YOUR FREE GUIDE TO THE NYC JAZZ SCENEJULY 2022—ISSUE 243

NYCJAZZRECORD.COM

SHABAKA
HUTCHINGSSENT HERE
BY HISTORY

DELFEAYOMARSALISDAVESTRYKERCHARLIEGABRIEL

JOHN
LEWIS

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

JULY 2022—ISSUE 243
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : DELFEAYO MARSALIS

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : DAVE STRYKER

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Calendar:calendar@nycjazzrecord.com
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Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Kevin Canfield, Marco Cangiano,
Thomas Conrad, Pierre Crépon,Ken Dryden, Donald Elfman,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Jordannah Elizabeth, Jason Gross,George Kanzler, Steven Loewy,
Kyle Oleksiuk, Eric Wendell
Contributing Photographers
Chris Drukker, Martin Morissette,
John Pietaro, Robert I. Sutherland-Cohen,
Adrien H. Tillmann
Fact-checker
Nate Dorward

nycjazzrecord.com

ON THE COVER : SHABAKA HUTCHINGSENCORE : CHARLIE GABRIELLEST WE FORGET : JOHN LEWISLABEL SPOTLIGHT : ARKADIAVOXNEWS
OBITUARIESFESTIVAL REPORTALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY

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by kyle oleksiukby marilyn lester
by jason grossby jim motavalli
by george kanzler
by ken dryden
by suzanne lorge
by andrey henkin

To speak in very 21st Century parlance, jazz has a branding problem. Is it museum
music or vitally modern? Does it belong on the loftiest concert hall stage or in the
dingiest of Brooklyn basements? Is the proper response severe nodding or uninhibited
dance? These are not questions to be answered in the miniscule space of an editorial
letter but major insight into the matter can be gleaned from the diverse cross-section ofplayers making up our roster of feature articles.
British saxophonist Shabaka Hutchings (On The Cover) could argue the dance-floor
aspect, especially during his appearance this month at Central Park Summerstage.
Trombonist and scion of the legendary clan Delfeayo Marsalis (Interview) certainly
believes that jazz is entertainment, even if can be presented in various forms, amethodology he will display during his run at Birdland and something he shares withfellow New Orleans stalwart and near-nonagenarian saxophonist Charlie Gabriel(Encore), who has just released his debut as a leader. Guitarist Dave Stryker, also at
Birdland this month, is an adherent of the blues and all it has brought to jazz over the
past century-plus while late pianist John Lewis (Lest We Forget), honored this month as
an inductee into Jazz at Lincoln Center’s Ertegun Hall of Fame, spent his career pushingjazz to be respected on the level of other classical forms while never losing its spirit.
The answer of what jazz is is as varied as those playing it. Get some inspiration from
our Album Reviews and go out to some shows this month and decide for yourself.
On The Cover: Shabaka Huchings (photo Adrien H. Tillmann - www.aht1985.com)
Corrections: In last month’s Label Spotlight, the Candid reissues came out officially on Apr. 15thand Eliane Elias won the Grammy for best Latin Jazz album.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

SUMMER NEVER SOUNDED THIS GOOD!
35 SHOWS IN 10 WEEKS
Jazz Legends & Rising Stars Annual Jazz Fest

Jazz at Lincoln Center Orchestra with Wynton Marsalis
The Lighthouse Project
Yacouba Sissoko & Siya
Bobby Sanabria & Quarteto Ache!
Albino Mbie Quartet
Duduka Da Fonseca & Brazilian Jazz All Stars
The Bill O'Connell Afro-Caribbean Ensemble
Emilio Solla Quintet
and many more

hamptonsjazzfest.org

NEW YORK @ NIGHT
N ow in its 44th year of free concerts at Prospect Park’s Tenor saxophonist/Jazz at Lincoln Center Orchestra

STEVE CARDENASBEN ALLISONTED NASH

HEALING POWER
THE MUSIC OF CARLA BLEY
SSC 1664

AVAILABLE 7/8//22—The music of Carla Bley straddles the musical sensibilities that this collective trio has focused on for overa decade. In this regard, the trio’s connection to theesthetic of Giuffre’s later trio, which featured Paul Bleyand Steve Swallow, is apparent as this version Giuffre’s groundbreaking trios played many of Carla Bley’s
compositions.

RANDAL DESPOMMIERBEN MONDER
A MIDSUMMER ODISSEY
THE MUSIC OF LARS GULLIN
WITH

SSC 1668—In this intimate context, Despommier’s poise andinventiveness on alto recalls the late Lee Konitz, one
of Gullin’s collaborators. His effortless blend with
Monder leads to many magical moments. The central
focus is the highly accessible yet always enigmaticmusic of Swedish baritone saxophonist Lars Gullin.

CHUCHO VALDÉSPAQUITO D’RIVERAREUNION SEXTETI MISSED YOU
TOO !
SSC 4562

AVAILABLE 7/22//22

The Cuban legends and their stalwart collaborators
met in early January 2022 in Miami, to capture thegrand event. The program they recorded included
originals by both leaders along with pieces by composers of two far flung generations and Latin styles,
Hilario Durán and Carlos Gardel.

ALLISON MILLERCARMEN STAAFNEARNESS
SSC 1673

AVAILABLE 7/29/22

The recording is made up of original compositions
and a couple of standards. A number of the pieces emerged organically just from the act of sitting
down, playing, and letting the music come together on its own while honoring melody and a sense oftime, even while playing free.

www.sunnysiderecords.com

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

AVAILABLE 7/15//22

veteran Victor Goines debuted his 12-part The
Woodlawn Suite, a masterwork à la the many suites
composed by Duke Ellington, at the titular Bronx
cemetery (Jun. 5th). Played by the “Woodlawn
Orchestra”, a top-notch 16-piece band, each section
offered a portrait in music of souls who rest in thecemetery. The influence of Ellington could be heard inseveral pieces, including “Madam C. J. Walker”,
a swing piece evocative of the sounds of Harlem. In“The Red Caps”, train sounds were cleverly heard,
echoing Ellington’s fascination with and many
compositions that were train-centric. “The Duke’sMen” and “One for Hawk” (Coleman Hawkins) also
called up memories of Ellington. “Down the Alley”,
a salute to the composers of Tin Pan Alley, featured
a syncopated swing reminiscent of early jazz work andthe melodic period style of Irving Berlin. Saucy Latinrhythms appeared in “A Night in the Latin Quarter”,
a tribute to Johnny Pacheco and Celia Cruz. The last
two movements of the suite, “Notes for the Fallen”
and “Until We Meet Again”, were New Orleans-stylefunereal pieces: the first was a mournful reflection
and the second an uptempo second-line typecelebration of lives lived, introduced by rousing
drumming.
Cappinganinspiring,virtuosic
presentation of jazz-based music was the independent“Woodlawn”, a lush, symphonic-like, could-be theme
song for the cemetery.
—Marilyn Lester

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

bandshell, BRIC’s Celebrate Brooklyn! rebounded fromno shows in 2020 and pared-down programming in
2021 to an exhilarating season opener (Jun. 8th)
showcasing Chicagoans DJ Reborn and neo-soulsongstress Ravyn Lenae, and Los Angeleno Kamasi
Washington. The tenor saxophonist isn’t afraid toshare spotlight with commensurate talent: trumpeter
Dantae Winslow, flutist/father Rickey Washington,
vocalist Patrice Quinn, keyboard player Brandon
Coleman, bassist Miles Mosley and drummers Tony
Austin and Ronald Bruner, Jr. After the catchy fournote opening motif of “The Garden Path”, a would-be
anthem to new-age awakening, Washington grew asolo of short sequences into long lines of fluid 16th
notes, taking the chockablock crowd along with him.
Each musician had their moment: Washington père on“Street Fighter Mas”; fils (celebrating his own
fatherhood) on “Sun Kissed Child”; Winslow rapping/soloing on his remonstrative “Blaxploition &Revolution”; Coleman artfully ‘bending’ pitches like awhammied guitar on his “Mutha Africa”; Mosleyclawing strings with feral strength on the swingingly
funkified “Fists of Fury”; Austin and Bruner trading
then overlapping phrases in an extended friendly feud.
If “truth”, as Washington noted in a preface to hissame-titled song, is increasingly hard to find, theearthy intelligence and street-smart spirituality in hismusic is comparatively easy to hear. —Tom Greenland

Kamasi Washington @ Prospect Park Bandshell

Victor Goines @ Woodlawn CemeteryK lezmer thrives best in live venues where, inspired by As leader/trumpeter Wynton Marsalis seldom fails todancers, any player can ‘call’ a tune with a few quick
notes, everyone else then joining in, ornamenting
melodies, adlibbing counterpoint and harmony,
improvising solos, the entire ensemble shifting tempos
and dynamics in loose-tight synchronicity. TrumpeterFrank London’s Yiddish Klezmer Extravaganza(Jun. 15) at Drom provided a long-awaited outlet forthe city’s once-quarantined, now jam-starved Klezmer
community. His Klezmer Brass Allstars gathered
members of iconic The Klezmatics (himself, vocalist
Lorin Sklamberg, clarinetist Margot Leverett anddrummers Aaron Alexander and David Licht) andyounger lights (clarinetist Michael Winograd,
trombonist Dan Blacksberg, accordion player Ilya
Shneyveys, guitarist Yoshie Fruchter and sousaphonist
Ron Caswell), featuring Sklamberg and Sarah Gordon
singing heart-clenching story songs in Yiddish andUkrainian. Next, Jake Shulman-Ment’s string-based
Fidl Kapelye, comprising four violins, cello, tsimbi(hammered dulcimer), mandolin, accordion, kaval(end-blown flute) and even hurdy-gurdy (the latter
two played by multi-instrumentalist/vocalist Éléanore
Weill) supported Zhenya Lopatnik’s poignant vocals,
all enlivened by the leader ’s florid clarinet. Best came
last, all performers (plus a few volunteers) crowding
onstage, some spilling into aisles, 21 musicians in all,to perform an exuberant, leaderless, 40-minute freefor-all, like flowers blooming after a long winter. (TG)

4 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

mention, the Jazz at Lincoln Center Orchestra is built
on the Duke Ellington ethic. In “The Best of Duke
Ellington” at Rose Theater (Jun. 10th), “the best” issubjective; with thousands of compositions to choose
from, any Ellington/Strayhorn presentation is a “can’t
fail” by default. From a robust, traditional Strayhorn
arrangement of “Take the ‘A’ Train”, the band, known
for playing an extremely tight groove, showcased
its members in a well-chosen set of bothcomposers. A formidable rendition of “Jack the Bear”
featured skillful bassist Carlos Henriquez while alto
saxophonist Sherman Irby carried the entirety of“Blood Count” in a mournful tour de force of playing.
A little-played but ‘fun’ Ellington, “Giddybug Gallop”,
revealed in its fast tempo and bursting notes why
Marsalis said, “you’ll realize why it’s called that.”“Northern Lights” from The Queen’s Suite featured adramatic drum introduction by Obed Calvaire, withthe remainder of the piece crackling with intensity. On
the opposite side of the coin, “Solveig’s Song” from
Peer Gynt Suite was stylish symphonic jazz. Songbook
standards were represented in “Concerto for Cootie”
aka “Do Nothing Till You Hear From Me”, “After All”
and “All Too Soon”, conjuring up dance halls of yore.
Giving himself a featured role on “Portrait of Louis
Armstrong” from New Orleans Suite reminded theaudience why Marsalis, a virtuosic player, leads aworld-class orchestra. 			
(ML)

Long in the planning stage Camille Thurman was F righteningly good music poured out of John Zorn’s

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

finally able to bring her “Burt Bacharach Reimagined”
project to Jazz at Lincoln Center ’s The Appel Room.
The final of four shows (Jun. 4th) opened up withdrummer Darrell Green’s quartet of guitarist Romero
Lubambo, pianist Michael Wolff and bassist Buster
Williams’ intro to “Going Out Of My Head”, the Teddy
Randazzo-Bobby Weinstein pop hit a staple in the
Dionne Warwick repertoire that popularized the
Bacharach songbook. Coming to the stage Thurman
picked up her tenor saxophone and stepped to the mic
to deliver an uptempo reading of the lyric, which set
the pace for swinging guitar, tenor and piano solos.
The celebration of all things Bacharach began with
“Walk On By”, Thurman singing Hal David’s lyric
with soulful assuredness and blowing warm-toned
tenor. She prefaced a stirring “What The World Needs
Now” by recalling the group’s recent performance in
Buffalo only hours after that city’s horrific mass
shooting. The rendition opened solemnly thenmodulated with Thurman’s wordless vocalizing into a
bossa groove that flowed through “Raindrops Keep
Fallin’ On My Head”. A fiery version “Close To You”
with bluesy tenor followed. Alto flute and piano began
a tender rendering of “Alfie” also featuring Williams.
Solo voice with Spanish-tinged guitar opened “TheLook Of Love” and the band swung hard on “A HouseIs Not A Home”. The show ended with Thurman
singing “This Gal’s In Love With You”. —Russ Musto

New Masada Quartet during its rapturous takeover of
The Sultan Room (Jun. 11th). This home of thenotoriously Brooklyn hip not only welcomed Zorn but
the SRO crowd swarmed the stage area and solidly
occupied the perimeter. The enthusiasm, too,
overflowed for one-time child prodigy and still-younglion Julian Lage who pensively covered the roles ofguitar hero, second ‘horn’ and harmonic wunderkind,spinning arabesques and melodic minor runs whiletightly crafting rhythmic pulsations. Speaking of
pulsations, Kenny Wollesen has been one of Zorn’s
most consistent drummers over the decades, artfullyceaseless in percussive dialogue, duologue, dissension
and declamation. Leaning an elbow into his snaredrum head as it leapt in pitch, Wollesen then slid a
thumb-roll on a tom to cause the drum to cry out under
the weight of Jorge Roeder ’s utterly compelling solo.
The bassist of Peruvian origin first came to prominencein Lage’s own band, but the Zorn connection became
imminent once he conceived New Masada. This band’s
one-world/boundless-liberation philosophy rooted in
Zorn’s own pride of heritage has successfullytransformed an already engrossing body of work andconjured a rare jewel: a seductively rhythmic music
fueled by free jazz and global traditions. Even as the
saxophonist erupted into fire music, the 20-somethings
cheered, rocked in place and broke out into brief,
sweaty moments of unbridled dance.
—John Pietaro

W H AT ’ S N E W S
After having been closed throughout the pandemic,
Smoke Jazz Club on the Upper West Side reopens
this month bigger and better, having taken over two
adjacent storefronts to expand its capacity. The grandreopening weekend will take place Jul. 21st-24th withclub stalwart George Coleman. For more information,
visit smokejazz.com.
The Sun Ra House at 5626 Morton Street, current
home of many members of the Sun Ra Arkestra,including its leader Marshall Allen, has been listed on
Philadelphia Register of Historic Places, ensuring its
continued maintenance.
Photographer John Rogers will celebrate the releaseof his book Old and New Dreams with a signing party
at Public Access Gallery on Jul. 7th at 6-8 pm, including
a performance by multi-instrumentalist Scott Robinsonand drummer Pheeroan akLaff.
Alternative Guitar Summit’s Summer Camp willtake place Aug. 22nd-26th at Full Moon Resort in Big
Indian, NY with a faculty of Bill Frisell, John Scofield,
Kurt Rosenwinkel, Mike and Leni Stern, Gilad
Hekselman, Isaiah Sharkey, Joel Harrison and Jerome
Harris.
For
more
information,
visit
alternativeguitarsummitcamp.com.
New Jersey Performing Arts Center’s Annual Geri
Allen Jazz Summer Camp will take place Jul. 11thand 14th and Aug. 18th and 22nd via Zoom forstudents ages 14-26 who identify as female ornon-binary. For more information, visit njpac.org.

JOHN PIETARO

The 2022 Hudson Jazz Workshop will take place
Aug. 11th-14th in Hudson, NY and include individualand group instruction, jam sessions and a faculty/
student concert with Armen Donelian, Marc
Mommaas and guest Mike Abene. For more
information, visit hudsonjazzworks.org.

Darrell Green & Camille Thurman @ The Appel Room

New Masada Quartet @ The Sultan Room

The Piano Jazz Series at the refurbished art deco- At Barbès (Jun. 9th), the crowd spilled in from thethemed Zinc Bar hosted Geoffrey Keezer for a pair ofsets (Jun. 7th). Leading a trio of bassist Noriko Ueda
and drummer Savannah Harris, the last of the Jazz
Messenger pianists opened up the evening with two of
his originals. He began with “Fractured”, a swinging
affair on which he demonstrated a commanding
virtuosic technique, then segued neatly into his “PortAlexander Moon”, a lilting waltz on which he displayed
a delicate touch, sharing the solo spotlight with Ueda
and Harris. He next revealed the breadth of his musicaltaste playing “Koikugari Bushi”, a folkish melody
from Japanese composer Sadao China he first heard on
a disc by the Okinawan vocal group Nênês. Opening
with a solo prelude that combined ringing upper
register notes with dark percussive chords, the music
swelled with the entrance of bass and drums, evincing
pensive melancholic optimism. The trio bebopped
authoritavely on Charlie Parker ’s “Segment”, thenplayed prettily on the gospel-tinged “The Kindest
Soul”, dedicated by Keezer to his late mentor, pianist
James Williams. The set ended impressively with an
expansive reharmonized arrangement of the Wayne
Shorter classic “Footprints”: it started off with Keezer
reaching into the piano, plucking the strings for a
koto-like effect before the band took off on an
incendiary journey, Keezer stretching out powerfully,
playing with double fisted brilliance and Harris hitting
hard, delivering a climactic solo. 		
(RM)sidewalk as Tredici Bacci (roughly translated: “13faces”) prepped for a late set. No holdovers from La
Traviata, the band is the acerbic brainchild of guitarist/arranger Simon Hanes, who requested that the band,a septet on this night, play its “Rites of Spring Medley”
for soundcheck, drawing hearty laughs. By the start ofthe show proper, each of the “bacci” demonstrated
considerable skill and unabashed heedlessness. Theirperformance, a mid-20th Century pastiche of film andtelevision themes, ‘60s pop and surf-rock guitar-isms
flavored by jazz and satire, was on point throughout.
Opening with spaghetti western music by the esteemed
Ennio Morricone, the ensemble excelled in the slowbuild, which became a march featuring rising avant
violist Joanna Mattrey. “Up, Up and Away” by Jimmy
Webb, a hit for The Fifth Dimension, followed, withTree Palmetto’s classic big band trumpet and Will
Green’s tenor saxophone out front. And then there was
the deliciously complex “Promises, Promises” (Burt
Bacharach-Hal David), sung with tongue firmly
planted in cheek by Hanes as the rhythm section of
pianist Borey Shin, bassist Jesse Healsey and drummer
Pete Moffett commandeered each metrical turn andoff-ramp with ease, the latter bearing an infectious
grin throughout. Several originals featured vocalist
Ryan Power before Tredici Bacci built a multi-genre
absurdist suite in real time, all based on suggestions
from the wildly enthusiastic crowd.
(JP)

The Brooklyn Conservatory of Music’s Amy
Winehouse Summer Jazz Camp will take place
Jul. 5th-8th and Jul. 11th-15th. For more information,
visit bkcm.org.
As a response to the changing New York environment
brought on by the pandemic, The 92nd Street Y
aka 92NY has announced plans for “Roundtable by
The 92nd Street Y”, an online platform for live,
interactive courses in the arts, culture, andhumanities and a renovation of its home on 92nd
Street and Lexington Avenue, with the launch of thefirst major phase of a $200 million campus masterredevelopment plan. For more information, visit
92ny.org.
The Jazz Power Initiative’s summer Jazz Power
Institute for artists and educators will take place
Jul. 6th-Jul. 7th at Lehman College with Dr. Eli
Yamin, Shireen Dickson, Tom Dempsey, Antoinette
Montague and Alison Crockett. For more information,
visit jazzpower.org/institute2022.
The DC Jazz Festival has announced the 2022
DCJazzPrix finalists: Akua Allrich & The Tribe; Jalen
Baker Quartet; and Julieta Eugenio Trio. These
groups will perform on Sep. 3rd during the
DCJazzPrix Finals as part of the 18th Annual DC
JazzFest. For more information, visit dcjazzfest.org.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | JULY 2022 5

COURTESY OF THE ARTISTINTERVIEW

DELFEAYOMARSALIS

thing about early New Orleans music is the degree towhich the musicians were selfless and playing music
for the enjoyment of their audiences. Who is theindividual in any field that truly represents America?
Without a doubt, Louis Armstrong. He came from avery tough situation, but anytime you hear his music,
whether you like it or not, it puts you in a better mood.
Because he had such an optimistic outlook on life andhe played music for the people’s enjoyment, not his
own. He wanted to please everyone else first and thenhimself. That is a great lesson for musicians of today.
So that would be the big suggestion: play musicfor your audience’s enjoyment and play music that				
(CONTINUED ON PAGE 31)

David Janeway Trio
Appearing:by kyle oleksiuk
Delfeayo Marsalis is a trombonist, record producer andfounder of the Uptown Music Theatre. Since 2008, he has
been leading the Uptown Jazz Orchestra. The band hasshows this month at Birdland and an album that will be
released later in the year.
The New York City Jazz Record: Can you talk about
the band you will be playing with at Birdland?
Delfeayo Marsalis: The band is the Uptown Jazz
Orchestra [UJO], founded in 2008. The core musicians
are from New Orleans, so there’s plenty of attitude to
go around. People say we’re a feel-good band andI agree—why have any other kind of band? Why playmusic that doesn’t make people feel good? We like tosay that we serve up a 10-course meal, so that by thetime an audience gets to the end of the set, you feel
fulfilled musically, spiritually and emotionally. One
UJO set covers a lot of American musical genres.
TNYCJR: And when will you be playing at Birdland?
DM: We’ll be at Birdland Jul. 26th-30th. And, in fact,
that’ll be my birthday week. We’re going to celebrate thatThursday night, the 28th. This’ll be the second time I’ve
played at Birdland. The first was with a quintet last year.
TNYCJR: How did this band form?
DM: In 2007, a bandleader asked me to play the classic
Ellington/Strayhorn Nutcracker Suite with his bandand it was one of those things where the guys weregood reading musicians, but they didn’t play the musicwith the proper feeling. So my goal for the following
year was to get a band together that understood thesound and soul of the music. We rehearsed for four orfive months. We played a couple shows and after thatthe guys in the band said, “Man, we should keep thisthing going.” I talked to my dad [late pianist Ellis],
who said, “Well, if you’re going to keep a band
together, you need to have a regular gig. You have tofind a place where you can play every week. You can’t
keep a band together with no gig.” So, we started
playing at Snug Harbor, which is the main listening
room in New Orleans. We kept that gig until the
pandemic hit and had plenty of great nights.
TNYCJR: What kind of music were you playing then?
DM: We started off playing what you might callrepertory charts: Basie, Ellington, Quincy Jones, Glenn
Miller. It was cool and those are great charts, but it
didn’t make sense to have a New Orleans band playing
primarily music from other places when it all started
where we live. Five or six years in, I really checked out
several of the great New Orleans trombone players,
Lucien Barbarin, Trombone Shorty, Big Sam Williams
and Corey Henry. They all had a similar sound thatcame out of the street brass band tradition that I didn’t

July 19th
sets at 7:30 and 9 pm
Mezzrow Jazz Club, NYC:
smallslive.com

have growing up. I realized that the real sound of New
Orleans is not a language or vocabulary thing at all,it’s an attitude and rhythmic thing. So, we started to
add more street music, the brass band repertoire, toour shows. That was what changed everything andonce we embraced it, it really gave us a unique sound.
TNYCJR: How did you choose songs after that?
DM: The only remaining UJO founding member at thatpoint was the Dirty Old Man, Roger Lewis. Roger isalways a crowd favorite. I might see someone at a gig
out of town and they’ll say, “Is the old guy still playing
sax with y’all?” It doesn’t matter the audience, young
kids, high schoolers, grown-ups…everybody loves
Roger because he exudes New Orleans through every
pore of his being! He brought in some Dirty Dozen[Brass Band] tunes, which might combine Charlie Parker
or James Brown or some other sounds with the street
groove. Now, we never stray too far away from home,
no matter how outside the music we play might get.
TNYCJR: What did the band do over the pandemic?
DM: Mainly we produced at-home videos and live
streams. The first one was in June 2020 and before that I
was really concerned, because New Orleans musiciansneed to play for audiences and guys had gone threemonths without a gig. We’re not a group that can just sit
at home, play and be satisfied in the practice room, so it
was a tough time. When we did that first live stream,guys were hanging out in the studio for a long time,
because it felt like “finally, we’re on our way back”. We
did probably seven or eight different live streams: abirthday bash, holiday bash, Mardi Gras Bash,Halloween Bash. The holiday and Mardi Gras shows
were especially fun because it gave us an opportunity touse our creativity in other ways. We made commercials
leading up to the shows that gave audiences a chance toknow us differently than just from the music we play.
Some great things came out of a pretty jive situation.

“This is an excellent recording, and the more you
listen, the more compelling the music becomes.
This could easily be one of the Top Ten Jazz
CD’s of 2021, and maybe one for the ages.”(Michael G. Nastos; Hot House Magazine,
SEMJA Update, WCBN, Ann Arbor, MI)“...And while the trio illuminates the covers,
Janeway’s compositions sound like classics..
A compelling and polished product.”(Dan McClenaghan, All About Jazz)

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

David Janeway Triofeaturing
Cameron Brown, bass
Billy Hart, drums
CD Release Event“Distant Voices”
on SteeplechaseFor further info and bookings:
DavidJaneway.com orconnect on facebook.com/
david.janeway.5

HJUNE 28TH - JULY 3RDH

ETHAN IVERSONBEN STREETNASHEET WAITSHJULY 5TH - JULY 10THH

JAKOB BRO TRIOTHOMAS MORGAN – JOEY BARONHJULY 12TH - JULY 17THH

GEORGECABLES TRIOESSIET ESSIET – JEROME JENNINGS
HJULY 19TH - JULY 24THH

GUILLERMOKLEIN QUINTETCHRIS CHEEK – LEO GENOVESE
MATT PAVOLKA - ALLAN MEDNARDTNYCJR: You have an album coming out later this year.
DM: Oh, yes. We’ve got the Mardi Gras CD coming out
in late 2022. It captures that true New Orleans sound ofcelebration, which seems to be our specialty. There are
a number of vocal tunes, some of the staple Mardi Gras
songs by Professor Longhair, Earl King, The Meters
and a couple of original compositions as well.
TNYCJR: Do you have pointers on running a band?
DM: My first recommendation for any musician,especially if they play instrumental music, is to A)
learn at least one song in the Billboard Top 20 every six
months and B) ask someone who is not a musician,“What song would you want to hear at my gig?”
Whatever song they say, learn it. Because the great

6 JULY 2022 | THE NEW YORK CITY JAZZ RECORDHJULY 26TH - JULY 31STH

JULIANLAGE TRIOJORGE ROEDER – DAVE KING
COMING IN AUGUST
HANDREW CYRILLEH
HBILL FRISELLH
HMIGUEL ZENÓNHHTOM HARRELLH

CHRIS DRUKKER / COURTESY OF THE ARTISTARTIST FEATU REDAVESTRYKERdoubt certain is that Stryker won’t be resting on hislaurels. In a long career that has not been his way. He is
an artist always on the move and looking ahead. v
For more information, visit davestryker.com. Stryker is at
Birdland Jul. 5th-9th. See Calendar.
Recommended Listening:• Stanley Turrentine–T Time (Musicmasters, 1995)• Dave Stryker–Blue To The Bone III (SteepleChase, 2001)• Dave Stryker–The Chaser (Mel Bay, 2005)• The Stryker/Slagle Band–The Scene (ZOHO, 2008)• Dave Stryker–Eight Track (Strikezone, 2013)• Dave Stryker–As We Are (Strikezone, 2021)

by marilyn lester
in 1980, little could he predict that the kid from Omaha,
Nebraska, whose initial inspiration for taking up
guitar lay in The Beatles, would become an intensely
prolific force in the jazz world. The Village Voice called
him “one of the most distinctive guitarists to comealong in recent years.” He was recently voted as one of
the top Jazz Guitarists in the 2022 DownBeat Critics andReaders Polls for the 15th time. He has 34 CDs as aleader and further credits as a sideman on more than
75 others. His newest album, As We Are, the 34th,
released in his own Strikezone imprint, represents adream come true, a high point in the life of a constantlyevolving artist.
From the Midwest “then”, Stryker the jazz artist
began to be forged in his teen years, happily obsessedwith rock, like most kids, until he heard jazz; he was
not only engaged by it, but began listening to records
by the greats such as Wes Montgomery, Pat Martino,
George Benson and others, trying to emulate the notes
and chords he heard in his own playing.
A seminal point came when Stryker was around
17: Billy Rogers, touring with The Crusaders, hit
Omaha, which also happened to be his hometown.
Rogers had already become legendary among guitar
players and musicians in the Midwest. Eventually,
Stryker moved to Los Angeles to study with Rogers.
From there he met the likes of organ players Jack
McDuff and Dr. Lonnie Smith. “That experience wasinspiring,” Stryker recounts. “Being in that kind ofcommunity, being on the bandstand with that level oftalent meant I had to up my own game.”
From Los Angeles, Stryker came to New York,established himself in the jazz scene here and joined
McDuff’s group, touring with him from 1984-85 andworking a steady gig with the group at Dude’s Lounge
in Harlem. A frequent attendee of those sets was tenor
saxophonist Stanley Turrentine, who would sometimes
sit in. Invited by Turrentine to join his quintet, Stryker
signed on, working with him from 1986-95, touring
festivals, concert halls and clubs across the globe. He
found he responded to that quality in Turrentine called
soul. Turrentine was steeped in it; he began his careerin R&B, moving on to soul jazz and into jazz-fusion.
“We are a product of what we love,” Stryker says.
“Working with and listening to Stanley helped me todevelop my own sound.”
It turns out that style is soulful and bluesy. When
asked what is it about the guitar that makes it, amongso many instruments in the Western musical canon, so
appealing and powerfully attractive to so many,
Stryker is quick to respond: the blues. “Sure, allinstruments have their intrinsic value,” he says. “Butthe power of the guitar comes from blues. Think about
the work of Lightnin’ Hopkins or B.B. King or even as
far back as Robert Johnson and it is that blues base thatmakes their work magnetic. That pulls you in. People
just respond to the blues.”
It was with Turrentine that Stryker ’s tunes began

to be recorded. “I actually began composing whenI began playing,” he recounts. “At that time it was partof my improvising, as a vehicle for improvising. So, it
has always been part of my thing.” His tune “SideSteppin’” was featured on Turrentine’s 1995
Musicmasters CD T Time. In 1990, SteepleChasegave him more opportunity to record his own work.
He released The Dave Stryker Songbook with over 150
originals and 18 of those appeared over five
SteepleChase CDs and are compiled in the book The
Music of Dave Stryker. In addition to Turrentine, singer
Kevin Mahogany, drummer Victor Lewis andsaxophonist Steve Slagle are some of the artists who
have recorded his work. (He also co-led The Stryker/
Slagle Band for 30 years.)
Prior to As We Are, Stryker ’s previous five album
releases have all gone to #1 on the JazzWeek Radio chart.
As We Are is, he says, “a dream come true.” It too went
to #1 on JazzWeek Radio and stayed in the Top 50 for 20
weeks. It is a concept album with pianist Julian Shore,bassist John Patitucci (who plays solely upright) anddrummer Brian Blade, plus a string quartet led by
violinist Sara Caswell with violinist Monika K. Davis,
violist Benni von Gutzeit and cellist Marika Hughes.
“This CD has been on my bucket list for a long time,”
Stryker enthuses. “It was the pandemic that made it
happen. Everything was shut down. There were nogigs, so I thought now is the time. I’d long wanted towork with strings. They have such a beautiful soundand I knew they’d add color to the guitar, but beyond
that really integrate with it so having no work gave mea goal to make this happen.”
What would happen was Stryker would write atune and send it to Shore, who would work on
arranging it, adding harmonies to Stryker ’s melodies.
“It was truly an inspiring process,” he says. The two
got together with Patitucci and Blade, the drum-bass
tandem à la Wayne Shorter but then, Shore studied
with Shorter Quartet pianist Danilo Pérez and thus theconnection. The next step was to bring in Caswell, who
added the rest of the strings. The final result was analbum with an overture, encapsulating the album’s
themes, composed with Shore, and eight more tracks:“Lanes”, “River Man” (the only cover, by Nick Drake),“Hope”, “Saudade”, “One Thing at a Time”, the title
track, “Dreams Are Real” and “Soul Friend”. Since thealbum’s release early this year, the reviews have been
uniformly positive, if not in the ballpark of raves.
Immediately ahead, during the first week of July,
Stryker will celebrate the album at Birdland Jazz Club,
mainly with Shore, Blade, Patitucci and Caswell,bringing in the rest of the strings near the conclusion of
the run. Also on the cards is a summer tour, Stryker ’strio opening for Steely Dan.
As to what the horizon holds, Stryker says he islooking forward to more gigging and letting anotherdream project present itself as it will. “Generally, if
I have a recording date set and that deadline to meet,that gets me started,” he allows. One thing that is no

