MARCH 2020—ISSUE 215

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

carol

sloanesophisticated lady

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ISSUE

in mem
oriam

jimmy
heath
kim
clarkebrandeeyounger

DIEDREMURRAY

JUNE
TYSON

Managing Editor:
Laurence Donohue-Greene
Editorial Director &Production Manager:
Andrey Henkin
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MARCH 2020—ISSUE 215
New York@Night

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

Interview : kim clarke

Andrey Henkin:ahenkin@nycjazzrecord.com

Artist Feature : brandee younger
On The Cover : carol sloane

General Inquiries:
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Encore : DIEDRE MURRAY

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Lest We Forget : june tyson

Calendar:calendar@nycjazzrecord.com

LAbel Spotlight : pyroclastic

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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, 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, Pierre Giroux,
Anders Griffen, George Kanzler,
Steven Loewy, Annie Murnighan,
Kyle Oleksiuk
Contributing Photographers
Eric Stephen Jacobs, Alan Nahigian,
Erin Patrice O’brien, Sherry Rubel,
Robert I. Sutherland-Cohen,
Adrien H. Tillmann
Fact-checker
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album Reviews
Miscellanyobituaries
in memoriam : jimmy heath (1926-2020)
Event Calendar

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by anders griffen
by russ musto
by george kanzler
by kurt gottschalkby george grellaby john sharpeby suzanne lorge

by andrey henkinby andrey henkin

It is easy to be encouraged, what with recent and relatively recent events in the jazz—andwider—world that gender equality is coming to pass. Whether it be positive steps like Jazzmeia
Horne’s NAACP Image Award in the category of Outstanding Jazz Album and establishmentof the Berklee Institute of Jazz and Gender Justice (which includes pianist Kris Davis, founderof Pyroclastic Records, our label feature this month) or positive steps from barbarity such as
the guilty verdicts in the Harvey Weinstein trial, progress seems like it is being made. But,social change has hardly been a linear process in any movement, whether Civil, Workers,
Climate or Animal Rights. So, as we celebrate Women’s History Month, it is important thatcelebration not yield to complacency, that a little does not become enough.
Our various features come from different backgrounds, play different instruments, have faced
different hurdles in their careers. Vocalist Carol Sloane (On The Cover, at Birdland Theater),bassist Kim Clarke (Interview, around town as part of her Lady Got Chops Festival), harpist
Brandee Younger (Artist Feature, appearing throughout the month at several venues),
erstwhile cellist Diedre Murray (Encore) and vocalist June Tyson (Lest We Forget) remind us
that women’s rights are, ultimately, people’s rights yet remain tantalizingly elusive.
On The Cover: Carol Sloane (Eric Stephen Jacobs / esjstudio.com)
Corrections: In last month’s CD Reviews, the correct spelling of the percussionist on the
Uwe Oberg album is Lucío Martinez and her gender is female.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

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TERMS, CONDITIONS AND RESTRICTIONS APPLY-FRED HERSCH DUONEW YORK @ NIGHT
Curating The (new) Stone is an enviable gig for
downtown improvisers, a chance for the honoree tocull her (or his) favorite players for a run of shows.
The challenge, then, is to come up with something new
and interesting each night. As part of her reign, pianist
Kris Davis invited tenor saxophonist Ingrid Laubrockto the Glass Box Theater (Feb. 1st) to premiere their
new compositions recently recorded for a forthcoming
album on Intakt. It was a chance to try the tunes out
live to see how an audience would respond. The firstnumber featured an intricate doubled melody with low
droning piano notes and empathetic exchanges
between the two women, leading to a chromatic Billy
Strayhorn-esque composition with graceful ebb andflow. The third piece, by Laubrock, began with sharp
hocketing staccatos and fast high piano notes spatteringlike hail on a tin roof, later decelerating in a series ofcued gestures and scrambled phrases. The next number
was more spartan, a tone poem colored by the timbresof prepared piano and saxophone (the latter stuffedwith a rolled red cloth), imparting a meditative
ambiance. Davis covered a lot of keys, from low tohigh, on the next piece, showing her marvelous
capacity for disorderly order (or should that be orderly
disorder?), her face a mask of calm benevolence evenat the music’s most anxious, most tumultuous
moments. Laubrock’s closing theme—snaky, chromatic,
polyphonic—took a short romantic hiatus before its
triumphant return.		
—Tom Greenland

W hile curating a concert series implies agency,

Alan Nahigian

R.I. Sutherland-Cohen / jazzexpressions.org

logistics oftentimes preclude thematic programming.
But, threads can appear on their own. At the recently
replanted SEEDS, saxophonist Anna Webber ’s once-amonth Against the Tuesday Series (Feb. 4th) featured
women at the helm for two sets: the trombone/bass/
vocal electronic soundscapes of Kalia Vandever/Eva
Lawitts/Gaya Feldheim Schorr and jittery academic
abstractions of drummer Kate Gentile’s Find Letter X.
Though most likely not intentional, what became
evident was the effectiveness of simplicity and the
problem with its opposite. Gentile comes across as
a composer who does not like leaving things to chance.
Her quartet of saxophonist/clarinetist Jeremy Viner(hard to hear throughout), pianist Matt Mitchell andbassist Kim Cass had their eyes glued to the multipage charts as did the author herself, with almost adrum crack or cymbal splash for every note of herpartners. While the density and focus was impressive—
and impressed the packed house—the music never felt
internalized, that it could change in the moment
without breaking apart into its component atoms. And
with some tunes cresting the 15-minute mark, focus
became an issue. The opening trio also struggled withsimplicity, as trombonist Vandever, bassist Lawitts andvocalist Schorr were clumsy with their electronics attimes, too many seams showing. When they confinedthemselves acoustically, the music was lovely,
compelling and totally sufficient. —Andrey Henkin

Kris Davis & Ingrid Laubrock @ The Stone at The New School

Kalia Vandever/Eva Lawitts/Gaya Feldheim Schorr @ SEEDSAt 47 years of age, Jack Kleinsinger ’s Highlights inJazz Festival wears its “longest running” crownproudly. This year ’s gala night, at TriBeCa Performing
Arts Center (Feb. 13th) , followed the usual format ofassembling an allstar band of traditionally rooted
musicians to support a featured artist. Bassist/vocalist
Jay Leonhart, the featuree, was making his 41st
appearance at the event. A singer out of the Mose
Allison/Bob Dorough mold, he compensates for what
he lacks in bel canto boldness with levity, flexibility,
quick reactivity and, above all, humor. His originals,
often based on blues forms and two-beat Charleston
rhythms, made up the bulk of the 2-set, 12-songconcert. Written in a verbose, sprechstimme style withclever feminine rhymes recalling Cole Porter,
Leonhart’s themes spanned the gamut: the trials oftaking an acoustic bass through airport security;
tributes to Kleinsinger and Ray Brown (describing theformer as “part Mahatma Gandhi, part Jerry Springer”);
a comparison of Louie Bellson’s music to Lester
Lanin’s; a revenge fantasy about reckless drivers
couched in philosophical terms; another about afriend’s voluntary abduction by UFOs with exciting
sexual possibilities. In between the laughs were finesolos by violinist Aaron Weinstein, alto saxophonist
Steve Wilson, “special guest” trumpeter Michael
Leonhart (Jay’s son) and pianist Tomoko Ohno. At atime when jazz is prone to take itself far too seriously,
Leonhart’s hilarity comes as a welcome respite.
(TG)

In a much more banal version of The Wandering Jew,
the New York Klezmer Series has moved from one
venue to another in its nearly decade-long history. Its
current home is the social hall of The Town & Village
Synagogue, a challah’s throw away from StuyvesantTown. In 2020, the term klezmer has become muchbroader than its origins, a musical diaspora thatencompasses Andy Statman to John Zorn to Michael
Winograd (the series’ current curator) to Dan
Blacksberg. It was the latter who brought his Radiant
Others duo for two sets of music, plus a pre-show
workshop and post-concert jam session (Feb. 6th). The
Philadelphia-based trombonist was paired with local
guitarist Nick Millevoi and played material from their2017 eponymous release. Joining them was drummer
David Licht, his single-snare/ride cymbal/bass
drumkit providing big danceable rhythms. Blacksberg’s
pedigree runs pretty far afield of klezmer purity, as hehas dipped his bell into the deep Anthony Braxton
pool and been a member of the Psychotic Quartet andSonic Liberation Front. As such and with the equallycatholic Millevoi at his side, this particular klezmer
brew, whether tasty classic rugelach or inspired
originals, moved from the desert of ancient legend into
equally dusty if more modern terrain, especially the
spaghetti western plains of ‘60s cinema and the hotsands of California surf-rock. The tunes tended to be
short, feisty and dramatic, trombone with a particularcantorial quality and drums a rapt congregation. (AH)

4 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

“It’s time to honor Betty Carter”, Dee Dee Smalls, true to its name, filled quickly this warmish

mid-winter night (Feb. 9th). But the shortage of spacealone can’t be blamed for the thicket; Claire Daly
brought them in. The baritone saxophonist recently
scored high in a major jazz poll: as usual just off thedeserved #1 slot. “I’ve been ‘Up and Coming’ for some
30 years,” she jokingly explained. Regardless, awards
were ever-present as it was Oscar Night and with that,her program was split between classic Academy
Award-winning songs and those written by the great
lyricist Oscar Hammerstein, plus Charlie Parker andHank Mobley ringers in the mix. Sipping a Manhattan,
one was easily transported back to the ‘50s-60s days ofchange, the Cold War, social unrest and time-lostlounges before Hollywood’s luster began to peel.
Daly’s regular quartet with pianist Jon Davis, bassist
Marcus McLaurine (who spent decades with Clark
Terry) and drummer Peter Grant locked into each piece
like a compact Lego set. Richard RodgersHammerstein’s “People Will Say We’re in Love” had
Daly rounding every curve of the chord structure whileboring new paths of timbre, tone and expanse and “It
Might As Well Be Spring” featured her flute supported
by McLaurine’s double-time samba and Davis’ rapid
pouring over the passages with ease and passion. Whatwith the cool bossas and tightly swinging hipness, theleader ’s baritone, broiling, sinewy, breathy, moaned
beneath the melody line just like Astrud Gilberto’s
vocals bathed in darkness.
—John Pietaro

Dee Dee Bridgewater @ Blue Note

Singer Jazzmeia Horn’s Love & Liberation (Concord) won
an NAACP Image Award for Outstanding Jazz Album.
Pianist Gerald Clayton has been appointed Director/
Conductor of Monterey Jazz Festival’s Next Generation
Jazz Orchestra. For more information, visitmontereyjazzfestival.org.
Recent coverage has exposed conflict within the WBGO
organization based on complaints filed by current andformer employees, including charges of racial bias,
leading to the resignation of Amy Niles as President andCEO and WBGO founder/inaugural station manager
Bob Ottenhoff serving as interim President and CEO.
In related news, the collaboration between WBGO’s
The Checkout and The Jazz Gallery continues in Marchwith a pre-concert discussion between The Checkout’s
Simon Rentner and bassist Harish Raghavan. For more
information, visit wbgo.org.
The latest recipients of grants from the Robert D.
Bielecki Foundation have been named: Bobby
Bradford ($25,000 Unrestricted Grant for “his legendary
contributions to jazz, improvised and composedmusic”); Darius Jones ($10,000 Recording Grant for
both solo and string project recordings); Mode Records($10,000 Challenge Grant in support of its fundraising
campaign; Other Minds ($5,000 Grant for Other Minds
Festival 25); Issue Project Room ($3,000 Grant insupport of Peter Brötzmann’s Full Blast Trio concert;and Epistrophy Arts ($1,500 Grant in support of aperformance by Andrew Cyrille and Billy Harper). For
more information, visit rdbf.org.

The Creative Music Studio (CMS) will present a twoday intensive workshop program (12 hours) at The New
School Apr. 4th with Gary Lucas and Apr. 5th with Nicole
Mitchell. In related news, vocalist Fay Victor has joined
the CMS Board of Directors. For more information, visit
creativemusic.org.
Claire Daly @ Smalls

A multidisciplinary effort from actress-activist Glenn I t’s rare to declare any performance among the “bestClose and saxophonist Ted Nash, Transformation at
Rose Hall (Feb. 1st) united the Jazz at Lincoln Center
Orchestra with Wynton Marsalis and artists from theworlds of theater, film, literature and dance to shine alight on critical issues confronting humankind. The
program opened dramatically with Close and Wayne
Brady reciting “Creation” out of Ted Hughes’ Tales
from Ovid, buoyed by Nash’s orchestral harmonies, as
dancer Nijawwon Matthews lay supine. The music
took on a swaggering tone for Close’s recitation ofConrad Aiken’s “Preludes for Memnon, XIX”, as
Matthews sprung to life, backed by Chris Crenshaw’s
boisterous trombone. “Dear Dad”, a stirring orationfrom Nash’s transgender son Eli had the father offering
poignant soprano obbligati. Amy Irving delivered thewords of paroled Weather Underground member
Judith Clark’s “One Among Many” over Elliot Mason’s
swinging trombone before John Cameron Mitchell’s “I
See What I Am” drolly closed the first half. Justin
Vivian Bond opened part two singing Charles Mingus
and Joni Mitchell’s “Sweet Sucker Dance”, followed by
Matthew Stevenson’s “Rising out of Hatred” andBrady’s “A Piece by the Angriest Black Man in
America”. Adriane Lenox raised spirits singing“Lullaby”. The show closed optimistically with Irving
reading Edward O. Wilson’s ”Wisdom Of Humanities”
and Close and Brady reciting Tony Kushner ’s“Perestroika Act 5, Heaven I’m in Heaven”.
(RM)

W H AT ’ S NEW S

All About Love, a new play based on an Ivan Turgenev
short story and featuring a jazz score by Nancy Harrow
will run at The Sheen Center through Mar. 22nd. For
more information, visit sheencenter.org.

Photo by Sherry Rubel

Adrien H. Tillmann - www.aht1985.com

Bridgewater announced to the crowd at the Blue Note(Feb. 8th) after a tour de force scatting exhibition onwhich she channeled the sounds and movements of her
mentor on “Feed The Fire”, the Geri Allen-penned title
track of the late singer ’s 1994 album. She continued
with two more songs from that date, Allen’s quirky
take on “Sometimes I’m Happy” and a sensuous
arrangement of “Lover Man”, intimately interacting à
la Carter with the members of her young band—pianist
Carmen Staaf, bassist Tbari Lake and drummer Kush
Abadey—spurring them on as they stretched out. She
followed paying tribute to Louis Armstrong, invoking
his voice on a raucous honky-tonking rendition of“Basin St. Blues”, the trio demonstrating an impressivecommand of the New Orleans idiom, much to thedelight of the cheering audience. Spotting her former
pianist/Music Director Edsel Gomez in the house
Bridgewater rendered a reading of his arrangement of“Besame Mucho” oozing with sensuality as she
elongated each Spanish syllable over Abadey’s softly
malleted toms. She advised the room that “We’re goingto do a couple of songs in French, just to impress you”
before launching into an impassioned version ofCharles Trenet’s “La Mer” (aka “Beyond The Sea”) anda very swinging “Les Feuilles Mortes” (“Autumn
Leaves”). The set ended wildly with Bridgewater
singing “Blue Monk”, soulfully scatting hornlike
exchanges with the band.
—Russ Mustoof the year” so early on, but then such exhibitions of
the artform at its very apex remain precious. During
one continuous improvisation, pianist Vijay Iyer led
bassist Stephan Crump and drummer Tyshawn Sorey
through an epic soundscape, augmented further by
trumpeter Wadada Leo Smith. Jazz Standard (Feb. 1st),long sold-out and with a line of hopefuls awaiting
cancellations, buzzed with anticipation. As the lights
dimmed, rapturous applause erupted only longenough for the downbeat of atmospheric piano. The
melodic invention of roaming chords evoked a misted
21st century arabesque as the building voices of Crump
and Sorey culminated in a boil. While the drummer isthe assumed secret weapon—his innovations arecelebrated for good reason—Crump’s commanding
presence proved to be the contrapuntal link between
Iyer and Smith’s masterful instrument. From
whispering harmonics to urgent bowing and insistentpizzicatos, he drove the band through subdivisions
against floating tom fills and expansive variations on
the (Bernard) Purdie Shuffle. And Smith? He joins thecore of each ensemble he touches, yet his centrality
forges new paths. In the midst, Iyer ’s almost painfully
beautiful melody, calling on his heritage and that of
the jazz canon, further woke the house. “We have ninemonths to save the nation,” he said over the closing
cadence. “Vote!” someone shouted as Sorey’s militantcrash cymbal resonated to a determined tacit.
(JP)

March Jazz Museum in Harlem events include That
Doctors’ Dad can Blow! A Wellness Conversation with
Dr. Karinn Glover and Hugh Glover (Mar. 3rd at 7 pm);
Jazz and Social Justice—A Salon with Music with
Kassa Overall (Mar. 10th at 7 pm); and Desert Island
Discs with James Carter (Mar. 17th at 10 pm). For more
information, visit jazzmuseuminharlem.org.
Manhattan School of Music (MSM) and Harlem
Stage Gatehouse will present a Jazz Music Intensivewith MSM alumnus Elena Pinderhughes (Mar. 16th at
11 am). For more information, visit harlemstage.org.
Jamaica Center for Arts and Learning is accepting
submissions through Mar. 28th for Jamaica Flux—
Workspaces & Windows 2021 for “the presentation, andpossible creation, of new, site-specific, public art
projects that engage the local community in 2021.” For
more information, visit jcal.org.
Celia Cruz Bronx High School of Music (Bronx, NY) has
been named one of the participants in the 2020
Essentially Ellington High School Jazz Band
Competition, to take place in May at Jazz at Lincoln
Center. For more information, visit jazz.org/ee.
The Turtle Bay Music School closed its doors at theend of January after 95 years in existence.
Submit news to info@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 5

photo courtesy of the artist

I NTERVIEW

kimclarkeby anders griffen

Bassist Kim Clarke has performed with a formidable rangeof musicians and notable jazz greats such as Joseph Bowie,
Joe Henderson, George Braith, Art Blakey, Mary Lou
Williams, Steve Coleman, Cassandra Wilson, Cindy
Blackman Santana, Sheila Jordan and Kit McClure, to nameonly some. She is also co-founder and producer of the Lady
Got Chops Women’s History Month Music and Arts
Festival, Inc. This month marks the 18th year of the festival.
The New York City Jazz Record: When this interview
is published, the Lady Got Chops Festival will be
underway. Are you excited for March?
Kim Clarke: I’m excited because I am a musician andwill be working as well. This is the world’s longestrunning virtual festival.
TNYCJR: What does that mean?
KC: Lady Got Chops Festival is still grassroots: freepromotion for any woman that’s doing anything in thearts and the production of an event or two. The festival
began in March 2003 as a collaborative idea between
the mother/daughter team owners of Jazz Spot and
I to celebrate Women’s History Month and to draw
clientele to their venue. Lillithe Meyers and Tiecha
Merritt provided the space and I supplied theconnection to great women musicians affiliated with
Kit McClure’s Big Band and others. I was trying todiversify my economic portfolio by teaching myself
HTML and I built them a website. My son helped mewith a little moving graphic and we put up a calendar.
Long story short the place closed in nine years. Afterthe café closed I didn’t think I was going to do thisthing anymore, but a new friend said, “no, I’m booking
the Zinc Bar so you could do some gigs here” andanother friend said, “I have a pizza parlor gig, I could
give you some of the dates.” And we just kept it going.
Every year since I’ve met the owners of Bean Runner
Café [in Peekskill], they will support, they will book
women for their weekends in March. Headroom Social
in New Jersey is a new one to the concept of the festival.
I still use that calendar code on our newer website:
ladygotchops.com. And I design hard-copy banners foreach participating venue that will hang them. My uncle
Kevin, a WTC first responder, sponsored five events in2017. Last year our large concert at Flushing Town Hall
was paid for through a grant from the Queens Council
on the Arts and my Facebook birthday fundraiser. We
were able to pay 15 musicians and a sound crew of 3. As
for the free promotion, any women performers, artists,
dancers who want to participate simply inform me andI add them to the online calendar.
TNYCJR: So it’s extended outside of New York City now?
KC: Oh, yes. Vocalist Rosa Lee Brooks, one of Jimi
Hendrix’ early girlfriends, performs at Seven Grand in
Los Angeles, trumpeter Edwina Thorne is at Harborside

Festival in New Zealand, tap dancer Roxane Butterfly
in Paris. My friend, vocalist Ludmila Svarovskaya, hasa gig in Moscow. Bassist Endea Owens, of The Late
Show [with Stephen Colbert], has four nights at Dizzy’s
Club with her own band. [Saxophonist] Camille
Thurman started with us about six years ago and now
she’s playing with the Jazz at Lincoln Center Orchestra.
I think people are getting used to the idea that women
can do this thing. I watched three shows late night lastnight and all three of them had female bass players,
I’m like, “dag, why am I sitting at home!?” (laughs)
TNYCJR: I talked to Terri Lyne Carrington a couple
years ago now and she had all-women groups, a trio
and a big band she was working with and said the goal
wasn’t necessarily to put together an all-woman band.
They just wanted to put together a great band and it
turned out that they were all women. I heard you say
one of the reasons for the Lady Got Chops Festival isfor the names of these women artists to be remembered.
KC: Absolutely. We do need to try to make our mark onsociety. So, this year with the online calendar, I’ve madevideo links of each of the performers’ names so that
visitors can click and see what they look like and what
they’re doing. One of the ladies, vocalist Angeline
Butler, I didn’t even realize that she was a freedom
marcher back in the day. She’s Phylicia Rashad’s sisterand I’ve got a video about her and she’s doing something
at Pete Seeger’s house up in Beacon. It’s an interesting
mix of folks this year. I met Erena Terakubo throughVincent Herring about four or five years ago and she
had the top jazz album in Japan that year. We got Debbie
Knapper; she’s been running a successful jam session at
the Café Oasis Baldwin for the past 18 years. We used towork with Kit McClure’s big band together.
TNYCJR: You’ve probably worked most extensively
with Joseph Bowie and Defunkt, correct?
KC: Yes, I toured most extensively with them, but
I wouldn’t say I worked only with them. I do a lot of
stuff with Bertha Hope and this brother named Rafik
Williamson. And then I try and keep in touch with the
R&B part and I book several groups. Sometimes they’ll
want all women, so I’ll do that. I’ve got a project called
the Aqua Ninjaz, which features the music of George
Duke and Donald Blackman and Jef Lee Johnson,
which I really love. They all died around the sametime. So, I thought of the band to keep their music
alive. Aqua because I love the color blue, but Ninjaz
because our keyboard player was Japanese, Yayoi
Ikawa. She’s pretty fierce, she’s starting to work witheverybody. Right now I’m working with Bertha Hope’s
Quintet and that’s awesome because we’re doing Elmo
Hope’s music and that’s challenging and fun.
TNYCJR: When Bertha Hope joined Frank Lowe’s bandit was very interesting watching an artist of her caliber,

6 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

learning how to interact with his music, which was more
free, not completely structured. Without remembering
her words, I just remember being so struck by the way
she approached the music kind of like a student.
KC: It’s funny that you mention that, she’s very…
oh my god, she’s very open, going back to the beginningand working on stuff. It’s wonderful! I think we should
all be that way. No one can know all of this musicanyway so, for a different angle or different perspective,
to be open to it is very admirable. Lucianna Padmore,
our drummer, took one of Elmo’s songs and put a poem
over it and we did something with some hip-hop beats.
				(CONTINUED ON PAGE 12)

Erin Patrice O’brien

ARTIST FE ATURE

brandeeyounger

For more information, visit brandeeyounger.com. Younger
is at Alfred Lerner Hall at Columbia University Mar. 19th
as part of Harlem Late Night Jazz Gala, National Arts Club
Mar. 23rd and Miller Theatre Mar. 31st. See Calendar.
Recommended Listening:• Ravi Coltrane—Blending Times (Savoy, 2006-07)• Michael Campagna—Moments (Challenge, 2010)• Brandee Younger—Prelude (s/r, 2011)• Brandee Younger—Soul Awakening (s/r, 2012)• Brandee Younger 4tet—
Live at The Breeding Ground (s/r, 2014)• Makaya McCraven—Universal Beings(International Anthem, 2017)by russ musto“I think that it’s interesting that I play this instrument,”

harpist Brandee Younger says. “I didn’t really
anticipate all of this for myself. I went to school because
I got a scholarship, not because I wanted to carve a
new path for the instrument. It’s something that I had
to grow into because I am not a competitive person.
I didn’t have the mentality that a lot of my schoolmatesdid. I sort of just played because I played. And I’m justtrying to learn as I go. And learn and learn and learn
and it’s a challenge. It’s an uphill battle for me, so I
guess I have been fortunate.”
Younger’s singular position as a renowned harpist
on today’s jazz scene came rather circuitously. She
started with a bit of piano before settling on the flute atnine. Her introduction to the harp came via “a woman
at my dad’s job who played harp as a hobby and myparents, because I was already playing an instrument,
they thought it would be cool for me to see and bearound it. So, we played some duets together, some
flute and harp duets. She sort of mentioned to myparents that I’d probably have a better chance of getting
a scholarship to college if I played an odd instrument
like the harp. Well that was all they needed to hear.”So, at 11 Younger began studying classical harp
privately. Meanwhile upon entering high school she
switched from flute to trombone, playing with her
Hempstead, Long Island school’s marching band. While
preparing for college, the University of Hartford Hartt
School of Music caught her attention. She recalls, “There
was a trumpet player that went to my high school who
had gone to Hartt before me and he loved working so
closely with [alto saxophonist and program head] Jackie
McLean. And my band instrument teacher, who was
Tim Warfield’s roommate in college, he also liked theprogram at Hartt. When I started looking at schools that
not only had performance degrees, but other degrees as
well, they were one of the few schools that had a pretty
thorough music business department as well. So, I
studied classical performance and music business.”
Younger notes that “All of my performance studies
were in classical music, but I think socially I was more
drawn to the jazz department … One of the first people
to reach out to me when I started was [bassist/professor] Nat Reeves. He said you can always come toclass, come to ensemble. And Jackie McLean was thesame way with me. So, I was always spending any
spare time in their department. I even finagled
independent study with Nat Reeves at some point.”
Soon she found herself in the school’s practice rooms,
working on playing standards with some of the jazz
students, most notably bassist Dezron Douglas andalto saxophonist Lummie Spann. It was with their New
Jazz Workshop band that she made her first public jazz
performance, opening for Slide Hampton in Hartford.
The harpist continues, “By the time I was finishingup college, I knew I didn’t want an orchestral career.
I still played in orchestras, but I knew that that wasn’t
the route that I wanted going forward.” After
graduation she moved to New York. She says, “I had tostart working right away because you know the rent
doesn’t pay itself. So I started to take literally any gig,
whether it was some orchestral gig or doing these Alice
Coltrane tributes in these deep-stair basements where
I can’t believe I brought my harp.”
A serendipitous connection with Ravi Coltrane
proved to be a turning point in her career. Coltrane
remembers, “I was looking for a harpist to perform at
the memorial we did for Alice Coltrane in the year thatshe passed away and I found Brandee on the internet.
It was sort of the early days of auditioning people via
YouTube. I think I just typed in New York harpist andshe appeared. It was pretty clear that she was well
destined to be everything that she has become. She
played beautifully even then. She had a real dedication
to the music not only of Alice Coltrane, but also
Dorothy Ashby, in addition to all the classical styles of
the European tradition of harp playing.”
Younger continues to work with Coltrane as amember of the cooperative Universal Consciousness
band, performing the music of Alice Coltrane. She’s
also revived interest in the music of Ashby, the jazz
world’s other premier harpist, with her AfroHarping
tribute. Synthesizing the influences of her two
predecessors Younger has forged a uniquely personalstyle, one both soulful and celestial, as evidenced onher recordings as a bandleader. Following the successof 2014’s Wax and Wane, she reached back into herarchives to release Soul Awakening last year to criticalacclaim. She says, “I recorded it like seven years ago…
before Wax and Wane…before my live album. It was
just sitting there and it was sort of weighing on me
because I knew it was there. So, I had to sort of get itout of my system. Right now I’m writing new music, so
I’ll probably have a new record out if not toward theend of this year, then the top of the next year.”In addition to performing regularly with herquintet with saxophonist Chelsea Baratz and flutist
Anne Drummond and as a duo with Douglas, Younger
has recently garnered much attention as a member of
Makaya McCraven’s forward-looking ensemble. The
drummer says, “I think she’s just a fabulous musician
and it’s been wonderful that we’ve been getting towork together so much…she’s really provided a great
spirit to the music and technically she’s been able to be
on top of everything that I throw at her. She’s reallyquick and it’s very impressive. She’s just great to bearound and she keeps me honest.”
Younger also stays busy as a first-call studiomusician for commercial artists, amassing a lengthy
list of credits with the likes of Common, John Legendand Lauryn Hill. In addition to her work as a performer,
she’s become a respected music educator, something of
which she is particularly proud.
She says, “I’m really sort of refreshed and touchedby all the young players who are trying to do morewith the instrument. Tons of young players are reallytrying to do more. So that in itself has made me feel a
lot better about what I am doing.” v

CELEBRATING WOMEN COMPOSERS
ABBY LONDON-CRAWFORD PRESENTS
In Association with
Sanctuary Arts of Metro Baptist Church

Deathblow

olympiad ioffe

Amanda Monaco, composer/guitar |Michaël Attias, alto saxophone
Sean Conly, bass / Jeff Davis, drums

efrain gonzalez

Musique
Libre Femmes
Cheryl Pyle, composer/C & Alto Flutes

Claire de Brunner, bassoon / Roberta Piket, pianojohn gurrin

Stephanie
Griffin Ensemble
Stephanie Griffin, composer, viola
Gordon Beeferman, piano / Hilliard Greene, bass
Jake Charkey, cello / Lee Odom, clarinet

Metro Baptist Church
410 W. 40th Street(9th & 10th Avenue, behind Port Authority)

7:30 PM - 9:30 PM / Doors open at 6:45 PM
Short Q & A After Performance
Admission Cash Only / $20; Senior/Students, $15
General Seating-Reservations: abrajazzbra@aol.com
Venue not wheelchair accessible

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 7

ON THE COVER

by george kanzler

The mid 20th Century was a golden age for jazz singers,

especially women. Ella Fitzgerald, Sarah Vaughan,
Carmen McRae, Dinah Washington and a host of others
were at or close to the zenith of their careers. It musthave been an especially daunting time for a young
singer to emerge on the scene. That’s just what Carol
Sloane did in her mid 20s, making a splash at the 1961
Newport Jazz Festival. At the time, Sloane was alreadya veteran jazz singer, having begun her career at 14 in
Rhode Island, singing with the Larry Elgart Orchestra(it was Elgart who changed her name from Morvan to
Sloane) and subbing for Annie Ross in Lambert,
Hendricks & Ross.
Sloane was very aware of those vocal luminaries ofthe era, both as an admirer and an inveterate jazz fan.
“Ella was top of the tree,” said Sloane from her
Massachusetts home, “and she still is, but there is no
way anybody could sing like her, she had a perfectvoice. Sarah was singing in an operatic stratosphere we
couldn’t attain. And she could improvise like a horn;for a jazz singer she had it all. But when I heard Carmen
I was sure she was it. I heard the salt, the edge in her
voice; Ella didn’t have it. I heard some sand, some grit,
some texture. She conveyed lyrics so effectively, whichreally appealed to me.”Like McRae, Sloane is a jazz singer who concentrates
on the words, intent on conveying emotional meaningand nuance rather than musical dexterity. As Stephen
Holden noted in a 2001 New York Times review: “Insteadof pyrotechnics she strives for an ideal mixture of clarity,
emotional balance and buoyancy…As much as any
singer of her generation, Ms. Sloane understands thevalue of restraint.”
While McRae initially dismissed the admiring
young Sloane, eventually the two became friends, to theextent that McRae called Sloane up on stage at the Blue
Note in May 1991 to sing. “It dawned on me,” remembers
Sloane, “that she called me up because she needed tohave a break, she was having trouble breathing.” The
next day Sloane was off on a tour in Japan and it wasthere she heard McRae had collapsed and was in thehospital. McRae never sang in public again and died in
1994. “Thank God she left us a lot of stuff to examineand explore,” says Sloane. “She’s one of the ones
I always tell young singers to not avoid, that these
women [today’s young jazz singers] you are admiring
right now couldn’t have done this if [Carmen, Ella andSarah] hadn’t paved the way.”
Sloane is concerned with the direction and priorities
of aspiring jazz singers today and attempts to address
them when she teaches or conducts workshops. “At the
New England Conservatory,” she recalls, “the young
women hated me because I wouldn’t let them scat-sing.
You have to pick one of these Duke Ellington ballads,
I told them, and sing it for me as I wish it to be sung.
You have to hit every interval, you have to be in tune, sothat I understand you have your basis, foot on terra
firma. They knuckled down and sang it perfectly, but
without emotion. I thought it was interesting that they
all showed some resistance. To them jazz singing meant
scat and improvisation, but to me it means conveying

the lyric, because that’s what Carmen taught me. She
said tell the story, feel the tug in the heart.”
A song she’s sung and recorded multiple times iscited as an example. “I’m nuts about ‘Prelude to A
Kiss’,” she says of a song she’s loved since her teenyears. “Duke’s songs challenge you from the get-go,right there, etched in stone. You don’t have to change
a note thinking you know better than Ellington. Don’t
give me that; sing it the way the composer wrote it. And
then add your own—shorten this phrase or extend that
one—but do it after a lot of time playing with it, seeing
how the reaction from the audience is and how you feel.
Get yourself into that new shoe, that shoe is a classic
and when you put your foot in there for the first time
you should feel very comfortable, but not so comfortablethat you can take it out and walk in the snow. Be veryfragile with it because it has stood the test of time andyou’re just beginning with it as a singer. Get yourself
some basics, recognize how truly remarkable thesesongs are and honor them by adhering to what thecomposer wrote. Ella’s a perfect example of that, shenever messed around, always sang a composer’s workas written and still with great heart and feeling.” (Fora sample of how Sloane personalizes a song whilehonoring the composer’s intentions, you need only
listen to “Sophisticated Lady” on her 2007 Arbors CD,
Dearest Duke, specifically her suggestively onomatopoeic
rendering of the word “nonchalant.”)
Sloane’s career took off in the ‘60s, when she
recorded two albums for Columbia, regularly openedon the nightclub circuit for top comedians of the timeand appeared as a frequent guest on TV (Johnny Carson)and radio (Arthur Godfrey). But her recordings ended
in 1965 as rock’n’roll began to dominate the industry. In
1970 Sloane moved to Raleigh, North Carolina, where
she worked as a legal secretary and sang in a jazz club.
Luckily, jazz musicians from The Big Apple had notforgotten the singer and in 1977 she got a call frompianist Sir Roland Hanna asking her to come to New
York to sub for Dee Dee Bridgewater on a gig with the
New York Jazz Quartet (Hanna, saxophonist Frank
Wess, bassist George Mraz and drummer Joe LaBarbera).
“Here’s the kicker,” Sloane reveals, “Roland said he andMraz wouldn’t be there on opening night, but I shouldn’t
worry, they were sending subs.” Those subs turned out
to be Tommy Flanagan and Percy Heath. Sloane went on
to record with Hanna and tour Japan with the quartet,
as well as appear regularly with them in the U.S. It was
during that time that she met Jimmy Rowles when he
was playing piano at the legendary late-night Greenwich
Village club Bradley’s. The two ended up living together
in the Village for a couple of years.
“All the singers came to hear Jimmy at Bradley’s,”remembers Sloane, “and they all wanted him to play forthem.” Rowles was the gold standard as an accompanist
for singers, having not only worked with Ella, Sarah
and Carmen, but also with their forebear Billie Holiday.
During their time together, Rowles led and arranged aquintet (featuring Wess) for Sloane for the album
Carol Sings (Progressive). One reason singers, including
Sloane, loved working with Rowles, despite his alcoholic

8 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

propensities, was that he knew songs inside-out, chords
and lyrics. She remembers when a young saxophonist
came to their apartment and asked Rowles to write out
the changes to an Ellington ballad for him. “So Jimmy
did and then said he was also going to write out the
lyrics. And the kid said he didn’t need the lyrics, hewasn’t going to be singing it. ‘Oh yes, you do,’ said
Jimmy, ‘because you are singing it if you’re doing itright.” Rowles (1918-96) also sang and left somebeguiling examples on his albums. “His ‘I’ll Never Be
the Same’ breaks my heart,” says Sloane, who cites
Rowles as an example of someone without a conventional
singer’s voice who “conveyed the words and emotionsof the songs.” When Rowles moved back home to
California in 1980, Sloane briefly took a job at a Boston
law firm, but was soon enticed back to Raleigh to appear
at and help manage a jazz club that lasted for two years.
In 1984 she moved back to the Boston area, married andresumed her recording and touring career.
She has made some remarkable recordings in thelast three decades, many with minimal accompaniment,
like just guitar and piano or, on Dearest Duke, just Ken
Peplowski, tenor saxophone and clarinet, and pianist
Brad Hatfield. “I’m not so fond of drummers,” Sloane
admits. “And when I do use them, never on ballads.
And I’ve even dispensed with having a monitor out infront of me. I depend on my ear, don’t like this [monitor]
artificial sound. I discovered this working with [pianist]
Bill Charlap at the Jazz Standard. We did the gig withouta monitor and I could hear myself perfectly well. I’ve
always relied on my ear to get me where I’m supposed
to be and, of course, on pianists like Bill, Jimmy, Tommy,
Roland and certainly Mike Renzi, who is now with me
and everybody else.”
Sloane has not only worked recently with Charlap,
he also assembled and led the little big band on her 1996
Concord album The Songs Sinatra Sang. And she wrote
the liner notes for one of his albums. In fact, writing issomething she is pursuing. “I just wrote the foreword
for Dorothy Dodgion’s autobiography and am trying towrite my own book, but I’m completely stymied at the
moment.” For a sample you can check out her blog,
Sloane On Sloane, at her website.
Meanwhile, despite her reservations, she will havea drummer, Ron Vincent, joining her—“We can do somebossas”—with Renzi and bassist Jay Leonhart on stage
at the Birdland Theater this month, in a program
celebrating the spring season. v
For more information, visit carolsloane. Sloane is at
Birdland Theater Mar. 27th-28th. See Calendar.
Recommended Listening:• Carol Sloane—Out of the Blue (Columbia, 1961)• Carol Sloane—Sophisticated Lady
(Trio-Audiophile, 1977)• Carol Sloane—Love You Madly (Contemporary, 1988)• Carol Sloane— The Songs Carmen Sang
(Concord, 1995)• Carol Sloane—I Never Went Away (HighNote, 2001)• Carol Sloane—Dearest Duke (Arbors, 2007)

ERIC STEPHEN JACOBS / esjstudio.com

carolsloanesophisticated lady

A

P L A YW I T HS O N G S

A N D

M U S I C

MUSIC &LY RI C S
BY JA ZZCOMPOSERNANCY
HARROW

February 25—
March 22SC RIP T & DIREC TION BY
WILL POME R ANTZ

www.aboutlovetheplay.com

Tix just $33/$49
Save 20% Code: JAZZR20The Sheen Center,
18 Bleecker Street

ENCOREDIEDREMURRAYby kurt gottschalk
Diedre Murray described her move from the jazz stage
to the theater stage succinctly, if not bluntly.
“I changed my career path entirely,” she said,
speaking on the phone from her Queens home. “I’mnot a playing musician anymore. I’m a composer andI compose for the theater.”
Back in the ‘80s, she represented a couple ofscarcities in the rarefied world of progressive jazz:
a woman in a field dominated by men and a cellist ina field dominated by horns. She persevered out oflove for playing the music of her bandleaders, primarily
trumpeter
Marvin“Hannibal”
Petersonandsaxophonist/flutist Henry Threadgill, but not without
the awareness that she was a rare bird. It first struck
her, she said, at about the age of 30.
“I said, ‘boy, what you’re doing is really weird,”
she recalled. “You’re up there with all those hornplayers and you’re playing cello. I just followed myheart’s desire.”
Quickly delineating her career by the decade, shethen explained the move to composing for the stage.
“Around age 40, I just got tired of running up anddown the steps carrying my cello. I didn’t want to dothat.” She went on to write the music and co-write thescript for the 1999 play Running Man, for which she
won an Obie for Best Score and was nominated for a
1999 Pulitzer Prize for Drama. In 2011, she did thearrangements for a new production of Porgy and Bessat American Repertory Theatre. More recently, shewrote the music for Ooh-Bla-Dee, about an all-black,all-female jazz band in the ‘40s. But despite the change
in career paths, she’s carried the influence of her old
bosses with her.
Peterson, she said, “is a great melodicist. It wasvery Afrocentric music. He had big chops and he wascharismatic as a person. It was almost like he could
walk down the street and women would faint. He had
a lot of soul.
“From Henry, I learned a whole other way of
thinking about music,” she continued. “He’s much
more orchestrated. He’s much more intellectual. It
didn’t conform to what we know as jazz. That’s one of
the reasons he had a cello in his band. I was reallyshaped by this idea that you can really compose withinjazz. I was very fortunate to play with sonicallyvisionary geniuses. I think of them not only as great
jazz players but great jazz thinkers. They have a pointof view, it’s something people can study.”
Murray, of course, didn’t come to those bands as
raw clay. Growing up in Brooklyn with a piano teacher
for a mother and a family full of musicians, she started
music lessons at an early age. That influence wasnurtured by an interest in old Hollywood musicals and
Tin Pan Alley. When she saw someone playing violin in
a Bette Davis film, she decided that was for her but her
mother nixed the idea so she took up the cello instead.
“She said ‘nothing squeaky,’ Murray recalled. “It’s justthat simple.”
Before long, Murray was enlisted by achoreographer aunt to accompany dance rehearsals,
giving her an unusual education in improvisation.
“She would say ‘play something like the way thedancers move, so I would play something,” she said.
“I seriously believe that being a musician is something
genetic. I just understood it.”
Murray was soon writing songs and leading R&B
bands, efforts that were set aside when she started
finding work with Peterson, Threadgill, pianist Muhal
Richard Abrams, violinist Leroy Jenkins and others
exploring the outer reaches of jazz in the ‘70s and ‘80s.
It was in the Henry Threadgill Sextett that she madeperhaps the most significant partnership of her
performance years. As the Sextett’s string section, sheand bassist Fred Hopkins began meeting outside ofrehearsals to strengthen their sound. “We decided thatthe way to function best for the Sextett was to bring oursounds together and bring our thinking in alignment,”
she said. The pair began rehearsing on their own—

playing the Bach cello suites in unison among otherexercises—and began forging what would become theFred Hopkins/Diedre Murray Quartet with guitarist
Brandon Ross and drummer Newman Taylor Baker(billed as “Newman Baker”). Their 1990 release
Prophesy was followed by a pair of releases by Hopkins
and Murray in duo.
Murray characterized the bassist’s sound as“YAWH” (pausing to specify that it be spelled in allcaps). “You could hear the sound bouncing off thewalls,” she said. “It was a wonderful sound. “He wasone of the greatest bass players who ever lived,” shecontinued in no uncertain terms. “His idea of how bass
would function, all this music would just flow out ofhim. It was amazing. He was a great tonal lens. He
made all that music make tonal sense. When Fred died,a lot of those bands started sounding different because
he brought it all together.”
Currently, Murray is working on music for a new
production of Ooh-Bla-Dee to be staged this summer in
Dallas. It’s a chance, she said, to revisit her roots as awoman in jazz. “I normally don’t get a chance to do
straightahead jazz but there’s a lot of straightahead
jazz in that,” she said.
She then reflected on the women in the show andthe scene today. “There’s many more women now thanwhen I was playing and there’s many more women
playing what were thought to be male instruments,”
she said. “I’m happy to see that. I played half my career
strictly with men. 20 years. I’m glad to see that this is
opening up.” v

dancing, she made all the Arkestra’s playing dancemusic and her singing told Ra’s stories of interplanetary
travels and utopias in outer space better than hehimself could. An excellent recent collection, The
Saturnian Queen of the Sun Ra Arkestra (Modern
Harmonic), captures part of that spell. Her voice wasan exceptional instrument, bright and clear with a full,rounded tone. Her articulation was exceptional, every
phrase and word had a sizzling, razor-sharp edge—
words had life and weight when she sang. She had agrounded sincerity and a natural musicality that cut
through the external eccentricity of Ra’s music and got
to the heart of the matter. “Outer Spaceways
Incorporated” sounded like a catchy jingle for an airline
in her hands and she made “We Travel The Spaceways”
into not just a slogan, but also a Pied-Piper-like call toaction. Her singing could also evoke—and connect theArkestra to—the more earth-bound spiritual jazz
movement. Her singing on “Astro Black” and “TheMoors, a.k.a. Moorish Nights”, both on Saturnian Queen,
has a post-Coltrane quality, deep seriousness juxtaposedwith a capacity for immense joy.
Tyson was not the first woman in Ra’s bands, but
was the only one in the Arkestra and, with her stature
as a front-of-stage presence, for all intents and purposes
the first. As Szwed points out, Ra did not always see
women as his equals and at times complained that hecouldn’t make music with Tyson (as a woman) present.
We have no clue how this affected her internal life, but

she finessed it in some manner through her romancewith and marriage to Richard Wilkinson, Ra’s lighting
designer. With that, she moved out of the Arkestra’s
Philadelphia house and made a home with Wilkinson
in Harlem. There, she raised two children while making
her apartment a satellite location for the Arkestra.
She never stopped performing with the Arkestra.
Her integration with Ra’s concept was so strong that in
the early ‘90s, when he was in failing health, she
appeared to act as an amanuensis for him on stage,transmitting his values into words, music and movement.
Even though Ra was nearing the end of a long life, it was
Tyson who left this earth first, passing away at the young
age of 56, predeceasing Ra in 1992 by six months. v

