YOUR FREE GUIDE TO THE NYC JAZZ SCENE

September 2023—ISSUE 257

WA

R

R

N
E

IDRIS
ACKAMOORFAY
VICTORNYCJAZZRECORD.COM

SMITH

S
O
R
C

PLAYI

R
E
S
D
R
O
B
G
SIN

&

NG WITHJOSEPH
DALEY

E
N
PIO

S
R
E

SLIDE
HAMPTONManaging Editor:
Laurence Donohue-Greene[Co-Founder/Editor Emeritus: 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

September 2023 – ISSUE 257

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

NEW YORK@NIGHT

Nate Dorward (Copy Editor):ndorward@nycjazzrecord.com

INTERVIEW: IDRIS ACKAMOOR

Marilyn Lester (Associate Copy Editor)
Advertising:advertising@nycjazzrecord.com
Keith Hoffman(Event Calendar Manager):calendar@nycjazzrecord.com
Suzanne Lorge (VOXNews):
voxnews@nycjazzrecord.com
US Subscription rates: 12 issues, $40
Canada Subscription rates: 12 issues, $45
International Subscription rates: 12 issues, $50
For subscription assistance, send check, cash ormoney order to the address aboveor email ldgreene@nycjazzrecord.com

ARTIST FEATURE: FAY VICTORON THE COVER: WARREN SMITH
ENCORE: JOSEPH DALEYLEST WE FORGET: SLIDE HAMPTONLABEL SPOTLIGHT: BIOPHILIA RECORDSVOXNEWSFESTIVAL REPORT

Staff Writers
Marty Bannond, Fred Bouchard,
Stuart Broomer, Marco Cangiano,
Thomas Conrad, Ken Dryden, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Jason Gross, Andrew Hamlin,
Keiith Hoffman, Terrell Holmes,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Kyla Marshell,
Francesco Martinelli, Marc Medwin,
Jim Motavalli, Russ Musto, John Pietaro,
John Sharpe, Elijah Shiffer, Elliott Simon,
Thomas Staudter, Anna Steegman,
Ken Waxman, Zachary Weg, Scott Yanow

ALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY
IN MEMORIAM

Contributing Writers
Jordannah Elizabeth, George Kanzler
Contributing Photographers
Tim Dickeson, Enid Farber, Peter Gannushkin,
Yekaterina Gyadu, Ben Glasgow,
Francesco Martinelli, Pat Mazzera,
Sachyn Mital, Alan Nahigian, Gabe Palacio,
Penika Peniston, Frederico Sponza,
Robert Sutherland-Cohen
IN CORRECTION (August 2023 issue)
We regret the following errors…
In the Jazztopad NY Festival Report, there
were mis-spellings of both names Kamil
Piotrowicz and Maciej Młodawski. In
VOXNews, Veronica Swift’s new album on
Mack Avenue is eponymously titled. In theAlbum Reviews: Greg Abate’s Reunion
mistakenly mentions his alma mater (Abateis a Berklee College of Music alumnus).

nycjazzrecord.com

4
6
7
8
10
10
11
11
12
14
38
42
43

by jordannah elizabeth
by george grellaby anders griffen
by john sharpeby marilyn lester
by francesco martinelliby suzanne lorge

by thomas staudter

Letter from the Editor

The end of summer might be considered jazz’ Spring: concert halls, music schools and other venues dormant for
the hot, sweltering summer months, once again blossom with renewed activity. Plus several summer jazz traditions,such as free outdoor concerts presented by Jazzmobile uptown and Arts for Art downtown, continue through the lastfew weeks of the season before we officially head into Fall. Such daily and nightly riches maintain NYC as an—if notstill THE—epicenter of live jazz. Maybe we’re spoiled, but NYC is in essence a kind of nightly jazz festival, and it’s
not necessarily what concert-s to go to, but which ones you can swallow having to miss. So take our word for it: you’re
not going to want to pass up the opportunity to hear any of this issue’s featured musicians, all whom perform live
this month in the city.
As he prepares for nonagenarian status next year and the publication of his memoir, legendary drummer/
percussionist Warren Smith (Cover Story)—who has worked with everyone from Sam Rivers, Gil Evans, Max Roachand Muhal Richard Abrams to Harry Partch and John Cage to The Fugs, Janis Joplin and Van Morrison—has two
special September concerts as bandleader: one at National Jazz Museum in Harlem presented by the Jazz Foundationof America, the other at the Children’s Magical Garden as part of Arts for Art’s “InGardens” concert series. Tubist
Joseph Daley (Encore) played with Smith in Rivers’ “Tuba Trio” and has organized a centennial tribute concert inhonor of the great saxophonist and composer. He and other alumni will be revisiting the works of Rivers’ RivBea
Orchestra at Mount Morris Ascension Presbyterian Church. And the Rivers connection doesn’t stop there. The latetrombonist Slide Hampton (Lest We Forget)—who played with Rivers in a Dizzy Gillespie ’80s all-star band—is fêted
this month at Birdland Theater.
Fay Victor (Artist Feature) has been a city mainstay since her move back 20 years ago. TNYCJR’s overdue featureon the vocalist captures her during an especially good month: celebrating her latest (solo) album release at Zürcher
Gallery, plus a free outdoor “InGardens” Arts for Art presentation and as opening act for the three-day M³ (Mutual
Mentorship for Musicians) Festival at Roulette. And one more date to mark on your calendar: Idris Ackamoor(Interview Feature) & The Pyramids’ album release concert is at Public Records, marking the band’s 50-year
anniversary.
As always, there’s plenty of music to celebrate. So, happy reading and listening, and see you out at the shows…
On The Cover: Warren Smith (photo Peter Gannushkin / DOWNTOWNMUSIC.NET)
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 September 2023 | THE NEW YORK CITY JAZZ RECORDJOSHUA REDMAN GROUP

featuring Gabrielle Cavassa”where are we” Tour
Only NYC appearance of the season!

WED, SEP 27, 7:30 PM

Also this season…

MARY HALVORSON

Amaryllis
FEB 10Special 92NY 150th Anniversary Event

CHRISTIAN MCBRIDE BIG BAND CÉCILE MCLORIN SALVANTFEB 15

APR 13

PAT METHENYDIANNE REEVES, CHUCHOVALDÉS AND JOE LOVANO

Dream Box Tour
APR 7

TISCH
MUSIC
2023/24 SEASON

Duets
MAY 16212.415.5500

NEW YORK @ N IGHT

SEP 1–3

HELEN SUNG: GOING BIG, BAND & BEYOND
SEP 5CHRISTIE DASHIELLSEP 6–7

PATRICK ZIMMERLI’S MESSAGESSEP 8–10

BILLY HARPER QUINTETSEP 11DARA STARR TUCKER
SEP 12RONNIE BURRAGE AND HOLOGRAPHIC PRINCIPLE
SEP 13MARIEL BILDSTEN SEPTET

A critical and popular failure upon its 1972 release,rediscovered and repurposed 30 years later by hiphop
samplers, Brazilian composer/arranger Arthur Verocai’s
eponymous debut record finally found success for thecomposer 50 years later when he performed it, backed
by a thirty-piece orchestra, on his very first U.S. tour.
The large, multi-generational crowd (old hipsters
alongside younger hiphoppers) packing Damrosch Park
(Aug. 11) fell deeply in Verocai’s thrall as his smooth
but surprising melodies lilted over equally intriguingchord progressions, fleshed out with consummate
arrangements that beautifully balanced horns, stringsand percussion. The set covered the entire album, but ina new order, opening with “Karina” (originally the last
track), whose lush but tangy chord melodies prefaced asyncopated 6/8 workout with extended solos on baritone
and tenor saxophones, flugelhorn and guitar. “Sylvia”, aflute feature, and “Snake Eyes”, a thorny but charming
bossa (recorded in 2016) prepped fans for Rogê andSamantha Schmütz, who sang “Dedicada a Ela”, “Velho
Parente”, “Presente Grego”, “Que Mapa?” and “Pelas
Sombras”, all in succinct renditions showcasing the artful
yet accessible songs and scores. Verocai himself sang
“Cabocio” in a weathered, touching style before revving
up the energy with the infectious “Na Boca do Sol” andnewer pieces including “Sucuri”, “Isabel” and “Bis”, thelast two driving everyone to their feet. The late arrivals
forced to listen outside the fence of the at-capacity park
had been dancing all along.
— Tom Greenland

Lucy Yeghiazaryan is a talker. But then she has been a

U.N. tour guide, which may explain her confident andassertive stage manner as well as a slightly rough vocal
tone bordering on the edge of belting. At her recent
concert at Joe’s Pub (Aug. 11) Yeghiazaryan proved
an enthusiastic host as much as a vocalist, but thatmight have been due to the evening’s sponsor, AGBU
(Armenian General Benevolent Union). The singer
learned to speak English and developed her love of jazzin her native Armenia before moving to the U.S. with herfamily in 2002. The opener, the 1934 tune “I Only Have
Eyes for You” (H. Warren, A. Dubin), tipped a hat to thefamous 1959 version by The Flamingos. It was delivered
with a rising storytelling arc, revealing Yeghiazaryan’s
firmly straight-ahead style. Ballads “I’m Glad There Is
You (In This World of Ordinary People)” (J. Dorsey, P.
Madeira), and a soulful “I’ve Got It Bad (And That Ain’t
Good)” (D. Ellington, P.F. Webster), worked well in the
setlist beside swing arrangements of “I’ll Take New
York” (T. Waits), with a saxophone feature for guest
artist Zaid Nasser, and “Give Me the Simple Life” (R.
Bloom, H. Ruby). This latter tune sweetly announced
in her setup Yeghiazaryan’s pregnancy; it also featured
her only effort at scat. An appreciation of the simple lifeof domesticity is also part of her persona: Yeghiazaryan
has created videos that combine her love of cooking
and baking with singing, such as “Cookies I Sing”. The
closer, Ellington’s “Love You Madly”, capped an overall
pleasant evening.
— Marilyn Lester

SEP 14VANISHA GOULD & VICTOR GOULD
SEP 15–17

XIOMARA LAUGARTSEP 19–20

MICHELE ROSEWOMAN’S NEW YOR-UBA
SEP 21–23

A CELEBRATION OF NEA JAZZ MASTER RANDY WESTONPHOTO BY SACHYN MITAL

SEP 18PHOTO BY YEKATERINA GYADUOMAR SOSA QUARTETO AMERICANOS

Arthur Verocai @Damrosch ParkSEP 25

KEITH LOFTIS QUARTET PLAYS THE ORIGINAL STATESEP 26–27

SAMMY FIGUEROA: SEARCHING FOR A MEMORYALBUM RELEASESEP 28–30

BEN ALLISON QUARTET

JAZZ.ORG/DIZZYS
7:30PM & 9:30PM
SUNDAYS 5PM & 7:30PM

212.258.9595
BROADWAY AT 60TH ST.

Lucy Yeghiazaryan @Joe’s Pub

After its 1984 premiere at Roulette’s former TriBeCa In 1937, Nat “King” Cole formed his first trio withaddress, Cobra, John Zorn’s ingenious game piece,
was restaged Sunday at the venue’s current downtown
Brooklyn location (Aug. 13) as part of his 70th birthday
celebrations. To get musicians to think outside their own‘boxes’, Zorn prompted them with hand signals andcolored cards, indicating when and with whom (but notwhat) to play. Assembled onstage were guitarists Wendy
Eisenberg, Taylor Levine and Miles Okazaki, bassists
Trevor Dunn (electric) and Jorge Roeder (acoustic),
violist Alexandra Simpson, cellist Michael Nicolas,
pianist Brian Marsella, electronic synthesist Ikue Mori,vibraphonist Sae Hashimoto and drummers Ches Smith
and Kenny Wollesen (doubling on vibraphone)—many
well familiar with the piece, some performing it for the
first time. The hour-long set included five numbers, mostbeginning with a yellow “R” card, directing musicians tochoose others to play with, followed by various in-themoment modifications: white cards initiating sub-groupinteractions; red cards (#1-3) requiring performers toremember what was just played, to be reused; orange
cards inciting outlandish “cartoon” responses to Zorn’s
jabbing gestures; blue cards setting off slow dynamicchanges, usually a crescendo; and black cards that were
saved for various endings, sudden or cyclic. A few rebels
donned a headband granting them temporary immunity
to “the rules”. The resultant bricolage of chain-linked
musical events epitomized civilized anarchy throughpeaceful war games.
(TG)

4 September 2023 | THE NEW YORK CITY JAZZ RECORD

piano, bass and guitar. By eliminating the drum kit,Cole broke the mold, opening the door for other creative
trio configurations. For some years now, trumpeter
Warren Vaché has fronted a unit with pianist Tardo
Hammer and bassist Earl Sauls, with whom he’s founda dependable, synergistic groove. This latest outing forthe trio, at Mezzrow (Aug. 4), featured the musicians ina laid-back mood, easily spinning out mostly Songbook
standards on the melodic easy-listening side. With
nothing to prove, the object of the evening was to playwhat Duke Ellington would characterize as “goodmusic” (as opposed to “the other kind”). Mission
accomplished: the trio created a homey mood playing
tune after tune in a “this is the way it’s done, kids”
fashion for anyone needing schooling. Between opener“My Shining Hour” (H. Arlen)—played with one of thehighest doses of improvisation in the set—and closer“Falling in Love with Love” (R. Rodgers), Vaché, genial,casual, witty, was at home, offering Hammer andSauls plenty of spotlight moments to shine. Hammer
is a reliable pianist, an intuitive vamper, subtle andfar from flashy—so a highlight of the set was a Vaché
staple, the bossa nova “Felicidade” (A.C. Jobim).
Hammer, spurred by the underlying samba beat andcomplex chords, leaned into the tune assertively. For
the most part, Vaché stayed in mid-range; frequent
inspection of his mouthpiece may have provided a clue
to that choice.
(ML)S et up stage right at the Village Vanguard (Aug. 4),

unobscured by the column behind which he isusually seated during his frequent appearances
there as a sideman, drummer Andrew Cyrille’s
mastery was on full display for a packed houseto witness. Leading the quartet—with Bill Frisell(guitar), David Virelles (piano, synthesizer) and
Ben Street (bass)—that first appeared on his ECM
album The News, he led the band in a straight-aheadcharge through Andrew Hill’s “Ode to Von”. Frisellopened his song “Worried Woman” with spacey sci-fi
chords backed by impressionistic drums, before thepiece’s Ornette-ish melody emerged over a steadily
oscillating rhythm that set up a mesmerizing group
improvisation, which included the drummer tappingout morse code cadences on cowbell. Muhal Richard
Abrams’ “Drum Man Cyrille” placed the leader’srhythmatism out front with percussive interludes thecomposer wrote into the melody. “Mañongo Pabio”, aVirelles composition reaching out to the spirits of thedeparted, had him working out at length on a UDO
Super 6 Hybrid Synthesizer, merging Afro-Cuban
rhythms with otherworldly tonalities. The band letloose, releasing torrents of sound, on a tour de force
rendering of John Coltrane’s “Coltrane Time” thatrecalled the cathartic, no-holds-barred intensity ofCyrille’s years as a member of the Cecil Taylor Unit.
The set closed jubilantly with Don Pullen’s rollicking
calypso “Double Arc Jake”.
— Russ MustoW H AT ’ S N E W S
Early-bird registration deadline for 2024 APAP (Association of
Performing Arts Professionals) is Sep. 15. APAP is the premiere
gathering and networking for bookers, presenters and professionals
fueling the performing arts touring industry, and includes exhibits
and live performance showcases in NYC from Jan. 12-16. For
more info visit apap365.org.
Roulette has announced its 45th season’s awarded artists, all ofwhom are scheduled to perform there this and next year: (Resident
Artists) violinist gabby fluke-mogul, vibraphonist Patricia Brennan,
saxophonist Alfredo Colon, vocalist/interdisciplinary artist Isabel
Crespo Pardo and musician/composer Gryphon Rue;(Commissioned Artists) tenor saxophonist Zoh Amba, pianist MicahThomas, musician/composer Leo Chang, saxophonist David Leon,
percussionist Nava Dunkelman, multi-instrumentalist/vocalist Lucie
Vitková and vocalist Shelley Hirsch; (Fellows) multi-instrumentalist/
producer Morgan Guerin and gayageum player DoYeon Kim. For
more info visit roulette.org/commissions-residencies.
Issue Project Room (IPR) celebrates its 20th anniversary with its
Fall 2023 concerts. Highlights include season double-bill opener
Roscoe Mitchell/John McCowen + IPR Artist-In-Residence Beam
Splitter duo with Audrey Chen and Henrik Munkeby Nørstebø (Sep.
10), Heroes Are Gang Leaders (Oct. 4) and a tribute to the late Alvin
Lucier (Oct. 7) plus outreach events such as the free, open level,
for-all ages improvisation workshop with Mitchell/McCowen (Sep.
10) in partnership with Brooklyn Music School. For more info visit
issueprojectroom.org.
Founded by trumpeter Dave Douglas, FONT (Festival Of New
Trumpet Music) marks its 21st year (Sep. 7-14) with live NYC
shows (at Fotografiska, Owl Music Parlor, The New School, Threes
Brewing) in addition to online live-stream and recorded
presentations from around the globe. Jeremy Pelt presents an“Award of Recognition” to nonagenarian trumpeter Dizzy Reece(Jamaica); also scheduled: Jessica Carlton (Australia), Heidi Bayer(Germany), Hilde Marie Holsen (Norway) and Susana Santos Silva(Portugal). For more info see Calendar or go to fontmusic.org.

PHOTO BY ALAN NAHIGIAN

PHOTO BY R.I. SUTHERLAND-COHEN/JAZZEXPRESSIONS.ORG

P ianist and organist Doug Carn led his sextet in arousing hour-long set at the National Jazz Museumin Harlem (Aug. 10), the last of its summer Thursday
afternoon performance series. The St. Augustine,FL, native is 50 years into his career as a leader andsideman. His work has been called “spiritual jazz,”
but as vague as that term is, his music is soulful androllicking in a way that stands out from much of thecool, often cerebral bent of contemporary jazz. In
2020, Carn collaborated with Adrian Younge and A
Tribe Called Quest’s Ali Shaheed Muhammad on thefifth Jazz Is Dead release, which raised Carn’s profile
and inspired a new generation to seek out his music.
This rare, live Northeast coast set, however, relied on
his familiar ’70s repertoire, including Wayne Shorter’s“Infant Eyes”, Bobby Hutcherson’s “Little B’s Poem”
and Carn originals “Moon Child” and “Revelation”.
Vocalist Kathryn Farmer captured the spirit of Jean
Carne (who sang on the ’70s versions), commanding
the poetic and meaningful lyrics with her own
soulful instrument; on the instrumental tunes, shedoubled the horn lines of trumpeter Duane Eubanks
and tenor saxophonist Andrew Schwandt. Carn may
not have the profile of many of his more recognizedcontemporaries, but the audience was delighted tohear him play live, singing along and taking photos
throughout. He didn’t speak at all until the very endof the set with his own special message: “You’ve been
served.” And we were.
— Kyla Marshell

Registration for the 12th annual Sarah Vaughan International
Vocal Competition (“The Sassy Awards”) closes Sep. 5. Vocalists
from around the world are encouraged to submit entries. The
distinguished panel of this year’s judges: Dee Dee Bridgewater,
Madeleine Peyroux, Lizz Wright, Christian McBride and Mack
Avenue Records’ Al Pryor will announce the top five finalists thisfall. For more info visit SarahVaughanCompetition.com.

Doug Carn @National Jazz Museum in Harlem

Andrew Cyrille @Village Vanguard

P iano bar culture has been a longtime part of New
York City nightlife, especially in the tony hotel
lounges where standards rule. Pianist and vocalist
Jill McCarron performed (Aug. 10) at the Two E
Bar, located in the southeast corner of Central Park,
as part of Pierre Hotel’s take on this tradition. In
spite of the atmosphere geared more toward chatterthan rapt attention, McCarron played a confident
and upbeat set of classics, including “They Can’t
Take That Away from Me”, “It Had to Be You” and“The Girl from Ipanema”, as well as non-Songbook
selections such as The Beatles’ “Blackbird” andChopin’s Minute Waltz. The piano lounge, by virtue
of its half-listening audience, can potentially bea space to lean into the experimental or esoteric.
McCarron, with her cadre of classics, never veered inthis direction, with familiar arrangements that stayedin their lane. To be fair, that is the gig; that said, her
set could have benefitted from a curveball or two,
if only to pique the ear of some distracted someone
suddenly hearing their favorite tune. Another partof the gig: maintaining a reservoir of tunes that isboth deep and immediately at your fingertips. You
never know who’s in the room. The set’s surprisehappened when an older gentleman shouted out
the presumed compliment, “I Love Being Here withYou”. It was actually a request for the Peggy Lee/
Bill Schluger standard, which McCarron knew, thensang with ease.
(KM)

P anamanian-American bassist Santi Debriano took

his Flash of the Spirit Band, with Andrea Brachfeld(flute), Bob Franceschini (tenor sax), Bill O’Connell(piano) and Tommy Campbell (drums), to The
Django for a one-night-only show (Aug. 1) of rousing
Latin jazz. The group, named for the iconic Robert
Farris Thompson volume examining African and
Afro-American art and philosophy, kicked off its
first set with a rendition of Sam Jones’ classic “Del
Sasser”. The Cannonball Adderley Quintet swinger
got a heaping helping of Latin spice via Campbell’sclave beat, which propelled fiery solos from his
four colleagues and his own climactic exchanges
with Debriano. Solo bass opened Archie Shepp’s
elegant “Steam”, on which Franchesini blew burly
tenor, recalling the composer’s brawny sound, andBrachfeld played a soaring songbird flute, followed
by O’Connell’s lilting piano and a lyrical outing by
the leader. Campbell’s explosive drumming had
the crowd raucously cheering. The mood calmed
for O’Connell’s “Lazy Rumba” on which tenor andflute harmonized the easy-grooving melody overCampbell’s gamboling rhythms. Highflying flute,dug-in tenor, sparkling piano and fleet-fingered bass
solos followed. Unaccompanied bass opened thecloser, “Ripty Boom”, which featured a breathtaking
uptempo Brachfeld solo, beautifully bowed bassfrom Debriano and Campbell’s always-entertaining
squeaky toy percussion.
(RM)

Trumpeter/composer Ambrose Akinmusire has been named
Artistic Director of the Herbie Hancock Institute of Jazz Performance
at UCLA’s Herb Alpert School of Music. For more info visit
hancockinstitute.org.
Brooklyn Conservatory of Music (BKCM) has announced theselection of Melanie Charles and Olithea Anglin (“Miss Olithea”) as
recipients of its third annual Jazz Leaders Fellowship (JLF), which
provides Black women and Black non-binary jazz musicians withresources to further develop their craft and pursue careeradvancing projects. The JLF comes with a $12,500 award andopportunities for recipients to work closely with BKCM students andfaculty. For more info visit bkcm.org.
The childhood home of Portland, OR native, tenor saxophonist Jim
Pepper (1941-92), is now listed in the National Register of Historic
Places, marking one of the first Pacific Northwest properties
designated as such for contemporary Indigenous history (Pepper
was of Kaw/Muscogee Creek Native American heritage). For more
info visit portland.gov/bps/planning/historic-resources.
Long Island’s The Jazz Loft in Stony Brook, NY has recently
acquired a 1978 gold-plated King Super 20 cornet played by Wild
Bill Davison, in addition to an extensive collection of music andmemorabilia (concert posters, artwork, writings, personal items)
from the estate of pianist/vocalist Mose Allison, who was a Long
Island resident for three decades before passing away at the age of
89 in 2016. The collection will be on display next month,accompanied by a concert (Sep. 8) by the Allison tribute band
Anything Mose. There will also be a screening of the BBC
documentary on Allison, Ever Since I Stole the Blues, which includes
commentary by Pete Townshend, Bonnie Raitt, Van Morrison, Elvis
Costello and others. For more info visit thejazzloft.org.

THE NEW YORK CITY JAZZ RECORD | September 2023 5

PHOTO BY PAT MAZZERAI NTERVIEWIDRISACKAMOOR
visionary afro-futurist

TNYCJR: What is the theme?
Ackamoor: Afro-futurism is definitely one of theunderlying themes. I hardly ever try to give labels tomusic, period, and to my music. But I know I have thetenets of Afro-futurism. The album cover [painted by
Ghanaian artist David Alabo] is something out-of-thisworld, with futuristic landscapes. The cover is unified
with the music.
As a libretto, the first track is the title-track. And
then we move to “Thank You God”. This album wasmostly composed during the pandemic years, a very
(CONTINUED ON PAGE 37)

BY JORDANNAH ELIZABETH
E nigmatic, evocative, searing and moving are a few ways
to describe Idris Ackamoor & The Pyramids’ powerful
jazz fusion soundscapes. Ackamoor has lived the focusedlife of an artist and visionary. He is a man who soaks
up every morsel of life and sound in any environment
he finds himself in. He takes no moment for granted andhas woven together a musical catalog that exemplifies his
integrity, grit and musical prowess. It is not enough justto know Ackamoor’s music: one must know his story to
fully understand his genius. TNYCJR recently took theopportunity to ask him to take us on a journey from his
youth to today. Ackamoor (born Bruce Baker, January 9,1951 in Chicago) spoke of his early years of piano andtrumpet studies, his time collaborating and bonding with
Cecil Taylor and the impact his time in Africa had on his
compositional style, leading up to Idris Ackamoor & The
Pyramids’ new album release Afro Futuristic Dreams(Strut).
The New York City Jazz Record: Tell us about yourinterest in music. What really sparked you as ayoung’un?
Idris Ackamoor: I began my musical life when I
was seven or eight years old. I basically began at
my mother and father’s decision. Our family center
is not too far outside of St. Louis, in a small area
called Crystal City. My parents were part of thatfirst migration from the South. My father fought in
WWII and was a part of the D-Day Invasion. He was asergeant in the trucking and supply corps, and when
the war ended in 1945, a little after, around ’49, ’50,
my parents migrated to Chicago.
For that generation, getting into an urban area
and giving their kids cultural experiences was very
important for them. So all of their kids at somepoint received some musical instruction. I was the
only one who stuck with it. I went through several
instruments: from violin to trumpet to clarinet. And
then the piano, which I stuck with for a number ofyears, up until I was high school age.
But my parents were instrumental. I didn’t want
to do a music lesson! Just like any kid, you want togo out and play with your neighborhood friends. We
were also the first Black family to move to that blockon the South Side of Chicago.
TNYCJR: Before it was the South Side of Chicago…
Ackamoor: [My parents] wanted their kids to haveculture. I wanted to be playing during summertime;going to music lessons was not what I really wanted
to do. But I did it. And of course, now I’m happy that
I did. I had to go from the South Side—which is 7300
Champlain—all the way downtown to Lyon & Healy,
which was a big music selling place. And that’s when
I started taking my musical lessons.
TNYCJR: What made you decide to stick with it?

Ackamoor: My last music teacher—I was about 12,
13—he was a very famous Black piano instructor. He
was into symphonies and stuff. He had a very rigoroustraining, and every time I made a mistake, he’d hit myfingers with a pencil! And I withstood that for quite awhile, but I reached my breaking point, and that gave
me a reason to quit.
Even though I wasn’t playing piano, I was stillplaying clarinet. I was in high school from ’65 to ’68, thepeak years of Motown. Martha and the Vandellas, The
Impressions (and Curtis Mayfield), Smokey Robinson
and the Miracles—that was my musical taste. On myblock there were no jazz musicians, so, at that time forme it was Chicago, the South Side, party and Motown.
TNYCJR: Tell us about the fusion and influences
within the sound of your music, up until this new
album release, Afro Futuristic Dreams.
Ackamoor: I got into Antioch [College] and that was mymusical re-birth, in the music department. The defining
moment was when Cecil Taylor, the very iconic pianist,came to Antioch for two years with his whole ensemble:
Jimmy Lyons, Andrew Cyrille, Clifford Sykes, James
Thompson (a poet) and Ken Miller (a dancer). They alldescended upon Antioch and were in residence. [Cecil]
started his Cecil Taylor Black Music Ensemble.
I started with the Cecil Taylor school, but before that
I had begun to create my own groups. One of the groups
I created is called The Collective (Strut recently released
the group’s and Ackamoor’s debut 1971 album Idrissa’s
Dream). When The Collective ended, me and [flute
player and former wife] Margaux Simmons became apart of the Cecil Taylor Black Music Ensemble, until weleft on an Antioch education abroad program. We had ayear to go abroad. I wanted to go to Europe, form a bandand then later go to Africa and live for nine months.
We went to Amsterdam and formed The Pyramids, andstarted working all over the Netherlands. After two or
three months there, we departed for Africa.
Nine months in Africa gave me my musicalfoundation—spiritual, societal and philosophical. I
studied with African musicians and played with the
Dagomba prayer drummers. We went on a spiritualquest through the north of Ghana; we passed throughTamale; we played with the Frafra people; and we lived
in Kenya for another two months to study with the
Kikuyu and the Maasai. We came back to Yellow Springs
and I did my senior thesis on African music. Fifty years
later, it’s the bedrock of my artistic sensibilities.
TNYCJR: Let’s talk about the concept of the new album.
Ackamoor: Since I’ve been with Strut, I’ve been doingthese concept albums. Over the years I’ve been verymuch into the theatrical realm, doing a lot of theater
pieces. I approached Afro Futuristic Dreams as a musicalplay. It has a theme running throughout the doublevinyl album, and, to an extent, it even has a libretto.

6 September 2023 | THE NEW YORK CITY JAZZ RECORDHSEPTEMBER 5TH - SEPTEMBER 10THH

BILL CHARLAP TRIOPETER WASHINGTON - KENNY WASHINGTONHSEPTEMBER 12TH - SEPTEMBER 17THH

BILL CHARLAP TRIOPETER WASHINGTON - KENNY WASHINGTONHSEPTEMBER 19TH - SEPTEMBER 24THH

BILL STEWART TRIOWALTER SMITH III - LARRY GRENADIERHSEPTEMBER 26TH - OCTOBER 1STH

JOHN ZORNNEW MASADA QUARTETJULIAN LAGE - JORGE ROEDER - KENNY WOLLESEN

COMING IN OCTOBERHCÉCILE MCLORIN SALVANTH
HJOHNATHAN BLAKEH
HFRED HERSCHHHRAVI COLTRANEHMONDAY NIGHTS ARE RESERVED FOR

THE VANGUARD JAZZ ORCHESTRA

PHOTO BY DENEKA PENISTON

ARTIST F EATURE“I like to tell people that I come out of Ella and Louis.”That’s the beginning of the musical origin story vocalist
Fay Victor tells over a recent conversation. The pairing’sclassic 1956 album Ella and Louis was the first jazz vocal
album that had a real impact on the vocalist. It not only
served as her conduit to the world of jazz (which she
didn’t discover until her early 20s), but it was the firstrecord that actually encouraged her to consider singing.
Since that fateful decision to become a singer,
Victor has become a singular vocalist in the jazz andimprovised music scene. From singing a standard in
the classic manner (which is how she started out) andgiving a lyric a witty interpretation, she has gone wellbeyond in her musical journey which has taken her indifferent and certainly more challenging directions. As
an exceptional improviser, her complex personal style
integrates jazz, blues, funk and rock, while seamlessly
combining notes and words. And words are just as
much spontaneous material as are musical ideas to her.
Hearing Victor live can mean hearing something like awhole story being spun out of thin air.
“Every word has a sound. Singing is just kind of asustained speech. It is a sound and so you can tap into[and] break down words to syllables and vowels, andreconnect the sounds within the word to form loose
sounds. We all use words…it seemed like a natural thing
to start with… So it made sense to me, at least if I neededsome sort of crutch, that it would be with words.”
How the vocalist made it to this point is afascinating story, full of unexpected details, each stepa defining one for her as a deep critical thinker about
jazz and improvisation, the craft and possibilities of thevoice and especially her own aesthetic and intellectual
values. She learned repertoire in workshops at theWilliamsburg Music Center in Brooklyn over twenty
years ago, when she was already in her mid-thirties
and had just returned from living abroad. During thistime she focused on the great names of jazz singing:Billie Holiday, Sarah Vaughan, Carmen McRae and, ofcourse, Ella.
Next in her awakening studies was another singular
vocalist: Betty Carter. When Victor first heard Carter,
though, she admits, “I didn’t like it at all, but then I got
to see her live a couple of times and she was amazing.
Not just the voice, not just the music, but how she led
the band, the kind of command she had. I had neverseen that from a vocalist before. I realized that I wanted
to have that kind of human agency. It led me down thispath of really beginning to study.”
Study meant, well, studying, but also being anactive performer. In the mid-’90s, when she lived in
the Netherlands, Victor recollects being, “very much amainstream jazz singer. That allowed me to get a lotof work. And then I began studying harmony and met
the great pianist Curtis Clark, who died not that longago. He was actually in one of my first bands in the
Netherlands.”
In Europe, she immersed herself in the blues,
digging into what she describes as a very active blues

FAY
VICTORFor more info visit fayvictor.com. Victor is at Zürcher
Gallery (solo) Sep. 12, Roulette Sep. 21 as part of M³ Festival
and Children’s Magical Garden Sep. 23. See Calendar.