SAINT PETER’S CHURCH

W hen guitarist Dave Stryker moved to New York City

SUNDAYS AT 5 PM
IN-PERSON OR LIVESTREAM.
ALL ARE WELCOME.
619 LEXINGTON AVENUESAINTPETERS.ORG

THE NEW YORK CITY JAZZ RECORD | JULY 2022 7

ADRIEN H. TILLMANN - WWW.AHT1985.COM

ON THE COVER

SHABAKA HUTCHINGSSENT HERE BY HISTORY
by jason grossF or someone who stands as a leading light in the

London jazz scene and heads three impressive bands,
saxophonist Shabaka Hutchings still has enoughstamina for an entire gym. Just before a Zoom interview,
he performed in Norway, flew back to England where
he took a train to the British coast, traveled to an
airport hotel for a red-eye flight to Barcelona foranother show, then arrived back in London where he
biked, went for a workout and then settled in a local
park to chat about his career. But even after all of that,
he remains a restless soul with more big plans.
Starting out in London, his family moved toBirmingham and Barbados when he was young.
He obsessed over hip-hop, picking up on then-current‘90s legends like Nas, Notorious B.I.G. and Outkast,with Tupac Shakur in particular being a hero and the
Library of Birmingham providing him ongoing accessto music through its lending program. Early in the
new millennium, when he immersed himself in the
London jazz scene, he was overwhelmed by it. “It was
massive!” he enthusiastically recalls. “It was a lot ofplayers who weren’t necessarily aware of each otherbut had intersecting paths.” He was particularly
intrigued by supportive musical networks such as the
Loop Collective and F-IRE Collective. He got one of his
big breaks when multi-instrumentalist Steve Beresford
invited him into the London Improvisers Orchestra,
which led him to UK legends such as Evan Parker and
Lol Coxhill. Another important connection was
saxophonist Pete Wareham, Hutchings becoming an
original member of Wareham’s Afrobeat/funk/jazz
fusion band Melt Yourself Down. This turned out to bea valuable step for the budding musician: “It was thefirst group that I was in that really made a conscious
effort to make the crowd dance. Even the idea ofmoving around the stage and not being stationary was
new to me.”With that as a launching pad, Hutchings was readyto branch out and simultaneously formed anotherfascinating fusion band, Sons of Kemet, melding
Cuban and New Orleans grooves, with a similar idea
in mind to Melt Yourself Down. “It is a rhythmic bandthat serves an audience that dances…but I would also
think about how to write for it so that it also takes you
on a journey.”
By 2016, Hutchings was ready to branch out evenfurther with two more bands. The Comet Is Coming isa cosmic-minded, Sun Ra-inspired trio he formed withdrummer Max Hallett and keyboard player Dan
Leavers and a whole different playbook: “None of us
write music or have charts. We just sit in a room,
improvise together, record it all and make an album
from that. We all have a similar compositional arc,
in that we seem to understand when the tunes should
shift or when to increase or decrease intensity.” As forthe group Shabaka & The Ancestors, yet anothermethodology is used: “I write a lot of the material ina way that I know it can be learned. There’s not a lot of
rehearsal time and it allows the band to stretch
themselves out. And I’m not about writing very
complex stuff. It is me and my journey of composition,

being held to distill simplicity so that multiple angles
amount to something of depth.”
By the end of the 2010s, more change was in the airfor Hutchings. Deciding to concentrate on his threeother bands, he left Melt Yourself Down and, in 2018,
produced the wonderful We Out Here compilation forBrownswood Recordings to chronicle a generationof London jazz artists coming up just after him andjust starting to put out their music, including Theon
Cross, Ezra Collective, Moses Boyd and Kokoroko,
a number of whom collaborated with Hutchings (whoalso appears on the album himself). Also in 2018 camethe third Kemet album, Your Queen Is A Reptile,which he considers a culmination of the band’s
work: “It is deeply structured in the way of Henry
Threadgill, which is a different type of music but uses
a similar idea.”
In the early 2020s Hutchings’ work was surprisingly
not slowed by the COVID crisis and he managed to put
out a few impressive albums. He sees 2020’s Ancestors’
album, We Are Sent Here By History, as the apex of deep
bonding between him and his band. “Whenever I’mjust hanging out with those people, the vibe is amazing.
I feel a lot of energy. It is just a great atmospherewhenever we’re around and then when you add music
and instruments to that equation then what it means isthat they actually inspire me is to push myself. Tumi
[Mogorosi] the drummer, what he brings out of me is
me finding out how far I think I can push my ideas, myenergy in any given solo. This is something very
specific to his character.” As for last year ’s Kemet
album, Black to the Future, he views it as a different
type of peak, related to how he carefully planned out
his music: “I was thinking of it as it was going to be a
progression, this idea of conceiving the record as one
thing: a journey from the beginning, introduction to
the end, one singular piece.”
His latest release is a solo album on Impulse!,
Afrikan Culture. If it sounds like there is a calmer
vibe to it than before, that is no accident. For this EP,
he focused less on Western instrumentation, insteadfeaturing shakuhachi (Japanese flute), kora (WestAfrican stringed instrument) and mbira (African
thumb piano) and even called the lead-off track “Black
Meditation”. “I definitely spent more time constructing
the music in that I recorded what was going to be thealbum over two days and then I started the productionand editing process. I then went back on another date
to record other compositions that I thought would
complete the whole record. So there was more of
a thought of actually what the whole thing was going
to be and what the whole thing needed to be in termsof what material needed to be added and how torecognize the tempos playing, to make the whole thing
into one unified piece. And I think this was actually
the first record where I really thought I was happy
with it, the entire structure, from start to end.”
For someone who has juggled so many projects at
once, you have to wonder how he manages to multitask but Hutchings maintains that is not his forté,
insisting that he has another important skill instead.

8 JULY 2022 | THE NEW YORK CITY JAZZ RECORD“The thing that I think that I have the ability to do is tounderstand when things need more or less focus at any
one given time. That’s the thing that I think is consistentin that I know when something needs to be delved intoand I’ll do that. Or I know when a deadline needs to beadhered to and when the deadline needs to be
stretched. And that means, for instance, that I might beon tour with The Comet Is Coming but know that I’ve
got a recording session for Sons of Kemet booked infour months’ time and I’ll know that I’ll just have afeeling of when I need to really start thinking about
what I want to happen in the studio.”
The Comet Is Coming will have a new album by
year ’s end, followed by a tour but then he plans abreak from the road. “I want to concentrate more on
the flutes and clarinets and that different pace of musicthat isn’t about the dance-floor environment. There’s
different ways of taking in music and different ways ofactually receiving the kind of healing that music cangive. And I think that actually bodily movement is one
and clubs are really great vehicles for that, but I thinkthat’s not the only way.” Part of his playing andpracticing now includes some intriguing experiments
as well. “What I’ve been doing lately is taking hip-hop
records and just listening to the phrasing of what
they’re saying and trying to play that on multiple
flutes in unison and then you get something thatsounds really interesting. And that’s what I’mpracticing now basically, using different kinds of loops
and making the flutes do different kinds of things.”
But the ever ambitious artist has even more plans.
In addition to practicing drawing and creatingcomplex, epic paintings with an eye on selling them
one day, Hutchings is also planning a full-length solo
album for 2024, which he plans to work on with animpressive list of collaborators, including Esperanza
Spalding, Marcus Gilmore and Jason Moran. Of special
interest to him is the recording space, the famed Van
Gelder studios. “It is really exciting to have that kindof history in the room itself. And it is actually the bestroom I’ve ever played in. And the room can take a lotof sound and make it into something special without
being overbearing.” As for that last part, the same
could be said of Hutchings himself, though he would
be too modest to admit it. v
For more information, visit shabakahutchings.com.
Hutchings is at Central Park Summerstage Jul. 31st with
Sons of Kemet. See Calendar.
Recommended Listening:• Sons of Kemet–Burn (Naim Jazz, 2013)• Nduduzo Makhathini–Icilongo (The African Peace Suite)(Gundu Entertainment, 2016)• Shabaka & The Ancestors–Wisdom Of Elders(Brownswood, 2016)• The Comet Is Coming–Trust In The Lifeforce of the
Deep Mystery (Impulse!, 2017)• Sons of Kemet–Your Queen Is A Reptile(Impulse!, 2017)• Shabaka Hutchings–Afrikan Culture (Impulse!, 2021)

ENCORE

CHARLIEGABRIELby jim motavalli
It is a great moment for jazz musicians when they

release their first major-label record. For New Orleanssaxophonist Charles Gabriel, it happened when hewas…89. The big occasion came in March, when his
debut on Sub Pop, Eighty Nine, hit the racks. Gabriel
has been a member of the Preservation Hall Jazz Band
since 2006, but his professional music career goes all
the way back to 1943, when he sat in for his father,Martin Manuel “Manny” Gabriel, in New Orleans’
Eureka Brass Band. Gabriel was born in 1932, so thatwould make him 11. Other collaborators in the Big
Easy included T-Boy Remy, Kid Humphrey, Kid Sheik,
Kid Shots, Kid Clayton and Kid Howard.
Dad played clarinet, alto saxophone and drums.
But the whole family was musical going back four
generations. “I had five brothers and five sisters,”
Gabriel says. “Coming up, dad assigned us to different
instruments. I picked the clarinet and tenor sax. All myearly training came from my father, then after WorldWar II I had other input from the concert band in the
Army.” The family moved to Detroit when Gabriel was
14, and—in a pattern repeated often during the great
northern migration—dad found work in the auto
industry, specifically at Ford. With Uncle Percy, hisfather founded the Gabriel Brothers Band, which played
New Orleans music for homesick southern expatriates.
Gabriel had a good musical sojourn in Detroit,
where he spent nearly 60 years. He briefly joined Lionel
Hampton’s band when he was only 16 and was aroundfor the early years of Motown. “I’m not sure which
records I’m on,” Gabriel said. “We’d go down andrecord the tracks and they’d lay the vocals on later. We
weren’t paid a big salary and there were no contracts.
They just hired individual players for X dollars. The
musicians always get taken advantage of!”The postwar period was a good time for jazz andblues in Detroit. There were dozens of clubs, with theauto industry roaring. Oldtimers remember the 606
Horseshoe Lounge, Club Three Sixes (which got Duke

Ellington and Sarah Vaughan), Club Plantation, Brown
Bomber Chicken Shack and Club Paradise (favored byElla Fitzgerald). Gabriel has warm memories ofencounters with fellow reedplayer Yusef Lateef at
El Sino Club. It was in Detroit in 1948 or 1949 that
Gabriel first heard Charlie Parker play at the Graystone
Ballroom. “Bird was hot then,” he said. “I didn’t know
where the notes were coming from; it just blew my mind
and I was flabbergasted.” Gabriel spent nine years in aband headed by Cab Calloway drummer J.C. Heard.
Eighty Nine is not Gabriel’s first recording. He maderecords that were released regionally or on his own label,including albums with Detroit trumpet player Marcus
Belgrave and others. He recorded in Singapore once. But
Eighty Nine is his first solo project on a major label. The
conduit was Ben Jaffe, creative director of Preservation
Hall and son of its founders Allan and Sandra and whoplays bass, drums and keyboards on the album. “I know
several people at Sub Pop and because of my relationships
there I was able to bring Charlie onto the label,” said
Jaffe, who also produced. They met through Preservation
Hall, also signed to Sub Pop.
Recording took place in 2020 and 2021 and features
six standards and two originals, “The Darker it Gets”
and “Yellow Moon”. Gabriel’s saxophone and clarinet
are heard to good advantage and there are also his
charmingly relaxed vocals on several tracks. “Stardust”
on clarinet is a standout. The sound is swing shading
into bop and there is a lovely ache in his ballad playing.
Gabriel studied Lester Young closely and he also loved
Zoot Sims and Coleman Hawkins. And the vocals?
“I don’t really consider myself a singer, though I cansing songs I’m familiar with,” Gabriel said. “When you
play an instrument, you learn how to deliver a song.
Even if I’m not singing, I like to know the words.”
Gabriel maintains an active schedule. At the time ofthis interview, he was looking forward to shows at
Preservation Hall and the New Orleans Jazz and Heritage
Festival. And maybe another album in his near future.
“There’s some stuff we might want to do,” he said. v• Marcus Belgrave/Charlie Gabriel–Marcus & Charlie:

Detroit’s New Orleans Connection (WJS Jazz, 2002)• Preservation Hall Jazz Band–New Orleans

Preservation, Vol. 1 (Preservation Hall, 2009)• Preservation Hall Jazz Band–That’s It!

(Columbia Legacy, 2013)• Charlie Gabriel–Eighty Nine (Sub Pop, 2020-21)

For more information, visit preservationhall.com/people/
charlie-gabriel
Recommended Listening:• Red Richards/Charlie Gabriel–Live at the Kerrytown
Concert House (Kerrytown Concert House, c.1994)• Original Camellia Jazz Band–That’s My Home
(Jazzology, 1995)

LEST WE FORGET

JOHN
LEWIS
by george kanzler
There is ample anecdotal evidence that the pioneers of

bebop and modern jazz knew and admired the musicof Johann Sebastian Bach. But the only one who everrecorded Bach’s music was pianist John Lewis.
Lewis, co-founder and musical director of theModern Jazz Quartet (MJQ), believed that jazz was aslegitimate and dignified as Western Classical andthroughout his long career he strove to present andadvance jazz as part of the greater music establishment.
And he arrived at that idea early in his life, when jazz,in the Swing Era, was both America’s popular anddance music. “I knew that jazz had ceased to be
primarily a dance music in 1939 when I heard Duke
Ellington play at a dance. His music was too exciting todance to, you’d be afraid you’d miss something, it wasso dramatic.” Also, for Lewis, it was all music. Whether
it was bebop or Bach, Swing or Baroque. He noted thatjazz developed along Baroque lines, as he told Gary
Giddens, “specifically the linearity of Charlie Parker’s
music or the call-and-response writing of the big bands.”
When Lewis was asked if his training (he had a
Masters degree) in European art music influenced themusic of the MJQ, he said: “No, it is only one of themeans to an end. I’m only conscious of finding a means
to some variety…I use my own imagination to findthings, to find a correct way to manipulate tones. Since
we are using a harmonic system that comes from
Europe, we have to learn to use it.”Lewis (May 3rd, 1920 - Mar. 29th, 2001) was raisedby his grandmother and great-grandmother in
Albuquerque, NM and studied music and anthropology
at the University of New Mexico. In 1942 he began
serving in the Army as pianist in a band where he met
and formed a lasting friendship with drummer Kenny
Clarke, one of the architects of bebop. Upon leaving
the Army in 1945 he moved, at Clarke’s urging, to New
York and enrolled in the Manhattan School of Music,
but spent much of his time in the 52nd Street jazz clubs

10 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

where bebop was fomenting. Upon hearing Lewis’“Bright Lights” (which was renamed “Two-Bass Hit”),
Dizzy Gillespie hired him as an arranger for his big
band, Lewis also taking over the piano chair when
Thelonious Monk left in 1946.
The roots of the Modern Jazz Quartet were in that
Gillespie big band’s rhythm section, which brought
together Lewis, Clarke, vibraphonist Milt Jackson andbassist Ray Brown. That foursome played as anentr ’acte spelling the big band at gigs. After the big
band’s demise (1948) Lewis worked and recorded withCharlie Parker and on Miles Davis’ Birth of the Coolnonet sessions. But in 1951 the quartet reformed as theMilt Jackson Quartet, changing its name to Modern
Jazz Quartet in 1952. The group became a leaderlesscooperative because, according to Jackson, “John was
not going to be a sideman for me and I was not going
to be a sideman for him. A collaboration had to comeabout.” Lewis was the MJQ’s chief composer, but hereally put his conceptual stamp on the group after
Brown and Clarke left and were replaced by bassist
Percy Heath and drummer Connie Kay by 1954. As
Heath explained it: “John had this idea to write some				
(CONTINUED ON PAGE 31)

L ABEL SPOTLIGHT

ARKADIAby ken dryden
Labels run by true jazz fans are a special breed,

although a big challenge is finding a balance between
seeking favorite artists and keeping the businessprofitable. Bob Karcy, already a music industry veteranwhen he launched Arkadia Records in 1995, has provenhimself to be a forward thinker who is able to evolve inthis constantly changing market.
After touring Europe for a time, Karcy managed
artists and worked as an independent music producer
in the US. But Karcy was restless and moved back to
Europe, working as an independent licensing agent,
as he explained, “I worked with the French television
networks and got access to their archives and saw thatthey had hundreds of jazz concerts, operas and ballets.
I made an arrangement to license their product aroundthe world, then they suggested that I license themmyself.” With the growing interest in consumer home
video, Karcy founded V.I.E.W. Video, where he initiallymade VHS tapes then switched to DVDs.
Karcy’s next step was to expand into CDs, which
led to his launch of Arkadia Records. He noticed thatmany of his favorite veteran jazz artists had short-term
deals with labels, but he wanted to give them a home.
Karcy signed a number of well-known players,
including Billy Taylor, David Liebman, Benny Golson
and Joanne Brackeen. Karcy noted, “We wanted tohave a mix of musicians, some well-known and artists
we thought had talent. I met Nigel Clark at Middem inJohn Coltrane’s Meditations
David Liebman

Pink Elephant Magic
Joanne Brackeen

Cannes; he was showcased in a big band of 13 guitarists.
We wanted to take a more international approach. We
signed the wonderful German pianist Uli Lenz, theBrazilian groups Nova Bossa Nova and Pé De Boi.
I’ve always liked cultural diversity, both musically andpeople in society. I’ve lived in different countries andappreciate different kinds of music and hoped that
we could make a difference presenting these artists.”
Karcy also recorded saxophonist TK Blue’s debut CD
as a leader and licensed historic French recordings by
Edith Piaf, Josephine Baker, Claude Trenet and othersfor his vocal sub-label Arkadia Chansons.
Arkadia Records stood out from its first CD in
1997, Billy Taylor ’s Music Keeps Us Young. Not only did
musicians have freedom to choose repertoire andplayers, but Karcy’s high standards for each releasealso meant excellent audio and striking covers withcolor photos and a unique foldout booklet giving
ample room for detailed liner notes and artist
comments, printed in a readable font size.
AfterseveralGrammynominations
andwidespread critical acclaim, Arkadia was on a roll,though changes in consumer music consumption
caused Karcy to pause the recording of new music. He
explained, “When we started it was the heyday of the
CD market, which no longer exists in any appreciable
form. The music industry has evolved from physical todigital product, which creates a new business world
on how to deal with artists and how to formulatea plan that is successful today. They need a team morethan ever because it is hard enough for artists to keep
their chops up, travel for gigs and do their music.
Artists who want to be leaders are under tremendous
pressure. If you’re an artist who is primarily an

Tenor Legacy
Benny Golson

educator and doing occasional gigs as a sideman, it is adifferent story. But a leader has an obligation to be up
to date with all the social media and all the newpromotional things, you need to put together a team todo that.”Karcy is still committed to making new albums fornow, emphasizing, “We intend to do them as physicalCDs and select titles as vinyl LPs, which is difficult
today because it is hard to find a manufacturer who
will deliver. They’re giving delivery times of up to
eight months. We offer our products through all the
distributors, Bandcamp and artists occasionally takeCDs on the road with them. The future looks to be
incrementally more digital. In the last couple of years,
digital revenue has far exceeded the sale of physicalproduct. Jazz radio still wants CDs, so it is hard togenerate physical product just for radio andpromotional purposes.”
Karcy is excited about his new and future releases,
explaining, “We’re going into the studio to record
a new TK Blue album. We’re very high on a new artist,
Tete Di Babuya, a very unique, interesting singer,
composer and violinist from Brazil. Her lyrics are
exceptional, with great twists and irony. She speaks
perfect English and Portuguese and sings in both.
We’re signing another Brazilian artist and looking for
new artists in the United States. We’re also releasingsome things in the can. We’d have artists record two or
three tracks that were a tribute to, songs of or inspiredby a major artist. We’re continuing our Thank You
series with tributes to Thelonious [Monk] and Miles[Davis]. We’re doing that through the Arkadia Jazz
Allstars, an ongoing group in itself of a variety of		(CONTINUED ON PAGE 31)

Eyes Of The Elders
T.K. BlueMusic Keeps Us Young
Billy Taylor

VOXNEWS

ENDURANCE
by suzanne lorge
Last year, Cellar Music Group formed a partnershipwith the SmallsLIVE Foundation, aligning their shared
mission of bringing quality jazz to the world. On Jul.
15th the collaborators will drop their inaugural releasefrom the SmallsLIVE Living Master Series, Sheila
Jordan’s Live at Mezzrow. Taped just last year on Oct.
25th, this is Jordan’s first live recording in a decadeand features one of her favorite rhythm sections:pianist Alan Broadbent and bassist Harvie S. The
album comprises many of Jordan’s now-classic tunes:
her clever ode to Charlie Parker, “The Bird andConfirmation”; brisk, bebop take on “The Touch ofYour Lips”; and solidly swinging “Lucky To Be Me”.
But it is Jordan’s off-the-cuff remarks, with her frankhumor and ever-present warmth, that make you wantto lean into the record. Smalls/Mezzrow owner Spike
Wilner deserves a major hat tip not only for forming
the nonprofit SmallsLIVE Foundation in April 2020—a quick response to musicians’ need during the
pandemic—but for his early adoption of streaming
technology for club performances.
Like Jordan, Rosa Passos’ extensive discography
helped shape vocal jazz over the last half-century. The

Brazilian singer/guitarist is a foremost interpreter ofbossa and samba, especially the works ofsongwriters Dorival Caymmi, João Gilberto andAntônio Carlos Jobim. But she also writes her own
tunes, like “Dunas” and “Juras” (both with Fernando
de Oliveira), light, fast-clip songs that come alive
under her delicate touch. She and her quartet recorded
these two songs (along with seven others) at the
Copenhagen Jazzhouse in July 2001 and last year
Storyville released these nine tracks as Dunas-Live In
Copenhagen. Passos, who rarely tours in the U.S., will
be at Dizzy’s Club (Jul. 14th-16th).
30 years ago this summer, Bryant Park reopened
after a four-year renovation project and quickly became
one of the city’s most visible outdoor performancevenues. Over the decades, it has presented scores offree summer shows in partnership with some of thecity’s leading performing arts organizations, among
them Carnegie Hall, New York City Opera, Alvin Ailey
American Dance Theater and several Broadway and
off-Broadway companies. This year Carnegie Hall
Citywide will sponsor several free vocal jazz concertsin the Park. You can catch high-wattage The Baylor
Project (Jul 8th), quirky, brassy Squirrel Nut Zippers(Jul. 15th) and charming Nellie McKay with The Hot
Sardines (Jul. 29th).
Such a difference. Back in July 2020, Bryant Park
was just starting to reemerge after lockdown.
Audiences wore masks and spaced the park’s moveable

bistro chairs six feet apart, when such unprecedented
maneuvers were the only precautions against a possible
coronavirus infection. Singer/pianist Daryl Sherman,
who played the first concert of the Bryant Park Piano
Series that summer, returns to the series this year (Jul.
4th-8th). When so much has changed, there is comfort
in artists like Sherman, whose understanding of theGreat American Songbook spans time and circumstance.
Myriam Phiro embodies the word chanteuse mostengagingly. Her strong emotional delivery of French
standards recalls smoky Gallic boîtes of another time.
This Bastille Day (Jul. 14th), she will present Soirée en
Musique with her gypsy jazz band Nuage Rhythm
at Joe’s Pub. The evening features select picks from theFranco/American repertoire, along with some excerpts
from Phiro’s Tribute to Edith Piaf show, which sold out
Joe’s Pub on the same date in 2019.
Margot Sergent, doyenne of the So French Cabaret,
also honors the Little Sparrow with The Piaf Experienceat the Birdland Theater (Jul. 28th). Sergent’s approachto the material is different from Phiro’s, however.
Sergent, too, turns out skilled vocals, but she also plays
jazz harp and piano in a tight string-based trio (guitar,bass). Formidable.
Summer Sass: G. Thomas Allen, the only fella everto win the Sarah Vaughan vocal competition, plays
Minton’s (Jul. 31st). And Samara Joy, also a Sassy
Award alum, joins Joe Lovano and Bill Charlap at The
92nd Street Y (Jul. 26th) as part of Jazz in July. v

THE NEW YORK CITY JAZZ RECORD | JULY 2022 11

I N MEMORIAM
BOB BARNARD (Nov. 24th, 1933 - May
7th, 2022) The Australian trumpeter was
active since the ‘50s, getting his startwith his older drummer brother Len’sgroups, then working with Graeme Bell,John Sangster, Jack Lesberg, DaveDallwitz, Nancy Stuart and others to go
along with leader dates for Axis, Swaggie, ATA, ABC,
Dialoque, Calligraph, Opus 3, La Brava and Sackville.
Barnard died May 7th at 88.
VERNELL BROWN, JR. (Aug. 13th,
1971 - May 23rd, 2022) The pianist
released his first albums as a leader for
A&M on either side of his 20th birthday
and went on to work with Gladys
Knight and Ronnie Laws and was alongtime member of Kenny Garrett’s
bands. Brown, Jr. died May 23rd at 50.
JEAN-LOUIS CHAUTEMPS (Aug. 6th,
1931 - May 25th, 2022) The Frenchsaxophonist came up in the ‘50s with
Henri Renaud, worked with LuckyThompson, Kurt Edelhagen, Chet Baker,
Daniel Humair, Martial Solal, Jef Gilson,
Nathan Davis, Raymond Fol, Colette
Magny, Claude Bolling, François Jeanneau and others
and had a handful of leader or co-led releases.
Chautemps died May 25th at 90.

NYO
Jazz

JUAN JOSÉ MOSALINI (Nov. 29th,
1943 - May 27th, 2022) The France-based
Argentinean bandoneón player had his
own or shared releases since the ‘70s on
Hexagone, Eigelstein Musikproduktion,
Label Bleu, Indigo, Shanachie and otherlabels and collaborations with Patrice
Caratini, 1984 World Music Meeting Ensemble, Tony
Coe, Stockholm Jazz Orchestra and Dee Dee
Bridgewater. Mosalini died May 27th at 78.
PAUL PLIMLEY (Mar. 16th, 1953 - May
18th, 2022) The Canadian pianist’s firstcredits were with Walter Zuber
Armstrong, Bob Bell, New Orchestra
Quintet and Paul Cram, then albums forhis own label, Nine Winds, Music & Arts,
hatART, Les Disques Victo, Songlines,
Intakt and others and work with Cecil Taylor, NOW
Orchestra, Dennis González, Barry Guy, Lisle Ellis,
Andrew Cyrille, Henry Kaiser, Glenn Spearman, Günter
Christmann and more. Plimley died May 18th at 69.
VICTOR SCHONFIELD (Dec. 19th,
1940 - May 3rd, 2022) The British jazzpromoter organized numerous concerts
starting in 1968 with his Music Now
series, which included performances by
AMM, Music Improvisation Company,
SpontaneousMusic
Ensemble,
Amalgam, Christian Wolff, Musica Elettronica Viva
and Sun Ra Arkestra, produced records for Transatlantic
and Cadillac and wrote liner notes for albums on
Arista-Freedom, Black Lion, Deram, Emanem, FMP,
Fontana and Matchless. Schonfield died May 3rd at 81.
BERNARD WRIGHT (Nov. 16th, 1963
- May 19th, 2022) Though the keyboard
player is better known for his own funkalbums and work with artists ranging
from Doug E. Fresh to Chaka Khan, he
did have credits since the ‘80s with
Harvey Mason, Michal Urbaniak, Miles
Davis, David Sanborn, Stanley Jordan, Charnett
Moffett, Lenny White, Marcus Miller, Sadao Watanabe,
Roy Hargrove, Snarky Puppy and others. Wright diedMay 19th at 58. v

Sean Jones

Thursday, July 28 at 8 PM
Stern Auditorium / Perelman StageNYO Jazz

Sean Jones, Artistic Director, Bandleader,and Trumpet
with Special Guest
Jazzmeia Horn, Vocals

Jazzmeia Horn

Lead Donors: Hope and Robert F. Smith, Marina Kellen French and theAnna-Maria and Stephen Kellen Foundation, The Kovner Foundation,
and Beatrice Santo Domingo.
Global Ambassadors: Michael ByungJu Kim and Kyung Ah Park,
Hope and Robert F. Smith, and Maggie and Richard Tsai.
Major support has been provided by the Mercedes T. Bass Charitable
Corporation, Ronald E. Blaylock and Petra Pope, Estate of Joan Eliasoph,
Mr. and Mrs. Anthony B. Evnin and the A.E. Charitable Foundation,
Clive and Anya Gillinson, Marc Haas Foundation, Melanie and Jean E. Salata,
Sarah Billinghurst Solomon and Howard Solomon, and Joyce and George
Wein Foundation, Inc.
Additional support has been provided by the Alphadyne Foundation,
Sarah Arison, Stella and Robert Jones, Martha and Robert Lipp, Lauren
and Ezra Merkin, Beth and Joshua Nash, Linda Wachner, David S. Winter,
and Judy Francis Zankel.

Hear the future of jazz music this summer
as the bright young musicians of NYO Jazz
return to Carnegie Hall under the direction of
trumpeter Sean Jones. Vocalist Jazzmeia Horn
joins the ensemble to perform music from her
Grammy-nominated album Dear Love.
Tickets start at $20.

carnegiehall.org/NYOJazz
Box Office | 212-247-7800
Artists, programs, dates, and ticket prices subject to change. © 2022 Carnegie Hall.
Photos: Jones by Conrad Louis-Charles, Horn by Drew Bordeaux.