Recommended Listening:• “Hannibal” Marvin Peterson—In Berlin (MPS, 1976)• “Hannibal” Marvin Peterson & The Sunrise
Orchestra—Tribute (Baystate, 1979)• Henry Threadgill Sextet—Just The Facts and Pass The
Bucket (About Time, 1983)• Henry Threadgill Sextett—Rag, Bush and All(RCA Novus, 1988)• Muhal Richard Abrams Orchestra—The Hearinga
Suite (Black Saint, 1989)• Diedre Murray/Fred Hopkins—Firestorm(Les Disques Victo, 1992)

LEST WE F ORGE T

june
tyson
by george grella
Underneath the stylistic innovations and idiosyncrasies,

the Sun Ra Arkestra was an absolute, traditional jazz big
band. Along with Ra’s music they played Jimmie
Lunceford charts and swung them until they spun out
into the spaceways. And they had someone who, in an
earlier era, would have been condescendingly called a“canary”: vocalist June Tyson.
Tyson was born Feb. 5th, 1936, in Albemarle, North
Carolina. She made her way to New York City where,
in the late ‘60s, she was a singer and dancer, appearing
in lounges and as part of a revue of Broadway songand-dance numbers. As biographer John Szwed
describes it, Ra’s manager at the time, Lem Roebuck,caught a performance and persuaded her to meet Ra.
One rehearsal was all it took for her to get the gig.
Tyson was, above all, a performer. She sang anddanced (and later on made costumes for the band and,with Ra’s encouragement, started playing the violin),but beyond that she had tremendous charisma. By

10 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDThe Sun Ra Arkestra is at Town Hall Mar. 4th. See Calendar.
Recommended Listening:• June Tyson—The Saturnian Queen of the Sun Ra
Arkestra (Modern Harmonic, 1968-85)• Sun Ra/June Tyson—I Roam The Cosmos(Enterplanetary Koncepts, 1972)• Sun Ra and His Astro-Intergalactic Infinity Arkestra—
Space is the Place (Blue Thumb-Impulse, 1972)• Sun Ra and His Intergalactic Myth Science Solar
Arkestra—Sleeping Beauty (Saturn-Art Yard, 1979)• Sun Ra and His Outer Space Arkestra—
Nuclear War (Y Records-Atavistic, 1982)• Sun Ra—Somewhere Else (Rounder, 1988-89)

L ABEL SPOTLIGHT

pyroclastic
by john sharpe
N ot content with forging new models on the

bandstand, pianist Kris Davis seeks to achieve similarends with her Pyroclastic Records imprint, which she
has set up as a non-profit organization dedicated tosupporting innovative artists who create art for noncommercial purposes. The label likely came to theattention of many jazz fans thanks to the sustained
critical praise for Diatom Ribbons, Davis’ shapeshifting
extravaganza built upon the foundation of her trio
with drummer Terri Lyne Carrington and electronicist
Val Jeanty. It was selected as The New York Times Best
Jazz Album of 2019 and also took top spot in theprestigious NPR Critics Poll. Quite a coup for a small
independent. More on that later.
Although she has released music on a variety ofoutlets, including Clean Feed, Fresh Sound and Intakt,
Davis explains the impetus to start Pyroclastic:“As I was growing and creating more work I justwanted to localize where that work was. A lot of thesmall labels take some kind of publishing and I just felt
like I want to own my own music.” The name stems
from an analogy with Davis’ sometimes fiery pianistics.
“Pyroclastic is explosive material that comes out of a
volcano. And I was feeling that sometimes my playing
is a little bit like that.”
She launched the label in 2016 with her ambitious
Duopoly project, a two CD/one DVD set matching
Davis with eight different collaborators (guitarists Bill

Good Day For Cloud Fishing
Ben Goldberg

Octopus
Kris Davis/Craig Taborn

Frisell and Julian Lage, pianists Craig Taborn andAngelica Sanchez, drummers Billy Drummond andMarcus Gilmore and reedplayers Tim Berne and Don
Byron). Every aspect of the date was carefully thought
through, from the palindromic sequencing ofcompositions and improvisations and video byfilmmaker Mimi Chakarova to the stylish packaging.
She developed the concept in collaboration with alongtime ally, producer David Breskin, whose
involvement has been crucial. Davis elaborates: “Healso runs The Shifting Foundation, which has
supported probably my last four or five CDs. That’s
how I’ve been able to create these large-scale projects
and have such nice video, nice packaging for Duopoly
and also Diatom Ribbons. And also help to start thelabel. He’s been part of that as well.”
As a result of such support Davis has been able toenlist further assistance. “I have a team working withme. I’ve hired a couple of people to help, a young
saxophonist David Leon and also Rob Martino who’s
a drummer. Then I have a web person up in Toronto
and Stephanie Jones is writing all the liner notes and
Ann Braithwaite is doing all the press. So I just oversee
now. Part of that is we have an Artistic Board withTerri Lyne Carrington, Rio Sakairi from The Jazz
Gallery and also David Breskin. So between the four of
us we decide who we will put out on the label eachyear. We’re trying to aim for five to six recordings now
per year, that’s the goal for 2020 and 2021.”
When initiating Pyroclastic, Davis benefitted fromJohn Zorn’s experience with Tzadik and was able todiscern a potentially workable model based on setting
up the label as a non-profit. As well as the Artistic
Board there is also a Board of Directors, which brings

Duopoly
Kris Davis

together individuals with an interest in the music.
“Through their donations we are able to support artists
with the infrastructure of hiring a publicist, printing
CDs and getting them a bit of money to record and do
the artwork and everything. So trying to do it right asmuch as we can.” She laughs: “This really is a nonprofit business, literally.”
Pyroclastic licenses a release for seven years fromthe artist; after that it will be their choice to continue
with the label or do with the album as they wish. In themeantime the label will seek to recoup all the
production costs and thereafter split any revenues
50/50 with the artist. Artists are given CDs to sell atlive shows and they keep all profit from those sales.
So far three of Davis’ own sessions have beenbalanced by three by others: pianist Cory Smythe’s
Circulate Susanna, bassist Chris Lightcap’s Super
Bigmouth and clarinetist Ben Goldberg’s Good Day For
Cloud Fishing, all of them extraordinary. So does she
commission, or take on readymade projects? “It’s amixture. So far, Chris Lightcap’s and Ben Goldberg’s
were both recorded beforehand. I approached Eric
Revis about putting something out on the label,because he’s been very supportive of me as a sideperson
in his group and I wanted to give him an opportunity
to record something.”
Back to Diatom Ribbons. Has the critical acclaim
translated into sales? “Actually it has surprisingly. I’ve
almost run out of physical copies, which surprised me.
I printed like 1,500; probably 200-300 were used for
publicity, sending to writers and radio stations. I soldout of the whole stock almost and I’m going to have toreprint, so that’s a good problem to have.”
			(CONTINUED ON PAGE 12)Superbigmouth
Chris Lightcap

Diatom Ribbons
Kris Davis

VOX NEWS

Free(dOm)
songs
by suzanne lorge
For a while now, singer/composer Fay Victor has had

a residency at 55Bar, the spunky, stalwart jazz club inGreenwich Village. The relaxed room, in operation for
more than a century, is perfectly suited to her avant
garde songwriting and experimental vocalizations;
given its place in jazz history, the club has witnessedmore than its share of jazz innovations. Add one moreto the list: Victor developed the seven songs for her
latest release, Barn Songs (Northern Spy), under its roof.
Victor and her husband, bassist Jochem van Dijk, wrote
these songs at least 20 years ago, when they were livingin Amsterdam. After they moved to New York, Victor
would perform them in her concerts—specifically at
55Bar, backed only by cellist Marika Hughes and alto
saxophonist Darius Jones—and over time thesecompositions morphed organically into something
new. Spare and pointed in their messages, they feature
Victor’s sterling voice in the simplest of settings, richer
for this minimal instrumentation. Victor’s daring forays
into improvisational singing (what she calls “freesong”) have earned her a spot at the forefront of the art
form. Now she’ll have another perch from which tospread her influence: she recently accepted a position

as one of six Artistic Directors for the Woodstock-based
Creative Music Studio. With this appointment she joinsa long line of influential musicians who havecontributed to the organization. To hear her latest freesongs, you can take in the album’s official launch at
Joe’s Pub (Mar. 20th). But if you want to hear them insitu, she’ll be at 55Bar (Mar. 26th).
The Sheen Center for Thought & Culture has aweighty mission: it provides a “forum to highlight thetrue, the good and the beautiful as they have been
expressed throughout the ages.” The Sheen Center iswhere vocalist Dominique Eade will be fronting
the New England Conservatory (NEC) of Music
Alumni Band (Mar. 21st), in celebration of the 50th
anniversary of NEC’s illustrious jazz program. Like
Victor, Eade has had enormous influence on
improvisatory singing, not just for her collaborations
with leading creative musicians like pianist Ran Blake,
saxophonist André Vida and woodwinds player
Brandon Evans, but also for her work as an educator.
During her decades as an NEC faculty member, she’s
fostered the talents of a huge swath of prominent jazz
singers, among them Luciana Souza, Kate McGarry,
Sara Lazarus, Roberta Gambarini, Sofía Rei, Jo Lawry,
Michael Mayo and Rachael Price. That’s a lot of truth,
goodness and beauty. (For a quieter but no lesser event,
Eade will present a duo concert with NEC alum andformer faculty member, pianist Fred Hersch, at Jazz
Standard on Mar. 20th.)

This month Jazz at Lincoln Center (JALC) carries
out its own weighty mission—to celebrate freedom,with jazz as its central metaphor—with three
powerhouse vocalists. First up is Jazzmeia Horn,currently on tour with her latest Grammy-nominatedalbum, Love and Liberation (Concord). She’ll present“The Artistry of Jazzmeia Horn”, straightahead
originals and reconceptualized covers from that
release, in The Appel Room (Mar. 6th-7th). A week
later (Mar. 13th-15th), saxophonist/singer Camille
Thurman will play Dizzy’s Club—that’s in addition to
her regular gig as part of the JALC Orchestra. (Since its
inception, Thurman is the only woman to have worked
an entire season with JLCO.) And lastly (Mar. 25th),
vocalist/flutist Melanie Charles will present “Thank
You Abbey Lincoln” at Dizzy’s Club, in an expressionof gratitude to the iconic vocalist, composer, actor andCivil Rights activist.
Life without pitch adjustment: Cécile McLorin
Salvant returns to Village Vanguard (through Mar.
1st), the stage very few singers get to cross. Her partly
live album from a 2016 Vanguard gig, Dreams andDaggers (Mack Avenue) won a Grammy for Best Jazz
Vocal Album and she’s been a regular there since. The
swing vocal trio Duchess (Amy Cervini, Hilary
Gardner and Melissa Stylianou), too, has recorded ata venerable New York jazz institution: they’ll drop themuch anticipated, aptly titled Live at Jazz Standard!
(Anzic) at—of course—Jazz Standard (Mar. 31st). v

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 11

(INTERVIEW CONTINUED FROM PAGE 6)TNYCJR: Some funk stuff is hip-hop adjacent, right?
KC: I guess. “Jazz is the teacher, funk is the preacher,”said James Blood Ulmer. Hip-hop is the digital baby.
It’s different. California rappers kind of gravitate more
toward the funk stuff, I think.
TNYCJR: Have you been sampled that you know?
KC: Not that I know of. I helped Queen Latifah write
one of the songs on her Black Reign album and we put
a reggae bridge in the middle of it. She wanted tosample Clifford Jordan and I said, “Uncle Clifford?”
And she said, “that’s your uncle?” I said, no, not really,
but I mean I played with him. So we decided to change
the song so it wouldn’t be like you know [coughs]
plagiarism. That’s “Winki’s Theme” for her brotherwho died on the motorcycle. That’s us playing, [pianist]
Rodney Kendrick and myself.
TNYCJR: It’s less so now, that musicians and the publicwould keep jazz and R&B very separate, but you came up
with that and you kind of came out of R&B first anyway?
KC: Well, when I first started playing I had R&B records
and I put the needle back and that’s how
I started. I went to two colleges out of state. In my thirdyear of college, at a friend’s suggestion, I audited classes
at the Jazzmobile workshop and transferred to CCNY.
I met Rodney Jones, who gave me a bow and I ended up
studying the upright. At the Mobile I walked into Jimmy
Heath’s class, I studied with Jimmy Owens, Victor
Gaskin on electric and later Lisle Atkinson on
upright. Then I heard about this National Endowment of

the Arts grant. Cobi Narita told me what to do. I applied
three times and got grants to study with Ron Carter,
Buster Williams and Lisle Atkinson. But, yeah, there’s
definitely some disdainful vibe between the two idioms.
There’s a fear coming from the R&B people of jazz andthere’s a kind of disdain from some the jazz people to
R&B people. Working with Joe Bowie was great becauseof our common backgrounds in R&B and straightahead.
When I was first out with Joe we had Ronnie Burrage on
drums and we got in to some serious straight-walking
things. So, we were kind of a mixed idiom band then.
TNYCJR: Looking at the names of those you’ve played
with, it reads like a veritable who’s who of jazz.
KC: Absolutely. There are a lot of folks missing there,
but most of them are gigs I did with people I met becauseof Barry Harris. Professor Dr. Barry Harris had rented aplace which he called the Jazz Cultural Theater on 29th
Street and 8th Avenue. It was a storefront home of jazzclasses and performances. Kuni Mikami, Craig Haynes
and I hosted the Art Blakey Breakfast Jam, which Art
played when he was not on tour. It started at 3 in themorning and went to 8 or 9 am. Everybody came down,
Michael Carvin, Tommy Flanagan, Philly Joe Jones,
Woody Shaw and all kinds of luminaries who werearound during that era, from ’82-86. That’s how Joe
Henderson heard me and I was blessed with “the call”.
TNYCJR: That’s how you hooked up with Art Blakey?
KC: Actually, no. I met Art Blakey through his son, oneof the first jazz musicians I ever met, Art Blakey, Jr.
Then, at Jazzmobile, French horn player Sharon
Freeman introduced me to Bertha Hope and she to Art
Sr.’s daughter Evelyn Blakey. As I started getting somechops, they called me for gigs. Art knew me because
I worked with Evelyn.
TNYCJR: What did you do with Mary Lou Williams?
KC: That was one of the very first women’s jazz festivals
produced by Cobi Narita who I met through Jimmy
Owens’ Business of Music Class at the Collective Black
Artists Space. During the ‘80s, I think Jimmy Heath wasquoted saying that if it wasn’t for Cobi, nobody would
be working. She had produced a newsletter for herorganization, the Universal Jazz Coalition, whichbasically informed everybody on the mailing list who
was playing where. So Cobi rented the original Birdland
for a few nights, not the new Birdland on 44th, the one
on 52nd Street, and negotiated with the proprietor a
specific fee. He was surprised at how many people
supported it and wanted to renegotiate, but Cobi stoodfirm. He was so incensed that he chained the door. I
think it was George Wein who stepped in and built aplatform in front of their door. We played outside andthat’s where I played with Mary Lou Williams, in thesun outside of Birdland on 52nd Street.
TNYCJR: Anything you’d like to share in closing?
KC: I just hope that what I’m doing is making a
difference. The festival remains a low-budget yet timeconsuming effort. I’m not a person raised with acorporate background. I am a freelance musician and aself-trained basic graphic artist/web designer.
Producing a festival on the scale of SummerStage or
the AfroPunk Festival would be a dream. The focus
would have to be a humane and uplifting one. Perhaps
in the near future...there’s always hope. v
For more information, visit ladygotchops.com. Clarke is at
Bar Lunàtico Mar. 2nd with Roberta Piket, Mt. Lebanon
Baptist Church Mar. 6th, St. Albans Congregational Church
Mar. 7th, Langston Hughes Public Library Mar. 21st, Jazz
966 Mar. 27th with Bertha Hope and Russian Samovar Mar.
29th, all as part of Lady Got Chops Festival. See Calendar.

12 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

Recommended Listening:• Defunkt—Thermonuclear Sweat (Hannibal, 1982)• Bigfood (Bill Bickford/Kim Clarke/Bruce Ditmas)—

Semi Precious Metal (TUTU, 1990)• Sibylle Pomorin/Terry Jenoure—

Auguries of Speed (ITM, 1991)• Kit McClure Big Band—Burning (RedHot, 1996)• George Braith—Turn of the Century (Excellence, 2002)• Defunkt—Live At Channel Zero (ESP-Disk’, 2007/2015)(label CONTINUED FROM PAGE 11)
Alongside the desire to bolster innovative artists,
Davis, now an Associate Program Director of Creative
Development for the Institute of Jazz and Gender
Justice at Berklee College of Music, intends the label topromote gender equality. “I’m trying to encourageartists who are thinking about gender equality. So maleartists who are hiring women and mentoring them orchoosing to work with women, also to find some kindof gender balance in their groups, is really important tome. So it is a part of the decision-making process going
forward. And also hiring women as leaders too. So I’mtrying to find a balance over the year of these elements.”
There are exciting times ahead. “Eric Revis’ record
is coming out in May. Cory Smythe has another record
coming in June. Angelica Sanchez and Marilyn Crispell
have a two-piano record that is coming out in
September. And Craig Taborn is putting out a Junk
Magic record in the Fall.” v
For more information, visit pyroclasticrecords.com. Artists
performing this month include Chris Lightcap at Brooklyn
Conservatory of Music Mar. 7th with Rob Garcia and Ben
Goldberg at Downtown Music Gallery Mar. 22nd. See Calendar.

Girl Gone Wilder!
SuSannah B SinGS
alec Wilder
luSh, TimeleSS Jazz
STandardS reimaGined
WiTh WiT and Groove
SuSannahB.com

nwomezzin ja
ISSUE

album REVIEWS

Reach Within
Works For Me (Posi-Tone)by Phil Freeman

W orks For Me is a new group assembled by Posi-Tone

Records co-founder Marc Free and named for a 2001
John Scofield album on which the guitarist was teamedwith alto saxophonist Kenny Garrett, pianist Brad
Mehldau, bassist Christian McBride and drummer
Billy Higgins. Unlike that allstar group, though, thisunit is composed of up-and-coming players:
saxophonist Alexa Tarantino, guitarist Tony Davis,
pianist Caili O’Doherty, bassist Adi Meyerson anddrummer Joe Strasser. As they’ve done a few times inrecent years, Free and Posi-Tone have created thisgroup as a gesture of confidence in the individual
musicians and in their label as a brand. The resulting
music proves that their confidence is justified.
Seven of the nine tracks were brought in by the
bandmembers: Meyerson wrote three while Davis andO’Doherty contributed two each. The disc opens witha version of Joe Henderson’s “Jinrikisha” from 1963’s
Page One and ends with a take on Stevie Wonder ’s“Send One Your Love” from 1979’s Journey Through theSecret Life of Plants.
Tarantino plays her primary instrument, alto, onmost tracks, though she also picks up the alto flute on
Davis’ “Lake Sebago”. Her playing is lyrical andfocused at all times. She paints inside the lines, but thecolors she chooses are vivid enough that you neverwish she was wilder than she is. It’s just not her
personality and she’s smart enough to know it and notwaste the listener ’s time trying on ill-fitting hats.
The compositions have a classic feel; they could
have come from the classic ’60s or ’70s album of thelistener ’s choice. But the performances, particularly
from Davis and O’Doherty, have a forcefulness that isvery 21st century. The guitarist comes straight out ofGrant Green and early George Benson and his lines
sting and bite. The pianist, meanwhile, hammers thekeys with emphatic energy, lest she be run over by thebassist and drummer. Meyerson is a rock-solid groove
machine and Strasser has a heavy feel behind the kit,
slamming the snare and bouncing the sticks off the rim
with finality, as though daring you to argue.
For more information, visit posi-tone.com. Tarantino is atVillage Vanguard through Mar. 1st with Cécile McLorin
Salvant and Dizzy’s Club Mar. 3rd-7th. O’Doherty is at
Smoke Mar. 11th and Soapbox Gallery Mar. 14th. Meyerson
is at Russian Samovar Mar. 22nd as part of Lady Got Chops
Festival. See Calendar.

Dropping Stuff and Other Folk Songs
Ig Henneman/Jaimie Branch/Anne La Berge(Relative Pitch)
by John Sharpe

The title tells it like it is: a combination of unlikely

timbres and harmonious musings. That is the outcomeof an impromptu multi-generational meeting between
American trumpeter Jaimie Branch and the Dutch pairof violist Ig Henneman and flutist Anne La Berge inconcert in Amsterdam. Branch is best known for her
effervescent Fly Or Die ensemble, mashing together
groove and experiment, though here the emphasis falls
very much on the latter. It’s a territory thoroughly
inhabited by Henneman, whose prime outlets include
her duo with reedplayer husband Ab Baars and her
sextet, and La Berge, who works at the extremes ofboth composed and improvised situations.
The eight cuts speak of a confluence of empathetic
minds, unbounded imagination and artfully subverted
technique. They alternate between sometimes austere,sometimes playful textural exploration and whoozy
understated melodicism, although on occasion, as in
the concluding title track, the boundaries turn fuzzy.
It often seems to be Branch, whose predilection forbrassy fanfares and aching motifs inclines the music
towards the lyrical. That’s most obvious on “Gigging”,
which begins in a welter of intersecting rhythmicphrases, then inching towards a folksy consonance.
On “Stevens’ Dog” stately pastoral flute inaugurates
what becomes a spontaneous Americana-tinged
chorale, before the lovely interweaving dissipates into
chafing abstraction.
But whichever pole the three tend towards, they
demonstrate a remarkable focus, which makes theresults all the more engaging, whether the merging ofindeterminate gusty gurgling sounds in the opening“Sauntering New Roads” or the triple-layered
beseeching imprecations that edge towards a darkly
poetic finale on “Canal Rounds”. A mood-morphing
imperative manifests most strongly on “When Bells
Stop Ringing”, the longest cut at just over nine minutes,
which moves from buzzing-bee microtonal viola tointermittently fluty warbles and chuntering trumpet,
gradually
accruing
into
a
jerky
dash
of
simultaneous expression, then ending with whistling
reverberations produced by who knows what. This
will please those lovers of off-the-wall invention whowant nothing off limits.

while using A-list personnel (Nadje Noordhuis,trumpet/flugelhorn; Nick Finzer, trombone; Owen
Broder, baritone saxophone; Christopher Hoffman,cello; James Shipp, vibraphone/percussion; Vitor
Gonçalves, piano/accordion; Sheryl Bailey, guitar, Tal
Mashiach, bass; and Anthony Pinciotti, drums­—allholdovers from the earlier album except Hoffman) as
tools to expand the scenery.
There’s Argentinian sway at play on Astor
Piazzolla’s “Milonga Del Angel”, an alluring number
heightened by burnished trumpet and subtle
percussion work; aching abstraction at the doorway of
Mexican traditional “La Llorona”, a piece that shifts
from haunted hideaways to Western fronts as drums
artfully roll on; and bluesy weight behind Gene
Roland’s Stan Kenton Orchestra-associated “Lonesome
Train”, a gritty grind that offers trombone a blowing
platform.
Cohen is front and center throughout, but the title
track—a concerto penned by Lev-Ari—is clearly themain event. Utilizing a rich color scheme and stretching
the clarinetist’s technical gifts in different directions,the composer creates a masterwork without real
precedent. The ‘first’ movement sets clarinet up as an
instrument of melodic grace, frames it in a Radioheadesque setting with guitar and shifts focus to the Middle
East. The second movement, “For Anat”, figures as atender show of friendship and beauty. And the “Last”
hurrah artfully vacillates between hoedown andchoro before wiping the slate clean and working its
way back home.
A work of great ambition and greater imagination,
Triple Helix knows few bounds and many wonders.
For more information, visit anzicrecords.com. Cohen is atMiller Theatre Mar. 7th. See Calendar.

For more information, visit relativepitchrecords.com.
Branch is at Greenwich House Music School Mar. 5th andRoulette Mar. 12th. See Calendar.

Triple Helix
Anat Cohen Tentet (Anzic)
by Dan Bilawsky

The sophomore outing from the Anat Cohen Tentet

speaks to broad ambitions and fanciful focus. But,
more than anything, the album celebrates a central
relationship that has followed the clarinetist fromdevelopment to full maturity.
As with Happy Song (also on Anzic), this outfit’s
2017 debut, the music of Triple Helix deals in forms ofcollaborative nuance and zeal elevated by the history
between Cohen and multi-hyphenate/Anzic label
head Oded Lev-Ari. Friends and fellow musicaltravelers since their schools days in Tel Aviv, this pairhas managed to leverage familiarity to great effect increative realms. Lev-Ari was a behind-the-scenes force
on one of Cohen’s earlier success stories—Noir (Anzic,
2007)—and he serves a similar role for this protean
ensemble.
Acting as Musical Director for the tentet, Lev-Ari
shapes settings to fit Cohen’s culturally-fluid clarinet

14 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

AMANDA MONACO
THE PIRKEI AVOT PROJECTVOLUME 2
THE FOLLOWUP RELEASE TO THE
CRITICALLY ACCLAIMED FIRST VOLUMEAVAILABLE ON LIMITED EDITION 180-GRAM VINYLAND DIGITAL DOWNLOAD
AMANDA MONACO, GUITAR; TAMMY SCHEFFER, VOICE;DAPHNA MOR, RECORDERS; SEAN CONLY, BASS;DANIEL FREEDMAN, PERCUSSION
THE PIRKEI AVOT IS A COLLECTION OF RABBINIC WISDOMCOMPILED IN THE 3RD CENTURY. ITS TIMELESS MESSAGES SPEAK
TO EVERYONE AND ARE THOUGHT-PROVOKING AS WELL AS
RELEVANT TO THESE TURBULENT TIMES IN WHICH WE ARE LIVING.

AVAILABLE FOR DOWNLOAD OR PURCHASE AT
AMANDAMONACO.BANDCAMP.COM

womenin jazz
ISSUE

The Mighty Unlikely
Lisa Hoppe’s Third Reality (Jazzhaus Musik)
by John Pietaro

Prospective listeners for this debut release by Bremen-born bassist Lisa Hoppe are first confronted with an
evocative cover illustration of a purple-black sky
hovering above an elevated subway line. But for thetwo moons above and octopus creature crossing thestreet, this could be any starless night over Brooklyn’s
Broadway, Queens’ Jamaica Avenue or Westchester
Avenue in the Bronx. Aptly named, The Mighty Unlikely
comprises a series of sound constructions, often vexing
and yet immediately alluring, a daring blend ofexperimentation and a sort of nostalgia.
Throughout, the leader ’s often bowed uprightbass, blending solidly with Tal Yahalom’s guitars andeffects and David Leon’s saxophones and flute,
traverses a series of thickly timbered works with ample
space for melodic improvisations. At points thearrangements are so solid (“Les Orielles”) that theeffect is utterly electronic but for others (“Jakubijan”
is one example) each voice is independently
experienced.
This music is far from minimalist, yet much of it
makes artful use of repetitive patterns fit throughatonal harmonic webs; still, as opposed to many artists

JANE IRABLOOM TRIO
Jane Ira Bloom — soprano sax
mark HelIas — Bass
matt WIlson — drums

FRIdAy, MARch 13, 7 pM
18 WHItWell place
Brooklyn, ny
sHapesHIfterlaB.com

JANEIRABLOOM.cOM

working in this realm, none of Hoppe’s pieces are
longer than 5:52. The second selection, “Extraterrestrials
Calling Home”, travels along at a steady clip withenough ‘50s sci-fi references built into the framework
to keep the ears awaiting more; moreso, “Progress
Is Rushing In”, which begins with a sound reminiscentof Raymond Scott. One could think the guitar track,
drenched in effects, was simply sped up to emulate
Scott’s early use of electronics, or perhaps is Yahalom
among the most uniquely gifted guitarists on the NYC
improv scene? (find out for yourself: he’s been leadinga trio at Bar Next Door). On “Material Reality” hemoves into the post-punk realm under a rather mellow,
cool school sounding alto. His solo on this cut,well-supported by the rapid-fire bass, recalls early Bill
Frisell but one also hears bits of more contemporary
players like Anthony Pirog.
The music is captivating, but if that’s not enough,the closer is a post-modern deconstruction of “YouDon’t Know What Love Is”, the standard by Gene De
Paul and Don Raye, immortalized by Chet Baker.

The concluding “Affinity” (from Alice Coltrane’s 1978
album Transfiguration), featuring one-time John
Coltrane bassist Reggie Workman (who played on theoriginal), is an extended, quasi-free improvisation, thefurthest afield one has heard Benjamin and she’s
gripping and impressive. But its aesthetic is so different
than the rest of the album and its duration is so
substantial and it’s so good, that it sounds like an
awkward appendix to the preceding organization. It
could belong to a whole new album and hopefully one
Benjamin will be delivering next.
For more information, visit ropeadope.com. This project is
at Dizzy’s Club Mar. 11th-12th. See Calendar.

UNEAR T H ED GEM

For more information, visit jazzhausmusik.de. Hoppe is at
Bar Next Door Mar. 4th, Bushwick Public House Mar. 9th,The Sultan Room Mar. 17th with Matt Forker and Aron’sPlace Mar. 21st. See Calendar.
Live at The Jazz Bakery
Anne Phillips (Conawago)
by Scott Yanow

Pursuance: The Coltranes
Lakecia Benjamin (Ropeadope)by George GrellaThis is not your run-of-the-mill John Coltrane tributealbum because it’s not really a tribute album. Insteadof playing Coltrane’s tunes back into the void of
history—jazz’ version of virtue signalling—alto
saxophonist Lakecia Benjamin takes the original
material and reworks it into the way she hears things.
She comes out of this as her own true self, a saxophonist
on the field Coltrane carved out of the wilderness andfollowing her own path. She honors tradition not by
repeating it but expanding upon it.
That makes for an album that is stylish and for themost part strong. There’s a keening edge to Benjamin’s
sound not dissimilar to Coltrane’s own timbre, but it
also has associations with Ornette Coleman. But
neither seems the source; rather it is the intensity offunk and soul that flames out of her horn. Listeners
familiar with her earlier albums Retox and Rise Up aregoing to be surprised; the R&B flavor is still there in
the arrangements, but this is firmly in postbop jazz
territory and Benjamin’s playing is very much about
the new substances an improviser can make out of thematerial.
The arrangements of “Syeeda’s Song Flute” (from1959’s Giant Steps) and “Central Park West” (from1960’s Coltrane’s Sound) are exemplars of the best of therecord—the originals are clear, but the beats are new,as are some of the harmonies. The balance of funk andthe chord changes on the latter is ear-opening.
Some things fall short of the mark, either bycommission—Benjamin can seem to bank on an
inspiration that never arrives—or omission; theexcellent “Acknowledgement” (from 1964’s A Love
Supreme) could go on much longer! “Goin’ Home”(a traditional spiritual based on an Antonín Dvořák
theme appearing on Alice Coltrane’s 1972 album Lordof Lords) is the one clunker, banal when everything else
is idiosyncratic.
There is an oddity in how the album is presented.

Anne Phillips has had a very productive and wideranging career as a singer, choral arranger, conductor
and arranger-composer for many nationalcommercials. She began singing jazz as a senior inhigh school. In the early ‘50s while attending OberlinCollege, she sang as part of the opening act for aDave Brubeck concert. After moving to New Yorkwhen she was 19, she worked six nights a week innightclubs, recorded demos for many soon-to-befamous singers and in 1959 recorded Born To Be Bluefor the Roulette label. She became a first-call singer
and contractor for the New York studios, wrote
music for commercials and worked as a backgroundsinger for pop groups. She also composed the jazz
opera Bending Towards The Light—A Jazz Nativity,
which became a Christmas tradition in New York.
Phillips did not record as a leader after Born To
Be Blue until 42 years had passed. 2001’s Gonna Lay
My Heart on the Line made a favorable impression
and 2007’s Ballet Time featured her performing duetswith such friends as Brubeck, Bob Dorough, DaveFrishberg, Marian McPartland, Roger Kellaway andher tenor saxophonist husband Bob Kindred (whodied in 2016), among others. While there is no dateon the recently released Live at The Jazz Bakery, it isfrom 2001, shortly after the release of Gonna Lay My
Heart on the Line. While three of its four standards
were recorded on Born To Be Blue, her seven originals
on this program all received their recording debut
on her 2001 album.
With sympathetic backing by Kellaway, Kindred
and bassist Chuck Berghofer, Phillips is heard
essentially performing a one-woman show,
displaying a youthful and enthusiastic voice. In
addition to contributing a friendly and heartfelt
delivery to each of the songs, she reminisces about
her life between the tunes. She has clearly enjoyed it
and, whether it is a light-hearted “Easy Street”, thewarm and nostalgic “To Make Them Like Me”, her
excellent ballad singing on “Another Day Without
Him” or interplay with her husband on“Embraceable You”, this is a first-rate jazz-inspired
cabaret show.
For more information, visit annephillips.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 15

nwomezzin ja
ISSUE

GLOBE UNI T YNãgaAlexandra Grimal (Ovni)
Born/Raised
Mai Sugimoto (Asian Improv)
Reverence
Muriel Grossman (Dreamland)by Tom Greenland

As part of our March fête of jazz females, thiscolumn critiques albums by three saxophonist/
leaders: Alexandra Grimal, Mai Sugimoto andMuriel Grossmann, an international crew based,
respectively, in France (via Cairo), Chicago (viaTokyo) and Ibiza (via Vienna) and who, despite
disparate origins and influences, possess a common
passion and flair for improvised music.
Since 2009, conservatory-trained saxophonist/
vocalist Grimal has recorded work exploring thenexus of classical composition and jazz improvisation.
Nāga (after the mystical Hindu snake), her seventh
album as leader, is with Lynn Cassiers (vocals/lyrics),
Marc Ducret and Nelson Veras (guitars), Jozef
Dumoulin (Rhodes/electronics), Benoît Delbecq(piano) and Stéphane Galland (drums). The wideranging, two-disc work melds acoustic and electronic
textures effectively, lyrics and melodies less so, thewords (mostly in English) awkwardly draped over
the angular contours of the songlines, their sounds
reshaped by live electronic processing. More
impressive are the thick, pliant, soupy textures,
guitars and keyboards elaborately intertwined,
Grimal supplying potent statements, especially her
burbling tenor bellows on “Rê” and her high, flutelike sopranino purrs on “Cambium”.
Tenor saxophonist Sugimoto heard a lot ofclassic jazz from her dad’s record collection growing
up in Japan—meaning big band to bop to Ornette
Coleman—influences readily apparent in her debut
Born/Raised. Her pianoless quartet with Quentin
Coaxum (trumpet), Katie Ernst (bass) and Charles
Rumback (drums) has an open, flexible sound.
While the first few tracks are fairly staid, enlivened
somewhat by the leader ’s generative phrases, thequartet reveals more moxy on tracks like “Zui Zui
Zukkorobashi” (based on a traditional children’ssong), polyphonic “Your Majesty” and two Colemanesque ventures: “I Only See You After Dark” and“Aggro”. The closer, “Raised”, second of two ad-hoc
improvs, contains some of the best dialogic interplay.
Although she grew up in Austria, saxophonist
Grossmann has lived in Ibiza since 2004, recording
11 discs there. A highly touristed isle off Spain’s east
coast, Ibiza is known for deep house beats (thesoundtrack to its hyperactive nightlife) and a lingeringhippie ethos. No wonder, then, that Reverence is agroove-based, alpha-wave-inducing party album,
only here the aesthetic touchstone is Africa. With her
global troupe—Belgradians Radomir Milojkovic(guitar) and Uros Stamenkovic (drums), fellow
Viennese Gina Schwarz (bass) and Mallorcan Llorenç
Barceló (organ)—Grossmann conjures up thick,swirling, somewhat amorphous grooves based aroundminor pentatonic melodies and relatively static
harmonies subtly layered with balafon, kalimba, ngoni
and other instruments. Her solos recall the restive
spirituality of John Coltrane or Pharoah Sanders,
Milojkovic’s the bluesy riffing of vintage soul jazz.
For more information, visit alexandragrimal.com,
asianimprov.org and murielgrossmann.com

Live from The Firehouse Stage
Five Play (s/r)
DIVA + The Boys
DIVA Jazz Orchestra (MCG Jazz)
by Marilyn Lester

Two releases from the DIVAsphere have at their coregigantically talented drummer and Musical Director
Sherrie Maricle, leader of the 25-year old DIVA Jazz
Orchestra and its sister group, the 20-year-old quintet
Five Play. Maricle is a dynamic presence with a clear,
precise vision who demands and gets the best.
Live from The Firehouse Stage, an eclectic mix firmly
rooted in jazz traditions, has something for everyone
in its ten tracks of three standards and seven originals.
Two cuts are especially notable: Maricle’s “T-Bone
Special”, a swinging shuffle reminiscent of blues
guitarist T-Bone Walker ’s early output, and Duke
Ellington’s “Just Squeeze Me (But Don’t Tease Me)”,
first recorded in 1946 by his orchestra but here closely
following Ellington’s 1958-59 small-group recording
Side by Side with Johnny Hodges. Playing largely on
the melody, the piece ends with a trumpet wail from
Jami Dauber, reminiscent of high-note Ellington
trumpet player Cat Anderson, wrapping up a versionof the tune that’s great fun. Other tracks, especially thecompositions by pianist Tomoko Ohno and saxophonist
Janelle Reichman, spotlight well-rounded, largely
melodic talent, with the work of bassist Noriko Ueda
rising to the top like delectable cream.
DIVA + The Boys, recorded live at the Manchester
Craftsmen’s Guild in Pittsburgh, is the perfect showcase
for what the DIVAs (saxophonists Alexa Tarantino,
Scheila Gonzalez, Roxy Coss, Leigh Pilzer and Reichman;trumpeters Tanya Darby, Rachel Therrien, Barbara
Laronga and Dauber; trombonists Jennifer Krupa, Linda
Landis and Leslie Havens; Ohno, Ueda and Maricle) can
do and the kind of solid music they make as a big band.
The DIVA sound is elegant and lush; even in hard swing,such as with “Bucket O’ Blues” (Plas Johnson), sans anyof the boys, the music has flow. This particular cut is alsoa perfect illustration of Maricle’s ability to anchor every
tune with her creative, resonant beats, whether forward
or in the back of any given tune.
The boys in question are clarinetist Ken Peplowski,
recently departed trumpeter Claudio Roditi andtrombonist Jay Ashby as soloists, with guitarist Marty
Ashby also sitting in. Peplowski, probably the world’s
premier jazz clarinetist, largely owns DIVA + The Boys.
Right out of the gate on Benny Goodman’s “SlippedDisc” he demonstrates skill off the charts, particularlyin the fast-paced closing bars of the tune. Another sideof Peplowski’s brilliance emerges on the mellow tone
poem “Estate” (Bruno Brighetti, Bruno Martino, Joel E.
Seigel). Roditi provides fun for himself and listeners
with his “Piccolo Blues”, composed for the somewhat
oddball piccolo trumpet. The pleasant tune is a superb
showcase for his fingering mastery and creative
intonations. For Jay Ashby, his playing and arranging
on the lyrical, symphonic “Nocturna” (Ivan Lins) is a
mellow ode to trombone excellence. All of the boys
solo on Jay Ashby’s “Deference to Diz”, a solid bebop
salute to Mr. Gillespie, as much fun to listen to as it
must have been to play.
Both CDs hold special delights throughout. They
represent the kind of material to please established
DIVA fans mightily and recruit new ones to the fold.
For more information, visit divajazz.com. DIVA Jazz
Orchestra is at 54 Below Mar. 13th-14th with Maurice
Hines and Dizzy’s Club Mar. 19th-22nd. See Calendar.

16 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDThe Pirkei Avot Project, Vol. 2
Amanda Monaco (RMI)
by Elliott Simon

Pray for the welfare of the government lest we “Swallow
Each Other Alive” but “Do Not Make Yourself Knownto the Authorities” for they appear as friends only when
it is to their advantage. Guitarist Amanda Monaco’s
Pirkei Avot Project, Vol. 2 presents the former as a funky
set of instructions whereas offering the latter as a heavy
metal warning with searing guitar. These seemingly
contradictory aphorisms are chilling in their immediacy
yet Ethics of Our Fathers, a seminal compendium of Third
century Jewish moral maxims, includes them both. In
total, nine such precepts provide ancient inspiration for
Monaco’s modern compositions.
Daphna Mor on a variety of recorders and bassist
Sean Conly reprise their roles from Vol. 1 (Genevieve
Records, 2011) with vocalist Tammy Scheffer andpercussionist Daniel Freedman newly welcomed into
the mix. Scheffer ’s naturally pure Hebraic vocals add
new notes of innocence but her phrasing and tone
inspire fear and awe when necessary. Freedman and
Conly mesh well and deliver a Middle-Easternflavored beat that allows for ample room. This supports
the elemental but contemporary quality of the music,
resulting from the guitar ’s conversations and voicings
with vocals and rich-bodied recorders.
Graceful ensemble elegance sanctifies spirituality
as its own reward on “Determine Your Actions” while
Monaco sets in motion an intriguing three-way
conversation on “Tip the Balance” before cleverchanges in mood and tempo portray the differencesamong the four types of students, “Sponge Funnel
Sifter Strainer”. The final two cuts are a powerfuldepiction of the world’s eternal option. A light breezyLatin vibe and beautiful arco bass solo characterize“The Hope of Humankind Is…” before muted death
metal closes out the session’s unspeakable alternative
brought about by “Greed, Sourness and Hatred”.
Mastering with a nuanced soundstage for classic
black vinyl and Dave Kopperman’s original cover art
complete the package as Monaco continues her
unconventional connection of the past with the present.
For more information, visit amandamonaco.com. Monaco is
at Metro Baptist Church Mar. 20th. See Calendar.

