One Long Dream
Mofaya! (Trost)by John Sharpe

The fire music tradition gets a makeover on Like One

Long Dream by Mofaya! In this quartet edition the
Netherlands-located core duo of expat American tenor
saxophonist John Dikeman and Slovenian drummer
Aleksandar Škorić combines with trumpeter Jaimie
Branch of Fly Or Die fame and Irreversible
Entanglements bassist Luke Stewart. In a take-no-

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prisoners approach, the three collective tracks,
recorded live in Amsterdam in November 2019, evolveorganically, touching on assorted permutations andallowing ample space for the players to stretch out,
bringing to mind Peter Brötzmann’s illustrious Die
Like A Dog quartet in their high-energy conflagrations.
Dikeman and Branch constitute a dynamite
frontline, each complementing the other. Dikeman is
inspired, but not constrained, by the New Thing legacyof Albert Ayler, leavening his impassioned eruptions
with both a melodic streak and textural savvy. Branchmines the same rich vein, but her motive-driven
improvisations furnish a constant supply ofextemporized riffs and fanfares, material both call onin supporting and invigorating the flights of the other.
The exchanges between the baying horns create anelectrifying start to the opening “Your Country” andthe pulse quickens whenever they engage thereafter.
There’s more tension between Škorić and Stewart.
While the latter majors on rhythm and propulsion,often recalling William Parker as he digs into cycles ofrepeating patterns, the former takes a non-metricroute, which provides commentary and encouragement,
but rarely a regular beat. It means that the interaction
doesn’t follow the well-trodden groove-based path,
maintaining instead a halting, stuttering momentum.
Another highlight ensues when Stewart wields the
bow at the beginning of “The Tank”, plying creaks,
groans and murmurs first in dialogue with Škorić, thenindulging in a litany of squeals with fluid tenor. But nomatter where the cuts begin, the end result tends to theglorious bickering blowout.
For more information, visit trost.at. Jaimie Branch and Luke
Stewart are at BRIC House Ballroom Oct. 23rd as part of
BRIC Jazzfest. See Calendar.

Near The Pond
Josefine Cronholm/Kirk Knuffke/
Thommy Andersson (Stunt)by Anna Steegmann

Carl Sandburg, born in 1878 in Illinois to Swedish

immigrants, inspired this album and three of his poems
appear here. Swedish vocalist Josefine Cronholm was
fascinated by his mother ’s journey across the Atlantic
and composed three songs plus the music for two of
the Sandburg poems while cornet player Kirk Knuffke
composed five, two for the other Sandburg poems, andSwedish bassist Thommy Andersson added one. With
them are drummer Kenny Wollesen, plus Lena
Frankenhauser and Marta Potulska (viola) and Melissa
Coleman (cello). Knuffke and Cronholm supply the
vocals and Andersson did the string arrangements.
This can be labeled contemporary jazz, world jazz
and/or ethno jazz. It is all of the above and draws on
art song, blues and folk music as well. The ten tracks
are easily accessible, ethereal and short in length,
combining for a beautifully executed recording.
Cronholm’s opening “Clara Mathilda’s Dream”,
starts slow and somber and continues at an unhurried
pace with sparse instrumentation. Knuffke is prominent
while Andersson always emerges at just the rightmoment. Supporting vocals, cornet and violas blend

organically with drums, vibraphone and percussion. Twofaster and more rhythmic tracks, “I Don’t Know” and“Subway”, differ from the rest and showcase Wollesen.
The closing title track is exceptional. Knuffke
discovered the poem by nine-year-old Shun Theingi ina book he found on a New York street. The song dazzles
with its gentle, tender tone, Knuffke and Cronholm’s
unaccompanied singing in the beginning, then joinedby cornet, bass and percussion, enticing listeners tospend time in nature.
For more information, visit sundance.dk. Knuffke is atChildren’s Magical Garden de Carmen Rubio Oct. 2nd withMichael Wimberly, Barbès Oct. 4th with Walter Thompson
Soundpainting Orchestra and Bar Lunàtico Oct. 18th with
Swing n’ Dix. See Calendar.

The Bright Side
Joel Frahm (Anzic)
by Tom Greenland

O n The Bright Side, his seventh date as leader, tenor
saxophonist Joel Frahm revisits the challenging format
of saxophone trio, notably explored by Sonny Rollins,
Joe Henderson and others. In mainstream jazz, wheretunes and solos are built on set harmonic scaffolds,
improvising without the accompaniment of a chordal

2021

OCT–NOV 7:30PM & 9:30PM
OCT 1–3
OCT 7–10

OCT 24JOEY DEFRANCESCO ALBUMRELEASE CELEBRATION

ASHLEY PEZZOTTI AND HER TRIO
OCT 28–30

OCT 14JEREMY PELT QUINTETMIKE LEDONNE TRIO WITHRON CARTER AND
JOE FARNSWORTH
OCT 17

SAMARA JOY FT. PASQUALEGRASSO TRIO

25

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CHRISTIAN SANDS

OCT 15–16

For more information, visit anzicrecords.com. This projectis at 55Bar Oct. 15th. See Calendar.

CELEBRATING 25 YEARS AT THE EDGEJOEY ALEXANDER TRIOEDMAR CASTANEDA ALBUMRELEASE CONCERT: FAMILY

instrument obliges the soloist to delineate underlying
harmonies at the same time as developing forward
linear motion in an improvisation.
No easy task, but evidently not a daunting one for
Frahm, judging by the full, satisfying sound of thisrecord. Combining the influences of John Coltrane’s
big-bodied sound, Michael Brecker ’s full-throttled
onslaught of ideas and a host of hard-blowing hardbop
tenors, Frahm is consistently able to create simultaneous
harmonic and melodic excitement. He’s a veritableencyclopedia of bop ideas but always uses them infresh ways, sequencing one a few times before moving
on to another, connecting each of these episodes into
longer narrative arcs. Both a thematic and episodic
improviser, some of his sequences sound like
spontaneously written compositions, others like daisychains of morphing motives. Like Brecker, he’s able tostuff smaller shorter ideas into his larger longer ones,
making for thick complex lines that sound like two
people talking at once, somehow without interrupting
each other.
Bassist Dan Loomis and drummer Ernesto Cervini,praised as “allowers” in the liner notes, are adept
cohorts in the collective process, the former (mixed
a bit low) showing his penchant for lyrical statements
on “Thinking of Benny” and “Silk Road”, the latter
nimbly syncing with Frahm’s rhythmic phrasing
throughout the session and, on “Beautiful Mystery”,
the sole ballad of an all-original (co-written) set,
educing the spirit of Coltrane’s drummer Elvin Jones.
With all of these elements in play, you’ll likely forget
there’s no pianist/guitarist/vibraphonist on the date,
not that you’d miss them.

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THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 23

Eight Hands One Mind: In Memory of Bern Nix
Dom Minasi, Hans Tammen, Harvey Valdes,
Briggan Krauss (Unseen Rain)by John Pietaro

O f those electric guitarists identified with jazz at its

For more information, visit unseenrainrecords.com. Krauss
is at Soapbox Gallery Oct. 19th. See Calendar.

SuperBlue
Kurt Elling (Edition)
by Scott Yanow

K urt Elling goes funky, sort of. The singer had thought—KVNF Radio“It’sbeautiful…”

most expansive, Bern Nix should have reveled in acareer of acclaim. However, following his years as lead
guitarist of Ornette Coleman’s Prime Time, Nix lived aterribly meager life. And though he helmed noted
ensembles, there was struggle in every booking and heresided in a Chelsea SRO, dodging the dealers as hecradled his one object of value, his instrument.
When Dom Minasi first conceived of this quartet,he envisioned Bern Nix in the Guitar 1 seat. This project
was never intended as a blistering series of solos but
a dynamic, sensitive collection of works for four
guitarists adept at reading and improvising. Nix’
unexpected death in 2017, shortly before the planned
recording date, caused turmoil among New York’s
music underground and Minasi questioned how Eight
Hands One Mind could possibly exist in his absence.
Deciding later to record the work (each piece is amovement of the whole) in Nix’ memory, Minasi
reassigned the parts and then he, Hans Tammen andHarvey Valdes recruited Briggan Krauss to complete
the circle. As intended, the end result is contemporary

concert music bustling with the profoundly Nixoriented aspects straddling all spheres.
Right from the opener, “Title One”, with its jaggedly
rhythmic theme recalling the harmolodic concept (ofwhich Nix, in 2013, told this reviewer, “Well, I’m stilltrying to figure out what that is”), the album glows with
postmodernism. By design, each piece flows rationally
into the next, albeit the avoidance of harmonic
resolution. And while it is often difficult to pry apart
who is playing which line, the particularly rapid verticalmotion would seem to be the leader’s work. And thenthere are wonderful vexations like “Ooh Taste So Good”,
which appears to have a mirrored structure (forward
and then in reverse) and “Misguided Heart”, conjuring
the dual guitar aspects of the best Twilight Zone scores
before reconstructing its every phrase and discord into a
Downtown whirlwind of sound liberation. After the
final chord fades, you’ll think: Bern lives.

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24 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

of recording with hip-hop/funk musicians and, when
the pandemic hit, used the time to work on his concept.
He is joined by guitarist Charlie Hunter and two
members of Butcher Brown: keyboard player DJ Harrisonand drummer Corey Fonville. Oddly, the singer has still
not met the latter pair; due to COVID, they recorded
their parts under the supervision of co-producer Hunter,
Elling overdubbing his voice and in some cases writing
new lyrics. Lest one be afraid that Elling has gonecommercial, it should be said that his voice has continued
to grow in power and he sings with as much depth,
credibility and wit as always on this diverse but unified
program filled with surprising moments.
The set starts off with the excellent Freddie Hubbard
title track, which includes a boppish scat vocal, and The
Manhattan Transfer’s tribute to Sarah Vaughan, “Sassy”,
which is oddly forgettable. Poppish “Manic Panic
Epiphanic” has an optimistic message along with quotes
from “He’s Got The Whole World In His Hands”. Wayne
Shorter’s “Aung San Suu Kyi” is reinvented as “WhereTo Find It” with the inclusion of a poem by Charles
Twichell (“Animal Languages”), a Buddhist vibe and theinfluence of Weather Report. “Can’t Make It With Your
Brain” makes fun of those who believe in phonyconspiracy theories. After the funky “The Seed”, Elling
pays tribute to Jack Kerouac (“Dharma Bums”), reads
Tom Waits’ poem “Circus” and revives Carla Bley’s
warm ballad “Endless Lawns”; the set ends with thebrief instrumental “This Is How We Do”.
With surprisingly subtle backing and occasional
brief spots for Hunter, Elling sounds inspired both by
the material and opportunity to defy expectations.
For more information, visit editionrecords.com. This projectis at BRIC House Ballroom Oct. 21st as part of BRIC
Jazzfest. See Calendar.

Mike Drop
Mike Clark/Michael Zilber (Sunnyside)by Ken Dryden

In 2018, a visit by drummer Mike Clark to Oakland

took an unexpected turn when an old friend,saxophonist Michael Zilber, invited him to play a weekof gigs during his trip. The results pleased themenough to prompt them to organize a recording session,
for which they recruited two highly regarded local
musicians, bassist Peter Barshay and pianist Matt
Clark. Although this isn’t a working quartet, it sounds
like one due to the great chemistry and choice of songs(including strong originals that catch one’s attention
immediately, along with fresh approaches to familiar
standards and jazz classics). The sole glitch is a track
list error, which reverses the order of the first twosongs on the back cover, though both of them areoutstanding Zilber compositions.
Heard first is the breezy bop of “Sonny Monk (If I
Were A)”, which utilizes a recurring reference to thefamiliar clock chime tone heard at the top of the hour,
followed by the equally potent “Barshay Fly”, bristlingwith energy. McCoy Tyner premiered his “Passion
Dance” in 1967 but few others have tackled it overthe decades. The quartet slows it down and Clark adds
a funky groove, a drastic change, Zilber ’s swirling yet

October 2021

spacious tenor fitting the mood perfectly. Duke
Pearson’s ballad “You Know I Care” is focused on its
lyricism, as lush tenor takes center stage with superb
accompaniment by the rhythm section.
Two gems from The Beatles’ vast songbook,“Blackbird” and “Norwegian Wood” work beautifully
due to the rhythmic finesse of the band and innovative
approaches to both songs. In addition to thoughtful
settings of Wayne Shorter ’s “Miyako” and Thelonious
Monk’s “Monk’s Dream”, the quartet wraps the session
with a romp through Richard Rodgers-Lorenz Hart’s“Falling In Love With Love” that would get any
audience on its feet and cheering. This excellent bandneeds to reunite for a tour in support of this newrelease while a followup record date is also merited.
For more information, visit sunnysiderecords.com. Clark
and Zilber are at Smalls Oct. 14th. See Calendar.

Freedom Jazz Dance
Leon Lee Dorsey/Manuel Valera/Mike Clark(Jazz Avenue 1)
by Marco Cangiano

Bassist Leon Lee Dorsey and veteran drummer Mike

Clark seem to have found a magic formula, this theirfourth recording for the latter ’s Jazz Avenue 1 label:congenial and experienced musicians joining forces
with equally exciting soloists like Greg Skaff, Michael
Wolff and the late Harold Mabern.
This time the guest chair is filled by ManuelValera, an exhilarating Cuban-born pianist with adiverse background. The result is a mostly varied
program, although perhaps not as consistent or
cohesive as preceding installments.
The music flows seamlessly and with an emphasison rhythm, no surprise as it is dedicated to the late andhopefully not forgotten pianist Hilton Ruiz. These are
difficult shoes to fill but Valera’s touch and rhythmic
approach turn out to be an excellent fit, as shown in
Ruiz’ gospel-inspired “Home Cookin” and in Dorsey’s“Chillin” with its dense blues feeling based on a classic
bass walk. Valera announces his presence right fromthe start with the Eddie Harris-penned opening title
track, his funky side well showcased. Dorsey sounds
more restrained and in the background than in previous
trios while Clark is ubiquitous, pushing and pulling
his partners.
Most exciting is Ruiz’ uptempo burner “New
Arrival”, where Valera builds the tension chorus after
chorus culminating with Clark’s almost subdued solo
leading to the reprise of the modal-sounding theme.
Dorsey ballad “Until the End of Time” and Antônio
Carlos Jobim’s “How Insensitive”, the lattershowcasing Dorsey, are spare and tasteful whereas“Autumn Leaves” releases tension through a lively
treatment. Finally, the bassist’s midtempo “Baptism”
proves once again how Valera’s eclecticism
complements Dorsey and Clark’s alchemy. Until thenext installment.
For more information, visit leonleedorsey.com. Clark andDorsey are at Smalls Oct. 14th. See Calendar.

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THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 25

Duo (Live At The Berlin Jazz Days 1980)
Lee Konitz/Martial Solal (MPS-Edel)by George Kanzler

This is the first digital (CD, streaming) reissue of an

LP that came out in 1982. It documents a concert byalto saxophonist Lee Konitz and pianist Martial Solal.
The concert was presented as a “Lennie Tristano
Memorial”. The pianist, Konitz’ mentor, had died at 59
two years earlier after a long illness, over a decade
after his last recordings and public performances.
Tristano’s aesthetic embraced the extension andelaboration of chord structures and melodies, often
those of American standards. Three tracks here fall intothat category: “Improvisation No. 53” circles the chord
changes of Jerome Kern’s “All The Things You Are”;“Noblesse Oblige” explores those of that favorite of
beboppers, Ray Noble’s “Cherokee”; and “SubconsciousLee” (mis-spelled here as “Subconsciously”), is Konitz’
take on the changes of Cole Porter’s “What Is This Thing
Called Love?”, written as an exercise when he wasstudying with Tristano in ‘50s.
By this concert, Konitz was much more than aformer student and proselytizer of Tristano’s musicand Solal, the preeminent French jazz pianist of his era,
was never a Tristano acolyte. But the two play with theintellectual depth and harmonic rigor of Tristano’s
style, assembling solos and interchanges like fiendishly
well-wrought crossword puzzles. On Bronisław KaperPaul Francis Webster ’s “Invitation”, Konitz maintains
an even keel centered on the melody while Solal ranges
peripatetically. “Just A Blues” is much more, keyed byelaborate interplay as Solal reflects Konitz’ phrases
and ideas. And while the highlights of some tracks are
the extended solo moments from each, “A Ballad forLennie” is a perfect melding of the instrumental voices,lush, ruminative and empathetically inventive.
For more information, visit mps-music.com. A Konitz
tribute led by Brad Linde live-streams Oct. 15th atdurhamjazzworkshop.org.