12 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

Exclusive Timepiece

Official Payment Partner

FESTIVAL REPORTMARTIN MORISSETTE / COURTESY OF FIMAV

FIMAV
by kurt gottschalk

Makigami Koichi

After a canceled 2020 and truncated 2021, the Festival

International de Musique Actuelle de Victoriaville(FIMAV) returned May 16th-22nd with a serious effort
to hold true to the “International” in their name,
although not without difficulties. Spanish singer
Fatima Miranda and the Ukrainian singing group Dakh
Daughters both had to cancel (although neither, it
seems, for reasons of health or political conflict).
The gaps in the schedule were filled by a pair ofpast FIMAV invitees: Japanese vocalist Makigami
Koichi who, on top of attending nearly every set of thefestival, offered his own solo performance; and New
York bassist William Parker, who took fine advantage
of guitarist Ava Mendoza’s presence to present aversion of Mayan Space Station with drummer Francisco
Mela sitting in for Gerald Cleaver. Mendoza wasalready booked with Sean Noonan’s Pavees Dance.
The latter ’s prog-ish compositions are closer to
Mendoza’s own music than Parker ’s free-flow andPavees Dance gave her an opportunity to share thestage with bassist Jamaladeen Tacuma, but the leader ’s
cartoonishness was a distraction. The Space Station
was a better deployment for her, in a set dedicated todeparted Canadian improvisers Ken Aldcroft and Paul
Plimley. While the excellent 2021 record was composedor chopped into distinct cuts, here they flew into orbit
and circled long. What may have been most notablewere Mendoza’s flights of fancy, running freer than she
often allows herself in her own projects. Electric guitars
have a way of demanding attention but it was also
astounding, again and as ever, to witness how manyideas Parker can have and deliver in a minute’s timeand how much melody and rhythm Mela has at his
disposal. It may have been a last-minute addition but it
was, both in this reporter ’s opinion and as often notedby others during breaks, a festival standout.
Koichi appeared in the smallish Église
St-Christophe D’Arthabaska, a nicely resonant chapel
also hosting concerts by the Quasar saxophone quartet
and music for strings by Simon Martin. He played asequence of short, unamplified pieces for voice, jaw
harp, reed flute and toys that was as charming as it
was mysterious. His enigmatic, sometimes rather alien,
vocal techniques are familiar to those in the know.
What was impressive here was how well heincorporated the small instruments into his syntax.
The Arabic/Québécois intersect—one of thehottest fountains of cross-fertilization in recent years
with circles intersecting around the “A” Trio, Karkhana
and the Praed Orchestra!—was well represented in thefestival, which opened with a set by Egyptian singer
Nadah El Shazly, now conveniently based in Montréal,a couple of hours from Victoriaville, where herbandmates Sam Shalabi (also Egyptian) and Radwan

Ghazi Moumneh (originally from Lebanon) make theirhomes. Their twin twang of buzuk and oud and Sarah
Pagé’s harp elaborating on El Shazly’s sung popleaning melodies made for a fusion of a highly
enjoyable order. The leader ’s soulful, wrenching voice
remained constant, supported online in peripheral
ways by the rest of the band but not in need of support,
like a cry in the night, not for help but of sorrow.
The Lebanese “A” Trio is celebrating 20 years ofactivity but only recently is gaining notice on this sideof the Atlantic. Mazen Kerbaj (trumpet), Sharif
Sehnaoui (guitar) and Raed Yassin (contrabass) makeextreme use of extended technique and instrumental
noise, but do so with an unusual and uncanny precisionand commitment to form. They had played a few
nights earlier at the Brooklyn Conservatory of Music(in a show produced by Issue Project Room) and thedistinction between that essentially acoustic set andtheir meeting with the Victo sound (read: full, balanced
and loud) was almost as fascinating as their own deep
immersion into accidental sounds made purposeful.
Arabic influences might have begun to seem a bit
suspect in this context for the festival closer, Vancouver
jazz guitarist and oud player Gordon Grdina, had it
not been so enjoyable. Grdina has long incorporated
Middle-Eastern influences and instruments into hismusic and here did so with a pair of strong ensembles,
The Morrow and Square Peg (uniting them into
a septet at the end). Tight string lines and sensitive
soloing typified both ensembles.
Like Grdina, guitarist Mary Halvorson offered theeconomical option of a double bill with a single leader.
Amaryllis & Belladonna is a set of pieces for string quartet
with her guitar and a second set for sextet, sometimes
with the Mivos Quartet strings added. The overlaid
guitar and strings was, at times, quite beautiful, but
Halvorson’s arrangements for the quartet didn’t always
work. With the jazzier sextet (trumpet, trombone,
vibraphone, bass and drums), her playing was more
confident and the compositions more complete. Provingthat the sum of two parts is better than the best of bothworlds, the three pieces by the combined tentet were
exciting, evocative, bold, subtle and rich. While there is
still room to grow, it is Havorson’s strongest and mostambitious project to date.
Swedish saxophone powerhouse Mats Gustafsson
made two appearances: in a duo with Colin Stetson
and a trio with David Grubbs and Rob Mazurek. The
duo represented perhaps two of the most muscularsaxophonists around going not just head-to-head but
neck-to-neck while also complementing and supporting
each other through ever shifting improvisations andsome nicely staticky electronic ornamentation. In thetrio, Gustafsson’s consistently recognizable tone was
supplemented by electronics in rather surprising pulse.
With Mazurek’s trumpet and electronics and Grubbs’electric guitar and voice, they circled into some attimes fairly terrifying songs.
The fantastic Mopcut (vocalist Audrey Chen,guitarist Julien Desprez and drummer Lukas König)threw punch after punch in a late-night set that seemed
to run a thread through disparate fabrics: Koichi’s
vocal extremes; the power of the abstract trio; andelectric guitar mastery. Their only record is three years
old already, but they remain a band to watch.
Even with the considerable international showing,
Québéc made a strong presence, with the ensemble
No Hay Banda playing pieces by Montréal composers
Navid Navab and Ida Toninato. The latter ’s works
were especially striking, tickling the imagination as
much as the ear with slow builds of potential energy.
And Pangea de Futura, with members of Godspeed
You! Black Emperor and thisquietarmy filled a spacethat Jeremiah Cymernan’s Bloodmist and Franck
Vigroux’ Forêt only hinted at, a cosmic darkness, aheavy metal not reliant on rockism. The nine-pieceband (1/3 drummers) succeeded not just by virtue of
density but by fully occupying the zone they had

created. It was epic and just a little ridiculous.
Guitarist René Lussier is a regular at the festival.
Having taken advantage of the pandemic lockdown towrite his largest-scale pieces to date, he presented newworks with an octet including reeds, strings, accordion,tuba and two percussionists. Taking Québécois folk as astarting point (as he often does), he built something thatgrew surprisingly loud and dense, with Koichi sitting inon a couple of songs. Although it fell on the second of
the four nights, it felt—at least to this cultural tourist,
returning to Victoriaville for the first time in a decade—like a homecoming and a fittingly grand finale. v
For more information, visit fimav.qc.ca

THE NEW YORK CITY JAZZ RECORD | JULY 2022 13

ALBUM REVIEWS

Spill | Live at the Knitting Factory | Live in Italy 1994
No Safety (Knitting Factory-Cuneiform)
by John Pietaro

No Safety forged new ground in the high times of‘Downtown’ yet remains left to the squalor of myth andlegend. Founded by harpist/keyboard player/vocalist
Zeena Parkins and dipping into free improvisation as
easily as post-punk, the band happily, brazenly knew
no bounds. With a lineup completed by guitarists Chris
Cochrane and Doug Seidel, bassist/vocalist Ann Rupel
and drummer Tim Spelios (though the chair was
initially held by Pippin Barnett), No Safety worked thehallowed underground, recording debut The Lost Leg at
Noise New York in 1988. It was a festival of Alphabet
City agitation, embracing noise as much as complex
rhythmic shifts. Now a trio of releases by Cuneiform
demonstrates the band at its most magical.
Spill, No Safety’s second studio recording (1992),
displays the band’s early no wave roots alongsidestunning exhibits of performance practice and withlyrics memorializing vital struggles of the day. Finallyrereleased, remastered and sounding amazing, this
digital download-only release is a historic necessity.
Blasting off with “Oh No” in which Rupel and Spelios
engage in a glorious rhythmic chase, ducking andweaving through cross-guitar torrents as the bassist’s
desperate vocal is shouted forcefully. The band reveledin the kind of West African-inspired, interlocking guitarlines Robert Fripp melded into music philosophy, often
within polyrhythms split over each linear part. Even
when such structures were woven over a standard 4/4,
the parts shone and often erupted into instrumental
segments
bearing
odd-time
signatures(i.e.,“Distraction”, a pummeling song of rampant
materialism). But the band’s artistry comes to fruition
with “Sad”, its meters of 7s and 9s, established inadditive patterns, careening through dire lyrics of AIDS
crisis alienation. And then there is “Post-Nature”, its
dystopian message in jaggedly placed vocals before
shredding the airspace with an alternating 9/8-10/8
groove. Cochrane’s moving, poetic liner note, alarming
still, casts a deserved pall on the era filled with division,
homelessness and frightening death rates. He echoes
this in “A Sense of Ruin”, blending gentle balladeering,intense 6/4 palpitations and banshee guitar.
1993’s Live at the Knitting Factory, explodes in soundand energy from its birthing moments. Swinging hardin upbeats, screaming banshee-like in dual guitars,
drums and bass throbbing almost painfully, “Take Me”,
a driving ska number, opens the album like a cold blastof arctic wind. “Definition” echoes ‘80s King Crimson
with female vocals befitting The B-52s, Bush Tetras and
The Waitresses. Listen especially for the middle section
where Parkins mixes it up with the guitars, bathed in
distortion and harmony’s liberation. Here andthroughout, almost percussive electric bass wraps
around the lines of the others like a boa, gnarly, caustic
and ceaseless. This becomes most evident with the
instrumental section of “Someone”; ah, there is much tobe said for the raw strength of this scene in this period.
Oddly, each cut seems to fade out before the obvious
audience rapture, even prior to any kind of extended
improvisations. Still, the thunderous crack of Spelios’
backbeat propels us to the next and next and next cut.
As always, Cochrane embraces the socio-politicaloeuvre of the day and this is heartily reflected in “EightYear-Old with an Uzi”, its howling, chromatic blues
testifying along with his vocal. At points, the pulsation
becomes near overwhelming, with such tight drumming,
snarling bass and hissing guitars, but here within a fullband of improvisers. Is there any plausible reason thesesongs didn’t invade the dance floors?

However, Live in Italy 1994 is the lost jewel of thistriptych. Brief, it documents the final performance ofa tiring European tour, which begat the splintering of
No Safety. For this outing, guitarist Kato Hideki had
already replaced Seidel. Notably, Hideki’s career soon
blossomed with Parkins, Marc Ribot, John Zorn, Karen
Mantler and many more. But this truly historic release,long disappeared, now cleaned up and mastered for
future adulation, should bring the attention that had
often eluded the band. The first selection, “A Monkey
Definition”, is a reconstruction of an Art Bears piece,
juxtaposed with some of No Safety’s own material andbrandishing free solos. The room sound, at once
rumbling and confining, contains the feedback andaudience reaction for which you would hope. One canalmost smell the blended scent of sweat and beer inevery distorted note. “No Slave to an Unforeseen
Future”, based on the determined artwork of David
Wojnarowicz, then two years gone from AIDS, isthrobbing, empathic expressionism featuring effectsladen guitars and harp and the pained vocal of Cochrane.
The bagpipe-like guitars of “Pavlov” implode into arhapsodic instrumental suite moving through various
tempi and genre before “Submerged Upside Down
Devotion” takes this pastiche through funk, hardcore
and something other. By this period, it is clear that the
principals were highly confident of their skills and solo
flights were among the features. The closer, which isactually the piece No Safety opened the show with, is“Take Me”. The upbeat ska propulsion was not only
retained but also put to the test. The B-section thunders
across one’s speakers, embellished by unexpectedswitches of time signature, which not only turns aroundthe beat but the listener’s very sense of stasis.
For more information, visit cuneiformrecords.bandcamp.com.
Chris Cochrane is at Ibeam Brooklyn Jul. 1st, The Owl Music
Parlor Jul. 7th and 411 Kent Avenue Jul. 13th. See Calendar.

I Want A Little Boy
Kim Nalley Band (with Houston Person) (s/r)
by Alex Henderson

It isn’t hard to understand why singer Kim Nalley

would choose Houston Person as her guest on I Want A
Little Boy. Ever since Person emerged during the ‘60s,
the big-toned tenor saxophonist has partnered withnumerous vocalists. Their collaboration works
consistently well on this solid soul-jazz outing.
The Bay Area-based Nalley is known for having
a definite Billie Holiday influence, especially prominent
on classics part of Holiday’s repertoire: Carl SigmanBob Russell’s “Crazy He Calls Me” and Arthur
Johnston-Johnny Burke Depression-era standard“Pennies From Heaven”. But the R&B element is
impossible to miss on Nalley’s inspired performancesof Ray Noble’s “I Hadn’t Anyone Till I Met You”,
Charles G. Dawes’ ballad “It’s All in the Game” andRudy Toombs’ “Teardrops From My Eyes”.
Jimmy Campbell-Reg Connelly-Harry M. Woods
standard “Try a Little Tenderness” famously received
the Stax Records/Memphis soul treatment from singer
Otis Redding in 1966, but the song existed 34 years
before that and Nalley, for all her soul-jazz inclinations,performs it as a torch ballad. As gritty as Nalley is on“Teardrops From My Eyes” and two arrangements ofBilly Moll’s “I Want a Little Boy” (one a vocal duetwith Maria Muldaur), she shows her ethereal side on
Fred Rogers’ good-natured theme song from his long-

14 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

running children’s TV show. And whatever type ofsong Nalley embraces, Person and Nalley’s working
band of Tammy Hall (piano), Barry Finnerty (guitar),
Michael Zisman (bass) and Kent Bryson (drums) rise to
the occasion. The veteran tenor saxophonist is featured
on most of the tracks and Nalley makes him an integral
part of her album, even listing him as co-producer.
Nalley is consistently appealing, what she lacks inoriginality made up for in soulful expression.
For more information, visit kimnalley.com. Houston Person
is at Birdland Theater Jul. 1st-4th, Birdland Theater Jul.
17th with the Django Festival All-Stars and Grant’s Tomb
Jul. 27th as part of Jazzmobile. See Calendar.

Fitzsimmons (with Bill Graham andR • Dana
Brandon Boone)–Fault Lines (s/r)
e • Dick
Hyman–George Avakian Presents
One Step To Chicago: The Legacy of Frankc Teschemacher and The Austin High Gang
(Rivermont)o • Hyper.Object–inter.dependence(Phonogram Unit)m • Katharsis–People
and Places (AUT)
Lencastre–Common Groundm • José(Phonogram Unit)
Makhathini–In The Spirit of NTU
e • Nduduzo(Blue Note)Mosca–For Lennie Tristano (Solo Pianon • Sal1970 & 1997) (Fresh Sound)d • RedGreenBlue–The End and the Beginning(Astral Spirits)e • Samo
Salamon & New Freequestra–
Free Distance, Vol. 2: Poems are Opening
d (Fundacja Słuchaj)• ChimyTina–Constellations (la reserve)

Laurence Donohue-Greene, Managing EditornBernstein & The Hot 9–e • Steven
Manifesto Of Henry-isms (Community Music,
Vol. 3) (Royal Potato Family)w • Camille
Bertault/David Helbock–
r
e
l
e
a
s
e
s

Playground (ACT Music)• Tony Falco/Josh Sinton/Jed Wilson–
Adumbrations (Form Is Possibility)• Satoko Fujii/Joe Fonda–
Thread of Light (Fundacja Słuchaj)• Hard Rubber Orchestra–Iguana (Red Shift)• Darren Johnston–Life in Time (Origin)• Michael Leonhart Orchestra–
The Normyn Suite (Sunnyside)• Fred Moten/Brandon López/Gerald Cleaver–
Eponymous (Reading Group)• Punkt. Vrt. Plastik–Zurich Concert (Intakt)• John Yao’s Triceratops–Off-Kilter(See Tao Music)
Andrey Henkin, Editorial Director

ArcadesAnthony Coleman/Brian Chase (Chaikin)...im Gebirg
Studio Dan/Anthony Coleman(Records & Other Stuff)
by Kurt Gottschalk

In a career dating back 30 years (at least counting fromhis neo-klezmer Disco by Night debut), pianist/composer Anthony Coleman has proven himself averitable hydra of musical reconsideration andreworking. He has applied his many heads, with great
success, to early jazz and ragtime, Jewish traditions,
20th Century classical and Downtown improvisation,
sometimes with self-effacing humor, sometimes withgreat seriousness. It is hard to know what to expect
next from a musician so fascinating because he seems
so endlessly fascinated himself, but it is rare that his
projects don’t hit at a high level.
Two recent releases suggest the variegated prongsof the trident he wields like some new music Neptune(and, yes, I’m quite willing to flog this metaphorical
Pegasus to death). In one, we hear Coleman in freeflow in an intimately recorded dialogue with drums.
In the other, a commission from an Austrian ensemble
with a proven interest in the NYC downtown, Coleman
the composer responds to the great history of 20th
Century Viennese music, but doesn’t close the door toother strains of inspiration and contemplation.
Adding to the headiness, Arcades, Coleman’s duowith Yeah Yeah Yeahs drummer Brian Chase (releasedon Chase’s Chaikin imprint) takes its cues from Walter
Benjamin’s The Arcades Project, an unfinished critiqueof the Parisian bourgeoisie to which the philosopher
devoted more than a decade leading up to World War
II. There is plenty of grist for the mill there and, if one
so chooses, one can listen for (and find) opulence,
decadence and hectic urban pace in the music. One canalso, of course, ignore all of that, but either way, thealbum is a cerebral joy: five active and often ebullient
tracks, beautifully recorded and mixed by Jeff Cook.
The detail of the recording is as enjoyable as the spirit
in the playing.
It takes a mind like Coleman’s to draw a connection
between Second Viennese School composer Anton
Webern and ‘70s punk minimalism, but it is there plain
as day in the short outbursts of singular expression.
Coleman goes further to draw connections to
Thelonious Monk’s gestural language in the liner notes
to ...im Gebirg, his truly exciting album with Studio
Dan. The ensemble was founded in 2015 and has
commissioned and worked with Anthony Braxton, Fred
Frith, George Lewis and Elliott Sharp, among others.
They are, in other words, quite adept at realizing theideas of composers who color outside the lines.
As with the Walter Benjamin inspiration, however,
the influences at play on ...im Gebirg aren’t worn on thesleeve. Journalist Thomas Mießgang draws further
allusions in the liner notes, finding links to Glenn Branca,
Morton Feldman and Sun Ra. Those are certainly all
ingredients in Coleman’s cooking pot, but the half-dozen
pieces aren’t cheeky pastiche. He makes good use of thesmall chamber orchestra: three strings, two woodwinds,
two brass, a drumkit and both himself and Michael
Tiefenbacher on piano and harmonium. The music isvery much composed (improvisation would seem to be
at a minimum) and, if not without precedent, singular in
its exposition and singularly Coleman’s. Recorded liveat Porgy & Bess in Vienna in 2019, the pieces (with the
exception of the opening track) fall into a tidy five-sevenminutes each, with a through-line suggesting an

emotional arc, if not a narrative one. The exception thatproves the rules in place comes in the penultimate“Orgelstück”, a quartet improvisation for bass, drum
and both keyboard players, which is nicely uncenteredand sadly seems cut short.
Coleman is quite too humble to be called a god.
He makes no claims to Neptune status. He is no Perseus
freeing Pegasus from the head of Medusa only to bebeaten by an unimaginative journalist thirsty forallusion. But he is an absolute master of improvising
upon, composing within and advancing the traditions
born of jazz. These two records are neither the first nor
the last times he has proven that, but prove it they do.
For more information, visit anthonycolemanandbrianchase.
bandcamp.com and studiodan.at. Coleman is at The Stone at
The New School Jul. 1st. See Calendar.

Smoke Sessions [Remixed]
Nicholas Payton (Smoke Sessions)
by Jim Motavalli

There is nothing inherently wrong with smoothmusic—it doesn’t all have to be jagged edges. Nicholas
Payton’s original Smoke Sessions with bassist Ron Carter,
drummer Karriem Riggins and two guests—George
Coleman (tenor saxophone) on “Big George” and Isaiah
Sharkey (guitar) on “Gold Dust Black Magic”—isa pretty laid-back affair. Payton’s Fender Rhodes worksmooths it out somewhat, but it is still firmly jazz, or
what Payton calls “#BAM” (Black American Music).
Now we have four of the tracks remixed, three by
Riggins and one by producer/instrumentalist Tomoki
Sanders. The results take out even more wrinkles, but
it is plenty jazzy. The immediate antecedents are therecords of French producer St. Germain and the entire
Jazz is Dead series, which resurrects ‘60s-70s starplayers in decidedly modern, hip-hop-influenced
settings. Some of that music works and some of it
doesn’t. These remixes mostly do, as chill-out music.
Coleman’s saxophone is still upfront on “Big
George”, but now surrounded by bubbling percussion.
It is definitely funkier, though Coleman—now 87 andin fine form here—is always going to sound likehimself; no Tom Scott commercialism enters hisgrooves. “Levin’s Lope” is larded with ghostly vocals,
handclaps (maybe electronic), a more insistent beatfrom Riggins and the bassline from Payton’s own“Cyborg Swing”. It goes down easily.
“Gold Dust Black Magic” is now dub-inspired andPayton, playing a few repetitive phrases, sounds likelate-period Miles Davis, dropped into a packaged
background. The results aren’t better than the rather
spare original—probably not the intent—but it did
produce a track much more likely to be played in a club.
Sanders’ one track, “Hangin’ In and Jivin’”, isa lot like “Gold Dust Black Magic”, but also has whatsounds like sampled voices, lots of percussion and an
insistent electric bassline. The New York City-based
saxophonist is just 28, so there is a real reaching acrossthe generational aisles here. Payton himself commented
about these tracks: “I hope it highlights there’s not
such a disparity between more traditional styles andcurrent ones.” Fair enough. Keep the original Smoke
Sessions for Sunday morning and maybe play theremixes at the Saturday night party.
For more information, visit smokesessionsrecords.com.
Payton is at Blue Jul. 5th-10th. See Calendar.

UNEARTHED GEM

For Lennie Tristano (Solo Piano 1970 & 1997)
Sal Mosca (Fresh Sound)by Marc Medwin“Individuality is such a big part of creation,” states

Sal Mosca in Un-Sung, the only documentary on thestill-underappreciated pianist (who died 15 years ago
this month). He could just as well have been speakingof his mentor, equally neglected Lennie Tristano, forwhom much of the material on this superb disc wasapparently recorded in 1970.
This is the earliest available documentation of his
solo pianism. Again, we owe this bounty to Mosca
archivist Don Messina, who also provided the material
for the November 1992 concert Talk of the Town on
Sunnyside. Here we have some of that repertoire morethan 22 years earlier, recorded in Mosca’s home studioand having somehow escaped the fire that destroyed
everything, including his piano. On the box was
written: “For Lennie Tristano”.
What is abundantly clear is the staggeringmusicianship and contemplative dedication imbuing
every gesture. Dig the accented right hand opening“All the Things You Are”. The diverse ingenuity ofphrase, displacements, chromatic inflections andarpeggiated harmonies, implied or otherwise, can betraced back to Tristano only in their unpredictability as
the left hand whispers the slightest intimations of
stride. The multifarious freedoms reached from within
the tune’s harmonic framework, which may be the realconstant in both Tristano and Mosca’s musicianship,
are overwhelming. How many melodies are weactually hearing at 3:26 beyond the right-handcomplexities? Similar ambiguities pervade “Talk of theTown”, especially when the right hand heats up at
1:24, sweeping aside everything preceding withrocketing and diving runs at lightning speed. The
harmonic invention exhibited over the next 10 seconds
is equal parts confounding and exhilarating. It would
be difficult to imagine the block chords that then takeover the texture failing to please Mosca’s teacher inthis fresh and historically multivalent context. We areeven treated to the medley approach that would
become such an integral component of Mosca’s later
work. The way “Night and Day” lopes and swings
effortlessly into “These Foolish Things” is a wonder.
The two 1997 selections, recorded for a WKCR
broadcast, speak to an increased introspection, aloosening of virtuosity’s hold in favor of temporal
exploration. What a joy it is to hear Mosca’s ruminations
on Bix Beiderbecke’s “In a Mist”, that rollicking mixtureof Scriabin, Debussy and ragtime he would tinker withand finally record on piano. Mosca elongates bothrhythmic and harmonic activity in the service of
spontaneity, making the piece his own as he discovers
the ramifications of each tone and chord. Each statementof the melody is slightly different, but none of it preparesfor the harmonic challenges of “Stella by Starlight”
capping the program. It is late Tristano again but
transmogrified, viewed through the floating lens of a
Bach chorale. The juxtaposition of the two tracks seems
to sum up both Mosca’s multifaceted playing and thedisc as a whole, a magnificent entry in his catalogue.
For more information, visit freshsoundrecords.com

THE NEW YORK CITY JAZZ RECORD | JULY 2022 15

G LO B E U N I T Y

EstelarAndré Matos (Robalo Music)
17 Compositions
Guillaume Gargaud (Panoramic/New Focus)
GlühenThomas Maos (Way Out)by Tom Greenland

It has been a while since this column treated solo
guitar projects (Nov. 2017) but the challenge remains
the same: 6 strings, 10 fingers, countless choices. This
month features soliloquists from Portugal, Franceand Germany meeting the challenge their own way.
Lisbon-born André Matos now resides in NYC.
Estelar is a succinct, spartan introduction to his lowkey but highly evocative solo style, a mix of Indianclassical sensibility à la Vishwa Mohan Bhatt, whereineach note of a particular mode is sequentiallyintroduced and established as an individual color,
and Mississippi Delta blues techniques, high keening,slide-driven melodies soaring over thumb-struck
bass notes with minimal chording. The ten short
tracks—averaging three minutes—are akin, based on
open-string drones (low E-string tuned down to
E-flat, D, D-flat or C for contrasting pitch centers)with upper register melodies spooling out leisurely,
each tone caressed and lingered over. Three tracks
have discreet overdubs; the others are single takes, allclose-mic’d to pick up string noises, an integral hueof the sonic palette.
Le Havre-based Guillaume Gargaud takes arelatively purist approach to 17 Compositions: barehands (not even a slide) on steel-string acoustic
guitar, single takes (no overdubs), every track lessthan two minutes long. The compositions are abstract
and oblique, eschewing droning bass-notes or
obvious tonality—though many make indirectreferences to the pitches C or B—to give the album an
intimate, improvisational character: the former due
in part to audible breathing marking off each phrasewith a faint but clear inhalation, the latter attributable
to the elusive compositional structures suggestive ofcontemporary classical serial works. Gargaud
achieves a beautiful balance of contrasting interactive
parts, introducing variety via diverse techniques—leaping trills, half-bends, sparkling harmonics,
muted tones, slow glissandos, crunchy poly-chords—
featured in select spots, or else melded together inquick succession, as on the timbrally rich 13th track.
Thomas Maos’ Glühen embraces electronica, theTübingen guitarist using his solid-body electric moreas a trigger/conduit for a bevy of samplers,sequencers and signal processors than as an acoustic
signature. A multimedia artist who brings cinematic
vision to music, he employs various implements andstomp pedals to evoke effects sounding like anything
but a guitar: crinkles, crackles, rattles, bangles,squeaks, scratches, chimes, whistles, buzz-saws,
dental drills, depth sounders, duck calls, churchorgans, fire alarms, plunging sirens, fireworks,
cascading bombs, low-flying helicopters, breaking
waves and the like. The dramatic arc of many of thedozen tracks—which vary in length from just over 2
minutes to just under 12—is largely sustained bycontrasts of timbre and texture, mixed so that eachdistinctive sound is panned to opposite sides of thestereo mix, creating an engaging ‘dialogue’.
For
more
information,
visit
robalomusic.com,
newfocusrecordings.com and elektrogitarre.detête-à-tête
Stefan Bauer/Michael Heupel (JazzHausMusik)
by Anna Steegmann

Stefan Bauer (vibraphone/marimba) and Michael

Heupel (flute) played together at the “Vibraphonissimo”
festival in Fürth, Germany, in 2020, recorded by
Bavarian Radio. Part of it became tête-à-tête, their first
duo album, and while they have worked together since
the late ‘70s this album feels innovative and new.
Bauer, New York-based since 2001, has beenplaying piano in local German jazz bands since he was
17. In addition, he studied the trombone and later
vibraphone. He has performed with the Vienna Art
Orchestra, NDR Big Band and led several ensembles.
Heupel, based in Cologne, where he teaches jazz fluteat the University of Music, founded a quartet in the‘90s, performed as a soloist and in many ensembles
and toured Asia, Africa and Latin America with
Norbert Stein’s Pata Masters. Bauer has also traveled
the world and brought his impressions of various
cultures into his playing style. This album is a tributeto their musicianship, curiosity and openness.
For the ten-track, 40-minute program, the musicianstake on diverse functions, tasks in a traditional ensemble
distributed among several players. Bauer states that the
duo pursues their often interlocking interests in different
styles, forms, sounds and rhythms. The album has
individual compositions, three jointly-written tunes andinterpretations of Smt. R.A. Ramamani’s “Kartik” andHermeto Pascoal’s “Chorinho”.
One track is called “Meditation”, but, in a way,most of the tracks are meditative. “Kartik”, dreamy
and exhilarating at once, stands out. Bauer takes center
stage until slow, elongated playing from Heupel
emerges. Then, the beautiful melody picks up pace,becoming faster and looser until it fades slowly by
returning to the theme. “Summer ’s Embrace” delights
with an easy groove, “Miniatur I” is short andminimalistic, “Miniatur II” more experimental and lessmelodic and “Happy Jack” swirling and turbulent.
“Adieu” mesmerizes with melancholy flute tones and“Chorinho” alternates between lively and slow tempi.
The interaction is intricate, vivid and delicate allat once. Listeners will relish this musical meeting.
For more information, visit jazzhausmusik.de. Bauer is atSunset Park Library Jul. 7th. See Calendar.