308 LENOX AVE
HARLEM

8 & 9:30 PM

GET TIX INADVANCEwomenin jazz
ISSUE

New Sounds from the Jazz Age
Lizzie Thomas (s/r)
by Scott Yanow

Lizzie Thomas, an excellent jazz singer, originally had
classical piano and clarinet lessons before deciding tofocus on being a vocalist. After college, she worked asa keyboard player with alternative indie bands in
Nashville and spent a year listening exclusively to
Billie Holiday records. To her credit, she sounds
nothing like Lady Day nor does she sound like amoonlighting rocker. Instead, Thomas displays her
own joyful spirit. She has been a fixture on the New
York jazz scene for a decade and had previously
released three CDs.
While the title of her fourth CD sounds like an
exploration of the ‘20s, she actually performs ninefamiliar jazz standards mostly dating from the ‘30s
(Irving Berlin’s “Cheek To Cheek”) to the ‘60s (Antônio
Carlos Jobim-Newton Mendonça’s “One Note Samba”).
She is joined by pianist John Colianni (who also
provided the arrangements), Matt Chertkoff or Russell
Malone on guitar, Jay Leonhart or Boots Maleson on
bass, drummer Bernard Linette, percussionist Doug
Hendrichs and occasionally Omar Daniels on tenor
saxophone and flute and clarinetist Felix Peikli.
Thomas has a strong and attractive voice, somehow
sounds relaxed at rapid tempos (“One Note Samba” isreally blazing), scats with spirit when it fits the songand handles the sometimes-tricky arrangements well.
Colianni’s reworking of the Gershwins’ “Fascinating
Rhythm” is particularly creative, starting with the verse
at a slow tempo, moving on to the chorus at a fasterpace and then ending as a slightly slower and saucier
strut. Other highpoints include Thomas’ singing on theverse of the Gershwins’ “Our Love Is Here To Stay”(backed by Malone), the happily loose take on Cole
Porter’s “You’d Be So Nice To Come Home To” andLatin-ish versions of Porter’s “In the Still Of The Night”
and Ray Noble’s “The Very Thought Of You”.
The one reservation of the 35-minute program isthat the performances are so concise (only one number
exceeds five minutes and five are under four) there isvery little solo space from the sidemen, a half-chorus at
the most and often just eight bars. Hopefully next time
there will be some stretching out. Otherwise, New
Sounds from the Jazz Age is an excellent showcase for
Lizzie Thomas.
For more information, visit lizziethomas.net. This project is
at Gin Fizz Harlem Mar. 20th. See Calendar.

Live at Jazz Standard
Duchess (Anzic)
by Jim Motavalli

The Boswell Sisters recorded Spencer Williams-Jack
Palmer ’s “Everybody Loves My Baby” in 1932 andswung it pretty hard. In May 2019 at Jazz Standard,
Duchess (Amy Cervini, Hilary Gardner and Melissa

Stylianou) recorded it again for this new live album,
swinging the song even harder and with much bettersound quality. As befits nearly 100 years of intervening
jazz history, they embellish the old standard with vocal
pyrotechnics, a bop-influenced piano solo (MichaelCabe), fleet guitar work (Jesse Lewis), a kazoo and acappella sections. But at heart the arrangement isfaithful to the good ol’ Boswells.
Most of the material is venerable. “Chattanooga
Choo Choo”. Well, Glenn Miller made that Harry
Warren-Mack Gordon song jump in 1941, then The
Andrews Sisters had their way with it. The old railroad
station is gone—it’s the Chattanooga Choo Choo Hotel
now—but the musical warhorse is still out there,
complete with the ouch-inducing reference to theshoeshine “boy”. Duchess performed the music of
The Andrews Sisters at Lincoln Center in 2019 with thePaul Taylor Dance Company. Fortunately, some of theirbiggest, played-into-the ground hits—“Boogie Woogie
Bugle Boy”, “Beer Barrel Polka”—were left off thisalbum, but we do get “Bei Mir Bist Du Schoen” in all
its glory.
This is the group’s third album and the songs—
many of them pre-war—are staples of their live act. A
winking Martha Tilton recorded Ralph Yaw-Mel
Waters‘ “A Little Jive is Good for You” in 1941. Jimmy
McHugh-Dorothy Fields’ “On the Sunny Side of theStreet” goes all the way back to 1930 and it’s awonderful song—just kind of over-recorded. It can besaid that this music will never get old, but that’s acliché and the truth is that it can and does. The album
as a whole isn’t going to surprise you. That’s not to say
it’s not good. It is, in fact, good, just not essential if you
already have a big library of this kind of material. If
not so blessed, by all means purchase a copy. Live at
Jazz Standard is a great primer into the period whenjazz was America’s popular music and songs like these,
complete with swinging big-band arrangements,
topped the charts for months. Seeing Duchess live,
however, is the ideal scenario. The repartée sparkles
and they know how to put over a song.

giving the record cohesiveness. Two of the tracks werecomposed by Erdmann and one by Narvesen (who also
plays in a duo with Schlippenbach and in a trio with
Conny and Matthias Bauer), the rest by Takase anda couple don’t employ the full personnel. But themusicians share a common drive that gives the album
an intoxicating momentum.
Tying it together is Illvibe’s clever turntablism. He
gives the proceedings a warped nostalgia, dropping
distant jazz-age daydreams and blurred raps onto theupbeat, hardbop proceedings. He often takes on therole of unintelligible vocalist, moving at wrong speeds
through the midtempo kicks and quirks.
At its liveliest moments, Thema Prima bouncesalong with all the energy of a frantic Richard RodgersOscar Hammerstein-scored scene, Illvibe on the edges
like a circling biplane. But it wouldn’t work if that’s all
there was to it. The band dissolves into sensitive,
intuitive passages with hardly a moment’s notice andresolves them just as readily. As strong as the rest of
the band is, though, it is Illvibe who pulls it all together.
His sparing, scratching and time-bending voices put
a distorted face on the tunes, making it stand out asa most unusual session.
The surprise here is in the inspiration, but it’s theinspiration that explains it all. Takase’s interests in thecomposer Conlon Nancarrow (who created most of his
works for player piano) was the foundation for thecompositions and for the formation of the group.
There’s not much about the album that sounds like
Nancarrow’s enigmatic work, but the tempos, densityand playfulness all show his hand. And that could be
the best kind of tribute—to say someone inspired you
to do something new.
For more information, visit bmcrecords.hu

For more information, visit anzicrecords.com. This projectis at Jazz Standard Mar. 31st. See Calendar.

Thema Prima
Aki Takase Japanic (BMC Records)
by Kurt GottschalkN ot everything Aki Takase touches turns to gold.

Sometimes—as with her interpretations of the Duke
Ellington, Ornette Coleman and Eric Dolphy
songbooks—she touches things that are already gold
and manages to crystallize them. Other times, as in herlong partnerships with her husband and fellow pianist
Alexander von Schlippenbach and his son, who
performs under the name DJ Illvibe, gold touches her.
And in some cases, the gold just appears.
That is the sort of alchemy she has conjured on
Thema Prima, a fantastically entertaining set of jazzy
tunes and dreams recorded in Budapest with Illvibe
and the trio of players (saxophonist Daniel Erdmannand bassist Johannes Fink, both German, andNorwegian drummer Dag Magnus Narvesen) thatmake up her Japanic group. Over the course of 10
tracks, the quintet displays a cunning wit without
losing sight of the groove.
They do so without losing sight of the group,
either. There’s a strong sense of common purpose

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 17

nwomezzin ja
ISSUE

Coin Coin Chapter Four: Memphis
Matana Roberts (Constellation)
by Marco Cangiano“Memory is a most unusual thing,” Matana Roberts

declares repeatedly in the fourth installment of her
Coin Coin project. And indeed it is. An opus of thisdepth and magnitude on the preservation of Americanmusical ancestry was never attempted before. One has
to go back to Marion Brown’s ‘70s trilogy revisiting his
upbringing in Georgia (Geechee Recollections, Sweet
Earth Flying and November Cotton Flower) and John
Carter ’s ‘80s pentalogy (from Dauwhe to Shadows on aWall) to find similar breadth and dedication to the(re)discovery of AfroAmerican musical experience andtradition. In her personal recherche, Roberts mentions“the many layers of cognitive dissonance” relating to
U.S. history. In addition, she brings an original and so
far scarcely explored gender-specific reading—Cassandra Wilson’s Blue Light ‘til Dawn being one of
the few exceptions—of what is now being called
Americana, a mixture or rural and urban blues, cum
Appalachian folklore and bluegrass intertwined withmainstream jazz and contemporary improvisation.
Roberts also speaks of a patchwork and compares her
work to a finely crafted quilt. All this to say that it isdifficult to sum up in a few words such a broad musicalexperience and even more difficult trying to do so
without considering the previous three installments.
A brief summary of the previous episodes starts
with a solo saxophone shout in 2010’s Chapter One:
Gens de Couleur Libres rapidly merged with free
improvisation and a Montréal-based large band
including strings and alternating written material,
storytelling, blues, African rhythms, lullabies, cries
and Dixieland; “Kersaia” and “Libation for Mr. Brown”
are the highlights. Chapter Two: Mississippi Moonchile
followed in 2012 with a New York-based sextet,
including an operatic tenor voice to add drama to theat-times rambling storytelling. The pieces were woven
seamlessly into a suite with a variety of moods andsounds and an underlying blues feeling exemplified
in “Responsory”. Roberts’ saxophone was more inevidence as the music prevails over the oral narration.
2015’s Chapter Three: River Run Thee builds upon andfurther expands Roberts’ “panoramic sound quilting”
while moving geographically up the river. But thistime it is just her, in a multi-layered storytelling ofdramatic intensity and complexity, supported byelectronic sounds and Malcom X’ voice.
All of the above takes us to the fourth chapter, inwhich Roberts returns to a core small group ofmusicians supported by a number of guests. Her
explorations of Blackness narrative deepen further, ina sort of musical parallel to Colson Whitehead’s novels.
This chapter sums up the previous ones by reachinga balance between music—the tunes flow in a suitelike format—and narrative. The sound tapestry isfurther enriched by a rural perspective, conveyed by
Hannah Marcus’ fiddle and accordion as well as Ryan
Sawyer ’s jaw harp. “As Far as the Eye Can See” is thecomposition that more than others captures Roberts’personal narrative (“run baby run, run like the wind…
memory is the most unusual thing”) while the ensuing“Trail of the Smiling Sphynx” condenses the complexityof her musical approach, merging Ornette Coleman’s
Harmolodics with Celtic folk music. It is a kaleidoscopeof inventions, moods, atmospheres and musicalexplosions, such as the opening of “Raise Yourself
Up”, which is followed by a roll call and underlined bya martial cadenza from which accordion emerges.
This variety reveals Roberts’ very original
approach to looking at the past while projecting thefuture, as epitomized by her reading of St. Louis blues
in “Fit to be Tied”. Among the guests adding depth
and extending the musical palette are Ryan White’svibraphone in “Shoes” and Steve Swell’s trombone in“Labor”, in addition to the vocal contributions by all,well showcased in “Her Mighty Waters”. This is arecording that requires attention and guarantees many
rewards after each listen.
For more information, visit cstrecords.com

Fostina Dixon& Winds of Change
sunday, march 29
3 - 5 pm - DONATIONS WELCOME

Jazz Vespers At EBC has become
one of Brooklyn’s most successful
ongoing jazz music series
Emmanuel Baptist Church
279 Lafayette Avenue, brooklyn
corner of St. James Place
For more information: 718-622-1107
ebcconnects.com/jazzvespers

Après un RêveEve Risser (Clean Feed)by Stuart Broomer

F rench pianist, improviser and composer Eve Risser
has distinguished herself on several fronts in recent
years, including the group En Corps, one of the mostbrilliant and sustained contemporary takes on the
piano trio with drummer Benjamin Duboc anddrummer Edward Perrault, and her equally distinctive
tentet, the White Desert Orchestra, a group that excels
in imaginative forms and textures.

18 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDOn Après un Rêve, Risser is alone at a piano, but it’sa very special piano, a prepared upright, which may lacksome of the layered complexities of a prepared horizontal
grand, but which abounds in its own possibilities, bothfor reverberant hanging objects and the use of a drum
pedal to strike the frame that reaches to the floor.
The CD is just a shade under 25 minutes, and thesingle title piece invokes a 19th century work by Gabriel
Fauré, even going so far as to include the lyrics of Romain
Bussine. Risser creates her own dreamscape withremarkably original means, much of it rooted in arhythmic insistence that can be achieved with steadychording or with the use of pedal attachments to strikethe lower strings. The work begins in a meditativereflection, a contemplative minor phrase, a microtonal
burst across the prepared strings, an echoing mallet striketo the piano frame. A certain compulsive rhythmic
insistence gradually develops, ebbing and flowing before
it eventually takes over, linking the music to dance anda kind of ancient village music with folk-like minimalist
melodies and multiple voices and sounding like at least
three hands and two or three instruments. It’s with that
propulsive rhythm that the music seems to achieve its
vision, along with that rhythm’s complementary, anironic timelessness, the string and percussion effects
stretching back and forth through seeming centuries ofdream, consciousness and experience.
Risser ’s prepared upright is part drum and partorchestra, part throwback to the theatrical organs withsound effects of the early 20th century and also an
oddly hybrid adaptation, as contemporary as Ross
Bolleter ’s work with “ruined pianos” abandoned in theAustralian outback. The joy of that brief playing timeis that you get to hear it all again so soon.
For more information, visit cleanfeed-records.com

womenin jazz
ISSUE

Solor | Excess
Lori Freedman (Ambiances Magnétiques)by Steven Loewy

These two totally engrossing solo recordings byveteran Canadian bass clarinetist and voice
manipulator Lori Freedman explore the limits of soundin a compelling, thoroughly delightful way. Freedman,
who has collaborated with a who’s who of free
improvisation, from trombonist George Lewis tobassist Joëlle Léandre, focuses here on the singularessence of sound, exploring a wide variety of strategies
to transform the rawness of being into a glorious
tribute to the limits of musical experience while
expressing primordial emotions. Solor is a compelling
collection of seven pieces, five of which are solo
compositions and two thoroughly improvised. Excess,by contrast, presents six compositions based on
Freedman’s 11-city North American solo tour from2016 entitled “The Virtuosity of Excess”, a phrase thatfully describes the music. Taken together, the tworecordings are a good example of Freedman’s recent
work. With vocal influences as diverse as Jaap Blonk,
Diamanda Galás and Lauren Newton and a virtuosic
ability on the reeds, the two albums combine to forma wonderful, meticulously engaging adventure
through stunning technique and wide palette.
Solor is filled with intense emotions and startlingsounds. Freedman’s disciplined performance on
unadorned Bb clarinet is on full display on “Tatu”,
a composition she wrote in 2012, which shows off
a striking range, tightly performed high notes andextended abilities, marking the clarinet as an extensionof self. With flutters, growls, jumping intervals andregularly changing tempi, Freedman eschews pure
abstraction in favor of a Dionysian/Apollonian
discourse embracing a delightful smörgåsbord of theunexpected, keeping the listener guessing as to what
she will do next. Her vocals embrace the extremes, sothat on the opening “To the Bridge”, her bass clarinet
marksmanship contrasts starkly with the radiant,though bizarre, vocal lurches enveloping the unfamiliar,
as she rapidly switches between horn and voice,sometimes giving the impression of playing duets withherself. “Snuggle” smartly focuses on hard-hitting bass
clarinet, mostly in the midrange, while “En Tout Cas”
opens with indescribable vocalisms spanning thespectrum, then morphs to little tones and finally leads
to bass clarinet performed interchangeably with voice.

Excess, while just as compelling as Solor, feels very
different, though no less radical. With several
compositions from the likes of Richard Barrett andBrian Ferneyhough, Freedman indulges in an expansive
and electrifying collage of sound, from the opening“Interference”, in which contrabass clarinet alternates
between voice and “kickdrum”, which sounds like apowerful foot to a bass drum, balanced (or perhaps
unbalanced) by intermittent vocal prods andprogressively more radical lunges on the contrabass
clarinet. Each piece is extraordinary, but the difficult“Time and Motion” presents an outstanding display ofwhat the bass clarinet can accomplish, with gradually
accelerating tension, flutters, trills and repeatedarticulation of high notes, all of which would challenge
and even defy any but the most accomplishedreedplayer. Lori Freedman shows she can do it all,expanding the vocabulary of the clarinet family, with acontrolled technique that leaves the listener breathless.
For more information, visit ambiancesmagnetiques.com

Barn Songs
Fay Victor (Northern Spy)by John Pietaro

This reviewer, in past writings, has described Fay
Victor ’s voice as mystical. Her uncanny ability tocompose, shred and reconstruct haunting melodies isheard anew on this latest work, recorded by her
chamber trio in a barn 160 miles north of the city. The
outcome is arguably spiritual. With nary an effectstanding between her voice, the cello of Marika Hughes
and alto saxophone of Darius Jones, Victor begets analluringly beautiful set of original improvisational
works (composed in tandem with partner Jochem van
Dijk) capturing equally the traditions of lieder, chamberjazz and African American art song.
Her lonesome tone, in sparse conjunction with
Hughes and Jones, is profound on languid cuts like
“Stealaway”, which includes a lengthy, pensive tacit
before the following piece, “Sometimes”, one based on
an expansive blues. Here, Victor taps into the heritageof Billie Holiday, Nancy Wilson and Abbey Lincoln as
Hughes’ pizzicato marches through with an extended
walking bass, a hungry effect that the ear craves
hearing again and again. Her pizzicato on “Nico” isfree and compelling. Jones’ solos on such tracks easily
traverse the seeming chasm between Lester Young,
Steve Lacy and John Tchicai, no matter the horn. And
he utterly shines on “Talk Talk (pt 2)” and “Nico”,
moving between an almost klangfarbenmelodie andlustrously free improvisation.
But each cut offers a new vision of the trio andpieces like “Dream State” break it down further, with
Victor ’s extended techniques coming in on the heels ofan almost poetic reading. As to the latter, “Talk Talk
(pt 2)” absolutely brandishes the jazz poetry tradition,
the Beat Generation and then some, with Victor
reminding the listener, “You can make up your mind tobe free no matter which way the day goes.” Words tolive by. And it all comes together on the closing cut,
“There They Are”, where the three emote equally andthe telepathy shared by Victor, Jones and Hughes, by
way of seemingly boundless range and musicality, isdownright joyous.
For more information, visit northernspyrecs.com. This
project is at Joe’s Pub Mar. 20th. See Calendar.

IN PRIN T

Women in Jazz
Sammy Stein (8th House Publishing)by Kevin Canfield

Sammy Stein, a U.K.-based music writer and radio

host, spent the last couple of years asking women
about their careers in jazz. She received a stack ofenlightening replies from recording artists andindustry professionals. “Jazz remains maledominated and the speed of change is slow,” shewrites. Amid heightened awareness of society’s
ingrained gender inequities and the egregious
workplace behavior of some men, Stein’s Women in
Jazz is timely. Which is not to say that it is consistently
compelling. Her interviewees rarely disappoint andsome of her commentary is edifying. Other times,
however, Stein’s prose is superficial and marred byeasily avoided errors.
“Women are hot right now,” Stein says in her
introduction, striking a curiously patronizing note.
“People are writing about them; they are the topic ofradio shows, TV documentaries; and their presence inmusic is being taken seriously.” Her opening chapter,about the history of jazz, is sometimes glib. “I am happy
to report that jazz is very much alive,” she writes
unnecessarily, then repeats herself a few pages later.
But the book finds its footing when musiciansand other women in jazz are given room to share
their stories. The late trombonist Melba Liston, Steinnotes, spoke openly about being raped as a young
touring musician. Today, “the most common thing isjust being sexualized,” British vocalist Indira May
says. “…I get referred to as ‘that singer on stage’
when actually I’ve co-written the music.” Debbie
Gifford, a vocalist who’s performed at Birdland,says that while the climate has improved for women,
condescending attitudes were once quite common:“There was always some guy in the band or at a gig
who didn’t treat me as an equal.”
Terri Lyne Carrington, a drummer and composer
who has won several Grammys, tells Stein that her
decision to found the Berklee Institute of Jazz andGender Justice was informed by optimism—and an
acknowledgment that more work needs to be done:“I’m very hopeful about the future of jazz. I just feelthe culture has to change to accept women composers
and musicians more equitably.” Another of Stein’ssources, a publicist, notes that jazz is particularly
tough for female newcomers. Inexperienced“women are dismissed frequently as being‘amateur ’,” she says, whereas male acts “are givenlabels like ‘DIY’ or ‘Underground’.”
Stein doesn’t pretend to be an expert on
American jazz. But that’s no excuse for misspellingthe names of Billie Holiday and Kamasi Washington.
And yet, despite such conspicuous mistakes, herbook makes a persuasive case that the music’s
future, in the U.S. and abroad, will be increasingly
shaped by women. Her interviewees say they see
more women in their audiences, more womenfollowing in their professional path. “It feels like theday is coming,” she writes, “when gender in jazz
will no longer be ‘a thing’.”
For more information, visit 8thhousepublishing.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 19

Studio Sessions, Vol. 5
Stephen Gauci/Sandy Ewen/
Adam Lane/Kevin Shea (Gaucimusic)
by John Sharpe

F ew adventurous outfits can have gigged in NYC as
consistently as saxophonist Stephen Gauci’s quartet.
Since its inception back in June 2017, the band has
played almost every Monday night in the 8 pm slot
at Gauci’s Bushwick Series in the basement of the
Bushwick Public House. Over this time they havedeveloped a unique style based around the leader ’s
startlingly original tenor approach, which accentuates
harmonics, overblowing and asymmetric phrasing. On
Studio Sessions, Vol. 5 the band, completed by guitarist
Sandy Ewen, bassist Adam Lane and drummer Kevin
Shea, forsake the live setting to forge three extended
studies stretching free jazz norms.
Gauci pauses, stops, restarts following an inner
logic, his singular timing mirrored by the group. He
toggles between careening falsetto and guttural
midrange, presenting a visceral stream of ideas infragmentary runs and irregular shapes. Ewen
concentrates on timbral juxtaposition and can soundlike faulty plumbing or grinding gears, belying her
instrument’s customary signature. Lane’s muscularpresence provides the bedrock amid the abstraction.
He moves between throbbing pulse and rough-hewn
melodies that sometimes morph into riffs aroundwhich a percussive impulse coalesces. He thereby
releases Shea to explore the tonal rattle of distinctive
textures derived from cymbals, wooden blocks and kit.
“Improvisation 1” alternates between dense soniclandscape and near silence, including a satisfying
section near the end when Gauci touches on almost
lyrical devices amid the harsh rhetoric and Shea
becomesquasi-propulsive,
recallingamoreconventional outfit though, even here, undercut by
Ewen’sscuttles,
sharp
picks
and
scrapes.
“Improvisation
2”
featuressqually
four-wayinterchange while “Improvisation 3” is explosive, Lane
wielding his bow to create a different feel. Ewen attacks
her guitar to good effect while Gauci’s resonating
blurts add a structural element that bolsters Lane’searthy sawing. It’s a great way to close a bracing set.
For more information, visit gaucimusic.com. This band is at
Bushwick Public House Mar. 2nd and 16th. See Calendar.

The Twelve
Craig Brann (SteepleChase)by Ken Dryden

To those who frequent New York City jazz clubs,

guitarist Craig Brann is well known as a busy leader
and sideman. The Maine native spent part of his college
years at William Paterson University, where he met
several of the musicians heard on this recording: pianist
Ethan Herr, trumpeter Freddie Hendrix and bassist
Nick Morrison, drummer Rudy Royston rounding out

the band. Morrison has been on all five of Brann’s CDs
while Herr and Royston have also recorded with him.
Brann’s challenging originals stimulate the players,
beginning with the delightful off-center 12-bar blues“Ode To Charles Lutwidge Dodgson”. Guitar approach
ranges from brittle, repeated notes to elegant runs
while rapid-fire trumpet and economical piano are
pure bop. “No Freeloader”, inspired by the chord
changes to Miles Davis’ “Freddie The Freeloader”, is abreezy affair with explosive solos all around. “Sheol
Song” is a lullaby improvised by Brann to encourage
his children to go to sleep, its infectious melody aspringboard for improvisation, sensitive percussion
adding the perfect touch. “Hornpout” is a down anddirty funky blues that would fit any late night urban
setting, featuring gritty guitar and Herr conjuring thespirit of Professor Longhair; Hendrix sounds a bitburied in the mix but his wailing trumpet peeks throughthe curtain. “Brooklyn” is a barely disguised reworkingof the movie theme “New York, New York”, far more
upbeat and interesting than the song that inspired it;
the swagger is still present, but a brisk tempo andinventive lines keep it lively. The date wraps with Kris
Kristofferson’s “Why Me, Lord”, an intimate, bluesy
interpretation that has the feeling of a spiritual, with
Hendrix taking honors in his conversational solo.
For more information, visit steeplechase.dk. Brann is at Mezzrow
Mar. 2nd, Bar Felice Mar. 4th, Tomi Jazz Mar. 7th and Montauk
Club Thursdays. See Calendar and Regular Engagements.

Chusid, there are no specific credits in the album notes.
For example, the lovely “Somebody Else’s World” also
appears on My Brother the Wind, Vol. 2 and a 2014 Strut
album, Marshall Allen presents Sun Ra and his Arkestra: In
the Orbit of Ra. This is significant only in the context ofthe complicated discography. Beyond being a superb
statement of Tyson’s art, Saturnian Queen is an excellent
Sun Ra compilation, a signal through the noise. And,yes, “Smile” is Charlie Chaplin’s tune, but “Walking on
the Moon” is not The Police song.
When Angels Speak of Love was originally released
in 1966 on El Saturn. Call it The Magic City era in thatthe studio albums mix free improvisation, ritual pieces
and swinging space tunes. Taken as a piece in thelarger puzzle of mid ’60s Ra, this fits neatly, including
the weird, flat reverb, but it’s of similar but lesser
quality than Magic City or the two volumes of The
Heliocentric Worlds of Sun Ra.
The Arkestra’s live shows from the ‘80s and ‘90s
were exciting affairs that didn’t always translate wellto audio—the dancing and sheer physical spectacle go
missing. One hears the long opening drum solo on Livein Kalisz 1986 as hinting at something happening on
stage. Still this is a solid, though not completely
compelling, document of the era. The band is tight andRa’s improvisations are full of wit, guile and energy.
There is a familiar and satisfying formula of moving inand out, more the former than the latter, from free tospace to a Fletcher Henderson-esque “You’ll Never Be
the Same”. The surprise here is “Mack The Knife”,
with an unidentified musician doing a fair and loving
Louis Armstrong imitation.
For more information, visit modernharmonic.com, sunra.com
and lanquidityrecords.com. The Sun Ra Arkestra is at Town
Hall Mar. 4th. See Calendar.

Saturnian Queen of the Sun Ra Arkestra
June Tyson (Modern Harmonic)
When Angels Speak of LoveSun Ra and His Myth Science Arkestra (Cosmic Myth)Live In Kalisz 1986
Sun Ra Arkestra (Lanquidity)by George Grella

Sun Ra’s discography is difficult for even a dedicated

fan to handle. There are well over 100 albums to hisname and, as many of those have appeared on morethan one label through the history of their existence,
they can be confusing to track. On top of that, sinceRa’s death in 1993, there has been (re)discovered live
and archival material released, initially drip-by-drip
and now as a regular flow of recordings of albums andsingles in the past decade. Expect this to continue—
Ra not only ran his own El Saturn label for decades,
but also seems to have hit the record button every time
he and the Arkestra set their instruments to vibrating.
There are albums that were meant as albums and ones
that seem composed of material he and the Arkestra
are working out in serious rehearsal. Ra’s aesthetic wasso consistent and encompassing that the separation
between the two is irrelevant. And so with more music
available than one is likely ever to hear, the firstquestion for these three old/new releases is are they
worth putting in the queue? The answer for one isabsolutely, for the other two it depends on what
nuances within Ra’s cosmic vastness one seeks.
Everything June Tyson sang with Ra is worth
hearing, so it’s good to have the Saturnian Queencompilation not only to enjoy her concentrated
presence, but as a way to frame her contribution. In
an ensemble created in and expressing Ra’s image, her
own vocal and personal charisma shines through. She
will already be familiar to most for her lead on the
Ra anthem, “We Travel the Spaceways”; even with that
her clear tone and Betty Carter-ish bite are scintillating
to hear on the first track, “Outer Spaceways
Incorporated”. In a band with a muscular rhythmicedge, she leads the pack. The provenance of these tracks
is obscure. Put together by the Ra aficionado Irwin

20 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDThe Fantastic Mrs. 10 (Intakt)
R • Raoul
Björkenheim—Solar Windse • Jay(Long Song)
Granelli—c AloneClayton/Jerry
Together (Sunnyside)
Demir—Freedom in Jazz (Hittite)o •• Orhan
Expansions: The Dave Liebman Group—
Earth (Whaling City Sound)m • Muriel
Grossmann—Reverence (Dreamland)(Vinnie Sperrazza/Jacob Sacks/m • Play
Masa Kamaguchi)—Sonny Rollins(Fresh Sound-New Talent)e • Bobby
Previte/Jamie Saft/Nels Cline—from the Early 21st Century
n Music(RareNoise)d • Claudia
Solal/Benoît Delbecq—
Hopetown (RogueArt)
e • Torbjörn Zetterberg & Den Stora Frågan—Are You Happy? (Moserobie)
d Laurence
Donohue-Greene, Managing Editor• Tim Berne’s Snakeoil—

Orchestra—Arrival (Rune Grammofon)n •• Fire!
Satoko Fujii Orchestra New York—
Entity (Libra)e • Sigurd
Hole—
Lys / Mørke ( Light / Darkness ) (s/r)
w • Gerry
Mulligan and The Concert Jazz

r
e
l
e
a
s
e
s

Band—Young Blood: Jazz at theConcertgebouw (Live in Amsterdam 1960)(Dutch Jazz Archive)• The Necks—Three (Northern Spy)
• Kristjan Randalu/Dave Liebman
Mussorgsky Pictures Revisited (BMC)• Matana Roberts—Coin Coin Chapter Four:
Memphis (Constellation)• Steve Swell/Robert Boston/Michael Vatcher—Brain In A Dish
(NoBusiness)• Yasser Tejeda & Paolotre—Kijombo (s/r)• June Tyson—The Saturnian Queen of the
Sun Ra Arkestra (Modern Harmonic)
Andrey Henkin, Editorial Director

Dream Time (Solo Piano)
Abdullah Ibrahim (Enja)
by Joel Roberts

South African pianist and composer Abdullah Ibrahim

was 84 when he performed this remarkable solo concert
a year ago at a small recital hall in the foothills of theBavarian Alps, where he now makes his home. Even at
his advanced age, he remains a superb stylist, focusing
on nuance, mood and melody above thunder and flash.
For 67 minutes, he sits alone at the piano, calmly
seguing from one tune to another, all 20 of themoriginal compositions from his vast songbook,including one, “Blue Bolero” (from the 2003 album
African Magic), he returns to four times as a sort oftouchstone. There are no breaks between songs, eachflows directly into the next, making the performancea kind of long, stream-of-consciousness suite.
Ibrahim is a master of understatement who makes
complicated music sound simple, much like Thelonious
Monk, one of his major influences. The tunes, some ofthem mere snippets as brief as nine seconds, represent
the totality of Ibrahim’s life and career, including
powerful older compositions like “Capetown District
Six”, “Blues for a Hip King” and “Sotho Blue”, whichevoke his South African homeland and the fight against
Apartheid. There are also a trio of odes to some of hismusical inspirations, namely John Coltrane, Duke
Ellington (a mentor who introduced Ibrahim tointernational audiences via the 1964 Reprise album
Duke Ellington Presents The Dollar Brand Trio) andEllington’s longtime trombonist Lawrence Brown.
While Ibrahim plays nearly two-dozen individual
songs, the performance has the feel of a single seamlesscomposition. This is an unabashedly beautiful,somewhat melancholy album that paints a stirring
portrait of the artist in his twilight. The sound quality
is outstanding and it’s easy to forget that it’s a live
concert, since Ibrahim doesn’t speak at all and theGerman audience is so hushed and reverent that itcomes as a surprise when they burst into applause at
the very end.
For more information, visit jazzrecords.com/enja. Ibrahim is
at Blue Note Mar. 5th-8th. See Calendar.

The Fantastic Mrs. 10
Tim Berne’s Snakeoil (Intakt)
by Tyran Grillo

There’s something undeniably adhesive about
Snakeoil, alto saxophonist Tim Berne’s uncompromising
outfit of exploding singularities. From the inauguralline, catalyzing an angular yet strangely joyful romp
through head-nodding territory, we’d be hard-pressedto find ourselves unattached to at least one motif, lineor beat along the way. Lending further veracity to his
enterprise are Berne’s usual suspects of pianist Matt
Mitchell, clarinetist Oscar Noriega and percussionist
Ches Smith, adding to those guitarist Marc Ducret.

One imagines the urban landscape moving in concert
with these bodies ambulating through it, as if flesh,metal and concrete were all one assemblage to which
this is the only logical soundtrack.
Despite the muscle behind much of the movement,
passages of gargantuan sensitivity abound. Sometimes
these are holistic, as in “Dear Friend”, which finds theband bowing its collective head for its composer Julius
Hemphill. Other times, those moments are buried, asin “Surface Noise”; an accurate title, to be sure, but one
that reclaims the term by severing its negatively
connotative roots and replanting it in active soil.
The interplay between piano and alto saxophone
is as oceanic as that between guitar and bass clarinet isamphibious, thus indicating a powerful array of duos
throughout. Other notables include Mitchell andDucret in the title track and “The Amazing Mr. 7”,
Berne and Smith in “Rolo” and Berne and Noriega in“Third Option”.
All of this and more is summarized in“Rose Colored Assive”. At the touch of behind-thescenes member David Torn, this concluding statement
feels more like an opening one, its taste of fantasy
whetting our palates for yet another new direction fromone of the most exciting bands working in jazz today.

is arresting. While Goodman clearly thinks in terms ofensemble statements, the range, lyricism, originality
and articulate authority of the guitar work here marks
him as an important emerging voice on his instrument.
Goodman finds five pieces by composers otherthan himself that fit his color scheme. The album ends
with “If I Loved You” by Richard Rodgers-Oscar
Hammerstein, in a rapt solo guitar meditation. What it
has to do with the color red may not be obvious, but its
grace and quiet passion will make you want to hearmore Alex Goodman.
For more information, visit outsideinmusic.com. This
project is at The Owl Music Parlor Mar. 8th. See Calendar.

For more information, visit intaktrec.ch. This project is at
Ibeam Brooklyn Mar. 6th. See Calendar.

Impressions in Blue and Red
Alex Goodman (Outside In Music)
by Thomas Conrad

Alex Goodman is a guitarist from Toronto. He has led
or co-led six previous albums and has been active on
the New York scene since 2012, but he has never quite
broken through to prominence. This double album
should change that.
If you put on either of these CDs without looking
at the personnel first, you could think you are listening
to more than four players. Goodman’s music is dense
and intricately organized, with motifs and variations
and counterlines crisscrossing on every tune, usually
rapidly, building up layers of diverse content.
Impressions in Blue and Red is a concept album about
synesthesia. Goodman perceives music in colors andassociates gradients of color with nuances of specificemotion. In the CD set’s documentation he provides
intellectual context for his concept by quoting anaesthetician (John Dewey), a writer (Goethe) and apainter (Kandinsky).
The music reflects Goodman’s “dominantassociations” with blue and red respectively, one color
per CD. Each quartet has an alto saxophonist, Ben Van
Gelder for Blue and Alex LoRe for Red. While Goodman
associates blue with “a…contradiction between
excitement and repose” (Goethe) and red with“determined…vigour” (Kandinsky), the two CDs aremuch more similar than different. On both, Goodman’scompositions and arrangements are intensely detailed.
His instinct for musical space is to fill it. Differences
here have more to do with personnel. LoRe has alighter sound but both saxophonists are bursting withcompelling ideas, which Goodman embeds several
layers down in his own forms.
Whether or not the listener is intrigued by theconcept that inspired Goodman to create this album,
the richness of the music is unmistakable. There is a lot
going on inside these “impressions” and most of it
THE NEW YORK CITY JAZZ RECORD | MARCH 2020 21

Suite for Max Brown
Jeff Parker (International Anthem/Nonesuch)by Annie Murnighan

STORYTELLERSLUCIANA SOUZA
AND THE

WDR BIG BAND COLOGNEARRANGED AND CONDUCTED BY

VINCE MENDOZA
SSC 1575 - Available MARCH 28

Grammy award winning artists Luciana Souza
and Vince Mendoza have joined forces with
WDR Big Band Cologne on this most extraordinary
collaboration - Storytellers.

C

onsidered one of the most important singers
of her generation, Brazilian-born Luciana
Souza brings her deeply personal and illuminated singing to songs by Antonio Carlos Jobim,
Chico Pinheiro, Edu Lobo, Chico Buarque,
Guinga, Djavan, Ivan Lins, and Gilberto Gil.

R

enowned arranger Vince Mendoza presents
each song in this collection with an enlightened score that springs from his profoundunderstanding of orchestration, coloring, and his
exceptional ability as a composer.

H

F rom his seemingly endless transgenre collaborations
with Chicago musicians (most notably post-rock band
Tortoise and the Chicago Underground) to his solo
albums, guitarist Jeff Parker has consistently expresseda lack of interest in confining himself to any one genre.
On Suite for Max Brown, dedicated to his mother, Parker
traverses different styles and instruments, picking up
synthesizers, samplers, pandeiros, mbiras and more.
Yet there’s a soulfulness that ties his work together; therecord floats in and around different ideas as though
wandering through a series of memories closely held
yet softened by the passage of time.
There’s always been a subtle immediacy to Parker’s
playing, as though he is coming upon each line in realtime, exuding a sense of wonder when finally landingon an idea that just fits. His riffs are never used as a
crutch, instead, as on the second track (with samples ofOtis Redding), allowed to come into focus briefly before
flowing naturally on to the next.
It is far too tempting to employ a tired observationthat much of what makes these pieces so beautiful isthat they are fleeting. Even the most infectious ofgrooves—“Gnarciss” and “Del Rio”—fade soon aftergaining momentum; no moment is held as overly
precious but, rather, made all the more compelling in
its transience. On the aptly titled standout “Fusion
Swirl”, all parts recorded by Parker, a circular bassline
surges beneath a flow of seemingly endless sustain andshimmering percussion, creating a hypnotic rhythmic
landscape. As the bass retreats, a soft wave of feedback
pulses and loops, warm and gently overdriven guitar
sketching meandering lines recalling some of Tortoise’s
more musing work. “Go Away” possesses a similarly
rotating bassline but here Parker, bassist Paul Bryan
and drummer Makaya McCraven seem to be bouncing
on the edge of their seats. “3 for L”, the moststraightforward jazz piece, finds Parker demonstrating
an acute relationship to the tone of his instrument.
Parker ’s desire to avoid falling into patterns neverfeels forced or prescribed. The ability to string together
varied yet cohesive atmospheres is most likely the
result of Parker ’s solitary writing practice, which, forthis record, found him assembling samples, chord
progressions, loops and beats on his own before
inviting a swath of collaborators. Suite for Max Brown isan endlessly gratifying glimpse into the mind of one of
the most captivating composers working today.
For more information, visit intlanthem.com. This project is
at Le Poisson Rouge Mar. 11th. See Calendar.

ere, the listener is rewarded with a recordingthat is essential and truthful, where joy andsorrow, loss and love are stories articulated inways that reach incomparable beauty.

For more information, visit willsellenraad.com. This projectis at Mezzrow Mar. 15th. See Calendar.

Academy Records& CDs
Cash for new and usedcompact discs,vinyl
records, blu-rays anddvds.
We buy and sell all
genres of music.
All sizes of collections
welcome.
For large collections,please call to set up an
appointment.

PHOTOGRAPH BY SEBASTIÃO SALGADOJURUÁ RIVER. STATE OF AMAZONAS, BRAZIL

Greene Street, Vol. 1
Will Sellenraad (Deko)
by Kyle Oleksiuk

www.sunnysiderecords.com

Sellenraad, drummer Eric McPherson and bassist Rene
Hart, who have the very rare distinction of having
known each other and played together for over 25
years. They mesh together beautifully as a group andhave a shared perspective allowing for collaboration ata very high level.
The sound is a hybrid of the traditional andfuturistic. As Sellenraad puts it, “our music
encompasses a breadth of influence; it is in the here
and now but reflects the past as well. Improvisationand the conversational aspect also play a major part.
You must listen and react and it’s usually not going togo how you thought it would.”
Willingness to listen and react is indeed
important, because the hybrid of new and old canmake it difficult for some. The bebop crowd willconsider it too electronic and the avant garde world
too traditional; this isn’t an album for people who
don’t want their peas touching their potatoes but those
who are open to the experience will find a lot to enjoy
in the musicianship.
Each player does an excellent job, working
collectively to create an adventurous album. To somelisteners, it could be considered a weakness that theband remains a tight group throughout—there iscertainly something attractive in solo-based albums
like Ascension, where players give their all, one at atime. But playing collaboratively in this coordinated
way takes real skill and interpersonal understanding.
The courage to stay out of the spotlight—like thatmemorable lyric, “the warriors, whose strength is not
to fight”—is a very rare thing. You can find it inabundance on Greene Street, Vol. 1.

G reene Street, Vol. 1 is performed by guitarist Will

22 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDOpen 7 days a week 11-7

12 W. 18th Street NY, NY 10011
212-242-3000

CM100119

Naama Gheber
Dearly Beloved
Naama Gheber - Voice
Steve Nelson - Vibraphone
Ray Gallon - Piano
David Wong - Bass
Aaron Kimmel - Drums

Appearing at Cafe Bohemia, May 9

Available April 10, 2020
CM072619

John Sneider
The Scrapper
Johnny Summers
Baker’s Dozen

Featuring:
Joel Frahm - Tenor Saxophone
Larry Goldings - OrganJohn Hart - Guitar
Andy Watson - Drums

Available April 10, 2020

Available Now

CM100819

CM082619

Cory Weeds Quartet
Day by Day
Featuring:David Hazeltine / Ken Lister / Jesse Cahill

Appearing at Kitano Jazz Club, March 19

Available May 8, 2020

CM072919

Win Pongsakorn
Yes, it is!
Introducing Win Pongsakorn
Available Now

RTRCD004

RTRCD003

Neil Swainson Quintet
49th Parallel
Includes one of Canada’s most celebrated
musicians. For the first time ever, on vinyl.