Strange Lands
Nicole Glover (Savant)by Jim Motavalli

Before this session (produced by Jeremy Pelt), thetemperature was raised so high tenor saxophonist
Nicole Glover could come out at the boiling point. Thisis New York-based Glover ’s first leader date afterworking with George Colligan, Esperanza Spalding
and Gene Perla.
She dives right in on the title track in trio withbassist Daniel Duke and drummer Nic Cacioppo. Set
the dials to energized postbop for this track andCacioppo’s “Parks”. “Twilight Zone”, a Glover/Dukecomposition, is cooler but still very passionate.
Pianist George Cables makes it a quartet on Duke’s“Hive Queen”. His presence changes the music, pushingit modestly toward the mainstream. But listen to the way

Glover comes back in after Cables’ solo—it’s like she
can’t wait to play. She’s absolutely volcanic, totally goingfor it. But after she says her piece the track becomes a bit
anticlimactic. Cables is back for the midtempo“Notturno”, by Cacioppo’s trumpet-playing brotherCharles. Great kickoff by Cacioppo and Duke, then aslippery melody line emulating breathing. This is someof Glover’s more relaxed playing, leading into brief,
ruminative Cables. Wayne Shorter’s version of Antônio
Carlos Jobim’s “Dindi” had vocalist Maria Booker
breaking down in tears. Glover’s trio version is achingly
sad, too. She’s reaching back a bit for this interpretation;
it sticks pretty close to its beautiful melody.
Glover ’s playing sounds seasoned, rum-soaked,
like there’s 40 years of smoky late-night joints behind
it. But she’s only 30. On “The Switch”, a darned goodtune also by Cacioppo, she’s edgy and urban, kind of
unsettled as she searches for somewhere to land.
The album concludes with two standards featuring
Cables, Billy Strayhorn’s “A Flower is a Lovesome
Thing” and Cole Porter ’s “I Concentrate on You”. The
former, with just the pianist, has Glover ’s most wistfulballad playing, served on a bed of tasty warmed piano.
The two could make an exceptional duo album. The
latter is bouncier and very assured, with a nod to
Dexter Gordon maybe? Don’t miss Glover with
Artemis, where she took Melissa Aldana’s chair.
For more information, visit jazzdepot.com. Glover is at
Mezzrow Oct. 29th with Geoff Keezer and Cellar Dog Oct.
30th. See Calendar.

shift imperceptibly between counter, lead andaccompanying roles. Guitar and saxophone unhurriedly
entwine as the mood darkens, but in a sign of theirimpromptu collective discipline, that’s as rowdy as theyget, before subsiding once more to silence.
The three pieces on All Your Ghosts In One Corner
derive from two dates on a March 2020 tour just before
COVID hit. Two relative miniatures bookend a longform improv. Once again the threesome nurture asupremely nuanced approach. Spare and evocative,“One Fell Swoop” gets the program off to an excellent
start, as drums lay down a slow tattoo, spiced bysporadic crunchy guitar. It’s not surprising that Damonand Dorji mesh together so well as they were an
established duo even before Kuzu. Rempis enters with aquerulous dirge, the embers smolder, flare briefly, thengradually cool in another outstanding display ofcontrolled ensemble dynamics. The three-part, nearly
40-minute “Scythe” traces a rollercoaster trajectory,
repeatedly sparking, initially with a bristling tenor
saxophone and drum duel undercut by guitar grumblingin the bass register, then later with baritone skronk. But
in another indication of how astutely the outfit marshals
its resources, it’s not until the last part that all three let
go at the same time, to devastating effect. The concluding“Year Of The Rat” crowns the performance, incrementallybuilding from warped baritone squawks punctuated byisolated guitar clangs and drum rattles, via a staccato
percussive passage where flinty guitar, cymbal stutter
and saxophone plosives cohere into a lurching
momentum, to a fiery tirade from Rempis, ending thedisc on yet another high.
For more information, visit astralspiritsrecords.com andaerophonicrecords.com. This band live-streams Oct. 14th atelasticarts.org.

The Glass Delusion
Kuzu (Astral Spirits)
All Your Ghosts In One Corner
Kuzu (Aerophonic)
by John Sharpe

F ive albums in four years since its debut suggests twothings about Kuzu, comprising reedplayer Dave
Rempis, drummer Tyler Damon and Bhutanese
guitarist Tashi Dorji: it is a working band; and it
achieves a sufficiently elevated level of creative activity
to merit ongoing documentation. As a unit it specializes
in highly flammable off-the-wall free jazz, but it’s apower trio that has discovered that less can be more
and it wields even greater impact as a result. Two newreleases in 2021 press home the point.
Recorded in October 2018, The Glass Delusion, alimited edition LP also available as a download, presents
music from two consecutive concerts, the second ofwhich was also the source for the group’s third album
Purple Dark Opal (2020). It confirms Kuzu as a superbly
balanced triumvirate, which knows all about generating
tension and excitement. Just listen to “It Simply Becomes
Jammed Part 1”. It begins with unexpected restraint asperiodic dull guitar thuds, fanned by a cymbal wash,
spawn a taut atmosphere pregnant with the promisethat something is about to happen. And so it does as
Damon progressively ramps up the pressure, martial
cadences supplying a superstructure that becomes evermore insistent until Rempis ignites, his skirling
reiterated phrases soaring into the stratosphere. As
Damon roils, Dorji spews machine-gun gobbets until
they reach a climax. While there are yet more twists andturns to come, here and in “Part 2”, the essential tale isone of self-possessed interplay bookending a muchanticipated blowout. The final “Gnash” continues the
spacious and reflective vein, allowing particularappreciation of Dorji’s diverse textures, ranging fromsmeared glissandos to harpsichord-like twangs, which

26 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

Something To Say
Matt Haviland (Connotation)
by Marco Cangiano

It is too bad Matt Haviland took 15 years to follow up

his debut Beyond Good and Evil. This is often the casewith top-notch instrumentalists who fall under theambiguous category of being a musicians’ musician
while being overlooked by a broader audience. But
Haviland is more than a stellar trombone interpreter.
He is also a witty arranger and refined composer. His
resumé is very rich, often with some of the mostcelebrated jazz orchestras, including Maria Schneider
and Vanguard Jazz Orchestras and Mingus Big Band.
He also seems to have a knack for putting together
highly cohesive and stimulating ensembles. Something
To Say is no exception in this regard as it benefits fromone of the strongest rhythm sections around—David
Kikoski (piano), Ugonna Okegwo (bass) and Johnathan
Blake (drums)—alongside Haviland’s congenial
frontline partner Vincent Herring (alto). As a bonus,
the basic quintet is augmented by Mark Gross (tenor)
and Bill Mobley (trumpet) on a few pieces.
The material falls more than its preceding CD into
the mid to late ‘60s Blue Note aesthetic, both in some ofthe originals like “The Way It Is”, with Mobley’s
trumpet in evidence, and, not surprisingly, Freddie
Hubbard’s “Arietis”, Joe Henderson’s “Inner Urge”
and Herbie Hancock’s “Driftin’”. There is howeveralso a softer side, as reflected in “Graham Benjamin”,
a dedication to Haviland’s son, and “Fillet of Soul”,
splendidly introduced by bass and showcasing Gross.
The quartet treatment of Porter ’s “Get Out ofTown” stands out as a refreshing approach to
overplayed
standards:
afteratastefulanduncharacteristically restrained intro from Kikoski, thetheme is approached by Haviland at a deliberate slow
tempo, revealing once again its many subtleties, thenmoving into a heartfelt solo. It is on a tune like this thatthe listener can fully appreciate Okegwo and Blake’s
empathy with one another. A languorous and tangoinspired take on Charlie Parker ’s “Visa” turns out to bequite a vehicle for Herring’s inspired solo.
Finally, a few words need to be spent on Haviland’s
trombone style: while characterized by roundness andsupreme fluidity it also has a raucous hedge at times,
making it quite original in today’s panorama.
Hopefully, it won’t take another 15 years to hear
Haviland’s next effort.
For more information, visit matthaviland.net. Haviland is
at Smalls Oct. 27th. See Calendar.

Asp Nimbus
Christopher Hoffman (Out of Your Head)
by John Sharpe

Cellist Christopher Hoffman assembles a classy

quartet for eight sunlit swinging originals on Asp
Nimbus. Hoffman’s credits name-check a litany of New

York’s finest, notably including Pulitzer Prize-winning
Henry Threadgill’s prime working combo Zooid, as
well as his Ensemble Double Up, Anna Webber ’s Septet
and James Brandon Lewis’ Red Lily Quintet. It signifies
an adaptable and wide-ranging talent though, here on
his sixth leadership outing, he hews closer to the
tradition than many of those outlets. Joining him isanother Threadgill alumnus in regular collaborator
drummer Craig Weinrib, as well as vibraphonist Bryan
Carrott and bassist Rashaan Carter.
Though progress is serene, like with the smoothsailing swan there’s a lot going on below the surface.
Much of that is down to the intricate but low-key matrixof Carter and Weinrib, who interlock and propel, thoughwith the unusual instrumentation everyone at times has
a role in maintaining momentum. Hoffman favors pithy
song form, with only one cut exceeding six minutes on aset, available either on LP or as a download, running toa tad over half an hour. Cello also stands front andcenter, its singing tone, horn-like legato and flowing
melodicism taking much of the spotlight.
But even amid the chiming lilt of the opening“Discretionary”, there’s a hint of subdued melancholy,which pervades the whole program and lends an air ofemotional ambivalence to a seemingly straightahead
session. It unsurprisingly appears on “Dylan George”,
a multifaceted piece dedicated to Hoffman’s latebrother, in spite of the cartoonish enthusiasm of theinitial line, after which guest pianist David Virelles
contributes
sparkling,
blues-inflected
breaks,sometimes in dialogue with Hoffman’s fluent soaring.
With the emphasis on the tunes, band solos tend
towards brief vignettes, although always furthering
the compositional mood. Carrott’s spare pointillist
lyricism offers a pleasing foil to sweeping cello while
hip-hop informed rhythms take out the opener andCarter enjoys a knotty feature on the final choppy “TheHeights Of Spectacle”.

clarinet) is the first single; “California” should be thesecond one. “Eleven Roses” has massed vocals bringing
Bulgarian women’s choirs to mind. “Lucian” takes
us all around the world to the ethereal Celtic world of
the Canadian harpist Loreena McKennitt. She used
oud players too.
On “Maria”, Stevens is both the lead singer andthe background choir giving the song a pulse. “Lullaby
for the Sun” is wordless, the voice serving as the trio’s
fourth member. The group’s contribution is exquisite,here and throughout.
For more information, visit groundupmusic.net. The Secret Trio
is at Bar Lunàtico Oct. 7th and Drom Oct. 14th. See Calendar.

For more information, visit outofyourheadrecords.com.
Hoffman is at Brooklyn Conservatory of Music Oct. 29th
with Josh Sinton. See Calendar.

Becca Stevens & The Secret Trio
Becca Stevens (GroundUP Music)
by Jim Motavalli

What a captivating album! Grammy-nominatedsinger Becca Stevens heard The Secret Trio—Ara
Dinkjian (oud), Tamer Pinarbasi (Turkish kanun orzither) and Ismail Lumanovski (clarinet)—at the
Ground Up Music Festival in 2019 and loved their takeon a kind of Middle Eastern chamber music. From
there, a similarly enchanted Michael League of Snarky
Puppy entered the proceedings, writing songs with
Stevens and producing this album in Brooklyn for acollaboration with the trio.
Like Paul Simon’s Graceland, this is a cross-culturalexperiment that works. In part, that is because the trio
has flags planted in both Western and Middle Easternmusic. “Bring it Back” is instantly arresting, with thetrio enveloping and enlarging the double-tracked lyric.
“We Were Wrong” comes in on little oud feet, joined byclarinet and stringed kanun (with aural echoes of thewestern harp). It’s atmospheric, but the StevensLeague composition floating on top makes it accessible.
“California” is a standout track, a shimmering
vision with grounded lyrics and a constellation of
Stevens’ overlapping vocals. “The Eye” (featuring dark

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 27

Relief (A Benefit for the Jazz Foundation ofAmerica’s Musicians’ Emergency Fund)
Various Artists (Mack Avenue)by George Kanzler

The nine tracks here come courtesy of a half-dozen

recording industry entities and the Jazz Foundation ofAmerica (JFA), the proceeds going to the latter ’sMusicians’ Emergency Fund, established in responseto the COVID-19 pandemic. The performances range
from solo to quintet, some unreleased tracks fromalbum sessions, others culled from live performancesor specially created for this album.
The two concluding live tracks are the mostmemorable. “Lift Every Voice and Sing”, from tenor
saxophonist Charles Lloyd & Kindred Spirits, is adelicate balancing act leveraging the quintet’s expansive
improvisations against the backbone of the famed“Black National Anthem”. Lloyd’s tenor toys with the
melody in a solo intro, the others gradually joining him
in largely freeform solos until his tenor takes it out withthe melody firmly in the foreground. Jimmy Heath’s“Gingerbread Boy”, from the JFA’s 2020 “A Great Nightin Harlem” Gala, features the composer’s tenor
saxophone supported by Herbie Hancock (piano),
Wallace Roney (trumpet), Buster Williams (bass) andAlbert “Tootie” Heath (drums). It’s a robustly swinging,limber version reminiscent of the Miles Davis Quintet,
with whom Hancock recorded it in 1966.
Three tracks feature vocals. Jon Batiste
accompanies himself on a solo “Sweet Lorraine” inobvious tribute to Nat King Cole, from his sweetly
smooth voice to his agile stride piano. Cécile McLorin
Salvant channels her inner Bessie Smith on an
optimistic blues Smith recorded in 1924, “Easy Come,
Easy Go Blues”, accompanied by Sullivan Fortner ’s
period-authentic piano. Esperanza Spalding and Leo
Genovese contribute the only electronic, R&B-inflected
track, “Back to Who”, Spalding’s overdubbed voice
swooping and swirling around Genovese’s keyboards.
Three distinct approaches to the quartet arefeatured. Alto saxophonist Kenny Garrett’s “Joe Hen’s
Waltz” is a straightahead, saxophone-with piano-bassdrums rendition. Joshua Redman’s “Facts”, an outtake
from his 2018 album Still Dreaming, which paid tributeto the Ornette Coleman alumni quartet Old and New
Dreams, builds from solos and duos to Brian Blade’s
drum-percussion-fueled collective romp. Christian
McBride’s “Brother Malcolm” veers more toward the
meditative and processional. And don’t overlook the
only solo instrumental track, pianist Hiromi’s “Green
Tea Farm”, an architectonically-constructed, deftlybuilding eight-minute gem.
For more information, visit jazzfoundation.org

For more information, visit greenleafmusic.com

A Prayer for Lester Bowie (featuring Hugh Ragin)
David Sanford Big Band (Greenleaf Music)
by Thomas Conrad