Gone (Live at Soapbox Gallery) declare that last point;“Poetic Justice” and “An Appeal for Reason” are titles
but also dramatic, assertive and heartfelt recitations, thelatter about the events of Jan. 6th at the Capitol. The
former begins with a soulful “Shenandoah” (traditional),
ending with a few bars of “The Star Spangled Banner”
before the recitation of “Lies of Convenience”. Therefollows a balladic “Forever”, in memory of George
Floyd, ending with a burst of an excerpt from “WhoSays?” The narration of “An Appeal for Reason” isfollowed by a beseeching a cappella “If I Ruled theWorld” (Leslie Bricusse-Cyril Ornadel). A number Jost
wrote in 1995, “Livin’ in the Wrong Time”, a folk-styleballad, still relevant today, follows next.
Yet, all of Jost’s output is deeply felt, often withraw emotion. It would be easy to imagine him in thebohemian Greenwich Village scene of the ‘50s-60s, but
he is an updated version and most certainly of this age.
The two CDs are largely composed of standards, buttransformed through the lens of creative expressionism.
He scats and produces various vocalizations thatsometimes glance sideways at singing. “Bye ByeBlackbird” (Ray Henderson-Mort Dixon) begins as aparlando to Jim Ridl’s haunting piano. It bursts into
swing and a fair amount of scat, ending on a slow
tempo with Jost in melancholy sentiment. This kind of
arrangement is prime Jost. He has the capacity to thinkout of the box and while he may not be everyone’s cupof tea, for those who appreciate his fearless creativity,
his material is an eye-opening treat. A bluesy, hip“Centerpiece” (Harry Edison-Jon Hendricks) is full ofscat and talk-singing, plus shows off Jost’s mastery of
the harmonica. There is also an extended piano solo byRidl and others by bassist Martin Wind and drummer
Tim Horner. An egalitarian, Jost uniformly gives hisband ample opportunity to shine in their solos; in fact,
they are seldom in the background, instead playing
with Jost as an integrated, synergistic whole. Closest toa standard interpretation of material is “My FoolishHeart” (Victor Young-Ned Washington) in a light swing
version with the energetic bass of Lorin Cohen
providing a steady, toe-tapping rhythm. Jost delivers
the song with a strong feel for jazz and vocal dynamics,
which work with emphatic phrasing to give the number
zest along with emotional depth. “Sunshine Superman”(Donovan) is transformed into an extravaganza ofrhythm. An extended drum solo opens it, followed by
Jost singing several bars of the tune as a story song. The
rest is instrumental and some scat, for a total of morethan seven minutes of musical exploration. Define Jost
as you will, but what is indelibly true is that in all ways
he is a remarkable storyteller.
For more information, visit jammincolors.com. This band is
at The Bitter End Jul. 10th and Soapbox Gallery Jun. 26th.
See Calendar.

bar bayeux

CoCktails, Wine, Craft beer,
1066 nostrand avenue - barbayeux.Com

tuesdays: 8 pm-12 am

Jam session with diego voglino

Wednesdays: 8 & 9:30 pm

dezron douglas (Jul. 6th) | david Weiss (Jul. 13th)
Willerm delsifort (Jul. 20th) | matt Pavolka (Jul. 27th)

Thursdays: 8 & 9:30 pm

While We Were Gone (Live at Soapbox Gallery)
Paul Jost Quartet (Jammin’ Colors)by Marilyn Lester

Several things about Paul Jost inform his singing styleand music choices. Foremost, his vocalizations are
unique and individual, derived from a lifetime as a
drummer. He is also a thinker; intelligence permeates
the lyric and narrative of his music and he is political ina positive way. Jost deeply cares about social issues. The
subtitles of the two CDs that make up While We Were

16 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

adam kolker/Jeremy stratton with guests
dick oatts (Jul. 7th) | eb silverman (Jul. 14th)
sasha dobson (Jul. 21st) | Hery Paz (Jul. 28th)
5-7 pm: Happy Hour with marta sanchez

fridays: 8 & 9:30 pm

loren stillman (Jul. 1st) | spin Cycle (Jul. 8th)
Jonathan michel (Jul. 15th) | Gil and any defay (Jul. 22nd)
simon Willson (Jul. 29th)
5-7 pm: Happy Hour

saturdays: 6-7:30 pm

neal kirkwood (Jul. 2nd) | michael kanan (Jul. 9th)
santiago liebson (Jul. 16th) | steve Cardenas (Jul. 23rd)
bruce barth (Jul. 30th)

8 & 9:30 pm

michael Weiss (Jul. 2nd) | ron mcClure (Jul. 9th)
Garvin blake (Jul. 16th) | Caleb Wheeler Curtis (Jul. 23rd)kazemde George (Jul. 30th)

CantoRuss Lossing/Loren Stillman (Aqua Piazza)
by Ken Dryden

Both pianist Russ Lossing and alto saxophonist Loren

Stillman have shown themselves to be adventurous
instrumentalists and composers throughout theircareers, whether with their own bands or playing withothers. They have worked together on a number of
CDs over the last quarter century, but this is their first
duo date. This session of modern music sounds very
spontaneous, at times hinting at free improvisation
while still retaining the essence of being composed.
The chemistry between the players is phenomenal,
their intuitive reactions to each other on par with thebest of piano-saxophone duos, producing music that is
introspective, unpredictable and emotional. Stillman’s“Her Love Is Like Kryptonite” has a pensive air as
Lossing introduces it unaccompanied while thesaxophonist conveys both beauty and sorrow in his
haunting solo. The saxophonist’s “P” seems like aballad, though it is not set in a traditional format, yet
Stillman never loses his lyrical sound. Lossing’s
turbulent “Channel” is noteworthy for its staccato
theme, which develops into a freewheeling, dramatic
atmosphere. The pianist’s “Canto” has the feeling ofloneliness and despair, with the piece growing indissonance as it progresses. Lossing’s “Whispers”
sounds more thoroughly composed than the othersongs, with a more traditional structure and fewer
detours from its melodic path, though the pianist andsaxophonist are no less intriguing in their inventive
improvisations. “Move On In” is the sole collaborative
composition, with a degree of mystery and foreboding
from spacious piano and mournful saxophone. The
success of this meeting should convince Lossing andStillman to explore this format further.
For more information, visit russlossing.com. This project is
at Ibeam Brooklyn Jul. 12th. See Calendar.

Heatmap
Caleb Wheeler Curtis (Imani)
by Dan Bilawsky

Even those familiar with saxophonist Caleb Wheeler

Curtis’ standout work—two previous leader dates,
contributions to collective entities like Walking
Distance and Ember, his presence in pianist Orrin
Evans’ orbit—cannot say that they truly know thedepths within it. An intrepid creative with a broad
understanding of this music and the wisdom to avoid
being boxed in by that perceptiveness, Curtis has
carved out a place for himself at the junction where
known and unknown meet. No two efforts he makes
sound the same, yet all bear the marks of his
intelligence, curiosity and fearlessness.
Heatmap, 10 originals composed during Curtis’four-week MacDowell Fellowship residency in New
Hampshire during the spring of 2021, finds the
saxophonist in heavy company, with Evans, bassist
Eric Revis and drummer Gerald Cleaver. Inspired byhis surroundings during that writing period andreflecting nature’s expanse, the music leaves plenty ofbreathing or blowing room while simultaneously
maintaining its structural integrity. The trust he shows
in offering that space and freedom to his bandmates—
bold, world-class improvisers—pays dividends.
Opening with the title track, where the mercury
rises through and after successive entrances from Evans,
Cleaver, Revis and Curtis, it is immediately clear that
this is a combustible enterprise. Then the coolly
capacious “Tossed Aside” comes along to show us what
is on the other side of the coin, Curtis and Evans each
stepping forward to wind their way through a fairly
open floor plan. There is a return to jostling interplay
with the surfacing of “Surrounding”, a rambunctious
ride owing a clear debt to Ornette Coleman’s language.
And Curtis and company are quick to calm after that,
settling into the sediment for “Limestone”.
That variety—movement between temperaturezones, creating contrasting colors of intensity—iscentral to this album’s success. And it always keeps
one curious about what will come next. To that point,“Splinters” spotlights an energized and jaggedly
communicative Curtis before the introspective “Trees
for the Forest” takes a wide-eyed look at the woodlands.
“Trembling” projects nervous energy contrasting withthe mysterious, sotto voce sounds of “Whisperchant”.
And the puckish aggression of “C(o)ursing” gives way
to the cycling anxieties of “Spheres”. Seriously
impressive in every way, this mood-shifting musicleaves you breathless.
For more information, visit calebcurtis.com. This project is
at The Jazz Gallery Jul. 15th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JULY 2022 17

Thread of Light
Satoko Fujii/Joe Fonda (Fundacja Słuchaj)by Jordannah Elizabeth

J apanese pianist Satoko Fujii and bassist Joe Fonda are

explorers who know how to create atmosphere inways that cannot be taught, only heard and experienced
with openness, excitement and adventure. Thread ofLight is the fourth in a series of duo recordings after
2015’s Duet, 2017’s Mizu and 2019’s 4 (all released onLong Song Records), the pair becoming wondrously
familiar with each another over the years. What is mostamazing about the level of dialogue on Thread of Lightis that this album was recorded at the height of thepandemic in 2021, individual tracks waxed thousandsof miles apart in the players’ respective homebases ofKobe, Japan and New York City.
The album is sumptuous and somewhat quiet.
Opener “Kochi”, a port city on the Indian coast of
Malabar, also loosely translated as “small lagoon” inEnglish, has a light feel, Fujii avoiding her instrument’s
lower register to make Fonda the underpinning of thesong. “Fallen Leaves Dance” is much more fast-paced,feeling less like leaves floating down naturally during
autumn than a storm, gusts of wind sending themswirling, dancing across the skyline of Central Park,
leaves experiencing the movement of the bustling city.

The next two pieces, “Reflection” and “Anticipation”,
continue the album’s arc of slow and quiet to swift andpleasantly sparse. The latter quality is a function
both of the format as well as the admirable restraint of
the players.
The album continues with inspiring, sensuous andsatisfying tracks like “Wind Sound”, which has Fonda
on flute and Fujii on chimes in its introduction. The
album gets slightly more eclectic with the players’ useof secondary instruments but the duo’s intent—
evoking the presence of nature, light, wind, leaves andwater—is unshakeable. They never stray from thefoundation and theme of the album. You never quite
know what Fujii and Fonda are going to do from track
to track, which creates a sense of fun and spontaneity.
For more information, visit fsrecords.net. Fonda is at Ibeam
Brooklyn Jul. 16th with both Mara Rosenbloom and Barry
Altschul. See Calendar.

Guitar & Me
Aleksi Glick (s/r)
by Elliott SimonO ne of many lessons from the pandemic is that tocreate and grow, jazz musicians need to play live with
one another. Lack of work impedes career development

18 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

and oppresses financially. Recorded under thosedifficult circumstances, Guitar & Me is the debut solo
release from guitarist Aleksi Glick. The session is apersonal reflection on this environment through newmusic and fresh takes on familiar songs. Opener “WithEase” is an uncommonly strong self-penned tune.
Glick shows off his bop chops and, as the title suggests,
he is at home in this genre.
Sturdy compositions with memorable hooks andengaging structures characterize Glick’s writing.
As such, they are ready for the fuller realization arhythm section would bring. The title cut is a Spanishtinged lonely paean to this situation with a delicious
hook while “A Tune for Vic” pays elegant tribute tolate guitarist Vic Juris. “Rebirth” could serve as thebasis for a killer Beatles-esque rocker but instead has
to settle for life as an isolated guitar part whereas“MTA Blues” is an excellent song suffering some fromoverzealous overdubbing.
Glick shines as an arranger and musician but isagain stifled somewhat by the setting. That said, he
impresses on an eclectic and well-chosen collection ofsongs, which range from Jerry Garcia-Robert Hunter ’s“Casey Jones” and Paul Simon’s “Still Crazy After All
these Years” to Frederic Weatherly’s “Danny Boy” andHoagy Carmichael-Stuart Gorell’s “Georgia on My
Mind”. His playing is clean and tasteful, remainingtrue to the originals’ intent but adding his own touch.
Danny Dill-Marijohn Wilkin’s “Long Black Veil”
features a sparse countrified vocal to close out the set.
Guitar & Me captures Glick at a particularly vulnerable
and frustrating time but seemingly ready to expand his
approach.
For more information, visit aleksiglick.com. Glick is at
Rockwood Music Hall Stage 3 Jul. 20th. See Calendar.

Love Songs
Gabby Fluke-Mogul (Relative Pitch)by Phil Freeman

Improvising violinist Gabby Fluke-Mogul has only

been in New York since 2020, but has been part of theouter edges of the music scene for many years, having
studied and worked with Pauline Oliveros and Fred
Frith and performed with guitarist Ava Mendoza,
bassist Amanda Irarrázabal, saxophonist Zoh Amba
and many others. Her previous solo albums, thread andthreshold, contained improvised tracks given titles after
the fact: “bruise”, “m is for mo(u)rning”, “kairos” andthe like. In an interview with contemporary classicalblog I Care If You Listen, Fluke-Mogul claimed that Love
Songs was created under “a very different process…I
recorded each piece with a title and a set length inmind.” It is tempting to wonder what those titles were,
because the final version of the album contains 17
tracks, each of which is just called “Love Song” 1
through 17, with the numbers rendered as strings ofvertical hashmarks, like so: “Love Song I”, “Love SongIIIII”, “Love Song IIIIIIIIIIIIIIIII”.
The album is just 35 minutes long, so most of thepieces are pretty short. The shortest is “Love SongIIIIIIIIIIIIII”, a mere 53 seconds, while the longest,“Love Song IIII”, trudges along for an epic 4:03. They
are entirely improvised, but it is clear that Fluke-Mogul
is diving in with a goal in mind and achieving it as
quickly as possible. Some pieces are fierce displays ofmultiple playing techniques, from high-speed bowing
like she is trying to cut through the strings to the neckand squeaky-haunted-house-door groans to hightension plucking and thumping the instrument like ahand drum. Other tracks are more melodic, at firstanyway, before rising up into clouds of harsh noise(she yanks such ferocious sounds out of the instrument
at times, it is hard to believe she is not deploying somekind of distortion pedal).
On a few pieces, Fluke-Mogul vocalizes in a mannerbringing Diamanda Galás to mind, a kind of hoarse,
desperate shriek. This is intense music that rushes by sofast one half expects to hear a hardcore punk drummer
come crashing and battering in behind her, but there ismore than enough to contend with as is.
For more information, visit relativepitchrecords.com.
Fluke-Mogul is at The Stone at The New School Jul. 22nd
with Ava Mendoza. See Calendar.

Irabagon’s moment arose with the arrival of the
COVID-19 lockdown and a family decision to spend
time in rural Oregon. There he practiced in Falling
Rock Canyon, where he recorded his sessions alongwith dripping water and the caroming echoes of rockfaces. What distinguishes Irabagon from othersaxophonists in the landscape is his principal missionof exploring the music of Charlie Parker, eventuallycompiling versions of 13 tunes, either by Parker or
associated with him, plus two Parker-inspired
improvisations. Included in Irabagon’s description of
the accompaniment are “the sounds of birds, deer,
hikers, roaring rivers, slackliners, helicopters,
motorcycles and semi-trucks.”
The individual tracks reveal tremendous
differences in the presence of ambient sound. Many are
only slightly muffled interrogations of Parker
repertoire, the outdoor recording seeming primarily towipe out higher harmonics: an early sequence of“Sippin’ at Bells”, “Bebop” and “Ornithology” is simply
masterful exploration, often evincing a strong kinshipin sound and rhythmic emphasis with Sonny Rollins.
On “Donna Lee”, Irabagon presses toward John
Coltrane‘s “sheets of sound” approach while “HotHouse” is multidimensional, bridging those tenor
masters’ approaches via Irabagon’s distinctive voice.
On the side of more conspicuous acoustic exploration,
the opening “Anthropology” is distorted by immediateechoes to the point where it sounds trumpet-like amid
a wall of noise while “Now’s the Time” is initiallya dense multiphonic wail with key pops eventually
emerging as crucial elements. The environmental
influence gives “Mohawk” a strange flute-like sonority.
The two tracks credited to Irabagon as composer,
four-minute “B. Schwifty” and shorter “Get Schwifty”,
are rapid improvisations, clearly inspired by alto
saxophone fluency, though played on tenor. They aredefinitely in the Parker mold, though further
conditioned by the legacy of Ornette Coleman.
“B. Schwifty” consists of explosive phrases that cascadearound the horn only to stop suddenly. “Get Schwifty”
is a brief inspiration in the same spirit.
The highlight may be the concluding “Quasimodo”,
which ties together the Parker inquiry and theexperience of the wild. Building off a medium swing
tempo on the theme, no easy feat without a rhythm
section, Irabagon builds a sustained series of variations
in a cadenza suggestive of Coleman Hawkins’
groundbreaking solo performances of the late ‘40s,
only to wander off-mic with the saxophone
disappearing amid the sudden sound of rushing water.
For more information, visit jonirabagon.com. Irabagon
is at Ibeam Brooklyn Jul. 16th with Barry Altschul andChelsea Table & Stage Jul. 25th with Michael Feinberg.
See Calendar.

concerned with textures” and says he will use whateversounds necessary to get those textures.
The first track, “Picking Up the Pieces”, starts offvery lean: propulsive acoustic bass (Vicente Archer)and drums (Allan Mednard) racing behind pert
trumpet as it weaves lines from a catchy little thematic
riff for about 2:45. Then textures change as Archer
switches to electric bass and pianist Victor Gould
moves to Fender Rhodes, slowing to a midrange pulse
behind Pelt’s more lyrical solo, spelled by a vibraphonesolo from Chien Chien Lu. The quintet continues
acoustically for the title track, a heartbeat ballad, andthe faster “Be the Light”, Pelt sharing solo space withvibraphone and piano.
A pair of tunes, “Part 1: The Lighter Side” and“Part 2: The Darker Side”, bring in guest Anne
Drummond, taking the lead on flute. The much shorter“Part 1” is acoustic while “Part 2”, with electric bass
and Fender Rhodes, also adds Brittany Anjou’s eerie
Mellotron to the mix, the electronic wash riding on
skittering cymbals, Harmon-muted trumpet soloing
low in the mix like a ghostly presence. After anemotionally resonant “Elegy” for musicians lost during
the pandemic, tone intoned by toms and vibraphone,
Anjou adds Moog synth thrumming to the electronic
textures of “I’m Still Standing”.
Hale Smith’s “I Love Music” (the only non-Pelt
composition) is given a lush acoustic ballad treatment,
brushes and vibraphone cushioning Harmon-muted
trumpet and piano solos. Two tracks featuring theelectric bass and keyboards, one (“Sifting Images”)
conjuring Weather Report, close this intriguing album.
For more information, visit jazzdepot.com. Pelt is at
Marcus Garvey Park Jul. 22nd as part of Jazzmobile.
See Calendar.

N

U

EW

SE
D

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

Bird With Streams
Jon Irabagon (Irrabagast)by Stuart Broomer

There is a significant history of musicians, most often

saxophonists and often Swiss, taking their instruments
to unusual sites, whether to practice or interact withspecial acoustics, from Werner Lüdi entering the vast
Lucendro dam to Sebastian Strinning’s recent trip to a
150-foot tower, the Esterliturm, in Lenzburg. Jon

Buy, Sell, Trade

Soundtrack
Jeremy Pelt (HighNote)by George Kanzler

J eremy Pelt’s open trumpet has a full, rich, clarion

tone enhanced by the hint-of-echo production here,
reminiscent of the ‘70s Creed Taylor label CTI. As the
only horn in his sometimes augmented quintet, it isopulently front and center on this self-produced
project, which also shares with CTI a willingness tomix acoustic and electronic instruments. As Pelt statesin the notes: “To me it’s all the same thing; I’m more

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.

THE NEW YORK CITY JAZZ RECORD | JULY 2022 19

MINGUS MONDAYSEVERY MONDAY! 7:30 & 9:30pm Shows!
FRI
7/1

Ed Cherry Quartet ft. Mike Moreno 7:30PM
10:30PM
Freddy DeBoe Band

SAT
7/2

David Gibson Quartet
Gotham Kings

7:30PM
10:30PMTUE
7/5

Liz Rosa
Los Hacheros

7:30PM
10:30PMWED
7/6

ELEW Trio
ELEW Trio & Dance Party

7:30PM
10:30PM

THR
7/7

TBA
Vivian Sessoms

7:30PM
10:30PMFRI
7/8

Calvin Johnson & Native Son
Jeffery Miller

7:30PM
10:30PMSAT
7/9

Charles Owens Quartet
Joe Farnsworth

7:30PM
10:30PM

TUE
7/12

Elio Villafranca Latin Jazz Quatet
La Pachamambo

7:30PM
10:30PMWED
7/13

Stacy Dillard Quartet
Jonathan Barber Album Release

7:30PM
10:30PM

THR
7/14

TBA
Richard Cortez Band

7:30PM
10:30PM

FRI
7/15

Rick Germanson Quartet
Craig Handy & 2nd Line Smith

7:30PM
10:30PMSAT
7/16

Dan Aran Band
Lezlie Harrison

7:30PM
10:30PM

TUE
7/19

Kali Rodríguez-Peña’s Mélange
Chino Pons

7:30PM
10:30PMWED
7/20

Django All Stars
Hudson Horns

7:30PM
10:30PM

THR
7/21

Wayne Escoffery
Chris Norton

7:30PM
10:30PMFRI
7/22

Brian Charette Album Release
Dave Schumacher & Cubeye

7:30PM
10:30PMSAT
7/23

Nick Biello Quartet
High & Mighty Brass Band

7:30PM
10:30PMTUE
7/26

Pedro Cortes Flamenco Ensemble
People Of Earth: Salsa & Timba

7:30PM
10:30PM

WED
7/27

Keith Brown Quintet
Kendra Foster

7:30PM
10:30PMTHR
7/28

Lady Bri & The Time Swing Trio
Ian Hendrickson-Smith

7:30PM
10:30PM

FRI
7/29

Evan Sherman Trio
Jerry Weldon / Jumaane Smith

7:30PM
10:30PM

SAT
7/30

Simon Moullier Quartet
Lauren Henderson

7:30PM
10:30PMDINNER, LIBATIONS & LIVE JAZZTHEDJANGONYC.COM
2 AVE OF THE AMERICAS

Within and After | Theme 34 - The Orbora Tree Suite
Eric Plaks Septet (Darkfyre)
by John Pietaro

P ianist Eric Plaks’ performances are as radical as is his
technique unsullied and each foray flagrantly displaysthese qualities. His touch, often percussive, reflectsthat of Don Pullen, but also the influence of pianistcomposers as diverse as George Auric, Cecil Taylor,
Horace Tapscott, George Gershwin, Francis Poulenc,
Thelonious Monk and Muhal Richard Abrams.
For Within and After, he is the heart of a piano trio
with the continually driving, melodic bassist Adam
Lane and aerial drummer Tcheser Holmes. Plaks
presents nine pieces inspired by events or persons,starting with a theme composed while facing 2018’s
bomb cyclone. Opening with an intensely pulsating
bassline and thunderous drumming, the piece reflects
the storm for which New Yorkers battened the hatches,but never really saw, including urgent melody andchord clusters over a pummeling left hand. The rubato
B-section, with bass out front, speaks to the final resultthat winter. It is followed by “Simplicity”, the form ofwhich “is an ever-increasing chain of notes selectedfrom the 12-tones without repeating”, as per the liner
notes. With nimble, sobbing arco bass, it is a tour deforce for Plaks’ grappling, dancing fingers coasting
unresolving modes. Listen, too, for the impressionisticreflection of Taylor on “This Nearly Was Mine”,
a Richard Rodgers-Oscar Hammerstein composition herecorded in 1960. There are also pieces honoring
Tapscott, Anthony Braxton and celebrated poet Barry
Wallenstein, but the core work is “H.R. 40”, named for
the House bill on reparations, which he dedicates toWilliam Parker. The lure of French early modernists
Les Six mingles with layers of social and sonic protest
as well as further comparisons to Pullen. All that may
prevent this album from “classic” status is the audio
mix, Plaks’ bandmates too often pushed into the
distance. Still, well worth the trip.
However, his septet record, Theme 34 – The Orbora
Tree Suite, makes outstanding use of colors, qualities
and emotions within the ensemble, displaying thebroadest palette. This performance was recorded liveat ShapeShifter Lab, with some sections holding
dynamics at pianissimo. The work, based on the life oftrees, opens with a feature for trumpeter Aquiles
Navarro, whose use of effects is utterly compelling.
The first movement, “Soil”, speaks to the very earth onwhich we walk. The land, its hidden life and endless
topographic complexities is well illustrated with open
soundsandethereal
layersandNavarro’s
improvisations reflect a certain pride in the oldest
traditions. Plaks’ feature, “Root”, is a foray throughatonality comprised of rapid, dark themes of adenseness indicating multiple underground journeys.
As the leader expands into a powerful improvisation,
he is joined first by Matt Lavelle on trumpet and thenDaniel Carter on tenor saxophone (albeit, the credits
are unclear in this). The former ’s alto clarinet is at frontin “Water”, a movement in which his distressed
microtonal line seems anything but a country stream;
rather, it calls on King Neptune himself. Pinching thevery breadth (and breath) of the horn, Lavelle moans,wails and careens through the clarino register, largely
erasing the clarinet’s natural darkness. Baritone
saxophonist/bass clarinetist Andrew Hadro commands“Xylem and Pholem”, which includes gripping
orchestration and crossing improvisational lines,
whereas drummer Jon Panikkar ’s spotlight, “Air”,
flutters and dances. His rolls over tom-toms and

20 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

cymbals conjure memories of Tony Williams and as theensemble joins in, the drummer is down to a rapid-firewhisper. Bassist Lane is brought to the front on “Leaf”,
offering a moving arco segment filled with emotion.
More than the organic growth the title would indicate,
this movement is more like a modernist prism of cut
glass. And it is no surprise that the very philosophicalmulti-instrumentalist Carter closes off the suite with“Thought”, in which his soprano saxophone solo,
through a brief, contemplative rubato, resounds freely.
For more information, visit darkfyre.bandcamp.com. Plaks’
Theme 34 - The Orbora Tree Suite project is at Shrine Jul.
21st. See Calendar.

DROP THE NEEDLE

Ultraman vs. Alien MetronPeter Brötzmann Chicago Tentet(Corbett vs. Dempsey)by Kurt Gottschalk

From 1997-2012, the Peter Brötzmann Chicago Tentet

was a gale force in hard-edged jazz. Its early days inparticular were a revelation. While it eventuallybecame a free jazz orchestra, it started as an expert
symposium on how structure, form and composition
could be imposed onto an assemblage of mostly free,pistol packing players.
The band was too big to be contained easily. They
marked their arrival in 1997 with the 3-CD set 1 / 2 /3—containing eight- and ten-piece permutations—and after a followup in 2000, came back with 1-2
punches in 2002 and again in 2004 (all on Okka Disk).
A single disc was rarely enough for the sprawlingensemble. The 2002 sessions resulted in music foundon Images and Signs and included one piece, recordedin July, unheard until now. The wavers of magic
wands at Corbett vs. Dempsey have unearthed therecording of the Mars Williams-penned “Ultraman
vs. Alien Metron” and pressed it onto a thick, singlesided slice of vinyl.
It is, to be certain, a fetish object. Limited to
1,000 copies with no CD or download, the package
has artwork and design by Brötzmann. The squareedge cut of the white vinyl record feels more like awall hanging than an audio platform and the flipfeatures a silkscreen of the cover art pressed onto thesurface. As appealing as it is, it is the other side thatis, or should be, the focus: a fun, freewheeling suite
given a hold-on-to-your-hats reading by the original
formulation: Brötzmann, Williams, Mats Gustafsson
and Ken Vandermark (saxophones); Jeb Bishop andJoe McPhee (trombones); Fred Lonberg-Holm (cello);
Kent Kessler (bass); and Hamid Drake and Michael
Zerang (drums). The titular reference to the longrunning Japanese superhero franchise follows in themusic, a series of action sequences and hardbop
themes, groove-heavy rock and a lovely ballad.
The track is anything but an outtake. It stands
tall alongside the rest of the material from the 2002
sessions; presumably compact discs just weren’t big
enough to fit it all in. But after a decade’s sleep,
Ultraman, and the Tentet, have re-awoken as strongas ever.
For more information, visit corbettvsdempsey.com

Live in The Netherlands
Scott Hamilton (with The René ten Cate Quartet)(O.A.P.)
Swingin’ Again
Scott Hamilton/Duke Robillard (Shining Stone)
Intimate Conversations
Ignasi Terraza (Swit)
by Jim Motavalli

Scott Hamilton (now resident of Italy) is a stalwart

tenor saxophonist, a reliable team guy and capable
leader who could be located stylistically between the
Coleman Hawkins/Lester Young axis and the Stan
Getz/Gerry Mulligan cool school. But on the evidence
here he is neither totally rooted in the past nor all thatcool. On these three discs, Hamilton gets a chance tostretch out with new challenges.
There is nothing about Live in The Netherlands tosuggest either the European locale or the European
band. It is a very straightahead 74-minute swing-to-bop
session of standards, with vibraphonist/leader René
Ten Cate upfront (Lionel Hampton and Milt Jackson as
primary influences) but principally showcasing
Hamilton on ballads and uptempo numbers.
“A Beautiful Friendship” (Donald Kahn-Stanley Styne)
is taken at a relaxed pace Hamilton finds very
comfortable. Johan Clement gets to follow suit on an
extended piano run, sounding like an after-hours Oscar
Peterson, then Hamilton is back trading fours andplaying with the tune some more. “It’s You or No One”
(Jule Styne-Sammy Cahn) is bouncy and features
Hamilton’s trademark fat tone. Ten Cate does some
excellent work, followed by Clement. “Darn That
Dream” (Jimmy Van Heusen-Eddie DeLange) is
introduced with dreamy vibraphone and then Hamilton
slides in to demonstrate his supremacy on ballads;
Johnny Hartman could start singing and it would be
perfect. Count Basie’s “Basie Kick” puts its spotlight on
Ten Cate and bassist Hans Mantel gets a brief interlude.
The often-recorded “On Green Dolphin Street”(Bronisław Kaper-Ned Washington) has a cool bass-led
intro and seems determined to avoid clichés. And“Sweet Georgia Brown” (Ben Bernie-Maceo PinkardKenneth Casey) is a standout, swinging up a storm.
Swingin’ Again, Hamilton’s collaboration withguitarist Duke Robillard’s band, brings together two
players from disparate worlds, but how far away areblues and jazz? The pair grew up together in Rhode
Island and some of the songs they liked then (Claude
McLin’s “Never Mind” and Leonard Feather ’s “Esquire
Bounce”) are included here. So what is the result?
Bluesy swing, the kind of big tenor music that used to
go into jukeboxes. The band really goes to town on
Irving Berlin’s “I’m Putting All My Eggs in One
Basket”, with a Sugar Ray Norica vocal and the great
Jon-Erik Kellso as guest trumpet trading licks with
Robillard. Sunny Crownover, a veteran of Robillard’s
groups, handles vocals on Vernon White’s “Steady
Daddy”, which is a straight double-entendre blues of
the type that would have been worn out on that ‘40s
jukebox: “15 minutes is lots of time for you and me.”“All I Do is Dream of You” (Nacio Herb Brown-Arthur
Freed) lets Robillard and then Hamilton stretch theirlegs on a slower tune and keyboard player Bruce Bears
also gets a turn in a tasty (and frilly at the end) solo.
Edgar Sampson’s “Blue Lou” brings Kellso back,sounding like a member of the Basie band, a major
inspiration for this project. Aforementioned “Esquire
Bounce” is a nice swinging line that gets an understatedtreatment. Basie’s “One-O-Clock Jump” is a natural forthese collaborators. A somber aspect is that the notes
are by WBGO’s Bob Porter, who died last year. The
album is dedicated to him.

Intimate Conversations is Spanish pianist Ignasi
Terraza’s album, but Hamilton does indeed get
intimate with him on duets like Dorothy Fields’ “PickYourself Up”. These two really meet as equals, withTerraza’s lively near-stride playing in sparkling mode.
Hamilton is wonderfully lyrical, never far from thelovely tune. The pair is also together on the Russ
Columbo-Con Conrad-Gladys du Bois-Paul Gregorytune “You Call it Madness”, Jule Styne-Bob Merrill’s“People” and Terraza’s own “Temps de Canvis”. All
are prime examples of musicians listening to eachother. Of course, there is more to the album. Spaniard
Andrea Motis is heard on trumpet, soprano saxophone
and vocals. On Charles Trenet’s “Que Reste-t-il de Nos
Amours”, she is the female Chet Baker, singing in
French and playing a swinging trumpet; she is just as
nice in English on Terraza’s “My Crazy Rhythm” and,on saxophone, Frank Foster ’s “Shiny Stockings”. The
leader further exercises his stride chops on these twotunes. Jazz is a universal language and Motis’ soprano
work comes more out of Sidney Bechet than anyone
contemporary. Spain’s Antonio Serrano is a harmonica
player reminiscent of Toots Thielemans and that isfine, very emotional, almost florid, which very muchsuits the jazz harmonica. Ray Henderson’s “Bye ByeBlackbird” is his pick hit.
For
more
information,
visit
oaprecords.com,
blueduchessrecords.com and switrecords.com. The Hamilton/
Robillard project is at Birdland Jul. 19th-23rd. See Calendar.