Rising presents
WORDS One
AS Breath
SOUND

Recommended Listening:• Fay Victor—In My Own Room (Timeless, 1997-98)• Fay Victor—Lazy Old Sun (Greene Avenue Music, 2003)• Other Dimensions In Music (featuring Fay Victor)—
Kaiso Stories (Silkheart, 2010)• Roswell Rudd, Fay Victor, Lafayette Harris,
Ken Filiano—Embrace (RareNoise, 2016)• Fay Victor—Barn Songs (Northern Spy, 2018)• Fay Victor’s SoundNoiseFunk—We’ve Had Enough(ESP-Disk’, 2019)

The Makanda Project

BY GEORGE
GRELLA
Sunday, October 1, 2023 - 4:30 pm

scene in Germany. She also studied with legendary
pianist Misha Mengelberg, and cites him and theSaint’s
ChurchPark Slope
eclectic Dutch All
scene
as a deep
influence.
“I was blown
away by that,” she says. “What was amazing was how
the audience reacted… going crazy. That was a moment
when I realized you can just put it all together. It justdepends on how you present it. You can go from free, toa tune, to Dixieland.”“Coming out of mainstream jazz only as a vocalist,
I really didn’t have any concept of what improvisation
was beyond the jazz understanding of it,” Victor said,
as she found herself getting bored with what she felt
were the limitations of the mainstream approach tothe standard repertoire. “Not so much necessarily
the melodies—because still, to this day, I love to singstandards—but the messages in the songs. I started tothink about that a lot: what am I actually saying here? I
thought the subject matter was pretty narrow.”
Though Victor never met vocalist Jeanne Lee(she does fondly recall hearing Lee perform at the old
Bimhuis with Mal Waldron), Lee’s music inspired the
younger vocalist to expand her own music-making, as
did Cathy Berberian, the great classical singer. Berberian
performed everything from Monteverdi to John Cage
and Victor credits “hearing her singing Sequenza III[by Berberian’s husband, the composer Luciano Berio]
unlocked things.” Victor recollects a period when she
was really wanting to improvise but was bored withpredictable jazz versions; she felt that there had to beanother way. And when she found that other way, she
cultivated and mastered it, as her extensive discography
reveals.
One
of
her
more
recentprojects
isSoundNoiseFUNK—with soprano saxophonist Sam
Newsome and percussionist Reggie Nicholson plus
guitarist Joe Morris—a free-wheeling and punchy,
improvisational outfit. She’s also made notable musicwith flutist Nicole Mitchell, the late trumpeter Jaimie
Branch, alto saxophonist Darius Jones and many others.
Her just-released album, Blackity Black Black Is Beautiful(Northern Spy), is a solo recording on which Victor
sings, plays keyboards and contributes electronics. It
is as singular as her style, but in every moment, thereis assuredly the feeling of music grounded in deep
experience. The lyrics of her music are often personal,
such as “If I don’t take my place / I will be erased,”and “Easy for a Black woman to feel unseen.” Warm
vocals touch on the blues and also influences of Sun Ra
and poet/activist June Jordan, not just in the musicalstructures but with a natural embrace of an enveloping,open expression.
On the horizon is a return to jazz repertoire, given
less-commonly performed material, including revisiting
the music of the under-sung pianist/composer Herbie
Nichols with an album featuring her Herbie Nichols
SUNG project, which goes back to her foundations as acreative artist in the Netherlands, and to the influencesof Mengelberg and trombonist Roswell Rudd. As
always, Fay Victor’s eclecticism is easy to go crazy for.

One Breath Rising presents
The Makanda Project
Sunday, October 1, 2023 4:30 pm
All Saint’s Church Park Slopewww.onebreathrising.org

THE NEW YORK CITY JAZZ RECORD | September 2023 7

ON THE COVER© ENID FARBER FOTOSWAR R EN S MITH
CROSSING BORDERS &PLAYING WITH PIONEERS
by anders griffen

Drummer/percussionist Warren Smith’s reputation

is both well established and long-lived. Next May hecelebrates nonagenarian status. Tuba player Joseph
Daley has called him an “American cultural icon.” Hisability to perform at the highest level in any genre andon any percussion instrument has led to his working
with everybody from Miles Davis to Janis Joplin, John
Cage to Aretha Franklin, the New York City Ballet to
The Fugs. He has had long time associations with Max
Roach’s M’Boom, Sam Rivers, Bill Cole and Gil Evans,and for decades has led his own Composers Workshop
Ensemble. Even if listeners have not heard his name,they surely have heard him play. And yet he remains
humble about his achievements.
Warren Ingle Smith Jr. was born on May 14, 1934,
in Chicago. His father, Warren Sr., was a saxophonist;
his mother Dorothy played the harp. Says Smith, “Music
was all around me. My father’s and mother’s family, allof them were musicians.” Warren Sr. performed with
the Noble Sissle Orchestra in Europe and on Broadway
before returning to Chicago, where he was also an
instructor (among his students were Gene Ammons andJohnny Griffin) and repaired instruments. There was anendless line of musicians coming to the house for repairs,
including Charlie Parker and Sonny Stitt.
Growing up, Smith picked up classical music fromrecords and radio and internalized jazz and blues locallyon the south side of Chicago. He started playing the
saxophone as early as age three and, with other kids in
his building including future saxophonist Kalaparusha
Maurice McIntyre and filmmaker Melvin Van Peebles,
would memorize records and then pantomime all of theparts. One night his mother packed him and his brotherinto the car to go pick up his father after a gig, as theyoften did. That night at the Rhumboogie Club, the sixyear old Smith saw a light slowly blinking inside a bass
drum and decided then that he wanted to be a drummer.
“Looking back, I realize how lucky I was, because no
child my age would have been walking into a nightclub
at midnight!”
His first teacher, Buddy Smith, taught him basic
reading. He went deeper with Oliver Coleman, learning
how to analyze music. At Provisio Township High Schoolin Maywood, IL, he started playing mallet percussion
and his ability to read afforded him the privilege toparticipate in Captain Walter Dyett’s summer concert
band. At 14, he joined the musician’s union and did his
first professional job, performing with his father at theElks Club. He’s been working ever since.
Smith matriculated in architecture at the University
of Illinois Urbana-Champaign. He switched to music,
but, as he recalled, “seeing the difficulties people had
making a living doing that, I decided to teach as a backup,
so got my bachelor’s degree in music education andpercussion.” Professor Paul Price had established the firstaccredited college percussion ensemble program at theuniversity, and there Smith absorbed classical repertoire
while experiencing the cutting edge of contemporarycomposition with visiting artists including Cage andHarry Partch. In 1956 he attended the Tanglewood MusicCamp and studied with members of the Boston SymphonyOrchestra, including outgoing master tympanist Roman
Schultz, upcoming tympanist Vic Firth and conductor
Charles Munch. Leonard Bernstein was in residence as
guest composer. Price moved on to Manhattan School ofMusic (MSM); Smith’s UI classmates Michael Colgrass
and Al Payson followed, and they would arrange for
Smith’s scholarship there. Smith would soon become the
31st person to earn a masters in percussion at MSM.
Payson was also instrumental in passing along the
percussion chair in West Side Story on Broadway, andSmith was able to secure the position despite the notableabsence of musicians of color in the pit at that time. This
opportunity led to many more Broadway shows. Smith,trombonist Jack Jeffers and others successfully lobbied
the musicians union, Local 802, to require 25% minorities
in pit orchestras; the union agreed but included womenas part of that 25%. Word spread of Smith’s professional
acumen, but he prioritized stability for his family whilepursuing his music career. In New York, he started
teaching right away, working with the New York City
Board of Education (1958-69), first at Whelan Junior HighSchool in the Bronx and later the “600 schools”, wherestudents deemed disruptive or unruly were placed;
Smith found them at least as inquisitive and talented as
any other kids. He taught at Third Street Music School
Settlement (1960-67)—the longest-running community
music school in the United States—and Adelphi
University (1969-1973); he joined the faculty at SUNY
Old Westbury in 1963, with multi-wind player Makanda
Ken McIntyre, and taught there for 25 years.
In 1963, Smith bought a house in Hempstead, Long
Island, where his kids grew up; he stayed there until
1980, eventually returning to Harlem in the ’90s. He
joined the Jimmy Dean Show in 1963, which led to a staff
position with ABC and, soon after, started appearing on aplethora of records, including albums by organists Jimmy
Smith and Jack McDuff (1965-66), Aretha Franklin’s Lady
Soul (1968) and Van Morrison’s Astral Weeks (1968). His
skills as a sight reader and improviser meant that he was
as much in demand in the studio as he was on the stage.
However, Smith wanted to develop his own
creative ideas. He shared his first studio with Jeffers andcomposer (and longtime colleague) Coleridge-Taylor
Perkinson on 59th Street. In 1962, Smith participated in
Charles Mingus’ storied Town Hall Concert and worked
frequently with Makanda Ken McIntyre, appearing onYear of the Iron Sheep (1962). Both artists made Smith
think in new ways and influenced his developing
concept, especially in terms of making structure flexible.
Makanda introduced him to Sam Rivers, who found inSmith an ideal collaborator. Smith also explored free
improvisation with his childhood friend Kalaparusha.
These musicians would all be influential on Smith’s
emerging music.
In 1967, he moved his studio to 151 West 21st Street,where he would stay for 30 years. He incorporated as
Chelsea Performing Arts Studio WIS and establishedhis publishing company, Miff Music. He formed theComposers Workshop Ensemble, which rehearsed
weekly for decades; the original personnel: Jeffers,
pianist Bross Townsend, bassist Herb Bushler and

8 September 2023 | THE NEW YORK CITY JAZZ RECORD

multi-instrumentalist Howard Johnson. They released
two classic albums on Strata-East: their self-titleddebut (1972) and We’ve Been Around (1974). The Studio
WIS bylaws articulated Smith’s mission: “To foster,
encourage, advance and cultivate an understanding andappreciation by the general public of music of every
kind and nature.” His values were also demonstrated
by his actions—a mostly open-door policy at the studiocomplemented by his generosity. Usually there wasno charge for the musicians who rehearsed there, andsometimes folks even squatted there. It became a havenfor all kinds of musicians, including Gil Evans, Marion
Brown and a younger generation who were given thespace and support to develop. The studio had special
significance for percussionists for decades. Max Roachfounded M’Boom there in 1970, which was active for 25
years, expanding the scope of percussion music.
Smith joined The Tony Williams Lifetime (founded in1969 with electric guitarist John McLaughlin and organist
Larry Young) and appears on Ego (Polydor, 1971). He
continued working with Rivers and Gil Evans, andembarked on a collaboration with Bill Cole (a specialistin Asian double-reed instruments) that continues to thisday. He also played in the Broadway pits of Raisin (1973),
The Wiz (1975), playwright-poet Ntozake Shange’s forcolored girls who have considered suicide/when the rainbow isenuf (1975) and the Lena Horne revue The Lady and Her
Music (1981), as well as productions with The Negro
Ensemble Company. In 1998, Smith released a signaturecollection of solos, duos and a trio, Cats Are Stealing My $hit
(Mapleshade). In 2007, he produced a film of Thelonious
Monk’s music called WIS on Monk (Freedom Art/Miff
Music), which features solo percussion performancesand demonstrates Smith’s uncanny ability to perform
complex melodies on tympani.
Throughout his career, Smith has maintained a large
archive. These unique holdings have been transferredto the Archives of African American Music and Culture
at Indiana University, where they will be digitized
and made available for research. He is also currently
involved in planning a performance series at the historic
Andrew Freedman Home in the Bronx, plus has a highly
anticipated forthcoming memoir, Crossing Borders andPlaying with Pioneers. The energetic 89-year old shows nosigns of slowing down.
The Warren Smith Trio is at Children’s Magical Garden Sep.
4; the Warren Smith Q-tet is at National Jazz Museum Sep.
21. See Calendar.
Recommended Listening:• Composers Workshop Ensemble—s/t(Strata-East, 1972)• Max Roach—M’Boom (Columbia, 1979)• Julius Hemphill/Warren Smith—Chile New York:Sound Environment (Black Saint, 1980)• Muhal Richard Abrams Octet—View From Within(Black Saint, 1984)• Warren Smith—Cats Are Stealing My $hit
(Mapleshade, 1995)• Andrew Lamb Trio—New Orleans Suite (Engine, 2005)

«ROGUEART»WILLIAM PARKER’S CONVERSATIONSThe Oral History at its best (John Zorn)

CONVERSATIONS IV

The latest in the series with the following interviewees
COEN AALBERTS ACHMED ABDULLAH PATRICIA ALI NEWMAN TAYLOR BAKER
LEWIS BARNES MICHEAL BISIO PETER BRÖTZMANN TAYLOR HO BYNUM
ELLEN CHRISTI GERALD CLEAVER LEENA CONQUEST ANTHONY DAVISJOEL FUTTERMAN WATSON JENNISON DARIUS JONES GEORGE LEWISJAMES BRANDON LEWIS AVA MENDOZA GRACHAN MONCUR III
TATSUYA NAKATANI EVAN PARKER ZEENA PARKINS J.D. PARRANMARIO PAVONE TOM RAINEY JEAN CARLA RODEA LISA SOKOLOVJUMA SULTAN BOBBY ZANKEL•
Book, 485 pages
29 interviews by William Parker • 24 artworks by Jeff Schlangler
Edited by Ed Hazell

Previously released in William Parker’s CONVERSATIONS series:
700 pages

500 pages

445 pages (in English)

33 interviews by
William Parker

32 interviews by
William Parker

32 interviews by
William Parker

29 artworks by
Jeff Schlangler

28 artworks by
Jeff Schlangler

13 photographs by
Jacques Bisceglia

25 photographs by
Jacques Bisceglia

Edited by Ed Hazell

Edited by Ed Hazell
1 CD of excerpts fromsome interviews andKidd Jordan - William
Parker duos

Has also just came out
What I find so fascinating about this book is that even though it is about my work,
it touches on so many tangents of issues related to modern jazz — the modern
art world — the metaphysics of jazz language — the sociology of all this — therevivification of jazz avant-garde language that started happening in the Lower
East Side before I moved to NYC, etc. etc. etc. etc. This book goes way beyond me.
That I can be a conduit for this makes me proud.
That Clifford Allen is a great writer who can bring the nexus of all this together
makes me feel fortunate.
Matthew Shipp•Book by Clifford Allen, 210 pages
Including interviews of:William Parker, Rob Brown, Whit Dickey, Joe Morris,
Yuko Otomo, Michel Dorbon, Jim Clousewww.roguart.com

Edited by Ed Hazell
28 photographs by
Jacques Bisceglia
1 CD of excerpts fromsome interviews andWilliam Parker basssolos

PHOTO BY FREDERICO SPONZAENCOREJOSEPHDALEY

A MIGHTY VOICEBY JOHN SHARPE

Sometimes it can take years for musicians to find their

voice. But for tuba and low brass specialist Joseph
Daley, the revelation came early on, when he was asked
to switch from trombone in junior high school. And
what a mighty voice it proved to be. In some hands
the tuba can be an ungainly beast, dragging behind thebeat. Daley not only nimbly covers the bass register, but
he offers harmonious counterpoint and supplements
the front line, offering liquid moaning expression in
the upper reaches. Such range has made him a popular
choice for some of the biggest names in the business:
Gil Evans, Muhal Richard Abrams, Anthony Braxton,
Carla Bley, Charlie Haden and, of course, Sam Rivers.
Daley grew up on the Lower East Side of Manhattan
and his early performances were playing Latin music;
it wasn’t until later, when he met the likes of Rivers
and fellow tubist Howard Johnson, that he moved
onto the jazz circuit. Both men had a major influence
on Daley. Of Johnson he recalls: “Howard was one ofthose people [who] just took you under his wing andshowed you the possibilities of the instrument. He
didn’t expect you to try to emulate what he was doing,
but he wanted you to develop your own voice. He
didn’t want you to have any limitations on expression.
So he would constantly be pushing and prodding andsaying, you can do better.”
However, it was Rivers who pushed him thefurthest. Daley first began playing with Rivers’
Harlem Ensemble in 1970 and performed on the first
RivBea Orchestra big band album Crystals four years
later. Rivers liked what he heard and invited Daley torehearse in a small group setting. As Daley remembers:“We just started playing. It was a completely
improvisational ensemble, meaning that he didn’t talkabout it or anything. He’d take his horn out and he’dstart playing… at first I’m waiting for instructions,and then I realized no instructions were going to becoming. So I just had to figure it out; he forced me tofind my way.”

Rivers’ subsequent freewheeling Tuba Trio, at
first completed by Syd Smart, then later Warren
Smith on drums, was the finishing school for
Daley. As he explains: “If you’re doing a total
improvisational ensemble with one of the mastermusicians that can play in any key, any tempo, any
type of style, in or out, you have to have all that
stuff just under your fingers, because you just havea cue of maybe a second or so of where he’s going.
And you couldn’t sit and figure out what key he’s inand what he’s doing. You just had to move with him
immediately. You had to become almost part of his
psyche.” Many of the albums the Tuba Trio cut are
now hard to come by, but how successfully Daley
tackled the challenge can be heard on Braids andZenith, two archive recordings recently issued on the
NoBusiness imprint. Daley’s association with Rivers
continued, and he played on the Grammy-nominated
RivBea All-Star Orchestra albums Inspiration andCulmination, recorded in 1998.
All this time, Daley was employed full time in the
New York City educational system, taking leaves ofabsence to make tours. Such commitment meant that
his appearances elsewhere were limited. Nonetheless,his open ears, boundless facility and readiness foranything made Daley an in-demand collaborator. He
appeared on records by Jayne Cortez, George Gruntz’
Concert Band, Howard Johnson’s six-tuba ensemble
Gravity, Bill Cole’s Untempered Ensemble and Jason
Kao Hwang’s Far East Side Band, as well as outsideof jazz with bluesman Taj Mahal (Daley’s early-‘70s
recording debut) and contributing for 17+ years to
the eclectic blues-infused roots music of Hazmat
Modine. Hwang confirms the attraction: “Joe Daley isan incredible innovator of the tuba, capable of deep
grooves, blistering solos and tender ballads that soar
with his heartfelt sound. Joe is a sensitive and insightful
listener, understanding how the tuba can creatively
contribute to any sonic context at any given moment.”
Of late, Daley has focused on composition. It musthave helped having worked with so many of the greats:“Sitting with Gil Evans, Carla Bley, the Liberation
Music Orchestra and Sam’s Orchestra,” he says, “youhear how to voice and how to use different types ofcolors. I was able to assimilate all that stuff and bringit into my unique voice for composition.” Inspired byRivers’ ethos of self-determination, Daley recognizedthat he needed to take the initiative to get his music
documented, raising the money himself for his firstleadership project, the acclaimed The Seven Deadly Sins
(2009) by his brass-rich Earth Tones Ensemble.
To demonstrate his scope, he followed that releasewith The Seven Heavenly Virtues (2012) for string
ensemble. Hwang, who was on board, enthuses: “Ascomposer, he is historically rooted with a masterfulknowledge of harmony, rhythm and orchestration,
while also being free, his imagination unencumberedby conventions. His music is wonderful, and he’s agreat human being!” In 2015 Daley revisited theformat in which he first thrived as an improviser withThe Tuba Trio Chronicles, accompanied by Smith andreedman Scott Robinson; he dedicated the album toRivers. To mark his 75th birthday next year and 55
years in the business, a second volume of the Trio
Chronicles, more large-scale works and a busy concert
schedule are in the pipeline. (Tuba Trio Chronicles Vol.
II NYC album release concert is at Children’s Magical
Garden Oct. 1, presented by Arts for Art.)
But first the task at hand: when Rivers passed
away in 2011, there was talk of a tribute but it nevermaterialized. So, when Daley realized that Rivers’
centennial was approaching in 2023, he resolved tomake something happen. He contacted saxophonist
Steve Coleman, who produced the two All-Star
records, and together they tracked down the chartsand found a suitable venue through trombonist Craig
Harris’ Welcome to Harlem concert series, and so will
be celebrating Rivers’ centennial a few days prior.

ideas. He always addressed the harmony in a direct way
that didn’t sound corny, just perfect. Also, his ability totake extended solos was reminiscent of John Coltrane,
unmatched by trombonists at the time. He ‘set the bar,’which still stands today.” Hampton had studied in
his youth at a local Indianapolis conservatory, but hismusical education essentially came through his family
and other musicians such as bebop trombonist J. J.
Johnson, who also lived in Indianapolis.
Born Locksley Wellington Hampton on April
21, 1932, in Jeannette, PA, he was the youngest of 12
children. His parents, Clarke and Laura Hampton,organized the children into a family band that relocatedto Indianapolis and played gigs there as well as other
cities in the Midwest. Locksley joined as a singer anddancer at age 6, and at age 12 was handed a trombone
by his father and told to play. He was right-handed
but he played the instrument left-handed, since it was
configured that way. His sisters gave him the nickname
Slide. When the senior Hampton died in 1951, theband was led by brother Duke. In 1952, the band won
a contest to play at Carnegie Hall, opening for Lionel
Hampton. That experience set the trombonist’s eyes ona future in New York.

But his next stop was Houston, working in a band
there and learning to be an orchestrator as well ashoning his other talents. Eventually, in 1955, Hampton
joined pianist Buddy Johnson’s jump blues outfit andmade his way back to New York, settling in Brooklyn
and establishing his home as the place to be for jam
sessions, where it was common to find notables suchas John Coltrane, Wayne Shorter, Freddie Hubbard
and Eric Dolphy. In 1956 Hampton joined Lionel
Hampton’s band, and a year after that Ferguson’s unit.
Trombonist Jiggs Whigham remembers, “I first met
Slide when he was playing with Maynard’s band. He
impressed me with his great trombone technique andunique style. And even as Slide was a great trombonist,
I became a huge fan of his excellent writing and overall musicianship.”At the threshold of the ’60s, Hampton foundhimself in high demand. In 1962 he established the Slide
Hampton Octet which lasted only a year, but increased
his visibility. He went to work as a musical director
for Motown Records, collaborating on productions for
Stevie Wonder, the Four Tops and others, then joined

For more info visit jodamusic.com. In celebration of Sam
Rivers’ centennial, Daley is at Mount Morris Ascension
Presbyterian Church Sep. 22 with the NY RivBea Orchestra
as part of the Welcome to Harlem concert series presented byHarlem Jazz Boxx. See Calendar.
Recommended Listening:• The Tuba Trio (Sam Rivers/Joseph Daley/Warren
Smith)—Essence - The Heat and Warmth of Free Jazz,
Vol.I-III (Circle, 1976)• Ellery Eskelin—Figure of Speech (Soul Note, 1991)• Ebony Brass Quintet (with Hamiet Bluiett)—
Brand New Bag (Mapleshade, 1994)• Reggie Nicholson Brass Concept—
Surreal Feel (Abstract Recordings, 2008)• Joseph Daley’s Earth Tones Ensemble The Seven Deadly Sins (Jaro Median, 2009)• Joseph Daley—The Tuba Trio Chronicles, Volume I & II
(JoDaMusic, 2014/23)

PHOTO BY LUCIANO ROSSETTI©PHOCUSAGENCY

LEST WE FORGETSLIDEHAMPTONSLIDE TO POSTERITYBY MARILYN LESTERW hen NEA Jazz Master and Grammy-winning

trombonist Slide Hampton died in November 2021 atage 89, he left a super-sized legacy as a player, arranger
and composer. Hampton came onto the jazz scene asa very young man in the ’40s bebop era, and in the’50s and ’60s worked for many notable bandleaders,
including Dizzy Gillespie, (the unrelated) Lionel
Hampton, Maynard Ferguson, Art Blakey and Max
Roach. A quick and precocious study, with a thirst forknowledge, he also began to lead his own groups in clubs
and recording studios, having started an independent
musical career in his late teens. Trombonist Robert
Edwards notes, “The thing I loved most about Slide
was the depth of his ‘vocabulary’ and the clarity of his

10 September 2023 | THE NEW YORK CITY JAZZ RECORD(CONTINUED ON PAGE 37)

L ABEL SPOTLIGHT

BIOPHILIA RECORDSCOMMITMENT TO CLIMATE THROUGH MUSICBY FRANCESCO MARTINELLI

Established in Harlem by Cuban-born pianist Fabian
Almazan in 2011, Biophilia Records takes its nameand basic inspiration from the writings of E. O.
Wilson, the entomologist who developed the conceptof sociobiology—the study of the relation between
biodiversity, environment and human behavior.
Wilson dedicated a book to biophilia in 1984, defining
it as “the innate tendency to focus on life and lifelike
processes.” Almazan has borrowed this concept
with his Biophilia and works with an environmental
consultant: “My main objective with Biophilia is tonurture a community of like-minded individuals whovalue the benefits of music to society and view it as aplatform to have a continuing dialog of how to be apart of the solution rather than the problem in regards
to climate change and environmental injustice.”
Having left Cuba with his family at 9 (moving firstto Mexico and then to Miami), Almazan arrived in New
York as a teenager to study at the Manhattan School ofMusic. He was first heard in high-profile recordings by
Terence Blanchard, including the soundtrack for Miracleat St. Anna and two of the trumpeter’s releases on Blue
Note (Magnetic and Breathless). “Fabian is probably
one of the great young talents of his generation,” said
Blanchard. “Once people really hear what he’s about
and what he’s doing, they’re gonna be enriched.” When
Almazan decided to start his own label, as bassist

Intimate Strangers
Sara Serpa

The Glass Hours
Linda May Han Oh

Linda May Han Oh (a frequent Biophilia band leader
and collaborator) notes, “Fabian built [it] from thebottom up, collaborating with essential environmentalorganizations such as the NRDC (Natural Resources
Defense Council) and getting artists and fans involvedin volunteer events where we’ve planted trees andhelped to clean up trash, particularly pre-pandemic.”
She also states, “Fabian is now currently undertaking
his PhD at Harvard University with the intention ofbridging more of his creative work with environmental
issues.”Biophilia Records does not release music onphysical media, in order to reduce its environmental
impact. Instead, since 2017, it issues biopholios: adouble-sided, 20-panel origami-inspired medium,bursting with vibrant artwork and liner notes, eachmade entirely out of FSC-certified, robust paper, handfolded and printed using plant-based inks, including
the download code. It’s a tangible object, artwork andliner notes included, but without the actual record.
To date, the label has issued 32 albums in its 12
years, a substantial and momentous catalog, giving
voice to a group of growing musicians sharing common
interests and an aesthetic vision. Biophilia’s debut entry
was Almazan’s Personalities, presenting different facetsof the pianist’s personality from the electronically
glitched piano at the beginning in a restructured
version of the third movement from Shostakovich’s
String Quartet no. 10 through tender renditions of
Carlos Varela’s “Bola de Nieve” (dedicated to thelate, great Cuban singer-pianist) and Antonio María
Romeu’s “Tres Lindas Cubanas”. Based on his regulartrio (with Oh and drummer Henry Cole) augmented

Reciprocity
María Grandwith a string quartet, the album is energized by thetension between experimental soundscaping andmelodic romanticism, typical of Almazan’s music.
This Land Abounds With Life, his most fifth and mostrecent album as leader, meditates on wildlife sounds,
folklorism and displacement and includes songs of
Cuban birds, Willie “The Lion” Smith’s “Music On My
Mind” and a tender reprise of “Bola de Nieve”.
“I’m inspired by up-and-coming musicians like
Nortonk and Chase Elodia, the duo Endless Field
featuring Ike Sturm and Jesse Lewis, who released Alivein the Wilderness recorded live in the desert of Southern
Utah via a solar-powered recording rig, and by Adam
O’Farrill, who is currently creating tremendous music,”
says Oh. The bassist has three albums as leader in thelabel’s catalog: Walk Against Wind, Aventurine and thelatest, The Glass Hours, a major work based on originalcompositions concerned with the fragility of humantime and performed by a powerful group including
Mark Turner (tenor), Sara Serpa (vocals), Almazan and
Obed Calvaire (drums).
Trumpeter Adam O’Farrill’s grandfather was theboundary-pushing Cuban composer and arranger,
Chico O’Farrill; his father is the composer, pianist andactivist, Arturo O’Farrill, and his mother, Alison Deane,
is a classical pianist and educator. Adam O’Farrill has
released two Biophilia albums: El Maquech (a rousing
tribute to Mexican music) and his latest, Visions Of
Your Other (an intense visionary experience going fromstakra by Ryuichi Sakamoto to a tense evocation ofclimate change through a dedication to Kurosawa by(CONTINUED ON PAGE 37)

El Maquech
Adam O’Farrill

Alcanza
Fabian Almazan

VOX NEWSCOLLABORATIONSBY SUZANNE LORGE

Vocalist Kurt Elling and guitarist Charlie Hunter
first started working together in 1995—their respective
inclinations toward blues and funk expression musthave generated an instant artistic rapport. But it would
be about 25 years before they documented this musicalrelationship in the studio, and in 2021, Superblue, theirfirst release together, took home a Grammy nomination
for its irrepressible beats and deeply felt moments. Earlier
this year they expounded on their duo-led ideas with the
EP Superblue: Guilty Pleasures, and then Superblue: The
Iridescent Spree, out this month (all three on Edition).
This latest Superblue album dips into some earcatching source material—Joni Mitchell’s rarely heard“Black Crow”, Bob Dorough’s cleverly didactic “Naughty
Number Nine” (from the animated television series
Schoolhouse Rock) and Ron Sexsmith’s neo-soul ballad“Right About Now”. Elling—ever the astute judge offine lyrics—also includes a spoken word performanceof Billy Collins’ poem “The Afterlife” against a simple
percussive track; his own biting words on the hornlaced original “Not Here / Not Now”; and additionalverses on a synth version of Ornette Coleman’s “Lonely
Woman” (here as “Only the Lonely Woman”). Not allcollaborations continue to evolve, but this one does; tocatch the unfolding in real time, see Elling and Hunter at
Le Poisson Rouge (Sep. 22).
Hunter, who comfortably dons many hats, also
produced singer/songwriter Dara Tucker’s 2019 album
The Seven Colors (Watchman Music Group), a glistening
collection of jazz, Americana, pop, blues, gospel andsoul songs; the album gives a nod to the many musicalinfluences that Tucker absorbed growing up in Tulsa, OK,
as articulated through her own writing. But she’s also a
powerful interpreter of the original works that inspired
her, as on Dreams of Waking: Music for a Better World (Green
Hill), her 2021 EP of uplifting popular songs reframed as
jazz tunes. Recently, the prolific artist brought both her
writing and interpretive skills to bear on Dara Starr Tucker(Green Hill), a set of six original pieces alongside smootharrangements of works by modern songwriters. True
to form, Tucker’s reach is wide—from Billie Eilish (theintrospective “Everything I Wanted”) to John Denver (thehit love anthem, “Annie’s Song”), then from Kurt Weill
and The Fantasticks (the similarly nostalgic “September
Song” and “Try to Remember”, respectively) to traditional
New Orleans (the rousing hymn “Just a Closer Walk With
Thee”). Her originals are likewise diverse—among them“Scars”, a fusion of soul-baring lyrics and energetic pulse;“Falling”, a shape-shifter with an engaging hook; and “If
You Ask Me To”, a light-hearted, blues-tinged pop tune.
Tucker celebrates the album’s release at Dizzy’s Club
(Sep. 11).
Like Tucker, Nicole Zuraitis is a stunning singer withan equally adept pen. Take as evidence her new album

How Love Begins (Outside In Music), a passion project
hatched with co-producer and bassist Christian McBride.
You should hear these 10 originals in two parts, thefirst entitled “oil” and the second “water”. It’s a lesson,
Zuraitis explains, in the conflict that can beset even themost harmonious of relationships. You’ll take this lesson
from her lyrics rather than the copacetic musicianship on
display; she and McBride are of one aesthetic mind from thegrinding blues opener (“The Good Ways”) through to theheartening closer (“The Garden”). In between, they movein and out of swing (“Reverie”), bop (“Burn”), romantic
banter (“Two Fish”), gripping melodic monologue (“20Seconds”) and rueful balladeering (“Like Dew”). Zuraitis
and McBride will introduce the record at Birdland (Sep. 4).
In 2020, iconoclastic singer/composers Jen Shyu andSara Serpa co-founded Mutual Mentorship for Musicians(M³), a consortium for singers and instrumentalists ofhistorically underrepresented gender identities. This
month they’ll host the second annual M³ Festival—a
showcase for these burgeoning talents—at Roulette (Sep.
21-23). The following week, Serpa and guitarist André
Matos will play music from the fearlessly improvisational
Night Birds (Robalo Music) at Joe’s Pub (Sep. 28)—
returning to their duo format after 12 years away.
On other vocal stages: Judy Wexler returns to Pangea
for her annual gig (Sep. 13); Aubrey Johnson appears at
North Square (Sep. 3), followed by Ben Cassara (Sep. 10)
and Erli Perez (Sep. 24); Vicki Burns is at Thread Loungein the Renaissance NY Midtown (Sep. 6) and Room 623(Sep. 17).