A Prayer for Lester Bowie is a baffling, mind-blowing

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highly organized. The inner moving parts interlock.
In fact, the precise management of detail enables
Sanford to create greater levels of intensity. The next
piece, “Subtraf”, introduces genres from outside jazzthat recur throughout the album. The juxtaposition ofdiverse cultural elements is central to Sanford’s
uniqueness. The classic big band tradition is the core of
his art, but rock, punk, funk, Bach, contemporarycomposition and gutbucket blues are in there, too.
23 musicians come from two overlapping worlds:
jazz and contemporary concert ensembles. Few are wellknown. But based on the quality of their collective andindividual responses to Sanford’s challenging music,
all deserve to be. Guitarist Dave Fabris, trombonist
Mike Christianson, alto saxophonist Ted Levine andtenor saxophonist Anna Webber take killing solos.
Trumpeter Ragin is the most established member. It issurprising that a composer as advanced as Sanford lets
someone else write the centerpiece of his album. But
Ragin’s title track belongs here, technically andspiritually. The piece is as unpredictable as its subject.
Moods and tempos shift as competing synapses fire.
Ragin’s multi-part trumpet improvisation is a heartfelt
tribute to that most fearless of trumpet players, Lester
Bowie (who would have turned 80 this month).
Two Sanford pieces displaying his range are“Woman in Shadows” and “Dizzy Atmosphere”.
The former shows that Sanford, a hardcore
expressionist, understands impressionism. The lattershows how tight, fast bebop can be reimagined into
something vast (but still quick).
The recorded sound of engineer Tom Lazarus, anine-time Grammy winner, renders the complex
aggression of this groundbreaking album.

phenomenon. Baffling because it comes out of nowhere.
Mind-blowing because it is one of the most ambitious,
tumultuous, raw, sophisticated, wildly creative bigband records to appear in the new millennium.
Of course, albums never come out of nowhere.
David Sanford holds a Ph.D. from Princeton, is a
professor of music at Mount Holyoke College in
Massachusetts and has had a prolific career as acomposer, arranger and bandleader. He has received
many awards, including a Guggenheim. His works
have been performed by a jazz orchestra he has led for
18 years (originally called the Pittsburgh Collective)
and many other ensembles in the fields of classical,
chamber and contemporary music.
Still, that Sanford could become capable of anachievement like A Prayer for Lester Bowie without
being famous is something of a mystery. Perhaps it isbecause he has often operated in academic andcontemporary music circles even more esoteric andremoved from popular consciousness than jazz.
There are six pieces by Sanford and a cover of
Dizzy Gillespie’s “Dizzy Atmosphere”. The 14-minutetitle track was composed by Hugh Ragin. When you
cue up this record for the first time, fasten your seatbelt. The opener, “Full Immersion”, starts innocently
enough, with atmospheric conga (Theo Moore) andmeandering trombone (Jim Messbauer). Other
instruments gradually join. Suspense builds. A storm
is gathering. The tempest breaks in shattering trumpets
and explosive saxophones. The brass and reed sections
smash against one another over the pounding of therhythm players. The roar pins you back in your chair.
“Full Immersion” climaxes in a cataclysmic crescendo.
But as you learn to listen to Sanford you perceivethat what first sounds like mania and chaos is actually

28 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

Live at Ronnie Scott’sBill Evans (Resonance)
Behind The Dikes (The 1969 Netherlands Recordings)
Bill Evans (Elemental Music)
On A Friday Evening
Bill Evans (Craft)by Marilyn Lester

A bounty of newly unearthed live sets fromgroundbreaking pianist Bill Evans also features virtuoso
bassist Eddie Gomez, just ahead of his 77th birthday on
Oct. 4th. They offer enough variety to warrant ownershipof all three, even with duplicates over the discs. Yet such
numbers are far from being repeats. Common to all is an
Evans favorite, Miles Davis’ “Nardis”, with Gomez in a
support role in On A Friday Evening, with an extended
solo on Live at Ronnie Scott’s and in the background,taking a short solo, on Behind The Dikes (yielding the
spotlight instead to drummer Jack DeJohnette for aspectacular display of percussive artistry). Likewise,“Quiet Now” (Denny Zeitlin) appears on all threereleases, each with a different twist.
Gomez, Juilliard-trained and noted for his stellar
work with any number of important jazz artists in thefull span of his career, spent 11 years with Evans’ trio,
beginning in 1966. His remarkable body of work was
still well ahead of him then. Yet even at an early age he
was already a brilliant and mature musician. His
rhythmic solo on Duke Ellington’s hit, “I Let a Song Go
Out of My Heart”, on Behind The Dikes, begs a question
about Jimmie Blanton, Ellington’s revolutionary bassist
who tragically died at 23. Cut from that same cloth, it’seasy to imagine that Gomez took up the Blanton torchand developed as Blanton could have—as an innovatorof uncommon flexibility and creativity.
The collaboration with Evans allowed Gomez tostand out generously, helping create a remarkablechemistry with the pianist’s style of complex harmonics
within the relative ‘simplicity’ of lyrical jazz. Thissynergy worked to inspire Evans and Gomez to reachhigher levels of their respective virtuosities. Many
tracks over these releases feature Evans and Gomez
playing in a synergistic style that would appropriately
be termed a duet in the vocal world. ”My Man Has
Gone Now” (George Gershwin) on Live at Ronnie Scott’sand “My Funny Valentine” (Richard Rodgers) from
Behind The Dikes stand out as such examples.
Live at Ronnie Scott’s came about through
DeJohnette, who offered tapes from his personalarchives. DeJohnette only spent six months with thetrio, in 1968, including a month-long residency at thetitular London club, yet the 20 tracks display a great
simpatico among the musicians. DeJohnette’s skilled
drumming, informed by his life as a pianist before
switching instruments, adds color and texture to theforeground playing of Evans and Gomez. It’s on thisalbum that a subtle but brilliant improvisational
technique of Gomez’ becomes apparent: evocative
embroidering of musical themes. “A Sleepin’ Bee”
(Harold Arlen), also on Behind The Dikes, suggests thebuzzing of bees. Likewise, On A Friday Evening features
Evans’ “The Two Lonely People” and “Up with theLark” (Jerome Kern) with echoes of a mood-inducing
rippling stream and the warbling of birds, respectively,
Marty Morell, who joined the Evans Trio in 1968and stayed until 1975—the longest tenure of any Evans
drummer—is the third member on Behind The Dikes.
Morell’s tenure reflects the period in which thetroubled, drug-addicted Evans was at his most stable.
The tracks have been newly transferred from original
tape reels at the Nederlands Instituut voor Beeld en
Geluid and largely represent Evans in a relatively
lyrical state of mind. Standards such as “Emily”(Johnny Mandel) and “Some Day My Prince Will
Come” (Frank Churchill) allow both Evans and Gomez
to riff on melody with plenty of creative ideas. Gomez
also enjoys several exquisitely long solos, particularly
on Evans’ “Waltz for Debby” and “Alfie” (Burt
Bacharach). A similarly strong and extended Gomez
solo is also heard on Live at Ronnie Scott’s on Thelonious
Monk’s “Round Midnight”.
On A Friday Evening is a newly discovered recordingof a concert on Jun. 20th, 1975, at Oil Can Harry’s inVancouver, captured for radio by host Gary Barclay. The
drummer is Eliot Zigmund, hired after Morell retired tospend more time with family. With a repertoire several
years beyond the material Evans was playing during
1968-69, On A Friday Evening offers a few delightful
tunes not heard on the other two releases. “Sareen Jurer”(Earl Zindars) has Gomez on fire, with a speed andflexibility of plucking that is a breathtaking flight offancy. On “Yesterdays”, the moody, haunting Jerome
Kern piece, Gomez matches Evans’ own improvisations,mirroring and building on the pianist’s ideas smartly.
For a cherry on the Evans Trio sundae there’s“Embraceable You” (George Gershwin). Gomez andEvans switch roles, the track belonging to the bassist as
he plucks his way through exhilarating stream-ofconsciousness musical creativity. In a completely
secondary role, Evans plays intelligent support, as
Zigmund supplies subtle, well thought out rhythm.
For more information, visit resonancerecords.org,
elemental-music.com and craftrecordings.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 29

Unreleased Art, Volume Eleven: Atlanta
Art Pepper (Widow’s Taste)
by Ken Dryden

Art Pepper was a star from an early age and was

remarkably productive through the early ‘50s. But thenhe had lost nearly a decade through various stints
behind bars for narcotics possession. But after the alto
saxophonist left prison for good in the mid ‘60s, he wasready to make up for the lost time.
His wife Laurie was a major factor in his burst ofactivity, which seemed to explode after a successful
initial booking at the Village Vanguard in 1977. Pepper
gained opportunities to take overseas tours and makeboth live and studio recordings for labels in the US,
Europe and Japan. Laurie traveled with her husband
and recorded a number of concerts herself, now issuingthem decades after his death in June 1982 at only 56 on
her mordantly named Widow’s Taste imprint.
This May 1980 Atlanta concert (from anunremembered venue, according to Laurie) wasrecorded with a condenser microphone from theaudience. The tapes have held up well and the balance
between instruments is quite good, with minimal overmodulation at times, though piano overshadows bass
and drums in a few spots. Fortunately, audible
audience conversation is minimal, mainly heard

during Pepper ’s remarks between each song.
The band is comprised of Bulgarian defector
pianist Milcho Leviev (who died two years ago thismonth at 81), bassist Bob Magnusson and drummer
Carl Burnett. Pepper is in great form throughout andwhile the band stretches out on most numbers, theleader doesn’t hog the spotlight.
The setlist draws primarily from records he hadrecorded within the past two years for Galaxy, though
there are surprises like a playful rendition of Al JolsonBuddy DeSylva-Vincent Rose oldie “Avalon”, which
was popular in the Swing Era. The late trumpeter Joe
Gordon’s “A Song For Richard” opens with a haunting
duet between Pepper and Magnusson on arco bass
while Leviev proves himself to be an imaginative
soloist, ranging from stride to boogie-woogie and bop.
In spite of the non-professional nature of therecording, the music holds up very well, capturing thespirit of the evening. Sadly the tape ran out prior to theend of pulsating Pepper original “Mambo Koyoma”.
This is a valuable addition to Pepper ’s sizable
posthumous live discography.

Friday, October 1st

SULLIVAN FORTNER SOLO

Saturday, October 2nd

GREG ABATE QUARTET

Friday, October 8th

EJ STRICKLAND QUINTET

Saturday, October 9th

JUDY WEXLER

Fri & Sat, October 15th & 16th

JAVON JACKSON & FRIENDS

Friday, October 22nd

KEN PEPLOWSKI QUARTET

Saturday, October 23rd

NICK FINZER: HEAR & NOW
Use code "NYJAZZ" for 5% off atthesidedoorjazz.com

For more information, visit sprecords.com

IN PRINT

For more information, visit lauriepepper.net

John Tchicai: A chaos with some kind of order
Margriet Naber (Ear Heart Mind Media)
by Kurt GottschalkJ ohn Tchicai was, or seems to have been, more role
Showers of Blessings
Henry “Skipper” Franklin (Skipper Productions)by Anders Griffen

S howers of Blessings is the latest album by veteran
UPCOMING SHOWS

making this tune sound new again.
Like a great, classic jazz record, each piece isdistinct from the last in melody and groove. “I like toplay tunes I like to hear and they’ve all got their own
story,” states Franklin. The album is engaging frombeginning to end, an hour well spent and available
from Skipper Productions, Franklin’s own label, which
he founded in 2001: “This way we have the freedom ofplaying of what we want and have control of our own
music”. Showers of Blessings helps to carry out thelabel’s mission of “bringing peace to the world…one
album at a time”.

bassist and composer Henry Franklin, aka “TheSkipper”, who turns 81 this month. Franklin does mostof his studio recording at No Sound Studio in Pasadena,
California, which is owned and operated by his longtime associate, Nolan Shaheed, who also plays trumpet
and flugelhorn on this date. The recording is beautiful,with the whole spectrum of each instrument well
represented and the musicians in aural balance.
Franklin conceived the album for sextet because
he loves the sound of three horns. Joining Shaheed in
the frontline are saxophonist Teodross Avery andtrombonist Ryan Porter and rounding out the rhythm
section are pianist Theo Saunders and drummer Willie
Jones III. The leader anchors the ensemble in such a
way that creates a setting where stories unfold andthese tunes shower their blessings.
Franklin’s “Message to Marjorie” is a brief
introduction performed by Najite Agindoton on
percussion and Yaakov Levy on wooden flute. Saunders
contributed three compositions: “The Return of the
Skipper”, which jumps out swinging after the opener;
the band grooving with a Latin tinge on “Coconut
Island”; and “Black Lives Lost” in remembrance of
loved ones taken too soon; Shaheed’s heartfelt solo on
the latter is articulated almost as if he were using
words. Keith Williams’ “The Valley of the Search”
features Benn Clatworthy’s alto flute and evokes
mystery at dusk. The light is fading, but there is hope.
Clatworthy also contributed “Skipper Meets Pharoah”,
which opens with a drum solo and brings a bright fire.
The ensemble performs a tribute to McCoy Tyner,
who passed away in 2020, with a beautiful arrangementof the pianist’s “Ballad for Aisha”. “The Guardian”,
written by Phil Morrison, bounces back to hardbop
territory, full of surprises with different sections andendings. Revised here for three horns, “Little Miss
Laurie” will be remembered from Franklin’s 1972
debut record on Black Jazz, The Skipper but doesn’t
fade out at the end here! This is a super cool update

30 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

model than proselytizer in the Church of Jazz
Humanism. He wasn’t someone you felt you knew
but is someone you may well have thought you’dlike, which is why Margriet Naber ’s John Tchicai: A
chaos with some kind of order is such a welcome text.
Tchicai never found the level of post–New Thing
fame that his fellow saxophonists enjoyed. He did,
however, continue to work very nearly up to his
death nine years ago this month at the age of 76.
Naber ’s slim volume (156 pages plus
appendices) is hardly probing, but as his partner inmusic and the last of his four wives, she knows her
subject well. In as romantically matter-of-fact anintro as you could ask for, Naber reveals her keeping
notes of their time together and of the reminiscences
Tchicai would share in the belief that one day
someone writing a book would want to interview
her. She ended up being that writer and maintains
an even hand. It’s not a gossipy book, nor is it bitteror starry-eyed. If anything, it sometimes comes off
as a little impersonal, breezing through stories
where she presumably had no more details. (Andwhat about that fight with Cecil Taylor?)
The memories Tchicai shared were, it seems,
plenty and with the supplemental interviews with afew friends and relatives, Naber rebuilds his childhoodand early career quite satisfactorily. Perhaps the mostilluminating section involves Tchicai’s move to anashram in Denmark in the early ’70s and forgoingmusic and sex. He stuck with neither vow, clearly, but
it charts a spiritual course he pursued for the rest of hislife. Unfortunately, that period comes and goes inseven quick, illustrated pages.
The book includes some of Tchicai’s writing—a few poems, a handwritten letter and a distillationof his “advice to improvisers”. It also includes thesuggestion that, in his final year, he had begun going
through his archive of writings, correspondence andphotographs in hopes of compiling a book. There’s
no indication of how far he got with that project but
if anyone knows, it’s Naber. Perhaps that will bringa chance to get to know him better. In the meantime,
we have this lovely and loving introduction.
For more information, visit johntchicai.com

MISCELLANY
ONbyTHISDAYAndrey Henkin

Bash!
Dave Bailey (Jazzline)
October 4th, 1961

Free Sound & Super Brass
Hans Koller/Wolfgang Dauner (MPS)
October 4th, 1975

Listen Here
Roseanna Vitro (Texas Rose Music)
October 4th, 1982

In Tokyo
Stéphane Grappelli (Denon)
October 4th, 1990

Though he didn’t record the music,

This live album from the Audimax

By the time Roseanna Vitro reissued

French violinist Stéphane Grappelli

Dixieland Jazz Band
Brunies Brothers (American Music)
October 4th, 1957

Swiss

patriarch Richard Brunies
emigrated to New Orleans in 1858,
where his seven grandchildren
became musicians, such as trombonist
Merritt (born 1895) and trumpeter
Albert “Abbie” (1900). On the cover ofthis LP of Dixieland fare and one
original (the brothers singing) aresome of the clubs they played. Notamong them is the Buena Vista Hotelin Biloxi, Miss., where they had settled
by 1945 and this set was made with
Biloxi-ites Jules Galle (clarinet), Eddie
James (piano), Tony Fountain (bass,
cousin to Pete) and Joe Wentz (drums).

drummer Dave Bailey appeared in
Jim Henson’s 1965 short film Time
Piece. Several years earlier, he madethis album, one of five he led in 196061. The band is drawn from dates oneither side: trombonist Curtis Fuller,
tenor saxophonist Frank Haynes andbassist Ben Tucker, plus trumpeter
Kenny Dorham and pianist Tommy
Flanagan. Waxed at Peter Ind’s studio,
the tunes are by Dorham, Sonny
Rollins, Osie Johnson, Norris Turner,John Klenner-Sam M. Lewis andJimmy van Heusen-Johnny Burke.