Troubled Ancestors” before taking deeper stock of timeand its malleable nature in the album’s exit path. The
penultimate “Sundial” sets clear sights on that topic
with a circling intensity befitting its name. And the
intriguing title track, both drifting romance with the
unknown and gusting acknowledgement of the central
subject’s
abilitytooperatebeyondman’s
comprehension and control, lays (un)rest to the entire
line of thought. Bareket and his band, reflecting time’s
unceasing capabilities, offer closure without true
conclusion, just as it should be for Sahar.
For more information, visit enjajazz.de/index-1.htm. This
project is at The Jazz Gallery Jul. 25th. See Calendar.

IN PRINT

Ugly Beauty: Jazz in the 21st Century
Phil Freeman (Zero Books)
by Eric Wendell“Jazz is dead”...the ungenerous catch-all goes in and

Sahar
Or Bareket (Enja)
by Dan Bilawsky

O ne word, vast dimensions of meaning allied to one

another. That is what Sahar represents and explores. In
modern Hebrew that two-syllable combination calls tothe shapely form of a crescent; though in some Arabic
dialects it speaks to the period(s) surrounding sun-up;
and in others it aligns with the definition of insomnia.
Recognizing the bardic beauty connected to the liminal
states and waking dreams embedded in those fiveletters and examining what he describes as“the complete disruption of the experience of linear
time” accompanying the pandemic’s initial lockdown
phase, bassist Or Bareket uses his third album todeliver a spellbinding aural treatise.
Opening on “Root System”—the lone number tofeature album producer/vibraphonist Joel Ross—
Bareket muses in melody atop a foundation of hypnotic
harmonics and auxiliary percussion. Then the bassist
welcomes his mates—Morgan Guerin (tenor saxophone,
EWI and organ), pianist Jeremy Corren (who also plays
Fender Rhodes) and drummer/percussionist Savannah
Harris—for the remainder of the program. They start
together with a dig into the modernistic “Soil”, use
shimmering grace to bookend an accelerating core in“Hiraeth”, hold little back on the punchy “Oyen” anddemonstrate what motivic development is all about
while heightening emotions during “Temperance”.
Theirs is an easy and strong rapport, as demonstrated
on those performances and, in keeping with the theme,
this foursome defies clear measures in motion andspace both there and throughout.
A 50-second bass introduction segues into thecosmic “Kapara” as Bareket leads his captivating crew
into the latter half of the album. This outfit thencontinues on with the fluid and moving “A Lullaby forout of vogue every once in a while. Why does such aphrase exist? Hard to say, but one can hypothesize thatthe music’s constant evolution and redefining of itself
leads some to eulogize it. The musicians Phil Freeman
profiles in Ugly Beauty: Jazz in the 21st Century are
beautiful examples of current players redefining what
can be accomplished with the artform.
Much like the 2010 documentary Icons Among
Us: Jazz in the Present Tense, Freeman uses his book
as a means to take the artistic pulse of the current
jazz scene. Each profile acts as a mini-biography
complete with anecdotes, opinions and reflections.
With profiles on everyone from pianist Victor Gould
and guitarist Mary Halvorson to trumpeter Theo
Croker and Jaimie Branch, Freeman makes a strong
case of what jazz is in the 21st Century.
What sets the book apart are the details Freeman
provides. Whether with pianist Vijay Iyer, where hementions meeting him for the first time at aperformance by the Art Ensemble of Chicago, or
being taken aback by the height of saxophonist
Shabaka Hutchings upon meeting him (Freeman
himself is a tall man), these fine points add to thepersonal nature of the book.
Freeman is at his best when dealing with themulti-hyphenates; those who traverse the definitionof what a “jazz musician” is capable. Freeman’s
profiles on the multi-disciplinary pianist Jason Moranor the multifaceted output of drummer/pianist/
trombonist/composer Tyshawn Sorey are especiallyastute. While each section is short, each ends with a
discography of essential recordings, leaving thereader with a great exit for further exploration.
Perhaps the only thing that one can accuse
Freeman of is ageism. Omitted from the book are
any profiles on the elderstatemen of modern jazz.
What Herbie Hancock, Carla Bley or other living
legends are doing amid the new crop of talent would
have been welcome commentary. Despite that, Ugly
Beauty: Jazz in the 21st Century is an important
representation of where jazz is going andconfirmation it is in more than capable hands.
For more information, visit johnhuntpublishing.com/
zer0-books

THE NEW YORK CITY JAZZ RECORD | JULY 2022 21

88 ButterflyPeter Madsen’s CIA Trio (Playscape)by Dan Bilawsky

As a child, pianist Peter Madsen, who turns 67 thismonth, received a most pure lesson in lepidopterology:“I was outside playing in the front yard of my family
home in Racine, Wisconsin, when all of a sudden the sky
filled with the fluttering of thousands of orange andblack migrating Monarch butterflies. I jumped andscreamed with delight! The incredible joy and fascinationof that exciting moment is still with me today and was
the inspiration for the music on this recording.”
Looking back to that wondrous experience asa source of light during the dark times of COVID-19
lockdown, Madsen conceived of and composed themusic for this fascinating project and later convened
his CIA Trio—bassist Herwig Hammerl and drummer
Martin Grabher—to provide the air beneath its wings.
The 12 pieces, each named for and representing a
different butterfly, span species and continents but
also remain connected in flights of creative expression.
Opening with the title track, Madsen and company use
enthusiastic overtures to evoke images of a brushfooted beauty. Sticking to South American inhabitants,
the CIA Trio then moves from the diaphanous to thedeep to conjure the cobalt-colored Blue Morpho andutilizes an oddly congruous combination ofwoolgathering and low-gear propulsion to paint a
compelling portrait of the Sylphina.
In the nine numbers that follow, Madsen, Hammerl
and Grabher figuratively globetrot with glee. They
touchdown in Sub-Saharan Africa for a look at theAngola White-lady Swordtail, using intensely rhythmic
and spiritual activity to frame their subject; operatewith cool command in South Asia, delving into mellow
and daintier movements when first eyeing a PeacockPansy; jaunt off to Europe to see the Apollo travelingthe air on cross-rhythmic currents as it goes; visit
North America for a chimerical and lightly grooving
reunion with those magnificent Monarchs; and makeseveral other stops along the way, offering welcome
glimpses at everything from a Giant Owl to the sadlyextinct Xerces Blue. Odd meters and sophisticatedharmonic turns abound, yet nothing ever feels forced
during this artfully crafted endeavor. Nature seems tofinds a way to balance complexity and clear pleasure in
gifting us butterflies and so too does Peter Madsen.
For more information, visit playscape-recordings.com

recordings since 2008) he has released a number ofalbums with an impressive array of guest musicians
including Joe McPhee, Steve Swell, Frode Gjerstad and
Lou Grassi. The albums deliver energetic playing bylistening musicians. Amado is among the best of thefree jazz players currently hailing from Europe.
The Field finds the Motion Trio with cellist Miguel
Mira and drummer Gabriel Ferrandini augmented by afounding father of European free jazz, German pianist
Alexander von Schlippenbach. (Previous recordings ofthe trio have included Dave Rempis and Peter Evans asguests.) A quality session of pure free improvisation, it
starts with a brief interlude of solo piano. Amado starts
playing a passage echoed by the pianist before therhythm section rides in and soon all four are off on afull-group improv that sounds as if they have beenplaying together for years. Surprisingly, Mira, apowerful player in his own right, is never overtaken by
the barrage and is an equal voice in the ensemble.
Ferrandini sounds as if in perpetual motion and while
clearly an energy player never swamps the others,
always listening, commenting and complementing. The
quartet also has a keen sense of dynamics as well as ebb
and flow and not everything is pure ferocity. One of themost effective passages occurs about midway through:things quiet down for an exploration of bowed cymbals
and cello scrapings, saxophone etching quiet lines withsparse piano chords atop. It is just one of many
remarkable interludes during this continuous 56-minuteset, which maintains the listener’s interest throughout.
For Northern Liberties, Amado joins forces withthree forward-looking Norwegians: trumpeter Thomas
Johansson, bassist Jon Rune Strøm and drummer Gard
Nilssen. “Spark” is a fitting opening with stabbing
horns and roiling rhythm section. The longest piece on
the disc, it goes through several changes in approach
before its conclusion. “Ignition” brings the energy
level down a bit but the interplay is still sharp andcrisp. The opening, with an arco bass solo accompanied
by subtle but energetic brushwork, establishes a basefor saxophone and trumpet to explore the more subtle
contrapuntal variations. This quartet knows how tobring music like this together.
For more information, visit nobusinessrecords.com andnottwo.com

John Coltrane’s Africa / Brass Revisited
Dal Sasso Big Band (jazz&people)
Coltrane Revisited @Bird’s Eye
Kirk Lightsey (SteepleChase)
Supreme Love: A Journey Through Coltrane
Sean Khan (BBE)by Scott Yanow

The 1961 album Africa / Brass always seemed a little

The Field
Rodrigo Amado Motion Trio(with Alexander von Schlippenbach) (NoBusiness)
Northern Liberties
Rodrigo Amado (Not Two)by Robert Iannapollo

P ortuguese tenor saxophonist Rodrigo Amado, whoturns 58 this month, has amassed an impressive
discography since the ‘90s. In addition to leading his
own groups (most notably Motion Trio, with sevenincomplete, John Coltrane (who died 55 years ago thismonth) not realizing its great potential. The band,
which included such notables as trumpeters Booker
Little and Freddie Hubbard, saxophonist Eric Dolphy(who contributed the memorable arrangement to“Africa”), and Julius Watkins leading the French horn
section, only recorded five songs during its two sessions
and does not seem to have ever performed in public.
For the two-CD live album Africa / Brass Revisited,arranger Christopher Dal Sasso utilized a small bigband similar in instrumentation. While Coltrane had
two trumpets, two euphoniums, five French horns,
tuba, four saxophonists, piano, two bassists, anddrums, Dal Sasso dropped the euphoniums, Frenchhorns and tuba in favor of two trombones, added afifth saxophonist and just has one bass plus percussion.
They play four of the five numbers the original band

22 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

recorded (all but “The Damned Don’t Cry”), adding“Tunji”, “Liberia”, “You Don’t Know What Love Is”,
and “Naima” to their repertoire. Tenor saxophonists
David El-Malek (featured on four numbers) and Sóphie
Alour (stretching out on two) display the spirit ofColtrane without directly copying his playing. Alto
saxophonist Geraldine Laurent creates a strong
impression on two numbers, including the driving“Blues Minor”, which also has a fine spot for baritone
saxophonist Thomas Savy. While this version of“Africa” is not quite as colorful as the original (theraging French horns are missed), overall the Dal Sasso
Big Band does an admirable job of reviving the music
and sound of Coltrane’s short-lived unit.
Less ambitious but no less successful is pianist
Kirk Lightsey’s Coltrane Revisited, a live set from 2011
only recently released. The veteran pianist is joined bythree much younger Europeans: tenor saxophonist
Gabor Bolla (22 at the time), bassist Milan Nikolic anddrummer Bernd Reiter. They perform two standards
Coltrane recorded (“My Shining Hour” and “You Say
You Care”), Tadd Dameron’s “Soultrane”, Lightsey’s“Habiba” and a pair of Coltrane originals: “Like
Sonny” and “Pursuance” from A Love Supreme. Lightsey
is a contemporary of Coltrane pianist McCoy Tyner
with similar influences although he has long developed
his own sound, making him quite suitable for thismusic. Nikolic and Reiter provide plenty of fireworks
in a supportive role but the main star is the incendiary
Bolla. While Lightsey has his spots, Bolla’s highpowered solos, full of intense passion, dominate themusic and bring back Coltrane’s explorative spirit.
British saxophonist Sean Khan pays an extensive
tribute on Supreme Love. The music is divided into “The
Future Present”, “The Future Past” and “The Past”.
There are some good spots on “The Future Present”,
a mixture of Coltrane classics and originals. Khan’ssoprano and alto solos are worthy (particularly on astraightahead “Moment’s Notice”) but there are a few
too many throwaway vocals by Heidi Vogel and “Giant
Steps” is too brief to make an impression. Middle
Eastern-inspired “Azawala” is the best among theoriginals, compensating for the somewhat irrelevantgroove piece “Starchild”. “The Future Past” consists ofremixes of the latter two pieces, mostly recommended
to those who enjoy overly heavy rhythms. “The Past” isthe best section, dropping the vocals and electronics
and letting the musicians (which include veteran British
alto saxophonist Peter King in his last studio session)
stretch out a bit on “Impressions”, “Cousin Mary” andtwo takes of “Equinox”. If the full set had been on thatlevel, it would be more heartily recommended but it
does contain its share of bright moments.
For
more
information,
visit
steeplechase.dk and bbemusic.com

jazzandpeople.com,

clusters of piano chords like little bombs,
interrupted by a stuttered guttural voice immersed in
the depths of despair.

ON SCREEN

For more information, visit librarecords.com

Summer Tree | Koki Solo
Natsuki Tamura (Libra)
by Steven Loewy

Listening to a recording by trumpeter Natsuki Tamura(who turns 71 this month) for the first time creates anatmosphere of wondrous excitement. You really do notknow what to expect, although you know it will always
stimulate and explore the edges of creative endeavor.
Through a career spanning decades with a thrillingly
diverse legacy, often in collaboration with his spouseand longtime musical partner, pianist Satoko Fujii,
Tamura shows once again a fount of creativity on these
two recent solo efforts, recorded privately while thecoronavirus was raging.
The revelatory Summer Tree offers somethingunique: the trumpeter plays percussion and piano andadds the voice of Fujii on one track. Not surprisingly,
the results may shock, engender wonder at its pristine
beauty and evoke awe for Tamura’s prodigious talentand resourcefulness. There is an ephemeral quality tothe pieces, in which the trumpeter explores new waysof communicating, with soft rumbling waves
underpinning alternatingly swishing sounds andgentle tones, interrupted occasionally with unexpected
braying. Tamura carefully establishes a foundation of
mostly static drone-like sounds over which he performs
delicately and adds layer upon layer. He is particularly
effective with percussive elements and a confident
approach to piano. There is considerable overdubbing,done with immaculate precision, but no postproduction enhancements.
“Summer Wind” captures the essence of thealbum. It is imbued with deeply wistful stretched tones
above which Tamura blows wickedly, combining slow
mournful jazzy lines with a high-pitched ghostly
shrieking sound that rattles the nerves. Bruce
Gallanter ’s incisive liner notes hit the mark indescribing the usually tranquil Satoko Fujii’s
marvelous “…Yoko Ono-like bent vocals…”, which are“…like a cauldron of witches on Halloween.” There isconsiderable variety throughout, the kind that pushes
the edges, as Tamura’s (mostly) solo effort is filledwith myriad tinkles, clatters, swishes, gurgling,
flutters, clanks and thuds, all fascinatingly
obstreperous, but somehow completely seductive.
Each track explores different dimensions of a broad
theme, with tinkling bells that dangle above andattractively subversive interjected clumps of piano, allexquisitely organized. He pushes hard, building new
constructs, with all sorts of variations, never relenting,
exploring the nooks where few choose to peer. While
this recording may be an acquired taste, Summer Tree isa monumental effort and a successful experiment in
the art of the explorer.
Koki Solo illuminates a different side of Tamura asa soloist. His pristine trumpet, which he punctuateswith long runs, powerful lyrical sense, clear tone andelectric-like growls and distortions, stays focused on
pushing forward and finding new methods ofexpression. While the opening “Sekirei” offers a senseof his marvelous technical skills, the following“Karugamo” shows another facet, as he dings andbangs a large Chinese wok and pots and pans,interspersed with chanting and pianistic thrusts. He
then pivots dramatically to “Kawau”, confidently
showing off a gorgeous brass sound, with long, lovely,
gentle tones, a precursor to “Bora”, sporting a primitive
blend of piano and voice. Each track continues toprobe, surprise, astonish and, not inconsequentially,please, with the closing “Isoshigi” dropping compelling

Circle Back
Mark Feldman/Tim Daisy (Relay)
The COVID Tapes
Dave Rempis, Tomeka Reid, Joshua Abrams,
Tim Daisy, Tyler Damon (Aerophonic)
by George Grella

These two albums both come out of Chicago during

the pandemic and both feature, in relative terms,
drummer Tim Daisy (who turns 46 this month). He is
obviously central to the duet performance withviolinist Mark Feldman, released as Circle Back, but
only plays on one track of The COVID Tapes, which isin every way a Dave Rempis album.
But his presence might be greater on the latterthan it is the former. Recorded live at the Catalytic
Sound Festival, October 17 of last year, Circle Back is
one continuous 37-minute improvisation. Feldman isat the front, not so much consciously leading the way
but more immediately present. He has an inherently
strong musical personality that comes through his full,vibrant tone and the way his articulation displays
purpose and direction. There is rarely any mere effect,
but clear phases and their specific components. He is
free and with a sure view of what he is doing; touchesof bebop seem to give him moments to survey the
territory while plotting a change of course yet also
connecting to the roots of this music.
Daisy is very much behind him, playing withattention and modesty, almost always quiet and using
soft attack. It comes off not as deference but more
discretion; perhaps unsure how best to use drums witha solo violin, he chose to make a warm, cottony bed
from which Feldman’s bow can slice out ideas.
A relaxed set of free music that simmers a bit but nevercatches fire.
Daisy plays on “Toron”, a duet with Rempis thatwas part of the saxophonist’s series of outdoor
performances during the summer and fall of 2020.
Outdoors means just that, a flat but warm acoustic
accompanied by everything from cicadas to backgroundtraffic noise. Daisy sounds at home here, not just more
extroverted but more interactive, a great fit with
Rempis’ brawny energy and swing. This track is 17
minutes but comes off as both more substantial andvaried than Circle Back.
As for the rest, this is a great album and one of2021’s finest jazz releases. It makes a virtue out ofcircumstances, combining two different types of
performances. There are the outdoor sessions,
including a fantastic track, “In The Wild”, with Rempis,
cellist Tomeka Reid and bassist Joshua Abrams, andsolo performances of existing material (“The Song Is
You”, “Just A Gigolo”) recorded in Rempis’ practicespace. Outdoors, the musicians are playing for a live
audience and no energy is lost to the settings. Inside,
Rempis was playing for a remote audience, doing
concentrated live bits while releasing digital material
from his archives. Alone, he never sounds lonely andon top of the fine music making throughout thisextensive collection, the feeling of finding meaning in
the work is powerful and uplifting.
For more information, visit timdaisyrelayrecords.bandcamp.com
and aerophonicrecords.com

Hargrove
Eliane Henri (Poplife Productions)by Kevin Canfield

This is a stellar portrait of a beloved trumpeter inthe final year of his life. In 2018, shortly before hedied at 49 from a heart attack and kidney disease,
Roy Hargrove toured Europe and played several
New York City clubs. Director Eliane Henri waswith him at nearly every turn. When she encountered
the kind of hurdles that have short-circuited many
documentaries, she used them to the film’s
advantage. Hargrove simultaneously illustrates thetitular star ’s artistic prowess and highlights thetensions frequently existing between artists and thepeople who represent them.
Hargrove had been undergoing kidney dialysis
for years by the time Henri began shooting, but hedidn’t realize his death was imminent. As depictedin the film, Larry Clothier, Hargrove’s manager,
ignored Hargrove’s pleas and prevented Henri’s
filmmaking team from shooting his European
performances. The resourceful director called
Clothier ’s bluff, agreeing to his request that she film
a meeting he and Hargrove had to discuss the
documentary. She came away with remarkablefootage, an unfiltered standoff in which Clothier iscoarse and dismissive, refusing to address why heobjects to the filming of shows abroad. The scene, ofcourse, does not capture the entirety of the meeting,so it is possible that Clothier ’s strongest arguments
didn’t survive the editing process. But as presented,
it is a vivid illustration of the power imbalances that
often face all but the most bankable musicians.
Memorable as it is, the Clothier-Hargrove
quarrel doesn’t overshadow the rest of this superb
film. Henri deftly charts Hargrove’s progress from
Texas trumpet tyro to international star, a narrative
augmented by commentary from Sonny Rollins,
Erykah Badu, Herbie Hancock, Wynton Marsalis
and others. Each hails Hargrove’s quick mind andfacility for blending complex and accessible sounds.
“There’s big band Roy, there’s trio Roy, there’s funkRoy, sort of dissonant fusion Roy, there’s hip-hop
Roy,” Questlove says. By all appearances, Hargrove
is disarmingly honest, openly discussing his health,
his past drug use, his lack of fear about death. His
gait had turned to a modified hobble by his late 40s
and when he was tired, he would ask the film crew
to back off. But he is a vibrant, playful andknowledgeable presence, the sort of person who
could break into the theme song from The Beverly
Hillbillies or explain how Maurice Ravel’s
compositions informed France’s love of bebop.
Henri makes a few brief appearances in the film,
but these are never self-indulgent. Likening
Hargrove to Miles Davis and Dizzy Gillespie,
she says she wants to show viewers that anothertrumpet genius was still with us. “He’s here, rightnow,” she says. “Don’t miss him.” Hargrove’s deathis the ending no one wanted, but it is hard toenvision a more powerful final scene than the one
crafted by Henri.
For more information, visit hargrovedocumentary.com

THE NEW YORK CITY JAZZ RECORD | JULY 2022 23

Live at Dizzy’s
Romero Lubambo & Rafael Piccolotto (Sunnyside)by Ken Dryden

We Are Strong
Saadet Türköz/Beat Keller (Chinabot)
by Kurt GottschalkN umerous Brazilian musicians immigrated to the U.S. The personal pronoun in the title of this brief meetingand settled around New York City during the ‘70s to
gain greater opportunities and among the mostaccomplished is guitarist Romero Lubambo (who turns
67 this month). Equally skilled on acoustic and electricguitar, Lubambo has an extensive discography withfellow Brazilians in small group-dates and for threeplus decades with Nilson Matta and Duduka Da
Fonseca in the allstar band Trio Da Paz, in addition to
his CDs as a leader.
This live recording from Dizzy’s Club features theguitarist working with arranger/conductor Rafael
Piccolotto’s lively 12-piece Chamber Jazz Orchestra,
which has piano, bass, drums, reeds, brass, accordion
and a string quartet. While Lubambo has played andrecorded numerous classics by Brazilian songwriters, his
primary emphasis for this album are his strong originals,
brought to life by Piccolotto’s inventive arrangements.
The easygoing samba “Lukinha” is the perfectopener with an engaging theme, briefly detouring into
an understated solo by electric bassist Itaiguara Brandão
prior to features for brilliant acoustic guitar and alto
saxophone (Alejandro Aviles). Lubambo’s lively“Bachião”, featuring Vitor Gonçalves on accordion andtenor saxophonist Livio Almeida, is an uptempo work
designed to get people on their feet to celebrate. Brazilian
pianist Debora Gurgel, not widely known to American
audiences, penned “Pro Romero”, an excellent showcasefor Lubambo and he likely had the audience swaying to
its infectious rhythm, with Piccolotto’s creative scoring
constantly altering the focus on different instruments
throughout the piece. Piccolotto contributed “Samba De
Proveta”, an initially subdued number, which grows in
intensity as it progresses, with some of Lubambo’s mostenergetic playing of the date. Vocalist Pamela Driggs,
Lubambo’s wife, delivers a fun Brazilian retooling of
Bobby Troup’s hit “Route 66,” complemented by furious
solos by pianist Helio Alves and Lubambo.
Well recorded with an attentive, quiet audience, thisCD is a rewarding addition to Lubambo’s alreadyimpressive discography.
For more information, visit sunnysiderecords.com

between vocalist Saadet Türköz (who turns 61 thismonth) and guitarist Beat Keller could certainly betaken to refer to themselves. As a duo, they seem to beof the strong and silent sort, at least as evinced on thisbrief set of impromptu, wordless songs. But the “we”
could just as well be displaced people across Europe
and Asia, the people who, too often, have no voice.
Each of the brief songs on the album (originallyreleased on cassette and available as a download) is
named after a city in East Turkestan, the region ofCentral Asia from which Türköz’ parents fled Chinese
oppression, eventually landing in Istanbul, a city with
its own history of opposition toward minority groups.
Some 40 years ago, Türköz made her way from Turkey
to Switzerland, the homeland of her duo partner on
this album and her home to this day.
The seven songs suggest unknown tongues ofother lands. With sparse accompaniment from Keller,
whose playing generally feels more like incidental
sound than any conventional guitar, Türköz moans,mutters and softly wails. With no clear reference points
to place or meaning, the short songs (7 of them, totaling
just over 20 minutes) nevertheless evoke strong
feelings of mourning and regret. While starting points
and destinations are far from certain, We Are Strong
emerges as a strangely moving collection.
For more information, visit chinabot.co

1962 Stockholm/Oslo
Bud Powell (SteepleChase)by Scott Yanow

Bud Powell (1924-66), who passed away 56 years ago

this month, was permanently damaged by a beatingfrom policemen in 1944 yet changed the way piano isplayed in jazz. He was heard at his peak on most of his
recordings from 1949-53. The ‘50s found him gradually
declining and becoming erratic but his period in Paris(1959-64), despite some difficult episodes, was largelya renaissance. The SteepleChase label has documented
live sessions from 1962 that feature Powell playing
with trios on at least nine other albums: three-CD set
Budism; Bud Powell Trio at the Golden Circle Vols. 1-5;
and 1962 Copenhagen. The music on 1962 Stockholm/
Oslo does not duplicate any of the previous releases.
In 1962, Powell was not flawless in his playing
but, particularly on uptempo tunes, still frequently
brilliant. Ballads were a different matter, often
unintentionally dramatic as attentive audiences held
their breath to see if he could complete his ideas during
what were sometimes painfully slow interpretations.
1962 Stockholm/Oslo has Powell in the spotlightwith two different trios: either Torbjörn Hultcranz or
Erik Amundsen on bass and Sune Spångberg or Ole

24 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

Jacob Hansen on drums. Powell is generally fine on thefaster pieces (including “I Hear Music”, which herarely performed, a 16-minute version of “Straight No
Chaser”, “Hot House” and “Dance Of The Infidels”)
but clearly struggling on some of the ballads. During“Someone To Watch Over Me”, which he partly plays
out of tempo, he sounds a bit lost and preoccupied.
While 1962 Stockholm/Oslo, which is pretty wellrecorded, would not be the first Powell recording thatcomes to mind when one wants to point out his
greatness, fans of the pianist will find enough strong
moments to make this a worthwhile acquisition.
For more information, visit steeplechase.dk

IN PRINT

Spirits Rejoice!: Albert Ayler and his message
Peter Niklas Wilson (Translated by Jane White)(Wolke Verlag)by Phil Freeman

It is incredible that it took 25 years for an English-

language edition of this slim but vital book to appear,
but now is the perfect time, as recent reissues havebrought Albert Ayler’s music to greater prominence
than it has enjoyed for quite a while. Peter Niklas
Wilson, a bassist, music journalist and professor at the
University of Hamburg who died in 2003, came to the
U.S. for six months in the mid ’90s to work on thissuperb, scholarly but impassioned monograph, which
serves as the perfect introduction to Ayler’s work forthe neophyte and a thrilling read for the longtime fan.
He offers a detailed history of Ayler’s life, from hischildhood in Cleveland to the Army to travels to
Scandinavia, move to New York and impact on theburgeoning free jazz scene from 1964 until his untimely
death in 1970 at 34 (he would have turned 86 thismonth). After that, shorter sections discuss the gradualevolution of his compositional style and analyze every
recording available at the time of writing.
This book may be even more important now thanat the time of its original publication, as Wilson
interviewed many friends, family members andcollaborators—including father Edward and younger
brother Donald; poet/critic Amiri Baraka; drummers
Sunny Murray, Milford Graves and Ronald ShannonJackson; violinist Michel Samson; and bassists Gary
Peacock and Steve Tintweiss—almost all of whom aredead now. There are a few omissions, of course. Bassist
Henry Grimes, not yet reemerged from decades ofanonymous, non-musical life in LA, is described as
dead, and Cecil Taylor was not interviewed, so weonly have Murray’s perspective on Ayler’s 1962
performances with the pianist’s group in Sweden and
Denmark. (Given that there is only one relatively shortrecording of Ayler and Taylor together, it is dismaying
to read that they shared the stage night after night forweeks.) But the amount of information presented inconcise and confident prose, alongside occasionallypassionate defenses of the work—sometimes in direct
response to contemporaneous negative reviews, which
Wilson quotes—make this an essential volume foranyone interested in Albert Ayler’s music.
For more information, visit wolke-verlag.deB OXED SE T

Revelations(The Complete ORTF 1970 Fondation Maeght Recordings)
Albert Ayler (Elemental Music)
by George Grella

Because of his tragic death at 34 (he would haveturned 86 this month), Albert Ayler had a career oftransition and development, going through the naturalprocess of a great artist uncovering their true self. The
retrospective temptation to uncover identifiable
meaning in any new discovery is driven by the desire
to uncover both some explanation for and purpose in
his death and to round off the incompleteness of hislife with a neat culmination of his music.
The real historical revelation is that theserecordings exist and that they were found in archives
at INA in France. These are two complete concertsfrom Jul. 25th and 27th, 1970, made at the Fondation
Maeght in the south of France. Some of the second
concert was previously released as Nuits de la Fondation
Maeght, Volumes 1 and 2, but never like this. These areexcellent stereo recordings made by Radio France,
remixed and remastered by Sheldon Zaharko. The

JULY 1–3

CHARLIE SEPULVEDA &THE TURNAROUNDJULY 4–10

CLOSED FOR MAINTENANCEJULY 11

ANDY MILNE AND UNISONJULY 12–13

LAKECIA BENJAMINJULY 14–16

ROSA PASSOS AND HER QUARTETJULY 17

SONGBOOK SUNDAYS:ANYTHING GOES! COLE PORTER &MORE COLE PORTER!
JULY 18

MARTA SÁNCHEZ QUINTET:
CD RELEASE “SAAM (SPANISHAMERICAN ART MUSEUM)”
JULY 19

NICK FINZER SEXTET: HEAR & NOWJULY 20

CELEBRATING 60 YEARS OF
JAMAICAN INDEPENDENCE:RUSSELL HALL AND THE BRETHREN
COURT, FEATURING SHENEL JOHNSAND SPECIAL GUESTSJULY 21–24

JON FADDIS QUARTET:
HAPPY BIRTHDAY WEEK!
JULY 25

JOE GRANSDEN BIG BANDJULY 26 • 7:30PMIN HONOR OF FREDDIE HUBBARDERTEGUN HALL OF FAME CELEBRATION

sound is clear, full of space and detail, transparent,with a great sense of the dimensions of the stage; it is
as alive as live recordings get. The booklet has
beautiful color pictures and fantastic content, with anessay by Ben Young, annotations from Jeff Lederer,
commentary from musicians like Annette Peacock andJames Brandon Lewis and more.
Ayler’s artistry was making music that began in
the basics of the Black American musical experienceand went straight to a point, skipping over every
single jazz style of the 20th Century, to both free
improvisation and free spirituality, music as practice
to reveal some understanding of the universe, of whatmany call God. Ayler’s playing these two nights isabsolutely beautiful and has never been captured
better. His tone is rich but light and with an internal
glow. He plays with a pace that seems connected to aclock moving just a bit slower than everyone else—
even his most rapid passages sound unhurried. He
exudes happiness and beneficence.
The band with him is Mary Parks (aka Mary
Maria) playing soprano saxophone, singing andreciting poetry, bassist Steve Tintweiss and recently
departed drummer Allen Blairman. Call Cobbs plays
piano on the Jul. 27th concert. As for the material, it isfamiliar to any Ayler fan, including “Music Is The
Healing Force of the Universe”, “Love Cry”, “Truth isMarching In” and “Spirits Rejoice”. Some of the titles
connect to Music Is The Healing Force of The Universe, as
does the prominence of Parks, not just as a vocalist but
taking soprano solos in turn with Ayler. That album
has always seemed to mark a transition in Ayler’s
career, one never fulfilled, and coming just about ayear later, these concerts, heard in full, argue that that
previous album (Ayler’s final studio recording) was

CELEBRATING FREDDIE GREEN:
THE KING OF RHYTHM GUITARERTEGUN HALL OF FAME CELEBRATIONJULY 28 • 7:30PM

DAN TEPFER & FRIENDS: A TRIBUTE
TO LEE KONITZOUTDOORHot Summer Nights! FREE
CONCERT SERIES
Join us at the Lighthouse Bandshell for vintage swing,
New Orleans street beats, jump, funk, blues, and more!