THE NEW YORK CITY JAZZ RECORD | September 2023 11

F ESTIVAL REPORT

Gianluca Petrella @Umbria JazzBY ELLIOTT SIMONBY KYLA MARSHELL

Tommy Smith & Arild Andersen @Edinburgh Jazz and BluesPHOTO BY GABE PALACIOPHOTO BY TIM DICKESONBY THOMAS CONRADEDINBURGH JAZZ CARAMOOR JAZZAND BLUES FESTIVAL FESTIVAL

PHOTO BY BEN GLASGOWUMBRIA JAZZFESTIVAL

Cécile McLorin Salvant @Caramoor Jazz Festival

T his year’s Umbria Jazz Festival (Jul. 7-16) celebrated E dinburgh, Scotland styles itself the “World’s E ach July in Katonah, an hour north of New York
its 50th anniversary, and set records for ticket sales(over 40,000) and revenue ($2.5 million). On the lastday, it was announced that Carlo Pagnotta, whostarted the festival and has run it ever since, willcontinue as Artistic Director. (He turns 90 in August,and there had been rumors that he would step down.)
The anniversary milestone did not generate any
notable changes in format. The Umbria festival still
overwhelmed the “centro storico” (historic center)of Perugia, one of Italy’s most beautiful hill towns.
Thousands still packed into Piazza IV Novembre
for the free concerts. Most of the important jazz
still happened in Teatro Morlacchi, the 18th century
horseshoe-shaped theater with five tiers of opera
boxes. There were still noon concerts in Sala Podiani,
an intimate 150-seat space in the Galleria Nazionaledell’Umbria museum. Twice daily, the manic marching
band Funk Off still paraded down the cobblestonesof the main drag, Corso Vannucci, trailed by children
and dogs. The headliners still played in Arena Santa
Giuliana, an outdoor stadium just down the hill fromthe old town, with its 5,000 person capacity. Umbria
is still a major event in Europe’s annual cultural
calendar, and a massive, wild 10-day street party. But,
for all the continuity of structure, everyone knew that
this year was different. There was a special intensity
to the celebration. People sensed the magnitude of the
moment. Very few jazz festivals can lay claim to 50
years.
Much of the music in Arena Santa Giuliana was
not jazz. Bob Dylan appeared on opening night.
“Appeared” is a misnomer. His management had
specified minimal stage lighting. They also requiredthat the huge video screens on either side of the stage
be shut down. It was profoundly nostalgic to hear
Dylan sing songs including “Gotta Serve Somebody”
and “I’ll Be Your Baby Tonight”. But only the folks
who had paid the top ticket price of €177.50 (almost$200 US) sat close enough to see him well. Italian pop
stars Mika and Paolo Conte, plus Ben Harper, Stewart
Copeland (the drummer with the Police long ago) and
Joe Bonamassa also played the Arena. The best jazz
there was a double bill of pianist Brad Mehldau’s trio
and saxophonist Branford Marsalis’ quartet. The mostambitious jazz project, in terms of sheer numbers,
was “Eastwood Symphonic”. Kyle Eastwood’s
quintet played themes from his father Clint’s films,
accompanied by two large Italian ensembles: theFestival City”, and every July and August it attracts
over 4.5 million visitors to approximately 3,500
music and arts events across ten separate festivals.
The Edinburgh Jazz and Blues Festival (Jul. 1423), produced by Fiona Alexander, was significant
not only for the range and quality of the over 130
performances but also for the thoughtful selection ofvenues that complemented the music.
As is customary, renowned Scottish jazzmusicians including tenor saxophonist Tommy
Smith, trumpet player Colin Steele and pianist
Brian Kellock were on hand for shows tailored to
the festival. Many unforgettable meetings cameas part of SPARK Norway (curated by Øyvind
Skjerven Larsen, director of the Oslo Jazz Festival).
Smith and soon to be 78-year old legendary bassist
Arild Andersen provided one such moment at the
St. Bride’s Community Center, a renovated church
dating back to 1876. Despite drummer Thomas
Strønen’s absence due to a flight cancellation, theduo’s conversation was enchanting and intimate.
Smith, dressed in black, filled the large room withbroad, rich tones while Andersen skillfully usedfoot pedals to produce harmonics that enhanced
each piece’s sense of spirituality. Their partnershipshowcased the Scottish/Norwegian association withoriginal material and a beautifully textured rendition
of Burt Bacharach and Hal David’s “Alfie”.
St. Bride‘s also hosted Kellock and saxophonist
Stewart Forbes, with trumpeter Bruce Adams, bassist
Ed Kelly and drummer Tom Gordon, the group
paying homage to Charlie Parker’s famous quintets.
Adams engaged the audience with a history lesson on
Bird with performanes of classics including “Dewey
Square”, “Billie’s Bounce” and “Yardbird Suite”. A
loving tribute to the late vocalist Fionna Duncan,
thoughtfully put together by drummer Tom Bancroft,
was a festival highlight. Recorded interviews
with Duncan and a live show that included former
students, family and friends such as Suzanne Bonnar,
Sophie Bancroft and Sylvia and Gina Rae, summoned
Duncan’s spirit. Impeccable interpretations of “I Just
Found Out About Love”, “All of Me” and “Body andSoul” plus a wonderful finale of “Bye Bye Blackbird”,
led Gina Rae to say, “Fionna taught us all to singwith emotion…she called us her jazz babies.”
The famous Spiegeltent in Edinburgh isadorned with mirrors and intricate wood carvings,

City, jazz lovers haul out their lounge chairs andsunhats for the Caramoor Jazz Festival, a daylong
event now in its 30th year. The Festival takes placeon the beautifully landscaped grounds of Caramoor
Center for Music and the Arts, which presents
contemporary jazz and classical music year round.
The artists and the audience are well suited for an
event that is essentially a giant picnic curated by Jazzat Lincoln Center (JALC). The Festival features a fullslate of what is identifiably jazz in contrast to how
many so-called “jazz” festivals operate these days.
At this year’s festival (Jul. 22), there was a fairamount of straight-ahead swing and capital-J jazz, andmost of the music could be engaged within multiple
ways: focused listening; singing along; and staying fora short period before moving to another grassy stage.
Many of the acts featured youthful representation.
The JALC Summer Jazz Academy Big Bands anda septet from Jazz House Kids Ambassadors, twoprograms educating high school-aged jazz students,
both performed, as did 19-year old Anaïs Reno
(with guitarist Peter Bernstein) who, like many ofher peers, appreciates a good chestnut. The two big
bands performed separately while on the same stage,
one group in burgundy polos, the other in navy,
positioned as if two debate teams trading solos insteadof points, moving one of the band directors to assure
the audience with a laugh, “This is not a competition.”
The afternoon was filled with other up-andcomers, including trumpet player Anthony Hervey
and his quintet, featuring Joe Block (piano), Russell
Hall (bass), Miguel Marcel Russell (drums) and his
brother Nigel Hervey (alto). The group performed
tunes from Words From My Horn, Hervey’s recently
released debut album, a thoughtfully conceived
narrative of his personal and musical journey. Later,
the New Jazz Underground trio with Juilliard grads
and JALC regulars T.J. Reddick (drums), Abdias
Armenteros (alto) and Sebastian Rios (bass) offered
music with song titles meant to intrigue, such as“they can hate but we still swingin” (aka “Delfeayo’s
Dilemma”) and “giant steps is not music” (“Giant
Steps”). The group was formed in the pandemic andhas quickly built a dedicated following on YouTube.
Though Caramoor has long prioritized showcasing
emerging artists, according to Georgina Javor (JALC’s
vice president for concerts and touring), this year’s
Festival swung more in that direction, also with

(CONTINUED ON PAGE 36)(CONTINUED ON PAGE 36)(CONTINUED ON PAGE 36)

12 September 2023 | THE NEW YORK CITY JAZZ RECORD

JAZZ

Live

Returns to

Bassist/composer Martin Wind introduces his latest
trio project Counterpoint (Laika Records)

LOUNGE

featuring two veterans of the New York jazz scene:“…The most elegant spot in New York City”

Jim McNeely (piano) and Ed Neumeister (trombone),

Stephen Sorokoff, Broadway World

who happen to be two of this music's
most celebrated composers and arrangers of the past

Antonio Ciacca

few decades, as well! The trio explores original

September | 1, 2, 6, 8, 9, 13, 15,
16, 20, 22, 23, 27, 29 & 30

material such as McNeely's hit big band chart“Extra Credit” and Wind's “Counter My Point”,
as well as unique renditions of

Eric Yves Garcia
September | 7 & 14

jazz standards “Blame it on My Youth” and“In the Wee Small Hours of the Morning”.

Eli Yamin

September | 21 & 28

For orders:

Wednesday through Saturday | 6:00pm - 9:00pm
No Cover | No Reservations

martinwind.com/counterpoint (U.S. only)or laika-records.com
Also available on iTunes, Amazon,
Bandcamp and other streaming platforms

For more info visit Scott Thompson PR:
conta.cc/43M7nyN

TwoE_NYCJazzRcrdADAugust.indd 2

A R B O R S

8/14/23 1:15 PM

R E C O R D S

Jon-Erik Kellso and The EarRegulars Liveat The Ear Inn features a rotating cast of
improvised coolness performed at thehippest bar in New York City.

P R E S E N T S

arborssrecords.com
DISTRIBUTED BY MVD

Album release concerts in the NYC area include:
9/7 (7:30/9 pm): Mezzrow, NYC
9/8 (7-10 pm): Deer Head Inn, Delaware Water Gap, PA
9/9 (8 pm): Maureen's, Nyack, NY
9/10 (2 pm): Beattiy-Powers Place, Catskill, NY

ALBUM REVIEWS

Love in the City
Yuka Mito (Nana Notes)
by Andrew Hamlin

Tokyo native Yuka Mito started piano at six. She sang
pop tunes in clubs in English and Japanese, hit the
Brooklyn-Queens Conservatory of Music in her latetwenties and settled into jazz around age thirty. It wasa late commitment, but one destined to bear sweet fruit.
Love in the City kicks off with “I Got Rhythm”,
displaying from the jump Mito’s confident tone, audacious
scatting and the surefooted backing of Allen Farnham(piano, arrangements), Dean Johnson (bass) and Tim
Horner (drums). Farnham sticks close to the singer throughthe scatting and after a short introspective intro ratchets
into double-time; Horner stands ready with a beguilingblend of dry snare and distant, cloudy cymbals.
The following title track sounds like a long-forgotten
standard, but it’s from the pen of Mito herself (with somehelp from Japanese-American actress and singer Monday
Michiru). Rife with the giddy pleasures of street graffiti
among other things, it’ll slap a grin on your face even
before the rapid-ride scatting to close.
“Memory of Father”, another Mito original, stuckwith me the whole time I was digesting this album. The
number is entirely in Japanese, guided (she notes) bymemories of her father’s love, his aging and, eventually,
his passing. Her bold phrasing and sure, subtle sense of
harmony sink in (even if you’re not a Japanese speaker),leaving a profound sense of awe and mystery.
Mito’s reading of the standard “I’ll Remember April”
builds on “Memory of Father”. It’s cheery, sprightly andnominally about romance—but more about romance’s
dissipation, like fire into ashes, with nothing left but
memories and how to sort through those ashes. Ultimately
this song points to what the Japanese call “mono noaware”: learning to accept, and beyond that, to love within
the concept that time is passing.
For more info visit yukamito.com. Mito is at Don’t Tell Mama
Sep. 20. See Calendar.

Harvesters is its 11th outing. While Rempis provides the
focal point, that’s only possible because of the unrelenting
support he receives in the always fascinating undercurrents
supplied by Håker Flaten and the twin drumming of Tim
Daisy and Frank Rosaly. The five long-form improvs movein a masterfully handled cycle of natural ebb and flow,
bolstered at the micro level by the absorbing detail oftimbre, texture and pitch. The bassist takes a fundamental
role: anchoring, offering wiry counterpoint and molding
shapely figures into riffs and vamps. But not only that—
his adoption of a walking line adds instant momentum tothe rubato atmospherics of “The Exuberant Aubergine”(on which French trumpeter Jean-Luc Cappozzo guests),and his arco moans prove instrumental in realizing thedespairing incantations of the prayerful “Little Fascists”.
Rempis remains one of the best in the business at such seatof-the-pants free jazz, issuing a stream of novel ideas at
speed, with an enviable tonal command, while effortlessly
sustaining interest over the long haul. Though the band
has long since learned that the journey is as important as
the destination, punters would be disappointed if there
were no pyrotechnics. Happily they oblige, scaling thepeaks during the lengthy “Everything Happens to You”
and summiting in bursts on the almost-Latin swing of“Spooky Action”.
The Swedish trio of reedman Per Texas Johansson,
drummer Konrad Agnas and vibraphone and marimba
player Mattias Ståhl invites Håker Flaten to join them for
All Slow Dream Gone. He’s perhaps an unlikely choice forthis date of free play, which is as orderly as jamming on astandard chord progression, and takes its inspiration fromcool school jazz experiments. But he perfectly acquits himself
with sprightly bass lines that fit right into the prevailing
ethos. Lennie Tristano’s “Intuition” and “Digression”,
extemporized spontaneously by a 1949 quintet including
Lee Konitz and Warne Marsh, suggest one potential source.
The cover graphic implies that another might be Anthony
Braxton—not his own knotty charts, but rather his first In
The Tradition set. That’s especially the case when Johansson
puts his harrumphing contrabass clarinet through its paces
on “Gone”. He restricts himself otherwise just to clarinet andbass clarinet, staying well within the conventional range of
each, thereby imparting a certain light, reticent quality to
the session. Ståhl’s preference for woody-toned marimba
on most tracks further accentuates that feel. Typically aftera brief ensemble start, Johansson or Ståhl take turns to solo,
accompanied by Flaten’s swinging bass and drums, before
a final interweaving of lines, the musicians sometimes
trading fours with Agnas’ drum breaks. But although thealbum’s conceit is initially intriguing, it doesn’t have thelegs for the forty-minute duration.
For more info visit aerophonicrecords.com andquesonegro.de/main.html

Harvesters
Rempis Percussion Quartet (Aerophonic)
All Slow Dream Gone
Konrad Agnas/Ingebrigt Håker Flaten/Mattias Ståhl/Per Texas Johansson (Moserobie)
by John Sharpe

While there are many bassists adept at blurring theboundary between melody and rhythm, few supplementthat ability with as much energy and passion on the
bandstand as Ingebrigt Håker Flaten (who turns 52 thismonth). The Norwegian honed his chops in the raucous
environment of power trio The Thing and was a founding
member of Scandinavian supergroup Atomic. Sojourns in
Chicago and Austin broadened his sweep of collaborators
yet further, in projects with Joe McPhee, Ken Vandermark,
Rob Mazurek and many others.
Since 2010, he has occupied the bass chair in Windy
City saxophonist Dave Rempis’ Percussion Quartet, whose

Schoenberg on the Beach, they adapt early vocal compositionsof Arnold Schoenberg and Anton Webern into jazz songs,
with an easygoing, almost “lounge” aesthetic. It’s anambitious stretch, but Lederer and LaRose are certainly up
for the challenge. The specific choice of earlier Schoenberg
and Webern songs is important: many are both lighter inmood and less forbiddingly atonal than these composers’
later works, and thus, somehow, more conducive to thisparticular treatment.
Lederer (flute and clarinet) and LaRose are joined
by Patricia Brennan (vibraphone), Hank Roberts (cello),
Michael Formanek (bass) and Matt Wilson (drums).
Short electronic interludes by DJ ArkturEYE (an alias ofBrennan’s husband, drummer Noel Brennan) introduce
each of the nine tracks; based on sampled field recordings
from Coney Island, they provide a suitable beach ambience.
Marty Ehrlich, like Lederer, an eclectic woodwind doubler,
makes a guest bass clarinet appearance on “Pale Flowersof Moonlight”, a movement from Schoenberg’s notorious
Pierrot Lunaire, a melodrama for voice and chamber
ensemble. Yet, everyone sounds like they’re having fun
here. Lederer’s and LaRose’s ecstatic improvising andWilson’s resolute playfulness stand out, but all members of
this group engage with the absurd humor inherent in sucha project. Brennan adds an electronic pitch-bend effectto the vibraphone, often using it at the most unexpected
moments. On Webern’s “Heiter”, Lederer plays a truncatedclarinet, blowing the mouthpiece directly into the lower
joint to create a zany set of intervals.
Lovingly played and beautifully recorded, Schoenberg
on the Beach is a successful experiment. It’s a project only
Lederer and LaRose could have thought of—and it’s justbizarre enough to work.
For more info visit littleimusic.bandcamp.com. Lederer’s album
release concert is at Roulette Sep. 24. See Calendar.

Ackamoor & The Pyramids—
R • Idris
Afro Futuristic Dreams (Strut)
Alcorn Septeto del Sur—Cantoe • Susan(Relative Pitch)
Bertault/Paul Bertault—c • Camille
Songs for My Daughter (Sunnyside)o • Adam Birnbaum—Preludes
Music Festival)m • (Chelsea
Kris Davis Diatom Ribbons—at the Village Vanguard (Pyroclastic)m • Live
Dave Douglas Quintet—Songs of Ascent:e Book 2 – Steps (Greenleaf Music)
Johnson Quartet—Reveal (Calligram)n •• Russ
Jon-Erik Kellso and The EarRegulars—at The Ear Inn (Arbors)d • Live
Miya Masaoka/Reggie Workman/Gerrye Hemingway—Brew: Heat & Between(Clean Feed)d • Reflections
Joe Melnicover—You Is You (577 Records)new
Schoenberg on the Beach
Jeff Lederer with Mary LaRose (little (i) music)
by Elijah Shiffer

What is Schoenberg doing on the beach? The album title
may sound like the set-up for a cynical inside joke, but it
is actually a quite literal description of this latest stylistic
experiment by the husband-and-wife team of woodwind
player Jeff Lederer and vocalist Mary LaRose. They arecertainly no strangers to combining far-flung influences(Albert Ayler with sea shanties, to name a notableearlier example) into well-crafted music that makes theconnections between disparate genres seem inevitable. In

14 September 2023 | THE NEW YORK CITY JAZZ RECORD

r
e
l
e
a
s
e
s

• Nick Millevoi—Digital Reaction(Ropeadope)• Johannes Nästesjö/Sten Sandell—Duo akt I-VII (Konvoj)• Oren Neiman—Serenity Now(Noyman Music)• Mike Nock—Hearing (ABC)• Michel Pilz, Reiner Winterschladen, FrankPaul Schubert, Christian Ramond, Klaus
Kugel—Yamabiko Quintet (Nemu)• Santiago Big Band (feat. Marcos Fernández)& Afro Latin Jazz Orchestra (feat. Arturo
O’Farrill)—Santiago Brooklyn Santiago(ZOHO)• Nina Simone—You’ve Got To Learn (Verve)• Jesper Thorn—Dragør (April)• Trance Map+ (Evan Parker/Matthew Wright/
Peter Evans/Mark Nauseef)—
Etching The Ether (Intakt)• Martin Wind/Jim McNeely/Ed Neumeister—Counterpoint (Laika)

MEHMET ALI SANLIKOL&WHATSNEXT?

Carta
David Virelles (Intakt)
Front Street Duets
Hilario Durán / David Virelles (ALMA)by Stuart Broomer

Pianist David Virelles’ life has been a tale of three
countries—the first his native Cuba, where he was born in
1983. As a teenager he moved to Canada after saxophonist
Jane Bunnett encountered his prodigious talent andarranged to advance his education and career. Thereafter his studies he began teaching in the jazz program atToronto’s Humber College and recorded with Bunnett in2001. Finally, Virelles moved to the United States, where
he has resided since 2009, studying with Henry Threadgill
and then playing and recording with such notables as
Threadgill, Tomasz Stańko, Chris Potter and Andrew
Cyrille. Virelles has been recording as a leader since 2008,
with several of his recordings featuring larger ensembles
and Cuban percussion. These two recent recordings arevery different from one another: Carta has Virelles in acontemporary piano trio in which Cuban influences areevident but largely sublimated in his mature style, while
Front Street Duets is a trip to the pianist’s roots undertakenwith the senior Cuban pianist Hilario Durán.
Carta, Virelles’ Intakt debut, presents him with bassist
Ben Street and drummer Eric McPherson. It’s a work of
striking clarity, likely to suggest the sculptural economy
and structural precision of Andrew Hill or Mal Waldron,though sometimes shot through with sudden asides.
This is apparent in the opening “Uncommon Sense” asthe pianist contrasts reflective chords with brief flurries.
“Island”, in contrast, is a model of calm repetition. The trio
is given to sudden spontaneous shifts in which McPherson
and Street can become the more active members of thegroup. The elusive title track, introduced by clattering
percussion, becomes a subtle dialogue between pianoand bass that strongly suggests Paul Bley’s harmonic andspatial imagination. “Tiempos”, which has immediatesuggestions of Latin roots, eventually develops into fully
realized trio music in which McPherson comes to the fore
in what is essentially a duo between minimalist keyboard
gestures, including rapid fluttering and McPherson’s stark
drum strokes delivered with speech-like insistence. On “El
Tivoli”, McPherson is often the more active partner, withthe pianist eventually responding with dense and rapid
isolated bursts.
Front Street Encounters returns Virelles to his earlyroots, performing with Durán, some thirty years his
senior, and whom he first heard on record in his native
Cuba and then met when he emigrated to Toronto. The
recording goes to the hybrid core of much Cuban music:
the merger of modernist piano composition with the AfroCuban polyrhythms preserved in the island’s interior. A
signal work in that development is included here, Virelles’
arrangement of “Danza Licumi” by the pioneering
pianist-composer Alejandro García Caturla, who took
Cuban music to Paris in the ‘20s. The bulk of the music,
composed by Durán, surveys the dance rhythms of theisland. The frequent combination of polyrhythms andpolytonality creates a dramatic sense of liberation. There’s
a joyous excess, an explosion of playful, dancing virtuosity
perhaps best typified by the kinetic exchanges of Durán’s“Challenge”. That sense of joy ultimately permeates eventhe most reflective of the compositions, “Santos Suarez’s
Memories”. On the concluding “Body and Soul”, the classic
standard virtually disappears under the two pianists’waves of elaboration and invention.
For more info visit intaktrec.ch and almarecords.com. Virelles is
at The Jazz Gallery Sep. 22-23. See Calendar.

featuring
ANAT COHEN&MIGUEL ZENÓN
Appearing at Birdland

October 1(5:30 PM)

Celebrating
the release of their new jazzorchestra album...

Turkish Hispter:
Tales From Swing to Psychedelic

For more info visit

sanlikol.com“The multiculturalism is nottouristy, but rather sophisticated,
informed, internalized…
A true fusion of jazz andfolkloric Turkish language
and colors.”-The Boston Globe

THE NEW YORK CITY JAZZ RECORD | September 2023 15

eek!

Open 7 Days a W

Presenting

NEXT GENERATION JAZZ
Monday Nites ft. Up & Coming Talent!

2 Sets of Shows—7:30pm & 10:30pm Every Week!
FRI
9/1

Ron Jackson Trio
Mariel Bildsten Septet

7:30pm
10:30pm

SAT
9/2

Ed Cherry Quartet
Craig Handy And 2nd Line Smith

7:30pm
10:30pm

SUN
9/3

Aaron Goldberg Trio
Michael Kanan Trio

6:30pm
9:30pmMON
9/4

Joey Ranieri Quintet
Sean Hong Wei Quartet

7:30pm
10:30pm

TUE
9/5

Tim Ries Latin Project
Benito Gonzalez Trio

7:30pm
10:30pm

WED
9/6

Jed Levy Quartet
Ben Wolfe Trio

7:30pm
10:30pm

THR
9/7

Todd Herbert Quartet
Mark Whitfield

7:30pm
10:30pm

FRI
9/8

Matt Rollings “The Valentine
7:30pmSessions” Album Release
Charles Ruggiero And The Cracktet 10:30pm

SAT
9/9

Tommy Campbell Trio
Dave Stryker Quartet

7:30pm
10:30pm

SUN
9/10

Bennett Paster Quartet
Neal Miner Trio

6:30pm
9:30pmMON
9/11

Marcos Varela Quartet
Hank Allen-Barfield Quintet

7:30pm
10:00pm

TUE Conrad Herwig And The Latin Side All-Stars 7:30pm
9/12 Conrad Herwig And The Latin Side All-Stars 10:00pm
WED
9/13

Joe Farnsworth Quartet
Charles Ruggiero Quartet

7:30pm
10:30pm

THR
9/14

Jonny King Trio
Yotam Silberstein Quartet

7:30pm
10:30pm

FRI
9/15

An Evening With Dave McMurray 7:30pm
An Evening With Dave McMurray 10:30pm
Ben Stivers Organ Trio
12:00am

SAT
9/16

An Evening With Dave McMurray 7:30pm
An Evening With Dave McMurray 10:30pm
Rico Jones Quartet
12:00amSee The Line-Up AND Reserve At
THEDJANGONYC.COM
DINNER, LIBATIONS & LIVE JAZZ!
IN THE OF TRIBECA

2 AVE OF THE AMERICAS

Compton’s Finest
Brandon Sanders (Savant)by Ken Dryden

Brandon Sanders didn’t begin playing drums until his

mid-twenties after completing his master’s degree in social
work, but years of dedicated practice led to his acceptanceto Berklee College of Music. From that point on, he hasbalanced a full-time career as a school counselor andsocial worker with playing gigs and practicing wheneverpossible. Vibraphonist Warren Wolf, one of his Berklee
mentors, pushed Sanders to make this debut recording,Compton’s Finest, at 52.
Sanders assembled a sterling supporting cast: Wolf,
rising star Keith Brown (piano), Chris Lewis (tenor) and
Eric Wheeler (bass). The wide-ranging material and diverse
arrangements give a special appeal to the album and while
Sanders is a more than capable drummer who could havesoloed on every track, his focus is on making the music
sound its best. Part of the appeal is the conciseness of thecharts, which allow room for improvisation but leave thelistener wanting more.
The standard “Softly, As in a Morning Sunrise” is abright opener, blending bop with a Latin undercurrent,
featuring brief, effective solos by Lewis, Wolf and Wheeler.
The title track is a hip, bluesy original dedicated to theLos Angeles district where Sanders was raised. Its catchy
theme guarantees repeated hearings. Kenny Barron’s“Voyage” has grown into a popular jazz standard andthe band tackles it full force, showcasing Brown’s driving,
inventive piano, plus equally impressive choruses by Wolf
and Lewis, wrapping with a strong solo chorus by theleader. The lush ballad setting of “Body and Soul” displays
the masterful touch of each soloist, leaving plenty of space
to allow the music to breathe. Lewis’ rhapsodic tenor sax
playing and Wolf’s soft touch on vibes are complemented
by Brown’s equally lyrical contribution. Sanders is barely
audible on brushes, but his presence is felt by the musicians.
The infectious groove of Sanders’ Eddie Harris-like “SJB”
will get audiences on their feet. Vocalist Jazzmeia Hornguests on two tracks: a soulful, fun interpretation of Stevie
Wonder’s “I Can’t Help It” and a bossa nova treatment ofDuke Ellington’s “In a Sentimental Mood”.
For more info visit jazzdepot.com. Sanders is at EmmanuelBaptist Church Sep. 24 with guest Jazzmeia Horn. See Calendar.

Counterpoint
Martin Wind/Jim McNeely/Ed Neumeister (Laika)
by George Kanzler

This release is the latest in Martin Wind’s explorationsof differing small group combinations. Here he joins his
bass with the piano of Jim McNeely and trombone of
Ed Neumeister in what is an unusual chamber jazz trio.
According to Wind, “It’s about the duality of the two bass
instruments, double bass and trombone, while the piano
comments”—in other words: counterpoint.

16 September 2023 | THE NEW YORK CITY JAZZ RECORD

And the results are never dull and often exhilarating.
Some pieces, such as the opener McNeely’s “Hiatus”,
are forthrightly swinging and infectious. But the next
track, the bassist’s “Remember October 13th”, kicks off
with two minutes of free-form sound exploration before
a bluesy tune with robust piano and plunger-muted
trombone kicks in. Wind’s originals include the fetching“Last Waltz” and the probing, convoluted “Counter My
Point”. Bassist Sam Jones’ soulful “Bittersweet” turns
into a three-way colloquy. The tropical baiäo “Rosa”
alternately foregrounds muted trombone and bass,
while Neumeister’s “Gmunden” is a spacy, pointillist
excursion into the avant garde.
Two ballads associated with Frank Sinatra are
performed as duets: “Blame It On My Youth” pairsWind’s pizzicato bass with Neumeister’s plunger-muted
trombone; “In the Wee Small Hours of the Morning”
pairs arco bass with McNeely’s lithe, lyrical piano. An
album highlight is the longest track, McNeely’s “Extra
Credit”, which is an ingenious, quirky, extended theme
that has previously been recorded as a big band chart.
All three players explore extended ranges, digging deep,in a series of solos and exchanges that range from danceadjacent to dissonant, while coalescing into a remarkably
cohesive conclusion.
For more info visit laika-records.com. The album release
concert is at Mezzrow Sep. 7. See Calendar.

August in March
Ember (Imani Records)
by Ken Waxman

The most distinctive sound on August in March isCaleb Wheeler Curtis’ stritch. A member of Orrin
Evans’ Captain Black Big Band, Curtis is one of the few
players since Rahsaan Roland Kirk to concentrate on thiswoodwind, but manipulates its crying tone to contrast
with his other instrument, trumpet, often on the same
track. The other Ember members contribute their own
textures to the ensemble sound, too: thick and responsive
strums from bassist Noah Garabedian and press rolls
and rebounds from drummer Vinnie Sperrazza.
The disc’s eleven tracks are diverse examples of
responsive improvising marked by a concentrated
sense of purpose. The trio’s members pay attention
to the tunes’ rhythmic features but interrupt linear
movement with exploratory diversions. On “Snake
Tune”, Curtis squeezes out ever-ascending brass tones
backed by double bass thumps, only to rearrange thesonic furniture with yearning reed cries after he’s
joined by Sperrazza’s irregularly-pulsed drumming.
On “Angular Saxon”, the intensity increases as drum
slaps and string stops are challenged by high-pitchedreed smears, developing a narrative that reaches atremendous climax.
The compositions are evenly divided among the threeplayers, and each member contributes to the session’s
direction. The evolution of “Flotation Device and theShivers”, for instance, is dependent on martial strokes
from Sperrazza and stentorian pumps from Garabedian.
The stop/start finale of “Break Tune” preserves its initial
gentleness due to Garabedian’s sensitive walking and
Sperrazza’s judicious use of color, despite Curtis’ reedsqueaks and honks.
For more info visit imanirecords.bandcamp.com. Ember’s
album release concert is at Bar Bayeux Sep. 1. See Calendar.

nov 3 – 19

Gladys Knightwith Davell Crawford

Christian McBride, Jazz Advisor
Take 6
with Hillary-Marie

Dee Dee Bridgewater& Bill Charlap

Fri, Nov 3 @ 7:30PM
The legendary vocalist and brilliant
pianist unite for a cabaret of jazz standards
and American Songbook classics, fromDuke Ellington to Cole Porter to Stephen
Sondheim and beyond.

Grupo Niche &Héctor Acosta “El Torito”
Tropicaliente

Sat, Nov 4 @ 8PM
Dance the night away with the hottropical sounds of Colombian salsa band
Grupo Niche and Dominican merengue andbachata singer Héctor Acosta “El Torito.”Ranky Tankywith very special guest
Ms. Lisa Fischer

Nov 9 @ 7:30PM
Get in a Gullah groove with
GRAMMY®-winning band Ranky Tanky
and very special guest Ms. Lisa Fischer(Twenty Feet from Stardom).

Omara Portuondo

Fri, Nov 10 @ 7:30PM
An original member of the Buena
Vista Social Club, the legendary
Omara Portuondo performs
a retrospective of her life in music.

Take 6 with Hillary-Marie

Sat, Nov 11 @ 7:30PM
A cappella vocals, beatbox and tap
dance unite in this compelling showcaseof the human instrument and all its
creative possibilities.

Abdullah Ibrahim Trio

Sun, Nov 12 @ 3PM
An intimate performance with the
Abdullah Ibrahim Trio, South Africa’s mostdistinguished pianist and NEA Jazz Master.

Gladys Knightwith special guest
Davell Crawford

Sun, Nov 12 @ 7PM
National treasure Gladys Knight sharessongs and stories from her incredible
50+ year career. Opening the show is singer
and pianist Davell Crawford, the “Piano
Prince of New Orleans.”

The Sound of (Black) Music

Nov 16 @ 7:30PM
The Sound of (Black) Music reimagines
Rodgers & Hammerstein through an
Afrofuturistic lens combining jazz,soul, funk and hip hop.

NJMEA All-Star Jazz Bandand All-Star Jazz Choirwith Stefon Harris

Fri, Nov 17 @ 7PM
Hear the next generation of jazz artists
perform with special guest Stefon Harris.

Omara
Portuondo

Dave
GrusinWhen You Wish Upon a StarA Jazz Tribute to
100 Years of DisneyFri, Nov 17 @ 7:30PM
Jazz interpretations of your favorite
Disney tunes (“Someday My Prince Will
Come,” “He’s a Tramp” and “The Bare
Necessities”) performed by the houseband of Jon Batiste and Christian McBride’s
National Jazz Museum in Harlem.

Dave Grusin
A Life in Music

Featuring Dave Grusin, Lee Ritenour,Jane Monheit, Will Downing, Randy Brecker
and the New York Voices
Fri, Nov 17 @ 8PM
The jazz pianist and award-winning
film/TV composer (St. Elsewhere,
On Golden Pond, Tootsie) performs
with an all-star ensemble.

Dorthaan’s Place Jazz Brunch
The Steve Turre Generations Sextet
Sun, Nov 19 @ 11AM & 1PM
Join us for Dorthaan’s Place, the legendary
jazz brunch series at NICO Kitchen + Bar —with The Steve Turre Generations Sextet.

Sarah Vaughan International
Jazz Vocal Competition

Sun, Nov 19 @ 3PM
Hear the next generation of powerhouse jazz
vocalists with judges Jane Monheit,
Christian McBride, Madeleine Peyroux,
Al Pryor and Lizz Wright.

Buy tickets today at njpac.org or call 1.888.MY.NJPAC! • For full jazz lineup visit njpac.org/jazz
New Jersey Performing Arts Center • One Center Street • Newark, NJ

DROP THE NEEDLE

Meets the Rhythm Section
Art Pepper (Contemporary-Craft Recordings)
by George Grella

T his classic from altoist Art Pepper’s discography

is once again on vinyl, this time in a remasterededition from Craft Recordings that celebrates the
66th anniversary of its initial release. The album
is inseparable from Pepper’s life (he would be 98
this month) and legend; he was less than a year
away from his first of several stints at San Quentin
prison (stemming from his ongoing heroin
addiction), and for this particular date he claimed
in his autobiography that he hadn’t touched hishorn in months (although his discography showsthat he was in the studio five days earlier).
Still, the horn was balky; Pepper seems tohave been undergoing withdrawal, and this was
the first time he had played with Red Garland(piano), Paul Chambers (bass) and Philly Joe Jones(drums)—Miles Davis’ rhythm section of the time.