Technische Universität in Vienna
brings together a local son coming outof straightahead jazz (saxophonist
Hans Koller, born 1921) and a younger
German part of the European avant
garde (keyboard player Wolfgang
Dauner, born 1935). Koller wrote thetwo tunes of the A-Side, Dauner the
B-Side piece, the pair joined by aninternational cast representing both
halves of the title: Albert Mangelsdorff,
Kenny Wheeler, Herbert Joos, Günter
Lenz and Janusz Stefanski alongside
members of Austrian ORF Big Band.

this album, her debut, earlier thisyear, the Arkansas-born singer had
made over a dozen more sets for
Concord, Telarc, Challenge andMotéma. Vitro, 31 at the time, enlists
veterans Kenny Barron (piano, Bliss
Rodriguez on one track), Buster
Williams (bass), Ben Riley (drums)
and Arnett Cobb (saxophone), as wellas Scott Hardy (guitar) and Duduka
Da Fonseca (percussion). The 12-tune
set runs the gamut from Jobim andEllington to Dave Frishberg, Johnny
Mandel and Sergio Mihanovich.

was in the midst of his seventh andfinal decade as a performer with thisconcert at the Bunkamura Theatre
Cocoon in Tokyo when he was almost
83. His band of countrymen was amulti-generational one: accordion
player Marcel Azzola 20 years
younger; guitarist Marc Fosset 41
years his junior; and bassist JeanPhilippe Viret le bébé at 31. The
quartet (the leader also on piano)
plays 14 tunes—French chansons, jazzstandards and Americana—in pithy
takes, some as medleys.

BIRTHDAYS
October 6
Norman Simmons b.1929
Steve Elmer b.1941
Masahiko Satoh b.1941
Mark Whitfield b.1966

October 1†André Paquinet 1926-2014
Dave Holland b.1946
Mark Helias b.1950
Tony Dumas b.1955
Fred Lonberg-Holm b.1962

October 11†Curtis Amy 1919-2002†Art Blakey 1919-90†Billy Higgins 1936-2001†Lester Bowie 1941-99†Fred Hopkins 1947-99
Federico Ughi b.1972

October 7†Papa Jo Jones 1911-85†Alvin Stoller 1925-92†Larry Young 1940-78
Aaron Parks b.1983

October 2†Wally Rose 1913-97†Phil Urso 1925-2008†Howard Roberts 1929-92†Ronnie Ross 1933-91
Peter A. Schmid b.1959
Django Bates b.1960

October 12†Mel Rhyne 1936-2013
Ed Cherry b.1957
Michael Mossman b.1959
Harry Allen b.1966

October 8†JC Heard 1917-88†Pepper Adams 1930-86
John Betsch b.1945
Steven Bernstein b.1961
Ted Kooshian b.1961

October 3†Edgar Battle 1907-77†Buddy Banks 1909-91†Von Freeman 1922-2012†George Wein 1925-2021
Charles Downs b.1943
Mike Clark b.1946
Michael Bowie b.1961
Carsten Dahl b.1967

October 13†Art Tatum 1909-56
Terry Gibbs b.1924†Ray Brown 1926-2002†Tommy Whittle 1926-2013†Lee Konitz 1927-2020†Johnny Lytle 1932-95
Pharoah Sanders b.1940
Joachim Badenhorst b.1981

October 9†Elmer Snowden 1900-73†Bebo Valdes 1918-2013†Yusef Lateef 1920-2013
Abdullah Ibrahim b.1934
Chucho Valdés b.1941
Satoko Fujii b.1958
Kenny Garrett b.1960
Jeff Albert b.1970
Amy Cervini b.1977

October 4†Noel Chiboust 1909-94†Marvin Ash 1914-74†Walter Bishop 1927-98†Leon Thomas 1937-99
Mark Levine b.1938
Steve Swallow b.1940
Eddie Gomez b.1944
Robert Hurst b.1964
Mat Maneri b.1969

October 14
Duško Gojković b.1931†Fritz Pauer 1943-2012†Garrison Fewell 1953-2015
Kazumi Watanabe b.1953

October 10†Harry “Sweets” Edison
1915-99†Thelonious Monk 1917-82†Monk Montgomery 1921-82†Julius Watkins 1921-77†Oscar Brown Jr. 1926-2005†Junior Mance 1928-2021†Ed Blackwell 1929-92
Cecil Bridgewater b.1942
Scott Reeves b.1950
Pam Fleming b.1957

October 5†Jimmie Blanton 1918-42†Bill Dixon 1925-2010†Donald Ayler 1942-2007
Clifton Anderson b.1957
Tord Gustavsen b.1970

October 15†Freddy Cole 1931-2020†Joe Roccisano 1939-97
Palle Danielsson b.1946
Bo Stief b.1946
Bill Charlap b.1966
Reid Anderson b.1970
October 16
Ray Anderson b.1952
Tim Berne b.1954†Roy Hargrove 1969-2018

October 17†Cozy Cole 1906-81†Barney Kessel 1923-2004†Sathima Bea Benjamin
1936-2013
Joseph Bowie b.1953
Howard Alden b.1958
Manuel Valera b.1980
October 18†Anita O’Day 1919-2006†Bent Jaedig 1935-2004†JC Moses 1936-77
Wynton Marsalis b.1961
Bill Stewart b.1966
Myron Walden b.1972
Esperanza Spalding b.1984
October 19†Red Richards 1912-98
Eddie Daniels b.1941
Ronnie Burrage b.1959
Tim Garland b.1966
October 20†Jelly Roll Morton 1890-41†Johnny Best 1913-2003†Ray Linn 1920-96†Willie Jones 1929-1991†Eddie Harris 1934-96
Dado Moroni b.1962
Mark O’Leary b.1969
October 21†Don Byas 1912-72†Dizzy Gillespie 1917-93†Don Elliott 1926-84†Bobby Few 1935-2021
Jerry Bergonzi b.1947
Marc Johnson b.1953
Fred Hersch b.1955
David Weiss b.1964

October 22†Giorgio Gaslini 1929-2014†Tyrone Hill 1948-2007
Jane Bunnett b.1955
Hans Glawischnig b.1970
October 23†Sonny Criss 1927-77†Fats Sadi 1927-2009†Gary McFarland 1933-71
Ernie Watts b.1945
Tristan Honsinger b.1949
Dianne Reeves b.1956

October 28†Chico O’Farrill 1921-2001
Cleo Laine b.1927
Andy Bey b.1939
Jay Clayton b.1941
Glen Moore b.1941†Elton Dean 1945-2006
Michel Pilz b.1945
Richard Bona b.1967
Kurt Rosenwinkel b.1970

BARRE PHILLIPS

October 24†Louis Barbarin 1902-97†Jimmie Powell 1914-94
Odean Pope b.1938
Jay Anderson b.1955
Rick Margitza b.1961

October 29†Hadda Brooks 1916-2002†Neil Hefti 1922-2008†Zoot Sims 1925-85†Pim Jacobs 1934-96
Siggi Busch b.1943
Emilio Solla b.1962
Mats Gustafsson b.1964
Josh Sinton b.1971

October 25†Don Banks 1923-80†Jimmy Heath 1926-2020
Terumasa Hino b.1942
Robin Eubanks b.1955

October 30†Teo Macero 1925-2008†Bobby Jones 1928-80†Clifford Brown 1930-56
Trilok Gurtu b.1951

October 26†Charlie Barnet 1913-91†Warne Marsh 1927-87
Eddie Henderson b.1940
Vijay Iyer b.1971

October 31†Toshiyuki Miyama 1921-2016†Illinois Jacquet 1922-2004†Ted Nash 1922-2011†Bob Graettinger 1923-57†Ray Crane 1930-94†Booker Ervin 1930-70
Les Tomkins b.1930
Johnny Williams b.1936†John Guerin 1939-2004
Reimer Von Essen b.1940†Sherman Ferguson 1944-2006
David Parlato b.1945†Bob Belden 1956-2015
Vincent Gardner b.1972

October 27†Sonny Dallas 1931-2007
Barre Phillips b.1934
Philip Catherine b.1942
Arild Andersen b.1945
Nick Stephens b.1946
Ken Filiano b.1952
David Hazeltine b.1958
Amanda Monaco b.1973

October 27th, 1934
After several years of more
‘traditional’ jazz work withthe likes of Eric Dolphy,
Attila Zoller, Jimmy Giuffre,
Heiner Stadler and others,bassist Barre Phillips moved
to Europe, where he would
be invited to record solo bass
improvisations. This would
becomeJournalViolone(Opus One) , opening a door
for hundreds of bass players
who followed to explore theformat. A few years later he
upped the ante with a bass
duo record with Dave Holland
and a bass quartet session.
More bass solos, duos andlarger ensembles would
follow over the decades, plus
numerous collaborations withthe likes of John Surman, Mal
Waldron,AlfredHarth,
Gunter Hampel, Paul Bley,
Evan Parker, Biggi Vinkeloe,
Urs Leimgruber, Vinny Golia
and a host of others.
(AH)

CROSSWORD
1

4

2

5

6

9

8

12

14

13

16

15

17

19

20

21

22

23

25

7

10

11

18

ACROSS

3

24

26

27

By Andrey Henkin 			

1. Smooth jazz booking agency
4. Late German bassist Karl Theodor
6. At the heart of Charles Tolliver/Stanley Cowell’s label?
9. Rarities in jazz
11. Guitarist Cantor
12. Practice before practice
13. Pianist Mosca
14. Lucian Ban/John Hébert made a tribute album to thisRomanian composer
15. Sheepish Japanese label releasing albums by Jerry
Gonzalez, Kip Hanrahan and others?
16. Bob James label Tappan ____
17. Whit Dickey label ____ Forms
18. Percussionist Tariq who worked with
Eberhard Weber/Reto Weber/Chico Freeman/
Christy Doran20. Vibraphone mallet material (abbr.)
21. Harry Miller 1974 Ogun album Children ____
22. Reed/woodwind player Koffman
23. Tooting Belgian
25. Evan Parker ens.

26. Isao Suzuki Quartet + 2 1975 Three Blind Mice album____-Utan
27. Foxes Fox 2004 psi album Naan ____DOWN
1. Threadgill/Hopkins/McCall
2. Early Paul Whiteman saxophonist
3. Cindy Blackman 1987 Muse album
4. Birks
5. Important info. for a touring musician
6. Satchmo
7. Scold on the bandstand?
8. Utensil on the cover of a Hank Marr 1969 King album
9. This guide inspired a primordial jazz rag
10. Bassist who played with Monk and Sun Ra
13. The institution unanimously congratulated the
Newport Jazz Festival on its 60th anniversary
16. Member of the jazz police
19. Drummer Salif Howell22. Pipa player Wu
24. He essentially outlawed jazz in China

visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 31

CALENDAR
Friday, October 1êAntonio Sanchez Quartet with Donny McCaslin, Miguel Zenón, Scott Colley				
55Bar 9:30 pm• Composers Concordance: Christina Pressl with Franz Hackl, Jonathan Kane,
CompCord String Quartet: Lynn Bechtold, Mioi Takeda, Eddy Malave, Robert Burkhart		Austrian Cultural Forum 7 pm
• Birdland Big Band
Birdland 5 pm $20-30êStacey Kent/Art Hirahara with guest Jim Tomlinson		
Birdland 7, 9:30 pm $30-40êRobert Glasper Original Acoustic Trio		Blue Note 8, 10:30 pm $40-55• Mike Karn; Samuel Martinelli
Cellar Dog 7, 11:30 pm $10• Joey Alexander Trio with Kris Funn, Kush Abadey
		Dizzy’s Club 7:30, 9:30 pm $45• Pedrito Martinez
Drom 8 pm $30
êJoel Ross Group with Marquis Hill, Godwin Louis, Sean Mason, Marcus Gilmore
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êPeter Zak Trio with Billy Drummond; Jon Davis		
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Anthony Ware Quintet
Minton’s 8, 10 pm $20• Joanie Pallatto’s My Original Plan Unplugged with Fareed Haque, Sparrow and guests
Bill Nolte, Tânia Daley
Pangea 7 pm $25• Lionel Loueke
Rockwood Music Hall Stage 3 7 pm $20• Reed Miller; Darrell Green Quartet Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• George Winstone Quartet with Jonathan Elbaz, Nick Jozwiak, Kayvon Gordon 				
ShapeShifter Lab 9 pm $20• Doug Wamble Quartet with JD Allen, Philip Norris, EJ Strickland		Smalls 7:30, 9 pm $20• Ben Cassara Quartet with Tedd Firth, Boots Maleson, Tim Horner		Soapbox Gallery 8 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
		Village Vanguard 8:30, 10:30 pm $40

Saturday, October 2• Oz Noy

55Bar 9:30 pmêLeap Day Trio: Jeff Lederer, Mimi Jones, Matt Wilson

		
Bar Bayeux 8, 9:30 pmêStacey Kent/Art Hirahara with guest Jim Tomlinson		
Birdland 7, 9:30 pm $30-40êRobert Glasper Original Acoustic Trio		Blue Note 8, 10:30 pm $40-55• Ken Fowser; Miki Yamanaka
Cellar Dog 7, 11:30 pm $10êDaro Behroozi, Cooper-Moore, Francisco Mela; Michael Wimberly, Kirk Knuffke,
Adam Lane; Yuko Otomo; Steve Swell Kende Dreams with Rob Brown, William Parker,
Michael T.A. Thompson
Children’s Magical Garden de Carmen Rubio 1:30 pm• Joey Alexander Trio with Kris Funn, Kush Abadey
		Dizzy’s Club 7:30, 9:30 pm $45
êHomecoming: Danny Simmons and Ron Carter Golden Striker Trio with
Russell Malone, Donald Vega, Lezlie Harrison, Billy Drummond, Usula Rucker,
Derick Cross, Bonafide Rojas
Jamaica Center for Arts and Learning 8 pm $20• Dayna Stephens Quartet with Aaron Parks, Rick Rosato, Kweku Sumbry		
The Jazz Gallery 7:30, 9:30 pm $25-35
êEd CherryMezzrow 7:30, 9 pm $20