Johhny Griffin /Eddie “Lockjaw” Davis Quintet
Ow! Live at the Penthouse

Featuring:Joe Henderson / Woody Shaw

Available Now

Available May 10, 2020

Timeless, swinging, heartfelt, and resonant. Those are just a few fitting words to describe the exceptional
live recordings released through Cellar Live, the stellar studio sessions put out through Cellar Music, andthe revelatory archival recordings shared with jazz lovers through Reel to Real Recordings. Together, thethree imprints make them one of the most active and successful independent jazz labels in North America.

cellarlive.com

Live at Frankie’s Jazz Club
Cory Weeds Quintet (Cellar Live)by Pierre Giroux

If there are two top-shelf Downtown pianists worth
following on Facebook, they are certainly Anthony
Coleman and Matthew Shipp, the latter for his politicalpolemics and the former for his extemporaneous
standards and public woodshedding. Further
documentation of Shipp’s dialectics may have to wait
until he hits the lecture circuit (although he does
have a strong solo album of his own due in May), but
Coleman’s piano studies fortunately are captured andpreserved on disc every so often, most recently on this24 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDROULETTE 509 Atlantic Ave Brooklyn NY
All Concerts begin at 8:00pm.
$20: General $15: Members, Students, Seniors.
INTERPRETATIONS.INFO, ROULETTE.ORG

Catenary Oath
Anthony Coleman (NoBusiness)by Kurt Gottschalk

INTERPRETATIONS

For more information, visit cellarlive.com. Weeds is at Jazzat Kitano Mar. 19th. See Calendar.

For more information, visit nobusinessrecords.com. Colemanis at Scholes Street Studio Mar. 19th-20th. See Calendar.

SEASON 31 | 2020

J ames Brown was known as the hardest working man
in show business. Cory Weeds could well be called thehardest working man in Canadian jazz. He is a standout
saxophonist on both tenor and alto, owner of the Cellar
Live and Cellar Music labels, a promoter of Canadianjazz musicians and most recently co-partner/producerof a new label Reel To Reel, dedicated to finding andpreserving important historical jazz recordings.
Weeds brought a high-power hardbop-oriented
quintet to Frankie’s Jazz Club in Vancouver in May
2018 at the end of a week-long tour of British Columbia.
In addition to Weeds and the solid rhythm sectionof bassist Michael Glynn and drummer Julian
MacDonough, two boldface names provide compelling
attention: the late pianist Harold Mabern, whose
two-handed block chord approach brought a
harmonically complex swinging style to the music, andtrumpeter Terell Stafford, whose pure, flowing tone isreadily identifiable.
Working from a setlist of bop compositions fromthe likes of Jackie McLean and Tina Brooks among
others, the band opens with a stunner from Lee
Morgan, “Bluesanova”. Weeds on alto leads with abiting solo, Stafford follows in a muscular vein and
Mabern shows his intense power. The first of the
Brooks tunes is “Gypsy Blue”. The Latin vibe provides
Stafford space to show supple grace, with Weeds
following with a dashing solo. The ever-resourceful
Mabern chips in with a crafty and flexible interjection.
McLean’s three compositions are “Tolypso”, “TheThree Minors” and “Consequence”, the latter originallyrecorded in 1965 with Mabern on the date, a fieryswinger driven by Glynn and MacDonough, as thefrontline builds on the musical frame and the pianist
delivers a solo of vigorous rhythmic energy.
The band rips through these bop-based tunes witha contemporary approach based on knowing themusical objective but without restrictive guard rails.

release from the good people at NoBusiness.
Coleman, no doubt, could make a new piano
record every afternoon if he decided to, but they likely
wouldn’t all be as good as Catenary Oath. This solo
recital, recorded at Jordan Hall in Boston in 2018, is thesort of gravely joyful statement Coleman is uniquely
qualified to make and yet (probably) doesn’t muster
every day.
The album opens with a dedication to Roscoe
Mitchell performed fast and free. It’s an unusual mode
for Coleman and one that otherwise only arises inmoments during the session. The next two tracks—andjust as much so their titles—speak to the bittersweet
sentiments of the bulk of the record: Billy Strayhorn’s“Something to Live For” and Coleman’s own “Funeral
Xylophone Music”, as if to say, “Ain’t life grand? It’s
living I can’t stand.” The structures are sometimes
complex, the emotive wallop more often so.
As well as being a fine composer and improviser,
Coleman is a wonderful interpreter, as evidenced hereby his sensitive delivery of three wizened old tunes:
the aforementioned Strayhorn, a sort of 7th inning
stretch in the John Klenner-Sam M. Lewis chestnut“Just Friends” and a wonderful take on Duke
Ellington’s “I’m Beginning to See the Light”, in which
Coleman seems to find both the darkness and thedawn. With no slight to his own extemporizations, thelatter is a highlight of the album, an eight-minutedisplay of heart and fingers.
Released as digital download and limited edition
LP, Catenary Oath is a superb statement of pianistic
smartitude, one to which the savvy consumer will no
doubt return.

Thomas Buckner

APR 9 THURS

Baritone Thomas Bucknerpresents his 31st annual
concert of newly commissioned
pieces with works by Earl Howard,
Pauline Kim, JD Parran, andBuckner himself. With performers
Soo Yeon Lyuh (haegeum, atwo-stringed Korean bowed
instrument); Andrew Drury(percussion); Earl Howard(synthesizer and saxophone);JD Parran (reeds).

Activate Infinity
The Bad Plus (Edition)
by Tom Greenland

W ith two decades and umpteen gigs behind it,

The Bad Plus is a well-seasoned trio, even though
its pianist, Orrin Evans, has only held the chair for two
years (replacing co-founder Ethan Iverson). That’s two
Bad Plus years, however, which, like dog years, entail
more aging than standard years. Indeed, the second
album with Evans after 2017’s Never Stop II, Activate
Infinity, is remarkable for its balanced sound,refinement and foregrounding of each player ’s
nuanced contributions and thereby reminiscent ofanother similarly well-seasoned combo: The Modern
Jazz Quartet.
Not a blowing session, not a playful parody of notso-standard cover songs, the date is rather forum for thetrio’s originals: four by bassist Reid Anderson, two eachby Evans and drummer Dave King. The tunes arepresented with minimal fanfare, on their own merits,
generating interest through telling detail and artful
touches. Evans has pruned his melodic/harmonicpresentations to the barest essentials; Anderson supplies
both foundational support and expressive reactions;while King, the busiest of the bunch, churns the batter.
The opener is the bassist’s “Avail”, a five-pulse
rocker (the final pulse slightly longer than first four)that explodes into postbop midway through. His “SlowReaction” and “Undersea Reflection” are both built onrock chords and even eighth-notes, the latter enlivened
by tricky cross-accents. King’s “Thrift Store Jewelry”,
another even-eighth rocker, its melody colored byclustered notes, finds the three men scattering indifferent directions in the middle only to regroup for
the finish.
Evans’ two tunes, “The Red Door” and “Looking
in Your Eyes”, have a different character, the former arelaxed ballad with an infectiously repeated melody,
reframed by changing chords, King implying time withbrushes; the latter a pseudo-samba with a canny
11-beat phrase structure. The record ends with aplodding minor hymn, building from somber solo
piano chords to chatty interchanges, Anderson in
especially fine form.
Though the new version of the trio may lack someof the ironic humor of the original, it shows promiseand maturity in its latest venture.
For more information, visit editionrecords.com. This projectis at Village Vanguard Mar. 24th-29th. See Calendar.

Broken Circles
Jure Pukl (Whirlwind)by Phil Freeman

Saxophonist Jure Pukl’s new album is a quintet effort

featuring some impressive collaborators: Charles
Altura (guitar), Joel Ross (vibraphone), Matt Brewer(bass) and Kweku Sumbry (drums). This is a working

band; they’ve performed at Winter Jazzfest, Smalls, Fat
Cat and The Jazz Gallery. From the first notes of opener“Sustained Optimism”, it’s clear that stage-time hashelped them coalesce to the point that they speak with
one voice, working through ten of Pukl’s intriguing,
vivid compositions, plus a version of Rezső Seress’“Gloomy Sunday” (infamously known as the“Hungarian Suicide Song”), with confidence.
Ross has rapidly developed a stellar reputation via
contributions to albums by Makaya McCraven, JamesFrancies, Harish Raghavan, Aaron Burnett and Melissa
Aldana and a group co-led with Walter Smith III and
Matthew Stevens; his own recent debut as a leader,
KingMaker, earned rave reviews as well. His
contributions here are measured but potent. He
disappears for long stretches, particularly on the ballad“Separation”, on which Altura and Brewer shadow
Pukl as though tracking him through a desert at
midnight like bounty hunters in a Cormac McCarthy
novel. But when he returns, he shimmers in, aligningsmoothly with the guitarist like an extra layer of reverb.
Kumbry, too, pushes this material into
extraordinary realms. He introduces “Compassion”
with kalimba, creating a meditative mood thesaxophonist sustains by switching to soprano andmurmuring slow, delicate phrases. Behind him,
Kumbry returns to the kit and slowly brushes out
a delicate rhythm. His talent is fully displayed on the
more uptempo tracks, however, like “Triumph ofSociety” and the tumbling title piece. On “Half Past
Five”, he dices the rhythm into bits, accenting witha series of small fills, forever coming from a surprisingcorner of the kit right on time, as Ross bounces along
beside him and Brewer thumps out an extraordinarily
thick line. Kumbry’s style is closer to that of apercussionist than a traditional kit drummer; at times,
his ability to combine polyrhythms and swing brings
to mind Ginger Baker ’s rolling and tumbling work on
albums like Going Back Home and Why?.

Pino wail in a measured fashion while drummer Jimmy
Macbride adds sharp fills and accents. Pino darts
pointedly and sighs restlessly, pianist Glenn Zaleski
providing a thoroughly lyrical anchor to theproceedings.
“Evolution of Perspective” begins with a mournful
dirge before shifting to a crackling midtempo swinger.
Finzer plays more like a trumpeter than a trombonist,
followed by the fleet-fingered wails of guitarist Alex
Wintz and a driving, slightly McCoy Tyner-esque solofrom Zaleski. Note the succinct use of minor-keyedstatements before recapping with the dirge-like theme
and brisk swing-bop to top it off.
You want poignant balladry? Hang on for“Patience, Patience” with its achingly slow, melancholic
tempo—bassist Dave Baron gets to shine with a stately,
vibrant tone—the band teasing with restrained,
leisurely pointed solos, slowly building along the way
to a chilled-out crescendo. Pino plays bass clarinet inclose tandem with trombone, achieving a nearlyorchestral density. “The Weatherman” has a slightly
droll, undulating introduction. Finzer ’s solo is purepoetry, stately with a slight yearning quality to it,
Wintz’ lead is bright and energetic, Macbridedrumming like ocean waves roiling with the beginnings
of a storm.
Cast of Characters could have been just anotherblowing session but the tunes are accessible andemotionallyevocative,
withmoodinessandintrospection but also subtle wit. The ambiance issomewhat serious but not at the expense of warmthand humor. If this writer had to hand out stars or
thumbs, this set would get 4.5 or two-way-up easily.
For more information, visit outsideinmusic.com. This
project is at Birdland Theater Mar. 26th. See Calendar.

For more information, visit whirlwindrecordings.com. This
project is at Smalls Mar. 25th-26th. See Calendar.

Cast of Characters
Nick Finzer (Outside In Music)
by Mark Keresman

Trombonist Nick Finzer has played with Wynton
Marsalis, Frank Wess, Steve Turre, The Tommy Dorsey
Orchestra and Slide Hampton (re: the last three—there’s a trombonist’s trifecta for you). Cast ofCharacters, his fourth album (after previous dates for
Outside In and Posi-Tone), is a nifty slice of postbop
goodness, rooted in classic styles and modes butneither defined nor limited by them.
Finzer is influenced by the swinging, surging workof J.J. Johnson, Curtis Fuller and Hampton, smoothly
articulated but rippling and muscular. His compositions
are well thought out, not merely simple head-solohead arrangements for blowing.
“A Sorcerer” is sophisticated and unpretentiously
twisty, with an enigmatic, vaguely dramatic theme.
Finzer storms in an elegant yet slightly melodramatic
fashion, not predictable yet not overtly complex either.
His melody draws you in but faintly, almost in themanner of a movie-thriller ’s theme, slightly pregnant
with drama. The band—all holdovers from Finzer ’s
2017 date Hear & Now—lays down a shifting bed ofrhythm over which Finzer and tenor saxophonist Lucasmarch 3rd
Jorge Sylvester with ACE
march 10th
Mike Longo’s State of
the Art Jazz Ensemble
with Ira Hawkins
march 17th
King/Fabian/Meyers groupmarch 24th
Lou Caputo
Not So Big BandNew York Baha’i Center

53 E. 11th Street(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 25

I Remember You: The Music of Nat King Cole
Nicolas Bearde (Right Groove)by Alex Henderson

J azz singer/pianist and traditional pop crooner Nat

King Cole would have turned 101 on Mar. 17th. 55
years after his death from lung cancer at 45, hecontinues to influence many vocalists, including
Northern California-based Nicolas Bearde, who pays
tribute on I Remember You: The Music of Nat King Cole.
This CD is by no means a carbon copy of Cole’s
classic ‘40s, ‘50s or early ‘60s output. The arrangements
tend to favor postbop and Bearde’s vocal stylecombines jazz and R&B elements. One can hear Cole inhis singing, but also inspiration from vocalists ranging
from Johnny Hartman and Stevie Wonder to Ray
Charles and Donny Hathaway.
Bearde acknowledges Cole’s jazz-oriented trio of
the late ‘30s-40s with soulful performances of Cole’s“Straighten Up and Fly Right” and Mitchell Parish’s“Sweet Lorraine”, but doesn’t try to emulate the
combination of piano, acoustic bass and guitar for whichthat group was known. The Cole Trio’s lack of drums
stood out, whereas drums are a crucial part of this CD.
Bearde remembers Cole’s years as a traditional
pop vocalist with material ranging from Walter Gross’“Tenderly” and Johnny Mercer ’s “I Remember You” toMilt Gabler ’s “L-O-V-E”. Instead of embracing thelavish string orchestration Cole used after his switch topop, Bearde sticks to piano trios (with different
lineups), adding tenor saxophonist Eric Alexander for
three selections: Richard Rodgers-Lorenz Hart’s “Thou
Swell”, Joe Sherman’s “That Sunday, That Summer”
and Philip Broughton’s “Funny (Not Much)”.
A high point is Charles Trenet’s “Que Reste-t-il de
Nos Amours?”, aka “I Wish You Love”. The sentimental
early ‘40s ballad became famous to non-Frenchspeaking audiences when English lyrics by Albert
Askew Beach were added and singer Keely Smith
recorded her famous version in 1957. Bearde sings the
English lyrics that Smith, Cole and many others
performed over Wonder-tinged soul-jazz. Bearde neverallows his own jazz/R&B identity to become obscured
on I Remember You and the result is one of the morememorable tributes to Cole’s legacy.
For more information, visit nicolasbearde.com. This projectis at Smoke Mar. 26th-29th. See Calendar.

Eponymous
Lucky Chops (s/r)
by Elliott Simon

Lucky Chops has previously released recordings thatwere essentially studio accounts of their NYC subway
shows—highly danceable brass band covers of popularsongs. Moving past that and with the departure ofbaritone saxophonist Leo P, the band’s new self-titledrelease changes their successful formula to a programof 11 originals that rely on post-production techniques

for a cohesive statement.
It works but in some instances at the expense of
their trademark ragged excitement. For example, theaesthetics of uptempo burner “Pizza Day” and otherwise
beautiful “Memories” are distracted by heavy processing
while opener “Hudson Yards” veers into disco territory.
However, the electronics add to the triumphant natureof saxophonist Daro Behroozi’s Latin-tinged “Full Heart
Fancy” and trumpeter Joshua Gawel, sousaphonist
Raphael Buyo and trombonist Josh Holcomb remain as
standouts. Guitarist Cory Wong guests on the lovely
ballad “Flyway”, which is beautifully described by
Behroozi, but that aside Lucky Chops still has brasswith a big beat at its heart. Gawel’s powerful playing
thrills and is cinematic as he soars over the fray of“Traveler”, leads a gorgeous brass section on “It’s Not
Goodbye” and with Holcomb punches up closer “Mo’
Momo!”. Buyo impresses throughout with his rarecombination of melodicism and punch. He has a great
connection with drummer Charles Sams IV and is an
integral member of the frontline on an instrument
usually relegated to keeping the beat.
It is one thing for superb musicians with incredible
stage presence to perform brass band versions of hit
songs in the subway but quite another to produce a fullprogram of varied original compositions using postproduction to realize a vision. In that latter respect, thealbum largely succeeds, is a lot of fun to listen to andoffers an insight into the band’s new direction.

One of the absolutely free pieces, “Focus On
Tomorrow”, features piano and bass forging ahead
against the obstreperous traps of Black, who feels
dangerously close to the sound of a skipping needle ona jittery turntable. The disc really succeeds on the tunes
with skeletal chord-changes, as on “Neural Holiday”,
where that minimal degree of preconception lends
considerable gravity to each member ’s improvisation,
making it one of the album’s real highlights. Definitely
not your standard piano trio by a long shot andStemeseder is a real find.
For more information, visit intaktrec.ch. Black is at The
Stone at The New School Mar. 31st-Apr. 4th. See Calendar.

For more information, visit luckychops.com. This band is at
Brooklyn Bowl Mar. 27th. See Calendar.

U

SE

EW

D

N
ReckonJim Black Trio (Intakt)
by Robert BushAccording to the excellent liner notes by KevinWhitehead, the leader of this session rarely worked his
drums into piano trio contexts once he arrived in New
York in the ‘90s, aside from his contribution to several
efforts by the monumental pianist Satoko Fujii, which
he didn’t consider germane to that tradition. Ten years
ago, however, he encountered the young Austrian
piano virtuoso Elias Stemeseder, all of his previous
recalcitrance melted away and, with the addition ofbassist Thomas Morgan, the trio on this disc was born.
Many of the 11 tunes are the result of spontaneous
improvisation, although they all seem to communicate
a unified narrative belying that fact. The album openswith Morgan’s taut-wire single-note plucking over
Stemeseder ’s clusters and the very random beats
coming from Black’s drum set.
One theme emerges from careful listening: thethree or four pieces based on preconceived chord
changes yield some of the most satisfying improvisingthroughout. “Tripped Overhue” begins with soft piano
chords and gorgeous whole notes from Morgan while
Black jabs and counter-punches from the outside.
Eventually, the pianist draws the trio into his
formidable vortex and everything starts to hum.
Another chord-sheet invention comes in the form of“Spooty and Snofer”, which sounds awfully close toa standard ballad. Morgan shines and Stemesederdisplays a real knack for melody. Morgan also leads off“Very Query”, showcasing his sterling timbre andpropensity to embrace each note on its own terms.
Black and Stemeseder carry on with the flow Morgan
establishes but take it into different neighborhoods.

26 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Criss Cross, ECM, Enja, ESP,
Fresh Sound, High Note, Pi, Savant,Sunnyside, Venus and many more.

Day Two
Detail (NoBusiness)
Season of Sadness
Frode Gjerstad Trio (Iluso)
by Stuart Broomer

For Norwegian saxophonist Frode Gjerstad, who turns

72 this month, improvisation is a commitment toemotionally direct, spontaneous work. These two CDspresent Gjerstad in trio contexts, recorded 36 years apart,playing different pairs of instruments, partners playing
different pairs of instruments, virtually in different
densities and at different rates, but with equal impact.
Either may enhance one’s appreciation of the other.
Day Two by Detail, comes from October 1982, justthe second day that Gjerstad and drummer John
Stevens had played together as a trio with bassist
Johnny Mbizo Dyani, the brilliant South African exile.
The two tracks (recorded with an LP in mind, the first
22’30, the second 20’22”) present a band with a rare
stylistic consistency. Stevens, whose exercises for
improvisation can sometimes reduce music to pure
expressive gesture, is generally spare, though in ‘jazz’mode, while Dyani plays with a corresponding clarityof thought, often achieving the most intimate cello-liketone. From the outset the two establish an open ground,a calm rhythmic field for Gjerstad’s intensity. He enterswith a taut, intense soprano saxophone line before
focusing on tenor. While Gjerstad’s personality onthese horns may not have the acutely personal voice hewould later develop on alto saxophone and clarinet,
it’s hardly heard as lacking. He can be a forceful,emotive soloist, his lines coiling against the detailed
calm of the rhythmic fields generated by his partners.
The finest moments come on the second track, when
Gjerstad enters a sustained ballad mood, Dyani coming
to the fore and Stevens further opening time’s vista.
2018’s Season of Sadness has Gjerstad in a very
different trio with cellist Fred Lonberg-Holm and pianist
Matthew Shipp. “Part one” begins with a sense of grim
fracture, dissonant piano blows, longitudinallyscratched strings and dry, piercing saxophone cries, but
the sense of menace dissipates in the music’s natural
mobility, Shipp’s lines rising against his own bass
clusters to a sudden clarity, Gjerstad’s skittering,
querulous statements reaching for the light of the upper
register, Lonberg-Holm’s bowing surrendering to thepromise of rapid pizzicato. The alternation of oppressive
mass and sudden levity captures perfectly the ambianceof the times, individual joy amid collective despair,group promise in opposition to isolation. The trio
suggests a contemporary take on the Jimmy Giuffre Triowith Paul Bley and Steve Swallow: it combines highly
developed individual vocabularies with the freedom ofcollective improvisation and responsibility of close
listening. Each musician has remarkable moments:
There’s the sheer emotional power of Gjerstad’s highharmonics on “part 4” and virtuosic timbral mutations
that he achieves on clarinet on “part 6”; Lonberg-Holm’s
arco playing is so violent on “part 3” that he sounds likehe might saw though his string while on “part 7” hecreates some wonderful multi-voiced scratching. Shippis a continuous highlight reel, his most brilliant
individual moments still an integral part of his
continuous role in knitting together and shaping themusic: the sustained three-way expressionism of “partfive” and “six” could define the idea of spontaneouscollective composition.
For more information, visit nobusinessrecords.com andilusorecords.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 27

London Transport
Andreas Schulz (feat. Paul Engelmann)(One Music Productions)by Anna Steegmann

G erman producer and drummer Andreas Schulz has
long admired the art of Gerd Winner, who createdcovers for many of ECM’s legendary albums. Winner ’s
1970 silkscreen series “London Transport” inspired
him to create this album with alto saxophonist PaulEngelmann, participant in numerous free jazz projects.
Schulz considers it the high point of his career.
London Transport, a concept album, consists of adouble album and six double singles. The Red Line Bus
Version is made up of six acoustic jazz improvisations
by Schulz and Engelmann while the Green Line Bus
Version features the same six ‘compositions’, this time
digitally produced with lots of electronic sounds. The
listener has a third option: London Transport’s six
double singles, where the respective song pairs follow
each other directly, showcasing similarities anddifferences in both versions. London Transport has wonhigh praise in the German press for its outstanding
compositions, its iconic musical translations of theWinner series describing tunes as “gripping,
atmospherically highly compressed miniatures”.
Red Line Bus Version achieves a rich tapestry ofsound: opening track “Dust Cart” introduces sounds
you didn’t know drums could produce. The music is
visceral and visual, evoking big city traffic, at times
chaotic and cacophonic, at other times flowing
smoothly. Third track “Orange Container”, a solo
saxophone piece, alternates between boisterous
improvisational flights and a repeating theme that
fades softly. The recordings were done in two takes, anastonishing feat. No doubt Schulz’ and Engelmann’s
remarkable chemistry was honed during two years
playing a weekly gig together as part of the quartet
WATTEN (see Jazz in der Pupille, One Music Productions,2019). The Green Line Bus Version is replete withsynthesizers, moody electronic sounds, great tap-along
rhythms and hints of techno beats, allowing listeners
to imagine riding the bus or Tube in gray, rainy London,
an oddly pleasurable experience.
For more information, visit onemusic-label.com

Flipenstein
Flip Phillips (Progressive)by George Kanzler

During the last two decades of the 20th century, tenor
saxophonist Flip Phillips, who would have turned 105
this month, was a mainstay of the jazz party circuit

Laura Toxværd
new reLeases“ProminenT PLayers making a gLobaL imPacT [in coPenhagen]incLude saxoPhonisT Laura Toxværd” -marTin LongLey, downbeaT,
aLbums and book for saLe aT iLkmusic.com & musicavaiLabLe on sPoTify, aPPLe music a.o.

Tidens sTrøm (iLk292LP)
maria LaureTTe friis - vocaL, Laura Toxværd - aLTo saxoPhone,krisTian Tangvik - Tuba, kaLLe moberg - accordion,
kresTen osgood - drums

draPery (iLk293LP)
Laura Toxværd - aLTo saxoPhone, gusTaf Ljunggren - various sTrings/
guiTars, PeTer friis nieLsen - eLecTric bass,
mariLyn mazur - Percussion/drums

songbook (iLk294)
conTains TexTs, Lyrics and noTaTions of The Tidens sTrøm & draPery
Live in brookLyn, ny (iLk301LP) - To be reLeased aPriL 2020
Laura Toxværd - aLTo sax, jePPe zeeberg - Piano, oLe mofjeLL - drums

LauraToxvaerd.dk
28 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

that celebrated mostly older, swing, pre-bop and early
proto-bop styles, as well as appearing at more inclusive,
often jazz-club sponsored, festivals. One of his go-to
original tunes was “The Claw”, his own personal
standard. An “I Got Rhythm” contrafact, it was firstrecorded by Phillips on this 1981 album, the fruition of
a novelty whim that struck him in 1974 when he playedwith pianist Lou Stein and conceived of a projectpunning on Frankenstein: Flipenstein. As he told Steinthen: “Monsters and Vampires love music too.”Along with Stein, the album also includes bassist
Mike (aka Michael) Moore and drummer Butch Miles(of Count Basie Orchestra fame). The monster/ghost
theme is reflected in the tunes, both originals from
Phillips and Stein and such standards as “Witchcraft”,“Ghost of a Chance” and the now-forgotten Larry
Clinton Swing Era standard “Satan Takes a Holiday”.
Stein’s “Dracula’s Dance”, a two-chord semimodal piece done in Brubeck Quartet fashion—piano
trio theme à la “Blue Rondo à la Turk” with tenor solo
in the middle—and the pair ’s “Vampire’s Dream”,
a brooding, meditative ballad, are the outstanding
originals. Phillips, who developed his swaggering,muscular style with Woody Herman’s First Herd in themid ‘40s and subsequently for a decade with Jazz at
the Philharmonic, is in top form here at 66, his halcyon
style fully intact. He brings fervid swing to theuptempo tunes while still honoring the melodies—stop-time smears on “Witchcraft”, distinctive texturalshifts of both takes of “Satan Takes a Holiday”—andcaresses ballads with a breathy romanticism equal to
Ben Webster, especially on both takes of “Ghost of a
Chance”. The quartet’s romp through “The Claw”
reveals why it became Phillips’ late career favorite.
For more information, visit jazzology.com

ROB FULTON

The musicianship, exuberance,
euphoric energy and joyful
expression of Rob Fulton(vocals), Danny mixon (piano),
T.K. Blue (alto, flute), Paul
Beaudry (bass) and Dwayne“cook” Broadnax (drums) is
captured on this cD,“Rob Fulton Live at club
Bonafide New York city”.

available for purchaseat iTunes, Spotify,
amazon, cD Baby

Upcoming Performancesmarch 6th - Gin Fizz Harlem
308 Lenox ave, New York, NY 10027 8Pm
March 12th - Harrison Urby Coperaco Cafe
777 South 3rd Street, Harrison, NJ 7PM
march 19th - Harlem Late Night jazz2020 Inaugural Benefit Concert & Gala
Alfred Lerner Hall, Columbia University
2920 Broadway, New York, NY 10027 6Pm
For further information please visit:

harlemlatenightjazz.org/inaugural-benefit-gala-concert

ROBFULTONjazz.cOm

permutations, distilling and savoring each note without
any fear of allowing silence to play a significant role.
ECM labels this recording as “beyond category”, which
is appropriate. This is music of the highest quality,
drawing from multiple sources while reminding all of
us of the most precious resource we have.
For more information, visit ecmrecords.com
Lost River
Michele Rabbia/Gianluca Petrella/Eivind Aarset (ECM)
by Marco Cangiano

SWING BY TONIGHT
7:30PM & 9:30PM

Last year the World Economic Forum identified water

scarcity as one of the most severe global risks, demand
expected to exceed supply within the next two decades.
It is then very timely that drummer Michele Rabbia,
trombonist Gianluca Petrella (who turns 45 this month)and guitarist Eivind Aarset draw inspiration fromwater in all its forms while reminding with the
evocative title of their CD and music presented thereinof the risks we all face. As such, this is an atypical andyet fascinating project pulling together the three artists
for the very first time, although they have collaborated
in duos or in other artists’ projects. The music flows
seamlessly, with reliance on electronics very tastefully
blended with acoustic instruments. Whereas Aarset
and Rabbia both have backgrounds in experimental
outings, Petrella is relatively new to this musicalenvironment given his more jazz-rooted experience.
Yet, trombone comes across as the leading voice inmost of the pieces as various guitars provide an
ethereal waterbed over surgically light percussion.
The result is a captivating, hypnotic and soothing
45 minutes, which, at the same time, conveys a sense ofurgency and drama. This is most evident in the title
track and “Flood“, which is built over a four-notetrombone pattern while Aarset’s electronics provide
long waves of sound. Other pieces display subdued
yet somewhat ominous scenarios, as in the opening“Nimbus”, “Styx” and “What the Water Brings”, thelatter constructed on drop effects. Acoustic guitarsounds nostalgic in “What Floats Beneath” and Petrellais particularly effective in “Night Sea Journey”,
featuring an ostinato pedal by Aarset on which thetrombone and its echoes soar. Rabbia’s “Fluvius”
sounds spacey and hopeful, with no sign of percussion,
while the rhythmic patter is conveyed by iterativeelectronic waves. The two brief concluding pieces,“Flotsam” and “Wadi”, sounding more fragmented
and suspenseful, end the proceedings almost lingeringin the air.
But it is hard to pinpoint individual contributions
as this music proceeds with unusual consistency andcoherence while coming across as collective
improvisation. The three display their skills in various

richard tabnik
Friday March 13, 8-10 pM
Michiko Studio Stage 1$20 at the door

photo by scott friedlander

149 W. 46th street
Ny, Ny 10036-8525

richard tabnik,
alto saxophoNe
dave Frank, piaNo
JeFF dingler, bass
Skip Scott, druMs
tabNik shoWs us Why he reMaiNs a
crucial Force iN jazz today — aNd hedoes it Wholly oN his oWN terMs. kudos!
— GreGo appleGate edWards,
GappleGate Music revieW

newartiStSrecordS.coM/biotabnik

MAR 1helen sung quintet presents PUSH
North Sea Night
Simon Rose/Steve Noble (Not Two)by Marc Medwin

This 2018 recording reinforces and enhances theunderstanding of why the British duo of saxophonist
Simon Rose and drummer Steve Noble (who turns 60
this month) is so long-lived and such an apt pairing.
This Newcastle-upon-Tyne concert performance points
toward another kind of symbiosis, beyond the usual
and always intriguing interplay of tone, sound colorand multileveled rhythmic intrigue, an interaction as
difficult to articulate as it is fundamental to the duo’smusical accomplishments.
Part of that symbiosis is a deepening of what has
already been occurring for many years. In a sense,though this is only one element of an ever-evolving
musical language made complicated by the interaction
itself, each musician has penetrated to centers of tone
and timbre only glimpsed or momentarily achieved.
Rose’s terraced intervals at around 3:25 of the epic
titular piece are nothing short of astonishing, almost as
delicate and imposing as the space he leaves aroundthem. Simultaneously, Noble shimmers and shivers
with rapid-fire stickwork that perfectly complements
Rose’s controlled shimmies and shakes. Jump over to“Mass” to hear what the Pythons would call something
completely different. Noble’s tinny cymbal arcs only todisappear with the sudden vigor of suppression, and,neither to be outdone nor left behind, Rose eases into
an equally energetic but tailored phrase on a similar
dynamic trajectory even as the drummer launches intoa similarly thunderous retort.
These moments are indicative without reallyexplaining anything, symptoms rather than causes.
Another moment tells more of the tale. “Secret Sharer”
opens with a bit of cymbal but, behind it, Noble offers,
barely audibly but palpable, two toms in repetition,
like bass notes in perfect cadence opening some modal
vamp. Rose’s response is perfectly timed, strident andsomehow absolutely exquisite. He alternates pitches,in a similarly subdued dynamic, but instead of one
pitch simply following another, he adds multiphonics
into the already complex mix and the two musicians
create implied harmonies. Secret sharers indeed!
That sharing, the ability to hear, listen and thenreact in the heat of improvisational back-and-forth, isat the heart of the matter. It guides the duo through thecraggy terrain connecting near-silence to the staggeringpeaks of volume, tone and power they achieve withregularity. Negotiating second-to-second speed andvelocity, all over kit and horn, they nevertheless findsimilar and telepathic certainty and control in each
moment, which, in succession, determines the courseof an entire piece or of the evening’s performance.
Their gestures are as unified as breathing, from firstto last, which makes their partnership and their musicso special.

MAR 2jazz at lincoln center youth orchestra

MAR 3 • CLAVE CON JAZZ CELEBRATION

ray vega quintet with special guest
sherman irby: music of dizzy gillespie

MAR 4 • CLAVE CON JAZZ CELEBRATIONa tribute to cachao & peruchinwith carlos henriquez & elio villafranca

MAR 5 • CLAVE CON JAZZ CELEBRATION

the palladium era featuring
the mambo legends orchestra
MAR 6-8

the kenny rampton sextet
MAR 9

new york youth symphony: charlie parker
MAR 10pacific jazz ambassadors
with special guest joel ross
MAR 11-12

lakecia benjamin: pursuancethe music of the coltranes

MAR 13-15

camille thurman & the darrell green trio

MAR 16

flamenco meets jazz: dani de morón,
yotam silberstein & agustín diassera
MAR 17-18

judy carmichael quartet with ken peplowski
MAR 19-22

DIVA jazz orchestra swings broadway

MAR 23ball state university jazz ensemble

MAR 24 • FLIPSIDE SESSIONS 7:30PM ONLY

rachel therrien quartet

MAR 24 • FLIPSIDE SESSIONS 9:30PM ONLY

yoko miwa trio
MAR 25melanie charles: thank you abbey lincoln
MAR 26-29

duduka da fonseca & helio alves withmaucha adnet: samba jazz & jobim
MAR 30 • MONDAY NIGHTS AT WBGO

the ellen rowe octet

MAR 31

juilliard jazz ensembles: charles mingus

JAZZ.ORG / DIZZYS
212-258-9595
jazz at lincoln center
broadway at 60th st., 5th fl.

For more information, visit nottwo.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 29

Open at

7 pm!

!
h
t
n
o
M
This

Live!

TUES
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I TA I K R I S S & T E L AVA N A
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NEW ALCHEMY JAZZ ORCHESTRACHRISTOPHER MCBRIDE &THE WHOLE PROOF

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JEFFREY MILLER QUINTETMARK WHITFIELD

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KEN FOWSER QUINTETHUDSON HORNS

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DAN ARAN BANDLEZLIE HARRISON

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CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ!
LOCATED IN THE
OF TRIBECALive at the Bushwick Series
Kevin Murray/William Parker/
Dave Sewelson/Kaelen Ghandhi (Gaucimusic)
by John Sharpe

L ive at the Bushwick Series presents another slice ofgarrulous Monday night free jazz from the basement of
Brooklyn’s Bushwick Public House, programmed bysaxophonist Stephen Gauci and released on his label.
Neither the leader, drummer Kevin Murray, nor tenor
saxophonist Kaelen Ghandhi shy away fromperforming as equals of the two veterans on the date,bassist William Parker and baritone saxophonist Dave
Sewelson. Murray’s entrée into the music was througha workshop run by Parker and the bassist’s appearance
may be interpreted as a deserved vote of confidence.
The interplay between grainy baritone and gruff
tenor forms one of the strong points of this single-setlong escapade. Bass and drums initiate a relaxed but
burly pulse, joined by immediately sparring saxophones
in extemporized unison, fizzing riffs between them.
Sewelson proves fond of anchoring figures while
Ghandhi’s multiphonic long tones enliven sequences ofpithy obliquely angled abutting phrases. Theircoruscating dialogue swerves from raucous honks to
braided falsetto in an exciting give and take, part calland response and part simultaneous expression.
Parker ’s deep-rooted swing grounds the flow,
allowing Murray the freedom to ply a multidirectional,
tonally differentiated clatter that propels but doesn’t
constrict. Connections abound, such as that between
Parker and Sewelson, the latter a stalwart of theformer ’s Little Huey Creative Music Orchestra,
apparent in the way the baritone picks up andpropounds a rhythmic motif from the bass. Then later
Ghandhi plays off of one of Sewelson’s lines, further
affirming cohesion, before stretching out into theupper register. They never hit a real blow-out, always
moving along just a few degrees below boiling,
avoiding cathartic resolution.
It’s a challenge to sustain this level of creativity
and consequently there’s something of a lull before theend. Nonetheless it remains a terrific calling card for
Murray and Ghandhi.
For more information, visit gaucimusic.com. Murray is at
Bushwick Public House Mar. 16th. See Calendar.

Unknown Dameron
Paul Combs (Summit)by Ken Dryden

Although Tadd Dameron was heralded to somedegree as a composer during the early years of the bop
era, he has been greatly overlooked for the most partfollowing his death from cancer 55 years ago thismonth, aside from a few frequently recorded tunes like
“Hot House”, “If You Could See Me Now”, “GoodBait” and “Lady Bird”. Dameron wrote extensively forother bands, though opportunities to record under his

30 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

own name were sporadic. In the latter part of his career,
Dameron was further hampered by his battle withdrug addiction and imprisonment on drug charges.
Saxophonist Paul Combs spent a quarter-century
working on his biography of the artist (Dameronia: The
Life and Music of Tadd Dameron) and his research
uncovered numerous Dameron compositions that had
either never been recorded or were little known. These
performances come from four different sessions withvarying personnel. It becomes clear that these are notsecond tier works that were rejected or set aside. The
live recording of “Conversation” has a choppy
Raymond Scott-like rhythm, featuring Bill O’Connell’s
playful piano, the leader’s gritty, hard-blowing baritone
saxophone and Derek Cannon’s expressive trumpet.
The exotic air of “Moon From The East” has moreemphasis on the ensemble, with brief solos featuring
the leader, Cannon and pianist Kamau Kenyatta.
Many of Dameron’s works deserve to have lyrics,
though too few have been written. Vocalist Danielle
Wertz, a singer worthy of wider recognition with an
expressive voice and lots of self-confidence, is featured
on several selections. She scats up a storm in “Taking A
Chance On Spring”, trading fours with Combs on alto
saxophone (though he plays baritone elsewhere in thesong), is a masterful ballad interpreter in thebittersweet “Never Been In Love” and converses withbaritone in the upbeat “Weekend”, both with lyrics by
Irving Reid.
Combs’ research and strong arrangements bearsignificant fruit throughout the CD and it is apparent
that the musicians took time to get familiar with thisforgotten music. Hopefully more Tadd Dameron gems
will be revealed.
For more information, visit summitrecords.com

Berlin | The Hotel of 13 Losses | No Signal
Aaron Novik (Avant Laguardia)
by George Grella

G ustav Mahler explained his aesthetic philosophy bystating “A symphony must be like the world, it must
contain everything.” And so he captured both his
volatile inner life and the physical world around him
in his composing. These three EPs are part of a series ofsix clarinetist Aaron Novik released during the last
half of 2019, one per month. The three—and the whole
series—show a musician trying to record and translate
and retransmit the entire world around him. But fromthe way the music is often at odds with itself, it’s notclear that this is Novik’s conscious intention or eventhat he is aware of this core quality in the music.
The series sprawls through acoustic and electricensembles, composition and improvisation and the useof electronic means; these three EPs have Novik
playing against field-recording ambience, with a small
group and through heavy signal processing. That blind
listening would have one hard-pressed to hear Novik
as the same player on each shows his range, but also anevasive character.
Novik has played with Fred Frith and recorded on
John Zorn’s Tzadik label and those influences are clear,though they come across as not-yet-fully incorporated
into a clear personal voice. A good deal of the music feels
calculated, not so much cynical but more in the way of
doing something that is intriguing from others but may
not (yet) be genuine within oneself. This is strongest on
Berlin, which is full of gestures that sound naturalcoming from the likes of Zorn or Anthony Braxton—
another strong influence—but here seem obligatory or
demonstrative, Novik and a group of Kyle Bruckmann(oboe, English horn), Crystal Pascucci (cello), Lisa
Mezzacappa (bass) and Jordan Glenn (found object
percussion) working through ideas he’s encounteredabout modern compositional thinking without being
sure which ones are truly meaningful for him.
The frustration with the solo date The Hotel of 13
Losses is an aesthetic one that boils down to whether
Novik sets his rounded clarinet tone in an acoustic
space that’s separate from the audio tracks behind him
or if he uses distortion to place himself and the audio
in the same set of dimensions. The former, like Novik
playing against what appears to be public
transportation announcements, just doesn’t work,
there’s no connection between musician and sound,while the latter is full of dramatic tension, Novik
seeming to transmute his being into voltage, becoming
spirit that animates machine.
That is what makes No Signal—at 44 minutes true
album length—a complete success. Novik is at the fore,
playing against multitracked samples and loops ofhimself and fellow clarinetist Jeremiah Cymerman,
three long tracks of improvisation and experimentation.
He works with setting layers of sound and timbre
together, while also playing impressively controlled
multiphonics, and there is lots of delicious, biting
dissonance and distortion, an edge felt at the back of
the neck. Novik plays the A clarinet, Cymerman the
B-flat, and together they pulse like one of Alvin
Lucier ’s pieces for slow-sweep tone generator and solo
instrument. Guitarists Ava Mendoza and Matt
Hollenberg also play off the wind players, and theensembles are full of energy and imagination and dark
beauty. This is not only the disc that has the most of
Novik’s sheer musicianship, but also the best of thebunch and a strong one on any terms.
For more information, visit aaronnovik.com. Novik is at
Bushwick Public House Mar. 9th. See Calendar.

Strike Up The Band
Ricky Alexander (Outside In Music)
by Kyle Oleksiuk

Since 2013, tenor saxophonist Ricky Alexander has

been active in NYC as the bandleader of the Early Bird
Jazz Band, a fixture at clubs, weddings and dances. In
2019, after six years working the live NYC circuit,Alexander headed to the studio to record his debut
album, Strike Up The Band, an extremely strong releasethat blows the dust off of an earlier, some could say
golden, era of jazz. Alexander focuses on intimate,romantic songs pulled from the great forgotten
songbook of swing, with titles like “I Knew I Loved
You” and “A Kiss To Build a Dream On”. His restorationof these songs is very similar to Bob Dylan’s 2015-17
trilogy of Great American Songbook tunes; minirevivals of forgotten songs, played in the enduringly
popular swing-dance style.
Alexander brings these songs back to life with thenostalgic but intelligent choice to use old recording
technology, the now-obsolete ribbon microphone,which brings an intimate old-time sound to this festive
album. Leave Strike Up The Band playing in your housefor too long and your Christmas decorations will goback up on their own.
From the first note, the performances on this album
are tremendous. Alexander ’s saxophone can bebeautifully husky and James Chirillo’s guitar solos hit
the spot. Especially near the second half of the album,
his virtuoso playing lays down a handful ofauthentically mystical moments.
On the whole 48-minute album there’s only one
false note: opener “The Lady’s in Love with You” ends
abruptly, destroying the momentum it had up untilthat point. It feels like missing a step on the staircase.
But don’t let that one misstep get your goat. Instead,whip out the Entenmann’s. Make some hot chocolate.
Light a candle. Put on Strike Up The Band.
For more information, visit outsideinmusic.com. This
project is at Birdland Theater Mar. 23rd. See Calendar.

years, the trio has persisted in putting new spins on
well-worked cycles, right up to the surprisingkrautrock outburst of 2018’s Body.
Three, the band’s 21st album, is quite commonsensically divided into three 20-minute pieces(breaking with their single-track standard), eachrevealing a very different approach to their always
intuitive improvisation. The opening “Bloom” is asurprising hyperdrive, perhaps inspired by their 2018
download-only collaboration with British electro duo
Underworld. The band has been known to integrate
electronic instruments into their act on occasion andhere what seem to be processed beats and synthesizer
filigree set off the piano quite beautifully. Alternately,
it may all be clever engineering on the part of longtime
studio collaborator Tim Whitten. Either way, it’s acompelling chill-out raver.
“Lovelock” follows, a lovely lamentation for
Damien Lovelock, a sports broadcaster and fellow
Australian who fronted the band Celibate Rifles for 30
years. Rather than going for Lovelock’s punk energy,
however, the band delivers an atmospheric meditation
with chimes and cymbal washes but enough melodic
sensibility to keep it from dissipating into nothingness.
The final track, “Further”, will be the most familiar to
longtime listeners: Lloyd Swanton’s solid bass, Tony
Buck’s quick, strict percussion and chordal
counterpoint from Chris Abraham’s piano and organ.
It’s vintage Necks with a pointed title, suggesting
either the past or the future, either forward or
backward, macro or micro, but whichever way,reaching. As ever, The Necks stretch their boundaries
without seeming to have done so.
For more information, visit northernspyrecs.com. This bandis at Le Poisson Rouge Mar. 26th. See Calendar.