ERTEGUN HALL OF FAME CELEBRATIONJULY 9 8 PM

JULY 28 • 9:30PM

PAUL CHAMBERS, A MASTER OF TIMEERTEGUN HALL OF FAME CELEBRATIONGRAMMY Award Winner

TM

VINCE GIORDANO AND THE NIGHTHAWKSJULY 29–31

JULY 16 8 PM

JOE LOCKE GROUP FEATURING
VOCALIST KENNY WASHINGTONFLEUR SEULEJULY 23 8 PM

ERIC REED & FRIENDS:A TRIBUTE TO TEDDY WILSON

5-Time GRAMMY Nominee

ERTEGUN HALL OF FAME CELEBRATIONTM

ROOMFUL OF BLUESJULY 27 • 7:30PM

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For more information, visit elemental-music.com

JULY 27 • 9:30PM

JULY 26 • 9:30PM

AARON DIEHL AND WARREN WOLF
HONOR JOHN LEWIS

more of an experiment, a reach into combing new
forms and small-group strategies. On Revelations, itsounds as if Ayler, at the time, had picked whatworked, discarded the rest and folded it back intoroots of the Love Cry album and even earlier records
like Spirits Rejoice.
Again, in what he likely saw as the middle of his
own career, it sounds like Ayler is looking for balance
and for the most part finding it. The vocal themes andthe hints of rhythm and blues from the later studioalbums are softened here while the conception from
Spiritual Unity and Spirits Rejoice is more codified,polished even. There are the marches and the reveillelike fanfares, the keening horn cries, the operatic
vibrato, even the glossolalia and all are more song-likethan ever. Tintweiss and Blairman have a kind of freeinterplay but keep a steady pulse with a light touch.
Everything sounds relaxed in the sense that everyone
is assured, the band sounds like a veteran unit, incomplete command, so much so that they never getcaught up in the frenzy of the crowd, even as it seems
they repeat “Revelations” multiple times out of sheer
audience demand.
The audience is part of the excitement of this set.
One is hard pressed to recall not just any album but
any live experience where the crowd is both so
attentive and so overcome with everything they hear.
There is the deep sense that they know all this music
and are thrilled beyond anything to be seeing the manin person. For someone who exists as a near cult-likefigure among contemporary listeners, the idea that,even on a small scale, Ayler might have been a popularartist is as beautiful as the music on this album.

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THE NEW YORK CITY JAZZ RECORD | JULY 2022 25

CALENDAR
Friday, July 1• Loren Stillman, David Ambrosio, Russ Meissner		
Bar Bayeux 8, 9:30 pm• Birdland Big Band
Birdland 5:30 pm $30
êTuck & Patti
Birdland 8:30, 10:30 pm $40
êHouston Person Quartet
Birdland Theater 7, 9:30 pm $30• Kuni Mikami
Bryant Park 12:30 pmêAfro Latin Jazz Ensemble: Ivan Renta, Rafi Malkiel, Jim Seeley, Vince Cherico,
Keisel Jimenez, Carly Maldonado, Ricardo Rodriguez, Andrew Andron with guests
Malika Zarra, Akua Dixon Quartette Indigo
		Bryant Park 7 pm
• Will Terrill Quintet; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $10• Charlie Sepulveda and The Turnaround with Norberto Ortiz, Bienvenido Dinzey,
Gabriel Rodriguez, Francisco Alcalá, Gadwin Vargas and guest Steve Turre				Dizzy’s Club 7:30, 9:30 pm $45• Ed Cherry Quartet with Mike Moreno, Gary Wang, Anwar Marshall; Freddy DeBoe Band
with Joe Crispiano, Eric Finland, Evan Pazner, Moses Patrou
		
The Django 7:30, 10:30 pmêSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen				
Drom 8 pm $25
êChris Cochrane, Brandon Lopez, Brian Chase, Jessica Pavone
		
Ibeam Brooklyn 8 pm $15• George Gee Make-Believe Ballroom Orchestra
		
Josie Robertson Plaza at Lincoln Center 7:30 pm• Cameron Campbell Trio
Little Island 12:30 pm• Aaron Goldberg
Mezzrow 7:30, 9 pm $20• Gino Sitson Echo Chamber with Gwen Laster, Jennifer Vincent, Mike McGinnis,
Davalois Fearon
Minton’s 7, 9:30 pm $25• Alexis Marcelo
Mount Morris Ascension Presbyterian Church 7 pm $20• Jon Gordon Quartet
Neighborhood Church of Greenwich Village 8, 9:30 pmêCharlie Burnham
The Owl Music Parlor 8 pm $12• Vanessa Perea; Andy Ezrin
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êJohn Ellis
Smalls 7:30, 9 pm $20• John Hanes, Simon Hanes, Anthony Coleman
		The Stone at The New School 8:30 pm $20
êEthan Iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40

Saturday, July 2• Adam Kolker/Neal Kirkwood• Michael Weiss Trio
• Cocomama

Bar Bayeux 6 pm
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 8:30, 10 pm $10êTuck & Patti
Birdland 8:30, 10:30 pm $40
êHouston Person Quartet
Birdland Theater 7, 9:30 pm $30• Akiko Tsuruga Quartet; Avi Rothbard Quartet
		
Cellar Dog 7, 11:30 pm $10• Charlie Sepulveda and The Turnaround with Norberto Ortiz, Bienvenido Dinzey,
Gabriel Rodriguez, Francisco Alcalá, Gadwin Vargas and guest Steve Turre				Dizzy’s Club 7:30, 9:30 pm $45• David Gibson Quartet with Mike King, Joseph Lepore, Kush Abadey;
Alphonso Horne and The Gotham Kings		
The Django 7:30, 10:30 pm• Aaron Goldberg
Mezzrow 7:30, 9 pm $20• Phil Young and The Harlem Hip Minton’s 7, 9:30 pm $25• Ben Barnett Quartet
Ornithology Jazz Club 6 pm
• The Tether Trio: Theo Bleckmann, Timo Vollbrecht, Ben Monder		The Owl Music Parlor 8 pm $12êJohn Ellis
Smalls 7:30, 9 pm $20• Vinicius Gomes/Jon Cowherd Soapbox Gallery 8 pm $25• Aliya Ultan, Simon Hanes, G.Calvin Weston
		
The Stone at The New School 8:30 pm $20
êEthan Iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40

Tuesday, July 5• Diego Voglino Jam Session• Huntertones

Bar Bayeux 8 pm
Bar Lunàtico 8:30, 10 pm $10êFrank London’s Klezmer Brass All-Stars		
Barbès 10 pm $15êDave Stryker Quartet with Julian Shore, John Patitucci, Brian Blade		
Birdland 7, 9:30 pm $40• Nicholas Payton
Blue Note 8, 10:30 pm $35• George Crotty Trio
Branded Saloon 7 pm $20• Daryl Sherman
Bryant Park 12:30 pm• Liz Rosa Brazilian Quintet with Misha Piatigorsky, Vinicius Gomes, Gili Lopes,
Dennis Boolyoins; Los Hacheros: Jeremy Bosch, Itai Kriss, Eddie Venegas,
Jacob Plasse, William Ash, Marcos Lopez, Carlitos Padron, Jacob Plasse		
The Django 7:30, 10:30 pm• Hery Paz, Nate Wooley, Tom Rainey; Henry Fraser/Cleek Schrey; Toned: Leo Suarez,
Nathan Corder, Tom Weeks
Downtown Music Gallery 6:30 pmêFrançois Houle Recoder 4Tet with Gordon Grdina, Mark Helias, Gerry Hemingway				
Ibeam Brooklyn 8 pm $20• Cocomama
Joe’s Pub 9:30 pm $20• SeaJun Kwon Walking Cliché Sextet with Kevin Sun
		
Lowlands 8, 9:30 pm• Takuya Kuroda
Rockwood Music Hall Stage 2 9:30 pm $20
êAnthony Wonsey
Smalls 7:30, 9 pm $20
êJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40

Wednesday, July 6• Eve Silber
Arthur’s Tavern 7 pm
• Joe Magnarelli Quintet; Sarah Cabral		
The Atlantic BKLN 7:30, 9 pm $10-15
êDezron Douglas Quartet
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êDave Stryker Quartet with Julian Shore, John Patitucci, Brian Blade		
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Nicholas Payton
Blue Note 8, 10:30 pm $35• Pedro Giraudo Tango Quartet Brooklyn Public Library Central Branch 7 pm
• Daryl Sherman
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10êELEW Acoustic Trio: Eric Lewis, Conrad Korsch, Allan Mednard		
The Django 7:30, 10:30 pm• Jazzmobile: Nat Adderley, Jr. Quartet
		Grant’s Tomb 7 pmêEva Novoa Trio with Drew Gress, Devin Gray		
Ibeam Brooklyn 9 pm $20• Zac Zinger Group
Little Island 6:30 pm• Marcio Garcia Trio
Little Island 8 pm
• Green Soul +2: Kelly Green, Dierk Peters, Luca Soul Rosenfeld, Kenny Wollesen				
Lowlands 8 pm
• Alex MinasianMezzrow 7:30, 9 pm $20• Ben Cassara, Marcelino Feliciano, Melissa Hamilton, Alex Leonard, Boots Maleson,
Daryl Sherman, Tessa Souter, Ronny Whyte, Tracey Yarad		
Pangea 7 pm $25
êClifton Anderson
Pier 84 7 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• David Yee
Smalls 7:30, 9 pm $20• Megumi Yonezawa Trio with Mike McGuirk, Mark Ferber		Soapbox Gallery 8 pm $25
êPatricia Brennan, Sylvie Courvoisier, Trevor Dunn, Dan Weiss		The Stone at The New School 8:30 pm $20
êJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Sunday, July 3• Vanessa Perea Quartet
Arthur’s Tavern 12 pm• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Olli Soikkeli Trio with Paul Sikivie, Dani Danor		
Barbès 8 pm $15• Eyal Vilner Big Band
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êHouston Person Quartet
Birdland Theater 7, 9:30 pm $30• Christian Finger BandBlue Note 12:30, 2:30 pm $15• Willerm Delisfort Trio
Cellar Dog 7 pm $10• NY Phil and Casita Maria’s BronX BandA		
Damrosch Park at Lincoln Center 7 pm
• Charlie Sepulveda and The Turnaround with Norberto Ortiz, Bienvenido Dinzey,
Gabriel Rodriguez, Francisco Alcalá, Gadwin Vargas and guest Steve Turre				Dizzy’s Club 5, 7:30 pm $40• Welf Dorr, Dmitry Ishenko, Vijay Anderson
		
The Keep 9 pm
• Tony Davis Bonanza
Little Island 4:30 pm• Chloé Perrier
McKittrick Hotel 7 pm
• Emily Braden
Mezzrow 7:30, 9 pm $20• Yaacov Mayman Super Hot Jazz Band with Nuza Shanshiashvili, Edsel Gomez,
Oleg Osenkov, Tommy Cambell Minton’s 7, 9:30 pm $25• Roz Corral Trio with Gilad Hekselman		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAndrea Wolper/Eri Yamamoto
Saint Peter’s Church 5 pm
• Frank Basile
Smalls 7:30, 9 pm $20
êEthan Iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40

Monday, July 4• Grove Street Stompers

Arthur’s Tavern 7 pm
Birdland Theater 8:30 pm $30• Dizzy Gillespie Afro-Latin Experience		Blue Note 8, 10:30 pm $35• Daryl Sherman
Bryant Park 12:30 pmêVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êHouston Person Quartet

Thursday, July 7• Miss Maybell and Her Ragged Jazz Band; Terry Waldo’s Gotham City Band				Arthur’s Tavern 7, 10 pmêMarta Sanchez; Adam Kolker/Jeremy Stratton with guest Dick Oatts
		
Bar Bayeux 5, 8, 9:30 pmêDave Stryker Quartet with Julian Shore, John Patitucci, Brian Blade		
Birdland 7, 9:30 pm $40• Gabrielle Stravelli Trio
Birdland Theater 5:30 pm $30• Nicholas Payton
Blue Note 8, 10:30 pm $35• Daryl Sherman
Bryant Park 12:30 pm• Mike Karn Quartet; Simona Premazzi Quartet
		
Cellar Dog 7, 11:30 pm $10• Vivian Sessoms
The Django 10:30 pm• Russell Hall and The Brethren with Miki Yamanaka, Claudio Silva		The Jazz Gallery 7:30, 9:30 pm $15-25• Kahlil Bell Kwame
Macc Winebar 7 pm
• Richie Vitale
Mezzrow 7:30, 9 pm $20• Karen Mantler Trio with Doug Wieselman, Kato Hideki;
Chris Cochrane Trio with Sulynn Hago; Felice Rosser Trio with Marlon Cherry, Fin Hunt		The Owl Music Parlor 8 pm $12êAlan Ferber; Sarah Hanahan
Smalls 7:30, 9, 10:30 pm $20
êSylvie Courvoisier Trio with Drew Gress, Nasheet Waits		
The Stone at The New School 8:30 pm $20• Relative Motion Trio: David Bindman, Michael Sarin, Stefan Bauer		
Sunset Park Library 6 pmêJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40

Friday, July 8êJohnny O’Neal Trio

Arthur’s Tavern 7 pm
• Spin Cycle: Tom Christensen, Pete McCann, Matt Pavolka, Scott Neumann
		Bar Bayeux 8, 9:30 pm• Crusaders Tribute: Clark Gayton/Craig Dreyer		
Bar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5:30 pm $30
êDave Stryker Quartet with Julian Shore, John Patitucci, Brian Blade		
Birdland 8:30, 10:30 pm $40• Dominick Farinacci and Triad with Michael Ward-Bergeman, Christian Tamburr andguest Shenel Johns
Birdland Theater 7, 9:30pm $30

26 JULY 2022 | THE NEW YORK CITY JAZZ RECORD• Nicholas Payton
Blue Note 8, 10:30 pm $35• Daryl Sherman
Bryant Park 12:30 pm• The Baylor Project
Bryant Park 7 pm
• Richard Clements Quartet; Raphael D’lugoff Quartet

		
Cellar Dog 7, 11:30 pm $10• The NYChillharmonic
Culture Lab LIC 7 pm
• Calvin Johnson and Native Son with Andrew McGowan, Nori Naraoka,
Darrian Douglas; Jeffery Miller Band with Chris Bittner, Sean Mason, Daniel Winshall,Charles Goold
The Django 7:30, 10:30 pm• Vitor Gonçalves
Ibeam Brooklyn 8 pm $15• Shedrick Mitchell
The Jazz Gallery 7:30, 9:30 pm $25-35
êJazzmobile: Craig Harris
Marcus Garvey Park, Richard Rogers Amphitheater 7 pm
• Benny Green
Mezzrow 7:30, 9 pm $20• Robert Rucker Project with Eric Lewis, Yuma Takagi
		Minton’s 7, 9:30 pm $25• Jordyn Davis
Mount Morris Ascension Presbyterian Church 7 pm $20
êSaxophone Summit with guest Greg Lewis
		Riverside Park 7 pm
• George Crotty Trio
Rockwood Music Hall Stage 3 9 pm $15• Kevin Sun; Stacy Dillard
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Dwayne Clemons
Smalls 7:30, 9 pm $20
êMephista: Susie Ibarra, Ikue Mori, Sylvie Courvoisier and guest Ned Rothenberg
		The Stone at The New School 8:30 pm $20
êJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40

Saturday, July 9• Michael Kanan/Adam Kolker

Bar Bayeux 6 pmêGreg Organ Monk Lewis
Bar Lunàtico 8:30, 10 pm $10êRon McClure Trio with Mike Eckroth, Steve Johns		
Bar Bayeux 8, 9:30 pmêDave Stryker Quartet with Julian Shore, John Patitucci, Brian Blade		
Birdland 8:30, 10:30 pm $40• Dominick Farinacci and Triad with Michael Ward-Bergeman, Christian Tamburr andguest Shenel Johns
Birdland Theater 7, 9:30pm $30• Nicholas Payton
Blue Note 8, 10:30 pm $35• Jade Synstelien Quartet; Miki Yamanaka Quartet
		
Cellar Dog 7, 11:30 pm $10• Charles Owens Quartet with Miki Yamanaka, Alexander Claffy, Charles Goold;
Joe Farnsworth
The Django 7:30, 10:30 pm• Gustavo Casenave Trio with Ricky Rodriguez, Franco Pinna
		
Flushing Town Hall 7 pm $15• Nicola Caminiti Quintet with Jeremy Corren, Chris Tordini, Jongkuk Kim
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êVince Giordano and The Nighthawks
		Kingsborough Community College 8 pm
• Jazzmobile: Antoinette Montague/Danny Mixon		
MacDonough St. Block Association 4 pm
• Benny Green
Mezzrow 7:30, 9 pm $20• Dwayne Clemons
Smalls 7:30, 9 pm $20
êDuology: Michael Marcus/Ted Daniel with Lonnie Plaxico, Darrell Green;
Elliott Sharp solo; Melanie Dyer Trio with Kurt Ralske, Todd Capp; Cooper-Moore solo;
Rudy Walker Ensemble
Socrates Sculpture Park 2:30 pmêNasheet Waits, Sylvie Courvoisier and guest
		
The Stone at The New School 8:30 pm $20
êJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40

Sunday, July 10• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Wayne Tucker and The Bad Mothas

		Bar Lunàtico 8:30, 10 pm $10• Mariel Bildstein Septet
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Dominick Farinacci and Triad with Michael Ward-Bergeman, Christian Tamburr andguest Shenel Johns
Birdland Theater 7, 9:30pm $30• Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner		
The Bitter End 6, 7:30 pm $10-15• Kestutis Vaiginis Quartet
Blue Note 12:30, 2:30 pm $15• Nicholas Payton
Blue Note 8, 10:30 pm $35• Bruce Harris Trio
Cellar Dog 7 pm $10• Welf Dorr, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pm
• Jesse Harris
Mezzrow 7:30, 9 pm $20• Spike Wilner Trio with Peter Washington, Joe Farnsworth		
Minton’s 7, 9:30 pm $25• Paul Jost Trio with Jim Ridl, Dean Johnson
		North Square Lounge 12:30, 2 pmêMichaël Attias Quartet with Santiago Leibson, Sean Conly, Tom Rainey		
The Owl Music Parlor 8 pm $12• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAmanda Monaco/Michel Gentile Saint Peter’s Church 5 pm
• Charles Owens
Smalls 7:30, 9 pm $20
êJakob Bro Trio with Thomas Morgan, Joey Baron		
Village Vanguard 8, 10 pm $40

Monday, July 11• Grove Street Stompers

Arthur’s Tavern 7 pm

Tony Scherr, Kenny Wollesen

Barbès 5, 7 pm $20

êJenny Scheinman and Friends with Jeff Lederer, Carmen Staaf, Steve Cardenas,• Amanda Sedgwick Quintet
Birdland Theater 8:30 pm $30• Blaque Dynamite
Blue Note 8, 10:30 pm $25• George Gee Make-Believe Ballroom Orchestra

		
Bond 45 8 pm $25• Armen Donelian
Bryant Park 12:30 pmêAndy Milne and Unison with John Hébert, Clarence Penn		
Dizzy’s Club 7:30, 9:30 pm $30
êMingus Big BandThe Django 7, 9:30 pm• More Better: Declan Sheehy-Moss, Miles Keingstein, Samantha Reiss, Alex Yoo		
The Jazz Gallery 7:30, 9:30 pm $15-25• Addison Frei solo
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Rale Micic/Mike Moreno
Zinc Bar 7, 8:30 pm $25

Tuesday, July 12• Diego Voglino Jam Session

Bar Bayeux 8 pmêDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,

Ludovic Beier, Francko Mehrstein, Gino Roman		
Birdland 7, 9:30 pm $40• Armen Donelian
Bryant Park 12:30 pmêLakecia Benjamin
Dizzy’s Club 7:30, 9:30 pm $35• Elio Villafranca Quartet with Vincent Herring, Adam Olszewski, Domo Branch;
La Pachamambo
The Django 7:30, 10:30 pmêWill Bernard; Patrick Golden, Adam Lane, Jim Clouse		
Downtown Music Gallery 6:30 pm• Russ Lossing/Loren Stillman and guests
		Ibeam Brooklyn 8 pm
• Simón Willson Trio
Lowlands 8, 9:30 pm• Jhon Colliani
Mezzrow 7:30, 9 pm $20• Claudia Abena
St. Paul’s Chapel 1 pm
• EJ Strickland
Smalls 7:30, 9 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40• Silvano Monasterios Trio with Ricky Rodriguez, Jimmy Macbride		Zinc Bar 7, 8:30 pm $10

Wednesday, July 13êFred Lonberg-Holm, Michaël Attias, Tom Rainey; Lampshade: Chris Cochrane,

Viv Corringham, Miguel Frasconi 411 Kent Avenue 8 pm $15• Eve Silber
Arthur’s Tavern 7 pmêDavid Weiss
Bar Bayeux 8, 9:30 pm• Arthur Kell and Friends with Brad Shepik, Nate Radley, Allan Mednard
		Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman and guest James Carter				
Birdland 7, 9:30 pm $40• Roni Ben-Hur
Birdland Theater 8:30 pm $30• Armen Donelian
Bryant Park 12:30 pmêJohnny O’Neal Trio
Cellar Dog 7 pm $10êLakecia Benjamin
Dizzy’s Club 7:30, 9:30 pm $35• Stacy Dillard; Jonathan Barber’s Vision Ahead with Shenel Johns, Matt Dwonszyk
		The Django 7:30, 10:30 pm• Antoinette Montague
Grant’s Tomb 7 pm
• Padam Swing
Little Island 4:30 pm• Stephen Boegehold Quartet with Kalia Vandever, Sonya Belaya
		Lowlands 8 pm
• Jim Ridl
Mezzrow 7:30, 9 pm $20
êLew Tabackin Trio
Michiko Studios 7 pm $20• Mary Foster Conklin and Andrea Wolper with John Di Martino, Ken Filiano				Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êLoren Stillman
Smalls 7:30, 9 pm $20• Hypercolor: Eyal Maoz, James Ilgenfritz, Lukas Ligeti
		
The Stone at The New School 8:30 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, July 14• Evan Sherman and Friends; Terry Waldo’s Gotham City Band		
Arthur’s Tavern 7, 10 pm• Marta Sanchez; Adam Kolker/Jeremy Stratton with guest EB Silverman		
Bar Bayeux 5, 8, 9:30 pmêDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman with guest Edmar Castañeda		
		Birdland 7, 9:30 pm $40• Stacy Griesbach
Birdland Theater 8:30 pm $30• Armen Donelian
Bryant Park 12:30 pmêGeorge Braith
Bushwick Inlet Park 6:30 pmêDion Tucker Quintet; Sarah Hanahan Quartet
		
Cellar Dog 7, 11:30 pm $10• Rosa Passos and Quartet with Chico Pinheiro, Hélio Alves, Sam Minaie, Rafael Barata		Dizzy’s Club 7:30, 9:30 pm $40• Richard Cortez Band with Gabe Medd, Noah Halpern, Ruben Fox, Saul Dautch,
Robert Edwards, Evan Main, Alex Tremblay, Eric Hallenbeck
		
The Django 7:30, 10:30 pm• Pedro Martinez Echoes of Africa Drom 9 pm $30• Underground Horns
Groove Bar & Grill 7 pm
• Billy Kaye
Jazz Museum in Harlem 2 pm
• Myriam Phiro’s Nuage Rhythm Joe’s Pub 7 pm $20• Agustin Uriburu
Little Island 12:30 pm• Frank Senior
Macc Winebar 7 pmêPete Malinverni
Mezzrow 7:30, 9 pm $20• Tony Davis
Smalls 7:30, 9 pm $20• Gary Lucas/Lukas Ligeti
The Stone at The New School 8:30 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40

Friday, July 15êJohnny O’Neal Trio

Arthur’s Tavern 7 pm
• Jonathan Michel
Bar Bayeux 8, 9:30 pm• Birdland Big Band
Birdland 5:30 pm $30
êDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman with guest John DiMartino				
Birdland 8:30, 10:30 pm $40
êLew Tabackin Trio with Peter Washington, Jason Tiemann with guest Toshiko Akiyoshi
		
Birdland Theater 7, 9:30 pm $30• Armen Donelian
Bryant Park 12:30 pm• Squirrel Nut Zippers
Bryant Park 7 pm
• Duduka Da Fonseca Quartet; Gabriele Donati Quartet
		
Cellar Dog 7, 11:30 pm $10• Rosa Passos and Quartet with Chico Pinheiro, Hélio Alves, Sam Minaie, Rafael Barata		Dizzy’s Club 7:30, 9:30 pm $40
êRick Germanson Quartet; Craig Handy and 2nd Line Smith with Matt Chertkoff,
Kyle Koehler, Clark Gayton, Jerome Jennings
		The Django 7:30, 10:30 pm

Tuesday, July 19êMara Rosenbloom, Joe Fonda, Rob Garcia; Barry Altschul’s 3Dom Factor withJon Irabagon, Joe Fonda; Sarah Elizabeth Charles with Jesse Elder, Jesse Fischer,Jordan Peters, Burniss Earl Travis II, John Davis		
Ibeam Brooklyn 7 pm $15êImani Records Showcase: Caleb Wheeler Curtis’ Heatmap with Orrin Evans,
Rashaan Carter, Allan Mednard The Jazz Gallery 7:30, 9:30 pm $15-25
êJazzmobile: Marc Cary Quartet
Marcus Garvey Park, Richard Rogers Amphitheater 7 pmêBill Goodwin
Mezzrow 7:30, 9 pm $20• Kalí Rodríguez-Peña’s Clique
Minton’s 7, 9:30 pm $25• Barry Stephenson
Mount Morris Ascension Presbyterian Church 7 pm $20• Ryan Sands; Gianluca Renzi
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Santi Debriano
Smalls 7:30, 9 pm $20• Lukas Ligeti Quintet with Travis Sullivan, Shoko Nagai, Michael Bates, Darren Johnston
		
The Stone at The New School 8:30 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40

Saturday, July 16• Tony Middleton
Arthur’s Tavern 7 pm
• Adam Kolker/Santiago Liebson Bar Bayeux 6 pm
• Garvin Blake
Bar Bayeux 8, 9:30 pmêDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,

Ludovic Beier, Francko Mehrstein, Gino Roman with guest Ken Peplowski				Birdland 8:30, 10:30 pm $40
êLew Tabackin Trio with Peter Washington, Jason Tiemann with guest Joe Magnarelli		Birdland Theater 7, 9:30 pm $30• Greg Glassman Quartet; Matt Martinez Quartet
		
Cellar Dog 7, 11:30 pm $10• Revive Big Band with Thais Lona; Melanie Charles; Erika the DJ		Central Park Summerstage, Rumsey Playfield 7 pm
• Sam Blakeslee
Culture Lab LIC 7 pm
• Rosa Passos and Quartet with Chico Pinheiro, Hélio Alves, Sam Minaie, Rafael Barata		Dizzy’s Club 7:30, 9:30 pm $45• Dan Aran Band; Lezlie Harrison The Django 7:30, 10:30 pm• Curtis Stewart
Governors Island 1, 3 pmêMichel Gentile Trio with Mike Formanek, Tom Rainey; Tony Malaby, Angelica Sanchez,
Tom Rainey; Anna Weber Rectangles with Charlotte Greve, Elias Stemeseder,
Mark Ferber
Ibeam Brooklyn 7 pm $15• Imani Records Showcase: Luke O’Reilly’s I Too Sing America: A Black Mans Diary		The Jazz Gallery 7:30, 9:30 pm $15-25• Fleur Seule
Kingsborough Community College 8 pmêBill Goodwin
Mezzrow 7:30, 9 pm $20• Diego Joaquin Ramirez Quartet with Marcos Lopez, Marcos Torres, Tamir Shmerling		
The Owl Music Parlor 8 pm $12êAnteloper: Jaimie Branch/Jason Nazary; HxH: Chris Williams/Lester St. Louis				
Public Records 7 pm $25• Jazzmobile: Denny FarrellRiverbank State Park 2 pm
• Santi Debriano
Smalls 7:30, 9 pm $20
êRobert Dick, Ken Filiano, Lukas Ligeti, Thomas Heberer
		The Stone at The New School 8:30 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40

Sunday, July 17• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Ben Monder, Tony Malaby, Tom Rainey		Bar Lunàtico 8:30, 10 pm $10• Kellin Hanas Quintet
Birdland 5:30 pm $30
êDjango Festival All-Stars: Dorado, Samson and Amati Schmitt, Pierre Blanchard,
Ludovic Beier, Francko Mehrstein, Gino Roman with guest Houston Person				
Birdland 7, 9:30 pm $40
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êLew Tabackin Trio with Peter Washington, Jason Tiemann with guest Melissa Aldana
		
Birdland Theater 7, 9:30 pm $30• Vanderlei Pereira Trio
Cellar Dog 7 pm $10• Anything Goes! Cole Porter and More Cole Porter!: Christine Andreas, Robbie Lee,
Russell Hall, Zoe Obadia, Evan Sherman		Dizzy’s Club 5, 7:30 pm $35• Welf Dorr, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pm
• Michelle Lordi
Mezzrow 7:30, 9 pm $20• Russell Hall’s From Kingston to Harlem
		
Minton’s 7, 9:30 pm $25• Kelsey Jillette Trio with Tony Romano		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAmanda Monaco/Tom Dempsey Saint Peter’s Church 5 pmêSheryl Bailey
Smalls 7:30, 9 pm $20• Noa Fort, Thomas Morgan, Vinnie Sperrazza		
Soapbox Gallery 8 pm $25
êKat Edmonson
The Speakeasy at Jaffe Drive 6 pm
• Nikara Warren’s Black Wall Street; Corey Bernhard
		
The Sultan Room 7 pm $20
êGeorge Cables Trio with Essiet Essiet, Jerome Jennings		Village Vanguard 8, 10 pm $40

Monday, July 18• Grove Street Stompers; Will Bernard Trio		
Arthur’s Tavern 7, 10 pm• Alison Shearer
Bar Lunàtico 8:30, 10 pm $10• Dana Lyn’s Baby Octopus with Mike McGinnis, Sara Schoenbeck, Gary Wang,
Patricia Brennan, Noel Brennan Barbès 7 pm $20• Blaque Dynamite
Blue Note 8, 10:30 pm $25• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Deanna Witkowski
Bryant Park 12:30 pm• Augie Haas Trio + 1
Chelsea Table & Stage 7 pm $20• Marta Sánchez Quintet with Alex LoRe, John Ellis, Chris Tordini, Allan Mednard				
Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7, 9:30 pm• Ari Hoenig Group
Fifth Hammer 6:30 pm• Spike Wilner
Mezzrow 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Rodney Jones Quartet with Dabin Ryu, Lonnie Plaxico, EJ Strickland
		Zinc Bar 7, 8:30 pm $10

ê92NY Jazz in July: Joshua Redman and Bill Charlap Trio with Peter Washington,

Kenny Washington

The 92nd Street Y 7:30 pm $35
Bar Bayeux 8 pmêDuke Robillard/Scott Hamilton Band		
Birdland 7, 9:30 pm $40
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35• Deanna Witkowski
Bryant Park 12:30 pm• Nick Finzer Sextet with Lucas Pino, Alex Wintz, Glenn Zaleski, Dave Baron,
Jimmy Macbride
Dizzy’s Club 7:30, 9:30 pm $30• Kali Rodriguez-Peña’s Melange with Kazemde George, Gabriel Chakarji,
Bam Bam Rodríguez, Zack O’Farrill, Victor Pablo García; Chino Pons withAngel Lebron, Joe Rivera, Fredi Clemente, Edi Valentin, Gael Sebastian, Erica Olivares
		
The Django 7:30, 10:30 pm• Jeremy Carlstedt
Downtown Music Gallery 6:30 pm• Jazzmobile: Lynette Washington Jackie Robinson Park 7 pm
• Elijah Shiffer’s All the Birds with Kevin Sun
		
Lowlands 8, 9:30 pm• David Janeway
Mezzrow 7:30, 9 pm $20• TC III and Friends
Riverside Park 7 pm
• Patrick Bird’s Birdman Sextet St. Paul’s Chapel 1 pm
• Eric Alexander
Smalls 7:30, 9 pm $20
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40• Spike Wilner
Zinc Bar 7, 8:30 pm $25• Diego Voglino Jam Session

Wednesday, July 20• Eve Silber• Leni Stern• Willerm Delisfort

Arthur’s Tavern 7 pm
The Atlantic BKLN 7 pm $20
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êDuke Robillard/Scott Hamilton Band		
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35• Deanna Witkowski
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10• Celebrating 60 Years of Jamaican Independence: Russell Hall and The Brethren Court
with Shenel Johns, Michela Marino Lerman, Mathis Picard, Mark Whitfield, Jr.
		