êESP-Disk’ Solo Piano Festival: John Blum; Eunhye Jeong; Gabriel Zucker				Michiko Studios 6 pm $20• Dara Tucker
Minton’s 8, 10 pm $20• Jonathan Scales Fourchestra Nublu 151 8 pm $20• Adam Birnbaum Quartet with John Ellis, Doug Weiss, Nasheet Waits				
Smalls 7:30, 9 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
		Village Vanguard 8:30, 10:30 pm $40

Sunday, October 3• Ferenc Nemeth Unstandard Trio with Dayna Stephens, Massimo Biolcati

		
Bar Lunàtico 9 pm $10• Sonny Singh’s Chardi Kala with Jonathan Goldberger, Ria Modak, Yuka Tadano,
Rohin Khemani
Barbès 7 pm $20
êStephane Wrembel
Barbès 9 pm $20
êScott Reeves Orchestra with Jay Brandford, Vito Chiavuzzo, Rob Middleton, Terry Goss,
Tom Christiansen, Seneca Black, Freddie Hendrix, Stuart Mack, Chris Pasin, Jason Jackson,
Matt McDonald, Matt Haviland, Jennifer Wharton, Jim Ridl, Mike Karn, Andy Watson andguest Carolyn Leonhart
Birdland 5 pm $20-30êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 7 pm $20-30êRobert Glasper Original Acoustic Trio		Blue Note 8, 10:30 pm $40-55• Bruce Harris
Cellar Dog 7 pm $10êAyumi Ishito, Nebula, Daniel Carter, Patrick Holmes, Jesse Dulman, Ryan Sawyer,
No Land/Luke Stewart; Sound & Cry: Patricia Nicholson, Jean Carla Rodea,
William Parker
Children’s Magical Garden de Carmen Rubio 1:30 pm• Joey Alexander Trio with Kris Funn, Kush Abadey
		Dizzy’s Club 7:30, 9:30 pm $40• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Janice Friedman
Mezzrow 7:30, 9 pm $20• Paul Jost Trio with Jim Ridl, Dean Johnson
		North Square Lounge 12:30, 2 pmêDan Weiss/Miles Okazaki; Wednesday Night Titans; Jason Lindner’s Now vs. Now				
Nublu 151 7 pm $20• Melissa Stylianou
Saint Peter’s Church 5 pm
• Hymn to the Universe for François Grillot: Matt Lavelle’s 12 Houses with Claire Daly,
Mary Cherney, Cheryl Pyle, Chris Forbes, Jeremy Carlstedt, Art Baron, Lee Odom,
Charles Waters, Nicole Davis, Hilliard Greene, Catherine Sikora, Jose Luis Abreu,
Rich Rosenthal and guests
Scholes Street Studio 8 pmêAlex Norris Quintet with Ari Ambrose, Jeremy Manasia, Paul Gill, Brian Floody				
Smalls 7:30, 9 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
		Village Vanguard 8:30, 10:30 pm $40

Monday, October 4• Walter Thompson Soundpainting Orchestra with Efraín Rozas, Caitlin Cawley, Andrea Pryor,
Steve LaRosa, Erica Mancini, Hollis Headrick, Kirk Knuffke, Celeste Cantor-Stephens,
Michaël Attias, Stefan Zeniuk, Eleonore Weill, Sana Nagano, Sam Day Harmet, Rolf Sturm,
Zach Swanson
Barbès 7 pm $20• Victor’s Jazz Party
Bryant Park 12:30 pm

32 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD• Max Kutner, Eli Asher, Michael Eaton, Kurt Kotheimer, Colin Hinton; Jessica Ackerley,

Eli Wallace, Frank Meadows; Stephen Gauci, Adam Lane, Colin Hinton; Welf Dorr, Ken
Filiano, Caitlin Cawley; Giacomo Merega, Josh Sinton, Todd Neufeld
		Bushwick Public House 7 pm $15êGilad Hekselman; Pasquale Grasso Mezzrow 7:30, 9, 10:30 pm 12 am $20• Ari Hoenig Quartet with Gadi Lehavi, Ben Tiberio, Tivon Pennicott		
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8:30, 10:30 pm $40

Tuesday, October 5• Los Aliens: Sebastián Cruz, Stomu Takeishi, Andres Jimenez

		Barbès 7 pm $15êRon Carter’s Golden Striker Trio with Russell Malone, Donald Vega		
Birdland 7, 9:30 pm $30-40• Robert Glasper and Ledisi
Blue Note 8, 10:30 pm $40-55• Ayako Shirasaki
Bryant Park 12:30 pm• Adam Markowitz/Brandon Lopez IRL 7 pm $15• Libby York Trio with John Di Martino, Dezron Douglas		Mezzrow 7:30, 9 pm $20• Gabriel Zucker’s The Delegation with Adam O’Farrill, Nolan Tsang, Anna Webber,
Yuma Uesaka, Mariel Roberts, Mat Muntz, Connor Parks		
Roulette 8 pm $25• Jason Brown
Smalls 7:30, 9 pm $20• Paul Jost Quartet
Soapbox Gallery 8 pm $25• Takuya Kuroda and Saxofshaolin The Sultan Room 8 pm $20• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40

Wednesday, October 6êSavannah Harris GroupBar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5 pm $20-30êRon Carter’s Golden Striker Trio with Russell Malone, Donald Vega		
Birdland 7, 9:30 pm $30-40êDan Block Quartet
Birdland Theater 8:30 pm $20-30• Robert Glasper and Ledisi
Blue Note 8, 10:30 pm $40-55
êTerry Waldo’s Gotham City Band Bryant Park 12:30 pm• Ehud Asherie
Cellar Dog 7 pm $10• Kevin Blancq Quartet
Chelsea Table & Stage 7 pm $35• Carol Sudhalter Septet with Chris Rinaman, Amanda Monaco, Patrick Poladian,
Kevin Hailey, Paul Shaw, Frank Senior and guest Mimi Block		
Flushing Town Hall 7:15 pm• David Cook; Panas Athanos
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Ray Blue Organ Quartet
New Amsterdam Musical Association 7 pm
• Judy Wexler with Jim Ridl, Essiet Essiet, Tim Horner		Pangea 7 pm $25
êRobert Dick/Ursel Schlicht
Roulette 8 pm $25• Joshua Trinidad Quartet
ShapeShifter Lab 7 pm $20• Troy Roberts Quartet with Tim Jago, Boris Kozlov, Jeff ‘Tain’ Watts		
Smalls 7:30, 9 pm $20• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40

Thursday, October 7• The Secret Trio: Ara Dinkjian, Tamer Pinarbasi, Ismail Lumanovski

		Bar Lunàtico 9 pm $10êMarc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches Smith		The Bell House 8 pm $20-25êRon Carter’s Golden Striker Trio with Russell Malone, Donald Vega		
Birdland 7, 9:30 pm $30-40• Robert Glasper
Blue Note 8, 10:30 pm $40-55• Sylvia Cuenca
Cellar Dog 7 pm $10• Joey DeFrancesco Trio with Lucas Brown, Anwar Marshall		
Dizzy’s Club 7:30, 9:30 pm $45• Micah Thomas Trio with Dean Torrey, Kayvon Gordon
		
The Jazz Gallery 7:30, 9:30 pm $15-25• John Dokes; Nick Masters
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Sam Taylor Quintet with Terell Stafford, Charlie Sigler, Neal Miner, Willie Jones III
		Modulightor 6 pm
• Aubrey Johnson with Tomoko Omura, Alex LoRe, Glenn Zaleski, Matt Aronoff,
Jay Sawyer
Rockwood Music Hall Stage 2 7 pm $15êSarah Hanahan
Smalls 7:30, 9 pm $20• Michel Gentile Flow with Michael McGinnis, Jacob Garchik, Chris Lightcap, Tom Rainey
		Soapbox Gallery 8 pm $25• Hiromi’s The Piano Quintet with Tatsuo Nishie, Sohei Birmann, Meguna Naka,
Wataru Mukai
Sony Hall 7, 9 pm $50• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40

Friday, October 8• The Omi Ensemble: Odero George Achieng, Lee Odom, Volker Goetze, Sipho Kunene,
Hill Greene, Stephanie Griffin

Andrew Freedman Home 7 pm

Diego Joaquin Ramirez

Bar Lunàtico 9 pm $10êItai Kriss and Televana with Wayne Tucker, Keisel Jimenez, Shai Maestro, Alon Near,êHearing Things: Matt Bauder, JP Schlegelmilch, Vinnie Sperrazza		Barbès 10 pm $20• Birdland Big Band
Birdland 5 pm $20-30êRon Carter’s Golden Striker Trio with Russell Malone, Donald Vega		
Birdland 7, 9:30 pm $30-40êDon Braden Quartet
Birdland Theater 8:30 pm $35• Robert Glasper
Blue Note 8, 10:30 pm $40-55
êJoe Farnsworth; Ben Paterson
Cellar Dog 7, 11:30 pm $10êIsaiah Collier and The Chosen Few with Jordan Williams, Jeremiah Hunt, Tim Regis;
Luke Stewart Slit Trio with Brian Settles, Chad Taylor; Dave Sewelson’s Freedom Fighters		Clemente Soto Velez Cultural Center 7 pm
• Joey DeFrancesco Trio with Lucas Brown, Anwar Marshall		
Dizzy’s Club 7:30, 9:30 pm $45
êMelissa Aldana’s Visions with Lage Lund, Pablo Menares, Kush Abadey
		The Jazz Gallery 7:30, 9:30 pm $30-40• Michael Weiss
Mezzrow 7:30, 9 pm $20• Eduardo Brechó Group
Minton’s 8, 10 pm $20• Zoe Abadia; Akiko Tsuruga
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êHery Paz
Scholes Street Studio 8 pm
• Mark Sherman Reunion Band with Allen Farnham, Dean Johnson, Tim Horner				
Smalls 7:30, 9 pm $20• Steve Sandberg/Vinicius Gomez Soapbox Gallery 8 pm $25• Hiromi’s The Piano Quintet with Tatsuo Nishie, Sohei Birmann, Meguna Naka,
Wataru Mukai
Sony Hall 7, 9 pm $50• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40

Saturday, October 9êRon Carter’s Golden Striker Trio with Russell Malone, Donald Vega		
Birdland 7, 9:30 pm $30-40êDon Braden Quartet
Birdland Theater 8:30 pm $35• Robert Glasper
Blue Note 8, 10:30 pm $40-55• Jason Brown; Stefano Doglioni Cellar Dog 7, 11:30 pm $10• Greg Farnese
Chelsea Table & Stage 9:30 pm $35
êJanice Lowe and Namaroon with Gwen Laster, Olithea Anglin; Joe McPhee Trio XL with
Rosie Hertlein, Dominic Duval, Jr., Jay Rosen; Greg Murphy Quartet with Ben Solomon,
Essiet Essiet, Johnathan Blake Clemente Soto Velez Cultural Center 7 pm
• Joey DeFrancesco Trio with Lucas Brown, Anwar Marshall		
Dizzy’s Club 7:30, 9:30 pm $45
êStephen Gauci/Jeff Davis; Stephen Gauci/Jon Goldberger		
Downtown Music Gallery 6:30, 8 pmêMelissa Aldana’s Visions with Lage Lund, Pablo Menares, Kush Abadey
		The Jazz Gallery 7:30, 9:30 pm $30-40êPete Malinverni; Dave Kikoski
Mezzrow 7:30, 9, 10:30 pm 12 am $20• TW Sample Quintet with Bill Easley Minton’s 8, 10 pm $20• JR Samuels; Sarah Bernstein Oliver Coffee 2 pmêSatoshi Takeishi/Shoko Nagai
Scholes Street Studio 8 pm
• Wayne Escoffery
Smalls 7:30, 9 pm $20
êLena Bloch Feathery with Russ Lossing, Cameron Brown, Billy Mintz		
		
Soapbox Gallery 8 pm $25• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40

Sunday, October 10• Nick Hakim/Roy Nathanson

Bar Lunàtico 9 pm $10
Barbès 9 pm $20• Benefit for the Veronica Pellitteri Memorial Fund		
Birdland 5 pm $15-30
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 7 pm $20-30• Robert Glasper
Blue Note 8, 10:30 pm $40-55• Jon Davis
Cellar Dog 7 pm $10êDarius Jones, Sam Newsome, Chad Taylor; Jason Hwang Spontaneous River Orchestra
		
Clemente Soto Velez Cultural Center 7 pm
• Joey DeFrancesco Trio with Lucas Brown, Anwar Marshall		
Dizzy’s Club 7:30, 9:30 pm $45• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Sacha Perry
Mezzrow 7:30, 9 pm $20
êMarcos Varela Quartet
Minton’s 8, 10 pm $20• Roz Corral Trio with Paul Bollenback, Santi Debriano		North Square Lounge 12:30, 2 pm
• 9 Horses: Joe Brent, Sara Caswell, Andrew Ryan		
Rockwood Music Hall Stage 3 7 pm $15• Melissa Stylianou
Saint Peter’s Church 5 pm
• Mike Troy
Smalls 7:30, 9 pm $20• SW Large Ensemble with Henry Fraser, Joanna Mattrey, Jessica Pavone, Joe Moffett,
Alejandro Florez, Madison Greenstone, Laura Cocks, Weston Olencki, Barry Weisblat
		
The Vale in Prospect Park 2 pm
• Eric Harland’s Voyager with Walter Smith III, Morgan Guerin, Gilad Hekselman,
Charles Altura, Taylor Eigsti, Harish Raghavan		Village Vanguard 8:30, 10:30 pm $40
êStephane Wrembel

Monday, October 11êMarco Cappelli and 3 Cards with Brandon Seabrook, Stomu Takeishi				• Chad Lefkowitz-Brown Quartet• Keyon Harrold

Barbès 7 pm $15
Birdland Theater 8:30 pm $20-30
Blue Note 8, 10:30 pm $30-45

Saturday, October 16êRyan Siegel, Ben Eidson, Yinghao Tan, Gary Jones; Jonathan Moritz, Sean Ali,

Flin Van Hemmen; Stephen Gauci, Adam Lane, Colin Hinton; Francesco Marcocci,
Daniel Blake, Francisco Mela; Sana Nagano’s Atomic Pigeons with Wendy Eisenberg,
Nick Jozwiak, Danny Sher, Peter Apfelbaum
		
Bushwick Public House 7 pm $15êJames Brandon Lewis, Patrick Holmes, Josh Werner, Ches Smith; Afro Algonquin Trio:
Lee Mixashawn Rozie, Rick Rozie, Pheeroan akLaff; William Hooker Trio with JD Parran,Hilliard Greene
Clemente Soto Velez Cultural Center 7 pmêPasquale Grasso
Mezzrow 10:30 pm 12 am $20• Joe Farnsworth
Smalls 7:30, 9 pm $20• Michael O’Brien Quintet
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8:30, 10:30 pm $40

Tuesday, October 12êMichael Attias’ Lumisong with Santiago Leibson, Matt Pavolka, Mark Ferber		
Bar Lunàtico 9 pm $10êSam Weinberg Trio with Chris Lightcap, Tom Rainey
		Barbès 7 pm
• John Pizzarelli Trio
Birdland 8:30, 11 pm $40-50êRobert Glasper Tribute to Wayne Shorter with Marcus Strickland, Kendrick Scott,Keyon Harrold, Vicente Archer Blue Note 8, 10:30 pm $40-55• The Count Basie Big Band Legacy: Manhattan School of Music Jazz Orchestra
conducted by Jon Faddis
Manhattan School of Music Neidorff-Karpati Hall 7:30 pm• Naama Gheber Trio with Bruce Barth, Paul Sikivie		Mezzrow 7:30, 9 pm $20
êMark Whitfield
Smalls 7:30, 9 pm $20
êJamie Baum Septet with Jonathan Finlayson, Aaron Irwin, Chris Komer, Brad Shepik,
John Escreet, Ricky Rodriguez, Jeff Hirshfield		Soapbox Gallery 8 pm $25
êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40