JAZZ
FOUNDATIONOF AMERICA
A GREAT NIGHTIN HARLEM
GALA CONCERTTUESDAY
APRIL 14 2020
HARLEM’S WORLD FAMOUS APOLLO THEATER

HONORING

Three
The Necks (Northern Spy)by Kurt Gottschalk

The more things stay the same, the more they change.
Such is the resplendent and reductivist world of The
Necks, who for 33 years have been making an unusuallywarm and minimalist improvised music.
Change within stasis is not a new formula for theband. On a microscopic level, it’s their whole modus
operandi. In the macro, it’s how they continue tosurprise and delight. Their first album, 1989’s Sex,
set the standard for their slowly unfolding, MilesDavis-without-horns slow explorations. But thefollowing year brought what remains one of their mostunlikely releases, Next, divided into a half dozen tracks
and bordering on being a rock album. In the ensuing

CARLOS SANTANABUDDY GUYAND

WENDY OXENHORN

To purchase benefit concert tickets,
including dinner and post-concert
after party, please email
jfa@eventassociatesinc.com or visit

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THE NEW YORK CITY JAZZ RECORD | MARCH 2020 31

evocative style alternating delicate passages and gruff
comical shrieks. The set ended with “Drowning on theHigh Ground”, Rosenboom more subdued yet still fiery.
For more information, visit gearboxrecords.com

Absurd in the Anthropocene
Dan Rosenboom (Gearbox)by Tom GreenlandSome geologists use the term Anthropocene for ourcurrent epoch, a time when technological capabilities
have begun to tip the balance in that ancient conflict
between man and Mother Nature; when we, not she,become the climate changers. L.A. based trumpeter
Dan Rosenboom’s new release is a response to thesechanges, climatic and otherwise. His music crosses
genre boundaries, an auditory metaphor, perhaps, for
his desire to challenge current socio-political trends
that seem to neglect our environmental responsibilities.
Heavily layered, the music is especially dense in
the lower frequencies, an effect created by the electricbassists’ use of octave-dividers and other signal
processors and addition of synthesized keyboard bass
parts. Although the core quintet is Rosenboom, alto
saxophonist Gavin Templeton, keyboard player Jeff
Babko and either Jerry Watts, Jr. or Tim Lefebvre (bass),
Zach Danziger or Gary Novak (drums), many tracks
have guests, including guitarists Tim Conley,
Alexander Noice and Jake Vossler; alto saxophonist
David Binney; and drummer Vinnie Colaiuta, whobrings palpable vitality to “Apes in Rapture” and“Obsidian Butterfly”. The former features a sevenhorn dectet blowing punchy big band tutti in 6/8 anda wistfully intelligent solo by Binney. A big part of thealbum’s impact is attributable to Babko’s production,a cinematic scope, a vivid electro-industrial tableau,
epic in proportion, apocalyptic in inference. There’s
a certain distancing that occurs for the listener despite
the acoustic warmth of the horns and drums, due tothe liberal application of this musical machinery. It’sa scary vision of our planet’s future.
Leavening this grim prophecy are two factors. Firstis Rosenboom’s inventive writing. His syncopated,
often through-composed melodies have a sense of
impatience and inevitability, employing unusual accentpatterns, warped phrases, even a canon texture (“GreenMoon”). Second is his fine trumpet/cornet playing,
with a robust tone up through the higher ranges, strongchops, often expressed in long legato lines withoccasional pinched or flutter-tongued attacks, andpervasive ingenuity. He is best heard on “Mr. Lizard
Said”, “Still”, “Heliopteryx” and “Forget What You
Know”, the last a mash-up of techno and bebop.
As part of his album tour, Rosenboom brought
Templeton, Binney, Noice, Vossler, Watts and Novak to
Alphabet City’s Nublu 151 last month. The absence ofBabko was a noticeable change, as was the constantpresence of two guitarists. Unfortunately, the thick low
frequencies that work so well on the album did nottranslate to the live environment. Watts’ tone was loudand indistinct, often sounding like wind across a
microphone, overpowering many of the horn andguitar solos and Novak’s extremely active drumming,
even in the midst of these solos, didn’t help.
The set followed the album cuts in order, excising
three tracks from the middle. “Mr. Lizard” and “Pushed
to the Edge of Ideas by Dispassionate Bias-algorithm
Bots” both displayed fast, fat legato cornet, with a cool,moody solo by Binney on the former. “Still” opened
with a cappella cornet, leading to another impressive
turn by Binney. Vossler’s vigorous Eddie van Halenmeets-George Benson guitar solo on “Green Moon” wasintriguing and Templeton was finally allowed to shine
on “Obsidian Butterfly”, demonstrating an unusual and

The Golden Rule: for Sonny
Eric Wyatt (Whaling City Sound)by Phil Freeman

Saxophonist Eric Wyatt’s third album as a leader andhis second for Whaling City Sound after a debut on
Posi-Tone, is dedicated to his godfather Sonny Rollins
and often has the feel of one of the older man’s mid ’70s
recordings for the Milestone label. Wyatt’s tone is big
and warm and he’s got a sure-footed rhythmic sense,
which allows him to work as confidently over a blues
as over samba or calypso rhythms.
This album, which includes 12 tracks and runs 79
minutes, was recorded in a single 10-hour session, but
features a variety of rhythm sections, including pianists
Sullivan Fortner, Benito Gonzalez and Anthony
Wonsey, bassists Tyler Mitchell and Eric Wheeler anddrummers Chris Beck, Charles Goold and Willie Jones
III in various combinations. A few additional guests
pop up here and there: trombonist Clifton Anderson on
three tracks, trumpeter Giveton Gelin on four, guitarist
Russell Malone on two and on the final track, fellow
tenor saxophonist JD Allen.
The title track is a tribute to Rollins and two otherpieces carry explicit dedications. “After The Morning”,
a gentle ballad that is Fortner ’s sole appearance, is fortrumpeter Roy Hargrove and the battering “In The
Spirit Of Arthur”, more surprisingly, is for Arthur
Rhames, the saxophonist/guitarist who was a New
York cult sensation in the late ’70s-80s. There’s alsoa version of one of Rollins’ signature tunes, “Don’t
Stop The Carnival”, which features a shimmering
Malone and forceful Anderson.
The album concludes with one more Rollins nod:a take on “The Bridge”, from his 1962 album of thesame name, on which Wyatt and Allen, friends of longstanding, chew the tune up at a racetrack tempo set by
Gonzalez, Wheeler and Goold, turning it into
something reminiscent of the Eddie “Lockjaw” Davis/
Johnny Griffin Quintet. Allen often comes across as
a very introspective musician on his own albums, sohearing him tear it up and riff along with Wyatt, clearly
having a blast, will put a grin on any listener ’s face.
For more information, visit whalingcitysound.com. Wyatt
is at Smalls Mar. 27th. See Calendar.

parts of Europe since the ‘80s as a leader, collaborator
and bandmember. Horvitz has led Pigpen, The
President and Zony Mash and played with John Zorn,
Butch Morris and Bobby Previte, among many others.
Along with his American groups (and collaborations)
he has a European Orchestra and this is a document ofan Amsterdam concert by same. Horvitz does not play;
his role is that of composer and conductor. The band isa fascinating cross-section of Europe’s avant garde
firmament: saxophonists Silke Eberhard, John
Dikeman, Massimiliano Milesi and Edoardo Marraffa;
trombonists Gerhard Gschlössl and Wolter Wierbos;
trumpeters Eric Boeren and Luca Calabrese; guitarist/
clarinetist Alex Ward; pianist Alexander Hawkins;
bassist Danilo Gallo and drummer Zeno de Rossi.
The kickoff, “Prepaid Funeral”, begins briskly, likea Thad Jones/Mel Lewis swinger, before gently
segueing into near-free saxophone solos amid pointed
ensemble work, gradually building in intensity until
the ensemble starts to swing in earnest à la late-period
Duke Ellington—quirky refrains, a bank of horns
wailing in a tight, slightly twisty fashion. Solos dart inand out of the mass/morass, the orchestra bouncing
dark motifs conveyed in a light-hearted way, while therhythm section carries proceedings forward in an everso-slightly ominous manner. It concludes in what could
be a parody of a march tempo (perhaps a nod to oldschool New Orleans funeral marches), growing into a
cyclic pattern. “Trish” is full of restrained, sentimental
swing and nostalgic fragments of melody, the reeds andbrass gradually swelling and engaging one other as if itwere a classical dance. “Disingenuous Firefight” has awistful intro, which grows more crackling until amartial cadence over which dissonant solos (overblowing, spooky growls, etc.) interlock and wail goodnaturedly. Rising intensity gives way to genial riffs andgrand, classy passages.
The most ambitious piece is the 11-minute“A Walk in the Rain”. It includes earnest swing,burlesque passages, sizzling solos (especially Ward on
guitar—get too close and choke on the smoke) andsharp phrases in that insistent Count Basie manner.
Hawkins, like Basie, makes his few notes count, driving
the band/tune as much as the rhythm team. This
number, oozing uptown swagger, has enough joie devivre for two parties, on that you can bet—this swings
hard in whimsical fashion.
There’s a tradeoff here—we don’t get to hear
Horvitz the wiz of keys, but as a composer/leader, we
get plenty and these European hepcats really bring hisearthy, witty concepts to life. Get this for that cranky
person in your life that thinks modern jazz is too full of
itself and, of course, a copy for yourself.
For more information, visit novarajazz.org. Horvitz is at
Soup & Sound Mar. 28th. See Calendar.

ANTHONY COLEMAN
siMON HANEs
sCHOLEs sTrEET sTudiO
wiTH:
BriAN CHAsE / JOANNA MATTrEY /JOHN MCCOwEN / pLus MANY MOrE

Live at the Bimhuis
Wayne Horvitz European Orchestra (Novarajazz)by Mark Keresman

P layerof assorted keyboards, composer andbandleader Wayne Horvitz has been active in thecreative music scene(s) in NYC, Pacific Northwest and

32 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD

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JEROME JENNINGS“BESt MuSIC Of 2019”- NPR“…It PRESENtS aN INCREaSEd fOCuS ON ORIGINal
COMPOSItIONS whIlE fEatuRING thE SaME ShaRP
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BO X ED S E T

Unexpected Alchemy
Various Artists (Not Two)by Stuart Broomer

F ew partnerships in free jazz/improvised music canapproach that of Ken Vandermark and producer
Marek Winiarski, beginning with a five-day stand in2004 at Klub Alchemia in Krakow Winiarski releasedon his Not Two label as a 12-CD boxed set, including
the band’s every set. Since Krakow Jazz Autumn was
launched in 2006, further weeklong residencies andcomparable documentation have followed.
Unexpected Alchemy presents a residency from
November 2017, a compact, artfully designed,
seven-CD set of a six-day series curated byVandermark in which an international group of 11
improvisers play in situations that include solos,
duos, trios and a quartet. It’s a divergent collectionof musicians, dedicated to the genuinely
improvisatory encounter: saxophonists Vandermark,John Butcher (UK) and Mette Rasmussen (Denmark),
saxophonist/trumpeter Joe McPhee, trumpeter Nate
Wooley, pianist John Tilbury (UK), bassist Kent

Kessler, drummers Hamid Drake, Steve Noble (UK)and Eddie Prévost (UK) and Ikue Mori on electronics.
That grouping may suggest close associations,
whether it’s the AMM nexus of Prévost, Tilbury andsometimes Butcher or the trio of Vandermark, Drakeand Kessler with frequent partner McPhee, but whatshines here is Vandermark’s programming skill andthe musicians’ vision. It’s “Unexpectable Music”, as
Winiarski calls it, a most fitting description.
There’s something, well, alchemical, about Klub
Alchemia: a small stage, a crowded room and a rapt
audience including fellow musicians contribute to aheightened sense of anticipation. It’s apparent fromthe opening disc, with Vandermark and Wooley
working through the structured improvisations of“Deeply Discounted” and “Sequences of Snow”, theabstracted forms heightening the creative tension.
Noble’s solo set might gain something in theseeing, at least a suspension of wondering how his
remarkable pitch shifts and simultaneous clang ofdrum and cymbal are accomplished. McPhee’s
24-minute solo is a significant highlight, an extended
oration switching from tenor to trumpet to tenor andwhich is filled with all the depth of passion andvision associated with his work. Nearing the work’s
final quarter, McPhee introduces Duke Ellington’s“Come Sunday”, tracing it with a raw-sweet sound,whistles and vocalized cries included in his breath,in a performance that can endure as long as the innerspirit of jazz lives.
If there are several transformative presences
here, Mori could still be singled out. She makes two
appearances. One is a duet with Rasmussen in which
she creates a steady stream of warbles and bleeps
that fuse the worlds of nature and technology,

a soundscape that dovetails with the saxophonist’s
focused, intense lyricism. Mori’s special input issimilarly present in a fine trio with Noble andVandermark while Rasmussen also shines in aquartet with Wooley, Kessler and Noble having its
roots in classic free jazz, an impetus too for the duoof McPhee and Kessler, who match impulses in apartnership spanning both decades and bands.
Butcher turns up in three different duos. A seriesof short pieces with Vandermark has the two
matching clicks, multiphonics, harmonics and roars
in what might be a philosophical discussion among
unknown species. His pairing with Tilbury initiallysets the saxophone against weighty dissonant
clusters, which turn to something resembling astarkly abstract blues; the pairing of Butcher and
Wooley is an intense, complex storm.
If Prévost is the metallurgical master of AMM,
here a trio with Vandermark and Drake brings out
another side of his drumming, a legacy of hardbop
precision. The result has a consistent edgy excitement.
The seventh CD is described as a “bonus disc”,
since it doesn’t come from the Alchemia series.
Dissatisfied with his Krakow recording with Prévost
and Tilbury, Vandermark substitutes the trio’s
63-minute set recorded six months later in Munich.
It’s a multi-layered work that alternately stretches
and compresses time and space, a music of durationthat magnifies instants of convergence. It’s a qualitythat arises at other points in this set as well, an epic
week of music, which often erases distinctions
between free jazz and free improvisation, becoming
simply that “Unexpectable Music”.
For more information, visit nottwo.com

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34 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDM ISCELLANY
ONbyTHISDAYAndrey Henkin

Benny Bailey Quintet
Benny Bailey (Sonet)
March 4th, 1959

Jazz from Holland
Misha Mengelberg (Artone)
March 4th, 1966

Fly OnAir Pocket (East Wind)
March 4th, 1975

SkylarkAl Cohn (JLR)
March 4th, 1982

Eponymous
Blonk/Gustafsson/Zerang (Kontrans)
March 4th, 1996

This two-track EP of the leader’s“Sonny Man” and Dizzy Gillespie’s“Confirmation” finds trumpeter
Benny Bailey 4,100 miles from his
Cleveland birthplace, in Stockholm,
leading a quintet of three Swedes—
tenor saxophonist Bernt Rosengren,
pianist Ingmar Westberg and bassist
Sture Nordin­—plus ex-pat drummer
Joe Harris. Bailey would return briefly
to the U.S. shortly thereafter but madeEurope his home from the early ‘60s
onwards, becoming a staple ofcontinental big bands, most notablythat of Kenny Clarke/Francy Boland.

Hard to imagine that the studiousMusicians (especially Frank Zappa)

Saxophonist Al Cohn is best known

Kontrans was founded by Dutch
vocalist Jaap Blonk and within its
catalogue are the seven entries of the“Improvisors” series, Blonk travelingthe world to record with peers or
younger musicians. This first volume
is 11 collective improvisations froma one-time-only trio recorded in
Stockholm at the Andra Jazz record
shop with Swedish saxophonist Mats
Gustafsson and Chicagoan drummer
Michael Zerang, the latter pair firstrecording together in 1994 andworking for years after as part of thePeter Brötzmann Chicago Tentet.

young pianist on the cover would go
on to a decades-plus career as themaverick co-circus ringmaster of the
ICP Orchestra alongside drummer
Han Bennink. The latter is here, theband completed by countrymen alto
saxophonist Piet Noordijk and bassist
Rob Langereis. The subtitle of the LP
indicates that the band would perform
at the 1966 Newport Jazz Festival fourmonths after recording this date. Evenif he didn’t look the part, Mengelberg’s
idiosyncratic tunes foreshadow hislater work.

owe a debt to jazz educator William
Fowler, whose five sons­—trombonist
Bruce, saxophonist Steve, trumpeter
Walt and bassists Tom and Ed—haveamassed hundreds of recording
credits from the late ‘60s onwards.
Oliver Nelson heard them while somewere still students at the Universityof Utah (where William taught) and,several years later, produced thisdate, three tunes from Steve, two from
Bruce and three from keyboard player
Stu Goldberg, the band also withfellow Zappa alum Chester Thompson.

as one of the Four Brothers alongside
Zoot Sims, Stan Getz and Serge
Chaloff in Woody Herman’s Second
Herd, all born within four years of
one another and, apart from Chaloff,
who died in 1957 at 33, working into
their 60s. This date is a two-CD set
taken from a concert at E.J.’s in Atlanta
with, at least on record, a one-off local
trio of Dan Wall (piano, who would
play organ with John Abercrombie a
decade later), Neal Starkey (bass) and
Brian Childers (drums) for a programof standards and Cohn originals.

BIRTHDAYSMarch 1†Glenn Miller 1904-44†Teddy Powell 1906-1993†Benny Powell 1930-2010
Gene Perla b.1940
Ralph Towner b.1940
Vinny Golia b.1946
Norman Connors b.1947
Elliott Sharp b.1951

March 6
†Red Callender 1916-92†Howard McGhee 1918-87†Wes Montgomery 1925-68†Ronnie Boykins 1935-80
Charles Tolliver b.1940
Peter Brötzmann b.1941†Robin Kenyatta 1942-2004
Flora Purim b.1942
Dom Minasi b.1943
Ayelet Rose Gottlieb b.1979

March 2
†Eddie “Lockjaw” Davis
1921-86†Doug Watkins 1934-62†Buell Neidlinger 1936-2018
Bob Neloms b.1942
Wolfgang Muthspiel b.1965

March 11
†Miff Mole 1898-1961†Mercer Ellington 1919-96†Ike Carpenter 1920-98†Billy Mitchell 1926-2001†Leroy Jenkins 1932-2007
Vince Giordano b.1952
Judy Niemack b.1954

March 7Alexander von Schlippenbachb.1938Herb Bushler b.1939
March 8†George Mitchell 1899-1972
Dick Hyman b.1927
George Coleman b.1935†Gabor Szabo 1936-82†James Williams 1951-2004
Biggi Vinkeloe b.1956
Anat Fort b.1970

March 3
†Barney Bigard 1906-80†Cliff Smalls 1918-2008†Jimmy Garrison 1934-76
Luis Gasca b.1940
March 4
†Don Rendell 1926-2015†Cy Touff 1927-2003†Barney Wilen 1937-96
David Darling b.1941
Jan Garbarek b.1947
Albert Pinton b.1962
Dana Leong b.1980

March 13
†Dick Katz 1924-2009
Roy Haynes b.1926†Blue Mitchell 1930-79
Michael Jefry Stevens b.1951
Akira Tana b.1952
Terence Blanchard b.1962
Shoko Nagai b.1971
March 14
†Joe Mooney 1911-75†Les Brown 1912-2001†Sonny Cohn 1925-2006†Mark Murphy 1932-2015†Shirley Scott 1934-2002
Gianluca Petrella b.1975

March 9†Ornette Coleman 1930-2015†Keely Smith 1932-2015
Kali Z. Fasteau b.1947
Zakir Hussain b.1951†Thomas Chapin 1957-1998
Erica von Kleist b.1982

March 5
†Gene Rodgers 1910-87†Bill Pemberton 1918-84†Dave Burns 1924-2009†Lou Levy 1928-2001†Wilbur Little 1928-87†Pee Wee Moore 1928-2009
Nils Winther b.1944
David Fiuczynski b.1964

March 12†Sir Charles Thompson
1918-2016†Hugh Lawson 1935-97
Ned Goold b.1959
Peter Knight b.1965

March 15
†Jimmy McPartland 1907-91†Spencer Clark 1908-1998†Harry James 1916-83†Bob Wilber 1928-2006
Charles Lloyd b.1938
Marty Sheller b.1940
Joachim Kühn b.1944
Anne Mette Iversen b.1972

March 10
†Bix Beiderbecke 1903-31†Pete Clarke 1911-75†Don Abney 1923-2000
Louis Moholo-Moholo b.1940
Mino Cinelu b.1957
Bill Gerhardt b.1962
Ofer Assaf b.1976

March 16
†Ruby Braff 1927-2003†Tommy Flanagan 1930-2001
Keith Rowe b.1940
John Lindberg b.1959
Woody Witt b.1969
March 17
†Paul Horn 1930-2014†Grover Mitchell 1930-2003†Karel Velebny 1931-89
Jessica Williams b.1948
Abraham Burton b.1971
Daniel Levin b.1974
March 18
†Al Hall 1915-88†Sam Donahue 1918-74
Bill Frisell b.1951
Joe Locke b.1959
March 19
†Curley Russell 1917-86†Lennie Tristano 1919-78†Bill Henderson 1930-2016
Mike Longo b.1939
David Schnitter b.1948
Chris Brubeck b.1952
Michele Rosewoman b.1953
Eliane Elias b.1960

March 22
†Fred Anderson 1929-2010
John Houston b.1933†Masahiko Togashi 1940-2007
George Benson b.1943
March 23
†Johnny Guarnieri 1917-85
Dave Frishberg b.1933†Dave Pike 1938-2015†Masabumi Kikuchi 1940-2015
Gerry Hemingway b.1950
Stefon Harris b.1973
March 24
†King Pleasure 1922-81
Dave MacKay b.1932†Kalaparusha Maurice
McIntyre 1936-2013
Steve Kuhn b.1938
Paul McCandless b.1947
Steve LaSpina b.1954
Renee Rosnes b.1962
Dave Douglas b.1963
Joe Fiedler b.1965
March 25
†Cecil Taylor 1929-2018†Paul Motian 1931-2011†Larry Gales 1936-95†Lonnie Hillyer 1940-85
Makoto Ozone b.1961

March 20
†Marian McPartland 1920-2013†Sonny Russo 1929-2013
March 26
†Harold Mabern 1936-2019†Abe Bolar 1908-2000
Jon Christensen b.1943†Flip Phillips 1915-2001†Andy Hamilton 1918-2012
March 21
†Brew Moore 1924-73†Hank D’Amico 1915-65†James Moody 1925-2010
Mike Westbrook b.1936
Maurice Simon b.1929†Herbert Joos 1940-2019
Lew Tabackin b.1940
Amina Claudine Myers b.1942 Hiromi b.1979

March 27
†Pee Wee Russell 1906-69†Ben Webster 1909-73†Sarah Vaughan 1924-90†Harold Ashby 1925-2003†Bill Barron 1927-89†Burt Collins 1931-2007
Stacey Kent b.1968
March 28
†Paul Whiteman 1890-1967†Herb Hall 1907-96†Thad Jones 1923-86
Bill Anthony b.1930†Tete Montoliu 1933-97
Barry Miles b.1947
Donald Brown b.1954
Orrin Evans b.1975
Jen Shyu b.1978
March 29
†George Chisholm 1915-97†Pearl Bailey 1918-90
Allen Botschinsky b.1940†Michael Brecker 1949-2007
March 30
†Ted Heath 1900-69
Lanny Morgan b.1934
Karl Berger b.1935
Marilyn Crispell b.1947
Dave Stryker b.1957
Frank Gratkowski b.1963
Dan Peck b.1983
March 31
†Santo “Mr. Tailgate” Pecora
1902-84†Red Norvo 1908-99†Freddie Green 1911-87†Jimmy Vass 1937-2006
Christian Scott b.1983

Kali Z. Fasteau

March 9th, 1947

Since the mid ‘80s, Kali Z.
Fasteau has documented
her projects via Flying
Note, over 15 albums
under her name featuring
the multi-instrumentalist
on everything from piano,
voice, drums and sopranosaxophone to nai, mbira,shakuhachi and mizmar,
as well as collaborations
with such avant jazz icons
as Kidd Jordan, Louis
Moholo, Bobby Few andNoahHoward.
Onerelease, 2000’s Memoirs Of
A Dream, was a two-CD setof ‘70s concerts with
Fasteau’s late husband
Donald Rafael Garrett,who worked with John
Coltrane, Archie Sheppand during the ‘70s co-led
The Sea Ensemble with
Fasteau, the duo releasing
three albums on ESP-Disk’
and Red Records.
-AH

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By Andrey Henkin 			34

1. Touchy-feely violist Charlotte?
4. 1981 Alexander von Schlippenbach/Evan Parker/
Paul Lovens Po Torch album Detto Fra Di ____
7. A neophyte jazz musician’s favorite book?
8. ____ Les Arbres, Norwegian/French quartet
recording for ECM
10. Steve Lacy featured this mechanical free-reed
instrument on several of his albums
12. Site of many a house concert (abbr.)
13. Ig Henneman/Ab Baars label
14. 1972 Roy Ayers Polydor album ____ Coming
16. Saxophonist Konitz or singer Jeanne
17. ‘40s-50s saxophonist who was not from Canada?
18. Elton Dean Tapes catalogue prefixes
19. Trumpeter/Miles Davis biographer Carr
20. Percussionist Lee Kwang who worked with
Wolfgang Puschnig, Bill Laswell, Tetsu Saitoh
and others
21. This org. weaponized jazz during the Cold War
22. Guitarist Bickert and bandleader Palermo
23. Grayslake, IL coll. with a noted jazz program
24. London Records mid to late ’60s catalogue prefixes
25. Benny Golson tune “Whisper ____”
26. Korean Proto-jazz singer of the ‘30-40s Kim ____-Song
27. This tome describes jazz as “broadly characterized
by regular forceful rhythms, syncopated phrasing,modifications to traditional instrumental tone andpitch (such as the use of blue notes), and improvisatory
soloing.” (abbr.)
28. How many a jazz musician ends up
31. Japanese saxophonist Kitamura who had a long
partnership with Teddy Wilson
32. 1959-62 DownBeat editor Gene
33. Ensemble founded by Hal Russell in 1980
34. Home prov. of the Guelph Jazz Festival
DOWN
1. German, NYC-based drummer Joe who has worked
with Thomas Heberer, Blaise Siwula, Ivo Perelman
and others
2. Blue Note ‘70s UK catalogue prefixes
3. Bassist Hans
4. Bassist/vocalist Me’Shell
5. Early jazz standard “Let’s Sow A Wild ____”
6. 1956 Bud Powell Blue Note album Blues ____
7. Label named for a Muhammad Ali boxing technique
9. Charateristic of many an old jazz club
11. Russian pianist Kapustin
12. 1985 Michael Mantler/Don Preston WATT Worksalbum
15. This opposite of run is its synonym in jazz
29. Quincy Jones arrangement of “I’m Gone” written
for James Moody
30. 2005 ICP Orchestra album Weer Is ____ Dag Voorbij

visit nycjazzrecord.com for answers

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 35

i n memoriam

wolfgangdaunerby andrey henkin

NORM AMADIO (Apr. 14th, 1928Jan. 21st, 2020) The Canadian pianist’s
main gig was as an orchestral leader at
the Canadian Broadcasting Corporation
but he did have a small discography ofsessions with Moe Koffman, Phyllis
Marshall, Peter Appleyard and Dave
Woods and an obscure trio date under his own namefor Canadian Talent Library in the early ‘60s. Amadio
died Jan. 21st at 91.
LUCIEN BARBARIN (July 17, 1956Jan. 30th, 2020) The trombonist named
for his famed drummer grandfather
carried on the New Orleans jazz
tradition in the bands of Leroy Jones,
the Marsalis family, Dr. Michael Whiteand Kermit Ruffins as well as appearing
on several albums by another Crescent City son, Harry
Connick, Jr. Barbarin died Jan. 30th at 63.

G erman pianist and keyboard player Wolfgang
Dauner, who was at the vanguard of his country’s
avant garde and fusion scenes since the early ‘60s,
recording over three dozen albums along withhundreds of credits with an international array ofplayers, died Jan 10th at 84.
Dauner was born Dec. 30th, 1935 in Stuttgart, inthe south of Germany and far away from the country’s
more known jazz centers of Berlin, Köln and Frankfurt.
He was raised by a piano teacher aunt but did notseriously attempt at professional career in music until
well into his 20s. In 1964, he recorded his debut (after
a shared 1962 SABA date with the Hans Koller-Oktett)for CBS, Dream Talk, a visionary trio session withcountryman bassist Eberhard Weber and American
ex-pat drummer Fred Braceful, predating the avant
garde explorations of Manfred Schoof, Alexander von
Schlippenbach and Peter Brötzmann. While his origins
were in the introspections of the Bill Evans Trio,
Dauner soon expanded his vision outside of traditional
formats, convening the piano/bass/drums/cello/
reeds/violin/tabla septet found on Free Action (SABA,
1967, with Jean-Luc Ponty) and jazz group and choircollaborations such as 1968’s “Psalmus Spei”, 1969’s“Beobachtungen Für Stimmen Und Instrumente” and1970’s “Dauner-eschingen”.
He would make experimental albums for MPS,
Calig, ECM, CTR-Produktion and other labels throughthe ‘70s as well as amass session credits with Joki
Freund, The German All-Stars, Robin Kenyatta, Rolf
Kühn, Masahiko Satoh, Don “Sugarcane” Harris, Sigi
Busch, Klaus Weiss, Hans Koller, Albert Mangelsdorff,
Volker Kriegel, Ack Van Rooyen, Zbigniew Seifert andmany more.
It was with Mangelsdorff and Kriegel that Daunerfounded Mood Records in the late ‘70s, aiming to foster
Germany’s jazz-rock scene, one he had helped establish
several years earlier with such albums as 1969’s
Rischka’s Soul and 1970’s Et Cetera. Mood released
many albums by Dauner and his peers as well as being
the home label for The United Jazz+Rock Ensemble,
which featured an international cast of musicians
including Dauner, Weber, Mangelsdorff, Kriegel andnon-Germans such as Kenny Wheeler, Barbara
Thompson, Jon Hiseman and Ian Carr.
Dauner ’s recording activities continued unabatedwell into the new millennium, whether as a leader, in
The United Jazz+Rock Ensemble or collaborative or
sideman roles. In the 2010’s he began a collaboration
with his drummer son Florian, the junior also a memberof The United Jazz+Rock Ensemble Second Generation.
Dauner received the Order of Merit of the Federal
Republic of Germany, the now-defunct Echo Prize(awarded by the German Record Academy) and the
Jazzpreis Baden-Württemberg.

GEOFF CASTLE (Jun. 8th, 1949Jan. 15th, 2020) The British keyboard
player was part of the National Youth
Jazz Orchestra in 1971, a member ofGraham Collier ’s ‘70s bands (appearing
on five LPs), took over Karl Jenkins’
seat in Ian Carr ’s Nucleus in the mid‘70s (six albums in that decade), was a founding
member of the jazz-rock band Paz (close to a dozen
albums between 1977-97) and also recorded with Neil
Ardley to go along with a couple of albums as a leader.
Castle died Jan. 15th at 70.
BOB GULLOTTI (Nov. 28th, 1949-Jan.
25th, 2020) The drummer was afounding member of The Fringe (withfour albums on the band’s Ap-Gu-Ga
imprint from 1978-86 and discs on
Northeastern, Soul Note and Stunt into
the new millennium, plus a decadeslong Monday night residency at The Lily Pad andWillow Jazz Club in Boston), had early participation in
Tom van der Geld’s Children At Play, credits withfellow Fringe member George Garzone, Jerry Bergonzi,
Hal Crook, Michael Ray, Rick Stepton, Guido
Manusardi, Trey Anastasio and others, a 2007 album
for Soul Note and a career as a respected educator in
his hometown of Boston. Gullotti died Jan. 25th at 70.
JIMMY HEATH (Oct. 25th, 1926-Jan.
19th, 2020) The NEA Jazz Mastersaxophonist was the middle brother of
one of the most famed families in jazz,
had numerous records for Riverside,
Cobblestone, Muse, Xanadu, StrataEast, Landmark, Soul Note, Verve andSteepleChase, plus many in a cooperative band withhis brothers bassist Percy and drummer Albert“Tootie”. His discography from the late ‘40s onwards
is an encyclopedia of jazz with credits under Howard
McGhee, Dizzy Gillespie, Miles Davis, J.J. Johnson,
Kenny Dorham, Sam Jones, Nat Adderley, Blue
Mitchell, Milt Jackson, Donald Byrd, Herbie Mann, Cal
Tjader, Art Farmer, Curtis Fuller, Johnny Hartman, Red
Garland, Sonny Stitt, Freddie Hubbard, George Benson,
Benny Carter, Riverside Reunion Band, Clark Terry,Mark Elf, TS Monk, Pat Metheny, Gerald Wilson,
Antonio Hart, Nancy Wilson and many others. He saw
many of his compositions, such as “CTA”, “Gemini”
and “Gingerbread Boy”, recorded by other artists (thelatter tune most famously by Miles Davis in 1966 forMiles Smiles) and was a noted educator both at Queens
College from 1987-98 and as a co-founder of Jazzmobile.
Heath died Jan. 19th at 93. [A two-page In Memoriam
spread with remembrances from friends and colleagues
is on pgs. 38-39. A Jazzmobile honoring Heath’s legacy
will take place Apr. 27th.]

36 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDJAK KILBY (Apr. 29th, 1949-Jan. 3rd,2020) The British photographer helped
document the early days of the British
avant garde jazz scene, his images
appearing on albums by Amalgam, Bob
Downes, Spontaneous Music Ensemble,
John Surman, S.O.S., Derek Bailey, Paul
Rutherford, John Stevens, Harry Miller, Frank Perry,
Howard Riley, Dudu Pukwana, Mike Osborne, Keith
Tippett, Trevor Watts, Gary Windo and others from thelate ‘60s into the mid ‘80s. Kilby died Jan. 3rd at 70.
ANGEL “CACHETE” MALDONADO(Oct. 16th, 1951-Jan. 10th, 2020) The Puerto
Rican percussionist’s Batacumbele bandreleased the aptly titled Afro Caribbean Jazzin 1987, a decade after he had credits with
Andy Harlow, Gato Barbieri, Mongo
Santamaria, Ray Barretto and other Latinjazz legends. Maldonado died Jan. 10th at 68.
CLAUDIO RODITI (May 28th, 1946Jan.
18th,
2020)
The
Braziliantrumpeter’s debut was supposed to bereleased by CTI but came out instead on
Creed Taylor’s short-lived Greene Street
imprint in 1984. He had over two dozen
albums on Uptown, Fantasy, Milestone,
Candid, Groovin’ High, Reservoir, Nagel Heyer andResonance, was a member of Paquito D’Rivera’s bands
in the ‘80s-90s and recorded close to 200 sessions fromthe mid ‘70s onwards with Dom Um Romao, David
Schnitter, Mark Murphy, Chris Connor, Michael Carvin,
Klaus Ignatzek, Gary Bartz, Slide Hampton, Horace
Silver, Greg Abate, Dave Valentin, Jim Hall, Chuck
Israels, McCoy Tyner, Steve Turre, DIVA Jazz Orchestra
and many others. Roditi died Jan. 18th at 73.
GIANNI SANJUST (Jun. 23rd, 1934-Jan.
9th, 2020) The Italian clarinetist had a
handful of albums in the jazz-pop vein
from the early ‘60s into the newmillennium as well as recording credits
with the Roman New Orleans Jazz Band,
Romano Mussolini, Alfredo Ferrario andothers to go along with work as a producer for Ricordi
Records in the ‘60s-70s. Sanjust died Jan. 9th at 85.
WILLIAM ZICKOS (Feb. 10th, 1929-Jan.
31st, 2020) The drummer’s early career
included touring with Stan Kenton,
Tommy Dorsey and other big bands, timespent as a drum teacher and music store
owner and, most significantly, creating
the first acrylic drumkits, staple of arena
rock drummers in the ‘70s. Zickos died Jan. 31st at 90. v

FREE CONCERTS

www.jazzfoundation.org
NEW YORK PUBLICLIBRARY
96th Street Library, 4:30pm
3/19: Bertha Hope Trio
Spuyten Duyvil Library, 1pm
3/13: Ted Brown Quartet
City Island Library, 1pm
3/28: Annette St. John

NYC PARKS
Poe Park, 2pm
3/21: Sylvia Cuenca
Roy Wilkins Rec. Center, 1pm
3/28: Stanley Banks & Friends

National Jazz Museumin HarlemDavid Durrah Jam
3/7 - 2pm, Every 1st Sat.
JFA Monday Night Jam
3/2, 3/16 - 6:30pm
Brownsville Heritage House
Roy Meriwether andthe Wade Barnes
Tribute Band
3/21 - 3pm, Every 3rd Sat.
This project is supported in part by an award from the
National Endowment for the Arts, the New York StateCouncil on the Arts with the support of Governor
Andrew M. Cuomo and the New York State Legislatureand by public funds from the New York City Department
of Cultural Affairs in partnership with the City Council
and by the Howard Gilman Foundation.

jazzmobile march

163 W. 125th Street | Suite 906 | Harlem, NY 10027 | 212.866.4900 | www.jazzmobile.org

MINTON’S PLAYHOUSE—YOU SPOKE, WE HEARD YOU,AND JAZZMOBILE IS BACK | MINTON’S 206 w 118th ST*MARCH 5
LYNETTE WASHINGTON &BAND*MARCH 19
JEREMY PELTQUARTET*MARCH 26

DANNY MIXONQUARTET*ALL FIRST SETS ARE AT 7:30 pm FOR COVER
CHARGES AND MORE DETAILS GO TO: CALENDAR

www.jazzmobile.org

JAZZY AWARD 2020

MUSIC

JIMMY HEATH

AFTER A VERY SUCCESSFUL 6 MONTHS RUN AT ICONIC

april 27

A.BELL DESIGN

Jazzmobile returns to Minton’s Playhouse!

TICKETS START AT ONLY $30 | ON SALE NOWCELEBRATING JIMMY HEATH DURING NATIONAL JAZZ APPRECIATION MONTH ...
Young and Emerging Jazz Artists Will Take to The “Jazzmobile Stage” withMasters, Legends and Other Jazz Greats for One Time Only Performances!
FIRST CORINTHIAN BAPTIST CHURCH | Adam Clayton Powell Jr. Blvd | 7th Ave. @ W. 116th St.
For the line-up and more details go towww.eventbrite.com

SEARCH JAZZMOBILEI N ME MORIA M
I am saddened by the passing of my mentor andfriend Jimmy Heath. But I am honored to have
known and learned so much from him. Touringwith the Heath Brothers was a foundational
highlight of my music career. What a long andproductive life Jimmy had! My life is forever
indebted to him and his family. My wife Sylvia,
daughter Sunny and I will always remember his
acceptance and kindness.
—stanley cowell, piano
Jimmy Heath was a musical giant. His innovations
as a saxophonist, composer, and arranger will
shape jazz for years to come. Those of us lucky
enough to have been by his side over the years
witnessed his grace and humanity. He was a man
driven and hard-working, devoted and loving,open-minded, highly creative and accomplished,yet down to earth and humble. His endless search
for truth and beauty in music never waned up to
the very end. He was always more than happy toshare his knowledge, a funny turn of phrase and,really, his whole heart with people from all over
the world and from all generations. I will neverforget it and I know that his contributions will
live on forever.
—jeb patton, piano
Getting to know Jimmy Heath and getting to
make music with him for the last 13 years has
been one of the greatest honors and privileges of
my life. He was always supportive andencouraging, full of laughter and witty
observations and constantly sharing his wisdomof life and music. All of these qualities came out
in his brilliant playing and in his incredible
compositions. Making music with him was thedefinition of “serious fun”. The most special partof being around Jimmy Heath was how much heloved people and how much people loved him.
He has deeply influenced the musician I am today
and person and artist I continuously aspire to be.
—david wong, bass
It’s difficult to articulate what Master Jimmy
Heath means to me. I feel my life would not becomplete without the lessons learned from him.
He was driven, curious, tenacious, sensitive,
strong and spiritual. I attended Queens College in
1991-93 to study with Master Heath and get my
Master ’s. My plan was to be his best student andover the years he became my #1 musical father.
I spent many evenings in his studio learning
about arranging, history and what it means to bea man. We often went to London Lennies fordinner and I’ll cherish all those occasions.
He really loved life, music and his family. He
never wasted time because he knew it was a
precious gift from the creator. I always loved
when we played together in the Dizzy Gillespie
Big Band and in his Big Band because his spirit
and compositions represented so much love.
Master Heath always talked about his mentor
Dizzy Gillespie and you can hear his reverence in
his composition “Without You No Me”.
One of the greatest honors was when he wrote
a composition for me called “Like A Son”.
I remember he played it for me on the computerand said look at the title. I felt so humbled andhonored. The world is missing a genius in physicalform but his music will live forever and hismusical sons and daughters will carry his spiritual
message on forever.

Jimmy was a great musician and a great brother.
I’ve known him longer than anybody else—
almost 85 years, as old as I am! All I can say is that
I miss my brothers Percy and now Jimmy.

I was so saddened to hear the news about Jimmy.
He was a dear friend to myself and my family and
we are thinking of Mona and the Heath family atthis time. Jimmy will always be a true legend.

—Albert “Tootie” Heath, drumS—curtis fuller, trombone

Jimmy, Percy, and Tootie—The Heath Brothers.
And there was a sister. And there was Mom andPop. I felt at home at their house on Federal Street
in Philadelphia. See you next time around, Jimmy.

Jimmy Heath was a beautiful example of how
human beings were meant to turn out. His musicalselflessness and his spirit, on and off stage, provedthat kindness could co-exist with power and fame.
My heart goes out to his other half, his Beloved,
Mona, who walked with him through life side byside, and to his wonderful children. Few were so
loved by all as Jimmy Heath. The world will be acolder place to live without you Jimmy.