Pepper was often insecure about his playing andeven more deeply so about being a white player inmusic mostly led by great Black musicians. But all
one hears is a relaxed alto saxophonist, the ideas
flowing as always—though maybe with less than
his usual intensity—and a very sympathetic andobviously top-notch, supportive rhythm section.
Pepper’s own “Straight Life” is fast andhopped-up but warm, not burning, with asense of collective joy. The impromptu natureof the session means that the tracks are mostly
standards—including “You’d Be So Nice toCome Home To” and “Star Eyes”—with one
on-the-spot blues from Pepper and Garland, inbasic arrangements. The point is how these fourmusicians manage to sound like they’re having
the time of their lives. The new remastering (thisis the original album redone; the bonus track of“The Man I Love” that’s on some CD reissues isabsent) has excellent sound, light and crisp andfull of details. Pepper was vocally self-conscious
about flaws in his playing on this album, andwhile only the pickiest listener would find themproblematic, hearing even the slightest brittleedge or squawk on notes that he essentiallyghosted, opens up both insight and sympathy
with the thinking and feeling of this great artist
whose centennial celebration is but two years
away.
For more info go to craftrecordings.com

ALAN NAHIGIAN

18 September 2023 | THE NEW YORK CITY JAZZ RECORD

Requiem for Jazz
Angel Bat Dawid (International Anthem)by Kurt Gottschalk

Welcome to the first monument erected by Angel Bat
Dawid in Requiem for Jazz. Those who have heard her
previous albums (2019’s The Oracle and 2020’s Live) may
have already gained some inkling of her prowess. Those
who have borne witness to the blissful ritual that sometimes
erupts in her concerts don’t need to be convinced. But
either way, it was evident to her fans that greatness wasin store.
Greatness needs a forum; it requires opportunity
and, often, support. The singer, composer and exemplary
clarinetist got the forum for this monument at Chicago’s
Hyde Park Jazz Festival in 2019, where she presented the
12-movement suite with 15 musicians (including risingstar saxophonist Isaiah Collier and the wonderfully
versatile pianist Charles Joseph Smith, aka Mr. Forefinger),four singers, dancers and visual artists. Dawid mixed theconcert recordings and added interludes to create therecorded document, a sweeping work about the history ofBlack music in America and, crucially, its significance tothe communities from which it springs.
Requiem for Jazz draws inspiration from Edward O.
Bland’s 1959 film The Cry of Jazz and from the history ofjazz, most notably in the work and legacy of Sun Ra. (Herband’s name, The ArkeStarzz, gives a nod to Ra, andcurrent Arkestra leader Marshall Allen even guests on one
track.) But the reach goes further, stretching back to gospelof the early 20th century—not of the tent revival variety but
the deep, somber, Paul Robeson variety—and sometimes
dissolving into sung miasma that nearly induces terror(or maybe it’s selfless ecstasy) and looks forward to an
Afrofuture with processed beats and a robot-voiced
observer. There’s barroom swing and New Orleans horns.
There’s also short sermons and outbursts of celebration andracial politics and a strident march posed against Dawid’s
beautiful, almost counter-intuitive clarinet. There’s a whole
lot going on across the record’s 57-minute play time.
There are, no doubt, more living monuments to comefrom Dawid, too. She thinks big but can also revel in situ.
Performances this month at Green-Wood Cemetery in
Brooklyn and a new East Village venue at the site of the old
Pyramid Club (in conjunction with the Knitting Factory)
offer further opportunities to bear witness to her creation.

have played on more of the record. DePlume’s tortured sax
brings to mind an anguished human voice.
“Naked Like Water” is enlivened by Donna
Thompson’s wordless vocal. DePlume himself sings on“Broken Again”, although it’s not his strength. But the
lyrics’ message is one he constantly returns to, about finding
one’s way to human connection in an unsettling world:“Broken like the money / Broken just like everybody /Broken like an emptiness / Breaking in our hands / Broken
like the dawn… Broken just like everybody / Asking one
another / For the way.” DePlume is a humanist, and hismusic is a great forum for his message.
For more info visit intlanthem.com. Deplume’s album release
concert is at Elsewhere Hall Sep. 22. See Calendar.

Set Sail withBlue Note
Groove Cruise

BoneyJames:
Detour

For more info visit intlanthem.com. Dawid is at Green-Wood
Cemetery Sep. 14, presented by Pioneer Works and at Knitting
Factory at Baker Falls Sep. 16. See Calendar.

with
Vintage
Jerome Sabbagh (Sunnyside)by Keith Hoffman

In 1988 Philippe Chagne brought his promising saxophone

Come with Fierce Grace
Alabaster DePlume (International Anthem)by Jim Motavalli

Saxophonist Alabaster DePlume (a/k/a Angus Fairbairn)plays with fierce grace but also an insistent originality. Like
most of the forward-looking jazz coming out of Britain
today from such artists as Shabaka Hutchings (The Cometis Coming, Sons of Kemet, Shabaka and The Ancestors)
and Nubya Garcia, he’s forging new pathways that avoid
the heavy weight of the American tradition.
This new album is the follow-up to DePlume’s
acclaimed GOLD and actually features leftover tracks fromthose sessions. Fierce Grace even repeats some of GOLD—
the recitation on “What Can it Take” is straight from
“Again”. But never mind all that. The centerpiece here is
DePlume’s tenor sax playing, which is staccato and breathy,
squelchy, slightly nervous, with overtones of buzzing bees.
There are avant garde touches, but DePlume’s records arerelentlessly accessible and melodic, relying on repetition
for hypnotic power.
There are several ensembles; some tracks consist ofjust DePlume (who dabbles in bass synth and guitar) andBritain’s go-to drummer of the moment, Tom Skinner.
There’s some overdubbing and plenty of stylistic variety—though the leader’s sax playing doesn’t vary too much.
“Sibomandi” has African overtones, thanks to the Guinean
Faile Nioke’s vocal. “Fall on Flowers”, which has a movie
theme quality, benefits from DePlume’s strummed
Spanish-type guitar and Kenichi Iwasa’s percussion/synth. “Greek Honey Slick” will have you humming its
earworm melodic figure.
The fuller tracks tend to work best. “The Best Thingin the World” builds beautifully, aided by Hannah Miller(cello), James Howard (guitar) and the haunting synth of
Mikey Chestnutt. Sarathy Korwar’s approach to the drum
kit noticeably nods to Ed Blackwell. That said, this is the
only track that might bring Oregon or the Paul WinterConsort to mind.
And then there’s the collection’s most conventionaland fully realized song, “Did You Know”, featuring
Momoko Gill’s sensitive lead vocal; it even has back-up
singers. Matt Webb’s double bass makes you wish he’dstudent, 15-year-old Jerome Sabbagh, to Theatre duChâtelet in Paris to see American tenor saxophonist StanGetz. That night planted a dream in that boy’s heart. On
the bandstand with Getz was pianist Kenny Barron, eventhen acknowledged as a master.
Thirty years later, Sabbagh, himself an establishedpresence on the New York scene for two decades, had theopportunity to take a lesson with his fellow Brooklynite
neighbor, Barron. The “lesson” turned into two hours ofintense duet playing, using both standards and Sabbagh’s
originals, which Barron particularly liked.
Sabbagh has now realized his decades-old dream:
Vintage features Barron on piano; Sabbagh’s first-callbassist, Joe Martin; and everybody’s first-call drummer,
Johnathan Blake. It is a triumph. “It’s a dream to play withsomeone who is such a good accompanist,” Sabbagh said
recently. “His swing, his touch, he listens intently…It’s
pretty thrilling to hear him play my music.” Sabbagh wrote
two originals for the date with Barron in mind, “Elson’s
Energy” and “Slay the Giant”. The title track opener isan older Sabbagh original. It’s a natural for this session.
With its classic, singable melody, it swings furiously outof the gate, and could easily be mistaken for an oft-played
jazz standard. Barron is Barron throughout: swinging,
unforced, relaxed, making the complex sound simple andinviting. His solo on the lovely Tadd Dameron tune “On a
Misty Night” just sings.
Sabbagh is both a broad and deep player and composer.
His catalogue of 10 leader dates tends more towards the
sharply contemporary, relying on excellent guitarists, suchas Greg Tuohey and Ben Monder, to provide the chords
and the edge, although his work is always melody-driven
and tuneful. But with Vintage, Sabbagh is le son. The beauty,
breadth and clarity of his tone is just stunning.
When Barron is involved, you know there will be
Strayhorn/Ellington, and there will be Monk. Blakesuggested he and Martin lay out for those tunes and justlet the magic from Barron’s living room manifest in thestudio. The results are astounding. Strayhorn’s “A Flower
is a Lovesome Thing” and Monk’s “We See” and “Ask Me
Now” are all duets, and all are superb.
This is an important album by four masters of thisAmerican art form.
For more info visit sunnysiderecords.com. Sabbagh’s album
release concert is at Bar Bayeux Sep. 27. Sabbagh is also at Bar
Bayeux Sep. 9. See Calendar.

Lyndsey Webster

S E P 142 0 2 3

On Board The
Cornucopia Majesty
at Pier 40

PRESENTED BY

bluenotegroovecruise.com

THE NEW YORK CITY JAZZ RECORD | September 2023 19

Django New Orleans
Stephane Wrembel (Water Is Life)by Scott Yanow

Stephane Wrembel is one of the top Gypsy Jazz guitaristsof the past 20 years. While he has played other styles ofmusic (early on he was a classical pianist and a Pink Floyd–
influenced guitarist), Django Reinhardt became his main
influence by the time he reached his twenties: with his series
titled The Django Experiment, he has successfully stretched
and modernized the Reinhardt tradition.
Django New Orleans is a bit different. In addition to the
expected Hot Club-influenced instrumentation (violinist
Adrien Chevalier, rhythm guitarist Josh Kaye, drummer
Scott Kettner and singer Sarah King), a New Orleanscontingent is added: Joe Boga (trumpet), Nick Driscoll(clarinet/soprano), Joe Correia (sousaphone) and David
Langlois (percussion).
The repertoire includes such New Orleans standbys
as “Tiger Rag”, “Dinah” and “Bourbon Street Parade”.
King sings on half of the numbers and there are plenty offine solos by Chevalier and Driscoll. Departures from the
New Orleans-flavored set include the later and somewhat
dissonant Django mood piece “Nympheas”, a Latinized“Joshua Fit the Battle of Jericho” and Wrembel’s waltz“Bistro Fada”.
The leader is in top form and sounds inspired by thesetting (his main feature is on “Bistro Fada”) but Boga’s
consistently spectacular trumpet solos sometimes steal theshow, particularly on “Tiger Rag”, “Caravan” and “DarkEyes” (which has a pretty wild ending). King fits in wellwithout dominating, especially on “I’m Confessin’” where
she is paired with Boga’s trumpet in the spotlight.
Django New Orleans is a fun set of swinging music, thelatest accomplishment in Stephane Wrembel’s productive
career.
For more info visit stephanewrembel.com. Wrembel is at Le
Poisson Rouge Sep. 16. See Calendar.

Plays Louis Armstrong’s Hot Fives and Hot Sevens
Wynton Marsalis (Blue Engine)by George Kanzler

The recordings from 1925 to 1928 by Louis Armstrong’s

Hot Five and Hot Seven (actually, sometimes there wereSix) changed the trajectory of jazz, from a collective band art
to one emphasizing the turns of bravura soloists. Wynton
Marsalis revisited 14 of those seminal recordings in a Jazzat Lincoln Center concert back in 2006, which has now beenreleased on the in-house JALC label, Blue Engine. It is amodel of how to breathe new life into classic jazz repertoire.
Armstrong’s Hot Five and Seven units each recorded(they did not exist as working bands), but were constrainedby the time limits of 78rpm records—a bit over threeminutes. Marsalis expands those temporal parameters,
stretching his versions from four minutes to almost seven.
He also assembled a Hot Nine, a nonet reaching beyond

20 September 2023 | THE NEW YORK CITY JAZZ RECORD

the parameters of Armstrong’s groups to include a second
trombone, saxophonist, bassist and drummer. Marsalis
doesn’t just expand and innovate; he also preserves,
adhering to the essence of the Hot Five and Seven musicalDNA. These tracks are buoyed by the tropes of Armstrong’s
1920s jazz, including horn polyphony, a cappella solos,
stop-time breaks and breakouts by individual players.
Many of these tracks expand the number and variety ofsoloists compared to the originals. Bassist Carlos Henriquez
gets a minute-plus opening on “Heebie Jeebies”. While
Armstrong’s “Melancholy Blues” features his open trumpet,
Marsalis’ solo on the tune uses plunger mute, opening up
another sonic dimension. Armstrong’s vocal innovations
are honored too. Gordon contributes his coy, conspiratorial
scat singing to several numbers, including “Skid-Dat-DeDat” and “Heebie Jeebies”. Marsalis adds a sage version
of lyrics to the malleable “St. James Infirmary”, as well as
improvising lyrics, vocalese-style, on “Basin Street Blues”.
Along the way, Marsalis’ band conjures up the sounds of a
New Orleans second line march on “Once in a While”, andups the tempo a decade to swing on “Weary Blues”.
With this concert, Wynton Marsalis and his band havebrought new, vibrant life to Louis Armstrong’s 1920s classics.
For more info visit blueenginerecords.org. Marsalis with Jazz at
Lincoln Center Orchestra is at Rose Hall Sep. 21-23. See Calendar.

Hymn of the 3rd Galaxy
Free Form Funky Freqs (Ropeadope)by John Pietaro

Free Form Funky Freqs not only bears the most compellingof band names but a dream team line-up. The trio emulsifies
Ornette Coleman’s harmolodics vision and classic fusion on
the edge of funk and hard rock, forging something entirely
new in the process. Jamaaladeen Tacuma announced himself
as one of the top electric bassists (when just out of highschool) upon the 1978 release of Prime Time’s Body Meta.
His pioneering lead bass, artfully percussive on a prototype
Steinberger, remains legendary. Vernon Reid is best
remembered for the groundbreaking Living Colour, but he’dalready served as guitarist with drummer Ronald ShannonJackson. And drummer G. Calvin Weston, recruited into
Prime Time at 17, also worked with James Blood Ulmer, thelynchpin between Ornette’s acoustic and electric realms.
The three united in 2007 at NYC’s Tonic for a magical,
entirely improvised set, yet two albums later, the Freqs
hadn’t received their deserved recognition (this writerwitnessed a jaw-dropping 2019 performance at a very small
Philly club). But Hymn may well be the key. Something of
a Return to Forever homage, the new album, produced byWeston, has impeccable sound, and the improvisations aremuscular, melodic and beautifully head-arranged. Opening
with a thick, solid “Earth”, the selections carry the ear
through space and a sound-array of chromatic basslines
and pained blues melodies snagged in a sound thicket(“Sagittarius Arm”). One can identify the inspiration ofHendrix’ Band of Gypsys, but that description is overly
simple. Ornette’s spirit is never far off, wrapped in decadesof voluminous, liberating music. Listen with particular care
to “Sun”, the centerpiece of the album. It’s a masterclass in
prodigious, snarling uptempo free jazz. And when this bandplays your city, don’t miss it; their shows conclude with aradical “Dancing in Your Head”, an up-to-the-moment
recasting of harmolodics.
For more info visit ropeadope.com. G. Calvin Weston (solo) is at
Union Pool Sep. 5. See Calendar.

UNEARTHED GEM

Evenings at the Village Gate
John Coltrane with Eric Dolphy (Impulse!)
Revival: Live at Pookie’s Pub
Elvin Jones (Blue Note)by Robert Iannopollo

It’s hard to believe that nearly 60 years after their
passing, we’re still being treated to previously unreleased
quality music from John Coltrane and Eric Dolphy. But
that’s exactly what Evenings at the Village Gate presents.
In August of 1961, the Coltrane sextet did a month’s
residency at the Village Gate. The quartet was extended
with Dolphy and a second bassist. Beneath it all, drummer
Elvin Jones (born this month in 1927) stoked the band to
new heights. This appearance was three months before
their legendary week at the Village Vanguard, which
was recorded and the results released piecemeal in the’60s. It wasn’t until a mid-’70s double LP release of theVanguard recordings that the true importance of themusic started to come into focus. And it wasn’t until the1997 boxed set of the complete Vanguard recordings thatits true brilliance and scope were further revealed.
But there are differences that separate the Village
Gate recording from the Vanguard sets. First of all, there

are three compositions here that were gone from the setlist
three months later. One is a version of “Greensleeves”,
in a style similar to “My Favorite Things”. The second
is “When Lights Are Low”, composed by Benny Carter.
Taken at a loping gait, it opens with a lengthy, probing
bass clarinet solo by Dolphy. That’s succeeded by a briefer
soprano saxophone solo by Coltrane that maintains theenergy and intensity achieved by Dolphy. It’s a marvel ofa track. The third track is the only known live recording(to date) of “Africa”. To make it doubly interesting,it’s performed by just the sextet, shorn of the brassarrangement on the original studio recording. But in thisversion, with unique interjections from Dolphy (on alto)
during the theme, it shows itself to be a driving vehicle
for the smaller group. It also has an extended interlude
for the two bassists (Reggie Workman and Art Davis).
It’s surprising Coltrane never returned to this piece inlater years when it could have been uniquely expanded.
The recording quality, while not “perfect”, is fine.
There are some balance issues at times, but nothing too
severe. All in all, this is a prime release in Coltrane’s
discography that catches him at a crossroads, developing
his group concept and configuration.
Jones left the Coltrane quartet in early 1966 when
the saxophonist decided to add Rashied Ali as a second
drummer, a decision which Jones felt cluttered therhythms. He subsequently formed his own bands,
eventually (ca. 1968) settling on a trio with Joe Farrell on
reeds and Coltrane bassist Jimmy Garrison, which put out
two superb records for Blue Note. Prior to that group, thedrummer had assembled a quartet with Farrell, Wilbur

Little (bass) and little-known Billy Greene (the pianist’s
only recording credits seem to be this and Jones’ previous
recording Heavy Sounds.) As Revival shows, Greene is asolid, if not a particularly spectacular, player. It should be
noted that Larry Young (playing piano, not his more usualorgan) replaces Greene on “Gingerbread Boy”.
Farrell is at an early peak here. He had been making a
name for himself in appearances with Maynard Ferguson
and on two live albums by pianist Jaki Byard. But here
he’s really in charge and Jones gives him ample room
to stretch out. It’s clear that when Jones decided to parehis group down to a trio, he retained Farrell. On Revival,
Farrell vindicates Jones’ faith in him: he is given the space
to deliver lengthy, cogent solos that consistently garner
the audience’s attention.
This tape was unearthed by reissue producer Zev
Feldman (Resonance, Jazz Detective, Elemental Music)
and writer Ashley Kahn. Feldman has been involvedin the release of a large number of heretofore unknown
historical recordings, and Revival: Live at Pookie’s Pub isamong the best. It is especially valuable because it brings
to light a working Jones group that never previously
released a recording.
For more info visit impulserecords.com and bluenote.com.
Coltrane birthday tributes this month include “Coltrane
Revisited” at Birdland Sep. 19-24 with Jimmy Greene, Greg
Osby, James Weidman, Lonnie Plaxico and Steve Smith; John
Coltrane/Miles Ahead Jazz Festival at Marcus Garvey Park
Sep. 23 and James Carter Quartet at Sistas’ Place Sep. 23. See
Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2023 21

from a choppy theme to smoothly swinging solos. “WhoKnows”, recorded by Monk only once (in 1947), hasa notoriously difficult melody, which does not deter
Lewis and company from taking it, and nailing it, at abarnburner tempo. The organist and McNeal loosely
harmonize another gnarly melody, “Gallop’s Gallop” andthe two showcase their adept interplay on “Brake’s Sake”,
one of Monk’s catchiest melodies. Waits supplies funky
backbeats on the latter as well as “Two Timer”, a tune
Monk himself never recorded.
Organ Monk Going Home
Gregory Lewis (Sunnyside)by George Kanzler

For more info visit sunnysiderecords.com. Lewis is at BarLunÀtico Sep. 9. See Calendar.

This aptly titled album is a welcome return to B3 organist

Gregory “Organ Monk” Lewis’ groundbreaking series
of interpretations of Thelonious Monk’s music. It’s been
half a dozen years since the last Organ Monk album, but
Lewis has none the less continued to hone his approachto this material on gigs and in concerts. A fan of Monk
from a young age, Lewis first played Monk’s music on
piano, but after hearing Larry Young’s organ version
of “Monk’s Dream” he taught himself the instrument
specifically to play this repertoire and Lewis has sinceforged an idiosyncratic, individualistic approach to theB3 in the process. For this latest Organ Monk project, he
has enlisted Kevin McNeal (guitar) and Nasheet Waits(drums) and the three tackle seven Monk tunes, some ofthem relatively unfamiliar, finishing off the album with
“Jaclyn’s Eyes”, an original Lewis ballad.
The more familiar tunes include “Evidence”(Monk’s contrafact of “Just You, Just Me”), with Lewis
incorporating phrases from Monk’s solo piano renditionof the source tune; he and Waits spar memorably on
the theme statement. “Brilliant Corners” honors Monk’s
shifting tempos, while “San Francisco Holiday” moves

Witness to History
Eddie Henderson (Smoke Sessions)
by Jim Motavalli

Witness to History opens with the Eddie Henderson
original “Scorpio Rising”, and instantly we’re back a halfcentury to 1973’s Realization, the trumpeter’s first album,
recorded with Herbie Hancock’s full band and recapturing
the adventurous plugged-in sextet that made Crossings,
Sextant and Mwandishi. Ah, so it’s to be an electric album?!
“Scorpio Rising” has George Cables on Fender Rhodes,
Henderson playing through effects pedals, Gerald Cannon

on electric bass and Lenny White recapturing his fusionroots. The funky and righteous drummer Mike Clark fromthe Headhunters band is also on board. Donald Harrisonand Henderson trade lines to thrilling effect. But it’s also a
one-off on the album, which is otherwise a solidly acoustic
affair, favoring mid-tempos.
Cables’ “Why Not?” sets the tone. It’s bright, but also alittle laid-back. Harrison’s alto gets a thoughtful extended
solo, and Henderson chases him in fine fashion, followedby pianist Cables. The sound harks back to the late ’50s/
early ’60s, when the jazz scene was being shaken up frommultiple directions. On this and other tracks, White andCannon make a sympathetic rhythm section. We’re a longway from White’s fiery forays with Chick Corea.
“Sweet and Lovely” is taken at a faster tempo thanusual. The leader shows off his high note prowess while
Harrison is equally determined not to let the tune lose
any of its momentum. “It Never Entered My Mind” islinked with Miles Davis’ stunning renditions. Cables
channels Red Garland’s classic intro (Harrison sits out)
and Henderson’s playing is so poignant it instantly recalls
those sad missing-you lyrics: “Uneasy in my easy chair…”“I Am Going to Miss You, My Darling”, by thetrumpeter’s wife, Natsuko, is a beautiful ballad that
expresses a similar sentiment of love lost. Lee Morgan’s“Totem Pole”, from the ultra-popular Sidewinder album,
carries a bit of “Caravan”. The album closer is Mel
Torme and Robert Wells’ “Born to Be Blue”—again, notperformed as a ballad but rather at mid-tempo. Witness toHistory is a fine excursion by an artist who, at 83, shows nosigns of slowing down.
Playing jazz is an Rx for longevity, says Dr.
Henderson.
For more info visit smokesessionsrecords.com. Henderson’s
album release concerts are at Smoke Sep. 9-10. See Calendar.

50 years of jazz recordings
Complete catalog: www.steeplechase.dk

CD - download - streaming

new releases

September/October

SCCD 31948

SCCD 31949

SCCD 31950

SCCD 31951

SCCD 36508

SCCD 36509

G1060

G1181

G1292

180g Audiophile Vinyl

US distribution:www.statesidemusic.com email: info@statesidemusic.com

22 September 2023 | THE NEW YORK CITY JAZZ RECORD

TocaMarmota (Gonçalo Marques/André Matos) (s/r)
Night Bird
Sara Serpa/André Matos (Robalo Music)
by Anna Steegmann

Guitarist

André Matos and trumpeter Gonçalo
Marques, both Portuguese natives, make up the duo
Marmota. Matos resides in New York City and is a gifted
instrumentalist and composer who creates distinctive
sonic landscapes with traditional guitar sounds,
sometimes expanding them through effects and looping.
Marques resides in Lisbon, where he is active on the jazzscene. He is also the founder of the Robalo Music recordlabel and director of the Hot Club Jazz School, and has
released four albums as leader.
Toca is the debut of Marques and Matos as a duo(available only as a digital download). The three lengthy
tracks, entirely improvised in front of a live audiencein Lisbon, explore the borders between harmonic andtextural movements and the space between emotions.
“Escavaçao”, the longest track, transports the listenerto a beautiful stream where there are gentle drops (theplucking of guitar strings) and a placid flow (trumpet
softly responding to the guitar) before the stream turns
into a gushing torrent (the height of the improvisation).
At the beginning of “Hibernação“, Matos makes a soundlike the rumbling of thunder, then lets the trumpet leadfrom which a beautiful melody emerges. The mood shifts

from melancholy and introspective to frightening andforeboding. If the first two tracks are warm-ups, “O Diada Marmota” is the crescendo. Joined by alto saxophonist
José Soares, the musicians let melodies disappear in favorof enthusiastic free improvisation.
Matos has co-led two critically acclaimed albums
with his wife, singer Sara Serpa (the two met at Berklee
College of Music). Night Bird, their third musicalcollaboration, features songs by each of them whichreflect on the meaning of family, overconsumption andexploitation of nature in our modern world. The 12
tracks feature Serpa, Matos (electric/Matacoustic guitar,
bass, percussion), Dov Manski (piano/synth) and, forseveral songs, João Pereira (drums), Okkyung Lee (cello)
and Sofia Jernberg (additional voice) with two tracks thatfeature the singing of their child Lourenço.
Deeply mysterious, serene and melancholy in tone,
this duo has created a unique, mesmerizing soundscape.
Serpa’s voice is evocative, often hypnotic, with orwithout lyrics. Matos’ fluid playing, catchy melodies andimprovisations allow Serpa’s voice to soar. Her singing,
often taking a background role, establishes the moodand creates intensity. The addition of other musicians onsome tracks expands the musical vocabulary and makes
the album even more captivating.
“Degrowth” features Lee’s explorations on celloand Serpa’s hypnotic requests to “buy less, waste
less.” Manski’s lyrical piano enhances “Watching You
Grow” and “From a Distance” while the last track is aremarkable interpretation of Bela Bartok’s “Bagatelle,
Op. 6: Lento”—ethereal, imaginative and memorable,
like the rest of the album.
For more info visit osmarmota.bandcamp.com androbalomusic.com. Serpa and Matos celebrate their album
release at Joe’s Pub Sep. 28. See Calendar.

Nomadic
Tomas Janzon (Changes Music)
by Ken Dryden

Guitarist Tomas Janzon has had a long career performingclassical music and writing for television and film aswell as playing jazz, though he hasn’t recorded nearlyenough to be as widely known as he merits. A student
of guitar master Joe Diorio, Janzon has long forgeda unique sound. He has developed a stripped-down
approach to writing and arranging without keyboards orhorns, while his reserved playing is more about making
music than wowing listeners with blazing technique.
As on his previous album 130th & Lenox, Janzon utilizes
two separate bands on Nomadic: his regular New Yorkquartet with Steve Nelson (vibes), Hilliard Greene (bass)
and Chuck McPherson (drums) and a West Coast trio
with Jeff Littleton (bass) and Tony Austin (drums).
All but one of the quartet selections are originals.
“Out Door Valley” features an intricate unison line by
the leader and Nelson and an engaging rhythmic pattern.
“Night Watch” builds tension with its foreboding theme,
then provides release with Nelson’s darting vibes
and Janzon’s introspective solo. The leader switches
to acoustic guitar for the moving “Letter from JSB”,
a duet with Nelson. Its low-key, lyrical tone simulates
an intimate conversation. Janzon’s pairing of Lee
Konitz’ “Subconscious-Lee” and Tadd Dameron’s “HotHouse”—two bop classics based on the changes to Cole
Porter’s “What Is This Thing Called Love”—simmers
without boiling over in a surprisingly brief performance.
24 September 2023 | THE NEW YORK CITY JAZZ RECORD

The selections featuring the California trio are justas potent. Janzon’s setting of McCoy Tyner’s “Search for
Peace” strips it down to bare bones while bringing out its
lyricism. His playful take on Sonny Rollins’ “Valse Hot”
negotiates the tricky theme with finesse, giving plenty ofspace for Littleton to show off his formidable bass chops.
Janzon’s twisting “Blue Frog Return” focuses on adept
trio interplay, while Janzon opens up a bit more in his“Pressing Forward”, sharing the spotlight with Littleton.
Tomas Janzon continues to surprise as an impressive
guitarist, writer and composer, clearly evident on Nomadic.
For more info visit tomasjanzon.com. Janzon’s Nomadic is at
Zinc Bar Sep. 18. See Calendar.

Letters to George
GEORGE (Out of Your Head)by Kurt GottschalkJohn Hollenbeck long ago established himself as a fine
drummer and composer, working with Bob Brookmeyer,Fred Hersch, Kenny Wheeler and the Vanguard Jazz
Orchestra. As a bandleader, he has recorded with his
Claudia Quintet and Quartet Lucy since the early 2000s.
More recently—although it’s been a decade already since
his Songs I Like a Lot came out—he’s shown himself to be
an enormously likeable arranger. That first Songs record,with singers Theo Bleckmann and Kate McGarry and a
big band led by Hollenbeck, included arrangements ofOrnette Coleman, Duke Ellington, Queen and Jimmy
Webb. Two follow-up volumes brought reworkings ofsongs by Joni Mitchell, James Taylor, Peter Gabriel andthe Bee Gees, among others, and perhaps the touchstoneof the series, Burt Bacharach and Hal David’s “Close To
You”. His embrace of this song, made famous by Karenand Richard Carpenter, is a warm one. There’s no irony
in the album titles, but the choice of a Bacharach tune
shows that he’s not immune to the allure of easygoingcomplexity.
Those previous records or the new Letters to George
aren’t altogether easy listening. Hollenbeck has also done
arrangements of Meredith Monk vocal works; he’s notinterested in simplicity. But his charts are upbeat andcompelling. For Letters to George, Hollenbeck convened aquartet in the studio that hadn’t played together, hadn’t
so much as been in the same room, for a set mostly
comprising original compositions but with the same
bubbly warmth as his previous rendering of “Up, Up andAway”.
The assembled players are keyboardist Chiquita
Magic and saxophonist Aurora Nealand, who both also
provide essential vocal harmonies, with Anna Webber
playing saxophones and flute and the leader drums andpiano. The two known tunes are the Sonny Bono-penned“Bang Bang (My Baby Shot Me Down)”, first recordedby Cher with countless versions in numerous languages
following, most notably by Nancy Sinatra and Vanilla
Fudge; and “Grey Funnel Line”, a shanty composed by
British folk singer and Navy man Cyril Tawney. The restof the tunes are Hollenbeck’s and each is like a breath of
air just after the rain.
Jim O’Rourke did wonders for imaginary A.M. goldin the ’90s. Hollenbeck has taken up the mantle, serving
up simple pleasures for complicated people.
For more info visit outofyourheadrecords.com. John Hollenbeckis at The Stone Sep. 21 with Anna Webber’s Simple Trio. See
Calendar.

Announcing
EASTMAN’S NEW
UNDERGRADUATEJAZZ VOICE PROGRAM!

GRAMMY®-Nominated Jazz Vocalist Sara Gazarek
Joins Eastman Faculty to Lead New Program!
To Learn More Visit:
esm.rochester.edu/jazz/jazz-voice

NEW FROM THE MICHAEL MUSILLAMI TRIO

block party
CELEBRATING
20 YEARS AS
A WORKING TRIOMICHAEL MUSILLAMI – guitar
JOE FONDA – bass
GEORGE SCHULLER – drums

SCAN FOR VIDEO

Available at:playscape-recordings.com,
amazon.com,
all digital download outlets

BLOCK PARTY (2023) PSR# 071322

PRIDE (2014)

PSR#121802
MUSILLAMI TRIOFROM SEEDS (2009)
PSR# 070111
MUSILLAMI TRIO, RALPH ALLESSI,MARTY EHRLICH, MATT MORANDACHAU (2005)
PSR# 020505
MUSILLAMI TRIO,PETER MADSEN,DAVE BALLOU,TOM CHRISTENSEN

OLD TEA (2010)
PSR# 091009
MUSILLAMI TRIOZEPHYR (2015)
PSR# 040115
MUSILLAMI TRIO

BEIJING (2003)

THE TREATMENT(2007)
PSR# 070111
MUSILLAMI TRIO,MARK FELDMAN

PSR# 112613
MUSILLAMI TRIO, KRIS DAVIS,JIMMY GREENE, MARK FELDMANMETTLE (2012)

PSR# 070111
MUSILLAMI TRIO,NED ROTHENBERG,
RUSS JOHNSON, JEFF LEDERER,
MATT MORAN

LIFE ANTHEM 2018
PSR# 091717
MUSILLAMI TRIO, KIRK KNUFFKE,JASON ROBINSON

Peach and Tomato
Sana Nagano and Leonor Falcón (577 Records)
Blazing/Freezing
Astroturf Noise (577 Records)
by Elijah Shiffer

Sana Nagano’s voice on the violin is one of the mostimmediately recognizable in contemporary jazz. She
pushes the boundaries of her instrument with animpressive arsenal of electronic effects that add a futuristicedge to her flamboyant, restless improvising style. Her
surreal vocabulary certainly works in a jazz context within
her own groups Smashing Humans and Atomic Pigeons,but as shown by these two fascinating new releases on 577
Records, Nagano’s playing is particularly suited to settings
along the outer borders of jazz.
The combination of Nagano and violist Leonor
Falcón is as eclectic as a string duo can get. Their album
Peach and Tomato lies beyond any limitations of genre, as
best illustrated by arrangements of two movements from
Prokofiev’s “Sonata for Two Violins”, which are expandedwith electronics and freely improvised sections. Bothplayers are also featured as composers, and the contrast
between their writing styles is striking. Falcón’s threepieces are logical and balanced melodies, often lyrical
though not always strictly tonal. Nagano contributes “Lostin the Tin Labyrinth”, an esoteric, relentlessly detailed
composition packed with off-kilter intervallic shapes.
Falcón has her own repertoire of effects, frequently adding

a lower octave to the viola’s range. Neither Nagano nor
Falcón explore a lot of extended bowing techniques on
this album, instead using electronics to build vibrant sonicenvironments. Their tight interplay throughout helps tohold this album together.
Blazing/Freezing is the second album by Astroturf
Noise, the unique trio of Nagano, Sam Day Harmet(mandolin) and Zachary Swanson (bass) dedicated to theunlikely intersection of bluegrass and free jazz. Harmet
is another wildly creative improviser who blends stringsand electronics in a way all his own. The combination ofNagano’s and Harmet’s effects creates a twitchy, fidgety
tension that somehow unites the disparate influences.
The eight compositions are the mandolinist’s and theirevocative titles perfectly complement the quirkiness of
this music. Compared to Astroturf Noise’s self-titleddebut, the songs on Blazing/Freezing juxtapose bluegrass
and avant garde elements more boldly. The themes havetonal melodies and danceable grooves; Harmet seems
more content to let his songs be songs, with fewer ofthe prickly, angular lines heard on much of the earlier
album. As on Peach and Tomato, the relative lack of
instrumental extended techniques makes Blazing/Freezing
quite accessible for such an experimental recording—especially on the two tracks where the trio is joined by
the smooth pedal steel guitar of Susan Alcorn. But thismusic is never comfortable for too long; on songs suchas “Historic Western Ghost Town Engulfed in Fire”, thegroup is off on a noisy adventure as soon as the writtenmaterial is done.
For more info visit 577records.com. Nagano is at Prime Produce
Sep. 9, as part of Rhythm in the Kitchen Festival. Falcón is at
Roulette Sep. 22-23, as part of the M³ Festival. See Calendar.