Wednesday, October 13êDave Ambrosio Quintet with Donny McCaslin, Duane Eubanks, Bruce Barth,

Victor Lewis

Bar Bayeux 8, 9:30 pmêTony Scherr Trio with Michael Blake Bar Lunàtico 9 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5 pm $20-30• John Pizzarelli Trio
Birdland 8:30, 11 pm $40-50• Tony Glausi Quartet
Birdland Theater 8:30 pm $20-30êRobert Glasper Tribute to Wayne Shorter with Marcus Strickland, Kendrick Scott,Keyon Harrold, Vicente Archer Blue Note 8, 10:30 pm $40-55
êDelvon Lamarr Organ Trio; Roosevelt Collier Band		
Brooklyn Bowl 8 pm $20• Paul Sikivie
Cellar Dog 7 pm $10• Elio Villafranca and The Jass Syncopators
		Chelsea Table & Stage 7, 9:30 pm $35
êDave Burrell solo; Mara Rosenbloom’s None Labyrinth with Melanie Dyer, Sean Conly,
Michael T.A. Thompson; Alexis Marcelo/James Brandon Lewis
		
Clemente Soto Velez Cultural Center 7 pmêCindy Blackman Santana Band with Marc Cary, Felix Pastorius, David Gilmore,
Aurelien Budynek, Emilio ModesteThe Cutting Room 7 pm $35-40• Louis Armstrong Legacy Jazz JamFlushing Town Hall 7 pm $10• Billy Test; Saul Rubin
Mezzrow 7:30, 9, 10:30 pm 12 am $20
êLew TabackinMichiko Studios 7 pm $20• Ray Blue Organ Quartet
New Amsterdam Musical Association 7 pm
• Judi Marie Canterino
Pangea 9 pm $25
êJaimie Branch/Carol Szymanski Park Avenue Armory 7, 9 pm $45
êSteph Richards Supersense with James Carney, Brandon Lopez, Max Jaffe;Sounds for Butch & Dino: Steph Richards with Brandon Ross, Amy Cimini,
Doug Wieselman, Sarah Schoenbeck and guests		Roulette 8 pm $25• Dan Pratt
Smalls 7:30, 9 pm $20• Duduka Da Fonseca Quarteto Universal with Helio Alves, Gili Lopes, Vinicius Gomes
		
Terraza 7 7 pm $5êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40

Thursday, October 14• John Pizzarelli Trio
Birdland 8:30, 11 pm $40-50• Fleur Seule
Birdland Theater 8:30 pm $20-30• Robert Glasper and Meshell Ndegeocello		Blue Note 8, 10:30 pm $45-65• Avi Rothbard
Cellar Dog 7 pm $10êAngelica Sanchez Trio with Michael Formanek, Mike Sarin; Matthew Shipp solo;
Lafayette Gilchrist/Fay Victor
Clemente Soto Velez Cultural Center 7 pm
• The Secret Trio: Ara Dinkjian, Tamer Pinarbasi, Ismail Lumanovski
		Drom 7 pm $20• Edmar Castañeda with Andrea Tierra, Shlomi Cohen, Rodrigo Villalon				
Dizzy’s Club 7:30, 9:30 pm $40
êBill Frisell Trio with Tony Scherr, Kenny Wollesen		Industry City 7:30 pm $53• Emma Frank with Chris Morrissey, Grey McMurray, Marta Sanchez
		
The Jazz Gallery 7:30, 9:30 pm $15-25• Dan Tepfer; Sean Mason
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Daniel Rossi
Rockwood Music Hall Stage 3 10:30 pm $10êMike Zilber, Mike Clark, Leon Lee Dorsey, Jon Davis		
Smalls 7:30, 9 pm $20• Lauren Henderson
Soapbox Gallery 8 pm $25
êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40

Friday, October 15êJoel Frahm Trio with Dan Loomis, Ernesto Cervini

		55Bar 9:30 pm• Pedro Giraudo Tango Quartet Barbès 8 pm $20• Birdland Big Band
Birdland 5 pm $20-30• John Pizzarelli Trio
Birdland 8:30, 11 pm $40-50• Robert Glasper and Meshell Ndegeocello		Blue Note 8, 10:30 pm $45-65• Richard Clements; Victor Gould Cellar Dog 7, 11:30 pm $10• Samuel Torres
Chelsea Table & Stage 7 pm $35• Chembo Corniel Quintet
Chelsea Table & Stage 9:30 pm $35
êTrioPlex: Cooper-Moore, Ken Filiano, Michael T.A. Thompson;Eri Yamamoto Double Drums with Matt Lavelle, Ikuo Takeuchi, Jackson Hillmer;
D.D. Jackson/Curtis Stewart
Clemente Soto Velez Cultural Center 7 pmêMike LeDonne Trio with Ron Carter, Joe Farnsworth		Dizzy’s Club 7:30, 9:30 pm $45
êDave Scott Quintet with Rich Perry, Gary Versace, John Hébert, Billy Mintz;
Dave Scott Violin Band with Sarah Bernstein, Jacob Sacks, Steve Cardenas,
John Hébert, Mark FerberGreenwich House Music School 7:15 pm
êRoy Hargrove Tribute: Jason Marshall Big Band		The Jazz Gallery 7:30, 9:30 pm $40-50• Sam Yahel; Steve Ash
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Dan Montgomery; Ed Cherry Trio Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Kenneth Jimenez
Scholes Street Studio 8 pm
• Dave Stryker Trio with Jared Gold, Mark Whitfield, Jr.
		
Smalls 7:30, 9 pm $20• Oriente Lopez’ Carambola with Felipe Lamoglia, Roman Díaz		
Terraza 7 8 pm $5êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40• John Pizzarelli Trio
Birdland 8:30, 11 pm $40-50• Robert Glasper and Meshell Ndegeocello		Blue Note 8, 10:30 pm $45-65• Saul Rubin; Jon Roche
Cellar Dog 7, 11:30 pm $10• Joe Pino Quintet
Chelsea Table & Stage 9:30 pm $35
êMike LeDonne Trio with Ron Carter, Joe Farnsworth		Dizzy’s Club 7:30, 9:30 pm $45• MAW Trio: Frank Meadwos, Jessica Ackerley, Eli Wallace		
Downtown Music Gallery 6:30 pm
êEd Neumeister Quartet with Gary Versace, Chris Tordini, Tom Rainey;
Curtis Hasselbring Ensemble
Ibeam Brooklyn 8 pm $15êRoy Hargrove Tribute: Jason Marshall Big Band		The Jazz Gallery 7:30, 9:30 pm $40-50• Russell Malone/Pete Bernstein; Anthony Wonsey		Mezzrow 7:30, 9, 10:30 pm 12 am $20• Steve Cimino solo
Queens Theatre in Flushing Meadow Corona Park 2:30 pmêStephen Gauci, Tony Malaby, Eivind Opsvik, Billy Mintz
		
Scholes Street Studio 8, 9:30 pm $15êPalladirum
Smalls 7:30, 9 pm $20• Hayes Greenfield/Dean Johnson Soapbox Gallery 8 pm $25
êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40

Sunday, October 17• Ben Monder, Theo Bleckmann, Tom Rainey		Bar Lunàtico 9 pm $10êStephane Wrembel
Barbès 9 pm $20• Jared Schonig Big Band
Birdland 5 pm $20-30êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 7 pm $20-30• Robert Glasper and Meshell Ndegeocello		Blue Note 8, 10:30 pm $45-65• Jade Synstelien
Cellar Dog 7 pm $10êSamara Joy and Pasquale Grasso Trio with Ari Roland, Keith Balla		
Dizzy’s Club 7:30, 9:30 pm $35• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pmêLauren Sevian’s LSQ with Helen Sung, Marcos Varela, E.J. Strickland				
Flushing Town Hall 2:30 pm $5• Queen Esther’s Gild the Black Lily Joe’s Pub 8 pm $20• Ron Afiff
Mezzrow 7:30, 9 pm $20• Jane Irving Trio with Ron Affif, Kevin Hailey
		North Square Lounge 12:30, 2 pm
• Melissa Stylianou
Saint Peter’s Church 5 pm
• Jerry Weldon
Smalls 7:30, 9 pm $20• Pablo Lanouguere Sextet with Meg Okura, Federico Diaz, Emilio Teubal, Franco Pinna,
Juana Luna
Soapbox Gallery 8 pm $25
êNew Masada Quartet: John Zorn, Julian Lage, Jorge Roeder, Kenny Wollesen		
Village Vanguard 3 pm $40
êAmbrose Akinmusire dayones + with Walter Smith III, Micah Thomas, Matt Brewer,
Marcus Gilmore
Village Vanguard 8:30, 10:30 pm $40

Monday, October 18• Omar Kamal with Mike Fahie, Sam Dillon, Mark Lewandowski, Addison Frei,
Matt Chertkoff, Willie Jones III

The Appel Room 7 pm $55-175

ê”Swing n’ Dix”: Jeff Lederer, Kirk Knuffke, Bob Stewart, Matt Wilson

		
Bar Lunàtico 8:30, 10 pm $10• Dominick Farinacci Quartet
Birdland 8:30pm $20-30• Aron Namenwirth, Claire de Brunner, Marlon Cherry; Michael Larocca, Kaelen Ghandhi,
Jonathan Milberger, Aaron Rubinstein, Caleb Duval; Stephen Gauci, Adam Lane,
Colin Hinton; Ander Nilsson, Jeremy Carlstedt and guest; Max Johnson/Sam Newsome
		Bushwick Public House 7 pm $15• Oscar Hernandez and Alma Libre Chelsea Table & Stage 7, 9:30 pm $35
êPasquale Grasso
Mezzrow 10:30 pm 12 am $20
êElla, Billie, Sarah, Dinah, Carmen and Nancy Too!—The Legendary Ladies Of Jazz & Blues:
Alyson Williams & Nat Adderley, Jr. National Arts Club 6 pm
• Yuhan Su
Scholes Street Studio 8 pm
• Eric Alexander
Smalls 7:30, 9 pm $20• Pedro Giraudo Big Band
Terraza 7 7 pmêVanguard Jazz Orchestra
Village Vanguard 8:30, 10:30 pm $40

Tuesday, October 19• Robert Glasper/Terrace Martin

Blue Note 8, 10:30 pm $40-55
Le Poisson Rouge 8 pm $25-35
Mezzrow 7:30, 9 pm $20
Smalls 7:30, 9 pm $20
êBriggan Krauss Pollinator with Valerie Trucchia, Sara Schoenbeck, Tony Scherr		
Soapbox Gallery 8 pmêFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40
êCyrille Aimée• Sasha Dobson• Steve Nelson

Wednesday, October 20

êEJ Strickland Quintet
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5 pm $20-30• Robert Glasper/Terrace Martin Blue Note 8, 10:30 pm $40-55• Greg Glassman
Cellar Dog 7 pm $10• Abel Mireles Group
Chelsea Table & Stage 7 pm $35• Sean Fyfe; Sullivan Fortner
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Judy Niemack
Pangea 9 pm $25• Matt Muntz’ Makropsyas with Yuma Uesaka, Pablo O’Connell, Xavier Del Castillo,
Alec Goldfarb, Michael Larocca; Utsav Lal solo
		
Scholes Street Studio 7 pm
• Will Bernard Trio with Sam Yahel, Donald Edwards
		
Smalls 7:30, 9 pm $20• Jim Ridl
Soapbox Gallery 8 pm $25
êFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40

Thursday, October 21• Duduka Da Fonseca Quarteto Universal with Helio Alves, Gili Lopes, Vinicius Gomes		
Bar Lunàtico 9 pm $10• Robert Glasper/Terrace Martin Blue Note 8, 10:30 pm $40-55
êBRIC Jazzfest: Cécile McLorin Salvant; Kurt Elling’s SuperBlue with Charlie Hunter;
Sean Jones; Yasser Tejeda; Sasha Berliner; Adam O’Farrill Stranger Days
		
BRIC House Ballroom 7 pm $35
êDezron Douglas
Cellar Dog 7 pm $10êChristian Sands Trio with Yashushi Nakamura, Ryan Sands
		
Dizzy’s Club 7:30, 9:30 pm $40• Hannah Marks’ Outsider, Outlier Band with Sarah Rossy, Nathan Reising, Lex Korten,
Evan HydeThe Jazz Gallery 7:30, 9:30 pm $15-25• Simona Premazzi; Willerm Delisfort Mezzrow 7:30, 9, 10:30 pm 12 am $20• Allison Philips Trio with Max Johnson, Connor Parks
		
Scholes Street Studio 8:30 pm• David Gilmore
Smalls 7:30, 9 pm $20• Vicki Burns Trio with Art Hirahara, Sam Bevan		
Soapbox Gallery 8 pm $25
êKris Davis Quartet with Milena Casado Fauque, Ben Street, Nasheet Waits		
The Stone at The New School 8:30 pm $20• Pedro Giraudo Tango Quartet Terraza 7 7 pmêFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 33