—SONNY ROLLINS, SAXOPHONE
Working with Jimmy and The Heath Brothers was
one of the highlights of my career. Jimmy asked
me to work with him one night at the Blue Noteand afterwards asked me to join the band, which
was truly an honor. It was a great few years and I
was on top of the world. His dedication to themusic—playing, composing, arranging—was aninspiration to all who were fortunate enough tohave worked with him. I feel a sorrow in this loss.
He was truly a Giant and will be sadly missed.
		—mark elf, guitar

Jimmy and I met through the music, of course, at
jam sessions. I was 16, he was 18. He lived in South
Philly, I lived in north Philly. And like two knives
you sharpen together, it was a learning process,but we were having a lot of fun too. He had a bigband at one point, in which John Coltrane and I
were members. We used to rehearse the big bandat his family’s place on Federal Street. The dining
and living rooms were connected, so we’d justmove the furniture back so we could accommodate
the whole big band.
Coltrane and I used to marvel at his playing,
how he was always playing right on the chords,
how he had that ability when he played his solos
to stick his patterns of notes right to the chords. I
actually told him recently that I was still waitingfor him to make a mistake! He was something else;
he was brilliant. Incidentally, he was also a greatarranger; he had a talent doing everything.
Jimmy—who was a close second to his brother
Albert “Tootie” as comedian—the last few years
laughingly would say, “When you get into the 90s
you’re in dangerous territory.” I’m going to misshim dearly.
—benny golson, saxophone—wendyoxenhorn, JFAfoundingdirector
As many have said before me and others will say,perhaps until eternity, we lost another musicalgenius who was also a great educator and mentor to
generations of aspiring musicians. His compositions
and performances are legendary, the impact he hadon the jazz community and the world’s culturallandscape will forever inspire us all.
Years ago, my dad reminded me that he first
introduced me to Jimmy Heath. I can’t remember
how old I was but in our family, you called adults
by their last name preceded by Mr., Mrs. or Ms.,
unless they were special friends of my parents
then they were Aunt or Uncle. Most of my Dad’sclosest friends were musicians, so Jimmy Heath
was “Uncle Jimmy” when we met. It was decades
later when I had the first opportunity to call on
him to perform at the Jackie Robinson Foundation’s“An Afternoon of Jazz Festival” and years later
when I joined Jazzmobile and learned from Billy
Taylor about the integral role Jimmy played in thecreation of Jazzmobile’s core programs. For over
55 years he performed on Jazzmobile stages athome and beyond and the last 15+ years we have
not only worked together presenting Summerfest,
lecture demonstrations and the pioneering
Saturday Jazz Workshop but he also mentored me
in my role at Jazzmobile as we continue to keep themusic playing. The music that Billy, Jimmy anddozens of others began and Jimmy’s commitment
and belief in Jazzmobile never missed a beat 19642020! He often referred to his career as “Walking
With Giants”. Well it is clear to me—he too was
one of them! Rest in music and joy as you join theother Giants of Jazz “Uncle Jimmy”.
—robin bell-stevens, jazzmobile

We know that Jimmy Heath was a great jazzsaxophonist, composer, arranger and educator but
he was also a funny man. He had his special names
for his jazz musician friends. He also informed
everyone, “NO ONE GETS OUT OF THE PARK”,
his special way of looking at longevity while
speaking about Central Park. Well, Jimmy you
made it to 93rd street. That’s where the first Jazz
Church was located. Say hello to John Genzel. You
are my dear friend for 60 years. You will be missed.
I will miss you for the wonderful NEA Jazz
Masters concerts we played at Flushing Town
Hall, the many other times we shared thebandstand and recording studio. I remember thetime in 1980, in Dakar, Senegal, when Dizzy
Gillespie showed us the notes he played in thesecond eight of “Hot House” and the times werecorded songs for Jane Jarvis at MUZAK. Jimmy
Heath, thanks for calling our friend Jonah Joneson his 100th birthday last October, but the Park
goes up to 110th Street. Jimmy, I guess you wereright: NO ONE GETS OUT OF THE PARK!!!

Jimmy Heath might’ve been short in stature, yet
he’ll always be a giant of humanity to me. His
love of learning was exemplary and exceeded
only by his love for his wife, Mona, and family.
His legacy is extraordinary, his reach both local
and global. The work Jimmy did at Queens
College-CUNY, Louis Armstrong House Museum
and more advanced jazz for generations to come.
Steady in his determination and forever curious,
Jimmy inspired others. To share the stage with
Jimmy was to experience musical mastery andJimmy’s own sense of magic and humor. Generous
in spirit, Jimmy’s camaraderie and brotherhood
were second to none. Jimmy consistently andquietly worked behind the scenes for more
inclusive stages and volunteered for good causes.
His kindness—and Mona’s—in opening doors as
a loving couple and celebrating the birth of myand my wife’s son made the world more joyful.
To say I miss him is beyond an understatement.

—jimmy owens, trumpet—jon faddis, trumpet—antonio hart, saxophone

38 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDAt just five feet three inches tall Jimmy Heath wasusually the smallest person on the bandstand but
he towered in his contributions to modern jazz.
His playing, even when he was in his 90s wasalways impeccable: creative and clear and full of
the lines we have come to know as fundamental
to hardbop language, except that he didn’t justmaster them, he helped create them.
Just as important, or perhaps more important,were his arranging, composing and songwriting
contributions. Jimmy learned the art of jazzarranging without the formal training available
to students of this generation. He first learned byplaying great music, asking questions andexperimenting. What set his music apart fromothers was his songwriting ability. Jimmy wrote
the kind of tunes that sound as if they had always
existed and were just discovered, like a mountain
range or the sunrise. Songs like “GingerbreadBoy”, “CTA”, “Gemini” and “Big P” are hip andsingable and are as much a reflection of his
personality as “Epistrophy” or “Think of One”
were for Monk.
Jimmy was very proud of being a teacher. He
created the Graduate Jazz program at Queens
College/CUNY. He also taught at Jazzmobile andwas a mentor to many young musicians both as
performers and arrangers. When he retired from
Queens College in 1997 he asked me to interview
for the position. We had been playing together andcontributing arrangements to Slide Hampton’s
wonderful Jazz Master Orchestra. I am certain hewanted a successor who was passionate aboutarranging and composition to continue his work
maintaining that tradition and emphasizing its
importance to performers.
—michael Philip mossman, trumpet—mark gross, saxophone

jimmy
heath
1926-2020alan nahigian

Jimmy Heath was an inspiration for me on and off
the bandstand. I spent 15+ years consistently
performing with Mr. Heath, mostly playing in the
Jimmy Heath Big Band and the Dizzy Gillespie
All Star Big Band. Having the opportunity toshare so much time with Mr. Heath, I got a
glimpse, first hand, into his experiences with somany jazz greats, as he talks about in his book,
I Walked With Giants.
In visiting his home in Queens with his lovely
wife of almost 60 years, Mona, they accepted me
as family when I would be there. You knew you
were truly loved by Mr. Heath if he had you to his
home. He even named me “Remarkable”, anotherindication that he truly loved and admired you.
His home was like an archival institution of jazz.
There were photos of him and just about every
jazz great you could think of. There were also
awards, trophies, plaques, citations, proclamations,etc. Grand Master Heath, wow!!!!!
He visited my 50th birthday party in New
Jersey along with his wife. I was so moved bythat. He met my mother, who played harmonica
at the party, and he especially loved watchingthat. He would ask of her often. When my motherpassed in 2018, he was one of the first people tocall and console me on the phone. He would tellme stories of his mother and how he loved her soand still missed her. He would say, “Remarkable,
I know it hurts but your mother will always
be with you.” He was right. It hurts but I know
she will always be with me. As for you Mr. Heath,Grand Master, it hurts...
You have afforded the honor in my lifetime tohave truly walked with a Giant. You will forever
be missed in all of our hearts but your name,music, legacy will forever live in all of our souls.

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 39

CALENDAR
Sunday, March 1• Adam Nussbaum and Friends 55Bar 6 pm
• Lady Got Chops Festival: Susan Kramer Duo		
5C Café 8 pm
• Purchase Latin Jazz Orchestra directed by David DeJesus
		
Birdland 5:30 pm $30• Mafalda Minnozzi
Birdland Theater 9:45 pm $30• Reza Khan with Sergio Pereira, Mark Egan, Matt King, Maurizio Zoterilli
		Blue Note 11:30 am 1:30 pm $39.50
êHelen Sung Quintet with Roxy Coss, Terell Stafford, David Wong, Kendrick Scott				Dizzy’s Club 7:30, 9:30 pm $35• Luciano Pagliarini/Michel Edelin; Juan Parra Cancino/Jonathan Impett; Hank Jost		
		
Downtown Music Gallery 6 pm
• David Krakauer/Kathleen Tagg Dweck Center 4 pm
• Sana Nagano/Leonor Falcon; Anders Nilsson/Jeremy Carlstedt; Sana Nagano,Peter Apfelbaum, Ava Mendoza, Ken Filiano, Joe Hertenstein		El Barrio Artspace 7 pm $10• Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band		Fat Cat 6, 8:30 pm $10êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, John Webber,
George Coleman, Jr.
Jazz Standard 7:30, 9:30 pm $35• Ben Waltzer, Steve Nelson, Ugonna Okegwo, Gerald Cleaver; Michael Kanan,
Pat O’Leary, Doron Tirosh
Mezzrow 7:30, 10:30 pm $20• Jeffery Miller
Minton’s 7:30, 9:30 pm $20• Kelsey Jillette Trio
North Square Lounge 12:30, 2 pm
• John Pietaro/Laurie Towers
Parkside Lounge 4 pmêRon Horton Trio with Ben Allison, Tim Horner		Rizzoli Bookstore 5 pm $20• Lady Got Chops Festival: Michika Fukumori, Yuko Ito, Debbie Kennedy		
		
Russian Samovar 3 pm
• Melissa Stylianou/Ike Sturm
Saint Peter’s Church 6 pm
• JuanCamilo Sanchez Eccentric/Concentric		
ShapeShifter Lab 7 pm $10• Shrine Big Band
Shrine 8 pm
• Ralph Lalama Bop-Juice with Akiko Tsuruga, Clifford Barbaro; Charles Owens Trio with
Alexander Claffy, Kyle Poole; David Gibson
		
Smalls 7:30, 10:30 pm 1 am $20• Russell Malone Quartet with Rick Germanson, Luke Sellick, Neal Smith				
Smoke 7, 9 pm $40• Matt Forker’s Mirror Image; Sonya Belaya; Wit & Daniel		Spectrum 2 pm $15êThe Vagabond Ball: Steven Bernstein and Tuba Mob with Briggan Krauss, Tony Scherr,
Kenny Wollesen and guest Marcus Rojas; Will Bernard Band; Sasha Dobson Quartet;
Jesse Harris with Tuba Mob; Ted Brinkley’s NoPorkestra and Chorus directed byGraham Connah with Beth Custer, Ben Goldberg, Marty Wehner, Ches Smith,
Lisa Mezzacappa, Sheldon Brown, Jayn Pettingill; The Munchies: Dred Scott,
Kenny Brooks, Sam Bevan, Diego Voglino
		The Sultan Room 5:30 pm $30-40• Bill Stevens Songbook with Corey Larson, Paul Pricer
		Tomi Jazz 7, 8:30 pm $10êCécile McLorin Salvant with Alexa Tarantino, James Chirillo, Sullivan Fortner,
Keita Ogawa
Village Vanguard 8:30, 10:30 pm $35

Monday, March 2• Mark McIntyre Syndicate
55Bar 7 pm
• Roberta Piket with Virginia Mayhew, Kim Clarke, Lucianna Padmore		Bar Lunàtico 8:30, 10 pm $10• Panas Athanatos Trio with Kimon Karoutzos, Itay Morchi; Bogna Kicinska Trio with

Kuba Cichocki, Ed Perez
Bar Next Door 6:30, 8:30, 10:30 pm $12• Isaac ben Ayala Trio with Chris Berger, Alvester Garnett
		
Birdland Theater 8:30 pm $30
êReggie Sylvester, Ed Keller, Joe Ravo, Bryan McCune; Stephen Gauci, Sandy Ewen,
Adam Lane, Kevin Shea; Todd Neufeld/Billy Mintz; Lisanne Tremblay, Edward Gavitt,
Kenneth Jimenez, Lesely Mok; Jeff Davis, Jon Irabagon, Eivind Opsvik,
Jonathan Goldberger; Neal Anderson/Yuma Uesaka		Bushwick Public House 7 pm $10• Jazz at Lincoln Center Youth Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $30-40• Ben Paterson Duo; Keith Brown; Billy Kaye Jam		
Fat Cat 6, 9 pm 12:30 am $10• Craig Brann, Samuel Sadigursky, Ethan Herr, Nicholas Morrison; Pasquale Grasso,
Ari Roland, Keith Balla
Mezzrow 7:30, 10:30 pm $20• Edith Lettner, Yoshiki Miura, Lonnie Plaxico, Leopoldo F. Fleming		
Patrick’s Place 7 pmêRyan Keberle’s Reverso with Vincent Courtois, Fabian Almazan		Saint Peter’s Church 7 pm
• Women’s Jazz Festival: A Ballad for Hazel Scott		The Schomburg Center 7 pm $15• Jakob Ebers
Silvana 6 pm
• Jonathan Michel Group; Joe Farnsworth Quartet with Vahagn Hayrapetyan,
Zaid Nasser, Ari Roland; Ben Barnett
		
Smalls 7:30, 10:30 pm 1 am $20• David Stern Quartet with Marc Copland, Dominic Duval, Jr., Rudy Royston
		
Zinc Bar 7:30, 9:30 pm $25

Tuesday, March 3• Ben Monder Trio with Tony Malaby, Tom Rainey
		55Bar 7 pmêAdam O’Farrill’s Stranger Days
55Bar 10 pm• Ourida
Bar Lunàtico 8:30, 10 pm $10• Owen Chen Trio with Leland Nelson, Rishav Acharya; Jon Irabagon Trio withPeter Brendler, Jimmy Macbride Bar Next Door 6:30, 8:30, 10:30 pm $12• John Pizzarelli and The Swing 7 Birdland 8:30, 11 pm $50• Staci Griesbach’s My Patsy Cline Songbook
		Birdland Theater 7 pm $30
êCindy Blackman Santana Group with Marc Cary, Felix Pastorius, Aurelien Budynek
		Blue Note 8, 10:30 pm $35
êPasquale Grasso solo
Café Bohemia 8 pm $15• Casey Abrams
The Cutting Room 7:30 pm $25-30• Clave Con Jazz—Music of Dizzy Gillespie and Chano Pozo: Ray Vega Quintet withguest Sherman Irby
Dizzy’s Club 7:30, 9:30 pm $40• Alexa Tarantino
Dizzy’s Club 11:15 pm $5• Antoine Alvear Quintet; Fleur Seule Latin Big Band		The Django at Roxy Hotel, The 7:30, 10:30 pm• Yuval Amihai; Havana 3; Alexi David		Fat Cat 7, 9 pm 12:30 am $10• Sam Ospovat’s Ride Angles with Matt Mitchell, Kim Cass; Kevin Hufnagel;
Triphammer: Sally Gates, Johnny DeBlase, Larry Kwartowitz
		Hart Bar 8 pm $10• Talia Rubenstein Quartet
Jazz at Kitano 8 pm
• Tyshawn Sorey Sextet with Nathan Reising, Morgan Guerin, Lex Korten, Sasha Berliner,
Nick Dunston
The Jazz Gallery 7:30, 9:30 pm $25• Lionel Loueke Trio with Massimo Biolcati, Eric Harland		Jazz Standard 7:30, 9:30 pm $30• Hilary Gardner, Steve Einerson, Noah Garabedian; Naama Gheber, Ben Paterson,
Neal Miner
Mezzrow 7:30, 10:30 pm $20• Jorge Sylvester with ACE
New York City Baha’i Center 8, 9:30 pm $15êAsian Sound Revolution: Jin Hi Kim, Min Xiao-Fen, Susie Ibarra		
Roulette 8 pm $25
êMarty Ehrlich For Alto(s) with Oscar Noriega, Andy Laster, Ned Rothenberg;
Caroline Davis’ Gate of the Year with Alita Moses, Julian Shore, Chris Tordini,
Allan Mednard
SEEDS 8, 9:30 pm $15• Walter Cano
Shrine 6 pm
• Justin Robinson Quartet with Sharp Radway, Santi Debriano, Chris Beck;
Jon Beshay Quartet with Davis Whitfield, Yasushi Nakamura, Curtis Nowosad;
Jon Elbaz
Smalls 7:30, 10:30 pm 1 am $20
êMiles Okazaki, Wendy Eisenberg, Michael Formanek, Uri Caine, Ches Smith		The Stone at The New School 8:30 pm $20• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35

Wednesday, March 4• Eric Alexander Quartet with David Kikoski, John Webber, Joe Farnsworth		An Beal Bocht Café 8, 9:30 pm $20• Mike Moreno Quartet with Jon Cowherd, Burniss Travis
		Bar Bayeux 8 pm
• Craig Brann, Nick Morrison, Sanah Kadoura		Bar Felice 8 pm
• Itamar Borochov Quartet
Bar Lunàtico 8:30, 10 pm $10êLisa Hoppe Trio with Chris Williams, Santiago Gibson
		
Bar Next Door 6:30 pm• John Pizzarelli and The Swing 7 Birdland 8:30, 11 pm $50
êKen Peplowski Quartet with Glenn Zaleski, Peter Washington, Phil Stewart				
Birdland Theater 7, 9:45 pm $30
êCindy Blackman Santana Group with Marc Cary, Felix Pastorius, Aurelien Budynek
		Blue Note 8, 10:30 pm $35• Clave Con Jazz—A Tribute to Cachao and Peruchin: Carlos Henriquez andElio Villafranca
Dizzy’s Club 7:30, 9:30 pm $40• Alexa Tarantino
Dizzy’s Club 11:15 pm $5• George Gee Swing Orchestra with John Dokes
		The Django at Roxy Hotel 10 pm• Ai Murakami Quintet; Anthony Ware; Ned Goold Jam		
Fat Cat 7, 9 pm 12:30 am $10• Louis Armstrong Legacy Jam led by Carol Sudhalter		
Flushing Town Hall 7 pm $10• Monday Michiru Trio with Sean Harkness, Boris Kozlov
		Jazz at Kitano 8, 10 pm $18• Tyshawn Sorey Sextet with Nathan Reising, Morgan Guerin, Lex Korten, Sasha Berliner,
Nick Dunston
The Jazz Gallery 7:30, 9:30 pm $25• Lionel Loueke Trio with Massimo Biolcati, Eric Harland		Jazz Standard 7:30, 9:30 pm $30• Tarek Yamani Trio with Russell Hall, Diego Joaquin Ramirez
		Joe’s Pub 7 pm $20• Albert Ahlf/Mike Roninson
Knickerbocker Bar & Grill 9 pm
• Peter Mazza, Misha Tsiganov, Tamir Shmerling; Steve Ash Trio		
Mezzrow 7:30, 10:30 pm $20• Ike Sturm, Gene Bertoncini, Melissa Stylianou
		Saint Peter’s Church 1 pm $10• Rema Hasumi, Henry Fraser, Raf Vertessen; Kazuki Yamanaka, Santiago Liebson,
Carmen Rothwell, Billy Mintz
Scholes Street Studio 8, 9 pm $20• Ludovica Burtone Little Sparks with Marta Sanchez, Giliard Leitzke Lopes, Ronen Itzik;
Solos de Ave: Sofia Kriger, Gustavo D’Amico, Leandro Pellegrino, Dayeon Seok				
ShapeShifter Lab 7 pm $10• Scott Neumann/Tom Christensen’s Spin Cycle with Pete McCann, Phil Palombi;
Michael Wang Quintet with Clay Lyons, Jonathan Elbaz, Giuseppe Cucchiara,
Kazuhiro Odagiri; Andrew Kushnir Smalls 7:30, 10:30 pm 1 am $20• Bruce Harris Sextet with Immanuel Wilkins, Abdias Armenteros, Adam Birnbaum,
David Wong, Aaron Kimmel
Smoke 7, 9, 10:30 pm $20• David Berkman solo
Soapbox Gallery 7:30 pm $15êMiles Okazaki, Caroline Davis, Dan Weiss, Rajna Swaminathan
		
The Stone at The New School 8:30 pm $20

40 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDêWilliam Parker’s Inside Songs of Curtis Mayfield with Leena Conquest,

Thomas Sayers Ellis, Lewis Barnes, Darryl Foster, Rob Brown, James Brandon Lewis,
Dave Sewelson, Steve Swell, Dave Burrell, Cooper-Moore, Hamid Drake, Moon Lasso;
The Sun Ra Arkestra under the direction of Marshall Allen with Tara Middleton, D. Hotep,
Melanie Dyer, Nina Bogomas, Knoel Scott, Robert Landham, James Stewart,
Danny Ray Thompson, Michael Ray, Dave Davis, Emmett McDonald, Robert Stringer,
Vincent Chancey, Elson Nascimento, Ron McBee, Tyler Mitchell, Wayne A. Smith,Marvin Bugalu Smith
Town Hall 7 pm $32-101.50• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35• VandoJam: Todd Bashore Quartet Zinc Bar 9 pm

Thursday, March 5• Amy Cervini
55Bar 7 pm
• Adam Cordero Trio with Odin Scherer, Henry Mermer; Kevin Clark Trio with Jeff Reed,
Chris Smith Bar

Next Door 6:30, 8:30, 10:30 pm $12• Erena Terakubo and Nana Quintet Birdland 5:30pm $30• John Pizzarelli and The Swing 7 Birdland 8:30, 11 pm $50• Beegie Adair with Monica Ramey, Roger Spencer		Birdland Theater 7, 9:45 pm $35
êAbdullah Ibrahim and EkayaBlue Note 8, 10:30 pm $45• Welf Dorr/Hilliard Greene
Brooklyn Cider House 7 pm
• Clave Con Jazz—The Palladium Era: Mambo Legends Orchestra led by
Johnny Rodriguez, Mitch Frohman, Jose Madera		
Dizzy’s Club 7:30, 9:30 pm $40• Alexa Tarantino
Dizzy’s Club 11:15 pm $10• George Coleman Quartet; Freddy Deboe Band		The Django at Roxy Hotel 7:30, 10:30 pm• Jordan Pettay; Saul Rubin Zebtet; Yoshi Waki		
Fat Cat 7, 10 pm 1:30 am $10• Taína Asili
Ginny’s Supper Club 8 pm $20• Ryan Ferreira, Nathaniel Morgan, Jason Nazary; Jaimie Branch/Jason Nazary				Greenwich House Music School 7:30 pm $15• AirTrain Jazz Festival: Takeshi Ogura
		Jamaica Air Train Station 5 pm
• Céline Rudolph Quartet with Helio Alves, Edward Perez, Mauricio Zottarelli		Jazz at Kitano 8, 10 pm $18• Tyshawn Sorey Sextet with Nathan Reising, Morgan Guerin, Lex Korten, Sasha Berliner,
Nick Dunston
The Jazz Gallery 7:30, 9:30 pm $25
êDafnis Prieto Sextet with Peter Apfelbaum, Roman Filiu, Mike Rodriguez, Alex Brown,
Johannes Weidenmueller
Jazz Standard 7:30, 9:30 pm $30• Washington Heights Jazz Festival: The Royal Bopsters: Amy London, Holli Ross,
Pete McGuinness, Dylan Pramuk Le Chéile 8 pm $20• Will Anderson, Peter Anderson, Ehud Asherie; Spike Wilner Trio		
Mezzrow 7:30, 10:30 pm $20• Jazzmobile: Lynette Washington Minton’s 7:30, 9:30 pm $20• Dan Loomis
Silvana 6 pmêBen Allison Quartet with Michael Blake, Michael Wolff, Allan Mednard;
Matt Marantz Quartet with Rick Rosato, Allan Mednard; Taru Alexander 				
Smalls 7:30, 10:30 pm 1 am $20
êEric Reed Quintet with Josh Bruneau, Chris Lewis, Clovis Nicholas, Aaron Seeber				
Smoke 7, 9, 10:30 pm $40
êMiles Okazaki, Damion Reid, Jonathan Finlayson, Amir ElSaffar, Chris Tordini
		The Stone at The New School 8:30 pm $20• Ilya Shneyveys
Town & Village Synagogue 8 pm $15• Michelle Zangara Trio with Ben Meigners, Rob Block		
Uke Hut 8 pm $20• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35

Friday, March 6

MARK WHITFIELD FOUR

Saturday, March 7

GEORGE COLEMAN QUARTET
85th Birthday Celebration

Friday, March 13

CHRIS BECK QUARTET

Saturday, March 14

SARAH HANAHAN QUARTET

Friday, March 20

STEPHANE WREMBEL BAND

Saturday, March 21

OLLI SOIKELLI TRIO

Friday, March 27

GEORGE COLLIGAN TRIO

featuring Buster Williams & Lenny White

Saturday, March 28

NICK FINZER HEAR & NOW

And Future Hits Down the Line in 2020:
Javon Jackson with Jimmy Cobb & George Cables,
Michael LeDonne’s Groover Quartet, Bobby Watson,
Thana Alexa, Judy Wexler, Emmet Cohen,
Jimmy Greene, Lynne Arriale, Bill Charlap and morethesidedoorjazz.com

Friday, March 6

Saturday, March 7êJazzmeia Horn with Josh Evans, Irwin Hall, Keith Brown, Ben Williams, Anwar Marshall,êJazzmeia Horn with Josh Evans, Irwin Hall, Keith Brown, Ben Williams, Anwar Marshall,• Jeff Barone Trio
Bar Next Door 7:30, 9:30, 11:30 pm $12• John Pizzarelli and The Swing 7 Birdland 8:30, 11 pm $50• Beegie Adair with Monica Ramey, Roger Spencer• Jaguar Psychosis/Red Diploma; Aron Namenwirth, Zach Swanson, Joe Hertenstein;Alexandria Johnson

The Appel Room 7, 9:30 pm $65-85

		Birdland Theater 7, 9:45 pm $35
êAbdullah Ibrahim and EkayaBlue Note 8, 10:30 pm $45• Justin JonesBlue Note 12:30 am $15• Anna Kolchina Duo
Café Bohemia 10 pm $20• Michael Feinberg Quartet with Dana Hawkins, Mark Shim, David Zheng				
Canary Club 9 pm
• Kenny Rampton Sextet with Camille Thurman, Steve Davis, Geoffrey Keezer,
Gerald Cannon, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $45• Alexa Tarantino
Dizzy’s Club 11:15 pm $10• Ken Fowser Quintet; Joy Brown The Django at Roxy Hotel 7:30, 10:30 pm• Corin Stiggall Quintet; Jared Gold/Dave Gibson; Ray Parker
		
Fat Cat 6, 10:30 pm 1:30 am $10• Rob Fulton
Gin Fizz Harlem 8, 9:15 pm $20• David Lopato Quartet with Ruth Danon, Michael Bisio, Harvey Sorgen				Happylucky no.1 8 pm $20
êTim Berne’s Snakeoil with Oscar Noriega, Ches Smith, Matt Mitchell and guest
Harry Covert
Ibeam Brooklyn 8 pm $15• Joyce Davoren
Jazz 966 8 pm $20
êMartin Wind Trio with Aaron Goldberg, Lenny White and guest		Jazz at Kitano 8, 10 pm $34• Tyshawn Sorey Sextet with Nathan Reising, Morgan Guerin, Lex Korten, Sasha Berliner,
Nick Dunston
The Jazz Gallery 7:30, 9:30 pm $25
êDafnis Prieto Sextet with Peter Apfelbaum, Roman Filiu, Mike Rodriguez, Alex Brown,
Johannes Weidenmueller
Jazz Standard 7:30, 9:30 pm $35• Washington Heights Jazz Festival: Festival All-Stars		
Kismat 7 pm
• Nick Masters/Adam Olszeski
Knickerbocker Bar & Grill 9 pmêDavid Hazeltine, Todd Coolman, Billy Drummond; Marc Devine, Neal Miner,
Jackie Williams
Mezzrow 7:30, 10:30 pm $20• Wayne Tucker
Minton’s 7:30, 9:30 pm $25
êLady Got Chops Festival: Kim Clarke and Friends with Nikita White		
Mt. Lebanon Baptist Church 6 pm
• Céline Rudolph, Vinicíus Gomes, Massimo Biolcati
		
Neighborhood Church of Greenwich Village 8, 9:30 pm• Andrea Brachfeld Quartet with Silvano Monasterios, Harvie S, Diego Lopez		
Room 623 at B2 Harlem 7, 8:30 pm $15• Nathan Peck Trio
Room 623 at B2 Harlem 10 pm $15• Roopa Mahadevan
Rubin Museum 7 pm $30• Marko Djordjevic and Sveti with Justin Salisbury, Petar Krstajic		
ShapeShifter Lab 9:30 pm $10• Michael Sarian Quartet
Silvana 6 pmêRodney Jones Quartet with Dabin Ryu, Lonnie Plaxico, Connor Parks;Frank Basile/Gary Smulyan Boss Baritones with Ehud Asherie, David Wong,
Mark Taylor; Philip Harper
Smalls 7:30, 10:30 pm 1 am $20
êEric Reed Quintet with Josh Bruneau, Chris Lewis, Clovis Nicholas, Aaron Seeber				
Smoke 7, 9, 10:30 pm $40
êMiles Okazaki, Steve Cardenas, Kate Gentile, Jerome Harris		The Stone at The New School 8:30 pm $20• Chip Shelton Peacetime Ensemble Symphony Space Bar Thalia 9 pmêSquirrel Nut Zippers; Dirty Dozen Brass Band		
Symphony Space Peter Jay Sharpe Theatre 8 pm $45-65• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35• Adam Cordero’s Arcadia
Williamsburg Music Center 8:30 pm $10

Alexandria Johnson

The Appel Room 7, 9:30 pm $65-85

Ayumi Ishito, Dave Sewelson, Eric Plaks, Jon Panikkar
		Aron’s Place 7:30 pm $20• Alvaro Benavides GroupBar Lunàtico 8:30, 10 pm $10• Faton Macula Trio with Jared Gold, Sanah Kadoura		Bar Next Door 7:30, 9:30, 11:30 pm $12• John Pizzarelli and The Swing 7 Birdland 8:30, 11 pm $50• Beegie Adair with Monica Ramey, Roger Spencer		Birdland Theater 7, 9:45 pm $35
êAbdullah Ibrahim and EkayaBlue Note 8, 10:30 pm $45• Rob Garcia Quintet with Jon Irabagon, Christopher McBride, Leo Genovese,
Chris Lightcap
Brooklyn Conservatory of Music 7:30 pm $15• Cheryl Richards Quartet; The Enigmatics with Russell Hall		
Café Bohemia 8, 10 pm $20• Kenny Rampton Sextet with Camille Thurman, Steve Davis, Geoffrey Keezer,
Gerald Cannon, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $45• Alexa Tarantino
Dizzy’s Club 11:15 pm $20• Alex Minasian Quartet; Charles Turner and Uptown Swing		The Django at Roxy Hotel 7:30, 10:30 pm• Luisito Quintero’s Latin Jazz Project; Raphael D’lugoff Quintet; Greg Glassman Jam		
Fat Cat 7, 10 pm 1:30 am $10• Endea Owens and The Cookout Ginny’s Supper Club 8 pm $20• David Lopato Quartet with Jeremy Viner, Ratzo Harris, Rudy Royston				Happylucky no.1 8 pm $20
êMartin Wind Trio with Aaron Goldberg, Lenny White and guest		Jazz at Kitano 8, 10 pm $34• Tyshawn Sorey Sextet with Nathan Reising, Morgan Guerin, Lex Korten, Sasha Berliner,
Nick Dunston
The Jazz Gallery 7:30, 9:30 pm $25
êDafnis Prieto Sextet with Peter Apfelbaum, Roman Filiu, Alex Norris, Alex Brown,
Johannes Weidenmueller
Jazz Standard 7:30, 9:30 pm $35• Nick Masters/Adam Olszeski
Knickerbocker Bar & Grill 9 pm
• Washington Heights Jazz Festival: Louise Rogers’ Jazz for Kids;
Jake Chapman’s Fun House; Eddy Khaimovich Project; Carol Morgan Quartet;
Gabriel Vicéns Ensemble; Tomohiro Mori Trio; Gottfried Stoger’s Dreamhunter;
Max Pollak’s Rumbatap; Blue Food Blues Band; Berta Moreno’s Tumaini
		Le Chéile 11 am $20
êDavid Hazeltine, Todd Coolman, Billy Drummond		Mezzrow 7:30 pm $20
êAnat Cohen Quartet with Vitor Gonçalves, Tal Mashiach, James Shipp		
Miller Theatre 8 pm $25
êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould, Shawn Whitehorn				
Minton’s 7:30, 9:30 pm $25
êOran Etkin’s Timbalooloo with guest Vitor Gonçalves		
National Sawdust 11 am $20• Rome Neal’s Woman’s History Month Banana Puddin’ Jazz: Leonieke Sheuble,
Mimi Block, Destiny Diggs
Nuyorican Poets Café 9:30 pm $15• Tal Yahalom; Marta Sanchez
Scholes Street Studio 8 pm
• Peyton Pleninger’s Biotonic
Shrine 6 pm
• Patsy Grant Birthday Celebration Sistas’ Place 9, 10:30 pm $20
êRodney Jones Quartet with Dabin Ryu, Lonnie Plaxico, Connor Parks;Frank Basile/Gary Smulyan Boss Baritones with Ehud Asherie, David Wong,
Mark Taylor; Brooklyn Circle
Smalls 7:30, 10:30 pm 1 am $20
êEric Reed Quintet with Josh Bruneau, Chris Lewis, Clovis Nicholas, Aaron Seeber				
Smoke 7, 9, 10:30 pm $40• Misha Piatigorsky solo
Soapbox Gallery 8 pm $20
êLady Got Chops Festival: Kim Clarke and Friends with Bertha Hope		
St. Albans Congregational Church 8 pmêTrickster: Miles Okazaki, Matt Mitchell, Anthony Tidd, Sean Rickman
		The Stone at The New School 8:30 pm $20• Jean Ramirez Trio
Symphony Space Bar Thalia 9 pm
• Craig Brann, Nick Morrison, Sanah Kadoura		Tomi Jazz 11 pm• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35• Chris McCarthy
Williamsburg Music Center 8:30 pm $10• Stefano Battaglia Band
Williamsburg Music Center 10 pm $10

Sunday, March 8

Jazzmeia Horn by Kwaku Alston

MAR
6–7

THE ARTISTRY OF JAZZMEIA HORN
LOVE AND LIBERATION

7PM & 9:30PM

THE APPEL ROOMMAR
21

FAMILY CONCERT:
WHO IS DAVE BRUBECK?

1PM & 3PM
ROSE THEATER• Washington Heights Jazz Festival: Annette Aguilar’s Latin Jazz Party		
181 Cabrini 5 pmêMichael Blake’s Eddie Who with Clark Gayton, Tony Mason
		
Bar Lunàtico 8:30, 10 pm $10• Leanne Borghesi/Marta Sanders Birdland 5:30 pm $30
êMiguel Zenón Berklee Quintet
Birdland Theater 7 pm $30• Rebecca Cherry
Birdland Theater 9:45 pm $30• Joe Alterman Trio with John Snow, Marlon Patton		Blue Note 11:30 am 1:30 pm $39.50
êAbdullah Ibrahim and EkayaBlue Note 8, 10:30 pm $45
êDavid Chamberlain’s Band of Bones with guests Mercedes Ellington,
Antoinette Montague
The Cutting Room 7 pm $20• Kenny Rampton Sextet with Camille Thurman, Steve Davis, Geoffrey Keezer,
Gerald Cannon, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $35• Kurt Gottschalk, Miguel Frasconi, Will Glass; Darren Johnston, Peter Hess, Adam Dotson;
Tomchess/Zach Swanson
Downtown Music Gallery 6 pm
• Dafna Naphtal/Edith Lettner
Experimental Intermedia 9 pm $5• Terry Waldo’s Gotham City Band Fat Cat 6 pm $10• William Hooker’s Let Music Be Your Brunch with Chris Pitsiokos, Ras Moshe,
Ishito Ayumi, Aron Namenwirth Funkadelic Studios 11 am• Intergenerational Jazz Jam: Eli Yamin, Charenée Wade, Nikara Warren, Endea Owens,
Dwayne “Cook” Broadnax
Jazz Museum in Harlem 2 pm $10êDafnis Prieto Sextet with Peter Apfelbaum, Roman Filiu, Mike Rodriguez, Alex Brown,
Johannes Weidenmueller
Jazz Standard 7:30, 9:30 pm $30• Washington Heights Jazz Festival: Meg Okura/Tim Harrison
		
Kismat 12 pm• Ed Laub/Linus Wyrsch; Panas Athanatos Trio		
Mezzrow 7:30, 10:30 pm $20• Women’s Raga Massive
National Sawdust 7 pm $25• Roz Corral Trio with Roni Ben-Hur, Paul Gill
		
North Square Lounge 12:30, 2 pm
• Alex Goodman’s Impressions in Blue and Red with Alex LoRe, Rick Rosato,
Jimmy Macbride
The Owl Music Parlor 7:30 pm $10êAdam Rudolph’s Go: Organic Chamber Ensemble with Kaoru Watanabe,
Ned Rothenberg, Sumie Kaneko, Michel Gentile, Ivan Barenboim, Sara Schoenbeck,
Stephanie Griffin, Hamid Drake, Chieko Kojima		Roulette 8 pm $25• Lady Got Chops Festival: Boncellia Lewis, Lucy Galliher, Melissa Slocum				Russian Samovar 3 pmêRalph Alessa/Jon Irabagon
Saint Peter’s Church 6 pm
• Santiago Liebson
Scholes Street Studio 7 pm
• Tom Cottone Quartet
ShapeShifter Lab 7 pm $10• Ravi Campbell
Silvana 10 pm• Sasha Dobson Quartet with Ian Hendrickson-Smith, Dred Scott, Neal Miner;
Akiko Tsuruga Quartet with Joe Magnarelli, Myron Walden, Joe Farnsworth;
Hillel Salem
Smalls 7:30, 10:30 pm 1 am $20
êEric Reed Quintet with Josh Bruneau, Chris Lewis, Clovis Nicholas, Aaron Seeber				
Smoke 7, 9, 10:30 pm $40• Yaniv Taubenhouse, Sebastian Noelle, Ronen Itzik		
Soapbox Gallery 6:30 pm $15êSun of Goldfinger: Tim Berne, David Torn, Ches Smith and guests Devin Hoff,
Harry Covert
The Sultan Room 8 pm $18• Linda Presgrave Quartet with Stan Chovnick, Iris Ornig, Seiji Ochiai
		Tomi Jazz 7 pm $10• Bill Stewart Trio with Walter Smith III, Vicente Archer		Village Vanguard 8:30, 10:30 pm $35

In her Appel Room feature debut, soulful
and energetic vocalist Jazzmeia Hornwill perform songs from her sophomore
album, Love and Liberation.

The Jazz at Lincoln Center
Orchestra explores the life and musicof the great jazz composer andpianist Dave Brubeck.
The Jazz for Young People Family Concert is fundedthrough the generosity of Mica and Ahmet Ertegun.

AKINMUSIRE’S
MAR AMBROSE
LARGE ENSEMBLE PRESENTS
27–28 BANYAN FEATURING JACK
7PM & 9:30PM
THE APPEL ROOMDEJOHNETTE, GARY BARTZ,
AND TOM HARRELL

Critically acclaimed trumpeter andcomposer Ambrose Akinmusire performs
his BANYAN suite arranged for a big band,featuring living legends Jack DeJohnette,
Gary Bartz, and Tom Harrell.
This program is presented as part of the Ertegun Jazz Concert Series.

APR
3–4

MASTERS OF FORM
FROM MINGUS TO MONK

8PM
ROSE THEATER

The JLCO with Wynton Marsalis
plays masterworks by Monk and
Mingus, plus new music inspiredby architect Frank Lloyd Wright.
This project is supported, in part, by an award from the
National Endowment for the Arts and by public funds
from the New York City Department of Cultural Affairs inpartnership with the City Council.