U

SE

EW

D

N

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

New Masada Quartet Vol. 2
John Zorn (Tzadik)
by Tom Greenland

For thirty years John Zorn’s various Masada ensembles

have performed compositions specially written for thegroup (a collection now comprising 613 songs), interpreting
the klezmer-esque themes with an energy and ethosthat recall Ornette Coleman’s seminal quartet. The latest
incarnation is a quartet with Julian Lage (guitar), Jorge
Roeder (bass) and Kenny Wollesen (drums), with Zorn
himself (alto saxophone and conducting). The group’s
sophomore album, New Masada Quartet Vol. 2, has a leanand clean sound—Lage, the only electric instrumentalist,
plays straight out of the amp, no effects processing—leaving plenty of airspace for imaginative flights andspirited interactions.
Opening with a sonic blast, “Katzatz” quickly moves
to a unison “free-bop” melody; there’s a guitar solo overintermittent up-tempo “swing”, then fitful alto and guitar
exchanges before the band reprises the melody. On “IdalahAbal”, a plodding minor ballad, Zorn shades his pitcheswith microtonal colors, punctuating his ideas, as he often
does elsewhere, with altissimo shrieks. “Rahtiel” features
Roeder at the onset. Later, in an extended soliloquy, hedevelops his improvisation almost like an Arabic taksim bymodulating to neighboring modes, then adding doublestops and chords. After the drummer’s opening gesture,“Jair” develops in juddering starts and stops, gambits andretorts, piling on blocks of sound in abrupt juxtaposition—
guitar boogie riffs back-to-back with skronky ejaculations,as if Zorn cued the combo for maximum melodramaticeffect.

26 September 2023 | THE NEW YORK CITY JAZZ RECORD

The relatively relaxed minor-key “Abidan” showcases
Lage’s ability to weave inner harmonies and melodies intorich tapestries—a one-man orchestra; he and Zorn work
together closely as the track winds down. “Ne’eman”
is a bluesy boogaloo, the quartet at its funkiest, withmore trading and shadowing between alto and guitar.
“Achshaph” shows the quartet at its freest, with cued
punch-ins, drop-outs, swells and fades. As such, it’s theperfect coda: terse but tough, with enough oomph to leave
listeners wanting more.
For more info visit tzadik.com. John Zorn New Masada Quartet
is at Village Vanguard Sep. 26-Oct.1. See Calendar.

In Real TimeARTEMIS (Blue Note)by Marilyn Lester

ARTEMIS (aptly named for the Greek goddess of thehunt) has established itself as a group of high-poweredfemale virtuosi whose musical arrows shoot to the heartof excellence. In their sophomore album, In Real Time,the eight tracks (six of them originals) evoke a spirit ofinnovative fierceness. Composer, pianist-arranger andleader Renee Rosnes notes that she perceives music as“liquid time in air,” unlike visual art, which is fixed in time.
The members—Ingrid Jensen (trumpet), Alexa Tarantino(alto, soprano, flute), Nicole Glover (tenor), Noriko Ueda
(bass), Allison Miller (drums)—establish a tight groove andwork under the egalitarian ethos of a supportive musicalsisterhood. But it’s Rosnes who ultimately understands
the capacities of each member and uses that knowledge tobring out individual strengths within a collective whole.
Her ballad “Balance of Time” solidly represents In
Real Time’s intent, echoing Rosnes’ notion of composing
and playing as a process of fluidity within time. With its
classical underpinnings, the piece is a meditation, a deep
contemplation of that process through the lens of Rosnes’
piano. Several of the originals are also highly evocative.
Jensen’s “Timber”, on which Miller’s drums are integral
to the mood, is a yin and yang of the forest. A dramaticmusical arc encompasses the glory of natural life in
the woods, literally cut short by the activity of loggers,
including the yell lumberjacks shout after they cut trees,
as Jensen puts it, “to their death.” On the other side of theemotional coin, Ueda’s “Lights Away From Home” is a
prancing celebration of the night sky and a meteor shower
she witnessed in the country away from city lights. Her
lively bass solo evokes the majesty and thrill of shootingstars dancing across the heavens.
In Real Time is bookended by two covers, both arrangedby the pianist. The opener, keyboardist Lyle Mays’ “Slink”,
offers layers of Rhodes, piano and flute forward in acascading soundscape. The closer is Wayne Shorter’s tone
poem “Penelope”, which opens with a haunting freeform
duet of muted trumpet and piano. The track is threaded
through with tenor saxophone passages; the sum effect isa noirish exploration of Shorter’s frequently spirituallydriven pieces. What Rosnes has created with ARTEMIS isvery similar to the template created by Wynton Marsalis
for the Jazz at Lincoln Center Orchestra: a brilliant andstrong leader gathers together brilliant and strong players
and allows them to shine. In Real Time is an album ofconsequence for those who appreciate, even long for, jazzcomposed and played at the highest level.
For more info visit bluenote.com. ARTEMIS celebrates their
album release at Birdland Sep. 25-29. See Calendar.

Sentient Beings
Paul Dunmall/Faith Brackenbury/John Pope/Tony Bianco (Off-Record)by Marc Medwin

This release—recorded on September 23, 2022, incelebration of what would have been John Coltrane’s
96th birthday—is the first by this particular quartet,
although saxophonist Paul Dunmall, violinist/violist Faith
Brackenbury, bassist John Pope and drummer Tony Bianco
have performed together in various other configurations.
This iteration, however, bursts at the seams with the vitalityof invention. Much of that energy is down to Dunmall,whose multifaceted allegiance to Coltrane transcends mere
imitation in favor of a thorough-going multivalence.
The Coltrane allusions take many forms. Is that Bianco
tintinnabulating as the second piece commences? Suchcrystalline gestures conjure Interstellar Space—a warm
tribute indeed! Whoever decided on the track titles also hit abullseye. “As It Was in the Beginning”, “Is Now” and “AndEver Shall Be” harken back to the suites of Coltrane’s final
period. Although Dunmall and Bianco have paid tribute to
Coltrane on several previous occasions, the incorporationof Brackenbury and Pope’s improvisational voices provides
fresh context. Her beautifully crafted melodic interplay
complements Dunmall as they open the first piece, andshe shares similar synchronicity with Pope: her pizzicato
and his arco dart and scamper, recalling Ascension’s twobassists. Their subsequent harmonics and gently gliding
sustains are gorgeously encircled by Bianco’s brushwork.
Dunmall’s eventual merging with this near-static
texture exemplifies his adaptability and consummate
musicianship, as do the brief phrases he jabs at Bianco’s
fiercely swinging rhythms as the third piece slams into
existence. If “One Down, One Up”’s motivic atoms inhabit
the shadows in that moment, Dunmall’s vast harmonic
vocabulary is all his own. As the music follows the hugearcs of its invention, Coltrane becomes a guiding principle,
blazing trails and allowing this quartet to do the same. At
70, Dunmall has never sounded better nor shared spacewith more sympathetic collaborators.
For more info visit stilll-off.bandcamp.com. Coltrane birthday
tributes this month include: “Coltrane Revisited” at Birdland
Sep. 19-24; John Coltrane/Miles Ahead Festival at Marcus
Garvey Park Sep. 23; James Carter Quartet at Sistas’ Place Sep.
23. See Calendar.

SEP 21–23 ROSE THEATER

BEYOND BLACK CODESFEATURING THE JLCO WITH WYNTON MARSALIS

Wynton Marsalis and his bandmates in the
Jazz at Lincoln Center Orchestra reimagine Marsalis’ small
group compositions as big band orchestrations. This event
features songs from classic albums such as Black Codes fromthe Underground, The Majesty of the Blues, and more.

OCT 6–7 ROSE THEATER

SAMARA JOYSuperstar vocalist Samara Joy, winner of the 2023 Grammy
Award for Best New Artist, returns to Jazz at Lincoln Center
to headline her first Rose Theater show. This concert
promises to be a true showcase of her soulful voice andsuperlative talents.

OCT 13–14 ROSE THEATERCHARLES LLOYD AT 85
Live at the Ear Inn
Jon-Erik Kellso and the EarRegulars (Arbors)by Ken Dryden

Jon-Erik Kellso and the EarRegulars have long played

Sunday nights at the Ear Inn in Tribeca. This rotating
cast of friends enjoy jamming together, drawing fromtheir vast repertoire, collectively improvising withoutarrangements. The band includes Kellso (trumpet), John
Allred (trombone), Scott Robinson (numerous reed,
brass and obscure instruments), Jay Rattman (alto), Evan
Christopher (clarinet), Matt Munisteri and/or Chris Flory(guitar) and Neal Miner or Pat O’Leary (bass).
Many of the songs on this live album are rarely played
today, but the EarRegulars find plenty of life within them.
Robinson’s playful tenor saxophone dominates the brisk
rendition of “Sleep”, while Kellso’s gritty trumpet andAllred’s vocal-like trombone sizzle as well. In “I’m Comin’
Virginia”, Robinson solos on tarogato (a Hungarian
wooden folk instrument that he transforms into a sopranosaxophone), bringing alive the spirit of Sidney Bechet, but
without the excessive vibrato. Kellso’s sassy trumpet shines
on the breezy take of the 1920s Don Redman composition“No One Else but You”, in which Robinson doubles ontenor and the obscure alto normalphone.
“Indian Summer” finds Allred conjuring the wit of Jack
Teagarden in his expressive solo. It is hard to imagine a more
swinging version of Hank Jones’ “Vignette”, based on thechanges to “Sweet Sue”; this version features contrasting
guitar solos by Munisteri and Flory. Christopher andRattman are added for a rousing treatment of “I Double
Dare You”. Kellso’s vigorous opening statement gives
way to Rattman, but Christopher takes solo honors withhis stunning chorus. Vocalist Catherine Russell guests on“Back O’ Town Blues” (her father Luis Russell co-wrote itwith Louis Armstrong), delivering a spirited interpretation
buoyed by the potent rhythm section of Munisteri andMiner.
While the Ear Inn can get rowdy, the audiences fromthe two nights recorded tend to hold their applause until
each song wraps, so the ambient noise never distracts fromthe music. This album turns out to be the next best thing tovisiting the Ear Inn in person.
For more info visit arborsrecords.com. The EarRegulars are at
Ear Inn Sundays. See Calendar.

NEA Jazz Master Charles Lloyd celebrates his 85th birthday
at Rose Theater with two very special all-star bands. Friday
evening features Sangam, with iconic Indian percussionist
Zakir Hussain and drummer Eric Harland, while Saturdaynight stars the New Quartet, featuring Harland, pianist
Jason Moran, and bassist Reuben Rogers. This program ispresented as part of the ErtegunJazz Concert Series.

OCT 27–28 ROSE THEATER

MUSINGS ON COSMIC STUFFFEATURING THE JLCO WITH WYNTON MARSALIS

Hosted and narrated by special guest Neil deGrasse Tyson,
this world premiere of saxophonist and composer
Sherman Irby’s newest work unveils its celestial inspiration,from supernova stars and black holes to the formations ofgalaxies and life itself.

SAMARA JOY
Photo by Chris Mees

212.721.6500
BROADWAY AT 60TH ST., 5TH FL.

THE NEW YORK CITY JAZZ RECORD | September 2023 27

ON SCREEN

Crazy Rhythm: Exploring George Gershwin
Denny Zeitlin (Sunnyside)by Pierre Giroux
With Peter BradleyDirected by Alex Rappoport (Import Media
in association with Fierce Optimism Films)
by Anna Steegmann“T here’s people that are portrait painters, people
that paint objects, and then there’s people that justpaint color and they’re called abstract…. Coloris the most important thing,” the 82-year-old
African-American painter Peter Bradley declaresat the beginning of With Peter Bradley. Director
and cinematographer Alex Rappoport, known for
HBO’s Emmy-award-winning We Are the Dream:
The Kids of the Oakland MLK Oratorical Fest, met
Bradley in Saugerties, NY, where they both live.
He has created an intimate, compelling portrait of
the artist in With Peter Bradley.
Rappoport’s camera follows Bradley as hepaints and reminisces about his childhood, as
well as his career and the racism he encounteredin the art establishment. We watch him work in
his shipping container studio, dressed in paintsplattered overalls and listening to jazz on his
impressive sound system. Saxophonist Javon
Jackson composed the soundtrack (available on
Solid Jackson). Jackson met the artist throughdrummer Art Blakey, who was a close friend of
Bradley’s (Jackson played with Blakey during
the drummer’s final three years: ’87-’90). The
soundtrack, which draws on the sound of ’60s
jazz, complements Bradley’s art.
The artist grew up in Connellsville, PA, withhis mother, a kind and loving woman with goodbusiness sense. They lived in a 27-room house andrented rooms to traveling musicians. At an earlyage, Bradley met Blakey, Erroll Garner, Miles
Davis and Dizzy Gillespie. “I have to have music.
Otherwise, I can’t paint,” he says, as he tries tomatch colors to the music he listens to.
We follow his career trajectory, from when
he was the first Black art dealer at the prestigious
Perls Galleries. He was represented by the André
Emmerich Gallery, a home for artists associatedwith Color Field painting. And Bradley curated
the groundbreaking Deluxe Show in Houston’spoor Fifth Ward, the first integrated art exhibit
in the nation. And he lived it up: renting 20,000
ft. lofts in Soho, driving a Ferrari and wearing
expensive tailor-made suits.
Bradley had risen to the top, but then crashedbadly. He lost his loft and lived in the street forseveral months. The Color Field school of painting
was no longer in demand. He barely sold paintings
for more than 40 years but never stopped painting.
“You paint because you have to paint,” he states.
He feels that at 80, he’s at his best, and hopes tohave a good 15 years left to create. In the epilogue,
we learn that the art world rediscovered him andthat he’s selling his work again—an uplifting
ending to an important film about a significant
artist. The film’s next regional screening can beviewed at Woodstock Film Festival (Sep. 27-Oct. 1).
For more info visit withpeterbradley.com

Pianist Denny Zeitlin and composer George Gershwin are
together for the first time on this sparkling release fromSunnyside. Recorded at Zeitlin’s annual solo concert at
Oakland’s Piedmont Piano Company on Dec. 7, 2018, thealbum’s belated release now fortuitously marks the 125th
anniversary of Gershwin’s birth (Sep. 26, 1898).
In the midst of his musical contemporaries such as
Harold Arlen, Cole Porter and Irving Berlin, Gershwin was
revered not only because he was a writer of popular songs,
but also a composer of concert works such as Rhapsody inBlue, Concerto in F and Cuban Overture, as well as the fullyrealized American folk opera Porgy and Bess (libretto by
DuBose Heyward and Ira Gershwin).
In this recital, Zeitlin explores six compositions
from the opera, beginning with “Summertime”. In his
usual intelligent yet unpredictable way, he starts out
with an open-ended pianistic monologue which segues
into a re-imagining of the well-known theme. While theinterpretation may initially appear haphazard, there isalways an internal logic underlying the pianist’s approachthat requires active listening. The other numbers from theopera interpreted include “Bess You Is My Woman Now”,“It Ain’t Necessarily So”, “The Man I Love” and “My
Man’s Gone Now”. Zeitlin spins out his expositions in amodern harmonic language that captures the ambiguities
of mood and tempo.
Additional Gershwin compositions featured in thisprogram are dressed up in new clothes benefiting from
Zeitlin’s restless, exploratory creativity and curiosity. “I’ve
Got A Crush On You” has a subtle bossa nova feel conveyed
through an elliptical sense of phrase. And the closing track,“I Was Doing All Right”, is played with a straight-forwardjauntiness full of lucid sound and precision.
Now 85, Denny Zeitlin continues to play with bothan amazing technical facility and inexhaustible stream ofideas.
For more info visit sunnysiderecords.com

The Chicago River
Hal Russell & Joel Futterman (Fundacja Słuchaj)by Kurt GottschalkIt’s easy enough to hang significance on the archival

release of a rare meeting of two artists—one five months
away from his death at 66 when the recordings of The
Chicago River were made in 1992 and the other now a
septuagenarian. But even still, three-and-a-quarter hoursof improvised duets by musicians little recognized then(or now) is a lot to take in. In the case of Hal Russell andJoel Futterman, there are two things for which we might
give thanks: that both artists are versatile enough to carry
the task; and that Fundacja Słuchaj has been foolhardy
enough to release the album not just for download but as

28 September 2023 | THE NEW YORK CITY JAZZ RECORDa triple-CD boxed set.
Part of what sustains the six long pieces, recorded
over two nights at Chicago’s Southend Music Works,
is the breadth of voices the musicians have available tothem. Both play saxophone and percussion; Russell adds
trumpet and Futterman plays piano and Indian flute.
In addition, Russell reads (sparingly, and in endearing,
newscaster delivery) poetry by Philip Egert. The frame
is an unusual flood in Chicago that occurred a week anda half prior to the sessions—not a naturally occurring
flood but an industrial accident in which an old utility
tunnel was damaged, causing some 250 million gallons ofwater to course from the river through the basements andpassageways of the city’s downtown. Conversations about
the catastrophe between Futterman and Egert (who had
already produced some of Futterman’s records) inspired
the poems, and when the concerts took place, repairs andcleanup were still underway and in the news.
The Chicago River isn’t the best release by either of theartists (nor is it their first appearance on record together)and it should be noted that the microphone placement
seems less than ideal on the second night. Russell (whodied 31 years ago this month) was a progenitor of punk
jazz, a torch-bearer for no wave or a torch-carrier for
whatever generation of fire jazz you want to put him in.
His NRG Ensemble was a launching pad for such Chicago
mainstays as Kent Kessler, Ken Vandermark and Mars
Williams. Chicago-born Futterman played with some ofthat city’s adventurous musicians but perhaps has done
his best work since moving south and working with Kidd
Jordan and Alvin Fiedler (each of whom has since passedaway). But there are great passages (oh, those piano/drum
duets) and, like the flood itself, the sheer outpouring is in
itself impressive.
For more info visit fsrecords.net

27

RESCUED & REA DY

Book of Stories
Jason Kao Hwang’s Critical Response(True Sound Recordings)
by John Sharpe

Jason Kao Hwang confines himself to the electric violinon Book of Stories by his Critical Response trio, completedby Anders Nilsson (electric guitar) and Michael T.A.
Thompson (drums), which might suggest an orientation
toward jazz fusion. But the only fusion here is of diverse
stylistic influences into an expansive personal vision.
The familiar attributes of any date by Hwang standpresent and true: finely crafted compositions, expressive
bowing and an orchestral palette, even though there are
only three participants.
Hwang first used electric violin in his Far East Side
Band in the ’90s, but his interest was rekindled during
the making of Uncharted Faith, his duet with electronicist
J. A. Deane in 2021. While amplification doesn’t alter
his balance between melody and abstraction, between
floating rubato and earthy groove, it does offer a novel
spread of colors with which to achieve them. The trio
format ensures plenty of exposure for everyone. Nilsson
similarly utilizes effects to stretch his sonic signatureand blends well with the violin. Both he and Thompson
prove comfortable across a range of genres—jazz,

BOOMSLANG
RECORDS
FELIX HAUPTMANNPERCUSSION II
FELIX HAUPTMANN
piano
LEIF BERGER
drums
ROGER KINTOPF
upright bass
DIGITAL & CD

New release from one of Europe’s hottest piano
trios from the uprising Cologne jazz scene.
TANCRÉDE D. KUMMERFORGESREMI PLOTON
piano
SAMUEL MASTORAKIS
vibraphones, bows,
small objects
TANCRÈDE D. KUMMER
compositions, drums
percussions, toys
Remarkable debut of French drummer
Tancrède D. Kummer as a composer.

DIGITAL & VINYL

WWW.BOOMSLANG-RECORDS.COM
WWW.BOOMSLANGRECORDS.BANDCAMP.COM

funk, rock, improv and chamber music—and make thetransitions between them seem unforced and natural.
Hwang’s originals tend to fall into multiple sections.
“Upside Circle Down”, inspired by the leader’s youthfulyears in the East Village, provides a case in point. It
begins with an exchange of trilling, heavily fuzzed violin
and organ-like guitar, propelled by martial drums,
which comes on like a Sun Ra keyboard blowout. A
percussive boogaloo leads to an almost bucolic guitar
strum which sets up a lilting air. Nilsson’s blues-inflectedlines interweave with mournful violin, before plaintive
bowing introduces a series of questioning unisonphrases. It’s a characteristic Hwang amalgam of emotionand enigma. The most straightforward cut is the final“Friends Forever”, as tender and heartfelt as the title
suggests, befitting the dedication to Hwang’s mentor,
reedman Will Connell Jr., and drummer Zen Matsuura,both members of the pioneering collective Commitment.
For more info visit jasonkaohwang.com. Hwang’s album
release concert is at Prime Produce Sep. 10, as part of Rhythmin the Kitchen Festival. See Calendar.

Dynamic Maximum Tension
Darcy James Argue’s Secret Society (Nonesuch)by Keith Hoffman

With the release of Infernal Machines in 2009, Vancouverborn Darcy James Argue, then 33, announced himself theenfant terrible of North American music. But the artistic
success of his Secret Society debut, nominated for botha Grammy and Canadian Juno, was many years in themaking. With his fourth release, Dynamic Maximum
Tension, Argue, now 48, thanks many of the wideranging influences who have helped shape his slightly
off-kilter, always inventive and challenging approach to
making large ensemble music.
Argue told Martin Johnson (author of the album’s
liner notes) that it felt like “our culture today is headedin a profoundly dystopian direction.” The answer to thisproblem from this archetypal modernist? Use a largely
outmoded musical format, the big band, to revisit andhonor past creators who once instilled us with optimism
for the boundless future.
One Argue hero, philosopher-futurist Buckminster
Fuller, lies behind the title track. Fuller’s “dymaxion”
design concept summed up his approach to mosteverything he did: energy efficiency, or maximum gainfrom minimum input. And apparently Fuller loved to go
stomping at the Savoy, hence another tribute, the tune
“Single-Cell Jitterbug”.
Trumpeter and teacher Laurie Frink was an original
member of the Secret Society, as was her devoted protégé,
Nadje Noordhuis. “All In” is dedicated to Frink (who diedin 2013) and features an excellent solo from Noordhuis.
“Your Enemies Are Asleep” is a beautiful and profoundblues, dedicated to the Ukrainian people and trumpeter
Ingrid Jensen just kills in her solo turn.
The centerpiece of this compelling and ambitious
album is the massive “Tensile Curves”, which comesin at almost 35 minutes. Argue takes the concept
of Ellington’s 1937 masterwork “Diminuendo andCrescendo in Blue” and applies it to tempo. The piecestarts with a blaring trumpet blast and fast, crashingdrums. Then, with each successive section of the suite,
the tempo slows, the sound broadens. Near the end,
guest violinist Sara Caswell executes a powerful andmoving cadenza on the rare Hardanger d’amore.

30 September 2023 | THE NEW YORK CITY JAZZ RECORD

Remarkable in its ambition, scope and sheer length,
this is Argue’s crowning achievement to date.
For more info visit nonesuch.com. Argue’s album release
concerts are at The Jazz Gallery Sep. 13-16. See Calendar.

#PEOPLERay Blue (Jazzheads)
by Zachary Weg

As its capitalized title hints, #PEOPLE by Ray Blue is an

upbeat celebration of the world’s various peoples.
“Dark Berries” opens the album, with Blue’s whirling
tenor saxophone and featured artist, veteran pianist Kenny
Barron. Together they establish a light tone that serves thealbum well. The title track (with Barron again) is moresubdued than the opener but maintains a certain warmth;
the leader’s assured, almost cool-jazz saxophone playing
smoothly complements his bandmates Essiet Essiet (bass)
and Steve Johns (drums). ”PEOPLE” also serves as therecord’s thesis statement: everyone is beautiful, so let’s
rejoice in one another’s company, a message that sidesteps
cliché as Blue’s abilities convey an optimistic sentimentwith subtlety combined with old-fashioned razzle-dazzle.
The rendition of Tom Jobim’s “Dreamer” dips into samba
rhythms that, bolstered by Alvester Garnett’s drumming
and Jeff Barone’s gentle guitar lines, sizzles with gleefulabandon. Trumpeter Blue Mitchell’s “Fungii Mama” andthe original “Cross-Continental Spirit” are similarly playful,
the latter as vibrant as the album’s multi-colored cover art.
Blue takes a position as a citizen of the world, andso includes the sounds of the world’s sorrow as well as
its joys. His tender duet with Barron on Ellington’s “Ina Sentimental Mood” plays as a bittersweet nocturne fordreamers and romantics everywhere. But Blue, despite
his surname, proves to be only slightly melancholic on
his new album, as “When Sunny Gets Blue” and “We’ll Be
Together Again” each demonstrate.
Ultimately, Blue is a lover of humanity who wants
to uplift everybody and on #PEOPLE, he has done sowith sensitivity and pizzazz.
For more info visit jazzheads.com. Blue is at Governor’s
Island Festival Sep. 9, Marcus Garvey Park Sep. 23 as partof the Coltrane/Miles Ahead Festival and NAAMA Sep. 27.
See Calendar.

Split Jaw
Beam Splitter (Tripticks Tapes)
by Kurt Gottschalk

The artistry of extended vocalise can be a tricky scale

to balance. No matter how much you might like it (ornot), there is always a risk of it coming off like an infant
entertaining itself. Devices have mechanics, and one has
to learn how the switches and gears work. Vocal sounds
and vocal “noise” can be a lot of things, but at base level,
it can be just that. I therefore don’t have a method for
adjudicating such gargles and utterances, so there’s nogood way to defend my belief that Audrey Chen is amaster of the form.
It’s not the diversity in the sounds she makes on
Beam Splitter’s Split Jaw: that’s too easy, like counting thenumber of keys a pianist strikes. It’s that she can carryan abstract idea for longer than a few seconds, develop
it, alter it and redefine it. She doesn’t rely on harshnessor humor—which can be fine tools but also, often, arecopouts. What she does is what a good improviser does:suggest a realm with certain rules in such a way thatthe listener senses where they’ve been taken, and theneither follow those rules or violate them with purpose.
The Beam Splitter duo might be the best context inwhich to hear Chen ply her trade; she excels in dialogue.
And while electronic sounds—either produced byherself or her partners—give a nice ungrounding to
her delivery, there’s something particularly satisfying
about the pairing of her voice with Henrik Munkeby
Nørstebø’s trombone. Nørstebø frequently performs
solo, so he and Chen both bring that particular fluidity
to the duo. His trombone is voice-like and voice-unlike
enough to complement her just enough.
Split Jaw is Beam Splitter’s third, and best, release
to date. Rough Tongue, from 2017, was broken into 11
mostly short tracks. 2020’s Dedicated Play broke from theduet format by introducing a variety of guests. The newrelease gets it just right: three tracks between 10 and 22
minutes, room enough to move, with two recorded liveat the 2022 Festival Music Unlimited in Wels, Austria,
the third from a studio session. Chen’s analog electronics
build a fuller sound on these tracks than they’ve had in
the past, giving them an uncluttered density. I’m still notentirely sure why this music’s so good, but ultimately I
know that it is.

For more info visit triptickstapes.bandcamp.com. Beam
Splitter’s album release concert is at Issue Project Room Sep. 9.
See Calendar.

where are we
Joshua Redman (Blue Note)by Terrell K. Holmes

If one were to take the song list of Joshua Redman’s Blue

Note debut, where are we, at face value, one might only see
a selection of jazz, pop and blues standards, with a few

other tunes. This album, however, is much more thanthat; it’s a musical journey across the United States. The
celebrated tenor saxophonist, with Aaron Parks (piano),
Joe Sanders (bass) and Brian Blade (drums), takes us
coast-to-coast, reflecting on our common musical andcultural landscapes.
The album begins with Redman playing the
opening bars of “This Land Is Your Land”. The final
note, a high-pitched wail recalling a scream or apolice siren, leads to “After Minneapolis (face towardmo[u]rning)”, a rumination on the murder of George
Floyd, which shifts Woody Guthrie’s anthem fromaffirmation to irony. Vocalist Gabrielle Cavassa, whose
self-assured calm phrasing recalls Astrud Gilberto,
launches into what is essentially a prayer for peace
and tolerance. Guitarist Kurt Rosenwinkel’s crystalline
voicing supports Cavassa’s down-on-her-luck vocals
on Bruce Springsteen’s “Streets of Philadelphia”.
Vibraphonist Joel Ross gives “Chicago Blues” added
texture and color. Cavassa toys with the lyrics, extending
the word “sorry” like someone saying a long goodbye.
Trumpeter and Crescent City native Nicholas
Payton stops by on “Do You Know What It Means toMiss New Orleans”, where he and Redman chirp at eachother like magpies. Guitarist Peter Bernstein lays down
liquid gold lines on “Manhattan”. “I Left My Heartin San Francisco” combines Tony Bennett’s signaturesong with “San Francisco Holiday (Worry Later)”by Thelonious Monk. There’s also a touch of classicalmusic, borrowing from Charles Ives, with the spare andevocative “That’s New England”.
Redman’s and Cavassa’s evident joy on the duet“Stars Fell on Alabama” is tempered immediately
when Redman muses, growls and grieves on Coltrane’s“Alabama” which, like Redman’s “After Minneapolis”,
was written in the wake of an unspeakable tragedy, the1963 bombing of the Sixteenth Street Baptist Church
in Birmingham. Cavassa’s singing and acoustic guitar
highlight the valedictory “Where Are You?”, played asa bossa nova ballad.
Redman combines songs with similar geographicalsettings to create interior musical dialogues that reveal
common elements, despite differences in genre andperspective. where are we is an excellent album; it’salso an important question. The songs suggest that
we can begin to answer it by understanding that, inspite of innumerable cultural and racial potholes andminefields, what divides us is much less than what weshare.
For more info visit bluenote.com. Redman’s album release
concert is at 92NY Sep. 27. See Calendar.

G LO B E U N I T Y

The Montreux Years
Michel Petrucciani (BMG)
Hearing
Mike Nock (Australian Broadcasting Corp.)
In Marta’s Garden
Katharina Weber (Intakt)
by Scott Yanow

Three recent releases feature veteran international
pianists, one who is no longer with us and two others
almost a generation apart. The one who has sincepassed happens to also be one of the all-time great
jazz pianists: Frenchman Michel Petrucciani (1962-99)
overcame a genetic disease (which greatly stunted his
physical growth) and brittle bones to create rewarding
music throughout his busy, if all-too-short life.
The Montreux Years (part of an extensive series
that benefits the Claude Nobs Foundation) is asuperb release consisting of previously unreleased
performances by the pianist (from the Montreux Jazz
Festivals of 1990, 1993, 1996 and 1998) and serves
as a reminder of the major loss jazz suffered when
Petrucciani died in 1999 at only 37 years of age. The
pianist is heard in a variety of settings, starting witha real surprise: “35 Seconds of Music and More”
features him with a boppish sextet (bassist AnthonyJackson, drummer Steve Gadd and three excellent
horn players from France), an unusual setting forhim. From the same date, performing in a trio with
Jackson and Gadd, Petrucciani romps through therhythm changes of “Little Peace in C for U”, playing
bebop at the highest level.
Two numbers (including a beautiful version of“Estate” that includes some stunning double timeruns) have Petrucciani in a quartet with sweetening
by Adam Holzman on synthesizer. There are three
duets with bassist Miroslav Vitous: “Autumn
Leaves”, “So What” and a very effective uptempo
version of “My Funny Valentine”. A cooking“Summertime” has the pianist engaging in wondrous

tradeoffs with organist Eddy Louiss. Petrucciani isalso heard solo on “Take the ‘A’ Train” (which hetakes apart) and a romantic version of his own “YouAre My Waltz”.
The other two releases are entirely solo efforts,
starting with Mike Nock (who turns 83 this month).
Nock left his native New Zealand to play music in
Australia, and would spend 25 years based in New
York, working with Yusef Lateef (1963-65) andleading the Fourth Way (1968-70). He has been back inAustralia since 1985 and has at least 35 releases under
his name, with Hearing being his first solo album in
30 years.
Performing 13 pieces (ten originals and threeobscurities, including Bernie McGann’s charming“Spirit Song”), Nock is in a consistently gentle mood,even when the performance is a free improvisation.
Five of the selections are under two minutes in length,
so he makes each moment count during this highquality set of thoughtful and melodic mood music.
Ranging from the playful “Conundrum” to a ballad
for a fallen friend (“Vale John”) to the attractively
picturesque “Sunrise”, Hearing serves as an excellent
showcase for the pianist.
Swiss pianist Katharina Weber (65 this month) is
an improviser and composer who additionally plays
modern classical music. In Marta’s Garden consists ofbrief sketches (only two of the 19 pieces exceed four
minutes). It is the pianist’s fourth album and second
as a solo pianist for Intakt, and consists of 17 originals
plus two by composer György Kurtág (with whom
she studied in Hungary).
Weber’s approach is closer to Ran Blake than to
Cecil Taylor, in that she utilizes space and silencecreatively, dramatically changing moods from piece
to piece, which range from introspection or nearsilence to moments of explosiveness. Her pieces
are generally based on a single idea: variations ona phrase or, as on “Extemporale 1”, something as
simple as repeating one note. She often sounds as if
she is thinking aloud at the piano, and her thoughts
are never predictable, sometimes even jarring. In
Marta’s Garden will definitely keep listeners guessing.
For more info visit storyvillerecords.com,
abc.net.au/abcmusic and intaktrec.ch

THE NEW YORK CITY JAZZ RECORD | September 2023 31

New Year
Jim Campilongo & Steve Cardenas (Sunnyside)
Two Brothers
Chico Pinheiro & Romero Lubambo (Sunnyside)by Tom Greenland

Two releases from Sunnyside continue the long traditionof the guitar duo. New Year celebrates the artistic
relationship of Jim Campilongo and Steve Cardenas,
begun in 2002 when Campilongo, a San Franciscan
who settled in New York for two decades, discovered ashared penchant for what might be called progressive
roots guitar with Cardenas, a Kansas City native who
repotted himself in New York in 1995. Using treble-toned
Telecasters, the duo interprets jazz standards (Ellington’s“Fleurette Africaine”, Ray Noble’s “Cherokee”, Irving
Berlin’s “What’ll I Do”, Ellington and Juan Tizol’s“Caravan”), originals (four by Campilongo, two by
Cardenas) and a barely recognizable cover of Brewster
Higley’s quintessential cowboy anthem “Home on the
Range”. Their styles are distinctive, yet highly compatible.
Cardenas, mixed left, leans closer to mainstream jazz, as
is evident in his erudite chords, motivic development,barline-defying phrases and fluid swing. Campilongo,
steeped in country influences from Western swing,
Nashville and pedal steel players to Telecaster ‘stuntmen’such as Roy Buchanan and Danny Gatton, employs tonal
trickery and elaborate string-bending to enhance hismusical ideas. Three cuts (Campilongo’s Ry Cooder-esque“Miss Venezuela”, Cardenas’ ragtime-y “Blue Language”
and “Home on the Range”) are played on acoustic guitars
for a more intimate atmosphere: Cardenas flatpicks nylon
strings à la Willie Nelson in contrast to Campilongo’s
biting steel-string.
Chico Pinheiro and Romero Lubambo’s Two
Brothers documents an artistic relationship initiatedtwelve years ago in Pinheiro’s hometown, São Paulo,
when the guitarists realized a common interest in jazzand Brazilian music. Rio de Janeiro-born Lubambo,
who’s lived stateside since 1985, is a generation older
than Pinheiro. The album comprises Brazilian classics(Djavan’s “Aquele Um”, Chico Buarque’s “Samba eAmor” and “Morro Dois Irmaos”, Tom Jobim’s “Red
Blouse” and “Wave”), Bill Evans’ “Waltz for Debby” andan eclectic assortment of pop covers: Michel Legrand’s“Windmills of Your Mind”, Mancini and Mercer’s“Sally’s Tomato”, Lennon and McCartney’s “For NoOne”, Stevie Wonder’s “Send One Your Love”, Sting’s“Until…” and Billie Eilish’s “My Future”. Lubambo’s
fingerstyle acoustic (mixed left) is pitched against
Pinheiro’s plectrum-picked hollow-body electric (mixed
right), though their touch and tone are surprisingly
close. Most tracks start with a melody statement, theguitarists switching lead and accompaniment roles
for each new section, followed by solos and a return,though “Aquele Um”, “Wave” and “Sally’s Tomato”
have adroit arrangements highlighting interplay. Bothplay in a breathless, long-winded style, notes falling fast
and furious, but take a welcome respite on “My Future”.
Pinheiro is simultaneously sensitive and stimulatingon “For No One” and “Sally’s Tomato”, Lubambo at
his most inspired on “Send One Your Love” and “MyFuture”, both excel on the closing track, “Until…”,
where any previous division of soloist and accompanist
roles is superseded by a more integrated relationship.
For more info visit sunnysiderecords.com. Pinheiro is at
Mezzrow Sep. 5, and at Joe’s Pub Sep. 21 with Luciana Souza.
Cardenas is at Bar LunÀtico Sep. 2 with Gregory Joseph andDizzy’s Club Sep. 28-30 with Ben Allison. See Calendar.