Dizzy’s Club 7:30, 9:30 pm $35• The Django Allstars: Ken Fowser, Anthony Wonsey, Joe Farnsworth;Hudson Horns: Michael Stephenson, Alita Moses, Jovan Johnson, Jake Kenowitz,
Peter Nelson, Finnegan Singer, Itay Morchi, Caleb Spaulding		
The Django 7:30, 10:30 pm• Mames Babegenush: Andreas Møllerhøj, Lukas Rande, Morten Ærø, Nicolai Kornerup,
Bo Rande, Emil Goldschmidt
Drom 8 pm $25• Jazzmobile: Winard Harper and Jeli Posse		
Grant’s Tomb 7 pm
• JAYTEE with Dierk Peters
Lowlands 8 pm
• George Burton
Mezzrow 7:30, 9 pm $20• Tahira Clayton/Addison Frei Quartet
		Pangea 7 pm $25• Camille Gainer Jones
Pier 84 7 pm
• Aleksi Glick
Rockwood Music Hall Stage 3 8:30 pm• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Mike Bond
Smalls 7:30, 9 pm $20
êNed Rothenberg’s Sync with Jerome Harris, Samir Chattejee		
Soapbox Gallery 8 pm $25
êLoren Mazzacane Connors/Ava Mendoza
		The Stone at The New School 8:30 pm $20
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm• FIDOqrtet: Maryanne de Prophetis, Shoko Nagai, Ron Horton, Satoshi Takeishi
		Zürcher Gallery 8 pm $20

Thursday, July 21
ê92NY Jazz in July: Kenny Barron, Bill Charlap and Aaron Diehl with Noriko Ueda,

Lewis Nash

The 92nd Street Y 7:30 pm $35• Miss Maybell and Her Ragged Jazz Band; Terry Waldo’s Gotham City Band		
Arthur’s Tavern 7, 10 pm• Marta Sanchez; Adam Kolker/Jeremy Stratton with guest Sasha Dobson
		
Bar Bayeux 5, 8, 9:30 pmêDuke Robillard/Scott Hamilton Band		
Birdland 7, 9:30 pm $40• Pete Ayres Band
Birdland Theater 8:30 pm $30
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35• Deanna Witkowski
Bryant Park 12:30 pm• Spike Wilner Quartet; Jamale Davis Quartet
		
Cellar Dog 7, 11:30 pm $10• Jennifer Wharton’s Bonegasm Culture Lab LIC 7 pmêJon Faddis Birthday Quartet with David Hazeltine, Kiyoshi Kitagawa, Dion Parson				Dizzy’s Club 7:30, 9:30 pm $45• Wayne Escoffery Quartet; Chris Norton		
The Django 7:30, 10:30 pm• Jeff Pearring Sound with Virg Dzurinko, Pete Swanson, Todd Capp		
Ibeam Brooklyn 7 pm $15• Jared Schonig Big Band with Andrew Gould, Matt Hong, John Ellis, Jason Rigby,
Remy Le Boeuf, Tony Kadleck, Jon Owens, Brian Pareschi, Scott Wendholt,
Michael Davis, Mike Fahie, Matt McDonald, Jeff Nelson, Jeff Miles, Carmen Staaf,
Edward Perez
The Jazz Gallery 7:30, 9:30 pm $15-25• Ginetta’s Vendetta
Macc Winebar 7 pmêJack Wilkins
Mezzrow 7:30, 9 pm $20
êEric Plaks’ The Orbora Tree Suite Shrine 8 pmêThe Microscopic Septet: Phillip Johnston, Mike Hashim, Dave Sewelson, Don Davis,
Joel Forrester, David Hofstra, Richard Dworkin		Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Davis Whitfield, Peter Washington, Joe Farnsworth andguest Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60• Keith Loftis Quartet
Soapbox Gallery 8 pm $25
êAbiodun Oyewole, Ava Mendoza, Luke Stewart
		The Stone at The New School 8:30 pm $20
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40

THE NEW YORK CITY JAZZ RECORD | JULY 2022 27

ARTSWESTCHESTER,
THE CITY OF WHITE PLAINS& THE WHITE PLAINS BID

JAZZ
FEST
WHITE PLAINSSEPT. 14-18, 2022
F E AT U R I N G :Joey Alexander
Buster Williams Quartet“Something More”

Ragan Whiteside & Friends
Grace Kelly

Tickets on sale!

artsw.org/jazzfest

Friday, July 22• Gil and Ansy Defay

Bar Bayeux 8, 9:30 pmêJohnny O’Neal Trio
Arthur’s Tavern 7 pm
• Birdland Big Band
Birdland 5:30 pm $30
êDuke Robillard/Scott Hamilton Band		
Birdland 8:30, 10:30 pm $40• Gunhild Carling
Birdland Theater 7, 9:30 pm $30
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35• Roy Eaton
Bryant Park 12:30 pm• Wayne Tucker Quartet; Tad Shull Quartet
		
Cellar Dog 7, 11:30 pm $10êJon Faddis Birthday Quartet with David Hazeltine, Kiyoshi Kitagawa, Dion Parson				Dizzy’s Club 7:30, 9:30 pm $45
êBrian Charette Quartet with Ed Cherry, Joe Strasser, Kenny Brooks;
Dave Schumacher’s Cubeye Afro-Cuban Jazz Septet with Jesus Anduz, Jose Davila,
John DiMartino, Apolo Ayala, Mauricio Herrera, Yusnier Sanchez
		
The Django 7:30, 10:30 pm• NY Gypsy All-Stars with guest Ibrahim Maalouf		
Drom 11:30 pm $35-50
êJosh Sinton, Jed Wilson, Tony Falco; Ben Goldberg, Michael Formanek, Tom Rainey
		Ibeam Brooklyn 8 pm $10• Jaleel ShawThe Jazz Gallery 7:30, 9:30 pm $25-35
êJazzmobile: Jeremy Pelt
Marcus Garvey Park, Richard Rogers Amphitheater 7 pm
• Michael Wolff
Mezzrow 7:30, 9 pm $20• Jon Davis Birthday Trio with Marty Kenny, Evan Hyde		
Minton’s 7, 9:30 pm $25• James Zollar
Mount Morris Ascension Presbyterian Church 7 pm $20• Laura Campisi; Monika Herzig Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êJeff Chan Trio with Adam Lane, Vijay Anderson
		
Scholes Street Studio 8 pm $10• Caroline Davis
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Davis Whitfield, Peter Washington, Joe Farnsworth andguest Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60• Gabby Fluke-Mogul/Ava Mendoza The Stone at The New School 8:30 pm $20
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40

Saturday, July 23êHarry Allen Trio
Arthur’s Tavern 7 pmêAdam Kolker/Steve Cardenas
Bar Bayeux 6 pmêCaleb Wheeler Curtis
Bar Bayeux 8, 9:30 pmêDuke Robillard/Scott Hamilton Band		
Birdland 8:30, 10:30 pm $40• Gunhild Carling
Birdland Theater 7, 9:30 pm $30
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35
êJazzmobile: Bobby Sanabria Multiverse Big Band		
Bryant Park 7 pm
• Philip Harper Quintet; Jon Davis Trio		
Cellar Dog 7, 11:30 pm $10êJon Faddis Birthday Quartet with David Hazeltine, Kiyoshi Kitagawa, Dion Parson				Dizzy’s Club 7:30, 9:30 pm $45• Nick Biello Quartet with Manuel Valeram, Alex Tremblay, Peter Kronreif;
High and Mighty Brass Band: Evan Howard, Charly Kay, Nolan Tsang, Gabe Medd,
Nadav Nirenberg, Steve Duffy, VJ Brown
		The Django 7:30, 10:30 pmêJazz by the Water: Ray Blue Quintet; Starlene Bey Experience; Neil Clarke Band;Nat Adderley, Jr. Trio with Tommy Morimoto; Santi Debriano’s Arkestra Bembe 				
Governors Island 1 pm
• Luca Fadda
Ibeam Brooklyn 8 pm $15• Jaleel ShawThe Jazz Gallery 7:30, 9:30 pm $25-35• Michael Wolff
Mezzrow 7:30, 9 pm $20• Jazz Loft All-Stars: Tom Manuel, Darrell Smith, Houston Person, Ed Cherry, Mimi Jones		Room 623 at B2 Harlem 8 pm
• Caroline Davis
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Davis Whitfield, Peter Washington, Joe Farnsworth andguest Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60
êAva Mendoza solo
The Stone at The New School 8:30 pm $20
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40

Sunday, July 24• Joe Gransden Big Band with Chris Otts, Akeem Marable, John Sandfort, Mike Walton,

Jamel Mitchell, Wes Funderburk, Tom Gibson, Derrick Jackson, Lee Watts, Lee King,
Kevin Lyons, Gordon Vernick, Terence Harper, Geoff Haydon, Neal Starkey,
Marlon Patton
Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7, 9:30 pm• Ari Hoenig Group
Fifth Hammer 6:30 pmêTito Puente, Jr.
Iridium 8:30 pm $39.50-49.50• Or Bareket Quartet
The Jazz Gallery 7:30, 9:30 pm $15-25
êWill Bernard
Rockwood Music Hall Stage 1 11 pm• Ari Hoenig
Smalls 7:30, 9 pm $20
êAva Mendoza solo; Trevor Dunn Duo; Columbia Icefield: Nate Wooley, Mary Halvorson,
Susan Alcorn, Ryan Sawyer
TV Eye 7 pmêVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Gene Bertoncini/Roni Ben-Hur Zinc Bar 7, 8:30 pm $10

Tuesday, July 26

ê92NY Jazz in July: Joe Lovano, Warren Wolf, Bill Charlap, David Wong, Carl Allen andguest Samara Joy

		Bar Lunàtico 8:30, 10 pm $10êDelfeayo Marsalis Uptown Jazz Orchestra		
Birdland 7, 9:30 pm $40• Braxton CookBlue Note 8, 10:30 pm $35
êJoel Forrester
Bryant Park 12:30 pmêFreddie Hubbard Ertegun Hall of Fame Celebration;
Teddy Wilson Ertegun Hall of Fame Celebration: Eric Reed and Friends		
		
Dizzy’s Club 7:30, 9:30 pm $40• Pedro Cortes Flamenco Ensemble with Juan Pedro Jimenez, Elisabet Torras,
Luis Ossa; People of Earth: Ivan Llanes, Ashira Mothersil, Mau Quiros, Raul Rios,
Victor Pablo, Keisel Jimenez, Ian Stewart
		
The Django 7:30, 10:30 pm• Julian Kirshner/Nikolaj Klemens; Kenneth Jimenez, Hery Paz, Tom Rainey				
Downtown Music Gallery 6:30 pmêTito Puente, Jr.
Iridium 8:30 pm $39.50-49.50• Kevin Sun Quartet with Dana Saul, Walter Stinson, Matt Honor		
Lowlands 8, 9:30 pmêPaul Jost Quartet
Soapbox Gallery 8 pm $25• Jazz House @ Trinity Student Showcase and Faculty Concert
		
St. Paul’s Chapel 1 pmêJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40
êDavid Kikoski Trio with Matt Penman, Mark Whitfield, Jr. and guest Chris Potter		
Zinc Bar 7, 8:30 pm $25

Wednesday, July 27• Matt Pavolka Quintet with Dave Smith, Jason Rigby, Santiago Leibson, Mark Ferber		
Bar Bayeux 8, 9:30 pm• Bruce Barth Trio
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êDelfeayo Marsalis Uptown Jazz Orchestra		
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Braxton CookBlue Note 8, 10:30 pm $35
êJoel Forrester
Bryant Park 12:30 pm• Saul Rubin Trio
Cellar Dog 7 pm $10êJohn Lewis Ertegun Hall of Fame Celebration with Aaron Diehl, Warren Wolf;
Freddie Greene Ertegun Hall of Fame Celebration		Dizzy’s Club 7:30, 9:30 pm $40• Keith Brown Quintet with Antoine Drye, Anthony Ware, Jon Michel, Darrell Green;
Kendra Foster
The Django 7:30, 10:30 pmêJazzmobile: Houston Person
Grant’s Tomb 7 pm
• Jon Elbaz Quartet with Matt Knoegel, James Robbins, Kayvon Gordon
		
Lowlands 8 pmêRalph Alessi
Mezzrow 7:30, 9 pm $20• Emma Lawson Trio
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Kris Allen
Smalls 7:30, 9 pm $20
êPeter Evans Ensemble with Alice Teyssier, Immanuel Wilkins, Nick Jozwiak,
Levy Lorenzo, Sam Pluta
The Stone at The New School 8:30 pm $20
êJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, July 28• Creole Cookin’ Jazz Band

Arthur’s Tavern 7 pm
Barbès 8 pm $15• Danny Jonokuchi Big Band
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Gunhild Carling
Birdland Theater 7, 9:30 pm $30
êThe Bad Plus: Reid Anderson, Dave King, Ben Monder, Chris Speed
		Blue Note 8, 10:30 pm $35• Abdou Mboup and Waakaw
Brooklyn Museum of Art 2 pmêSheryl Bailey 3
Cellar Dog 7 pm $10• Joseph Herbst and Quartet Davis Culture Lab LIC 7 pmêJon Faddis Birthday Quartet with David Hazeltine, Kiyoshi Kitagawa, Dion Parson				Dizzy’s Club 5, 7:30 pm $40• Welf Dorr, Elias Meister, Dmitry Ishenko, Dalius Naujo
		
The Keep 9 pm
• Jamile
Mezzrow 7:30, 9 pm $20• Carlos Abadie Quintet with Alex DeLazavri, Luis Perdomo, Alex Ayala, Bobby Sanabria
		
Minton’s 7, 9:30 pm $25• Ben Cassara Trio with Freddie Bryant, Boots Maleson		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAmanda Monaco/Sean ConlySaint Peter’s Church 5 pm
• Cleric: Matt Hollenberg, Nicholas Shellenberger, Daniel Kennedy, Larry Kwartowitz;
Titan to Tachyons: Sally Gates, Matt Hollenberg, Trevor Dunn, Kenny Grohowski;
Bangladeafy: Jon Ehlers/Atif Haq Saint Vitus Bar 7 pm $19• Mike Troy
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Davis Whitfield, Peter Washington, Joe Farnsworth andguest Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60
êFrank London
Soapbox Gallery 8 pm $25
êGuillermo Klein Quintet with Chris Cheek, Leo Genovese, Matt Pavolka, Allan Mednard
		Village Vanguard 8, 10 pm $40
êJoel Forrester solo

Monday, July 25• Grove Street Stompers
Arthur’s Tavern 7 pm
• Braxton CookBlue Note 8, 10:30 pm $35• George Gee Make-Believe Ballroom Orchestra

		
Bond 45 8 pm $25
êJoel Forrester
Bryant Park 12:30 pmêMichael Feinberg Quartet with Jon Irabagon, Aaron Parks, Nasheet Waits
		
Chelsea Table & Stage 7 pm $20

28 JULY 2022 | THE NEW YORK CITY JAZZ RECORD

The 92nd Street Y 7:30 pm $35• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Adam Kolker Trio with Steve Cardenas, Billy Mintz

ê92NY Jazz in July: Mike Stern, Chris Potter, Bill Charlap, Scott Colley, Bill Stewart andguest Nicole Glover

The 92nd Street Y 7:30 pm $35• Ari Hoenig Trio with David Kikoski, Johannes Weidenmueller;
Terry Waldo’s Gotham City Band Arthur’s Tavern 7, 10 pmêMarta Sanchez; Adam Kolker/Jeremy Stratton with guest Hery Paz

		
Bar Bayeux 5, 8, 9:30 pm• Ross Pederson Quartet with Donny McCaslin, David Cook, Sam Minaie		
Bar Lunàtico 8:30, 10 pm $10• Los Aliens: Ricardo Gallo, Sebastián Cruz, Stomu Takeishi, Andres Jimenez				Barbès 8 pm $15êDelfeayo Marsalis Uptown Jazz Orchestra		
Birdland 7, 9:30 pm $40• Margot Sergent’s The Piaf Experience		
Birdland Theater 8:30 pm $30
êDonald Harrison
Blue Note 8, 10:30 pm $45
êJoel Forrester
Bryant Park 12:30 pm• Brazilian Grooves; John Merrill Quartet
		
Cellar Dog 7, 11:30 pm $10• Horne Electric Band
Culture Lab LIC 7 pmêLee Konitz Ertegun Hall of Fame Celebration with Dan Tepfer;
Paul Chambers Ertegun Hall of Fame Celebration with Rodney Whitaker				Dizzy’s Club 7:30, 9:30 pm $40• Lady Bri and Time to Swing Trio: Briana Swann, Davis Whitfield, Jason Clotter,
Joe Farnsworth; Ian Hendrickson-Smith		The Django 7:30, 10:30 pmêCalvin Hill Quartet
Jazz Museum in Harlem 2 pmêNYO Jazz led by Sean Jones with guest Jazzmeia Horn		Isaac Stern Auditorium at Carnegie Hall 8 pm $10-40• John Cooksey
Macc Winebar 7 pmêZach Brock
Mezzrow 7:30, 9 pm $20
êTomas Fujiwara/DoYeon Kim; Mary Halvorson Trio with Kalia Vandever,Weston Olencki
The Owl Music Parlor 8 pm $12• Andrew Renfroe
Smalls 7:30, 9 pm $20
êBobby Watson Quartet with Orrin Evans, Curtis Lundy, Victor Jones					
Smoke 7, 9, 10:30 pm $40-60• Mat Maneri, Peter Evans, Nick Jozwiak
		The Stone at The New School 8:30 pm $20
êJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40

100 MILES OUT
CONNECTICUT
7/1, 7/8, 7/15, 7/22, 7/29 (7 pm) Bill’s All-Star Jazz Band
7/6, 7/20 (6:30 pm) Corinthian Dixieland Jazz Band
Bill’s Seafood (Westbrook, CT) www.billsseafood.com
7/14 (6 pm) Leala Cyr Group with Matt Dwonszyk, Ben Bilello, Dan Liparini,
Kris Allen, Atla DeChamplain, Dina DiMarco
Butler-McCook House (Hartford, CT)
www.ctlandmarks.org/properties/butler-mccook-house-garden
7/12 (7 pm) Andrew Beals
7/19 (8 pm) Tony Purrone Trio
7/26 (7 pm) Schmidt Brothers
7/27 (8 pm) Sasha Dobson with Tony Scherr, Matt Kane
Café Nine (New Haven, CT) www.cafenine.com
7/20 (6 pm) Al Fenton Big Band
Great River Park Ampitheater (East Hartford, CT)
www.riverfront.org/great-river-park
7/14 (6 pm) Hall High School Jazz Band featuring Chris Crenshaw
7/15 (7 pm) Chembo Corniel Quintet; Vincent Ingala; Boney James
7/16 (2:30 pm) Will Prince and Friends; Isaiah Sharkey, Brian Simpson,
Jakeim Joyner, Steve Oliver; Spyro Gyra; Average White Band
7/17 (1 pm) Funky Dawgz Brass Band; Matt Marshak; Firey String Sistas;
Marquis Hill New Gospel Revisited; Manhattan Transfer
Greater Hartford Festival of Jazz @Bushnell Park (Hartford, CT)
www.hartfordjazz.org
7/30-31 (8 pm Sat. / 7 pm Sun.) Herb Alpert/Lani HallThe Kate (Old Saybrook, CT) www.katharinehepburntheater.org
7/7 (7 pm) Michael Palin’s Other Orchestra
7/13 (7 pm) The Jones Factor with John Fumasoli, Jason Polise, Bill Harris,
Janet Lantz, Max Darche, Scott Wendholt, Don Hayward,
Paul Maraconda, Dave Anderson, Joel Rosenblatt
7/20 (7 pm) Joe Strasser’s Jazz All Star Quintet with Akiko Tsuruga, Steve Davis,
Kris Jensen, Joshua Breuneau
7/28 (7 pm) Jumaane Smith with Pat Bianchi, David Rosenthal, Carmen Intorre
La Zingara (Bethel, CT) www.lazingara.com
7/29 (5:45 pm) Litchfield Jazz Festival Opening Gala: Samara Joy Ensemble
7/30 (11:30 am) Anton Kot and Litchfield Jazz Camp Faculty Quartet with Don
Braden, Avery Sharpe, Julian Shore, Jean Caze; Gregoire Maret Trio; Mark
Whitfield Band with Davis Whitfield, Barry Stephenson, Joe Farnsworth; Ken
Peplowski with Houston Person, Ehud Asherie, Peter Washington, Willie Jones III
7/30 (12 pm) Sunday Jazz Brunch in The Garden
Litchfield Jazz Festival @Thomas S. Perakos Arts and Community Center(Litchfield, CT) www.litchfieldjazzfest.com
7/2 (7 pm) Five Play: Sherrie Maricle, Tomoko Ohno, Noriko Ueda,
Jami Dauber, Janelle Reichman
7/9 (7 pm) New Black Eagle Jazz Band
7/23 (7 pm) Swingtime Big Band
7/30 (7 pm) Barbara Fasano
Music Mountain’s Gordon Hall (Falls Village, CT) www.musicmountain.org
7/6, 13, 20, 27 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) www.owlshopcigars.com

7/5 (7/8:45 pm) Charlie Barber Band
7/7 (7/8:45 pm) Jerry Weldon Sextet
7/12 (7/8:45 pm) Tristan Voitcu Sextet
7/14 (7/8:45 pm) Marianne Solivan Quartet
7/19 (7/8:45 pm) Will Comer Trio
7/21 (7/8:45 pm) Winard Harper & Jeli Posse
7/26 (7/8:45 pm) Solomon Alber Quartet
7/28 (7/8:45 pm) Swingadelic
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com

NEW YORK
7/1 (7 pm) Victor LaGamma Trio
7/2 (7:30 pm) Jared Pauley Quartet with Duane Eubanks, Jared Pauley,Adam Hutcheson, Cengiz Baysal
7/8, 7/22 (7 pm) Dinah Vero
7/9, 7/23 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
7/15 (7 pm) Brazilwood Trio with Geoffrey Morrow, Tim Bayless, Joey ‘B’ +Barbara Lewin
Alvin & Friends (New Rochelle, NY) www.alvinandfriendsrestaurant.com
7/7 (7 pm) Hudson Valley Jazz Quartet: Lew Scott, Joe Vincent Tranchina,
Steve Rubin, Gabriele Tranchina
Bearsville Theater (Woodstock, NY) www.bearsvilletheater.com
7/1 (8 pm) Pedrito Martinez
7/14 (7 pm) Imani Winds
7/30 (1 pm) Caramoor Jazz Festival:
Elio Villafranca Chick Corea Afro-Caribbean Experience;
George Coleman Quartet; Candice Hoyes/Damien Sneed;
Benny Benack III Quartet; Linda Sikhakhane Quartet;
Summer Camargo Quintet; Sarah Hanahan Quartet;
Jazz at Lincoln Center’s Summer Jazz Academy Big Bands + guests;
Camille Thurman with Darrell Green Quartet
Caramoor Jazz (Katonah, NY) www.caramoor.org
7/30 (8 pm) Michael Bisio solo
Cunneen-Hackett Arts Center (Beacon, NY) www.cunneen-hackett.org
7/7, 7/14, 7/28 (7 pm) Paul Connors Organ Groove feat. Matt Dickey
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com/shows
7/3 (7 pm) Becca Stevens & The Secret Trio
7/10 (7 pm) Tisziji Muñoz Quartet with Paul Shaffer, John Medeski
7/15 (7 pm) Jay Collins & Friends with Scott Sharrard
7/16 (7 pm) The Klezmatics
7/17 (7 pm) Jeff “Tain” Watts Travel Band
7/21 (7 pm) Michael Feinberg Quartet with Jon Irabagon, Aaron Parks,
Nasheet Waits and guest David Liebman;
Cloudburst: Neal Alexander, Mike Colletti, Tony Parker
7/22 (7 pm) Club d’Elf with David “Fuze” Fiuczynski
7/24 (7 pm) Sheila Jordan with Alan Broadbent, Harvie S
7/31 (7 pm) Joe Lovano’s Trio Tapestry
The Falcon (Marlboro, NY) www.liveatthefalcon.com
7/7 (8 pm) Miles Griffith with Tom Dempsey, John Lang
7/14 (8 pm) Marty Elkins with Saul Rubin
7/21 (8 pm) Susan Mack with Hiroshi Yamasaki, John Lang
7/28 (8 pm) Erli Perez with Mark Capon, John LangFirst Name Basis at Divino Cucina (Hastings-on-Hudson, NY)
7/10 (4 pm) Wynton Marsalis Septet with Sean Mason, Carlos Henriquez,www.facebook.com/FNBhastingsny
Obed Calvaire, Chris Crenshaw, Chris Lewis, Abdias Armenteros
Ridgefield Playhouse (Ridgefield, CT) www.ridgefieldplayhouse.org
7/1 (6 pm) Elegant People Fusion Explosion!
7/1 (8:30 pm) Ben Paterson Quartet with Chris Flory, Neal Miner, Fukushi Tainaka Hamptons JazzFest @Parrish Art Museum (Water Mill, NY)
7/2 (7 pm) Jazz at Lincoln Center Orchestra with Wynton Marsalis
7/2 (8:30 pm) Afro-Semitic Experience
7/9 (7 pm) Bobby Sanabria & Quarteto Ache! Hamptons JazzFest
7/9 (8:30 pm) Gillian Margot’s Power Flower with Andy Ezrin, Nate Radley,
7/30 (7 pm) Bakithi Kumalo and Friends
Richie Goods, Ryan Sands
Hamptons JazzFest @Southampton Arts Center (Southampton, NY)
7/15 (8:30 pm) Joe McCarthy’s Afro Bop Alliance with Luis Perdomo,
7/7 (6:30 pm) Yacouba Sissoko & SIYAJohn Benitez, Alejandro Aviles
Hamptons JazzFest @Sag Harbor American Music Festival (Sag Harbor, NY)
7/16 (8:30 pm) Kris Allen Trio with Matt Dwonszyk, Jonathan Barber
7/13 (6 pm) Andrea Brachfeld & Insight
7/22 (8:30 pm) Giacomo Gates
7/27 (6 pm) Claire Daly Quartet
7/23 (8:30 pm) Mark Zaleski Sextet with Jon Bean, Caio Afiune, Matt Dwonszyk,
Hamptons JazzFest @Hampton Library (Bridgehamtpon, NY)
Oscar Suchanek
7/14 (6:30 pm) Jacques Schwarz-Bart
Side Door (Old Lyme, CT) www.oldlymeinn.com/TheSideDoorJazzClub.html
7/21 (6:30 pm) Albino Mbie Quartet with Noah Preminger
7/29 (6 pm) Nelson Bello & Friends
Hamptons JazzFest @Sag Harbor American Music Festival (Sag Harbor, NY)
Webb-Deane-Stevens Museum (Wethersfield, CT) www.webb-deane-stevens.org
7/15 (6 pm) Jacques Schwarz-Bart
Hamptons JazzFest @Parrish Art Museum (Water Mill, NY)
NEW JERSEY
7/17 (6 pm) Michael Wolff Quartet with Mike Clark
Hamptons JazzFest @Gosman’s Dock (Montauk, NY)
7/9 (8 pm) Amani Bickford
7/31 (6 pm) Smalls Allstars
7/23 (8 pm) Dan Levinson
Hamptons JazzFest @LTV Media Center (Wainscott, NY)
7/30 (8 pm) Antoinette Montague
Bickford Theatre at Morris Museum (Morristown, NJ) www.morrismuseum.org www.hamptonsjazzfest.com
7/1-2 (7/9:30 pm) Nilson Matta & Brazilian Voyage
7/15 (7:30/9:15 pm) T.K. Blue and BBQ Trio with Greg Murphy, Paul Beaudry,
7/3 (4/6 pm) Sarah Jane Cion Trio; (8 pm) David Janeway Trio
George Coleman, Jr.
7/8-9 (7/9:30 pm) Django Festival All-Stars
7/29 (7 pm) Ray Blue Organ Trio
7/10 (4/6 pm) Helio Alves Quartet with Portinho
Brothers Smokehouse (Ramsey, NJ) www.brotherssmokehousenj.com
7/15-16 (7/9:30 pm) Joe Locke Quartet
7/2 (3:30 pm) Duane Eubanks
7/17 (4/6 pm) Microscopic Septet
7/9 (3:30 pm) Abraham Burton, Stacy Dillard
7/22-23 (7/9:30 pm) Cyrus Chestnut Trio
7/16 (3:30 pm) Aaron Graves
7/24 (4/6 pm) Liz Rosa Jazz
7/23 (3:30 pm) Victor North
7/29 7/30 (7/9:30 pm) Allan Harris Band
7/30 (3:30 pm) Landham Brothers
Jazz Forum Arts (Tarrytown, NY) www.jazzforumarts.org
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
7/6 (6:30 pm) Corinne Mammana Group with Gene Perla
7/26 (8 pm) Lyle Lovett and his Large Band
7/13 (6:30 pm) Rocky Middleton Quartet
7/29 (7:30 pm) Herb Alpert/Lani Hall
7/20 (6:30 pm) Vanderlei Pereira & Blindfold Test
Count Basie Center’s Hackensack Meridian Health Theatre (Red Bank, NJ)
7/27 (6:30 pm) Valery Ponomarev Sextet “Salute to Art Blakey”
www.thebasie.org
Jazz Forum Arts presents Dobbs Ferry Summer Music Series(Dobbs Ferry, NY) www.jazzforumarts.org/summer-concerts/dobbs-ferry
7/1 (8 pm) Nat Adderley, Jr. Quintet
7/8 (8 pm) Sarah James Quartet
7/11 (6:30 pm) Noa Fort Quartet
7/15 (8 pm) Ty Stephens Quintet
7/25 (6:30 pm) Mike Clark Organ Trio with Pat Bianchi, Tom Guarna
7/22 (8 pm) Victor Jones Quartet
Jazz Forum Arts presents Jazz at Henry Gourdine Park (Ossining, NY) www.
7/29 (8 pm) Nicholas Masters Quartet
jazzforumarts.org/summer-concerts/gourdine-park
Cricket Club Jazz (Irvington, NJ)
7/8 (6:30 pm) Yaacov Mayman Organ Quartet
www.cricket-club-entertainment-complex.business.site
7/15 (6:30 pm) Sheryl Bailey & The SBQ
7/7 (7:30 pm) Richard Baratta 3Bs +2
7/22 (6:30 pm) Ted Piltzecker Quartet
7/14 (7:30 pm) Bill Saxton
7/29 (6:30 pm) Adam Niewood Quartet
7/21 (7:30 pm) Frank Noviello
Jazz Forum Arts presents Jazz at Pierson Park (Tarrytown, NY)
7/28 (7:30 pm) Darrell Green/Camille Thurman
www.jazzforumarts.org/summer-concerts/pierson-parkEnglewood Public Library (Englewood, NJ) www.englewoodlibrary.org
7/7 (6:30 pm) Fukushi Tainaka Organ Quartet
7/13, 7/27 (6-9 pm) 13th Annual Montclair Jazz Festival
7/14 (6:30 pm) Peter Hand Quintet
Montclair Jazz Festival (Montclair, NJ) www.montclairjazzfestival.org
7/21 (6:30 pm) Dave Schumacher & Cubeye’
7/28 (6:30 pm) Mike Holober Quintet with Marvin Stamm
7/18 (7:30 pm) WP Workshop Faculty Ensemble featuring Angelica Sanchez
Jazz Forum Arts presents Sunset Jazz at Lyndhurst (Tarrytown, NY)
7/19 (7:30 pm) Vanderlei Pereira
jazzforumarts.org/summer-concerts/lyndhurst
7/20 (7:30 pm) Mike LeDonne Groover Quartet with Big Beat Band
7/21 (7:30 pm) Rossano Sportiello/Ken Peplowski
7/2 (7 pm) Vince Giordano & The Nighthawks
7/22 (7:30 pm) Helen Sung Quartet
7/6 (1 pm) Tom Manuel Young at Heart Big Band
Shea Center for the Performing Arts @William Paterson University (Wayne, NJ) 7/7, 7/31 (7 pm) Jazz Loft Big Band
www.wpunj.edu/wppresents/jazz-room-series
7/14-15 (7 pm) Tom Manuel Viva Cuba! Big Band
7/16 (7 pm) Bill Crow Trio
7/10 (11 am) Matt Chertkoff Duo
7/21 (7 pm) Big Little Bad Band
7/17 (11 am) Chris DeVito Duo
7/28 (7 pm) Interplay Jazz Orchestra
7/24 (11 am) Leoneike Scheuble Duo
7/29 (7 pm) Warren Vaché Quintet
7/31 (11 am) Charlie Sigler Duo
7/30 (7 pm) Smalls Allstars
Stage House Tavern (Somerset, NJ)
The Jazz Loft (Stony Brook, NY) www.thejazzloft.org
www.stagehousetavern.com/somerset/index.html