JAZZ.ORG

VENUE FREDERICK P. ROSE HALL
BOX OFFICE BROADWAY AT 60TH ST.
CENTERCHARGE 212.721.6500

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 41

Monday, March 9• Jim Ridl Group

55Bar 6 pmêMike Stern
55Bar 10 pmêMichael Blake’s Eddie Who with Clark Gayton, Tony Mason

		
Bar Lunàtico 8:30, 10 pm $10• Andrew Cheng Trio with Marcelo Maccagnan, Kelvyn Andreas; Brenda Earle Trio with
Evan Gregor, Brian Woodruff
Bar Next Door 6:30, 8:30, 10:30 pm $12• Andy Farber Quintet
Birdland Theater 8:30 pm $30• Kenneth Whalum
Blue Note 8, 10:30 pm $25• Aron Namenwirth, Daniel Carter, Zach Swanson, Joe Hertenstein; Stephen Gauci,
Adam Lane, Kevin Shea; Aaron Edgecomb, Lisa Hoppe, Gaya Feldheim Schorr,
Santiago Leibson; Anders Nilsson, Jonathan Goldberger, Sam Ospovat; Jessie Cox,
Kyle Motl, Roman Filiu; Alex Weiss, Aaron Novik, Yana Davydova, Dmitry Ishenko,
Joe Hertenstein
Bushwick Public House 7 pm $10• New York Youth Symphony Jazz Band with guest Steve Wilson
		Dizzy’s Club 7:30, 9:30 pm $30-40• Claudia Scaer; Ned Goold Quartet; Billy Kaye Jam		
Fat Cat 6, 9 pm 12:30 am $10• JFA Jam Session
Jazz Museum in Harlem 6:30 pmêSheila Jordan/Cameron Brown; Pasquale Grasso Trio		
Mezzrow 7:30, 10:30 pm $20
êLady Got Chops Festival: Bertha Hope		
Patrick’s Place 7 pmêAaron Burnett/Tyshawn Sorey
Roulette 8 pm $25• Women’s Jazz Festival: Pauline Jean		The Schomburg Center 7 pm $15• Ari Hoenig Trio; Joe Dyson Quintet with Jaleel Shaw, Giveton Gelin, John Chin,
Barry Stephenson; Sean Mason Smalls 7:30, 10:30 pm 1 am $20• Gene Bertoncini/Josh Marcum Zinc Bar 7:30, 9 pm $25

Tuesday, March 10• Stan Killian
55Bar 7 pm
• Leni Stern
55Bar 10 pm• Daniel Eli Weiss Trio with Dylan Shamat, Aaron Seeber		Bar Next Door 8:30, 10:30 pm $12• John Pizzarelli Quartet
Birdland 8:30, 11 pm $50• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35• Lau Noah solo; Andreas Arnold Flamenco Jazz Quartet
		
The Brooklyn Commons 7:30 pmêPasquale Grasso solo; Xiomara Laugart
		Café Bohemia 8, 9:30 pm $15• Pacific Jazz Ambassadors: Kate Williams, Nico Martinez, Austin Kim, Toby Keys,
Tal Kalman with guest Joel Ross Dizzy’s Club 7:30, 9:30 pm $35• Endea Owens and The Cookout Dizzy’s Club 11:15 pm $5êItai Kriss and Telavana; People Of Earth		
The Django at Roxy Hotel 7:30, 10:30 pm• Sarah Weaver, David Taylor, Daniel Pinheiro
		Experimental Intermedia 9:30 pm $5• Rubin Zebtet; Peter Brainin Latin Jazz Workshop		
Fat Cat 7, 9 pm $10êDezron Douglas Trio
InterContinental New York Barclay’s Club 7 pm $35• Kate McGarry and What To Wear In The Dark with Keith Ganz, Gary Versace,
Sean Smith, Clarence Penn
Jazz Standard 7:30, 9:30 pm $30• Christine Tobin, Phil Robson, Sam Bevan; Vanessa Perea Trio		
Mezzrow 7:30, 10:30 pm $20• Mike Longo’s NY State of the Art Jazz Ensemble with Ira Hawkins
		New York City Baha’i Center 8, 9:30 pm $15• Ir: Mick Barr/Erik Malave; Kilter: David Laurent, Kenny Grohowski, Ed Rosenberg;
Titan to Tachyons: Sally Gates, Matt Hollenberg, Kenny Grohowski		Nublu 151 8 pm $15• Sarah Bernstein Quartet with Ron Stabinsky, Stuart Popejoy, Satoshi Takeishi				
Scholes Street Studio 8 pm $10• Emitime
Silvana 6 pm
• Ned Goold Quartet; Frank Lacy Group; Malik McLaurine
		
Smalls 7:30, 10:30 pm 1 am $20
êSunny Jain’s Red Baraat!
Symphony Space Peter Jay Sharpe Theatre 8 pm $30-40êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35

Wednesday, March 11• Josephine Beavers and Ed Vodicka Quintet

		
54 Below 9 pm $25-60
êMike Stern
55Bar 10 pm• Charlotte Greve/Dierk Peters; Hilliard Greene In & Out Trio with Roberta Piket,
Newman Taylor Baker
Balboa 8, 9:15 pm
êAaron Burnett Quartet with Ravi Coltrane, Nick Jozwiak, Allan Mednard
		Bar Bayeux 8 pm
• Omer Avital Trio with Gadi Lehavi, Daniel Dor
		Bar Lunàtico 8:30, 10 pm $10• Olin Clark Trio with Dan Montgomery, Owen Hyde		
Bar Next Door 6:30 pm• John Pizzarelli Quartet
Birdland 8:30, 11 pm $50• Webster University Senior Class Showcase
		
Birdland Theater 7 pm $30• Antonio Ciacca Quartet with Andy Farber, Patrik Boman, Luca Santaniello				
Birdland Theater 9:45 pm $30• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35
êLakecia Benjamin’s Pursuance with Darrell Green, Lonnie Plaxico, Zaccai Curtis,
Charenee Wade and guests Dee Dee Bridgewater, Reggie Workman, Steve Wilson,
Regina Carter
Dizzy’s Club 7:30, 9:30 pm $35• Endea Owens and The Cookout Dizzy’s Club 11:15 pm $5• Josh Evans Big Band; Joe Block The Django at Roxy Hotel 7:30, 10:30 pm• Raphael D’lugoff Trio +1; Joe Farnsworth Trio; Ned Goold Jam		
Fat Cat 7, 9 pm 12:30 am $10• Audrey Silver Quintet with Adam Kolker, David Berkman, Paul Beaudry,
Anthony Pinciotti
Jazz at Kitano 8, 10 pm $18êKate McGarry and What To Wear In The Dark with Keith Ganz, Gary Versace,
Sean Smith, Clarence Penn
Jazz Standard 7:30, 9:30 pm $30• Nicholas Augustus/Solomon Gottfried		
Knickerbocker Bar & Grill 9 pm
• Jeff Parker and The New Breed Le Poisson Rouge 8 pm $20• Steve Davis, Tony Davis, Peter Washington
		
Mezzrow 7:30 pm $20
êLew Tabackin Trio
Michiko Studios 8 pm $20• Dusan, Vid Jamnik, Quentin Angus, Peter Slavov		
Nublu 151 8 pm $15• Eugene Marlow’s Heritage Ensemble with Bobby Sanabria		Saint Peter’s Church 1 pm $10• Eden Bareket Quintet with Caleb Curtis, Ryan Keberle, Ben Tiberio, Jay Sawyer;
Vinnie Sperrazza, Caleb Curtis, Noah Garabedian		
SEEDS 8, 9:30 pm $15• Take Off Collective: Ole Mathisen, Matt Garrison, Marko Djordjevic
		ShapeShifter Lab 7, 8:15 pm $10êWill Bernard Quartet with John Ellis, Matt Pavolka, Donald Edwards;
Kirk Lightsey Quartet with Mark Whitfield, Santi Debriano, Victor Lewis; Inbar Paz
		
Smalls 7:30, 10:30 pm 1 am $20• Caili O’Doherty Quartet with Antonio Hart, Tamir Shmerling, Cory Cox				
Smoke 7, 9, 10:30 pm $20• Jim Ridl solo
Soapbox Gallery 7:30 pm $15êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35

Thursday, March 12• Nicole Zuraitis with Idan Morim, Alex Busby-Smith, Dan Pugach		
55Bar 7 pm
• Ryan Hernandez Trio with Griffin Fink, Joe McCaffrey; Aki Ishiguro Trio withDan Loomis, Lee Fish
Bar Next Door 6:30, 8:30, 10:30 pm $12• Michelle Lordi Quartet
Birdland 5:30 pm $30• John Pizzarelli Quartet
Birdland 8:30, 11 pm $50
êSteve Wilson and The Analog Band with Ray Angry, Corcoran Holt, Willie Jones III				
Birdland Theater 7, 9:45 pm $30• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35
êLakecia Benjamin’s Pursuance with Darrell Green, Lonnie Plaxico, Zaccai Curtis,
Charenee Wade and guests Dee Dee Bridgewater, Reggie Workman, Greg Osby,
Regina Carter
Dizzy’s Club 7:30, 9:30 pm $35• Endea Owens and The Cookout Dizzy’s Club 11:15 pm $10• Markus Howell Quintet; Ian Hendrickson-Smith		The Django at Roxy Hotel 7:30, 10:30 pm• Theo Hill; Greg Glassman Quintet Fat Cat 7, 10 pm $10êDuke Ellington Salute: American Symphony Orchestra; Marcus Roberts Trio withRodney Jordan, Jason Marsalis; Catherine Russell
		Isaac Stern Auditorium at Carnegie Hall 8 pm $25-65• AirTrain Jazz Festival: Eric Divito Jamaica Air Train Station 5 pm
• Arta Jēkabsone
Jamaica Center for Arts and Learning 8 pm $10• Fabrizio Sotti Quartet with Rachel Z, Peter Slavov, Clarence Penn
		
The Jazz Gallery 7:30, 9:30 pm $15• Kandace Springs
Jazz Standard 7:30, 9:30 pm $30• Fahir Atakoglu, Horacio “El Negro” Hernandez, Armando Gola, Bob Franceschini,
Letizia Gambi, Estrella Acosta and Orchestra		
Merkin Concert Hall 7 pm $75-100• Steve Davis, Tony Davis, Peter Washington; Spike Wilner Trio		
Mezzrow 7:30, 10:30 pm $20• Adam Holzman and Brave New World with Ofer Assaf, Jane Getter, Freddy Cash, Jr.,
Gene Lake
Nublu 151 8 pm $10• Sebastian Amman’s Color Wheel; Simon Jermyn		
The Owl Music Parlor 7:30 pm $10êJaimie Branch’s Fly or Die with Lester St. Louis, Jason Ajemian, Chad Taylor				
Roulette 8 pm $25• Emitime Quartet
Shrine 6 pm
• Paul Francis
Silvana 6 pm
• Adam Birnbaum Quartet with John Ellis, Yasushi Nakamura, Billy Drummond;
Kirk Lightsey Quartet with Mark Whitfield, Santi Debriano, Victor Lewis;
Wallace Roney, Jr.
Smalls 7:30, 10:30 pm 1 am $20
êGeorge Coleman Birthday Celebration with Michael Weiss, John Webber,
Joe Farnsworth
Smoke 7, 9, 10:30 pm $45• Bruce Huebner/James Nyoraku Schlefer
		
Soapbox Gallery 8 pm $20• Patrick Farrell/Alicia Svigals
Town & Village Synagogue 8 pm $15• Eugene Pugachov Quartet with Chris Bacas, Chris Wright, Evan Hyde		
Uke Hut 8 pm $20
êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35

Friday, March 13êJeff Pearring Sound with Ken Filiano, Francisco Mela		
244 Rehearsal Studios 8, 9 pm $10êMaurice Hines and DIVA Jazz Orchestra		
54 Below 7 pm $45-95• Tessa Souter with Paul Bollenback, Evan Gregor
		
55Bar 6 pm
• Ricardo Grilli Trio with Alex Claffy, Jimmy Macbride		
Bar Next Door 7:30, 9:30, 11:30 pm $12• John Pizzarelli Quartet
Birdland 8:30, 11 pm $50
êSteve Wilson and The Analog Band with Ray Angry, Corcoran Holt, Willie Jones III				
Birdland Theater 7, 9:45 pm $30• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35• Sarah Elizabeth Charles
Blue Note 12:30 am $15• Elsa Nilsson, Jon Cowherd, Chris Morrissey		
Café Bohemia 10 pm $15êCamille Thurman and Darrell Green Trio with Saadi Zain, Keith Brown				
Dizzy’s Club 7:30, 9:30 pm $40• Endea Owens and The Cookout Dizzy’s Club 11:15 pm $10• Ken Fowser; Lauren Henderson The Django at Roxy Hotel 7:30, 10:30 pm• Wen-Ting Wu; Wayne Escoffery Fat Cat 6, 10:30 pm $10• Charmaine Lee/John Wiese
Happylucky no.1 8 pm $20• Joy F. Brown with Justin Robinson, Sharpe Radway, Tyler Mitchell, Steve Williams
		Jazz 966 8 pm $20
êLew Tabackin 80th Birthday Celebration with Bruce Barth, Paul Sikivie, Mark Taylor
		Jazz at Kitano 8, 10 pm $34
êHarish Raghavan
The Jazz Gallery 7:30, 9:30 pm $25• Kandace Springs
Jazz Standard 7:30, 9:30 pm $30• Francesco Amento, Marius Van DeBrink, Marco Panascia
		Knickerbocker Bar & Grill 9 pmêKirk Lightsey, Mark Whitfield, Santi Debriano, Victor Lewis; Ilya Lushtak Trio 				
Mezzrow 7:30, 10:30 pm $20
êRichard Tabnik Quartet with Dave Frank, Jeff Dingler, Skip Scott		
Michiko Studios 8 pm $20• Irwin Hall Trio
Minton’s 7:30, 9:30 pm $25• John Zorn Complete String Quartets: JACK Quartet		
National Sawdust 8 pm $29êTed Brown Quartet
New York Public Library Spuyten Duyvil Branch 1 pm
• Bright Dog Red
Nublu 9 pm
• Rema Hasumi; Ilusha Tsinadze The Owl Music Parlor 7:30 pm $10• Yuval Amihai Trio
Room 623 at B2 Harlem 10 pm $15êJane Ira Bloom Trio with Mark Helias, Matt Wilson
		ShapeShifter Lab 7 pm $20• Trio Incognito
Silvana 6 pm
• Bruce Harris Sextet with Grant Stewart, Nick Green, Ehud Asherie, Paul Sikivie, Jason Brown;
Ryan Kisor Quintet with Joel Frahm, Spike Wilner, Paul Gill, Jason Brown;
Corey Wallace DUBtet
Smalls 7:30, 10:30 pm 1 am $20
êGeorge Coleman Birthday Celebration with Michael Weiss, John Webber,
Joe Farnsworth
Smoke 7, 9, 10:30 pm $45
êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35

Saturday, March 14êMaurice Hines and DIVA Jazz Orchestra		
54 Below 7 pm $45-95• Juke Joint Jelis with Brianna Thomas		Bar Lunàtico 8:30, 10 pm $10• Alex Wintz Trio with Dave Baron, Jimmy Macbride		
Bar Next Door 7:30, 9:30, 11:30 pm $12• Pedro Giraudo Tango Quartet Barbès 8 pm $10• John Pizzarelli Quartet
Birdland 8:30, 11 pm $50
êSteve Wilson and The Analog Band with Ray Angry, Corcoran Holt, Willie Jones III				
Birdland Theater 7, 9:45 pm $30• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35• Melanie Charles
Blue Note 12:30 am $15

42 MARCH 2020 | THE NEW YORK CITY JAZZ RECORD• Ken Kobayashi Quartet; Chris Crocco and FLUID
		
Café Bohemia 8, 10 pm $20
êCamille Thurman and Darrell Green Trio with Saadi Zain, Keith Brown				
Dizzy’s Club 7:30, 9:30 pm $45• Endea Owens and The Cookout Dizzy’s Club 11:15 pm $20• Joe Saylor; Jason Prover Sneak Thievery Orchestra
		
The Django at Roxy Hotel 7:30, 10:30 pm• Rafael Monteagudo and Music Connection; Point of Departure; Greg Glassman Jam		
Fat Cat 7, 10 pm 1:30 am $10• Charmaine Lee/Peter Evans
Happylucky no.1 8 pm $20
êYoon Choi/Jacob Sacks
Ibeam Brooklyn 8 pm $15êLew Tabackin 80th Birthday Celebration with Bruce Barth, Yasushi Nakamura,Mark Taylor
Jazz at Kitano 8, 10 pm $34• Melvis Santa
The Jazz Gallery 7:30, 9:30 pm $30• Kandace Springs
Jazz Standard 7:30, 9:30 pm $30• Roberto Fonseca
Joe’s Pub 7 pm $25• Francesco Amento, Marius Van DeBrink, Marco Panascia
		Knickerbocker Bar & Grill 9 pmêKirk Lightsey, Mark Whitfield, Santi Debriano, Victor Lewis; Jon Davis Trio 				
Mezzrow 7:30, 10:30 pm $20
êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould, Shawn Whitehorn				
Minton’s 7:30, 9:30 pm $25• John Zorn Complete String Quartets: JACK Quartet		
National Sawdust 8 pm $29• The East New York Suite: Ras Moshe Burnett, Lee Odom, Jamal Moore, Tiffany Weitien,
Lisette Santiago
Scholes Street Studio 7 pm
• Griffin Ross Quartet
Shrine 6 pm
• Vanessa Rubin Birthday Celebration Sistas’ Place 9, 10:30 pm $20• Bruce Harris Sextet with Grant Stewart, Nick Green, Ehud Asherie, Paul Sikivie,
Jason Brown; Ryan Kisor Quintet with Joel Frahm, Spike Wilner, Paul Gill,
Jason Brown; Mimi Jones and The Lab Session		
Smalls 7:30, 10:30 pm 1 am $20
êGeorge Coleman Birthday Celebration with Michael Weiss, John Webber,
Joe Farnsworth
Smoke 7, 9, 10:30 pm $45• Piano Hang: Caili O’Doherty and Daniel Meron; Kinan Azmeh/Florian Weber		
Soapbox Gallery 3, 8 pm $20• Oxani Chi with guest Mara Rosenbloom; Mara Rosenbloom’s Flyways withAnaïs Maviel, Sean Conly
University Settlement 7 pm $15êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35
êClaire de Brunner, Ken Filiano, Daniel Carter		Zürcher Gallery 8 pm $15

Sunday, March 15êRay Anderson

55Bar 6 pm

• The Open Mind: Ronald Chapman, Radu Ben Judah, Taru Alexander				
Barbès 5 pm $10• David Berger Jazz Orchestra
Birdland 5:30 pm $30• Jinjoo Yoo Trio with Kihong Jang, Jamale Davis		
Birdland Theater 9:45 pm $30• Charlie Apicella and Iron City with Joe Magnarelli, Gene Ghee, Radam Schwartz,
Alan Korin
Blue Note 11:30 am 1:30 pm $39.50• Christian Scott aTunde Adjuah Blue Note 8, 10:30 pm $35• Andrea Wolper, Ron Affif, Ken Filiano		
Café Bohemia 6 pm $20
êCamille Thurman and Darrell Green Trio with Saadi Zain, Keith Brown				
Dizzy’s Club 7:30, 9:30 pm $35• Toned: Tom Weeks, Nathan Corder, Leo Suarez; Uni: Vinicius Cajado/Kenji Herbert;
Kyle Motl/Nicola Hein
Downtown Music Gallery 6 pmêTerry Waldo’s Gotham City Band; Gerry Gibbs
		
Fat Cat 6, 9 pm $10• Kandace Springs
Jazz Standard 7:30, 9:30 pm $30• Will Sellenraad, Ben Street, Eric McPherson; John Merrill Trio		
Mezzrow 7:30, 10:30 pm $20• Roz Corral Trio; Annual Mark Murphy Remembrance with guests
		North Square Lounge 12:30, 2:15 pm• Astroturf Noise: Sam Harmet, Sana Nagano, Zach Swanson with guests Billy Martin,
Sarah Bernstein
Nublu 9 pm
• William Hooker’s TOUCH: Soul and Service with Charlie Burnham, Sarah Manning,
Germaul Barnes, Mark Hennen, Jimmy Lopez, Hans Tammen, Phill Niblock,David Soldier
Roulette 8 pm $25• Lady Got Chops Festival: Nabuko Kiryu with Nana Sakamoto, Miho Sasaki, Tina Lama		
Russian Samovar 3 pm
• Ryan Messina
Scholes Street Studio 8 pm
• Daniel Rossi’s Landscape Trio with Matt Sazima, Ross Garlow
		
ShapeShifter Lab 7 pm $10• Zaid Nasser Quartet with Vahagn Hayrapetyan, Ari Roland, Keith Balla;
Richie Vitale Quintet with Frank Basile, Lou Rainone, Paul Gill, Clifford Barbaro;
David Gibson
Smalls 7:30, 10:30 pm 1 am $20
êGeorge Coleman Birthday Celebration with Michael Weiss, John Webber,
Joe Farnsworth
Smoke 7, 9, 10:30 pm $45
êMatteo Liberatore/Ralph Alessi
Spectrum 8:30 pm $15êPeter Bernstein Quartet with Sullivan Fortner, Doug Weiss, Joe Farnsworth				
Village Vanguard 8:30, 10:30 pm $35

Monday, March 16• Misha Piatigorsky Trio
• Gabe Terracciano Trio

55Bar 7 pm
Anyway Café 8 pmêAngelica Sanchez Trio with Andrew Bishop, Mike Sarin		Bar Lunàtico 8:30, 10 pm $10• Lorenzo Bisogno Trio with Stefano Battaglia, Ben Friedkin; Carlota Gurascier Trio with
Joe Cohn, Jay Rattman
Bar Next Door 6:30, 8:30, 10:30 pm $12• Marissa Licata
Birdland Theater 8:30 pm $20-30êWill Calhoun’s Totem Ensemble with Orrin Evans, Greg Osby, Melvin Gibbs and guests
John Paul Bourelly, Hassan Hakmoun
		Blue Note 8, 10:30 pm $35• Underground Horns
Brooklyn Bowl 8 pm $10• Blaise Siwula, Leco Reis, Jon Panikkar; Stephen Gauci, Sandy Ewen, Adam Lane,
Kevin Shea; Noa Fort, Kenneth Jimenez, Satoshi Takeishi; Drew Wesely,
Gabby Fluke-Mogel, Kevin Murray; Lim Yang, Santiago Leibson, Vinnie Sperrazza;
Juan Carlos Polo Ensemble
Bushwick Public House 7 pm $10• Dani de Morón, Agustín Diassera, Yotam Silberstein		Dizzy’s Club 7:30, 9:30 pm $35
êGeorge Braith; Billy Kaye Jam
Fat Cat 9 pm 12:30 am $10êAlan Broadbent, Don Falzone, Billy Mintz; Pasquale Grasso Trio		
Mezzrow 7:30, 10:30 pm $20• David Leon’s Current Obsession with Alex Koi, Kirsten Carey, Aaron Quinn				
Pete’s Candy Store 10:30 pm• Women’s Jazz Festival: Renee Neufville		
The Schomburg Center 7 pm $15• Chris Hoffman Quartet with Bryan Carrot
		
SEEDS 8 pm $15• Zygmon: Seth Trachy, Glenn Zaleski, Pablo Menares, Joel Mateo;
Sebastian Noelle Quartet with Matt Mitchell, Chris Tordini, Dan Weiss				
ShapeShifter Lab 7, 8:15 pm $15• Corcoran Holt Quintet with Stacy Dillard, Josh Evans, Benito Gonzalez,
McClenty Hunter; Ben Barnett
Smalls 7:30 pm 1 am $20
êTribute to Vic Juris: Paul Bollenback, Steve Cardenas, Ben Monder, Jay Anderson,
Adam Nussbaum
Zinc Bar 7:30, 9 pm $30

Contact Steve: 630-865-6849 | email: drummermax@aol.com

Manhattan’s
Only Independent
Drum Shop• Great vibe
• Friendly, knowledgeable staff• Vintage and custom specialists• Stock always changing• Always buying
Midtown Manhattan
242 W. 30th Street, New York, NY 10001
Ph: 212-730-8138

www.maxwelldrums.com

Tuesday, March 17• Yotam Silberstein Trio with Vitor Gonçalves, Daniel Dor

		Bar Lunàtico 8:30, 10 pm $10• Helena Kay Trio with Kaisa Maensivu, Angus Mason; Andy Bianco Trio withNathan Peck, Paul Wells
Bar Next Door 6:30, 8:30, 10:30 pm $12• Rob Garcia, Roy Nathanson, Jim Whitney		Barbès 7 pm $10• Yellowjackets
Birdland 8:30, 11 pm $40
êWill Calhoun’s Totem Ensemble with Orrin Evans, Greg Osby, Melvin Gibbs and guests
John Paul Bourelly, Hassan Hakmoun
		Blue Note 8, 10:30 pm $35• Judy Carmichael Quartet with guest Ken Peplowski		Dizzy’s Club 7:30, 9:30 pm $35• Juerga Flamenca with Christina Puig; Los Habaneros		The Django at Roxy Hotel 7:30, 10:30 pm• Dave Sewelson, Cooper-Moore, William Parker, Jesse Dulman
		
Downtown Music Gallery 6 pm
• Saul Rubin Zebtet
Fat Cat 7 pm $10êMichael Leonhart Orchestra
Jazz Standard 7:30, 9:30 pm $30• Roz Corral, Bruce Barth, Paul Gill; Vanisha Gould Trio		
Mezzrow 7:30, 10:30 pm $20• Sebastian Noelle, Matt Mitchell, Chris Tordini, Dan Weiss		Michiko Studios 8:30 pm $20• King/Fabian/Meyers GroupNew York City Baha’i Center 8, 9:30 pm $15êStephan Crump solo; Josh Modney solo
		
SEEDS 8, 9:30 pm $15• Lummie Spann Quintet with Monte Croft, Victor Gould, Barry Stephenson, Chris Beck;
Frank Lacy Group; Jon Elbaz
Smalls 7:30, 10:30 pm 1 am $20• Matt Forker Octet with Fung Chern Hwei, Josh Davidoff, David Acevedo,
Abdulrahman Amer, Lisa Hoppe, Jonah Wolfson, Tyshawn Sorey; Nick Dunston Triowith Kalia Vandever, Do Yeon Kim The Sultan Room 8 pm $12êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35

Wednesday, March 18• Melissa Stylianou Group with Pete McCann, Gary Wang, James Shipp				55Bar 7 pmêMike Stern
55Bar 10 pm• Haruyuki Suzuki, Shoko Nagai, Satoshi Takeishi, Hans Tammen
		
Areté Gallery 8 pm
• Clovis Nicolas Quartet with Brandon Lee, Grant Stewart, Kenny Washington
		
Bar Bayeux 8 pm
• Juan Munguia Trio with Trevor Brown, JK Kim
		Bar Next Door 6:30 pm• Yellowjackets
Birdland 8:30, 11 pm $40• Alejandro AvilésBirdland Theater 7, 9:45 pm $30
êWill Calhoun’s Totem Ensemble with Orrin Evans, Greg Osby, Melvin Gibbs and guests
John Paul Bourelly, Hassan Hakmoun
		Blue Note 8, 10:30 pm $35• Feral Children: Noah Becker, Nick Dunston, Lesley Mok
		Branded Saloon 10 pm• Judy Carmichael Quartet with guest Ken Peplowski		Dizzy’s Club 7:30, 9:30 pm $35• Evan Sherman Big Band; Bessie And The Rainbowkids
		The Django at Roxy Hotel 7:30, 10:30 pm• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam		
Fat Cat 7, 9 pm 12:30 am $10• Iris Ornig Quintet with Nadje Noordhuis, John Ellis, Manuel Valera
		Jazz at Kitano 8, 10 pm $18• Josh Lawrence and Lost Works with Antonio Hart, Robin Eubanks, Zaccai Curtis,
Luques Curtis, Anwar Marshall Jazz Standard 7:30, 9:30 pm $30• Nico Slater/Dominic Lamorte
Knickerbocker Bar & Grill 9 pmêRuss Lossing, Cameron Brown, Eric McPherson; Steve Ash Trio		
Mezzrow 7:30, 10:30 pm $20
êStephen Gauci/Cooper-Moore
Roulette 8 pm $25
êValerie Capers/John Robinson
Saint Peter’s Church 1 pm $10• Kevin Sun Quartet with Dan Saul, Walter Stinson, Matt Honor; Marta Sanchez Group
with Kyle Wilson, Alex LoRe, Rick Rosato, Daniel Dor		
SEEDS 8, 9:30 pm $15• Take Off Collective: Ole Mathisen, Matt Garrison, Marko Djordjevic
		ShapeShifter Lab 7, 8:15 pm $10• Brian Melvin Quartet with Danny Walsh, Soren Lee, Alexander Claffy;
Wayne Tucker; Nick Masters
Smalls 7:30, 10:30 pm 1 am $20• Charles Turner and Uptown Swing with Christopher McBride, Jeffery Miller,
Sean Mason, Noah Jackson, Kevin Congleton		Smoke 7, 9, 10:30 pm $20
êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35• Hayes Greenfield Gravity Unplugged		
Soapbox Gallery 7:30 pm $20• Linda Presgrave Quartet with Stan Chovnick, Seiji Ochiai
		Tomi Jazz 7 pm
• Lisa GutkinTown & Village Synagogue 8 pm $15êHighlights in Jazz—Ellington Everlasting: Art Baron and The Duke’s Men withBill Easley, James Weidman, Bill Crow, Bernard Purdie, Mark Hynes and guest
Ira Hawkins
Tribeca Performing Arts Center 8 pm $50• Julieta Eugenio Duo
Uke Hut 8 pm $20
êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35
êKirk Knuffke Trio with Stomu Takeishi, Bill Goodwin
		Zinc Bar 7:30, 9 pm $30

Friday, March 20êMichaël Attias/Sebastien Ammann Areté Gallery 9 pm $15• Jerome Sabbagh Trio with Joe Martin, Billy Drummond		Bar Next Door 7:30, 9:30, 11:30 pm $12• Yellowjackets
Birdland 8:30, 11 pm $40• Larry Fuller Trio
Birdland Theater 7, 9:45 pm $30• Jaleel ShawBlue Note 12:30 am $15êRoy Haynes 95th Birthday Celebration
		Blue Note 8, 10:30 pm $45• Spigame Big Band led by Victor Jones		The Cutting Room 9:30 pm $20-25• Andrea Brachfeld y Su Charanga David Rubenstein Atrium 7:30 pmêDIVA Jazz Orchestra
Dizzy’s Club 7:30, 9:30 pm $45• Ken Fowser; Luca Santaniello Group with Martina Da Silva		The Django at Roxy Hotel 7:30, 10:30 pm• Ourida; Cora Suvi/Harrison Shekler
		
El Barrio Artspace 7 pm $10• Lizzie Thomas
Gin Fizz Harlem 8, 9:30 pm $20
êSteve Swell Quartet with Rob Brown, William Parker, Michael TA Thompson				Happylucky no.1 8 pm $20• Manhattan School of Music LatinX Jazz Orchestra with guest Miguel Zenón				Harlem Stage Gatehouse 7:30 pm $25• Vinnie Knight
Jazz 966 8 pm $20
êKendra Shank Trio with Frank Kimbrough, Dean Johnson		Jazz at Kitano 8, 10 pm $34
êJen Shyu’s Raging Waters, Red Sands with Satoshi Haga, Ivan Barenboim,
Chris Dingman, Mat Maneri, Satoshi Takeishi
		
The Jazz Gallery 7:30, 9:30 pm $25
êNEC 50th Anniversary: Fred Hersch/Dominique Eade		
Jazz Standard 7:30, 9:30 pm $35
êFay Victor’s Barn Songs with Marika Hughes, Darius Jones		
Joe’s Pub 7 pm $20• Rolf Barnes/Ray Kilday
Knickerbocker Bar & Grill 9 pm
• Emel Mathoulthi, Richard Bona, Mino Cinelu and guest Francis Cabrel				
Lycée Francais de New York 7 pm $30
êCelebrating Women Composers: Deathblow: Amanda Monaco, Michaël Attias,
Sean Conly, Jeff Davis; Musique Libre Femmes: Cheryl Pyle, Claire de Brunner,
Roberta Piket; Stephanie Griffin Quintet with Gordon Beeferman, Hilliard Greene,
Jake Charkey, Lee Odom
Metro Baptist Church 7:30 pm $20• Norman Simmons, Paul West, Shoko Amano; Mathis Picard, Russell Hall, Kyle Poole		
Mezzrow 7:30, 10:30 pm $20
êKirk Lightsey, Mark Whitfield, Santi Debriano, Victor Lewis
		
Minton’s 7:30, 9:30 pm $25• Lady Got Chops Festival: Annette St. John		
Patrick’s Place 7 pm
• Hyuna Park Trio
Room 623 at B2 Harlem 10 pm $15• Rubin Kodheli/Tenzin Choegyal Rubin Museum 7 pm $30• Simon Hanes/Anthony Coleman Scholes Street Studio 8 pm
• Alex Mejia
Silvana 8 pmêGeorge Colligan Quartet with Johannes Weidenmuller, Ari Hoenig;
Franklin Kiermyer’s Scatter The Atoms That Remain with Davis Whitfield, Mike Troy,
Otto Gardner; Corey Wallace DUBtet
		
Smalls 7:30, 10:30 pm 1 am $20
êRenee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash				
Smoke 7, 9, 10:30 pm $40
êMisha Piatigorsky/Brian Charette Soapbox Gallery 8 pm $20• Elisabeth Lohninger
Symphony Space Bar Thalia 9 pm
• Suzanna Ross with Gregory Toroian, Skip Ward, David Silliman		
Triad Theater 7 pm $25• Jay Daniels Trio with Brennen Ernst, Jen Hodge		
Triad Theater 9:30 pm $25
êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35• Mike LeDonne Trio with John Webber, Willie Jones III
		Zinc Bar 7:30, 9 pm $30

Saturday, March 21

Thursday, March 19êHarlem Late Night Jazz, Inc. 2020 Inaugural Benefit Gala Honoring Charles Rangel and

Donald Smith: James Carter, ELEW, Omar Edwards, Savion Glover, Patience Higgins,
Kojo Roney, Bill Saxton, Brandee Younger, Sista Zock; Rob Fulton;
Harlem Late Night Jazz Orchestra led by Ronnie Burrage and Macy Gray				Alfred Lerner Hall at Columbia University 8 pm $125-1,000• Scott Sharrard
Bar Lunàtico 8:30, 10 pm $10• Noah Becker Trio with Matthew Tillman, Steve Williams; Flavio Silva Trio with
Barry Stephenson, EJ Strickland Bar Next Door 6:30, 8:30, 10:30 pm $12• Vitaly Golovnev Quartet with David Berkman, Ugonna Okegwo, Andy Watson				
Birdland 5:30 pm $30• Yellowjackets
Birdland 8:30, 11 pm $40• Larry Fuller Trio
Birdland Theater 7, 9:45 pm $30
êRoy Haynes 95th Birthday Celebration
		Blue Note 8, 10:30 pm $45• DIVA Jazz Orchestra
Dizzy’s Club 7:30, 9:30 pm $40• Benny Benack III Quartet; Mini Qs with Alita Moses
		
The Django at Roxy Hotel 7:30, 10:30 pm• Pedrito Martinez
Ginny’s Supper Club 8 pm $25• Lao Tizer Band with Chieli Minucci, Cheikh N’Doye, Gene Coye		
Iridium 8:30 pm $25-35• AirTrain Jazz Festival: Willie Martinez
		Jamaica Air Train Station 5 pmêCory Weeds Quartet with David Hazeltine, Neal Miner, Joe Strasser
		Jazz at Kitano 8, 10 pm $18• Martin Nevin with Akie Bermiss, Gina Izzo, Jay Rattman, Sam Harris, Ari Chersky,
Christopher Hoffman, Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $15êNEC 50th Anniversary—NEC All–Stars: Fred Hersch, Miguel Zenón, Donny McCaslin,
Jorge Roeder, Richie Barshay
Jazz Standard 7:30, 9:30 pm $35• Gustavo Casenave solo
Le Poisson Rouge 8 pm $25-34• Lafayette Harris, Lonnie Plaxico, Jerome Jennings; Spike Wilner Trio 				
Mezzrow 7:30, 10:30 pm $20
êNate Wooley Duo
Michiko Studios 8 pm $20
êJazzmobile: Jeremy Pelt Quartet Minton’s 7:30, 9:30 pm $20
êBertha Hope Trio
New York Public Library 96th Street Branch 4:30 pm• Simon Hanes/Anthony Coleman Scholes Street Studio 8 pm
• Damien Pratt
Shrine 6 pm
• Davy Mooney Quartet with Jon Cowherd, Rick Rosato, Jimmy Macbride;
Thomas Marriott Quintet with Stacy Dillard, Willerm Delisfort, Luques Curtis,
Chris Beck; Taru Alexander
Smalls 7:30, 10:30 pm 1 am $20
êRenee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash				
Smoke 7, 9, 10:30 pm $40

êHans Tammen, David Rothenberg, Nicola Hein; Stephen Gauci/Lisa Hoppe;
Aron Namenwirth, Eric Plaks, John Loggia
		Aron’s Place 7:30 pm $20
êEd Cherry Trio with Kyle Kohler Bar Next Door 7:30, 9:30, 11:30 pm $12• Yellowjackets
Birdland 8:30, 11 pm $40• Larry Fuller Trio
Birdland Theater 7, 9:45 pm $30• Jaleel ShawBlue Note 12:30 am $15êRoy Haynes 95th Birthday Celebration
		Blue Note 8, 10:30 pm $45• Roy Meriwether and The Wade Barnes Tribute Band		
Brownsville Heritage House 3 pmêDIVA Jazz Orchestra
Dizzy’s Club 7:30, 9:30 pm $45• Clovis Nicolas Quartet; David Gibson Sextet with Camille Thurman
		
The Django at Roxy Hotel 7:30, 10:30 pm• Omar Edwards
Gin Fizz Harlem 8, 9:15 pm $20• Evan Sherman Big Band
Ginny’s Supper Club 8 pm $20
êSteve Swell Quartet with Rob Brown, William Parker, Michael TA Thompson				Happylucky no.1 8 pm $20
êKendra Shank Quartet with Billy Drewes, Frank Kimbrough, Dean Johnson		Jazz at Kitano 8, 10 pm $34
êJen Shyu’s Raging Waters, Red Sands with Satoshi Haga, Ivan Barenboim,
Chris Dingman, Mat Maneri, Satoshi Takeishi
		
The Jazz Gallery 7:30, 9:30 pm $25• Claudia Acuña with Juancho Herrera, Pablo Vergara, Carlos Henderson, Yayo Serka		
Jazz Standard 7:30, 9:30 pm $35• New Bojaira: Jesús Hernández, Alfonso Cid, Tim Ferguson, Mark Holen with guests
Randy Brecker, Peter Brainin, Elisabet Torras		Joe’s Pub 9:30 pm $30• Lady Got Chops Festival: Kim Clarke’s Aqua Ninjaz
		Langston Hughes Public Library 2 pm
• Rolf Barnes/Ray Kilday
Knickerbocker Bar & Grill 9 pmêNorman Simmons, Paul West, Shoko Amano; John Chin Trio		
Mezzrow 7:30, 10:30 pm $20
êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould, Shawn Whitehorn				
Minton’s 7:30, 9:30 pm $25• Sylvia Cuenca Quartet
Poe Park 2 pm
• Family Concert—Who is Dave Brubeck?: Jazz at Lincoln Center Orchestra
		
Rose Theater 1, 3 pm $10-25
êPanchakshara: Vikku Vinayakram,, V. Selvaganesh, Umashankar, A. Ganesan				
Roulette 8 pm $30

44 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDêNEC 50th Anniversary: Darcy James Argue’s Secret Society with Dave Pietro,

Alejandro Aviles, Sam Sadigursky, John Ellis, Carl Maraghi, Seneca Black,
Jonathan Powell, Sam Hoyt, Riley Mulherkar, Adam O’Farrill, Mike Fahie, Nick Grinder,
Kalia Vandever, Jennifer Wharton, Sebastian Noelle, Glenn Zaleski, Jorge Roeder,
Richie Barshay; NEC Alumni Big Band: Dominique Eade, Marty Ehrlich, Brian Landrus,
Tony Kadleck, Michael Thomas, Noah Preminger, Chris Washburne, Curtis Hasselbring,
Josh Roseman, Jennifer Wharton, Frank Carlberg, Jerome Harris, Aaron Bahr,Richie Barshay, David Neves, Kai Sandoval, Kevin Sun, Kim Cass		
Sheen Center 8 pm
• Tulivu Donna Cumberbatch
Sistas’ Place 9, 10:30 pm $20
êGeorge Colligan Quartet with Johannes Weidenmuller, Ari Hoenig;
Franklin Kiermyer’s Scatter The Atoms That Remain with Davis Whitfield, Mike Troy,
Otto Gardner; Brooklyn Circle
Smalls 7:30, 10:30 pm 1 am $20
êRenee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash				
Smoke 7, 9, 10:30 pm $40• Ambient-Chaos: Samuel Aranoff, Pas Musique, Searmanas, Adam Potter Scott				Spectrum 8 pm $15êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35• Noah Gershwin
Williamsburg Music Center 7:30 pm $10• Kurt Rosenwinkel Caipi Band with Pedro Martins, Felipe Viegas, Frederico Heliodoro,
Antonio Loureiro, Bill Campbell Zankel Hall 9 pm $39-49

Sunday, March 22• Treesearch: Kyle Motl/Keir GoGwilt Areté Gallery 2 pm $15• The Open Mind: Ronald Chapman, Radu Ben Judah, Taru Alexander				
Barbès 5 pm $10• George Gee Orchestra
Birdland 5:30 pm $30• Augie Haas
Birdland Theater 9:45 pm $30
êRoy Haynes 95th Birthday Celebration
		Blue Note 8, 10:30 pm $45
êDIVA Jazz Orchestra
Dizzy’s Club 7:30, 9:30 pm $35• Daniel Carter, Kurt Ralske, Lele Dai, Frank Meadows, Todd Capp;
Big Picture: Matt Lavelle, Evan Crane, Leonid Galaganov; Ben Goldberg				Downtown Music Gallery 6 pm
• Terry Waldo’s Gotham City Band Fat Cat 6 pm $10• Claudia Acuña with Juancho Herrera, Pablo Vergara, Carlos Henderson, Yayo Serka		
Jazz Standard 7:30, 9:30 pm $35• Behn Gillece, Rick Germanson, Paul Gill; Chris Flory, Steve Ash, Lee Hudson 				
Mezzrow 7:30, 10:30 pm $20
êJay Leonhart/Tomoko Ohno
North Square Lounge 12:30, 2 pm
• Ben Sidran
Rizzoli Bookstore 5 pm $20• Lauren Lee Trio
Rockwood Music Hall Stage 3 5 pm $10• Lady Got Chops Festival: Annette St. John, Michika Fukumori, Adi Meyerson				
Russian Samovar 3 pm
• Melissa Stylianou’s Heart with Fabian Almazan, Chris Dingman, Godwin Louis,
Ike Sturm
Saint Peter’s Church 6 pm
• Nicholas Rousseau Quartet with Alex Ramirez, Sean Hannon, Johannes Hamm				
Scholes Street Studio 7 pm $10• Nick Hempton Quartet; JC Stylles Group; Hillel Salem		
Smalls 7:30, 10:30 pm 1 am $20
êRenee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash				
Smoke 7, 9, 10:30 pm $40• Albert Marques Quartet with Adam O’Farrill, Dario Guibert, Ari Hoenig				Soapbox Gallery 6 pm $20
êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis		Village Vanguard 8:30, 10:30 pm $35

Monday, March 23êMike Stern
55Bar 10 pmêJeff Lederer’s Swing n’ Dix with Bob Stewart, Kirk Knuffke, Matt Wilson

		
Bar Lunàtico 8:30, 10 pm $10• Alex Ramirez Trio with Sean Hannon, Johannes Hamm; Perry Beekman Trio with
Steven Frieder, Lou Pappas
Bar Next Door 6:30, 8:30, 10:30 pm $12• Ricky Alexander’s Strike Up The Band		
Birdland Theater 8 pm $30• Will Calhoun’s Mali Project with Matt Garrison, Dave Gilmore, Vivian Sessoms andguests Cheick T’diane Seck, Moussa
		Blue Note 8, 10:30 pm $35• Music Now!—Peace Be With You: Letters From Rap: Ras Moshe Burnett, Lee Odom,
Charles Waters, Matt Lavelle, Charley Sabatino, Tom Cabrera, Dave Ross		
The Brooklyn Commons 7 pm $10• Kenneth Jimenez, Dustin Carlson, Raf Vertessen; Stephen Gauci, Adam Lane,
Kevin Shea; Yuma Uesaka, Jonathon Goldberger, Jeff Davis; Paul Austerlitz,
Charles Townsend, Ehran Elisha; Marco Cappelli, Ayman Fanous, Michel Gentile,
Adam Lane; Lauren Lee/Jon Heagle Bushwick Public House 7 pm $10• Ball State University Jazz Lab Ensemble with guest Ingrid Jensen		Dizzy’s Club 7:30, 9:30 pm $35• JFA Jam Session
Jazz Museum in Harlem 6:30 pm• Mike LeDonne/John Webber; Pasquale Grasso Trio		
Mezzrow 7:30, 10:30 pm $20
êBrandee Younger
National Arts Club 9 pm $25• Mending Wall: PRISM Quartet: Timothy McAllister, Zachary Shemon, Matthew Levy,
Taimur Sullivan and guests Tony Arnold, Arturo O’Farrill		
Roulette 8 pm $25• Women’s Jazz Festival: Laurin Talese		The Schomburg Center 7 pm $15• Ari Hoenig; ELEW; Sean Mason Smalls 7:30, 10:30 pm 1 am $20• Whitney Marchelle 70th Birthday Celebration with Kevin Blancq Big Band				
Swing 46 5 pm $15êJack Wilkins Quartet with Jeff Barone, Sean Smith, Steve Fidyk
		
Zinc Bar 7:30, 9 pm $25

Tuesday, March 24• Brad Shepik
55Bar 10 pm• Nate Radley Trio with Tony Scherr, Allison Miller
		
Bar Lunàtico 8:30, 10 pm $10• Erich Jonhnson Trio with Leo Catricala, Wen-Ting Wu; Grant Gordy Trio withMichael Blake, Max Johnson
Bar Next Door 6:30, 8:30, 10:30 pm $12êSam Bardfeld Trio with Jacob Sacks, Michael Sarin
		