AVAILABLE ON VINYL
September 1st             
            
               ­     
lizziethejazzsinger.com

AVAILABLE ON VINYL
September 8th                
              
efratalony.com

visit dottimerecords.com to order

The Secret Handshake with Danger, Vol. 2
Eddie Prévost/Henry Kaiser/N.O. Moore/Olie Brice/
Binker Golding (577 Records)
by Marc Medwin

Literally hours before the national 2020 COVID-19
lockdown in the U.K., drummer Eddie Prévost,
saxophonist Binker Golding, bassist Olie Brice andguitar wizards N.O. Moore and Henry Kaiser recorded
the marathon session that would result in both volumesof this excellent entry in the 577 Records catalog. While
the album title seems to have come from a 2011 Trey
Gunn collaboration with Kaiser and Morgan Agren,what’s on offer here sounds very little like that track,as this larger ensemble stretches temporal and musicalboundaries further and with more circuitousness.
Kaiser’s involvement in any aggregation ensuresthat it will sound larger than it is. The guitarist turns
71 this month, and his spontaneity and virtuosity arestunning. It’s tempting to hear the music as morphing
layers that are gradually exposed as the players’ focus
shifts. It’s a joy to revel in the emergence of a quartet
formation near the 14:00 mark that evaporates moments
later, Moore and Golding drenching the whole in deep
blues as Prévost and Brice gradually recede. A languidly
incendiary amalgam opens the second piece, this time

32 September 2023 | THE NEW YORK CITY JAZZ RECORD

with Kaiser floating vast, wobbly sustains over Briceand Prévost’s metrically fluid rhythms and Golding’s
ruminations. Kaiser takes a mighty solo before Moore’s
delicate counterpoint adds timbral intrigue at 4:39.
All that transmogrification beautifully anticipates
the grittily swinging Prévost/Golding duet some ten
minutes later. Both players mold and explore motives
in the glorious light of metric freedoms conjoining theirrespective generations.
It is impossible to articulate the sense of release as,
in a fashion suggesting Coltrane’s Meditations, the music
reaches a state of transcendent beauty. The motion
toward it is slow but inexorable, yet the moment-tomoment changes defy categorization. The final moments
are their own reward, and although the music is an
exercise in genre-bending at its finest, a unity pervades
each trough, summit and arc of what was obviously apoignant session. A superb recording that renders every
detail with crystal clarity.
For more info visit 577records.com

C’est La Vie (A Jazz Soundtrack)
Hot Sardines (s/r)
by Marilyn Lester

Since their inception in 2007, the Hot Sardines have cut awide swath on the music scene with a consistent rolloutof albums and mega-touring—with special appeal toyoung audiences attracted to revivalism. Fronted byfounders Elizabeth Bougerol (vocals, washboard) andEvan Palazzo (keys), who took their initial cue from theHarlem stride style of Fats Waller, C’est La Vie continues
the octet’s forays into music that blends ragtime, blues,
New Orleans brass band and hot jazz (aka Dixieland)with inventive stylings. The album’s ten tracks, which
include several originals by Bougerol and Palazzo, arecanny crowd-pleasers—delivered like arrows aimed
straight to the heart of their fan base.
The musicality of the group is indisputable, as
can be heard in the band’s performance on the Django
Reinhardt ballad “Si Tu Savais (If You Knew)” (Georges
Ulmer). But the album has a number of missteps. The
ill-conceived opener is a cover of “J’attendrai (I willwait)” (Dino Olivieri, Louis Poterat), the huge 1938 hit
in France for Rina Ketty and crooner Jean Sablon. The
song, written on the threshold of a Europe about to be
torn apart, became a deeply emotional touchstone for
the French during World War II. The Hot Sardines’
dance version, at a fox trot tempo, completely misses themark, cheapening the entire point of the tune. Anotherodd stylistic choice comes on an original, the torch song
“Adieu L’amour (Farewell to love)”, which is delivered
with organ forward and an overly cheerful Latin beat.
The title track is another original, a French bossa nova
performed as an orchestral ballad; it does at least fit inwell with the quirky mood of the album.
More successfully executed is the post-war Piaf
hit, “La Vie en Rose (Life in rosy hues)” (Louisguy); it’srespectfully done, but the vocal duet between Bougerol
and guitarist Bob Parins is marred by mismatched vocal
tones. Bougerol’s vocals may qualify as an acquired
taste. French-born, she sings with a nasal quality andlightness, with distracting breathy intakes of phrasing.
The album highlight is a solo piano piece by Palazzo,“Swing of the Hip”, an outstanding homage to the man
who inspired the group—Fats Waller. Its medium-slow
tempo showcases Palazzo’s nimble and soulful work.

Taking the ten tracks together, the speakeasy
vibe shines through with consistency, even when thereinvention of old material may go astray; but that’s theappeal to the group’s many fans. C’est La Vie may not
be an album for traditionalists, but it is perfect for those
who love a retro sound with an idiosyncratic vibe.
For more info visit hotsardines.com. The album release will
be celebrated with a residency at Birdland Sep. 12-16. See
Calendar.
MAROMAS
Cecilia Lopez & Ingrid Laubrock (Relative Pitch)by Matty Bannond

A multimedia artist from Argentina clamps a hot hand

Treasures: Solo, Trio and Orchestra Recordings
from Denmark (1965-1969)
Bill Evans (Elemental Music)
by George GrellaThis release is the tenth from Elemental Music thatunearths archival recordings of Bill Evans (who diedthis month 43 years ago on Sep. 15 at the age of 51).
All of the releases have been worthwhile, even if Evans
was not captured at his best on every one. This new,and substantial, collection, however, is one of the finest
thus far, on the level of The Lost Black Forest Sessions
and Behind the Dikes: The 1969 Netherlands Recordings;
it expands our knowledge and understanding of thistransitional period for Evans, as well as putting him in
out-of-the-ordinary contexts.
These Danish radio recordings (nice but notoutstanding, with warmth but also a little stuffiness)offer a real smorgasbord of music. Across these threeLPs (or two CDs), Evans plays in trios with bassist
Niels-Henning Ørsted Pedersen and two different
drummers (Alex Riel and Alan Dawson), and his late
’60s trio with bassist Eddie Gomez and drummer Marty
Morell (spelled by Riel for one LP side), and plays solo
for another side. The Gomez/Morell trio also plays
accompanied by an orchestra arranged and conductedby Palle Mikkelborg (who also plays trumpet on “To
Bill”, a rather awkward and antagonistic track, the one
weak spot in an otherwise excellent compilation).
Evans is superb on every track, hitting that specialbalance of sonic beauty and emotional sensitivity,
swinging forcefully and, in the trio settings, hittingsome surprising plateaus of intensity. The trio sets are
the meat of this release, and it’s fascinating to hear both
how clear and comfortable Evans is with the different
groups, and how they respond to him. Paired withNHØP, Riel and Dawson are well-mannered and exude
both a sense of fun and deference. With Gomez on bass,
Riel is more propulsive and sharp, and the tracks with
Morell—“Autumn Leaves”, “Emily”, “Quiet Now”, and“Nardis”—are as explosive as anything Evans recorded
live.
The excitement is such that it’s nice to have themore relaxed solo and orchestra music in the middle.
Evans charms succinctly with “Re: Person I Knew” anda mix of originals and standards. The session with theorchestra is more variable, in the sense that Mikkelborg’sarrangements at times have a hazy purpose, sometimes
setting the scene, at others forming a quasi-concerto,
seesawing between passive and active. Evans justplays on through, listening to the musical context, butfollowing his own path and making the most of the
moments when the arrangements come to meet him.
This release is an ideal archival collection that bothinforms and satisfies.
For more info visit elemental-music.com

onto one of your shoulders. A German saxophonist grips
the other. With rough movements, they set you spinningwith aural thumps and thwacks. And they won’t stop.
Disorientation and dizziness turn your senses to thickmud. What’s happening? How? You’re too far gone now
to find your way home. Stop asking questions. Surrender
to the sounds of MAROMAS, the funfair that will surely
blindfold and boot you into it.
Cecilia Lopez gets tough with modular synths andelectronics and saxophonist Ingrid Laubrock is her
partner in crime. They join forces to create tones andtextures that keep the listener groping in the dark. It’san immersive, tactile album.
“cata’s dream” covers the most turbulent terrain.
It starts with bubbles in your inner-ear. Somethingis sawing, perhaps. Then comes squeaking, heavy
breathing and an animal growl that turns to a roar.
Was that a car horn? Helicopter blades? Is somebody
vacuuming? Like a searchlight through dense fog, amarch-like theme shines through the distortion andprotesting electronics.
There’s suffocation and struggle on “hatchet”.
Playfulness has turned to panic, like tickling that’s goneon too long. A melody fights to escape but is draggedback below the surface where muted fragments cut off
the oxygen supply. The thud-thud of a dying heartbeat
rises, then fades.
Amid the turmoil, Laubrock’s silken-throatedsaxophone offers the listener occasional food and water.
On “fabulaciones”, chainsaws and sharp-toothed robots
are safely locked outside the practice room as she
scurries up and down etude-like patterns. Droning low
notes open “don’t believe it”, before electronic humming
creates a thick sonic blanket. There’s warmth. There’s
sighing. Reconciliation.
MAROMAS tells stories that twist and transform via
instruments that shapeshift every nanosecond. Lopez andLaubrock are unreliable narrators, leading their audiencethrough a smashed-up house of mirrors. Together, they
grip the listener for 48 minutes. You will spin. You may
stumble. But if you stop asking questions, you may very
well arrive home with precious new knowledge.
For more info visit relativepitchrecords.bandcamp.com. The
album release concert is at Roulette Sep. 11. See Calendar.

IN PRINT

Saxophone Colossus: The Life andMusic of Sonny Rollins
Aidan Levy (Hachette)by Thomas Conrad

S axophone Colossus: The Life and Music of Sonny Rollins
may well be the most important jazz biography since
Robin D. G. Kelley’s definitive study of Thelonious
Monk in 2009. Aidan Levy tells the story of one ofour greatest living jazz musicians with astonishingcomprehensiveness. Saxophone Colossus is a monster:
772 pages, plus a set of online footnotes that, had they
been included in the printed volume, would havemade it almost 1,200 pages.
In an interview with Lee Mergner at the endof 2022, Levy revealed how he was able to produce
such a detailed record of a life: “The first major
source for this book would be Sonny’s own archivethat is housed at the Schomburg Center for Researchin Black Culture [in Harlem]. I was blown away by
the mountains of material that Sonny had kept andaccumulated over the years.” Levy further explainsthat the archive contains “probably more than
100,000 documents” including business records,
correspondence, programs, posters, diaries, practice
sheets and more. The second major source was directcommunication with Rollins.
There is a moment near the beginning of thebook that foretells the subject’s entire extraordinary
musical journey. Rollins remembers when he got his
first used saxophone at age eight: “I would get ina closet and blow for hours—nine, ten hours, and I
would get lost in my own reverie.”

Levy says, “He had found an all-consuming
passion.” Everyone who ever knew Rollins seems tohave a story about his obsession with practicing. At amonth-long engagement at Ronnie Scott’s in London
in 1966, Rollins would play four sets a night, andwhen the club closed at 3 a.m., would keep playing,alone, until 5:30.
Rollins’ all but superhuman endurance is only
one reason why he’s unique. There is also his artistic
achievement over seven decades. Branford Marsalis
says simply, “He is easily—with the exception ofLouis Armstrong—the greatest improviser in thehistory of jazz.” There is Rollins’ role as a torchbearer
in the art form of an oppressed people. There is his
lifelong search for self-mastery, which led him toyoga studios in Japan, to ashrams in India, and to theWilliamsburg Bridge, where he practiced by himself—
sometimes for 16 hours—for a two-year period after
withdrawing from music.
There are also his vexing idiosyncrasies: Rollins’
ambivalence about the recording process led him to
make fewer masterpieces than he should have. His
impossibly high standards for himself and others led
him to successively fire his sidemen, which meantthat he never had a long-term working band.
Levy gets it all. He provides riches, many of which
are previously unknown stories from Rollins’ long,amazing life (he turns 93 this month). Two examples:
Levy provides poignant details surrounding the deathof Clifford Brown, and also reveals the true natureof the pilgrimage that led Rollins to climb up on that
Williamsburg Bridge.
The book is not perfect. It could have usedbetter copy editing and fact-checking. Levy is not
a gifted wordsmith in his descriptions of Rollins’
music (quotes from other musicians are much morevaluable), and he is too charitable about Rollins’
bad records. But Saxophone Colossus is a towering
biography that succeeds in accomplishing something
very difficult: it puts us in the presence of genuine
human greatness.
For more info visit hachettebookgroup.com

THE NEW YORK CITY JAZZ RECORD | September 2023 33

Return to Casual
Walter Smith III (Blue Note)by Marco Cangiano

There is hardly anything casual in Walter Smith III’s
music, despite his affinity for the adjective since his
debut album Casually Introducing. A Berklee Collegeof Music alumnus, he has a distinguished resume thathas led him to the Blue Note label, a natural choicegiven his knack for complex yet melodic compositions.
Smith’s development has been constant both as a soloist
and group leader. It is therefore not by chance that thismost recent recording re-groups the same musicians
gathered for his 2015 Still Casual (Taylor Eigsti, piano;
Matt Stevens, guitar; Harish Raghavan, bass; Kendrick
Scott, drums; and guest Ambrose Akinmusire, trumpet
on two tracks), with the addition of James Francies’
keyboards on one selection. The interplay between
Smith and Eigsti’s piano is remarkable, as much as the
symbiotic relationship between Raghavan and Scott;regrettably, neither of them get a solo. Akinmusire
and Stevens could have enjoyed more space, too, aswith each of their contributions, it leaves the listener
wanting more. The group has developed its own soundand greatly benefits from a conciseness hard to findthese days—the album is just shy of 45 minutes, and thelongest tune, “K8” (centered on an ethereal dialogue
between Eigsti and Francies) does not even reach the
7-minute mark.
The music is diverse and is based on Smith’s
originals, with the notable exception of Kate Bush’sballad “Mother Stands for Comfort”. It starts off with“Contra”, a sort of manifesto of modern post-bop jazz;
its twisty lines propel brilliant solos by Smith andStevens. Smith’s sound seems to have settled on an
airy mid-range tone, like an up-to-date Hank Mobley,
though Sam Rivers’ early influence is also audible.
“River Styx” has a haunting melody and features anintense solo by Akinmusire over Scott’s cascading
accents. “Shine” starts as a mid-tempo ballad, but
accelerates as Smith reaches the upper register, thenslows back to the initial theme. Despite its title, “Quiet
Song” follows a similar dramatic development, with
Eigsti taking the lead. “Amelia Earhart Ghosted Me”
has a melancholic flavor despite Scott’s unstoppable
work and showcases Smith’s arguably best solo on
the album. “Revive”, a delicate conversation between
Smith and Eigsti, rounds out Return to Casual on a highnote.

lyric. British trumpeter Bryan Davis sits in on Leonard
Bernstein’s West Side Story classic “Mambo”, blowing
soaring lines over the percolating percussion section.
“Wolf Mother”, Obieta’s moody collaboration with
Los Angeles-based producer/pianist Pablo Mirete,embodies the band’s genre-blending concept withits mix of folk- and soul-inflected vocalizing overgrooving Afro-Cuban rhythms. Pablo’s “Un Ratito”, atimba-rap mashup, featuring the band’s three vocalists,
is a passionate paean to potential lovers spending thenight together “in a little while”. The album closes with
Globus-Hoenich’s incendiary “La Coda”, where Bellsings and raps alternate choruses as the band cooks up
a fiery polyrhythmic storm.
For more info visit truthrevolutionrecords.com. People ofEarth is at Washington Square Sep. 23, as part of Village
Trip Festival. See Calendar.

For more info visit bluenote.com. Smith is at Village
Vanguard Sep. 19-24 with Bill Stewart. See Calendar.

In Concert
Cannonball Adderley Quintet (SteepleChase)by Scott Yanow

s/t
People of Earth (Truth Revolution)
by Russ Musto

This exhilarating nine-song debut from People ofEarth introduces the world to the lively Latin jazzof this young New York–based dance band, whose
members hail from seven different countries, fromthe U.S. to Switzerland and Colombia to Canada. The
fifteen-strong ensemble is powered by the pulsating
percussion of Gabriel Globus-Hoenich, Victor
Pablo and Keisel Jimenez, who are at the heart of arhythm section featuring Ahmed Alom Vega (piano,
keyboards), Carolina Calvache (keyboards) and Ian
Stewart (electric bass). The band has a brass sectionof Raul Rios and Rachel Therrien (trumpets); Malec
Heermans, Kalun Leung and Achilles Liarmakopoulos(trombones); and three vocalists: Ivan Llanes, Joana
Elena Obieta and Ayamey Bell. They call what theyplay American Timba Music, and their unique sound,steeped in the Afro-Cuban tradition, takes on a
decidedly exuberant character with its nods to R&B,
reggaeton, rock and rap.
The action starts with Pablo’s “Chiki”, a straightahead timba songo. Llanes sings the Spanish-language
lyric, which celebrates the rhythmically swaying hipsof the dancing candela named in the song’s title. Bellpassionately sings her own English lyric over GlobusHoenich’s melody on “Shoulda Known Better”, afeminist anthem that includes a macho rapping retortfrom Llanes. The mood turns romantic on Llanes’“La Mejor Mujer”, a soulful bolero with swirling
keyboards and wordless background vocals that point
to the influence of Earth, Wind & Fire. Pablo’s poignant“Piloto” opens with horns blowing mellifluously over
Vega’s urgently vamping piano; Bell sings the Spanish
lyric before the song modulates into a traditional
Puerto Rican plena.
Globus-Hoenich’s elegant arrangement of Djavan’s“Te Devoro” features Bahian guest vocalist Marcos
Costa singing the Brazilian love song’s Portuguese
34 September 2023 | THE NEW YORK CITY JAZZ RECORD

Altoist Cannonball Adderley (who would havecelebrated his 95th birthday this month) led a boporiented quintet during 1955-57 that failed to catchon, before he served a historic stint as a member of theMiles Davis Sextet (1958-59). After Miles, he formed asecond quintet, which caught on big in late 1959 due
partly to the success of its pianist Bobby Timmons’ hit“This Here”. Timmons, who had previously worked
with Art Blakey’s Jazz Messengers, left the quintet(which also included cornetist Nat Adderley, bassist
Sam Jones and drummer Louis Hayes) in the spring of1960 to rejoin Blakey. After a short period with Barry
Harris as his pianist, Adderley hired Victor Feldman.
Staying until the summer of 1961, Feldman proved to
be a valuable member, doubling on vibraphone andwriting some excellent compositions for the group.
The previously unreleased music on this
SteepleChase release dates from April 13, 1961, whenthe quintet was in Copenhagen during a European tour.
Feldman contributed four of the eight compositions and,on several of the numbers, is featured on vibraphone.
While Adderley would become synonymous with soul
jazz, the performances on this set are straight-aheadhard bop, often taken at burning tempos. Feldman’s“Exodus” (which has nothing to do with the 1960 filmof the same name) finds Cannonball sounding as joyful
as usual (the happy exuberance of his playing was notoften heard in his contemporaries); brother Nat is inprime form and Feldman takes a fine solo. After the
piano intro to Randy Weston’s “Hi-Fly”, Feldman isagain heard on vibes. Tadd Dameron’s “Our Delight” istaken remarkably fast, a real test for each player. They
all pass easily and, somehow, almost sound relaxed.
“Serenity” slows things down quite a bit. The Bill
Evans-ish ballad is a feature for Feldman (back on
piano here). Nat Adderley’s “Sack O’ Woe” is always arousing song and this version is a bit faster than usual,with the cornetist hitting some impressive high notes.
Feldman’s “Lisa” is another blazing showcase for theband. “This Here” inspires an adventurous solo by theleader before the obscure but catchy soul jazz piece“New Delhi” ends the program.
While there are many excellent recordings by the
Cannonball Adderley Quintet from the early-’60s, thisset holds its own with the best of them.
For more info visit steeplechase.dk

on errands. The sound of the stormy onslaught addeda prickly metallic underscoring to the three-tiered
frenetic counterpoint on “Vision 1”: Mitchell’s shrilly
querulous sopran(in)o saxes, Buckner’s exaggeratedly
glottal kabuki-like baritone and Robinson’s throbbing
echo cornet or gravelly contrabass sarrusophone. But“Vision 2” instantly shifted the weather/music vector:
the drumming rain meshed with and encompassed
Mitchell’s solo soprano spin of duck-like quacks.
“Vision 3” at first leisurely explores sonic realms thatswoop and swerve into far-flung galaxies beyond theWebb-iverse. The three dare each other repeatedly
beyond the confines of the aural capsule—as Robinson
notes, “reworking, not mimicking, ideas and motifs
from the others; listening carefully and expanding
details.” A deadpan ‘parental guidance’ alert on the backcover advises: “These sonic visions may cause alteredperceptions. Please listen responsibly.” I’ll vouch that
listeners may be exhausted and energized by the deepsea splashdown of this truly terrifying triumvirate.
At the Fault Zone Festival, held in 2022 at new-music
haven Mills College in Oakland, CA, the Space Trio’s
genial, agile excursions bookend three diverse yet
oddly somnolent Mitchell “concert” pieces. “Cards in
3D Colors”, Mitchell’s sly reshuffle of his “card” pieces,
plays out as a plucky slo-mo taffy-pull for Sarah Cahill(piano) and Kate Stenberg (violin). “Sustain and Run 22”
uses as prima materia Nathan Corder’s transcriptionsof Mitchell improvisations molded into vocal episodes
for the Space Trio, two voices and 40-piece chamber
ensemble led by Steed Cowart. The somber outcome,staid as a neo-classical Stravinsky dirge, is leavened byhandsome arching legato passages for the voices andRobinson’s tenor saxophone.
“Distant Radio Transmission Fault Zone” again
summons full orchestra, but fails to gather discernible
direction or steam over its half hour, droning on in
the polite four-square formality of shape-note hymns.
Neither juicy altissimo bird-shrieks from the saxes overostinato reeds, nor mallets and galumphing percussion,
manage to stave off a sense of stodgy irrelevance. Maybeit would replay well with a light show: high-rez boffo
galactic cloud-candy from the Webb camera. The Space
Trio’s brief bookends lend wings to the ponderous
performance. To open, Buckner’s exaggerated Nohsquawks and hockets pepper the smoother lines ofMitchell’s bass sax and Robinson’s Eb soprano flute,slide sax and slide trumpet, though all converge
towards a consonant ending; in the closer, Robinson’s
game calls lure out the rare birds of Buckner’s cooing
and Mitchell’s baroque flute, to charming, haunting
effect.
For more info visit sciensonic.net and widehive.com.
Mitchell is at First Unitarian Church with John McCowen
Sep. 9, presented by Issue Project Room. See Calendar.

B OXED SE T
Visions: Live at Vision Festival 2018
Trio SPACE (Roscoe Mitchell/Thomas Buckner/
Scott Robinson) (ScienSonic Laboratories)
At the Fault Zone Festival
Roscoe Mitchell Orchestra and Space Trio
(Wide Hive)by Fred Bouchard

Roscoe Mitchell’s storied career as woodwind wizard
and iconoclast has its roots in Chicago’s hotbed ofalphabet soup musical organizations: AACM, AEC,
CAC (look ’em up and get acquainted if you aren’t
already). Like many creative seekers in the ’70s,
Mitchell and Thomas Buckner hit it off at Karl Berger’s
CMS (another spicy stewpot) in Woodstock, NY;they joined forces as Trio SPACE with star-streaking
Japanese-American reedmaster Gerald Oshita. The
trio’s rapid expansion of reed/voice frontiers on‘80s discs mightily impressed multi-instrumentalist
Scott Robinson, who in 2015, 22 years after Oshita’s
untimely demise, was invited by Mitchell and Buckner
to reimagine the groundbreaking brotherhood.
Thunder, lightning and torrential rains engulfed
my car as I slid in Trio SPACE’s Visions and set forth
Sep. 18 (7/8:30 pm sets)

at Zinc Bar“Guitar Masters Series”
Tomas Janzon TriowithHill Greene (bass)&
David F Gibson (drums)“Nomadic is lled with bright moments,
subtle creativity…” - Scott Yanow, Jazz Monthly“…there is a natural telepathy
passing between the Nelson and Janzon…tastefuland consistently engaging guitar artistry…”– Joe Lang, Jersey Jazz

tomasjanzon.com

Go West! The Contemporary Records Albums
Sonny Rollins (Craft Recordings)
by Jason Gross

J ust imagine how tireless this hard bop leading light
was at the start of his career in the ’50s. Along withsideman work for Max Roach and Thelonious Monk,
Sonny Rollins recorded as bandleader for Prestige(including the aptly titled Saxophone Colossus),
Riverside, Blue Note and—as the focus featured
here in this new boxed set release from earlier thisyear (available in both CD and LP formats)—tworecordings for Contemporary. The result: a pair ofcareer highlights in Way Out West and Sonny Rollins
and the Contemporary Leaders.
For his Contemporary debut, Rollins had an
audacious idea, fusing his cross-country recording
journey and love of cowboy movies into a concept
album. Though there was some precedent to this(Charlie Parker and Louis Armstrong were alsocountry fans), at this time in the mid-20th century,
country was mostly seen as ‘hillbilly music’ with little
crossover to pop or other styles (with Western Swing
being a great exception). Dressed on the cover in a
ten-gallon hat, holster and saxophone in the middle ofthe Mojave Desert, Rollins managed to bridge country
and jazz for 1957’s Way Out West, featuring a thenunusual pianoless saxophone-led trio with bassist Ray
Brown and drummer Shelly Manne. Starting with the
drummer’s clip-clop rhythms, Johnny Mercer’s “I’m an
Old Cowhand” begins with the lithe, carefree melody,
which soon transforms into an exuberant launching
point for delightful variations and fluid solos from therhythm section pair. The cowhand theme continues
with “Wagon Wheels” (from a 1934 Western movie ofthe same name), echoing a sad sweetness, then flying
off into a bouncy horn riff. The title track connectswith the ease and joy of great honky-tonk music as
the master saxophonist soars lyrically. Ellington’s
sweet, yearning “Solitude” (Rollins sounding likehe’s savoring each note) and the bluesy, gentle Isham
Jones-penned “There Is No Greater Love”, help bring
things full circle back to Rollins’ home turf.
For his second (and final) album for the label,
Sonny Rollins and the Contemporary Leaders (1959),
the concept was a stellar line-up, a “back-up” bandof Hampton Hawes (piano), Barney Kessel (guitar),
Leroy Vinnegar (bass) and Manne once again. The
idea of a leader with a superlative group (given all
were leaders in their own right) echoed a similar idea
when Rollins had been paired with the Modern Jazz
Quartet for some of his first sessions. An array of ’30s
show tunes include the classic Jerome Kern/Oscar
Hammerstein selections bookending the album: thesweet, lively “I’ve Told Ev’ry Star” and a breakneck
tempo rendition of “The Song Is You”. In “Alone
Together”, Rollins and Kessel elegantly trade solos
and Rollins is lyrical as ever on the graceful ballad“In the Chapel in the Moonlight”. Perhaps mostsurprising here is “Rock-A-Bye Your Baby with a
Dixie Melody”, famously performed by Al Jolsonin blackface with vaudevillian schtick; Rollins heretransforms the piece into a suave, cool groove.
The third album in this set consists of three
supplemental outtakes from each session (all but two
have appeared on previous reissues). These are mostly
longer but otherwise not noticeably very different
from the originals, with some exceptions. “Cowhand”
seems sadder, or at least more casual; “Come, Gone”
is freer and breezier in places. You can think of themas a nice encore, and certainly a treat for collectors.
Soon after these sessions, Rollins next made thebold decision to stop recording and performing for a
few years, but his story thankfully didn’t end there.
Though Rollins has now permanently put his horndown (as of almost a decade ago), this month we join
the legendary tenor saxophonist in celebration of his
93rd birthday on September 7th.
For more info visit craftrecordings.com

THE NEW YORK CITY JAZZ RECORD | September 2023 35

(UMBRIA CONTINUED FROM PAGE 12)
Umbria Jazz Orchestra and the Orchestra da Cameradi Perugia. The stage barely held the 59 musicians.
Kyle Eastwood’s new larger-than-life jazz treatments
of familiar music by composers such as Lalo Schifrin
and John Williams were always fun and sometimes
stirring.
Other noteworthy acts in the Arena were
Rhiannon Giddens (whose emotional authenticity
won the night), Stefano Bollani (a great pianist who
seems to be turning himself into a celebrity massentertainer, a kind of Italian Liberace) and Snarky
Puppy (a little big band that has found the secret sauce
for blending pop cultural accessibility with genuine
jazz chops). Lamentably, Herbie Hancock’s attempt
to mix pop cultural accessibility with jazz resulted in
the lame, sloppy silliness that has typified his public
performances in recent years.
There were 11 concerts in the Morlacchi. The
Italians who performed there provided confirmationthat Italy has the strongest jazz scene outside the UnitedStates. The soulfulness of trumpeters Paolo Fresu
and Enrico Rava (at 84) was moving. The technicalbrilliance of trumpeter Fabrizio Bosso and trombonist
Gianluca Petrella was stunning. Petrella augmented
his trombone virtuosity with selectively applied
electronic effects to create seething undercurrents ofdark energy and haunting atmospheres. The band hecalls Cosmic Renaissance played apocalyptic music.
The impression that the United States was
represented in the Morlacchi by some of its finest
jazz artists was corroborated by the results of the
71st annual Downbeat Critics Poll, which came out
during the festival: Kenny Barron, Fred Hersch, Bill
Frisell and Samara Joy all placed either #1 or #2 in six
different poll categories.
Like much jazz (probably reflecting the grayingof its audience), the concert schedule tilted towardearlier in the day. Gone were the “’Round Midnight”
sets in the Morlacchi, the stuff of legend at Umbria
for years. But the noon concerts in Sala Podiani were
nearly always sold out. Artists from South Africa
and the United States (Nduduzo Makhathini, Marc
Ribot, Joey Baron) gave memorable concerts, while
Cuban pianist David Virelles gave a surprisingly
forgettable one. But Sala Podiani, like the Morlacchi,
was dominated by world-class Italians. A case could
be made that the four greatest living Italian pianists,
Stefano Bollani, Enrico Pieranunzi, Dado Moroni
and Danilo Rea, all appeared at the festival, the last
three in solo recitals in Sala Podiani. Pieranunzi is an
important composer and played almost all originals.
Among Italian pianists, perhaps only Bollani canclaim a more comprehensive mastery of the keyboard.
Moroni is an astonishing self-taught talent. His “My
Foolish Heart” was encompassing and rapt. Rea isso popular in Italy that a second concert had to bescheduled at 3:30. A solo concert from Rea is a streamof-consciousness outpouring that flows in and out ofgreat songs, notably Leonard Cohen’s “Hallelujah”—
songs that are touchpoints of shared memory in thelife stories for many of us.
This report has been necessarily selective. Umbria
Jazz is an extraordinary music marathon. You comeout of it delirious from joy and sleep deprivation,
desperately hoping to go back again.
For more info visit umbriajazz.it(CARAMOOR CONTINUED FROM PAGE 12)
consideration of gender balance. “I think it’s really
important to have gender equity when you’re looking
at any kind of major jazz festival,” she said.
This Festival was trombonist Mariel Bildsten’s
third appearance at Caramoor as a leader, this timewith her septet, carefully conceived and arranged togive a more fulsome, big band sound. As an arranger
and band, mindful of practicalities such as expense,
Bildsten creatively seeks out music she can scale down
while still maintaining a big sound; the unit included
saxophonists Chris Lewis and Erena Terakubo andtrumpeter Bruce Harris. “The music will always be
fresh, and fun, and energetic, and modern-sounding,just because we are in the world today. I don’t haveto worry about that too much,” she said of her classic
repertoire, which included tunes by J. J. Johnson andEllington.
Another of the day’s highlights was singer Christie
Dashiell, who is a masterful interpreter of song, as well
as a talented composer in her own right. She opened
her set with a vibey, vampy rendition of the Vernon
Duke/Ira Gershwin standard “I Can’t Get Started”,
added sizzle to Stevie Wonder’s “I Just Called to Say I
Love You” (arranged by pianist Allyn Johnson) and in
the course of her 45-minute set delivered R&B versionsof jazz songs and jazz versions of R&B material. Withher “brother from the same mother”, drummer Carroll
Dashiell III, she performed a wordless bebop originalthat she breezed through impressively, making themost of a vocal tone that skewed toward raspiness.
The day’s headliner, star vocalist, the spectacular
Cécile McLorin Salvant, presented a set of tunes fromher last two albums Mélusine and Ghost Song. Thoughleaning into the uptempo and upbeat, Salvant is alsoa master of ballads, with interpretive gifts that candevastate on storytelling of longing and heartache.
Her gifts also include a penchant for whimsy and even
weirdness, as presented on her original “Obligation”;
here she ended an octave higher than formally written,
almost wincing as she improvisationally completed
the last line of the song. Salvant thus demonstrated
a trait that many great artists possess—willingness tostretch beyond a comfort zone and take risks. Witha reputation that precedes her, Salvant’s abilities as
an improviser and the pure beauty of her voice canimmmediately convince an audience that whatever
they’d heard about her is absolutely true.
For more info visit caramoor.org(EDINBURGH CONTINUED FROM PAGE 12)
exuding opulence and elegance. This must-see
setting added its charming touch to up to foursold-out concerts a day. The Tenement Jazz Band,
accompanied by Norwegian stride pianist Morten
Gunnar Larsen, enlivened the tent with traditional
jazz. Acknowledging legendary cornetist Freddie
Keppard, as well as pianists Jelly Roll Morton andBennie Moten, the group demonstrated why theyreceived top honors at the 2022 Scottish Jazz Awards.
Larsen’s skill was on display during a lively versionof Morton’s “KC Stomp”.
On the same evening, London-based tuba player
Theon Cross introduced his singular blend of jazz,
beats, hip hop and funk to the site. Leading a quartet
that included tenor saxophone, guitar and drums,
he incorporated loops and other effects to create an
exciting new ambient vibe. Cross plays tuba like asaxophone and he amazed listeners with his breath
control, phrasing and high register mastery.
The Jazz Bar in Edinburgh’s South Bridge Vaults
offers an intimate jazz club experience, and its
location within the vaulted arches beneath the bridge
further gives it a distinctive character. Originallyconstructed in the 18th century, the repurposed
vaults immerse visitors in a sense of history andmystery. The house band is a phenomenal trio
comprising Peter Johnstone (piano), Ewan Hastie(bass) and Doug Hough (drums). All leaders in theirown right, they challenged the stream of young aswell as seasoned musicians who joined them on stage
during many late-night jams. Johnstone, a graduateof the jazz program at the Royal Conservatoire of