100 MILES OUT
10/1 (8 pm) Raul Midón Caramoor Jazz Katonah, NY www.caramoor.org
10/1 (8/9:30 pm) Mike Boone’s Latin Tinge Chris’ Jazz Café Philadephia, PA
www.chrisjazzcafe.com
10/1 (7 pm) Bill Mays Trio with Dean Johnson, Ron Vincent Deer Head Inn
Delaware Water Gap, PA www.deerheadinn.com
10/1 (11 am-7 pm) Chris Botti; Revive Big Band; Big Chief Donald Harrison& Congo Square Nation; Buster Williams & Something More;
Nicholas Payton Trio, Samara Joy Exit Zero Jazz Festival Cape May, NJ
www.exitzerojazzfestival.com
10/1 (8:30 pm) Albert Rivera Electric Quintet Firehouse 12 New Haven, CT
www.firehouse12.com
10/1-10/2 (7/9:30 pm) George Coleman Quartet with Mike LeDonne,
Alex Claffy, Joe Farnsworth Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/1 (8 pm) Pete Levin Trio Maureen’s Jazz Cellar Nyack, NY
www.maureensjazzcellar.com
10/1 (8 pm) Sullivan Fortner solo Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/2 (3:30-7:30 pm) Chris Beck Quartet Candlelight Lounge Trenton, NJ
www.jazztrenton.com
10/2 (8/9:30 pm) Benny Benack III Quintet with Anaïs Reno Chris’ Jazz Café
Philadephia, PA www.chrisjazzcafe.com
10/2 (7 pm) Lewis Porter with Ray Suhy Deer Head Inn
Delaware Water Gap, PA www.deerheadinn.com
10/2 (7:30 pm) La Pompe Attach with Doug Munro Elk’s Lodge Ossining, NY
www.jazzatthelodge.com/shows
10/2 (11 am-7 pm) Dee Dee Bridgewater with Memphis Soul Symphony;
Terence Blanchard E-Collective; Turtle Island Quartet; Raul Midón/
Lionel Loueke; Captain Black Big Band; Nate Smith Kinfolk;
Martina DaSilva; Francis Mbappe & FM Tribe Exit Zero Jazz Festival
Cape May, NJ www.exitzerojazzfestival.com
10/2 (8 pm) Nelson Riveros Quartet with Hector Martignon, Andy McKee,
Richie Morales Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
10/2 (8 pm) Greg Abate Quartet Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/2-10/3 (6:30 pm) Emily Braden South Jazz Club Philadelphia, PA
www.southjazzkitchen.com
10/2 (7 pm) Ed Palermo The Falcon Marlboro, NY www.liveatthefalcon.com
10/2 (8 pm) Sun Ra Arkestra World Café Philadelphia, PA
www.worldcafelive.com/#opening/2
10/3 (11 am -7 pm) Paquito D’Rivera Quintet; Jazzmeia Horn;
Kenny Garrett Quintet; Maurice “Mobetta” Brown; Terreno Comum;
Phillybloco; Pat Bianchi Trio Exit Zero Jazz Festival Cape May, NJ
www.exitzerojazzfestival.com
10/3 (4/6 pm) Sue Maskaleris Quartet; (8 pm) Jam Session with David Janeway
Jazz Forum Arts Tarrytown, NY www.jazzforumarts.org
10/3 (4 pm) Buster Williams and Some More Quartet with George Colligan,
Steve Wilson, Lenny White William Paterson University Wayne, NJ
www.wpunj.edu/wppresents
10/4 (9 pm) Two Sisters, Inc. with Claire Daly, Dave Sewelson, Dave Hofstra,
Michael Sarin Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
10/6 (7 pm) Philly Music Fest with Moor Mother, Irreversible Entanglements
World Café Philadelphia, PA www.worldcafelive.com/#opening/2
10/7 (7 pm) Karl Latham Quartet Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/8-10/9 (8/9:30 pm) Joey Alexander Chris’ Jazz Café Philadephia, PA
www.chrisjazzcafe.com
10/8 (7 pm) Giacomo Gates Deer Head Inn Delaware Water Gap, PA
www.deerheadinn.com
10/8 (8:30 pm) Mary LaRose “Out Here: The Music of Eric Dolphy” with
Jeff Lederer, Patricia Brennan, Nick Dunston, Matt Wilson Firehouse 12
New Haven, CT www.firehouse12.com
10/8-10/9 (7/9:30 pm) Dave Stryker with Joe Doubleday, Jared Gold,
McClenty Hunter Jazz Forum Arts Tarrytown, NY www.jazzforumarts.org
10/8 (8 pm) EJ Strickland Quintet Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/8-10/9 (7 pm) Jazz Loft Big Band with Danny Bacher The Jazz Loft
Stony Brook, NY www.thejazzloft.org
10/9 (8 pm) Marc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches Smith
ArsNova Philadelphia, PA www.arsnovaworkshop.org
10/9 (7 pm) Alan Broadbent Trio with Harvie S, Michael Stephans
Deer Head Inn Delaware Water Gap, PA www.deerheadinn.com
10/9 (7:30 pm) Mary LaRose Ensemble: “Out Here, The Music of Eric Dolphy”
Institute for the Musical Arts Goshen, CT www.ima.org
10/9 (8 pm) Judy Wexler with Jim Ridl, Bill Moring, Tim Horner
Side Door Old Lyme, CT www.oldlymeinn.com/TheSideDoorJazzClub.html
10/10 (5 pm) Bennie Wallace and Friends with Terell Stafford, Godwin Louis,
Donald Vega, Peter Washington, Herlin Riley Back Country Jazz
Greenwich, CT www.backcountryjazz.org
10/10 (5 pm) Mike Holober/Marvin Stamm Quartet with Mike McGuirk,
Dennis Mackrel Deer Head Inn Delaware Water Gap, PA www.deerheadinn.com
10/10 (5 pm) Nelson Riveros Latin Jazz Quartet Englewood Public Library
Englewood, NJ www.englewoodlibrary.org
10/10 (4 pm) Arnaldo Buzack Quartet Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/10 (6 pm) Giacomo Gates PJS Jazz Society Mount Vernon, NY
www.pjsjazz.org
10/10 (4 pm) Russell Malone Quartet with Rick Germanson, Vince Dupont,
Neal Smith William Paterson University Wayne, NJ www.wpunj.edu/wppresents
10/12 (7 pm) Pierre Cornilliat Trio Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/12 (8:30 pm) Larry McKenna with Strings World Café Philadelphia, PA
www.worldcafelive.com/#opening/2
10/13 (6:30 pm) Walnut Hill Jazz Series presents Andrew Wilcox Sextet
New Britain Museum of American Art New Britain, CT
www.nbmaa.org/events/walnut-hill-jazz-series-2021
10/13 (6:45 pm) Steve Myerson Trio Shanghai Jazz Madison, NJ
www.shanghaijazz.com
10/14 (7 pm) Champian Fulton Quartet Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/14 (8 pm) Delvon Lamarr Organ Trio, Jazz Jam with Omar’s Hat
World Café Philadelphia, PA www.worldcafelive.com/#opening/2
10/14 (5 pm) Jerry Weldon Trio Zimmerli Art Museum New Brunswick, NJ
www.nbjp.org
10/15 (8 pm) Isaiah J. Thompson Quartet Caramoor Jazz Katonah, NY
www.caramoor.org
10/15 10/16 (8/9:30 pm) Christian Sands Trio Chris’ Jazz Café Philadephia, PA
www.chrisjazzcafe.com

10/15 (8:30 pm) Dezron Douglas Quartet with George Burton, Joe Dyson,
Emilio Modeste Firehouse 12 New Haven, CT www.firehouse12.com
10/15-10/16 (7/9:30 pm) Joe Lovano Quartet Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/15 (8 pm) Richard Sussman Group Maureen’s Jazz Cellar Nyack, NY
www.maureensjazzcellar.com
10/15 (7:30 pm) Tierney Sutton + Ann Hampton Calloway NJPAC Newark, NJ
www.njpac.org
10/15 (7 pm) Alexis Cole Duo Palace Theater Poli Club Waterbury, CT
www.palacetheaterct.org/shows/jazz/
10/15-10/16 (8 pm) Javon Jackson & Friends Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/15 10/16 (7 pm) Minas presents “Getz & Gilberto” with Andrew Neu
South Jazz Club Philadelphia, PA www.southjazzkitchen.com
10/16 (3:30-7:30 pm) Aaron Graves, Byron Landham, Mike Boone
Candlelight Lounge Trenton, NJ www.jazztrenton.com
10/16 (7 pm) Joel Frahm Trio with Dan Loomis, Ernesto Cervini
Deer Head Inn Delaware Water Gap, PA www.deerheadinn.com
10/16 (7:30 pm) KJ Denhert Jazz Project Elk’s Lodge Ossining, NY
www.jazzatthelodge.com/shows
10/16 (8 pm) Joe Morris/Mat Maneri Elysium Furnace Works, Howland Cultural
Center Beacon, NY www.facebook.com/elysiumfurnaceworks
10/16 (7 pm) “A Love Supreme: Celebrating the Legacy of Alice &John Coltrane”: . Orrin Evans Trio with Luques Curtis, Mark Whifield, Jr.
Hudson Hall Hudson, NY www.hudsonhall.org
10/16 (6 pm) Dave Stryker Quartet with Joe Doubleday, Jared Gold,
Mark Whitfield, Jr. Kean University Jazz and Roots Festival Union, NJ
10/16 (7 pm) Jimmy Madison and Friends Lydia’s Café Stone Ridge, NY
www.lydias-cafe.com
10/16 (8 pm) Evan Arntzen/Conal Fowkes Maureen’s Jazz Cellar Nyack, NY
www.maureensjazzcellar.com
10/17 (5 pm) Walt Bibinger/Gary Mazzaroppi Deer Head Inn
Delaware Water Gap, PA www.deerheadinn.com
10/17 (2-4 pm) Bob Meyer Trio with Steve Frieder, Bryan Copeland
Hendrick Hudson Free Library Lawn Montrose, NY www.henhudfreelibrary.org
10/17 (4/6 pm) Helio Alves Quartet Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/17 (7 pm) Thana Alexa The Falcon Marlboro, NY www.liveatthefalcon.com
10/17 (8 pm) Tuck & Patti; Christian McBride New Jawn World Café
Philadelphia, PA www.worldcafelive.com/#opening/2
10/18 (9 pm) Pete Levin Trio with Mike DiMicco, Jeff “Siege” Siegel
Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
10/19 (7 pm) Matt Renzi Trio Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/20 (8 pm) Arooj Aftab with Emily Wells World Café Philadelphia, PA
www.worldcafelive.com/#opening/2
10/21 (7:30 pm) Teri Roiger with Pete Malinverni, Gary Smulyan
Jazzstock @ Senate Garage Kingston, NY www.jazzstock.com
10/21 (7 pm) Radam Schwartz Quartet Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/21 (7 pm) Bad Little Big Band with Rich Iacona, Madeline Cole
The Jazz Loft Stony Brook, NY www.thejazzloft.org
10/22 (7 pm) Brian Lynch All Star Quintet with Jim Snidero, Orrin Evans,
Boris Kozlov, Donald Edwards Deer Head Inn Delaware Water Gap, PA
www.deerheadinn.com
10/22 (8:30 pm) Steven Bernstein’s Spanish Fly with David Tronzo,
Marcus Rojas Firehouse 12 New Haven, CT www.firehouse12.com
10/22-10/23 (7/9:30 pm) Alexis Cole Trio Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/22 (8 pm) Akiko Tsuruga/Joe Magnarelli Quartet with Charlie Sigler,
Jason Tiemann Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
10/22 (8 pm) Ken Peplowski Quartet Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/22-10/23 (7/9:30 pm) Cyrille Aimée South Jazz Club Philadelphia, PA
www.southjazzkitchen.com
10/23 (3:30-7:30 pm) Radam Schwartz/Laars Haake Quartet
Candlelight Lounge Trenton, NJ www.jazztrenton.com
10/23 (7 pm) Five Play Deer Head Inn Delaware Water Gap, PA
www.deerheadinn.com
10/23 (8 pm) Fay Victor’s SoundNoiseFUNK with Sam Newsome, Joe Morris,
Reggie Nicholson; Dan Blacksberg’s Snake Lines with Matt Engle,
Maya Keren, Nazir Ebo Fire Museum Icebox Project Space Philadelphia, PA
www.firemuseumpresents.com
10/23 (8 pm) Nick Finzer Hear and Now Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/24 (7 pm) The Klezmatics with Frank London The Falcon Marlboro, NY
www.liveatthefalcon.com
10/24 (4 pm) Art Farmer Tribute Quintet: Geoffrey Keezer, Ron Blake,
Kenny Davis, Yoron Israel, Jeremy Pelt William Paterson University Wayne, NJ
www.wpunj.edu/wppresents
10/25 (7 pm) Ron Horton Trio Lydia’s Café Stone Ridge, NY www.lydias-cafe.com
10/25 (9 pm) Adam Lane Trio with Nick Lyons, Vijay Anderson
Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
10/28 (6:45 pm) Adrian Cunningham Shanghai Jazz Madison, NJ
www.shanghaijazz.com
10/28 (7 pm) Bruce Williams Quartet Tavern on George New Brunswick, NJ
www.tavernongeorge.com
10/29 (8:30 pm) Chris Dingman Trio with Keith Witty, Rudy Royston
Firehouse 12 New Haven, CT www.firehouse12.com
10/29-10/30 (7/9:30 pm) Lew Tabackin Trio Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org
10/29 (8 pm) Tim Armacost Quartet Maureen’s Jazz Cellar Nyack, NY
www.maureensjazzcellar.com
10/29-10/30 (8 pm) Mike LeDonne’s Groover Quartet Side Door Old Lyme, CT
www.oldlymeinn.com/TheSideDoorJazzClub.html
10/30 (3:30-7:30 pm) James Stewart/Lee Smith Quartet Candlelight Lounge
Trenton, NJ www.jazztrenton.com
10/30 (7:30 pm) Tom Kohl Trio Elk’s Lodge Ossining, NY
www.jazzatthelodge.com/shows
10/30 (8 pm) Santi Debriano Trio with Bill O’Connell, Tommy Campbell
Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
10/31 (5 pm) Horizons Quartet: Dan Wilkins, James Collins, Gene Perla,
Jimmy Macbride Deer Head Inn Delaware Water Gap, PA
www.deerheadinn.com
10/31 (4/6 pm) Freddie Bryant Quartet Jazz Forum Arts Tarrytown, NY
www.jazzforumarts.org

34 OCTOBER 2021 | THE NEW YORK CITY JAZZ RECORD

Friday, October 22êKamasi Washington

Beacon Theatre 8 pm $39.50-131
Birdland 5 pm $20-30
Blue Note 8, 10:30 pm $40-55
êBRIC Jazzfest: Sun Ra Arkestra; Roy Nathanson/Nick Hakim; Hailu Mergia;
Thana Alexa and ONA; Stas THEE Boss; Adi Meyerson
		
BRIC House Ballroom 7 pm $35
êMike LeDonne; Clovis Nicholas Cellar Dog 7, 11:30 pm $10êChristian Sands Trio with Yashushi Nakamura, Ryan Sands
		
Dizzy’s Club 7:30, 9:30 pm $45• Sweet Megg and Ricky Alexander Littlefield 8 pm $15êGeorge Cables; Jon Davis
Mezzrow 7:30, 9, 10:30 pm 12 am $20
êJoe Farnsworth Quartet
Minton’s 8, 10 pm $20• Rasmus Sørensen/Hamish Smith Red Room at KGB Bar 9 pmêSarah Hanahan Trio
Room 623 at B2 Harlem 10 pm $20• Brandon Lee
Smalls 7:30, 9 pm $20• Gabrielle Stravelli Quintet with Tim Armacost, Art Hirahara, Pat O’Leary, Eric Halvorson		Soapbox Gallery 8 pm $25
êKris Davis Trio with Stephan Crump, Johnathan Blake		The Stone at The New School 8:30 pm $20
êFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40• Birdland Big Band• Robert Glasper/Terrace Martin

Saturday, October 23• Robert Glasper/Terrace Martin

Blue Note 8, 10:30 pm $40-55

êBRIC Jazzfest: Brooklyn Jam Session led by Louis Cato; Madison McFerrin;

Fred Wesley and The New JBs; Linda Diaz; L’Rain; c’est tois: Jaimie Branch,
Luke Stewart, Tcheser Holmes
BRIC House Ballroom 7 pm $35• Abraham Burton; Steve Ash
Cellar Dog 7, 11:30 pm $10êChristian Sands Trio with Yashushi Nakamura, Ryan Sands
		
Dizzy’s Club 7:30, 9:30 pm $45• Cheryl Pyle Beyond Flute Group with Claire de Brunner, Michael Eaton,
Haruna Fukazawa, Gene Coleman Downtown Music Gallery 6:30 pm• Dayramir González and Habana enTRANCé		
Flushing Town Hall 7 pm $20
êCatalytic Sound Festival: Bonnie Jones; Cecilia Lopez; Ikue Mori/Zeena Parkins;
Joe McPhee
Fridman Gallery 7 pm $25
êGeorge Cables; Davi Kikoski
Mezzrow 7:30, 9, 10:30 pm 12 am $20• Bryan Lynch
Smalls 7:30, 9 pm $20
êKris Davis, Mary Halvorson, Noah Garabedian, Kenny Wollesen
		
The Stone at The New School 8:30 pm $20• Carol Sudhalter Astoria Jazz Band Sunnyside Reformed Church 3 pmêFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40

Sunday, October 24êStephane Wrembel

Barbès 9 pm $20
Birdland 5 pm $20-30êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 7 pm $20-30• Benny Benack III Quartet
Birdland Theater 8:30 pm $20-30• Robert Glasper/Terrace Martin Blue Note 8, 10:30 pm $40-55• Ehud Asherie
Cellar Dog 7 pm $10• Ashley Pezzotti with Sean Mason, Alex Claffy, Joe Farnsworth		Dizzy’s Club 7:30, 9:30 pm $35• Yui Kitamura and Mark Wade Trio Flushing Town Hall 2:30 pm $10êCatalytic Sound Festival: Fred Lonberg-Holm, Karen Borca, Michael Wimberly;
Nava Dunkelman/Gabby Fluke-Mogul; Fred Moten, Gerald Cleaver, Brandon Lopez;
Chris Corsano/Patrick Holmes Fridman Gallery 7 pm $25• Michael Kanan
Mezzrow 7:30, 9 pm $20• Duduka Da Fonseca Quarteto Universal with Helio Alves, Gili Lopes, Vinicius Gomes
		