Barbès 7 pm $10• Curtis Stigers Quintet with John “Scrapper“ Sneider, Gary Versace, Cliff Schmitt,Paul Wells
Birdland 8:30, 11 pm $40• Will Calhoun’s Mali Project with Matt Garrison, Dave Gilmore, Vivian Sessoms andguests Cheick T’diane Seck, Moussa
		Blue Note 8, 10:30 pm $35• Rachel Therrien Quartet with Daniel Gassin, Dar Montana, Karina Colis; Yoko Miwa Triowith Will Slater, Scott Goulding Dizzy’s Club 7:30, 9:30 pm $35• Pedro Giraudo Tango Quartet; Los Hacheros		
The Django at Roxy Hotel 7:30, 10:30 pm• Saul Rubin Zebtet
Fat Cat 7 pm $10êPasquale Grasso Trio with Peter Washington, Kenny Washington
		Jazz Standard 7:30, 9:30 pm $30• Libby York, John DiMartino, Boots Maleson; Lucy Yeghiazaryan Trio 				
Mezzrow 7:30, 10:30 pm $20• Lou Caputo Not So Big BandNew York City Baha’i Center 8, 9:30 pm $15êSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold;Malik McLaurine
Smalls 7:30 pm 1 am $20• Matt Hollenberg/Mario Forte
The Stone at The New School 8:30 pm $20
êThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35

Wednesday, March 25• Paul Jost
55Bar 7 pm
• Extensions Guitar Quartet: Douglas Bradford, Marius Duboule, Aaron Quinn,

James Wengrow; Ishmael Ali Group		
Balboa 8, 9:15 pm• Nice Treatment: Dave Scott, Rich Perry, Jacob Sacks, David Ambrosio,
Vinnie Sperrazza
Bar Bayeux 8 pm
• The Enigmatics
Bar Lunàtico 8:30, 10 pm $10• Pamai Chirdkiatisak Trio with Rit Xu, Hanyul Park		Bar Next Door 6:30 pm• Curtis Stigers Quintet with John “Scrapper“ Sneider, Gary Versace, Cliff Schmitt,Paul Wells
Birdland 8:30, 11 pm $40• Jazz Vocal Mania Series with Janis Siegel, Lauren Kinhan and guest Karrin Allyson
		
Birdland Theater 7, 9:45 pm $30• Will Calhoun’s Mali Project with Matt Garrison, Dave Gilmore, Vivian Sessoms andguests Cheick T’diane Seck, Moussa
		Blue Note 8, 10:30 pm $35• West Village Word: Shadows: John Pietaro/Laurie Towers; Ronnie Burrage solo;
Celebrating Cecil! Elliott Levin, John Blum, Jackson Krall; The Mother of All Finales		
Café Bohemia 8 pm $15êThank You Abbey Lincoln: Melanie Charles
		Dizzy’s Club 7:30, 9:30 pm $30• New Alchemy Jazz Orchestra; Christopher McBride and The Whole Proof		
The Django at Roxy Hotel 7:30, 10:30 pm• Raphael D’lugoff Trio +1; Ned Goold Jam		
Fat Cat 7 pm 12:30 am $10êTed Rosenthal Trio with Noriko Ueda, Tim Horner		Jazz at Kitano 8, 10 pm $18êClaudia Quintet: John Hollenbeck, Matt Moran, Red Wierenga, Jeremy Viner,
Chris Tordini
The Jazz Gallery 7:30, 9:30 pm $25
êPasquale Grasso Trio with Peter Washington, Kenny Washington
		Jazz Standard 7:30, 9:30 pm $30• Dan Cray, Joe Martin, Mark Ferber; Isaiah Thompson, Felix Moseholm, Anthony Hervey		Mezzrow 7:30, 10:30 pm $20
êThe Stone Commissions: Miles Okazaki/Dan Weiss		National Sawdust 7 pm $25• Pablo Lanouguere Quintet
Nublu 9 pm
• Stanley Banks and Friends
Roy Wilkins Recreation Center 1 pm
• Daryl Sherman/Mike Renzi
Saint Peter’s Church 1 pm $10• Take Off Collective: Ole Mathisen, Matt Garrison, Marko Djordjevic
		ShapeShifter Lab 7, 8:15 pm $10êGreg Tardy Quintet with Alex Norris, George Colligan, Sean Conly, Jaimeo Brown;
Jure Pukl Broken Circles with Matt Mitchell, Dean Torrey, Kweku Sumbry; Neal Caine		
Smalls 7:30, 10:30 pm 1 am $20
êAdam Birnbaum Trio with Doug Weiss, Al Foster and guest Antonio Hart				
Smoke 7, 9, 10:30 pm $20• Nick Sanders solo; Dan Tepfer solo
		
Soapbox Gallery 8 pm $20• Infinien: Jordan Berger, Tom Cullen, Matt Hollenberg, Chrissie Loftus		
The Stone at The New School 8:30 pm $20
êThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35

Thursday, March 26êFay Victor

55Bar 7 pm

• Matt Wolfe Trio with Leo Smith, Jarrett Walser; Sebastian Noelle Trio with Rick Rosato,
Raj Jayaweera

Bar Next Door 6:30, 8:30, 10:30 pm $12• Shoko Nagai’s Tokala with Ron Caswell, Satoshi Takeishi
		Barbès 8 pm $10• Ronny Whyte Quartet
Birdland 5:30 pm $30• Curtis Stigers Quintet with John “Scrapper“ Sneider, Gary Versace, Cliff Schmitt,Paul Wells
Birdland 8:30, 11 pm $40• Nick Finzer’s Cast of Characters with Lucas Pino, Alex Wintz, Glenn Zaleski,
Dave Baron, Jimmy Macbride
Birdland Theater 7 pm $30• Lee Ritenour
Blue Note 8, 10:30 pm $45• Michael Feinberg Quartet with Billy Buss, Lee Fish, Julian Shore		
Canary Club 9 pm
• Samba Jazz and Jobim: Duduka da Fonseca, Helio Alves, Maucha Adnet				Dizzy’s Club 7:30, 9:30 pm $45• Jeffrey Miller Quintet; Mark Whitfield		
The Django at Roxy Hotel 7:30, 10:30 pm• Anthony Braxton Theater Improvisations: Rob Reese, Jessica Pavone,
Kamala Sankaram
The Flea Theatre 7 pm $30• Pedrito Martinez
Ginny’s Supper Club 8 pm $25• Undeground Horns
Groove Bar & Grill 7:30 pm• Ohad Talmor Trio with Jacob Sacks, Vinnie Sperrazza		Ibeam Brooklyn 8:30 pm $15êGeorge Lewis Portrait Concert: Laura Cocks, Seth Parker Woods, Dana Jessen,
Conrad Harris, Pauline Kim
Issue Project Room 8 pm $25• AirTrain Jazz Festival: Libby Richman
		Jamaica Air Train Station 5 pm
• Ms Blu and Blusical City Quintet with David Cladwell-Mason, Jason Clotter,
Malik Washington, Erena Terakubo azz at Kitano 8, 10 pm $18• Arta Jēkabsone’s Letters to Home with Theo Walentiny, Tal Yahalom, Hwansu Kang,
Connor ParkThe Jazz Gallery 7:30, 9:30 pm $15êJimmy Greene Quintet with Mike Moreno, Gerald Clayton, Vicente Archer,
Kendrick Scott
Jazz Standard 7:30, 9:30 pm $30
êThe Necks: Chris Abrahams, Lloyd Swanton, Tony Buck		Le Poisson Rouge 7:30, 10 pm $20-35• Robert Redd, Chuck Redd, Neal Miner; Spike Wilner Trio		
Mezzrow 7:30, 10:30 pm $20
êJazzmobile: Danny Mixon Quartet Minton’s 7:30, 9:30 pm $20• Sha’ar: Oren Neiman, Doug Drewes, David Freeman, Ivan Barenboim		
		Pete’s Candy Store 9 pm
• Craig Yaremko Trio
Shrine 6 pm
• Jack Davis
Silvana 6 pmêGreg Tardy Quintet with Alex Norris, George Colligan, Sean Conly, Jaimeo Brown;
Jure Pukl Broken Circles with Matt Mitchell, Dean Torrey, Kweku Sumbry; Palladium		
Smalls 7:30, 10:30 pm 1 am $20
êNat ‘King’ Cole Birthday Tribute: Nicolas Bearde, Vincent Herring, Nat Adderley, Jr.,
Yasushi Nakamura, Carl Allen
Smoke 7, 9, 10:30 pm $40
êHadar Noiberg Trio
Soapbox Gallery 7:30 pm $20• Shardik: Matt Hollenberg/Nick Shellenberger
		The Stone at The New School 8:30 pm $20• Metropolitan Klezmer with Eve Sicular		
Town & Village Synagogue 8 pm $15• Agustin Grasso Trio with Benno Marmur, Adam Gay		
Uke Hut 8 pm $20
êThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35

Friday, March 27êKendra Shank with John Stowell, Dean Johnson

		55Bar 6 pmêAmbrose Akinmusire’s Banyan with Roman Filiu, Caroline Davis, Walter Smith III,Ben Kono, Dayna Stephens, Frank Greene, Dave Ballou, Stéphane Clément,
Ryan Keberle, Earl McIntyre, Kalia Vendever, Marvin Sewell, Sullivan Fortner,
Matt Brewer, Marcus Gilmore and guests Jack DeJohnette, Gary Bartz, Tom Harrell
		
The Appel Room 7, 9:30 pm $65-85
êItai Kriss’ Telavana
Bar Lunàtico 8:30, 10 pm $10• Perry Smith Trio with Noah Garabedian, Donald Edwards
		Bar Next Door 7:30, 9:30, 11:30 pm $12• Ben Holmes
Barbès 8 pm $10• Curtis Stigers Quintet with John “Scrapper“ Sneider, Gary Versace, Cliff Schmitt,Paul Wells
Birdland 8:30, 11 pm $40
êCarol Sloane with Mike Renzi, Jay Leonhart		Birdland Theater 7 pm $40
êMarquis Hill Love Tape
Blue Note 12:30 am $15• Lee Ritenour
Blue Note 8, 10:30 pm $45• Lucky Chops
Brooklyn Bowl 8 pm $17• Sasha Dobson; Steven Carrington Quartet		
Café Bohemia 8, 10 pm $20• Samba Jazz and Jobim: Duduka da Fonseca, Helio Alves, Maucha Adnet				Dizzy’s Club 7:30, 9:30 pm $45• Ken Fowser Quintet; Hudson Horns
		
The Django at Roxy Hotel 7:30, 10:30 pm• Anthony Braxton Theater Improvisations: Rob Reese, Ingrid Laubrock,
Kamala Sankaram
The Flea Theatre 7 pm $30• Miss Maybell
Gin Fizz Harlem 8, 9:15 pm $20• Mathis Sound Orchestra
Ginny’s Supper Club 8 pm $20• Josh Roseman
Happylucky no.1 8 pm $20
êOhad Talmor Trio with Jacob Sacks, Vinnie Sperrazza		Ibeam Brooklyn 8:30 pm $15êBertha Hope Sextet with Gene Ghee, Riley Mullins, Kim Clarke, Luciana Padmore,
Keisha St. Joan
Jazz 966 8 pm $20• Chika Toyota Quartet with Yutaka Shina, Marty Jaffe, Lewis Nash		Jazz at Kitano 8, 10 pm $34
êJimmy Greene Quintet with Mike Moreno, Gerald Clayton, Vicente Archer,
Kendrick Scott
Jazz Standard 7:30, 9:30 pm $35• Dayramir González
Joe’s Pub 9:30 pm $30• Keiko’s Café hosted by Cinnamon Brown
		
Keiko Studios Music Academy 7 pm $10• Ray Gallon/Peter Washington; Andrea Domenici, Fabrizio Sciacca, Andrea Niccolai		Mezzrow 7:30, 10:30 pm $20
êBinky Griptite
Minton’s 7:30, 9:30 pm $25
êDave Sewelson Quartet with Steve Swell, William Parker, Marvin Bugalu Smith				
Nublu 9 pm
• The Jazz Bastards: Aldo Perez, Jenny Mitchell, Matt Kanelos, Glen Heroy,
Richard Philbin, Nick Parker
Pangea 9:30 pm $15• Todd Herbert Trio
Room 623 at B2 Harlem 10 pm $15• Jog Blues: Ikhlaq Hussain, Siddartha Mukherjee, Andy Biskin, Joel Bluestein,
Jake Charkey, Jonathan Rose, Pheeroan akLaff
		Rubin Museum 7 pm $30• Kenyatta Beasley Group; Eric Wyatt		
Smalls 7:30 pm 1 am $20
êNat ‘King’ Cole Birthday Tribute: Nicolas Bearde, Vincent Herring, Nat Adderley, Jr.,
Yasushi Nakamura, Carl Allen
Smoke 7, 9, 10:30 pm $40• Cleric: Matt Hollenberg, Dan Kennedy, Larry Kwartowitz, Nick Shellenberger
		The Stone at The New School 8:30 pm $20• Diana Golden/Gregory K. Williams; Dan Cooper Quartet with Kaoru Watanabe,
Alon Nechushtan, John Ferrari Symphony Space Bar Thalia 9 pmêThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 45

Saturday, March 28êWilliam Hooker/Charles Burnham; William Hooker, Mara Rosenbloom, Adam Lane		
244 Rehearsal Studios 8 pm $20• Third Coast Percussion with guests Sérgio and Clarice Assad		
92nd Street Y 8 pm $53
êAmbrose Akinmusire’s Banyan with Roman Filiu, Caroline Davis, Walter Smith III,Ben Kono, Dayna Stephens, Frank Greene, Dave Ballou, Stéphane Clément,
Ryan Keberle, Earl McIntyre, Kalia Vendever, Marvin Sewell, Sullivan Fortner,
Matt Brewer, Marcus Gilmore and guests Jack DeJohnette, Gary Bartz, Tom Harrell
		
The Appel Room 7, 9:30 pm $65-85• Jocelyn Marie Gould Trio with Inbar Paz, Sarah Gooch		
Bar Next Door 7:30, 9:30, 11:30 pm $12• Curtis Stigers Quintet with John “Scrapper“ Sneider, Gary Versace, Cliff Schmitt,Paul Wells
Birdland 8:30, 11 pm $40
êCarol Sloane with Mike Renzi, Jay Leonhart		Birdland Theater 7 pm $40• Lee Ritenour
Blue Note 8, 10:30 pm $45
êTed Brown Quintet; Chris McCarthy’s Still Time To Quit		
Café Bohemia 6, 8, 10 pm $20• Annette St. John
City Island Library 1 pm
• Samba Jazz and Jobim: Duduka da Fonseca, Helio Alves, Maucha Adnet				Dizzy’s Club 7:30, 9:30 pm $45• Dan Aran Band; Lezlie Harrison The Django at Roxy Hotel 7:30, 10:30 pm• Anthony Braxton Theater Improvisations: Rob Reese, Nate Wooley, Elizabeth Saunders
		The Flea Theatre 7 pm $30• Tribute to Nina Simone and Miriam Makeba: Akua Allrich					
Flushing Town Hall 8 pm $18• Marie-Paule Franke
Gin Fizz Harlem 8, 9:15 pm $20• Allan Harris
Ginny’s Supper Club 8 pm $25• Josh Roseman
Happylucky no.1 8 pm $20
êAnnette Aguilar’s StringBeans; Michele Rosewoman’s New Yor-Uba		
Hostos Center 7:30 pm $20
êOhad Talmor Trio with Jacob Sacks, Vinnie Sperrazza		Ibeam Brooklyn 8:30 pm $15• Mike Clark Trio with Dave Stryker, Essiet Okon Essiet
		
Jazz at Kitano 8, 10 pm $34
êThe Jazz Gallery 25th Anniversary Concert: Ravi Coltrane		
The Jazz Gallery 7:30, 9:30 pm $35
êJimmy Greene Quintet with Mike Moreno, Gerald Clayton, Vicente Archer, Otis Brown III
		Jazz Standard 7:30, 9:30 pm $35• Victor Lin Duo
Knickerbocker Bar & Grill 9 pm
• Lady Got Chops Festival: Cocomama
		Langston Hughes Public Library 2 pm
• Ray Gallon/Peter Washington; Jon Davis Trio		
Mezzrow 7:30, 10:30 pm $20
êJC Hopkins Biggish Band with Joy Hanson, Vanisha Gould, Shawn Whitehorn				
Minton’s 7:30, 9:30 pm $25• Eric Plaks, Nick Lyons, Evan Crane, Dan Kurfirst; Jeff Pearring Sound withCharley Sabatino, Tim Ford
Mirror Tea House 8, 9:30 pm $15• Uri Gurvich and E-Folk with Leo Genovese, Elias Meister, Panagiotis Andreou,Ronen Itzik
Nublu 151 8 pm $15• The Jade Collective; Ken Kobayashi Quartet
		
Shrine 7, 8 pm
• Matthew Schwartz Quintet
Silvana 6 pm
• Tribute to Ntozake Shange
Sistas’ Place 9, 10:30 pm $20• Kenyatta Beasley Group; Mimi Jones and The Lab Session		
Smalls 7:30 pm 1 am $20
êNat ‘King’ Cole Birthday Tribute: Nicolas Bearde, Vincent Herring, Nat Adderley, Jr.,
Yasushi Nakamura, Carl Allen
Smoke 7, 9, 10:30 pm $40• Paris Combo: Belle du Berry, Potzi, François Jeannin, David Lewis,Benoît Dunoyer de Segonzac, Rémy Kaprielan
		Sony Hall 8 pm $45
êJason Kao Hwang’s Sing House with Kalun Leung, Chris Forbes, Ken Filiano,
Andrew Drury; Dana Jessen solo; Wayne Horvitz/Sarah Schoenbeck				
Soup & Sound 7 pm $20• Cleric: Matt Hollenberg, Dan Kennedy, Larry Kwartowitz, Nick Shellenberger
		The Stone at The New School 8:30 pm $20
êThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35• Dan Faulk, Lewis Porter, Joris Teepe, Chad Taylor; Stephen Gauci, Adam Lane,

Kevin Shea; Cheryl Pyle, Judi Silvano, Michael Eaton, Roberta Piket, Joe Hertenstein;
Juan Pablo Carletti’s Biggish Ensemble with Jake Henry, Kenny Warren,
Thomas Heberer, Yoni Kretzmer, Rick Parker, Kenneth Jimenez; Dan Kurfirst,
Ayumi Ishito, Eric Plaks, Evan Crane; Jacob Fossum/Sarah Rossy					Bushwick Public House 7 pm $10• Ellen Rowe Octet with Lisa Parrott, Virginia Mayhew, Kaleigh Wilder, Ingrid Jensen,
Melissa Gardiner, Marion Hayden, Allison Miller		Dizzy’s Club 7:30, 9:30 pm $35• Roy Ayers
Iridium 8:30 pm $45-60• Ben Paterson, Luke Sellick, Charles Goold; Pasquale Grasso Trio		
Mezzrow 7:30, 10:30 pm $20
êNicky Barbato Project
Rockwood Music Hall Stage 1 10 pm• Vadim Neselovskyi Nonet with Dave Douglas, Sara Serpa, Keita Ogawa,
Bengisu Gokse, Gioia Gedicks, Raymond Dineen, Freddy Renaud,
James Heazlewood-Dale
Roulette 8 pm $25
êBrooklyn Raga Massive with guest Amir ElSaffar		
Rubin Museum 7 pm $30• Women’s Jazz Festival: Firey String Sistas!: Nioka Workman, Marlene Rice,
Endea Owen, Mala Waldron, Camille Gainer-Jones		The Schomburg Center 7 pm $15• Chris Fishman Duo
SEEDS 8:30 pm $15• Takeshi Otani Band
Shrine 6 pm
• Lucas Pino Nonet with Phil Dizack, Alex LoRe, Nick Finzer, Andrew Gutauskas,
Alex Wintz, Glenn Zaleski, Desmond White, Jimmy Macbride; JD Allen Trio with Ian
Kenselaar, Nic Cacioppo; Ben Barnett
		
Smalls 7:30, 10:30 pm 1 am $20• Emanuele Basentini Quintet with Alex Hoffman, Greg Chen, Neal Miner, Scott Lowrie
		
Zinc Bar 7:30, 9 pm $25

Tuesday, March 31• MSM Vocal Series
55Bar 7 pm
• Leni Stern
55Bar 10 pm• Jake Richter with Nathan Reising, Philip Wailes; Andrew Kushnir with Panas Athanatos,Elam Friedlander

Bar Next Door 6:30, 8:30, 10:30 pm $12êStephan Crump’s Elemental with Michaël Attias, Ryan Ferreira, Ches Smith,

Eric McPherson
Barbès 7 pm $10• Eliane Elias
Birdland 8:30, 11 pm $40• David Sanborn Quintet
Blue Note 8, 10:30 pm $55• The Music of Charles Mingus: Juilliard Jazz Mary Lou Williams andDuke Ellington Ensembles
Dizzy’s Club 7:30, 9:30 pm $35• Ed Fast Congabop Septet; La Pachamambo		
The Django at Roxy Hotel 7:30, 10:30 pm• Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop		
Fat Cat 7, 9 pm 12:30 am $10êDuchess: Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, Jesse Lewis,
Matt Aronoff, Jared Schonig
Jazz Standard 7:30, 9:30 pm $30• Roseanna Vitro, Allen Farnham, Sara Caswell; Joy Brown Trio		
Mezzrow 7:30, 10:30 pm $20
êBrandee Younger/Dezron Douglas Miller Theatre 6 pm
• Alex Weitz Group with Ari Hoenig, Glenn Zaleski, Ben Tiberio
Rockwood Music Hall Stage 3 8:30 pm $15		êJim Black solo
The Stone at The New School 8:30 pm $20• Donny McCaslin Quartet with Jason Lindner, Tim Lefebvre, Zach Danziger				Village Vanguard 8:30, 10:30 pm $35

Sunday, March 29• The Open Mind: Ronald Chapman, Radu Ben Judah, Taru Alexander				
Barbès 5 pm $10• Jim Campilongo/Steve Cardenas Barbès 7 pm $10• Chloe Feoranzo
Blue Note 11:30 am 1:30 pm $39.50• Lee Ritenour
Blue Note 8, 10:30 pm $45• Samba Jazz and Jobim: Duduka da Fonseca, Helio Alves, Maucha Adnet				Dizzy’s Club 7:30, 9:30 pm $35• Jessica Ackerley solo; Francisco Mora Catlett, Sam Newsome, Bob Stewart;
Mark Hanslip/Federico Reuben Downtown Music Gallery 6 pm
• Fostina Dixon and Winds of Change		Emmanuel Baptist Church 3 pm $20• Terry Waldo’s Gotham City Band Fat Cat 6 pm $10• Roy Ayers
Iridium 8:30 pm $45-60
êThe Jazz Gallery 25th Anniversary Concert: Ravi Coltrane		
The Jazz Gallery 7:30, 9:30 pm $35
êJimmy Greene Quintet with Mike Moreno, Gerald Clayton, Vicente Archer,
Kendrick Scott
Jazz Standard 7:30, 9:30 pm $30• Ann Hampton Callaway and Susan Werner		
Kupferberg Center 3 pm $35-45• Hila Kulik, Tamir Shmerling, Dani Danor		
Mezzrow 7:30 pm $20• Cynthia Soriano Trio with Ben Rosenblum, Tamir Schmerling		North Square Lounge 12:30, 2 pmêLady Got Chops Festival: Kim Clarke, Whitney Marchelle, Rebecca Levinson				
Russian Samovar 3 pm
• LIU Post Women’s Choir and Long Island Sound Vocal Jazz		Saint Peter’s Church 6 pm
• Lizzie Thomas
San Carlo Osteria Piedmonte 6:30 pm• Chris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland,
Phil Stewart; Johnny O’Neal Trio with Mark Lewandowski, Itay Morchi; Asaf Yuria
		
Smalls 7:30, 10:30 pm 1 am $20
êNat ‘King’ Cole Birthday Tribute: Nicolas Bearde, Vincent Herring, Nat Adderley, Jr.,
Yasushi Nakamura, Carl Allen
Smoke 7, 9, 10:30 pm $40• Curt Sydnor’s Deep End Shallow; Raphael McGregor’s Guitarra de Aco;
Joanna Sternberg
Threes Brewing 8 pm $10êThe Bad Plus: Reid Anderson, Orrin Evans, Dave King		
Village Vanguard 8:30, 10:30 pm $35

Monday, March 30

êDave Sewelson Quartet with Steve Swell, William Parker, Marvin Bugalu Smith		
Bar Lunàtico 8:30, 10 pm $10• Lorenzo Bisogno Trio with Stefano Battaglia, Ben Friedkin; Michelle Walker Trio withPaul Bollenback, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12• Diego Figueiredo
Birdland Theater 8:30 pm $30• Braxton CookBlue Note 8, 10:30 pm $25

46 MARCH 2020 | THE NEW YORK CITY JAZZ RECORDREGULAR ENGAGEMEN T S
M O N D AY
• Richard Clements/Murray Wall Band11th Street Bar 8 pm
• Grove Street Stompers
Arthur’s Tavern 7 pm
• Earl Rose
Bemelmans Bar 5:30, 9 pm
• Terry Waldo Gotham City Band Black Door 11 pm• Jordan Young
Bflat 8 pm
• Vince Giordano and The Nighthawks
Iguana 8 pm
• Iris Ornig Jam Session
Jazz at Kitano 8 pm
• Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25• Kyle Colina and Friends
Le Rivage 6:30 pm (ALSO TUE-THU 7:30 pm)• Ray Angry
Nublu 151 10 pm 12 am• Stan Killian and Friends
Queens Brewery 8 pm
• Gil Defay
Red Rooster 8 pm
• Misha Tsiganov
Russian Vodka Room 7 pm
• Vincent Herring Quartet and Jam Session
Smoke 7, 9, 10:30 pm• Swingadelic
Swing 46 8:30 pm• John Benitez JamTerraza 7 9:30 pm $7• Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30

T U E S D AY
• Yuichi Hirakawa Trio
Arthur’s Tavern 7 pm
• Art Hirahara Trio
Arturo’s 8 pm
• David Budway Trio
Bemelmans Bar 9:30 pm• Janice Friedman
Center Bar 6 pm (ALSO WED-SAT)• Marc Devine Trio
Cleopatra’s Needle 8 pm
• Diego Voglino Jam Session Halyard’s 10 pm• Vince Giordano and The Nighthawks
Iguana 8 pm
• Mona’s Hot Four
Mona’s 11 pm• Misha Tsiganov
Russian Vodka Room 7 pm
• Mike LeDonne Quartet
Smoke 7, 9, 10:30 pm• Hayes Greenfield
Soapbox 7:30 pm• Louisa Lee Poster
The Staybridges Suites 9 pm
• George Gee Orchestra
Swing 46 8:30 pm

W E D N E S D AY
• Bill Wurtzel/Jay Leonhart
American Folk Art Museum 2 pm
• Jason Marshall Trio
American Legion Post 398 7 pm
• Eve Silber
Arthur’s Tavern 7 pm
• Jonathan Kreisberg Trio
Bar Next Door 8:30, 10:30 pm $12• David Budway Trio
Bemelmans Bar 9:30 pm• Jordan Young
Bflat 8:30 pm• David Ostwald’s Louis Armstrong Centennial Band
Birdland 5:30 pm $20• Joel Forrester solo
Bistro Jules 5:30 pm• Les Kurtz Trio
Cleopatra’s Needle 7 pm
• Django Jam Session
The Django 10:30, 11 pm• WaHi Jazz Jam
Le Chéile 8 pm
• Noah Garabedian Jam
The Nest 9 pm
• Les Goodson Band
Paris Blues 9 pm
• Emmet Cohen
Smoke 11:45 pm• Stan Rubin Orchestra
Swing 46 8:30 pm• Terraza 7 Jam Session
Terraza 7 9 pm

T H U R S D AY
• Ray Blue Organ Quartet
American Legion Post 398 7 pm
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm
• Grassroots Jazz Effort
Bar Bayeux 8 pm
• David Budway Trio
Bemelmans Bar 9:30 pm• Café Bohemia Quartet
Café Bohemia 8, 10 pm $20		
• John McNeil/Mike Fahie
The Douglass 9 pm
• Joel Forrester
George’s 6:30 pm• Steve Wirts/Joe Cohn Quartet Han Dynasty 6 pm
• Craig Brann Trio
Montauk Club 7 pm
• Les Goodson Band
Paris Blues 9 pm
• Gene Bertoncini
Ryan’s Daughter 8:30, 10:30 pm• Rob Duguay Low Key Trio Turnmill NYC 11 pm• Ms. Marie Special Showcase Uke Hut 8 pm

F R I D AY
• Jostein Gulbrandsen
Aretsky’s Patroon 6 pm
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm
• Joel Forrester
Baker’s Pizza 7 pm
• The Crooked Trio
Barbès 5 pm
• David Budway Trio
Bemelmans Bar 9:30 pm• Birdland Big Band
Birdland 5:15 pm $25• Bohemia Allstars Jazz Jam Café Bohemia 11:30 pm• Bennett Paster Trio
Hillstone 6 pm
• Gerry Eastman and Friends Williamsburg Music Center 10 pm

S AT U R D AY
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm
• Bill Saxton
Bill’s Place 8, 10 pm $20• Joel Forrester solo
Bistro Jules 6 pm
• Stan Rubin Orchestra
Carnegie Club 8:30, 10:30 pm• Yvonnick PrenéHenry’s 12:30 pm• Assaf Kehati Duo
Il Gattopardo 11:30 am• Johnny O’Neal Trio
Smoke 11:30 pm 12:45 am• Sam Kulok/Tyler Mitchell Group Tudor City Steak House 7 pm

S U N D AY
• Creole Cooking Jazz Band; Stew Cutler and Friends
Arthur’s Tavern 7, 10 pm• Matt La Von Jam Session Bā’sik 7 pm
• Peter Mazza Trio
Bar Next Door 8, 10 pm $12• Stephane Wrembel
Barbès 9 pm $10• Arturo O’Farrill Afro Latin Jazz Orchestra
Birdland 9, 11 pm $30• Joel Forrester solo
Bistro Jules 4 pm
• Renaud Penant Trio
Bistro Jules 7:30 pm• Keith Ingham
Cleopatra’s Needle 4 pm
• Trampelman
Dominie’s Astoria 9 pm
• The EarRegulars
The Ear Inn 8 pm
• Joel Forrester solo
Grace Gospel Church 11 am• Sam Taylor
The Grange 7 pm
• Grassroots Jazz Effort
Grassroots Tavern 9 pm
• Idan Morim Trio
Injera 7:30 pm• Tony Middleton Trio
Jazz at Kitano 12 pm $40• Dennis Hernandez Trio
Minton’s 12 pm• Marjorie Eliot
Parlor Entertainment 4 pm
• Lu Reid Jam Session
Shrine 4 pm
• Nicole Glover
Smoke 10:30 pm• John Benitez Jazz JamTerraza 7 9:30 pm $7• Sean Smith and guest
Walker’s 8 pm

CLUB DIRECTORY• 5C Café 68 Avenue C(212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org• 11th Street Bar 510 E. 11th Street(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com• 54 Below 254 West 54th Street(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com• 55Bar 55 Christopher Street(212-929-9883) Subway: 1 to Christopher Street www.55bar.com• 92nd Street Y Lexington Avenue at 92nd Street(212-415-5500) Subway: 6 to 96th Street www.92y.org• 181 Cabrini 854 W. 181st Street(212-923-2233) Subway: 1 to 181 Street www.181cabrininewyork.com• 244 Rehearsal Studios 244 W. 54th Street(212) 586-9056 Subway: C, E to 54th Street
www.244rehearsalstudiosny.com• Alfred Lerner Hall at Columbia University 2920 Broadway(212-854-9067) Subway: 1 to 116th Street www.lernerhall.columbia.edu• American Folk Art Museum 65th Street at Columbis Avenue(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org• American Legion Post 398 248 W. 132nd Street(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street
www.LindasJazzNights.com• Anyway Café 34 E. 2nd Street(212-533-3412) Subway: F, V to Second Avenue• 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• Areté Gallery 67 West Street, Brooklyn(929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com• Aretsky’s Patroon 160 E. 46th Street(212-883-7373) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street
www.aretskyspatroon.com• Aron’s Place 166 N. 12th Street SStreetubway: L to Bedford Avenue• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com• Arturo’s 106 W. Houston Street (at Thompson Street)(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street• Baker’s Pizza 201 Avenue A(212-777-7477) Subway: L to First Avenue www.bakerspizzanyc.com• Balboa 1655 Bedford Avenue(718-484-8291) Subway: 2, 5 to President Street• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street• Bar Felice 1591 First Avenue (212-249-4080) Subway: N, Q to 86th Street• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com• Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com• Bā’sik 323 Graham Avenue, Brooklyn(347-889-7597) Subway: L to Graham Avenue www.basikbrooklyn.com• Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com• Bflat 277 Church Street (between Franklin and White Streets)
Subway: 1, 2 to Franklin Streets• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)(212-281-0777) Subway: 2, 3 to 135th Street• Birdland and Birdland Theater 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com• Bistro Jules 60 St Marks Place(212-477-5560) Subway: 6 to Astor Place www.julesbistro.com• Black Door 127 W. 26th Street(212-645-0215) Subway: R, W to 28th Street www.blackdoornyc.com• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue andBergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com• Brooklyn Bowl 61 Wythe Avenue(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com• Brooklyn Cider House 1100 Flushing Avenue(347-295-0308) Subway: L to Jefferson Street www.brooklynciderhouse.com• The Brooklyn Commons 388 Atlantic Avenue
Subway: A, C, G to Hoyt/Schermerhorn Streets• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org• Brownsville Heritage House 581 Mother Gaston Boulevard(718-385-1111) Subway: L to New Lots Avenue• Bushwick Public House 1288 Myrtle Avenue(917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54
www.bushwickpublichouse.com• Café Bohemia 15 Barrow Street
Subway: 1 to Christopher Street www.cafebohemianyc.com• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com• Canary Club 303 Broome Street
Subway: B, D to Grand Street www.canaryclubnyc.com• Carnegie Club 156 W. 56th Street(212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue• City Island Library 320 City Island Avenue(718-885-1703) Bus: BX29 Bus www.nypl.org• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com• David Rubenstein Atrium Broadway at 60th Street(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.atrium.lincolncenter.org• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org• The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue• The Douglass 149 4th Avenue(718-857-4337) Subway: R to Union Street www.thedouglass.com• 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• Dweck Center at Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com• El Barrio Artspace 215 E. 99th Street
Subway: 6 to 96th Street www.artspaceps109.org• Emmanuel Baptist Church 279 Lafayette Avenue(718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com• Experimental Intermedia 224 Centre Street at Grand, Third Floor(212-431-5127) Subway: 6 to Canal Street
www.experimentalintermedia.org• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org• The Flea Theatre 41 White Street (between Church and Broadway)(212-219-8242) Subway: 1 to Franklin Street www.theflea.org• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Funkadelic Studios 209 W. 40th Street(212-696-2513) Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Squarewww.funkadelicstudios.com• Gin Fizz Harlem 308 Malcolm X Boulevard(212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com• Grace Gospel Church 589 East 164th Street(718-328-0166) Subway: 2, 5 to Prospect Avenue• The Grange 1635 Amsterdam Avenue(212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com• Greenwich House Music School 46 Barrow Street(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org• Groove Bar & Grill 125 MacDougal Street(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com• Halyard’s 406 3rd Avenue, Brooklyn(718-532-8787) Subway: R to 9th Street www.barhalyards.com• Han Dynasty 215 W. 85th Street(212-858-9060) Subway: 1 to 86th Street www.handynasty.net• Happylucky no.1 734 Nostrand Avenue(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
www.happyluckyno1.com• Hari NYC 140 W. 30th Street, 3rd floor Subway: 1 to 28th Street• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org• Hart Bar 538 Hart Street(929-433-7368) Subway: J, M, Z to Myrtle Avenue www.hartbarnyc.com• Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street• Hillstone 153 E. 53rd Street(212-888-3828) Subway: E, M to 53rd Street www.hillstone.com• Hostos Center 450 Grand Concourse(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com• Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com• Injera 11 Abingdon Square(212-206-9330) Subway: 1, 2, 3 to 14th Street www.injeranyc.com• InterContinental New York Barclay’s Club 111 E. 48th Street(212-755-5900) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street
www.intercontinentalnybarclay.com• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com• Isaac Stern Auditorium at Carnegie Hall 881 Seventh Avenue(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org• Issue Project Room 22 Boerum Place(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org• Jalopy 315 Columbia Street, Brooklyn(718-395-3214) Subway: F to Smith Street www.jalopy.biz• Jamaica Air Train Station 93-43 Sutphin Boulevard
Subway: E, J, Z to Sutphin Boulevard-Archer Avenue www.panynj.gov• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens(718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org• Jazz 966 966 Fulton Street(718-638-6910) Subway: C to Clinton Street
www.fortgreenecouncil.org/jazz966• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org• Jazz Standard 116 E. 27th between Park and Lexington Avenue(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.com• 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• Keiko Studios Music Academy 212-26 Jamaica Avenue(718-465-3456) Bus: Q110 Bus www.keikostudios.com• Kismat 603 Fort Washington Avenue(212-795-8633) Subway: 1 to 191st Street www.kismatny.com• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Kupferberg Center 65-30 Kissena Boulevard, Flushing(718-793-8080) Subway: E to 71 - Continental Avs - Forest Hills• Langston Hughes Public Library 100-01 Northern Boulevard Queens
Subway: 7 to 103rd Street• Le Chéile 839 W. 181st Street(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com• Le Poisson Rouge 158 Bleecker Street(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com• Le Rivage 340 W. 46th Street(212-765-7374) Subway: C, E to 50th Street www.lerivagenyc.com• Lycée Francais de New York 505 E. 75th Street(212-439-3820) Subway: 6 to 77th Street www.lfny.org• Mt. Lebanon Baptist Church 228 Decatur Street(718-493-8770) Subway: A, C to Utica Avenue www.mlbcbk.org• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam(212-501-3330) Subway: 1 to 66th Street-Lincoln Center
www.kaufman-center.org• Metro Baptist Church 410 W. 40th Street (between Ninth and Tenth Avenues)(212-765-8446) Subway: A, B, C, D, E, F, S, V to 42nd 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• Miller Theatre 2960 Broadway and 116th Street(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com• Minton’s 206 W. 118th Street (between St. Nicholas Avenue andAdam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com• Mirror Tea House 575 Union Street, #A(917-909-0577) Subway: R to Union Street www.mirrorinthewoods.com• Mona’s 224 Avenue B Subway: L to First Avenue• Montauk Club 25th 8th Avenue, Brooklyn(718-638-0100) Subway: F to 7th Avenue• National Arts Club 15 Gramercy Park South(212-475-3424) Subway: 6 to 23rd Street www.nationalartsclub.org• National Sawdust 80 N. 6th Street(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org• Neighborhood Church of Greenwich Village 269 Bleecker Street(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net• The Nest 504 Flatbush Avenue(718-484-9494) Subway: B, S, Q to Prospect Park www.thenestbrooklyn.com• New York City Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org• New York Public Library 96th Street Branch 112 E. 96th Street(212-289-0908) Subway: 6 to 96th Street www.nypl.org• New York Public Library Spuyten Duyvil Branch 650 W. 235th Street, Bronx(718-796-1202) Subway: 1 to 238th Street www.nypl.org• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com• Nublu 62 Avenue C between 4th and 5th Streets(212-979-9925) Subway: F, V to Second Avenue www.nublu.net• Nublu 151 151 Avenue C(212-979-9925) Subway: 6 to Astor Place www.nublu.net• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C(212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org• The Owl Music Parlor 497 Rogers Avenue, Brooklyn(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue www.pangeanyc.com• Parkside Lounge 317 Houston Street between Avenues B and C(212-673-6270) Subway: F, V to Second Avenue• Parlor Entertainment 555 Edgecombe Ave. #3F(212-781-6595) Subway: C to 155th Street• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Street
www.patricksplaceharlem.com• The Penrose 1590 2nd Avenue(212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com• Pete’s Candy Store 709 Lorimer Street(718-302-3770) Subway: L to Lorimer Street• Poe Park 2640 Grand Concourse(718-365-5516) Subway: B, D to Kingsbridge Road www.nycgovparks.org• Queens Brewery 1539 Covert Street, Ridgewood
Subway: L to Halsey Street www.queensbrewery.com• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Street www.rizzolibookstore.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• Rose Theater Broadway at 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Roulette 509 Atlantic Avenue(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org• Roy Wilkins Recreation Center 17701 Baisley Blvd, Jamaica(718-276-8686) Bus: Q85 Bus to Merrick Boulevard/Baisley Boulevard
www.nycgovparks.org• Rubin Museum 150 W. 17th Street(212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org• Russian Samovar 256 W. 52nd Street(212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com• Russian Vodka Room 265 W. 52nd Street(212-307-5835) Subway: C, E to 50th Street
www.russianvodkaroom.com• Ryan’s Daughter 350 E. 85th Street(212-628-2613) Subway: 4, 5, 6 to 86th Street
www.ryansdaughternyc.com• St. Albans Congregational Church 172-17 Linden Boulevard(718-657-8282) Subway: E to Jamaica Center - Parsons/Archer
www.stalbanscc.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• San Carlo Osteria Piedmonte 90 Thompson Street(212-625-1212) Subway: C, E to Spring Street www.sancarlonyc.com• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street
www.scholesstreetstudio.com• The Schomburg Center 515 Macolm X Boulevard(212-491-2200) Subway: 2, 3 to 135th Street
www.nypl.org/locations/schomburg• SEEDS 617 Vanderbilt Avenue
Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org• ShapeShifter Lab 18 Whitwell Place(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com• Sheen Center 18 Bleecker Street(212-219-3132) Subway: 6 to Bleecker Street www.sheencenter.org• Showman’s 375 W. 125th Street at Morningside(212-864-8941) Subway: 1 to 125th Street• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com• Silvana 300 West 116th Street(646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com• Soapbox Gallery 636 Dean Street Subway: 2, 3 to Bergen Street• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com• Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues)
Subway: 2 to Sterling Street• Spectrum 70 Flushing Avenue
Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com• The Staybridges Suites 340 W. 40th Street(212-757-9000) Subway: 1, 2, 3, 7, A, C, E, S to 42nd Street/Times Squarewww.ihg.com• The Stone at The New School 55 West 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• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and
Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org• Terraza 7 40-19 Gleane Street(718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com• Threes Brewing 333 Douglass Street(718-522-2110) Subway: R to Union Street www.threesbrewing.com• Tomi Jazz 239 E. 53rd Street(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com• Town & Village Synagogue 334 E. 14th Street(212-677-8090) Subway: L to First Avenue www.tandv.org• Town Hall 123 W. 43rd Street(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.thetownhall.org• Triad Theater 158 W. 72nd Street, 2nd floor(212-362-2590) Subway: 1, 2, 3 to 72nd Street www.triadnyc.com• Tribeca Performing Arts Center 199 Chambers Street(212-220-1460) Subway: A, 1, 2, 3 to Chambers Street
www.tribecapac.org• Troost 1011 Manhattan Avenue(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com• Tudor City Steak House 45 Tudor City Place(212-682-4000) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street
www.tudorcitysteakhouse.com• Turnmill NYC 119 East 27th Street(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com• Uke Hut 36-01 36th Avenue(347-458-3031) Subway: N, W to 36th Avenue www.ukehut.com• University Settlement 184 Eldridge Street(212-674-9120) Subway: F, M to Second Avenue
www.universitysettlement.org• Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Walker’s 16 North Moore Street(212-941-0142) Subway: A, C, E to Canal Street• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY(718-384-1654) Subway: L to Bedford Avenue• Zankel Hall 881 Seventh Avenue at 57th Street(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org• Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincjazz.com• Zürcher Gallery 33 Bleecker Street(212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayettewww.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2020 47