36 September 2023 | THE NEW YORK CITY JAZZ RECORD

Scotland, launched the Jazz Bar festival programmingwith his own trio of Brodie Jarvie (bass) and Stephen
Henderson (drums).
Bassist Ali Watson’s quartet, made up of fouryoung leading lights of Glasgow’s thriving jazz
community, infused the Jazz Bar with a delightfulchamber jazz ethos. Watson’s emotive playing andconnection with drummer Greg Irons set the moodfor original pieces that organically developed into
contemplative meditations. The magic of theirrelationship was evident on “Moss”, the title trackfrom Watson’s self-released EP, where he and pianist
Alan Benzie engaged in exquisite interplay. Tenor
saxophonist Matt Carmichael, the fourth memberof this quartet, shares a strong bond with Watson.
Together they gracefully wove Celtic folk influences
into the tunes. Carmichael, another rising star in
Scottish jazz, released Where Will the River Flow
(2022) with Watson, a must-listen for those intriguedby their unique approach to jazz.
The Jazz Bar also hosted the Mona Krogsted
Quartet. The young Norwegian tenor saxophonist led
a session that began with a spiritually charged opener,
establishing the tone for a program that featured hersoulful playing and captivating compositions. Someof the evening’s material was drawn from her Virgo
Sun (2022). Pianist Joakim Rainer Petersen expertly
used palm muting and string techniques to color astunning “Interlude”. “Umbria”, in waltz time, wasoutstanding in the first set; “Kleopatra”, inspiredby Wayne Shorter’s “Nefertiti”, anchored a moreadventurous second set.
Cowgate is a historic street in Edinburgh known
for its vibrant nightlife and lively music scene.
Originally established in 1992, La Belle Angele
quickly became one of its pivotal live music hubs,
supporting local artists and hosting a variety ofmusic. In 2002, a fire devastated the club andsurrounding buildings. It was later reconstructed
and again stands as Edinburgh’s edgiest music spot.
Two septets pumped up a full house there with
infectiously funky jazz/soul fusion. Astrosnax, withbaritone saxophonist Gyan Panesar and trombonist/
vocalist Anoushka Nanguy, treated their faithful
to a punchy melodic set of great arrangements that
had James Mackay’s electric guitar up in the mix.
The Millhouse Collective from Dundee had someequipment malfunctions, but keyboardist Liam James
kept it all together with a jam band feel. Their parodyof “Part-Time Lover”, titled “Tea-Time Lover”, wasan enjoyable, campy delight.
Harry Weir is another talented young Glasgowbased saxophonist and his Blue Boar Brass, witha decidedly NYC sensibility, debuted at La Belle
Angele. His band’s tuba-grounded rhythm section
cooks like a Brooklyn Balkan brass band but with
Weir’s spiritual sax leading the way. A clear Pharoah
Sanders influence was present in his playing; his
tongue slapping, squeals, squonks and overblows
were impressive, but most striking was his melodic
and tonal mastery. This set proved he is on the vergeof becoming a major force in Scottish jazz and worldmusic.
Norway’s
Elephant9,
comprisingStåle
Storløkken (keyboards), Nikolai Hængsle Eilertsen(bass) and Torstein Lofthus (drums), followed Weirand delivered a powerful performance to a young
audience. The club provided the perfect backdrop for
their bass-heavy, stomach-jarring psychedelic jazz/rock. The group evoked shades of King Crimson,
Edgar Froese and Emerson, Lake and Palmer withintricate rhythms, agile keyboards and mesmerizing
effects. Eilertsen and Lofthus were closely attuned,enabling Storløkken to take the ensemble onotherworldly journeys. Their performance was ahigh point in a festival filled with many memorable
and remarkable moments.
For more info visit edinburghjazzfestival.com

(INTERVIEW CONTINUED FROM PAGE 6)
dark time for humanity. It was also a very isolated
time. So, the whole idea of giving thanks to the Creator(whatever Creator you want to give thanks to) is an
homage, the same way that John Coltrane’s A Love
Supreme is.
TNYCJR: One could hear the influences, especially
Coltrane in the first few moments of your new record.
Ackamoor: There is a unifying theme: everything fromhomage to our ancestors (“Requiem for the Ancestors”)
to the societal and political (“Police Dem”, inspired by
the George Floyd episode). It’s also celebratory, likethe ending track “Nice It Up”. That’s a Jamaican patois
term; if you want to “nice up” the party, you want the
party to go to another level. That number ends thealbum, but everything in between is a journey.
TNYCJR: And what would you like listeners toexperience?
Ackamoor: I really would like them to look at the album
cover and put themselves in that landscape. They canutilize the music to make their own mind up about eachtrack, what it means to them personally, outside of what
it means to me—to take from [each] track their own
interpretation. I’ve set the odyssey, but everybody’sjourney is going to be different.
For more info visit idrisackamoor.bandcamp.com. Ackamoor& The Pyramids album release concert is at Public Records
Sep. 14. See Calendar.
Recommended Listening:• Idris Ackamoor & The Collective—Idrissa’s Dream(Sagittarius A-Star - Strut, 1971)• The Pyramids—Aomawa: The 1970s Recordings[Lalibela, King of Kings, Birth/Speed/Merging 1976,
Live at KQED 1975] (Pyramid-Strut, 1973-75)• Idris Ackamoor—Centurian (Cultural Odyssey, 1999)• Idris Ackamoor & The Pyramids—We Be All Africans(Strut, 2016)• Idris Ackamoor & The Pyramids—An Angel Fell
(Strut, 2017)• Idris Ackamoor & The Pyramids—
Afro Futuristic Dreams (Strut, 2022)(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)
the band’s bassist Walter Stinson). He says, “I joined
Biophilia because the task of enacting environmental
justice through the means of releasing music wasappealing to me. It was also great to be in the company
of other great artists and colleagues who shared thisgoal.”“I can’t think of any label like Biophilia,” said tenor
saxophonist María Grand. “At its core Biophilia reflects
Fabian’s personality and he is the ultimate definitionof generosity. I was given total creative license; as avery young musician he just trusted my vision andwholly supported me... The vision of the label isreflected in the inner interpersonal dynamics of thework environment.” Her full-length debut Magdalena
includes spoken word, song and driving, darting
saxophone trio tracks with Rashaan Carter (bass) andJeremy Dutton (drums) in an endless, unsettling quest.
Her following Reciprocity with Kanoa Mendenhall(bass) and Savannah Harris (drums) centers on theexperience of pregnancy, birth and healing and is amore serene offering with propulsive rhythms andfocus on her expressive voice.
The striking album by Tropos, Axioms // 75 AB, isstructured—hence the title—like an old-style LP, withtwo different sides. The five young musicians introduce
their own music on the first side, while in the second they
confront several seminal ’70s compositions by Anthony

Braxton—from the Realbook of an alternative universe,
according to the inspired definition in the liner notes byaccordionist and Braxton alumnus Ted Reichman. Laila
Smith (vocals), Raef Sengupta (saxophone), Phillip
Golub (piano), Zachary Lavine (bass) and Mario Layne
Fabrizio (drums/percussion) met at New EnglandConservatory of Music studying with Joe Morris. They
creatively integrate their inspirations’ improvisational
techniques into their own original compositions, while
giving an exhilarating re-reading of Braxton tunes.
Of other Biophilia artists, Rajna Swaminathan
is a specialist of the two-headed mrudangam drum of
Karnatik music that she integrates with piano andvoice. Her talent-rich ensemble RAJAS (sanskrit for“passion”) includes Amir ElSaffar, Anjna Swaminathan,Stephan Crump, Grand, Miles Okazaki and Ganavya
Doraiswamy. Their Of Agency and Abstraction createsa unique soundscape, offering a balanced space forreflection. Portuguese vocalist Serpa trusted Biophiliawith her two latest projects, Recognition and Intimate
Strangers. Each are travelogues through the historicallegacy of Portuguese colonialism in Africa withluminaries such as Zeena Parkins, Turner and David
Virelles as well as through contemporary Africa with
Nigerian writer Emmanuel Iduma, Sofía Rei, Aubrey
Johnson, Matt Mitchell and Qasim Naqvi. Serpa speaks
openly about her admiration for Almazan’s work ethics
and commitment to climate justice in the music industry:“We need more people like him in our industry, talking
about the environmental impact of manufacturing andbeing more conscious about the climate crisis and our
choices as citizens and artists...the Biophilia label islike a family—the relationships are developed withrespect, kindness and generosity. Fabian supports
musicians hailing from multiple traditions by puttingout their work and giving them a platform. I love theattention to providing high-definition downloads andthe Biopholio concept and its possibilities for artwork.”
For more info visit biophiliarecords.com. Biophilia artists
performing this month include: Sara Serpa is at Joe’s Pub
Sep. 28 and is co-founder of M³ Festival at Roulette Sep.
21-23. Adam O’Farrill is at Lowlands Bar Sep. 27, Scholes
Street Studio Sep. 15 with Patricia Brennan, The Stone Sep.
23 with Anna Webber and The Jazz Gallery Sep. 29-30 withAngelica Sanchez. See Calendar.
(LEST WE FORGET CONTINUED FROM PAGE 10)
Woody Herman’s band and in 1968 (after a European
tour with Herman) decided to stay, taking advantage
of broader opportunities for jazz musicians there. He
lived in Paris for four years, then in Germany for five
more, often collaborating with fellow expats including
drummer Kenny Clarke and tenor saxophonist Dexter
Gordon. Whigham says, “After Slide relocated toEurope, our paths often crossed in Paris, Germany and
Italy. It was always a great lesson playing with andlistening to him.” Hampton returned to the States in
1977, focusing on writing arrangements for Gordon.
He also organized trombone groups, leading to his ’80s
band, the World of Trombones.
In the late-’80s, he found a new outlet for playing
and writing when he joined Gillespie’s United Nation
Orchestra, eventually becoming its music director. In
1989, with Paquito D’Rivera, the trombonist became
music director of Dizzy’s Diamond Jubilee, a year-longseries of celebrations honoring the trumpeter’s 75thbirthday. Following Gillespie’s death in 1993, Hampton
became the music director of the Dizzy Gillespie AllStar Big Band. Baritone saxophonist Frank Basile, who
met Hampton when he was the conductor and frontman
for this unit, says, “Slide was a true quadruple threat:trombonist, composer, arranger and conductor, all at
the absolute highest level.” Late in his career, Hampton
became a two-time Grammy winner (both times as
an arranger). He won in 1998 for a live productionof Ellington’s “Cotton Tail” performed by Dee Dee

Bridgewater, and again in 2005, for the writing on the
Vanguard Jazz Orchestra’s recording The Way: Music ofSlide Hampton. He was also named an NEA Jazz Masterin 2005 and received the Jazz Foundation of America’s
Lifetime Achievement Award in 2021.
Hampton became an educator, teaching at
Harvard, DePaul University and the University of
Massachusetts, among others. “His knowledge of jazzmusic was exhaustive,” says Basile. “He was forevercurious about learning more.” Over his many years,
formally and informally, Hampton mentored many
aspiring trombonists and other musicians, with anemphasis on the expressive end of music as well as anappreciation of what jazz musicians could learn fromclassical studies. Trombonist Steve Turre recalls, “Slide
was one of my main trombone gurus, along with J.J.,
Curtis [Fuller] and Julian Priester. Slide really opened
me up to ways to make advanced changes and bebop.”
Hampton was universally noted to be a humble
man. He often left the stage after a solo, for instance,
so as not to upstage other band members when theirturns came. He also attributed his success in largepart to practice. Turre adds, “I spent many days at hisplace practicing with him all day. He was constantly
practicing—a true inspiration.” Hampton practiced
four to five hours a day throughout his career andwas still practicing the trombone two days before his
death. He was also demanding of himself. “Oftentimes,
he wouldn’t continue to play if he thought something
he played wasn’t up to his standard,” Edwards notes.
“Even with the whole band fawning over his brilliance,he’d put the horn down, and say, ‘No, I don’t have it
today.’”
Slide Hampton’s legacy, says Basile, is “anincredible body of masterful music that will be enjoyed,
appreciated and studied forever. His arrangements andvoicings were so unique and personal and always swung
like mad.” But perhaps the most telling summation of alife dedicated to music over eight decades is Edwards’
observation: “The magic was still in his playing until
the end.”The Slide Hampton Octet tribute band with Sam Dillon,
Frank Basile, Nick Marchione, Bruce Harris, Robert
Edwards, James Burton III, Mike Karn and Charles Ruggierois at Birdland Theater Sep. 7. See Calendar.
Recommended Listening:• Slide Hampton—And His Horn of Plenty(Strand, 1959)• Slide Hampton—Mellow-Dy (LRC, 1967-68)• Slide Hampton—W.O.T. (Black Lion, 1979)• Slide Hampton—Roots (Criss Cross, 1985)• Slide Hampton & The Jazzmasters—
Dedicated to Diz (Telarc Jazz, 1993)• Slide Hampton and The World of Trombones—
Spirit of the Horn (MCG Jazz, 2003)

THE NEW YORK CITY JAZZ RECORD | September 2023 37

CALENDAR
Friday, September 1
Arthur’s Tavern 10 pm• Bobby Harden with Off Da Hook
• Ember with Caleb Wheeler Curtis, Noah Garabedian, Vinnie Sperrazza

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Guilherme Monteiro/Helio Alves
Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-Stars
BirdlandBig
Band;
Catherine
Russell
Birdland 5:30, 8:30, 10:30 pm $25-45•
êMiki Yamanaka Trio with Jeff “Tain” Watts, Tyrone Allen
Birdland Theater 7, 9:30 pm $20-30êAmity Duet: Avishai Cohen, Makoto Ozone Blue Note 8, 10:30 pm $40-55• Samba de Gringo; Clovis Nicolas Quartet Cellar Dog 7, 8:30, 11 pm $10êHelen Sung: “Going Big, Band & Beyond”; Fernando Saci
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-55• Ron Jackson Trio; Mariel Bildsten Septet The Django 7:30, 9, 10:30 pm, 12 am $25• Pete Malinverni, Ugonna Okegwo, Aaron Seeber; Charlie Sigler Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Harlem Jazz Boxx presents Melissa Slocum Mount Morris Ascension Presbyterian Church 7 pm
Patrick’s Place 8 pm
• Patience Higgins Jazz JamRoom 623 at B2 Harlem 7, 8:30, 10 pm $20• Noah Halpern
Peter
Louis
Octet
Silvana 8 pm•
• Michael Dease Quartet with Geoffrey Keezer, Jared Beckstean-Craan, Gary Kerkezou;
Corey Wallace Dubtet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êPeter Bernstein Quartet with Al Foster, Adam Birnbaum, Doug Weiss
Smoke 7, 9, 10:30 pm $35-55• Tones Twill with Eyvind Kang, Zosha Warpeha, Doug Wieselman, Mir Naqibul Islam
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êGilad Hekselman with Larry Grenadier, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Saturday, September 2
Arthur’s Tavern 7 pm
• Axel Tosca• Pluto Juice with Dayna Stephens, Anthony Fung, Charles Altura, Billy Mohler
Bar Bayeux 8, 9:30 pmêGreg Joseph Trio with Larry Goldings, Steve Cardenas

Bar Lunàtico 9, 10:30 pm $10• Dana Lyn, Mike McGinnis, Sara Schoenbeck; Lucian Ban/Mat Maneri : “Transylvanian Concert
Barbès 6 pm $20
Bill’s Place 7, 9 pm $30
Birdland 8:30, 10:30 pm $40
êMiki Yamanaka Trio with Jeff “Tain” Watts, Tyrone Allen
Birdland Theater 7, 9:30 pm $20-30• Amity Duet: Avishai Cohen, Makoto Ozone Blue Note 8, 10:30 pm $40-55
Dave
GibsonOrgan
Quartet;
Kyoko
Oyobe
Quartet•Cellar Dog 7, 8:30, 11 pm $10êHelen Sung: “Going Big, Band & Beyond”; Fernando Saci
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-55
êEd Cherry Quartet; Craig Handy and 2nd Line Smith
The Django 7:30, 9, 10:30 pm, 12 am $25• Pete Malinverni, Ugonna Okegwo, Aaron Seeber; Steve Ash, Joseph Ranieri, Aaron Kimmel
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Tim Lin, Jeb Patton, Will Lyle, Billy Drummond Nublu 151 7, 8:30 pm $22.66
Silvana 7 pm
• Meïa Santiago• Michael Dease Quartet with Geoffrey Keezer, Jared Beckstean-Craan, Gary Kerkezou;
Saul Rubin Zebtet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êPeter Bernstein Quartet with Al Foster, Adam Birnbaum, Doug Weiss
Smoke 7, 9, 10:30 pm $35-55
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êGilad Hekselman with Larry Grenadier, Marcus Gilmore
Village Vanguard 8, 10 pm $40• Bill Saxton & The Harlem All-StarsêCatherine Russell

Sunday, September 3
Arthur’s Tavern 7 pm
• Creole Cookin’ Jazz Band
Bar Lunàtico 9, 10:30 pm $10• Los Cielitos• Danny Jonokuchi Big Band; Arturo O’Farrill and The Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40êMiki Yamanaka Trio with Jeff “Tain” Watts, Tyrone Allen

Birdland Theater 7, 9:30 pm $20-30• Harlem Blues Project; Amity Duet: Avishai Cohen, Makoto Ozone

Blue Note 12:30, 2:30, 8, 10:30 pm $25-55
Cellar Dog 7, 8:30 pm $5

êEd Cherry TrioêJennifer Wharton’s Bonegasm with John Fedchock, Nate Mayland, Alan Ferber, Manuel Valera, Evan Gregor, Don

PeretzCulture Lab LIC 7 pm
Dizzy’s Club 5, 7:30 pm $25-55
The Django 6:30, 8, 9:30, 11 pm $25
êJon-Erik Kellso and the EarRegulars
Ear Inn 8 pm
• Teri Roiger with Steve Berger, John Menegon Entwine Wine Bar 6, 7, 8 pm
• Welf Dorr, Elias Meister, Jeong Lim Yang, Dalius Naujo
The Keep 9 pm
• Emily Braden, Marius Van Den Brink, Neal Caine; Jamile Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êLew Tabackin Trio with Yasushi Nakamura, Jason Tiemann
Michiko Studios 7, 8:30 pm $20• Aubrey Johnson with Randy Ingram, Dave Baron
North Square Lounge 12:30, 2 pm
Patrick’s Place 12 pm $10• Boncellia Lewis and Friends• Robbie Lee; Mimi Jones: “Jazz and Jam Party” Room 623 at B2 Harlem 6, 8, 10 pm $20• Chris van Voorst van Beest, Caroline Davis, Eliza SalemSaint Peter’s Church 5 pm
Shrine 8 pm
• Shrine Big Band
Silvana 8 pm
• John Colonna
Hayes
Greenfield
Quartet
with
Jim
Ridl,
Dean
Johnson, Tim Horner; Nick Hempton Quartet and Jam•
Smalls 7:30, 9, 10:30 pm, 12 am $35
êPeter Bernstein Quartet with Al Foster, Adam Birnbaum, Doug Weiss
Smoke 7, 9 pm $35-55
êGilad Hekselman with Larry Grenadier, Marcus Gilmore
Village Vanguard 8, 10 pm $40
êHelen Sung: “Going Big, Band & Beyond”
êAaron Goldberg Trio; Michael Kanan Trio

Monday, September 4
Arthur’s Tavern 7 pm
• Grove Street StompersêNicole Zuraitis with Christian McBride
Birdland 7 pm $30-40êVince Giordano And The Nighthawks
Birdland Theater 5:30, 8:30 pm $20-40êNicholas Payton with Joel Ross, Bill Stewart, Vicente Archer, James Francies
Blue Note 8, 10:30 pm $25-35
Cellar Dog 7, 8:30 pm $5• Willerm Delisfort Trio
• Joey Ranieri Quintet; Sean Hong Wei Quartet The Django 7:30, 9, 10:30, 12 am $25
êLeo Chang/Sam Newsome/Lesley Mok; Warren Smith Trio with Hilliard Greene, Rod Williams; TA Thompson’ Sonic
Matters with Sara Schoenbeck, Ken Filiano Children’s Magical Garden, 2 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Spike Wilner Trio; Ed Cherry Trio
• New York Jazz Gypsies with Omar Edwards Shrine 7 pm
• Jochen Rueckert Quartet with Troy Roberts, Nicholas Pennington, Matt Penman;
Mike Boone Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Tsutomu Nakai with Lafayette Harris Jr., Lonnie Plaxico, Daniel Green
Zinc Bar 7, 8:30 pm $25-30

Tuesday, September 5
Bar Lunàtico 9, 10:30 pm $10• Luisito Quintero’s 3rd Element Quintet• Emmet Cohen Trio with Phillip Norris, Joe Farnsworth• Gabrielle Stravelli Trio

Birdland 7, 9:30 pm $30-40
Birdland Theater 5:30 pm $20-30êNicholas Payton with Joel Ross, Bill Stewart, Vicente Archer, Sullivan FortnerBlue Note 8, 10:30 pm $25-35

Cellar Dog 7, 8:30 pm $5• Our Delight• Christie Dashiell with Allyn Johnson, Romeir Mendez, Carroll Dashiell III

Dizzy’s Club 7:30, 9:30 pm $20-45• Tim Ries Latin Project; Benito Gonzalez Trio The Django 7:30, 9, 10:30 pm, 12 am $25• James Paul Nadien; Bethany Dinsick; James McKain, Tom Weeks, Kevin Murray; Marc Edwards &Slipstream Time with Tor Snyder, Takuma Kanaiwa, Ayumi Ishito, Ryan Siegel, Robert Mac Vega-Dowda,
Eric Plaks, Brenna Rey; Patrick Golden Group with Dave Sewelson, Jim Clouse, Matt Hollenberg, Adam Lane
Downtown Music Gallery 6:30 pm

ê = Recommended Shows• Chico Pinheiro Trio; Tardo Hammer Trio Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Pangea 7 pm
• Iris Ornig Trio and Jam• Richie Vitale Quintet with Frank Basile, Steve Ash, Paul Gill, Peter Van Nostrand; Obasi Akoto Quartet
and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Cosmo with Jesse Harris, Will Graefe, Jeremy Gustin, James Buckley, Kenny Wollesen
Sultan Room Rooftop 7 pm $19.57
êChris Williams, DoYeon Kim, Calvin Weston, William Parker, Cooper-Moore
Union Pool 7 pmêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Hendrik Meurkens Samba Jazz Quartet with Portinho, Misha Tsiganov, Gili Lopez: “Só Brasil—
A Tribute To Marcos Valle”
Zinc Bar 7, 8:30 pm $30-35

Wednesday, September 6• Will Boulware Trio with Lonnie Plaxico, Kirk Driscoll
333 Lounge 7:30, 9:30 pm• Cardinal with Julian Shore, Caleb Curtis, Vinicius Gomes, Rogerio Boccato
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Jeff Rum Trio
• Emmet Cohen Trio with Phillip Norris, Joe Farnsworth
Birdland 7, 9:30 pm $30-40êDavid Ostwald’s Louis Armstrong Eternity Band; Roni Ben-Hur with Ingrid Jensen, Ugonna Okegwo,
Jason Tiemann
Birdland Theater 5:30, 8:30 pm $20-30êNicholas Payton with Joel Ross, Bill Stewart, Vicente Archer, John Scofield
Blue Note 8, 10:30 pm $25-35
Cellar Dog 7, 8:30 pm $5• Brandi Disterheft TrioêPatrick Zimmerli with Román Filiú, O’Reilly, Chris Potter, Ron Blake, Edward Simon, Scott Colley,
E.J. Strickland
Dizzy’s Club 7:30, 9:30 pm $20-45• Jed Levy Quartet with Jim Ridl, Sam Bevan, Alvester Garnett; Ben Wolfe Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êSullivan Fortner
The Jazz Gallery 7:30, 9:30 pm $15-40
Antonio
CiaccaTrio;Greg
MurphyTrio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35•• Frank Lacy, Hilliard Greene, Yayoi Ikawa, Taru Alexander
New Amsterdam Musical Association NAMA 8 pm
• Kelley Suttenfield with Eleonora Kouneni, Josh Richman, Bob Gingery, Nadav Snir-Zelniker
Pangea 7 pm $25• Freddie Hendrix and Friends: “Harlem Jazz Session”
Room 623 at B2 Harlem 8, 10 pm $20• Max Seigel Nonet with Jay Rattman, Eric Davis, Matt McDonald, Jose Davila, Jason Marshall, Adam Birnbaum,
Scott Ritchie, Paul Wells; Curtis Nowosad Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Lezlie Harrison Quintet with Antoine Drye, John DiMartino, Yoshi Waki, Russell Carter
Smoke 7, 9 pm $35-55
êWendy Eisenberg, Ryan Sawyer, Lester St. LouisThe Stone at The New School 8:30 pm $20
Sultan Room Rooftop 7, 8:30 pm $19.57• My Tree; Haldeman
Antonio
CiaccaTwo E Lounge 6, 7, 8 pm•êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Thursday, September 7• Gary Versace, Anthony Pinciotti, Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Maleem Hassan Benjaafar
Dana
Lyn’s
Baby
Octopuswith
Mike
McGinnis,
Sara Schoenbeck, Gary Wang, Noel Brennan•
Barbès 8 pm $20• Emmet Cohen Trio with Phillip Norris, Joe Farnsworth
Birdland 8:30, 10:30 pm $30-40êSam Dillon, Frank Basile, Nick Marchione, Bruce Harris, Robert Edwards, James Burton III, Mike Karn,Charles Ruggiero: “Celebrating the Slide Hampton Octet”
Birdland Theater 8:30 pm $20-30
The Bitter End 8:15 pm $20• Brian Mitchell Band
Chris
Dave/Weedie
BraimahDuo
withSavionGlover•Blue Note 8, 10:30 pm $30-45• Bebop Collective Quartet; Matt Martinez Cellar Dog 7, 8:30, 11 pm $5• Patrick Zimmerli with Román Filiú, O’Reilly, Chris Potter, Ron Blake, Edward Simon, Scott Colley,
E.J. Strickland; Jarien Jamanila
Dizzy’s Club 7:30, 9:30, 11:15 pm $20-45
The Django 7:30, 9, 10:30, 12 am $25• Todd Herbert Quartet; Mark WhitfieldêFestival Of New Trumpet Music (FONT): Jeff Beal; Mark Isham; Keyon Harrold
Fotografiska 7 pm $45
The Jazz Gallery 7:30, 9:30 pm $10-45• Roy Hargrove Big BandêMartin Wind, Jim McNeely, Ed Neumeister; Ray Gallon Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êJohn Menegon with Jean-Michel Pilc, Chet Doxas, Jim Doxas
Ornithology Jazz Club 9, 10:30 pm
Patrick’s Place 7 pm $10• Phil Young Experience
Silvana 7 pm
• Reginald Chapman• Greg Skaff Trio with Ugonna Okegwo, Carmen Intorre Jr.; David Gibson Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êEddie Henderson Quintet with Donald Harrison, George Cables, Gerald Cannon, Lenny White
Smoke 7, 9 pm $35-55• Matt Kane with Yayoi Ikawa, Steve Laspina Soapbox Gallery 8 pm $25
êWendy Eisenberg/Caroline Davis
The Stone at The New School 8:30 pm $20• Wood River with Charlotte Greve, Charlotte Jacobs, Ryan Dugre, Chris Morrissey, Bill Campbell
Sultan Room Rooftop 7 pm $19.57
Two E Lounge 6, 7, 8 pm
• Eric Yves GarciaêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Friday, September 8• Tyler Mitchell Band with Nicoletta Manzini, Michael Weiss, Anthony Pinciotti

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10êEivind Opsvik Overseas with Tony Malaby. Jacob Sacks, Brandon Seabrook, Kenny Wollesen
Barbès 8 pm $20
Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-Stars• Birdland Big Band; Emmet Cohen Trio with Phillip Norris, Joe Farnsworth
Birdland 5:30, 8:30, 10:30 pm $25-45
Birdland Theater 7, 9:30 pm $20-30• Geoffrey Keezer Trio
• Chris Dave/Weedie Braimah Duo with Savion Glover
Blue Note 8, 10:30 pm $30-45
Bridge & Tunnel Brewery 7:30 pm• Rotem SivanêWadada Leo Smith: “America Transformed” Brooklyn College 7:30 pm $10• Frank Lacy Quartet with Hilliard Greene; Miki Yamanaka Quartet
Cellar Dog 7, 8:30, 11 pm $10êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Ben Young, Aaron Scott; Jarien Jamanila
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-60• Matt Rollings with Conrad Korsch, Beth Goodfellow; Charles Ruggiero and The Cracktet
The Django 7:30, 9, 10:30 pm, 12 am $25
êDezron Douglas Solo; Dezron Douglas with Abraham Burton, Craig Taborn, Dan Weiss:“Wilbur Ware 100th Birthday Anniversary” The Jazz Gallery 7:30, 9:30 pm $15-40
êMicah Thomas Trio; Jon Davis Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êHarlem Jazz Boxx presents Marty Ehrlich Philosophy of a Groove with Kelvyn Bell, Jerome Harris, Ben Perowsky
Mount Morris Ascension Presbyterian Church 7 pm
• Festival Of New Trumpet Music (FONT): Kal Ferretti/Michael Golub with Noam Avnon, Jasper Grigsby-Schulte,
Rintaro Mikami
New School, 5th Floor Jazz Performance Space 8 pm
Nublu 151 7 pm $22.66• CHRYSALISDrinking
Bird
with
EladioRojas,
Tree
Palmedo,Jacob Drab•
The Owl Music Parlor 8 pm $12
Patrick’s Place 8 pm
• Patience Higgins Jazz JamêRhythm in the Kitchen Festival: William Hooker/Yaching Cheung; patrick brennan with Hilliard Greene; Solastaltia;
John King; Barbiana Complex; Sarah Bernstein; Sam Day Harmet’s Soundpainting Orchestra
Prime Produce 3 pm $20
Room 31 at Arlo NoMad 7:30, 9 pm $44.82• Lizzie Thomas DuoêDayna Stephens; Emmanuel Michael
Room 623 at B2 Harlem 7, 8:30, 10 pm $20
êAyman Fanous with Ben Stapp
Scholes Street Studio 7 pm
Silvana 8 pm
• Maurer Metrailler Quartet• Amanda Sedgwick/Dwayne Clemons Quintet; Philip Harper Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êEddie Henderson Quintet with Donald Harrison, George Cables, Gerald Cannon, Lenny White
Smoke 7, 9, 10:30 pm $35-55
êWendy Eisenberg, Matt Wilson, Chris Lightcap The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca• Itai Kriss & Telavana

38 September 2023 | THE NEW YORK CITY JAZZ RECORDêBill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 8, 10 pm $40• Kaisa’s Machine with Käisa Mäensivu, Julieta Eugenio, Max Light, Joe Peri
Zinc Bar 7, 8:30 pm $30

Saturday, September 9• Jerome Sabbagh Trio with Vicente Archer, Kush Abadey

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10êGreg Lewis’ Organ MonkêHank Roberts Sextet with Brian Drye, Dana Lyn, Mike McGinnis, Jacob Sacks, Vinnie Sperrazza