Minton’s 8, 10 pm $20• Brenda Earle Stokes Trio with Gary Wang, Ross Pederson
		North Square Lounge 12:30, 2 pm
• Melissa Stylianou
Saint Peter’s Church 5 pm
• PinkNoise: Simon Kanzler, Johnna Wu, Issei Herr, Han Chen, Roberta Michel,
Eric Umble
Scholes Street Studio 7 pm
• Richie Vitale/Frank Basilie Band Smalls 7:30, 9 pm $20
êNew Masada Quartet: John Zorn, Julian Lage, Jorge Roeder, Kenny Wollesen		
Village Vanguard 3 pm $40
êFred Hersch/Julian Lage
Village Vanguard 8:30, 10:30 pm $40• Jennifer Wharton’s Bonegasm

Monday, October 25• Bewitched—The Life and Lyrics of Lorenz Hart: Karen Oberlin with John Di Martino,
Steve Doyle
Birdland 7 pm $20-30• Sasha Dobson
Birdland Theater 8:30 pm $20-30• Inigo Lasheras, John Murchison, Ken Kobayashi; Bob Gorry, Pete Brunelli,Peter Riccio; Stephen Gauci, Adam Lane, Colin Hinton; Juan Pablo Carletti’s Biggish
with Yoni Kretzmer, Charlotte Greve, Rick Parker, Kenny Warren, Kenneth Jimenez,
Ben Stapp, Jake Henry; David Aaron, Nick Panoutsos, David Gould
		
Bushwick Public House 7 pm $15êSheila Jordan; Pasquale Grasso Mezzrow 7:30, 9, 10:30 pm 12 am $20
êVanguard Jazz Orchestra
Village Vanguard 8:30, 10:30 pm $40

Tuesday, October 26êThe Django Festival: Dorado, Samson and Amati Schmitt, Pierre Blanchard,

Ludovic Beier, Francko Mehrstein, Gino Roman and guest Ken Peplowski				Birdland 7, 9:30 pm $40-50• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed		
Joe’s Pub 8 pm $10-35êSamara Joy
Mezzrow 7:30, 9 pm $20
êChes Smith and We All Break with Sirene Dantor Rene, Lalin St Juste, Tossie Long,
Miguel Zenón, Matt Mitchell, Nick Dunston, Daniel Brevil, Markus Schwartz,
Fanfan Jean Guy Rene
Roulette 8 pm $25• Jason Cady Ensemble
Scholes Street Studio 7 pm
• Zach Brock
Soapbox Gallery 8 pm $25
êRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

Wednesday, October 27• Noah Garabedian Quartet with Dayna Stephens, Carmen Staaf, Jimmy Macbride		Bar Bayeux 8, 9:30 pmêNick Dunston’s Atlantic Extraction Bar Lunàtico 9 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5 pm $20-30êThe Django Festival: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman and guest Samara Joy		
		
Birdland 7 pm $40-50• Larry Fuller Trio
Birdland 8:30pm $20-30• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75
êJohnny O’Neal
Cellar Dog 7 pm $10• Yaniv Taubenhouse Trio with Rick Rosato, Jerad Lippi
		
Chelsea Table & Stage 7 pm $35
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed		
Joe’s Pub 8 pm $10-35• Adrian Cunningham
Mezzrow 7:30, 9 pm $20• Mary Foster Conklin
Pangea 9 pm $25• Charmaine Lee solo and with Joanna Mattrey, Lester St. Louis		
Roulette 8 pm $25
êMatt Haviland Quartet with Mike Holober, Cameron Brown, Tony Jefferson				
Smalls 7:30, 9 pm $20
êReggie Workman
Soapbox Gallery 8 pm $25• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio		Terraza 7 7 pmêRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

Thursday, October 28êThe Django Festival: Dorado, Samson and Amati Schmitt, Pierre Blanchard,

Ludovic Beier, Francko Mehrstein, Gino Roman and guest Ingrid Jensen				
Birdland 7, 9:30 pm $40-50• Anaïs Reno with Emmet Cohen Trio		
Birdland Theater 8:30 pm $20-30• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75• Grant Stewart
Cellar Dog 7 pm $10• Richie Goods Project
Chelsea Table & Stage 7 pm $35
êJeremy Pelt’s Griot: This is Important with Chien Chien Lu, Victor Gould, Vicente Archer,
Allan Mednard, Ismel Wignall
Dizzy’s Club 7:30, 9:30 pm $40• Pedrito Martinez
Drom 8 pm $30
êProgressive Chamber Music Festival: Kathleen Supové/Jennifer Choi; Gregor Huebner
El Violon Latino; Mat Maneri, Craig Taborn, Randy Peterson
		
The Garage 7 pm $25
êJay Clayton 80th Birthday Celebration with Ed Neumeister, Gary Versace,
Jay Anderson, Billy Drummond The Jazz Gallery 7:30, 9:30 pm $25-35
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed		
Joe’s Pub 8 pm $10-35• Jeremy Manasia; Jon Elbaz
Mezzrow 7:30, 9, 10:30 pm 12 am $20
êInterpretations: Roscoe Mitchell Roulette 8 pm $20• Alex Wintz Quintet with Lucas Pino, Miki Yamanaka, Dave Baron, Jimmy Macbride		
Smalls 7:30, 9 pm $20• Roseanna Vitro’s Sing a Song of Bird
		
Soapbox Gallery 8 pm $25
êMary Halvorson/Jessica Pavone The Stone at The New School 8:30 pm $20
êRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

Friday, October 29• Clark Gayton• Birdland Big Band

Bar Lunàtico 9 pm $10
Birdland 5 pm $20-30êThe Django Festival: Dorado, Samson and Amati Schmitt, Pierre Blanchard,

Ludovic Beier, Francko Mehrstein, Gino Roman and guest Anaïs Reno				
Birdland 7, 9:30 pm $40-50• Vocal Gumbo: Janis Siegel and Lauren Kinhan		
Birdland Theater 8:30 pm $20-30• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75
êJosh Sinton’s Predicate with Jonathan Finlayson, Christopher Hoffman, Tom Rainey
		
Brooklyn Conservatory of Music 7:30 pm• Corcoran Holt; Jared Gold
Cellar Dog 7, 11:30 pm $10• George Lewis—Recombinant Works 2014 - 2019: Laura Cocks; Seth Parker Woods;
Dana Jessen; String Noise: Conrad Harris and Pauline Kim
		Clemente Soto Velez Cultural Center 8 pm $15-25
êJeremy Pelt’s Griot: This is Important with Chien Chien Lu, Victor Gould, Vicente Archer,
Allan Mednard, Ismel Wignall
Dizzy’s Club 7:30, 9:30 pm $45
êProgressive Chamber Music Festival: Curtis Stewart; Leonor Falcón/Juanma Trujillo;
Billy Martin and Sirius Quartet
The Garage 7 pm $25
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed		
Joe’s Pub 8 pm $10-35êGeoff Keezer Trio with Nicole Glover, Sylvia Cuenca; Ray Gallon		Mezzrow 7:30, 9, 10:30 pm 12 am $20• Rasmus Sørensen/Nicola Caminiti Red Room at KGB Bar 9 pm
• Kali Rodriguez-Peña; Pete Zimmer Trio		
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êBilly Drummond Freedom of Ideas with Dayna Stephens, Micah Thomas,
Dezron Douglas
Smalls 7:30, 9 pm $20• Marianne Solivan Quartet with Leandro Pellegrino, Steve Wood		
Soapbox Gallery 8 pm $25
êMary Halvorson Amaryllis with Adam O’Farrill, Jacob Garchik, Patricia Brennan,
Nick Dunston, Tomas Fujiwara The Stone at The New School 8:30 pm $20
êRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

Saturday, October 30• Standards Revisited: Celebrating the Legacy of Juilliard Jazz		
Alice Tully Hall at Lincoln Center 7:30 pmêThe Django Festival: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman and guest Anaïs Reno				
Birdland 7, 9:30 pm $40-50• Janis Siegel/John DiMartino
Birdland Theater 8:30 pm $20-30• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75
êBrad Shepik Quintet with Mazz Swift, Amino Belyamani, Sam Minaie, John Hadfield		Bronx River Art Center 4 pm
• Saul Rubin; Nicole Glover
Cellar Dog 7, 11:30 pm $10êJeremy Pelt’s Griot: This is Important with Chien Chien Lu, Victor Gould, Vicente Archer,
Allan Mednard, Ismel Wignall
Dizzy’s Club 7:30, 9:30 pm $45• Martin Nevin
The Jazz Gallery 7:30, 9:30 pm $15êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed		
Joe’s Pub 8 pm $10-35êGeoff Keezer/Joe Locke; Anthony Wonsey		Mezzrow 7:30, 9, 10:30 pm 12 am $20• Benny Benack III Quartet
Minton’s 8, 10 pm $20
êRichard M. Powers Centennial Concert: Scott Robinson’s Higher Powers with
Julian Thayer, Pheeroan akLaff, and guests Richard Gid Powers, David Garland		Roulette 8 pm $25
êBilly Drummond Freedom of Ideas with Dayna Stephens, Micah Thomas,
Dezron Douglas
Smalls 7:30, 9 pm $20• Nick Rousseau Quartet with Carlin Lee, Sean Hannon, Anton Kot
		Soapbox Gallery 8 pm $25
êMary Halvorson, Nick Dunston, Henry Mermer
		The Stone at The New School 8:30 pm $20
êRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

Sunday, October 31• Nick Hakim/Roy Nathanson

Bar Lunàtico 9 pm $10êStephane Wrembel
Barbès 9 pm $20
êMigiwa Miyajima and the Miggy Augmented Orchestra with Dan Urness, David Smith,Matt Holman, Rachel Therrien, John Mosca, Jason Jackson, Jennifer Wharton,
Douglas Purviance, Ben Kono, Alejandro Aviles, Sam Dillon, Quinsin Nachoff,
Carl Maraghi, Pete McCann, Jared Schonig
		Birdland 5 pm $20-30êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 7 pm $20-30• The Moipei Triplets
Birdland Theater 8:30 pm $20-30• Robert Glasper Black RadioBlue Note 8, 10:30 pm $55-75• Ned Goold
Cellar Dog 7 pm $10• Roz Corral Trio with Bill Wurtzel, Alex Gressel		North Square Lounge 12:30, 2 pm
• Tabreeca Woodside/Andrew Hartman
		Saint Peter’s Church 5 pmêSatoshi Takeishi/Shoko Nagai
Scholes Street Studio 8 pm
• Alex Hoffman
Smalls 7:30, 9 pm $20
êRavi Coltrane Quartet
Village Vanguard 8:30, 10:30 pm $40

CLU B DI RE CTORY• 54 Below 254 W. 54th Street(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com• 55Bar 55 Christopher Street between Waverly Place and Seventh Avenue South(212-929-9883) Subway: 1, 2 to Christopher Street- Sheridan Squarewww.55bar.com• Alice Tully Hall (at Lincoln Center) 1941 Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Street- Lincoln Center
www.lincolncenter.org• Andrew Freedman Home 1125 Grand Concourse(718-410-6735) Subway: 4, D to 167th Street
www.andrewfreedmanhome.org• The Appel Room 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• Austrian Cultural Forum 11 E. 52nd Street at Madison Avenue(212-319-5300) Subway: 6 to 51st Street www.acfny.org• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues
www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Bargemusic Fulton Ferry Landing
Subway: F to York Street, A, C to High Street www.bargemusic.org• Beacon Theatre 2124 Broadway at 74th Street(212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com• The Bell House 149 7th Street(718-643-6510) Subway: F to 4th Avenue, M, R to 9th Street
www.thebellhouseny.com• Birdland and Birdland Theater 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 to W. 4th Street
www.bluenotejazz.com• BRIC House Ballroom 647 Fulton Street(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street
www.bricartsmedia.org• Brooklyn Bowl 61 Wythe Avenue(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com• Brooklyn Conservatory of Music 58 Seventh Avenue
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org• Bronx River Art Center 1087 East Tremont Avenue(between Boston Road & E. 177th Street) (718-589-5819)
Subway: 5 to East 180th Street www.bronxriverart.org• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets		
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Bushwick Public House 1288 Myrtle Avenue
Subway: G to Myrtle - Willoughby Avenue then B54
www.bushwickpublichouse.com• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street/Sheridan Squarewww.cellardog.net• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Children’s Magical Garden de Carmen Rubio Norfolk and Stanton Streets
Subway: F to Second Avenue• Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street www.csvcenter.com• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Downtown Music Gallery 13 Monroe Street(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com• Drom 85 Avenue A(212-777-1157) Subway: F to Second Avenue www.dromnyc.com• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
www.entwinenyc.com• Flushing Town Hall 137-35 Northern Boulevard(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Fridman Gallery 287 Spring Street(646-345-9831) Subway: C, E to Spring Street www.fridmangallery.com• The Garage 463 W. 150th Street Subway: A, C to 155th Street• Greenwich House Music School 46 Barrow Street(212-242-4770) Subway: 1 to Christopher Street
www.greenwichhouse.org• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com• Industry City 220 36th Street(718-965-6450) Subway: D, N, R to 36th Street www.industrycity.com• IRL 80 Franklin Street Subway: G to Greenpoint Avenue
www.linktr.ee/irlnyc• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens(718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org• Joe’s 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• Le Poisson Rouge 158 Bleecker Street
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com• Littlefield 635 Sackett Street(718-855-3388) Subway: D, N, R to Union Street www.littlefieldnyc.com• Manhattan School of Music Neidorff-Karpati Hall
Broadway and 122nd Street (212-749-2802) Subway: 1 to 116th Street
www.msmnyc.edu• Marcus Garvey Park 122nd Street and Mt. Morris Park West		
Subway: 2, 3, 4, 5, 6 to 125th Street• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets
www.michikostudios.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com• Modulightor 246 E. 58th Street(212-371-0336) Subway: N, R, W to 59th Street www.modulightor.com• National Arts Club 15 Gramercy Park South(212-475-3424) Subway: 6 to 23rd Street www.nationalartsclub.org• New Amsterdam Musical Association 107 W. 130th Street(212-234-2973) Subway: 2, 3 to 125th Street• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street
www.northsquareny.com/about-jazz.php• Nublu 151 151 Avenue C(212-979-9925) Subway: 6 to Astor Place www.nublu.net• Oliver Coffee 5 Oliver Street
Subway: F to East Broadway www.olivercoffee.com• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue www.pangeanyc.com• Park Avenue Armory 643 Park Avenue(212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org• Queens Theatre in Flushing Meadow Corona Park
14 United Nations Ave South (718-760-0686)
Subway: 7 to Mets - Willets Point www.queenstheatre.org• Red Room at KGB Bar 85 E. 4th Street(703-221-4587) Subway: F to Second Avenue www.redroomnyc.com• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street www.b2harlem.com• Roulette 509 Atlantic Avenue(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street
www.scholesstreetstudio.com• ShapeShifter Lab 18 Whitwell Place(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com• The Sultan Room 234 Starr Street(612-964-1420) Subway: L to Jefferson Street
www.thesultanroom.com• Sunnyside Reformed Church 48-03 Skillman Avenue(718-426-5997) Subway: 7 to 52nd Street
www.sunnysidenyc.rcachurches.org• Terraza 7 40-19 Gleane Street(718-803-9602) Subway: 7 to 82nd Street www.terraza7.com• The Vale in Prospect Park Northeast Corner of Prospect Park
Subway: 2, 3 to Grand Army Plaza• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2021 35