7/14 (8 pm) Bill Ware & The Upstate Allstars with Matt King, John Menegon,
Jeff “Siege” Siegel, Teri Roiger
Jazzstock @ Senate Garage (Kingston, NY) www.jazzstock.com
7/24 (4 pm) MMBC: Michael Monhart, Michael Bisio, Ben Chadabe
The Lace Mill (Kingston, NY) www.facebook.com/TheLaceMill
7/16 (7 pm) Roland Vazquez Sextet
Lydia’s Café (Stone Ridge, NY) www.lydias-cafe.com
7/12 (7 pm) Jam Session featuring Charles Owens Trio
Masonic Temple (Sag Harbor, NY) www.safe-harbors.org
7/8 (8 pm) K.J. Denhert Jazz Project
7/9 (8/9:30 pm) Roseanna Vitro/Marion Cowings “Sing A Song Of Bird”
7/15 (8 pm) Shirley Crabbe Quartet
7/16 (8 pm) Sarah Partridge Quartet
7/17 (1-5 pm) Ahlfabet Jazz Band; Coby Petricone-Berg; Peter Furlan’s Mr. Gone;
Ron Affif Quartet
7/22 (7:30/9:30 pm) Arturo O’Farrill
7/23 (7:30/9:30 pm) Vincent Herring Quartet
7/29 (8 pm) Rachel Z Trio
7/30 (8 pm) Roberta Piket Trio
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
7/9 (3 pm) Takeshi Asai with Bob Gingery, Brian Woodruff
7/27 (3 pm) Takeshi Asai solo
Maison (Bronxville Manor, NY) www.studio.piano.maison
7/10 (12 pm) Ray Blue Quintet
Pugsley Park (Peekskill, NY) www.rayblue.com/shows
7/4 (8:30 pm) Hannah Marks Quartet with Sarah Rossy, Lee Meadvin, Connor Parks
7/11 (8:30 pm) Loren Stillman with Drew Gress, Mark Ferber
7/18 (8:30 pm) Howard Britz Trio with Don Falzone, Andy Watson
7/25 (8:30 pm) Kalia Vandever Group with Lee Meadvin, Kanoe Mendenhall,
Connor Parks
Quinn’s (Beacon, NY) www.facebook.com/QuinnsBeacon
7/2, 9, 16, 23, 30 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY) www.rafterstavern.com
7/16 (3 pm) Benji Kaplan
Rhinebeck Starr Library (Rhinebeck, NY) www.starrlibrary.org
7/31 (5 pm) “Black, Brown & Beige” with Jazz Loft Big Band led by Tom ManuelSylvester Manor (Shelter Island, NY) www.thejazzloft.org
7/11, 18, 25 (8pm): Monday Jazz Sessions with John Richmond
7/17 (8 pm) Scott Reeves Big Band
Turning Point Café (Piermont, NY) www.piermont.club
7/1 (6 pm) Carlos Jimenez Mambo Quintet
7/2 (6 pm) Harlem Blues and Jazz Band with Ray Blue
7/15 (6 pm) Ana Fernandez Band
7/16 (6 pm) Hot House Latin Jazz Ensemble
7/22 (6 pm) Todd Londagin Band
7/23 (4:30 pm) Ahlfabet Jazz Band; Premik’s World Music Ensemble with
Premik Russell Tubbs, Steve Sandberg, Anupam Shobakar,
Michael O’Brian, Patrick Carmichael
7/30 (6 pm) Clifton Anderson Sextet
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com
PENNSYLVANIA
7/1 (8/10 pm) Victor North Quartet
7/2 (8/10 pm) T.K. Blue with Webb Thomas, Lee Smith, Adam Faulk
7/5 (8/9:30 pm) Jasyn Brazoban Chronicles
7/7 (8/9:30 pm) Atomic Fizz with Joe Lockwood, Anthony Nigro, Nick Lombardelli,Nathaniel Hawk, Zach Guise, Steve Perry, Matt Kahn
7/8 (8/10 pm) Mike Boone Quartet with Sarah Hanahan
7/9 (8/10 pm) Bruce Klauber Jazz Trio with Mary Ellen Desmond
7/15 (8/10 pm) Trudy Pitts with Orrin Evans Trio
7/16 (8/10 pm) Duane Eubanks Quintet
7/21 (8/9:30 pm) Gusten Rudolf Quintet
7/22-23 (8/10 pm) Denise King with Hot Club of Philadelphia
7/28 (8/9:30 pm) Dave Wilson Quartet
7/29 (8/10 pm) Alex Claffy Trio with Dave Kikoski
7/30 (8/10 pm) Larry McKenna with Aidan McKeon and Tim Brey Trio
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
7/16 (7:30 pm) Anthony Tidd
Clef Club (Philadephia, PA) www.clefclubofjazz.org
7/10 (2 pm) Tri-State Jazz All-Stars
Community Arts Center (Wallingford, PA) www.tristatejazz.org
7/1 (7 pm) Erin McClelland with Ed Ludwig, Spencer Reed,
Tony Marino, Daniel Gonzalez
7/2 (7 pm) Troy Roberts with Silvano Monasterios, Joseph Lepore, Jimmy Macbride
7/3 (5 pm) Jay Rattman/Can Olgun Duo
7/8 (7 pm) Joe Farnsworth Quartet
7/9 (7 pm) The Royal Bopsters: Amy London, Jeanne O’Connor,
Pete McGuinness, Dylan Pramuk
7/10 (5 pm) Mark Woodyatt & Friends with Tom Kozic, Tony Marino, Jim Watlick
7/15 (7 pm) La Chuchina: Vinny Bianchi, Bill Washer, Paul Rostock,
Ruben Ariola, Hector Rosato
7/16 (7 pm) Houston Person with David Leonhart, Matthew Parrish, Colby Inzer
7/17 (5 pm) Patrick McGee/Mitchell Chang
7/18 (7 pm) Vincent Herring
7/22 (7 pm) Momentum 22: Michael Stephans, Uri Caine, Drew Gress, Brad Shepik
7/23 (7 pm) Emily Braden
7/24 (5 pm) Paul Johns/Dave Hartl
7/25 (7:30 pm) Water Gap Orchestra with Matt Vashlishan
7/29 (7 pm) Co-op Bop: Alan Gaumer, Nelson Hill, Tom Hamilton, Tom Kozic,
Craig Kastelnik, Zach Martin
7/30 (7 pm) Naama Gheber Trio with John Merrill, Dave Baron
7/31 (5 pm) Clarence Spady Band with Scoot Brown, Jon Ventre, Pat Marcinko
Deer Head Inn (Delaware Water Gap, PA) www.deerheadinn.com
7/22 (8 pm) Fire Museum presents David Dove/Nicole Bindler Duo & Bhob Rainey
Icebox Project Space (Philadelphia, PA) www.iceboxprojectspace.com
7/24 (8 pm) Peeesseye: Chris Forsyth, Jaime Fennelly, Fritz Welch
Johnny Brenda’s (Philadelphia, PA) www.arsnovaworkshop.org
7/16 (8 pm) Manhattan Transfer
Keswick Theater (Glenside, PA) www.keswicktheatre.com
7/15 (8 pm) Grassy Sound: Nick Millevoi/Ron Stabinsky; Susan Alcorn Pageant
Soloveev Gallery (Philadelphia, PA) www.pageantsoloveev.com
7/8 (8 pm) Bobby Zankel/Marc Edwards
The Rotunda (Philadelphia, PA) www.firemuseumpresents.com
7/2 (7 pm) Arpeggio Jazz Ensemble with Elle A
7/3 (midnight) Eddie Baccus, Jr. “Tribute to Grover Washington, Jr.”
7/9 7/10 (7 pm) Joey DeFrancesco
7/16 7/17 (7 pm) Glenn Bryan & Friends
7/28 (7 pm) Gerald Veasley’s Birthday Bash
7/29 7/30 7/31 (6:30 pm) Michelle Lordi Quartet
South Jazz Club (Philadelphia, PA) www.southjazzkitchen.com
7/14 (8:30 pm) Phantasma Trio
7/16 (8 pm) Squirrel Nut Zippers
World Café (Philadelphia, PA) www.worldcafelive.com

THE NEW YORK CITY JAZZ RECORD | JULY 2022 29

Friday, July 29

CLU B DI RE CTORY• Simon Willson

Bar Bayeux 8, 9:30 pm
Arthur’s Tavern 7 pm
• Alvaro Benavides GroupBar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5:30 pm $30
êDelfeayo Marsalis Uptown Jazz Orchestra		
Birdland 8:30, 10:30 pm $40• Tony DeSare
Birdland Theater 7, 9:30 pm $30
êDonald Harrison
Blue Note 8, 10:30 pm $45
êJoel Forrester
Bryant Park 12:30 pmêThe Hot Sardines with guest Nellie McKay		
Bryant Park 7 pm
• Joe Farnsworth Quartet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10• Pam Brennan Quintet
Chelsea Table & Stage 7 pm $20• Joe Locke Group with Jim Ridl, Lorin Cohen, Samvel Sarkisyan and guests
Kenny Washington, Doug Beavers
		Dizzy’s Club 7:30, 9:30 pm $40• Evan Sherman Trio; Jumaane Smith Group with Jerry Weldon, Pat Bianchi,
Dave Rosenthal, Carmen Intorre The Django 7:30, 10:30 pm• Nir Felder
The Jazz Gallery 7:30, 9:30 pm $25-35
êJazzmobile: Cyrus Chestnut
Marcus Garvey Park, Richard Rogers Amphitheater 7 pmêJeb Patton
Mezzrow 7:30, 9 pm $20• Luther S. Allison’s Poiesis with Anthony Hervey, Chris Lewis, Altin Sencalar, Marty Jaffe,Michael Reed
Minton’s 7, 9:30 pm $25
êWarren Smith
Mount Morris Ascension Presbyterian Church 7 pm $20• Jocelyn Medina Quartet with Pete McCann, Evan Gregor, Colin Stranahan				Rockwood Music Hall Stage 3 10 pm $15• Lauren Lee; Calvin Johnson
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Wallace Roney, Jr.
Smalls 7:30, 9 pm $20
êBobby Watson Quartet with Orrin Evans, Curtis Lundy, Victor Jones		
Smoke 7, 9, 10:30 pm $40-60
êElias Stemeseder/Peter Evans
The Stone at The New School 8:30 pm $20
êJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40
êJohnny O’Neal Trio

Saturday, July 30êAdam Kolker/Bruce BarthBar Bayeux 6 pm
Bar Bayeux 8, 9:30 pmêJay Leonhart/John Webber
Birdland 5:30 pm $30
êDelfeayo Marsalis Uptown Jazz Orchestra		
Birdland 8:30, 10:30 pm $40• Tony DeSare
Birdland Theater 7, 9:30 pm $30
êDonald Harrison
Blue Note 8, 10:30 pm $45• Duane Eubanks Quintet; Mariel Bildsten Quartet
		
Cellar Dog 7, 11:30 pm $10• Joe Locke Group with Jim Ridl, Lorin Cohen, Samvel Sarkisyan and guests
Kenny Washington, Doug Beavers
		Dizzy’s Club 7:30, 9:30 pm $45• Simon Moullier Quartet with Lex Korten, Mats Sandahl, Alon Benjamini;
Lauren Henderson
The Django 7:30, 10:30 pm• Shunzo Ohno’s Metamorphosis Joe’s Pub 7 pm $20• Jumaane Smith
Kingsborough Community College 8 pm
• Pino Palladino and Blake Mills with Sam Gendel, Abe Rounds
		
Le Poisson Rouge 8 pm $45
êJeb Patton
Mezzrow 7:30, 9 pm $20• Ahmad T. Johnson
Minton’s 7, 9:30 pm $25• Adam Arruda Quartet
Ornithology 9:30 pm• Wallace Roney, Jr.
Smalls 7:30, 9 pm $20
êBobby Watson Quartet with Orrin Evans, Curtis Lundy, Victor Jones		
Smoke 7, 9, 10:30 pm $40-60
êPeter Evans solo
The Stone at The New School 8:30 pm $20
êJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40• Kazemde George

Sunday, July 31• Creole Cookin’ Jazz Band; Charlie Apicella Trio with Brad Whiteley, Austin Walker

		Arthur’s Tavern 7, 10 pmêDan Weiss Trio with Jacob Sacks, Thomas Morgan		
Bar Lunàtico 8:30, 10 pm $10• Remy LeBeouf Assembly of Shadows Orchestra		
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Maurizio Spista Trio
Birdland Theater 7, 9:30 pm $30
êDonald Harrison
Blue Note 8, 10:30 pm $45• Ned Goold Trio
Cellar Dog 7 pm $10êSons of Kemet: Shabaka Hutchings, Theon Cross, Eddie Hick, Tom Skinner;
Makaya McCraven; L’Rain; DJ Lindsey		Central Park Summerstage, Rumsey Playfield 6 pm
• Joe Locke Group with Jim Ridl, Lorin Cohen, Samvel Sarkisyan and guests
Kenny Washington, Doug Beavers
		Dizzy’s Club 5, 7:30 pm $35• Welf Dorr, Elias Meister, Dmitry Ishenko, Dalius Naujo
		
The Keep 9 pm
• G. Thomas Allen Quartet with Dennis Luxion, Jeremiah Hunt, Greg Artry		
Minton’s 7, 9:30 pm $25• Roz Corral Trio with Eddie Monteiro, David Silliman		North Square Lounge 12:30, 2 pm
• Sharif Zaben One Pulse
Rockwood Music Hall Stage 3 7 pm $10• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAmanda Monaco, Lauren Sevian, Marcos Varela		Saint Peter’s Church 5 pm
• Nick Hempton
Smalls 7:30, 9 pm $20
êBobby Watson Quartet with Orrin Evans, Curtis Lundy, Victor Jones		
Smoke 7, 9, 10:30 pm $40-60• Jonathan Barber
The Speakeasy at Jaffe Drive 6 pmêJulian Lage Trio with Jorge Roeder, Dave King		
Village Vanguard 8, 10 pm $40• The 92nd Street Y Lexington Avenue at 92nd Street(212-415-5500) Subway: 6 to 96th Street www.92y.org• 411 Kent Avenue 411 Kent Avenue Subway: J, M, Z to Marcy Avenue• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavernnyc.com• The Atlantic BKLN 333 Atlantic Avenue
Subway: A, C, G to Hoyt-Schermerhorn Streets www.atlanticbkln.com• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com• The Bitter End 147 Bleecker Street between Thompson and LaGuardia
Subway: A, B, C, D, E, F, V to W. 4th Street www.bitterend.com• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Bond 45 221 W. 46th Street(212-869-4545) Subway: B, F, M to 47-50 Streets www.bond45ny.com• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue andBergen Street) Subway: 2, 3 to Bergen Street www.brandedsaloon.com• Brooklyn Museum of Art 200 Eastern Parkway(718-638-5000) Subway: 2, 3 to Eastern Parkway
www.brooklynmuseum.org• Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Bushwick Inlet Park Kent Avenue between N. 7th and 12th Streets, Brooklyn
Subway: L to Bedford Avenue• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street www.cellardog.net• Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue(212-360-2777) Subway: B, D to 72nd Street www.summerstage.org• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.facebook.com/culturelablic• Damrosch Park at Lincoln Center Broadway and 62nd Street
Subway: 1 to 66th Street• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• The Django 2 Sixth Avenue(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.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• Fifth Hammer 10-28 46th Avenue, Long Island City
Subway: 7 to Vernon Boulevard/Jackson Avenue
www.fifthhammerbrewing.com• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Governors Island Ferry from Battery Maritime Building• Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street• Groove Bar & Grill 125 MacDougal Street(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.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• Jackie Robinson Park Bradhurst and Edgecombe Avenues,
West 145th to West 155th Streets Subway: D to 145th Street• 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(212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• Josie Robertson Plaza (at Lincoln Center) 1941 Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Street-Lincoln Center
www.lincolncenter.org• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street www.thekeepny.com• Kingsborough Community College 2001 Oriental Boulevard(718-368-6686) Subway:Q to Brighton Beachwww.onstageatkingsborough.org

30 JULY 2022 | THE NEW YORK CITY JAZZ RECORD• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Le Poisson Rouge 158 Bleecker Street(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com• Little Island Pier 55 at Hudson River Park Greenway
Subway: A, C, E, L to 14th Street www.littleisland.org• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue www.lowlandsbar.com• McKittrick Hotel 530 W. 27th Street(212-904-1883) Subway: C, E to 23rd Street www.mckittrickhotel.com• Macc Winebar 51 W. 106th Street(646-756-4299) Subway: B, C to 103rd Street www.maccwinebar.com• MacDonough St. Block Association 500 MacDonough Street
Subway: A, C to Utica Avenue• Marcus Garvey Park, Richard Rogers Amphitheater
120th Street between Mt. Morris Park and Madison Avenue (212-201-PARK)
Subway: 2, 3, 4, 5, 6 to 125th Street• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Street• 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• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street• Nublu 151 151 Avenue C
Subway: L to First Avenue www.nublu.net• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• 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• Pier 84 W. 44th Street and Hudson River
Subway: A, C, E, F, V to 42nd Street-Port Authority• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue www.publicrecords.nyc• Riverbank State Park 679 Riverside Drive at 145th Street
Subway: A, C, 1 to 145th Street• Riverside Park 97th Street
Subway: A, C, B, D to 96th Street riversideparkfund.org• 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• St. Paul’s Chapel 209 Broadway(212-233-4164) Subway: 4, 5, A, C to Fulton Street
www.trinitywallstreet.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Saint Vitus Bar 1120 Manhattan Avenue
Subway: G to Greenpoint Avenue www.saintvitusbar.com• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street www.scholesstreetstudio.com• Shrine World Music 2271 Adam Clayton Powell Boulevard(between 133rd & 134th Streets) (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com• 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 www.soapboxgallery.org• Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City
(718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue;
M to Broadway www.socratessculpturepark.org• The Speakeasy at Jaffe Drive Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Str. -Lincoln Center
www.lincolncenter.org• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com• The Sultan Room 234 Starr Street(612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com• Sunset Park Library 4201 4th Avenue, Brooklyn(718-567-2806) Subway: R to 53rd Street• TV Eye 1647 Weirfield Street Ridgewood(929-295-0556) Subway: L to Halsey Street www.tveyenyc.com• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F 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

(INTERVIEW CONTINUED FROM PAGE 6)
they enjoy. Even if you don’t like it. I’ll give you a great
example. Herbie Hancock came to the Jazz Heritage
Festival in 2019. He had an experimental band andthey were playing this really out-there-sounding
music. Well after 45 minutes of that, lo and behold:“Watermelon Man”. Man, the audience started
cheering and screaming, like okay, we forgive you forthe first 45 minutes, everything is cool. Then after that,
he does another 30 minutes of experimental stuff,
followed by “Cantaloupe Island”. So, you know, that’s
the goal: to play music that your audience will enjoy atsome point in your set and in turn, they will accept
your experimentations.
TNYCJR: When I interviewed your [drummer] brother
Jason, he mentioned that you had put him onto The
Clones of Dr. Funkenstein by Parliament. What pop
records are you into these days?
DM: I’m interested in what Bruno Mars and Anderson.Paak did, Silk Sonic. They came out and said, “we’retrying to compose and create music that emulates thesound of the 1970s and 80s”, which is not an easy thing
to do. Don’t just imitate a past genre, but use it as thebasis for something new. I also like some of what Lil Nas
X does. I think it’s a soulful kind of music, with somegroove to it. Videos aside, I dig where he’s coming from.
And you know, sometimes I’ll just give Siri the command“play the Billboard Top 10”, just to hear what’s goingon, even though some of those songs are difficult totranslate into instrumental music. It’s difficult if you
don’t have a singer, or especially a great rapper, but I do
listen to what they have going on for ideas.
TNYCJR: Why have you stuck with the trombone?
DM: There’s a couple of reasons. One, in the New
Orleans band, the trombone has to complement thetrumpet, sax and tuba, usually keeping the peace,
which kind of suits my personality. There’s a reason
that the trombone sits in the middle of the band:to keep the trumpets away from the saxophones! Also,
I’m a big fan of the underdog and the trombone is kindof an underdog instrument. And then I just love thesound of it. Trombone can sound more like the humanvoice than other brass or woodwind instruments. v
For more information, visit dmarsalis.com. Marsalis is at
Birdland Jul. 26th-30th. See Calendar.
Recommended Listening:• Delfeayo Marsalis–Pontius Pilate’s Decision(RCA-Novus, 1991-92)• Elvin Jones–It Don’t Mean A Thing… (Enja, 1993)• The Marsalis Family–A Jazz Celebration(Marsalis Music/Rounder, 2001)• Delfeayo Marsalis–Sweet Thunder (Troubadour Jass, 2008)• Delfeayo Marsalis–Kalamazoo (An Evening With
Delfeayo Marsalis) (Troubadour Jass, 2015)• Delfeayo Marsalis/The Uptown Jazz Orchestra–
Jazz Party (Troubadour Jass, 2019)(LEST WE FORGET CONTINUED FROM PAGE 10)
different music for the instruments that were in thequartet and he wrote ‘Vendome’ and a few otherorchestrated pieces. He wasn’t interested in writing for
Milt Jackson’s quartet, so we became a partnership,a corporation, with the Modern Jazz Quartet as theperforming entity. John’s vision for the group was tochange the music from just a jam session, or rhythm
section and soloist idea, to something more. We were all
equal members and the dress, the wearing of tuxedos
and trying to perform in concert rather than always innightclubs, was part of what he envisioned to change

the whole attitude about the music...We wanted to bringback a level of dignity that we all remembered [from theSwing Era]. That was a very important part of jazz that
I think we lost somewhere along the way.”
The New Yorker critic Whitney Balliett summed up
the importance and impact of the MJQ in his review of
their 1974 Carnegie Hall Farewell Concert (they would
go on to reunite periodically for occasional tours overthe next two decades): “The group, instead of being
revolutionary, had taken on the great task of distillingand conserving the best of what was going on around
it and the best of what had gone on before. It also
revealed a strong distaste for musical cant and it
immediately countered, through its own example, all
the dreary practices that had begun to appear in jazz(the long, windy solos, the insane tempos, the showoff
rhythms and the vacuous ensembles).”During the MJQ’s full-time 20-year tenure, Lewis
continued to pursue his interest in the synthesis ofWestern Classical and jazz dubbed Third Stream musicby its top proponent, Gunther Schuller. He contributed“Three Little Feelings” to Schuller ’s 1958 album Musicfor Brass. It featured Miles Davis as soloist. He also
contributed to other Third Stream endeavors.
Lewis was also a formidable pianist, forging
a minimalist style contrary to bebop orthodoxy. It has
been described as a modern expansion of Count Basie’s
spare piano style. It included his penchant for creating
counter-melodies and echoing lines behind soloists ingroups rather than just comping with chords.
Besides his work with the MJQ, Lewis can be heard
to advantage in albums he recorded outside the band,notably an all-star quintet on Grand Encounter: Two
Degrees East/Three Degrees West, with Heath, guitarist
Jim Hall, tenor saxophonist Bill Perkins and drummer
Chico Hamilton. Another gem is Afternoon in Paris,
a quintet with the French guitarist Sacha Distel andtenor saxophonist Barney Wilen. v

NEW LANDMARK JAZZ EDITIONSBY ELEMENTAL MUSIC!

ALBERT AYLERREVELATIONS - The complete ORTF
1970 Fondation Maeght Recordings.
The first-ever release of the complete Fondation Maeght
concerts from 1970! Deluxe Limited Edition, releasedin partnership with the Albert Ayler Estate & INA France.
Includes over 2 hours of previously unreleased music,
plus a 100-page booklet with essays by Carlos Santana,John Zorn, Sonny Rollins & more.
Available on a deluxe 4-CD boxset.

The John Lewis Ertegun Hall of Fame Celebration with
Aaron Diehl is at Dizzy’s Club Jul. 27th. See Calendar.
Recommended Listening:• Modern Jazz Quartet–Django (Prestige, 1953-55)• John Lewis–Grand Encounter: 2 Degrees East/
Three Degrees West (Pacific Jazz, 1956)• John Lewis–The Wonderful World of Jazz (Atlantic, 1960)• Modern Jazz Quartet–The Last Concert (Atlantic, 1974)• John Lewis/Lew Tabackin–Duo (Eastworld, 1981)• John Lewis–Evolution/Evolution II (Atlantic, 1999-2000)

CHET BAKER

LIVE IN PARIS - The Radio France Recordings.
Never before released Chet Baker Trio recordings!
Deluxe Limited Edition, released in partnership with theChet Baker Estate & INA France. Recorded in stereo
by Radio France at La Esplanade de La Défense (July17, 1983) and Le Petit Opportun (February 7, 1984).
Includes a 12-page booklet (for the LP) and 40-pagebooklet (for the CD).
Available on a 3-LP gatefold edition (180gr vinyl)and on a 2-CD digipack.

(LABEL CONTINUED FROM PAGE 11)
artists. We have another Django Reinhardt coming out,
but we’re more focused on the contemporary scene.
We’re in discussions to acquire one or two other labels
so we can grow the catalogue, put them under thesame umbrella and get some savings by combining thepromotion and publicity. It is also a way to connect
with musicians who we haven’t had relationships with
before. A number of years ago, we acquired Postcards
Records. We developed relationships with Reggie
Workman, John Clark and a few others.”
New jazz DVDs have all but vanished from themarketplace, but while Arkadia still has them for sale,
Karcy is reimagining video products. He shared, “The
Dorothy Donegan came from a series we’re producing,
the first ever TV series produced in stereo. That wasdone in the early 1980s. We did 46 shows. They’ll all be
coming out. We’re in the process of launching a videoon-demand channel, which will be called Arkadia
Concerts. That wasn’t viable 15 years ago, so instead ofwatching them on YouTube for free, receiving minimal
royalties, people will be able to enjoy it for a minimal
amount, per show, monthly or annually.” v
For more information, visit arkadiarecords.com

MARK TURNER

YAM YAM - The seminal Criss Cross album.
For the first time ever on vinyl!
New liner notes by music writer, co-author of The
Penguin Guide to Jazz and frequent BBC collaborator,
Brian Morton. Mastering for vinyl and lacquer cutting by
Bernie Grundman. Recorded on December 12, 1994 at
RPM Studio, New York City.
Available on a 2-LP gatefold edition (180gr vinyl)
Follow Elemental Music Records on social media to get the latest updates!
www.elemental-music.com

THE NEW YORK CITY JAZZ RECORD | JULY 2022 31

Bill Charlap, artistic director

THE MOST DEFINING ARTISTS IN JAZZ TODAYAT NYC'S HOTTEST SUMMER JAZZ FESTIVAL
The Bill Charlap Trioand special guest
Joshua Redman
Tue, Jul 19, 7:30 PM
In Person Only

Kenny Barron,Bill Charlap& Aaron Diehl
Thu, Jul 21, 7:30 PM
In Person | Online

Joe Lovano,
Warren Wolfand special guest
Samara Joy
Tue, Jul 26, 7:30 pm
In Person | Online

GET TICKETS

92NY.org/Jazz • 212.415.5500
THE 92ND STREET Y, NEW YORK
92ND & LEX, NYC

Mike Stern,
Chris Potter
and special guest
Nicole Glover
Thu, Jul 28, 7:30 pm
In Person | Online