Barbès 6 pm $20

Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-Stars• Emmet Cohen with Phillip Norris, Joe Saylor Birdland 8:30, 10:30 pm $30-40
Birdland Theater 7, 9:30 pm $20-30• Geoffrey Keezer Trio
• Chris Dave/Weedie Braimah Duo with Savion Glover

Blue Note 8, 10:30 pm $30-45
Brooklyn College 7:30 pm $10
Frank
BasileQuintet;Ai
Murakami
QuartetCellar Dog 7, 8:30, 11 pm $10•
Chelsea Table + Stage 9:30 pm $27-47• Daisy Jopling/Frank ShinerêIsaiah Barr Trio; gabby fluke-mogul/Charles Burnham; Anaïs Maviel Choral Trio
Children’s Magical Garden de Carmen Rubio 2 pm
Church of St Luke and St Matthew 7 pm $30• Bahauddin DagarêBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Ben Young, Aaron Scott; Jarien Jamanila
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-60• Tommy Campbell Trio; Dave Stryker Quartet The Django 7:30, 9, 10:30 pm, 12 am $25
êIssue Project Room presents Roscoe Mitchell/John McCowen; Beam Splitter with Audrey Chen, Henrik Munkeby
NørstelbøFirst Unitarian Church 8 pmêBertha Hope/Elmo Hope Project with Kim Clarke; Cindy Lou & Her Blues Band; Dick Griffin Quintet;
Nat Adderley, Jr. Quartet; Ray Blue Quintet with Eddie Allen, Ronnie Burrage Quintet; Whitney Marshall Quintet
Governors Island noon-7 pm
êRussell Hall Quartet with Mike Troy, Esteban Castro, Matt Lee: “Wilbur Ware 100th Birthday Anniversary”
The Jazz Gallery 7:30, 9:30 pm $15-40
êJason Moran and The Bandwagon
Louis Armstrong Center 4, 6 pm $30
êBobby Sanabria Multiverse Big Band
Marcus Garvey Park 3 pmêMicah Thomas Trio; Anthony Wonsey Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Nublu 151 8 pm $20-25• Loboko & DJ NenimêRhythm in the Kitchen Festival: James Paul Nadien Toadal Package; Sana Nagano; Laura Feathers Ensemble;
Phill Niblock; Indeterminate Ensemble; Chuck Bettis/Dafna Naphtali; Third Eye Electric Band
Prime Produce 3 pm $20
êGunhild Carling/Yaacov Mayman Jazz Band Queens Central Library 2 pm
Room 31 at Arlo NoMad 7:30 pm $18.07• Lost Amsterdam• Village Trip Festival: Michael Kelly/Brad Moore
Salmagundi Club 7 pm $30
êAyman Fanous, Kinan Azmeh, Mat Maneri
Scholes Street Studio 7 pm
• Amanda Sedgwick/Dwayne Clemons Quintet; Jason Marshall Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êEddie Henderson Quintet with Donald Harrison, George Cables, Gerald Cannon, Lenny White
Smoke 7, 9, 10:30 pm $35-55
êWendy Eisenberg/David Grubbs
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40
êWadada Leo Smith: “America Transformed”

Sunday, September 10• Booker Stardrum, Chris Williams, Alexis Marcelo

411 Kent 8 pm $20
Aberdeen Street Community Garden 5 pm
Arthur’s Tavern 7 pmêTony Malaby, Angelica Sanchez, Tom Rainey Bar Lunàtico 9, 10:30 pm $10• Festival Of New Trumpet Music: Ben Neill Bella Abzug Park 4 pm
• Modern Martinis with Melanie Goerlitz, Darin Brown; Arturo O’Farrill and The Afro- Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $20-40
Birdland Theater 7, 9:30 pm $20-30• Geoffrey Keezer Trio
Chris
Dave/Weedie
BraimahDuo
withSavionGlover•Blue Note 8, 10:30 pm $30-45êWadada Leo Smith: “America Transformed” Brooklyn College 7:30 pm $10
Cellar Dog 7, 8:30 pm $5• Spike Wilner TrioêRob Brown/Juan Pablo Carletti; Lester St. Louis/eddy kwon;; Miriam Parker Trio with No Land,
Raina Sokolov-Gonzalez
Children’s Magical Garden de Carmen Rubio 2 pm
Cutting Room 7:30 pm $20-25• John Miller Quartet +3êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Ben Young, Aaron Scott
Dizzy’s Club 5, 7:30 pm $25-60• Bennett Paster Quartet; Neal Miner Trio The Django 6:30, 8, 9:30, 11 pm $25
êJon-Erik Kellso and the EarRegulars
Ear Inn 8 pm
• Teri Roiger with Steve Berger, John Menegon
Entwine Wine Bar 6, 7, 8 pm
Jazz Museum in Harlem 7 pm
• Corinne Bailey RaeêShunzo Ohno with Clifford Carter, Leo Travarsairry Arpino, Francis Jacob, Lotus Chamber Music Collective
Joe’s Pub 6 pm $30• Welf Dorr, Shoko Nagai, Dmitry Ishenko, Rodrigo Recabarren
The Keep 9 pm
• Jane Irving, Joshua Richman, Kevin Hailey; Vanisha Gould Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Festival Of New Trumpet Music (FONT): Kelly Rossum & Fifth Bridge with Jason Crafton, Gabriel DiMartino,
Nadje Noordhuis, Peyden Shelton
New School Stiefel Hall 8 pm
• Kate Baker with Ben Cassara, Jim Ridl, Dean Johnson
North Square Lounge 12:30, 2 pmêBeing & Becoming with Peter Evans, Joel Ross, Nick Jozwiak, Michael Shekwoaga Ode
Nublu 151 7 pm $22.66• Alexandra Ridout Quintet with Iver Cardas, Tal Kalman, Rafael Enciso, Eliza SalemThe Owl Music Parlor 7:30 pm $12
Patrick’s Place 12 pm $10• Boncellia Lewis and FriendsêRhythm in the Kitchen Festival: Jason Kao Hwang Trio; Marc Edwards Slipstream Time;
Theo Woodward Ensemble; William Hooker Group; On K’a Davis 3D Veve; Shelley Hirsch/Ka Baird;
Mohammed Kubbara Sextet
Prime Produce 3 pm $20• The Guests: Lucy Woodward and Henry Hey Rizzoli Bookstore 5 pm $25
ImaniRousselle
Room 623 at B2 Harlem 6 pm $20•• Mark Wade, Tim Harrison, Scott Neumann Saint Peter’s Church 5 pm
Silvana 8 pm
• Jerome Covington• Charles Ruggiero Quartet; Aaron Johnson Boplicity and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êEddie Henderson Quintet with Donald Harrison, George Cables, Gerald Cannon, Lenny White
Smoke 7, 9 pm $35-55
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Cilla Vee, Marianne Giosa, Andrew Drury• Creole Cookin’ Jazz Band

Monday, September 11
Arthur’s Tavern 7 pm
• Grove Street Stompers
Bar Lunàtico 9, 10:30 pm $10• Natalie Cressman/Ian Faquini
Lim
Yang
Trio
with
Yoon
Sun
Choi,
Jeong
Lim
Yang, Andre Matos•

Barbès 7 pm $20
Birdland 7 pm $20-30
Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $30-45• Chris Dave Meets The Soul RebelsêWadada Leo Smith: “America Transformed” Brooklyn College 7:30 pm $10
Ehud
Asherie
Trio
Cellar Dog 7, 8:30 pm $5•• Dara Starr Tucker with Mike King, Greg Bryant, Marcus Finnie
Dizzy’s Club 7:30, 9:30 pm $25-65• Marcos Varela Quartet; Hank Allen-Barfield Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30• Linda Purl with Dave Finck, Ray Marchica Green Room at Yotel 7 pm
• Spike Wilner Trio with Greg Ruggiero; Pasquale Grasso; Ari Roland, Keith Balla
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êVillage Trip Festival: Alexis Cole/Monika Herzig: “Both Sides of Joni”
Pangea 7 pm $20-25êCecilia Lopez/Ingrid Laubrock
Roulette 8 pm $25• Joe Farnsworth Quantum Quartet with Aidan McKeon, Joe Block, Alexander Claffy; Miki Yamanaka Trioand Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Al Gafa with Ted Rosenthal, Jay Leonhart Zinc Bar 7, 8:30 pm $25-30• Richard CortezêVince Giordano And The Nighthawks

Tuesday, September 12• Ben Monder, Joe Martin, Diego Voglino

Bar Bayeux 8, 9:30 pm

• Tucci Swing• The Hot Sardines• Gabrielle Stravelli Trio

Bar Lunàtico 9, 10:30 pm $10
Birdland 7, 9:30 pm $35-45
Birdland Theater 5:30 pm $20-30êJohnny O’Neal Trio
Cellar Dog 7, 8:30 pm $5• Ronnie Burrage Holographic Principle with Alex Collins, Alain Bradette, Nimrod Speaks
Dizzy’s Club 7:30, 9:30 pm $20-45• Conrad Herwig And The Latin Side All-Stars The Django 7:30, 9, 10:30 pm, 12 am $25• Thomas Helton; Flip City With David Aaron, Nick Panoutsos, Dave Gould; Aidan O’Connell, Jon Elbaz,
Brandon Terzakis
Downtown Music Gallery 6:30 pmêDarius Jones
Lowlands 8, 9:30 pm $10
Steve
Einerson,Peter
Brendler,
Peter
Van
Nostrand;Stefan Vasnier Trio•
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Pangea 7 pm
• Iris Ornig Trio and Jam• Julius Rodriguez Quartet with Alonzo Demetrius, Philip Norris, Brian Richburg Jr.; Jason Clotter Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êChris Speed Trio with Dave King, Chris Tordini Sultan Room Rooftop 7 pm $19.57
êJohn Medeski/Joe Russo/Marc Ribot
Sultan Room 7, 10 pm $42.49
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Lafayette Harris Jr. with Lonnie Plaxico, Douglas Plaxico
Zinc Bar 7, 8:30 pm $30-35êFay Victor solo
Zürcher Gallery 7:30 pm $20

Wednesday, September 13
334 Lounge 7:30, 9:30 pm• Ron Affif Trio
411 Kent 8 pm $20• Shelley Hirsch
MichaelThomasQuartetwith
ManuelValera,Matt
Brewer, and Obed Calvaire•

Bar Bayeux 8, 9:30 pm• Adam Levy Trio with Larry Grenadier, Kenny Wollesen
Bar Lunàtico 9, 10:30 pm $10
Birdland 7, 9:30 pm $35-45• The Hot SardinesêDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola with Sara Caswell
Birdland Theater 5:30, 8:30 pm $20-30
Cellar Dog 7, 8:30 pm $5• Chris Beck Trio
• Mariel Bildsten Septet with Bruce Harris, Sarah Hanahan, Ruben Fox, Miki Yamanaka, Marty Jaffe, TJ Reddick
Dizzy’s Club 7:30, 9:30 pm $20-45• Joe Farnsworth Quartet; Charles Ruggiero Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 8 pm $20• Secret TrioêDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $15-40
êPatrick Golden Ensemble; Dave Miller, Ras Moshe, Martin Bisi; Stephen Gauci, Adam Lane, Colin Hinton; Thomas
Helton, Jon Irabagon, Sam Ospovat, Robert Bosto; Main Drag Conduction Orchestra
Main Drag Music 7 pm $15• Huvudbry; The Why with Anders Nilsson, Jeremy Carlstedt
Mama Tried 7 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Nitzan Gavrieli Trio; Jihee Heo Trio
• Judy Wexler with Jim Ridl, Essiet Essiet, Sylvia Cuenca
Pangea 7 pm $25
Queens Central Library 2 pm
• Yvonnick Prené Trio
• Peter Brainin and Friends: “Harlem Jazz Session”
Room 623 at B2 Harlem 8, 10 pm $20• Yuhan Su Quartet; Robert Edwards Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig
Smoke 7, 9 pm $35-55
êMatana Roberts/Cory Smythe
The Stone at The New School 8:30 pm $20
êIgor Lumpert, Peter Evans, Jeff Miles, Drew Gress, Kenny Grohowski
Sultan Room Rooftop 7 pm $19.57
Superfine 7 pm
• Ray Scro, Hilliard Greene and Jam• Festival Of New Trumpet Music (FONT): Dave Adewumi/Kellin Hanas
Threes Brewing 8 pm
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Thursday, September 14êMarc Copland with Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10
Barbès 8 pm $20
Birdland 7, 9:30 pm $35-45
êChampian Fulton
Birdland Theater 8:30 pm $20-30êJoel Harrison with Gary Versace, Stacy Dillard, and EJ Strickland.
The Bitter End 7 pm $20
Blue Note 8, 10:30 pm $25-35• Phony PPLBryant Park 7 pm
• José James: “Sings Badu”
PhilipHarperQuintet;Steve
AshQuartetCellar Dog 7, 8:30, 11 pm $5•• Keir GoGwilt with Wilfrido Terrazas, Alec Goldfarb, Kyle Motl, Miranda Cuckson, Conrad Harris, Coleman Itzkoff
Church of the Advent Hope 7:30 pm• Vanisha Gould/Victor Gould; Kali Rodriguez-Peña
Dizzy’s Club 7:30, 9:30, 11:15 pm $20-50• Jonny King Trio; Yotam Silberstein Quartet The Django 7:30, 9, 10:30 pm, 12 am $25
êLaraaji, Drew McDowall, Angel Bat Dawid, Oui Ennui, Alex Zhang Hungtai & North Americans: “Plantasia”
Green-Wood Cemetery 7 pm $40
êDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $15-40
êDena DeRose Trio; Michael Kanan Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Festival Of New Trumpet Music (FONT): Ray Larsen with Sara Schoenbeck, Andy Clausen, Ryan El-Solh; Allison
Philips; Kenny Warren
The Owl Music Parlor 7:30 pm $15
Patrick’s Place 7 pm $10• Phil Young ExperienceêIdris Ackamoor & The Pyramids
Public Records 7 pmêZorn@70 at Roulette Part Four: Conrad Tao, Stefan Jackiw, Jennifer Choi, Jay Campbell, Jorge Roeder,
Ches Smith, Peter Evans, Sam Jones
Roulette 8 pm $25-40
Silvana 7 pm
• Bobby Porcelli/John Bailey• Rachel Therrien Quartet; Sarah Hanahan Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig
Smoke 7, 9 pm $35-55
êEric Wyatt Quartet
SoulBk 6:30, 9 pm $25• Matana Roberts, Mazz Swift, Stuart Bogie The Stone at The New School 8:30 pm $20
êLove In Exile: Arooj Aftab with Vijay Iyer, Shahzad Ismaily, Kalia VandeverTown Hall 7:30 pm $32-62
Two E Lounge 6, 7, 8 pm
• Eric Yves GarciaêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Jason Lindner/Nate Wood
• Dayna Kurtz• The Hot Sardines

Friday, September 15êDarius Jones

411 Kent 8 pm $20• Troy Roberts Quartet with Tim Jago, Eric England, Jochen Rueckert
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• King Kozy
• La Manga with Daniela Serna, Mafer Bandola, Natalia Muñoz, Andrea Chavarro, Katherine Ocampo,
Lina Fernanda Silva.
Barbès 8 pm $20
Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-Stars
Birdland 5:30, 8:30, 10:30 pm $25-45• Birdland Big Band; The Hot Sardines
Champian
FultonBirdland Theater 7, 9:30 pm $20•
Blue Note 8, 10:30 pm $25-35• Phony PPL
Bridge & Tunnel Brewery 7:30 pm• Rotem Sivan
Hendrik
Meurkens
Quartet;SimonaPremazzi
Quartet•Cellar Dog 7, 8:30, 11 pm $10
Church of St Luke and St Matthew 7:30 pm $25• Ellen Arkbro: “Sculptures”
Omar
Sosa
Quarteto
Americanos
with
Peter
Apfelbaum,
Ernesto Mazar Kindelán, Josh Jones;•
Kali Rodriguez-Peña
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-55• Dave McMurray with Matt Beck, George Farmer, Abe Fogle; Ben Stivers Organ Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $15-40
Pedro
Giraudo
Tango
Trio
&
Terra
StringQuartetJoe’s Pub 7 pm $25-30•
Knickerbocker Bar & Grill 9 pm
• Arnie SainzêJeremy Pelt Trio; John Chin Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êHarlem Jazz Boxx presents Craig Harris & Harlem Nightsongs
Mount Morris Ascension Presbyterian Church 7 pm
• Alicia Hall Moran with James Moore, Caroline Shaw, Nathan Koci, Eleonore Oppenheim, Jacqueline Acevedo, Olivia
Bowman-Jackson, Sarah France, Brandon Ross, Thomas Flippin: “COLDHEARTED, an Indoor Ice-Skating Show”
National Sawdust 7, 9:30 pm $35-45
Patrick’s Place 8 pm
• Patience Higgins Jazz JamRoom 623 at B2 Harlem 7, 8:30, 10 pm $20• Faith Quashie; Wilfie WilliamsêAdam O’Farrill/Patricia Brennan
Scholes Street Studio 7 pm

• Sylvia Cuenca Quartet; Greg Glassman QuartetSmalls 7:30, 9, 10:30 pm, 12 am $40

êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola with Peter Bernstein

Smoke 7, 9, 10:30 pm $35-55
Soapbox Gallery 8 pm $25• Romain CollinêMatana Roberts/Ryan Sawyer
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Leila Duclos with Dave Schroeder, Steve Sandberg, Dominic Duval, Jr., Colin Stranahan
Zinc Bar 7, 8:30 pm $30• Greg Glassman TrioêBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig

Saturday, September 16• Axel Tosca• Noah Garabedian• Modupe Onilu• Dana Lyn with the Apple Hill String Quartet• Bill Saxton & The Harlem All-Stars• The Hot Sardines

Arthur’s Tavern 7 pm
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10
Barbès 6 pm $20
Bill’s Place 7, 9 pm $30
Birdland 8:30, 10:30 pm $35-45
êChampian Fulton
Birdland Theater 7, 9:30 pm $20
Phony
PPL
Blue Note 8, 10:30 pm $25-35•
Café Luce 6, 7, 8, 9 pm
• Teri Roiger/John MenegonêAbraham Burton Quartet; Tad Shull Quartet
Cellar Dog 7, 8:30, 11 pm $10• Omar Sosa Quarteto Americanos with Peter Apfelbaum, Ernesto Mazar Kindelán, Josh Jones
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-55• Dave McMurray with Matt Beck, George Farmer, Abe Fogle; Rico Jones Quartet
The Django 7:30, 9, 10:30, 12 am $25
êSteve Swell Trio with Dave Sewelson, TA Thompson; Matt Mottel/Tcheser Holmes; Alfredo Colon Trio
First Street Green 2 pm
Harlem Rose Garden 2 pm
• Kathryn FarmerêDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $15-40
Knickerbocker Bar & Grill 9 pm
• Mamiko WatanabeêAngel Bat Dawid
Knitting Factory at Baker Falls 7 pm $20
êStephane Wrembel: “The Django New Orleans” with Josh Kaye, Joe Boga, Adrien Chevalier, Joe Correia, David
Langlois, Nick Driscoll, Sarah KingLe Poisson Rouge 8 pm $25-35
êJeremy Pelt Trio; Johnny O’Neal Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
John
Zorn
And
Jesse
Harris:“Love
Songs”
with
Petra Haden, Brian Marsella, Jorge Roeder, Ches Smith•
National Sawdust 7 :30 pm $35
Nublu 151 7 pm $22.66• Top Ten Interlude with Telemakus & Tennishu, Corey Fonville & Randazzo, Dj HarrisonêVillage Trip Festival: Jazz for Justice: David Amram and his Loisaida Pick-Up Orchestra; The Tompkins Trio with Kiki Cotto,
Angel Acevedo, and Ernest Gonzalez; Bobby Sanabria and Los pleneros de la Calle; Caridad de la Luz, Marcos de la Fuente,
Tito Lespier: “Freedom First – We Are With You” Nuyorican Poets Café 7:30 pm $25-100êSylvia Cuenca Quartet; Eric Wyatt Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $40
êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig
Smoke 7, 9, 10:30 pm $35-55
êMatana Roberts, Mike Pride, Darius Jones, Kyp Malone
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Sunday, September 17• Creole Cookin’ Jazz BandêDan Weiss Trio

Arthur’s Tavern 7 pm
Bar Lunàtico 9, 10:30 pm $10êChampian Fulton

Birdland 5:30, 8:30, 10:30 pm $20-40
Birdland Theater 7, 9:30 pm $20• Lívio Almeida Brazilian Tentet; Arturo O’Farrill and The Afro Latin Jazz Orchestra

Blue Note 1, 8, 10:30 pm $20-35• Brass Queens; Phony PPL
Cellar Dog 7, 8:30 pm $5• Akiko Tsuruga Trio
Omar
Sosa
Quarteto
Americanos
with
Peter
Apfelbaum,
Ernesto Mazar Kindelán, Josh Jones; Kali Rodriguez-Peña•
Dizzy’s Club 5, 7:30 pm $25-55• Noa Chait Quartet with Alex Claffy; Benny Benack III Quartet

The Django 6:30, 8, 9:30, 11 pm $25
Ear Inn 8 pm

êJon-Erik Kellso and the EarRegulars• Teri Roiger with Steve Berger, John Menegon Entwine Wine Bar 6, 7, 8 pm
• Luke Stewart Quartet; Fred Moten; Luisa Muihr Trio

First Street Green 2 pmêJason Kao Hwang/Sun Li
Flushing Town Hall 1 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Miller
The Keep 9 pm
• Anna-Lisa Kirby, Jeb Patton, Obasi Akoto; Naama Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• John Zorn And Jesse Harris: “Love Songs” with Petra Haden, Brian Marsella, Jorge Roeder, Ches Smith
National Sawdust 3 pm $35• Maureen Renihan with Chris Parker, Adam Chilenski
North Square Lounge 12:30, 2 pm
Patrick’s Place 12 pm $10• Boncellia Lewis and Friends• Vicki Burns; Mimi Jones: “Jazz and Jam Party” Room 623 at B2 Harlem 6, 8, 10 pm $20
Roulette 8 pm $25• Joe Phillips Jr.
êMatt Steckler, Lonnie Plaxico, Yayoi Ikawa
Saint Peter’s Church 5 pm
• Nick Green Quartet; Asaf Yuria Quartet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig
Smoke 7, 9 pm $35-55
êPablo Masis with Gideon Forbes, Aleksi Glick, Jeff Koch, David Hawkins
Soapbox Gallery 7 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Iris with Naiomi Nakanishi, Francesca Remigi, Jonathan Reisin
Young Ethel’s 10 pm

Monday, September 18• Grove Street Stompers• Amanda McBroom

Arthur’s Tavern 7 pm
Birdland 7 pm $25-35
Birdland Theater 5:30, 8:30 pm $20-40
Cellar Dog 7, 8:30 pm $5• Dan Aran Trio
XiomaraLaugart,Axel
Tosca,David
FrazierJr.,
DanielWinshall•Dizzy’s Club 7:30, 9:30 pm $20-50
The Django 7:30, 9, 10:30 pm, 12 am $25• Cameron Campbell Quartet; Sam TaylorêMingus Big Band
Drom 7:30, 9:30 pm $30
êAlan Broadbent Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êGuillermo Gregorio
Michiko Studios 8 pm
• Jakob Dreyer, Jason Rigby, Marta Sánchez, Jimmy Macbride
Ornithology Jazz Club 6:30 pm• Jonathan Barber Trio; ELEW Trio and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35• Happy Medium with Chaz Martineau, Dabin Ryu, Benjamin Young, Eliza Salem
Soapbox Gallery 8 pm $25• Maria Kaushansky // Paul Gill/Anthony Pinciotti Sweet Afton 7 pmêVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êTomas Janzon/Hilliard Greene/David F Gibson Zinc Bar 7, 8:30 pm $25-30
êVince Giordano And The Nighthawks

Tuesday, September 19êBreath of Air with Brandon Ross, Charles Burnham, Warren Benbow

411 Kent 8 pm $20• Slice with Tom Beckham, Brad Shepik, Gary Wang, Diego Voglino and Jam
Bar Bayeux 8, 9:30 pmêHilliard Greene’s In & Out Ensemble with Roberta Piket, Newman Taylor Baker
Bar Lunàtico 9, 10:30 pm $10êJimmy Greene, Greg Osby, James Weidman, Lonnie Plaxico, Steve Smith: “Coltrane Revisited”
Birdland 7, 9:30 pm $30-40
Birdland Theater 5:30 pm $20-30• Gabrielle Stravelli Trio
Cellar Dog 7, 8:30 pm $5• Vanderlei Pereira TrioêMichele Rosewoman’s New Yor-Uba with Alex Norris, Chris Washburne, Mike Thomas, Stacy Dillard, Yunior Terry,
Robby Ameen, Rafael Monteagudo, Román Díaz, Abraham Rodriguez, Roger Consiglio
Dizzy’s Club 7:30, 9:30 pm $20-45• Conrad Herwig And The Latin Side All-Stars The Django 7:30, 9, 10:30 pm, 12 am $25
êDevin Gray; Rubin Kodheli; Dawoud Kringle
Downtown Music Gallery 6:30 pm
Lowlands 8, 9:30 pm $10• Kobi Abcede
Anna
Kolchina
Trio;
Chris
Byars
Trio
Mezzrow
7:30, 9, 10:30 pm, 12 am $35•
National Sawdust 7:30 pm $30• Jeremy DutcherêMatt Wilson Quartet; Russell Hall Quintet/Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
Sultan Room Rooftop 7 pm $19.57• Chris MorrisseyêBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $30-35• Ted Rosenthal Trio

Wednesday, September 20êJerome Harris/Roberta Piket Trio with Kirk Driscoll 335 Lounge 7:30, 9:30 pm• Emmanuel Michael• Duduka Da Fonseca Cuarteto Universal

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10êJimmy Greene, Greg Osby, James Weidman, Lonnie Plaxico, Steve Smith: “Coltrane Revisited”

Birdland 7, 9:30 pm $30-40

Birdland Theater 5:30, 8:30 pm $20-30
Cellar Dog 7, 8:30 pm $5êMichele Rosewoman’s New Yor-Uba with Alex Norris, Chris Washburne, Mike Thomas, Stacy Dillard, Yunior Terry,

Robby Ameen, Rafael Monteagudo, Román Díaz, Abraham Rodriguez, Roger Consiglio
Dizzy’s Club 7:30, 9:30 pm $20-45• Tsutomu Nakai Quartet; Rick Germanson Trio The Django 7:30, 9, 10:30 pm, 12 am $25• Yuka Mito with Allen Farnham, Dean Johnson, Tim Horner, Vincent Herring
Don’t Tell Mama 7 pm $20

êNick Dunston with DoYeon Kim, Kalia Vandever The Jazz Gallery 7:30, 9:30 pm $20-30• Jonathan Reisin, Francesca Remigi, Jessica Ackerley; Elijah Shiffer, Hayoung Lyou, Anna Abondolo,James Paul Nadien; Stephen Gauci, Adam Lane, Kevin Shea; Kaelen Ghandhi Ensemble
Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Laurence Hobgood Trio
• Frank Lacy, Hilliard Greene, Yayoi Ikawa, Taru Alexander
New Amsterdam Musical Association NAMA 8 pm
Pangea 7 pm $25• Ronny Whyte
Peter
BraininandFriends:“Harlem
Jazz
Session”
Room 623 at B2 Harlem 8, 10 pm $20•• Alicyn Yaffee Quartet; Evan Sherman Quintet Smalls 7:30, 9, 10:30 pm, 12 am $35
êAnna Webber, Jeremy Viner, Jacob Garchik, Christopher Hoffman, Matt Mitchell, Chris Tordini, Ches Smith
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40

Thursday, September 21• Dave Pietro, Mike Sarin, Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Anwar MarshallêJimmy Greene, Greg Osby, James Weidman, Lonnie Plaxico, Steve Smith: “Coltrane Revisited”

Birdland 7, 9:30 pm $30-40
Birdland Theater 8:30 pm $20-30
Blue Note 8, 10:30 pm $45-65
Cellar Dog 7, 8:30, 11 pm $5
êT.K. Blue: “Celebration of Randy Weston” with Sharp Radway, Alex Blake, Neil Clarke, Maalem Hassan BenJaafar
Dizzy’s Club 7:30, 9:30 pm $25-50
The Django 7:30, 9, 10:30 pm, 12 am $25• Helio Alves Quartet; Lee TaylorêPLAZA TRIO with Roy Nathanson, Jim Whitney, Rob Garcia
Ibeam Brooklyn 8 pm $20• Alex Ridout with Tal Kalman, Sasha Berliner, Iver Cardas, Rafael Enciso, Miguel Russel
The Jazz Gallery 7:30, 9:30 pm $20-30êWarren Smith Q-tet with Rod Williams, Hilliard Greene, Reggie Nicholson
Jazz Museum in Harlem 2 pm
• Luciana Souza with Chico Pinheiro, Scott Colley Joe’s Pub 7, 9:30 pm $25-35
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Jesse Green TrioêJohn Zorn At 70: “Music For Strings”
Miller Theatre 8 pm $20-30
Pangea 7 pm $25-30• Village Trip Festival: Zora Rasmussen
Patrick’s Place 7 pm $10• Phil Young ExperienceêJazz at Lincoln Center Orchestra with Wynton Marsalis: “Beyond Black Codes”
Rose Theater 8 pm $45-175
êM³ Festival: Fay Victor/Rebekah Heller Duo; Francesca Tanksley/Newman Taylor Baker; Duo Maratín with Ria Modak/Ángela Varo with Birsa Chatterjee; BarTog/Cecilia Lopez; Milena Casado with Morgan Guerin; Layale Chaker withPhillip Golub; Adriano Vincentino
Roulette 7 pm
• Troy Roberts Trio; David Gibson Quartet and JamSmalls 7:30, 9, 10:30 pm, 12 am $35
êJazzmeia Horn Quartet with Victor Gould, Jason Clotter, Michael Reed
Smoke 7, 9 pm $35-55
êAnna Webber, Matt Mitchell, John Hollenbeck The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Eli YaminêBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40• Michael Kanan Trio
• Soul Rebels• Richard Clements Quintet; Mariel Bildsten

Friday, September 22• Emi Makale/Thomas Morgan/Vitor Gonçalves Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Anant Pradhan/Larry McDonald
Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-StarsêBirdland Big Band; Jimmy Greene, Greg Osby, James Weidman, Lonnie Plaxico, Steve Smith: “Coltrane Revisited”

Birdland 5:30, 8:30, 10:30 pm $25-40
Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $45-65
Bridge & Tunnel Brewery 7:30 pm
Cellar Dog 7, 8:30, 11 pm $10
Cutting Room 9:30 pm $25-30
êT.K. Blue: “Celebration of Randy Weston” with Sharp Radway, Alex Blake, Neil Clarke, Craig Handy, Frank Lacy
Dizzy’s Club 7:30, 9:30 pm $25-50
The Django 7:30, 9, 10:30 pm, 12 am $25• Ray Gallon Trio; Freddy Deboe BandêAlabaster DeplumeElsewhere 7:30 pm $22.50• Pablo Mayor’s Folklore Urbano Orchestra Harlem Stage Gatehouse 8 pm $20-25êDevin Gray
Ibeam Brooklyn 8 pm $20
êDavid Virelles
The Jazz Gallery 7:30, 9:30 pm $15-40
êMali Obomsawin Xtet with Zack O’Farril, Magdalena Abrego, Allison Burik, Noah Campbell, Nolan Tsang
Joe’s Pub 9:30 pm $25-30
Knickerbocker Bar & Grill 9 pm
• Joe Pskov
êSuperblue: Kurt Elling & Charlie Hunter
Le Poisson Rouge 7:30 pm $25-$50
David
Berkman
Trio;
Jon
Davis
Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40•
êHarlem Jazz Boxx presents NY RivBea Orchestra: “Celebrating The Centennial of Sam Rivers” with Steve Coleman,
Lee Odom, Ravi Coltrane, Roman Filiu, James Carter, Ray Anderson, Craig Harris, Joseph Daley, Bob Stewart,
Jonathan Finlayson, Eddie Allen, Ralph Alessi, Nathan Eklund, Doug Matthews
Mount Morris Ascension Presbyterian Church 7 pm
Patrick’s Place 8 pm
• Patience Higgins Jazz JamRoom 623 at B2 Harlem 7, 8:30, 10 pm $20• Skyler Floe; Tyler Bullock IIêJazz at Lincoln Center Orchestra with Wynton Marsalis: “Beyond Black Codes”
Rose Theater 8 pm $45-175
êM³ Festival: Srayamurtikanti & Gamelan Friends with Victoria Lo Mellin, Liz Behrend; The Sabbath with Liany Mateo;
El Cuerpo Rítmico, Leonor Falcón, Cecilia Lopez; Goussy Célestin & Frankie Patcher Ensemble with Jessica Jones,
Naomi Moon Siegel, Liany Mateo
Roulette 7 pm
Shrine 8 pm
• Loop DoctorsêRachel Z, Steve Wilson, Jeremy Pelt, Jonathan Toscano, Ben Perowsky: “Tribute to Wayne Shorter”;
Philip Harper Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êJazzmeia Horn Quartet with Victor Gould, Jason Clotter, Michael Reed
Smoke 7, 9, 10:30 pm $35-55
êAnna Webber, DoYeon Kim, Luke Stewart, Kate Gentile
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40• Tivon Pennicott with Idris Frederick, Kenn Salters, Yasushi Nakamura
Zinc Bar 7, 8:30 pm $30• Lucy Yeghiazaryan Quintet• Soul Rebels• Rotem Sivan• Wayne Tucker Quintet; Jinjoo Yoo Quartet• Bonerama

Saturday, September 23• Jessica Jones Quartet with Tony Jones, Noah Garabedian, Kenny Wollesen
Bar Bayeux 8, 9:30 pm• Baby Octopus with Dana Lyn, Mike McGinnis, Sara Schoenbeck, Gary Wang, Noel Brennan• Bill Saxton & The Harlem All-Stars

Barbès 6 pm $20
Bill’s Place 7, 9 pm $30

êJimmy Greene, Greg Osby, James Weidman, Lonnie Plaxico, Steve Smith: “Coltrane Revisited”

Birdland 8:30, 10:30 pm $30-40

Birdland Theater 7, 9:30 pm $20-30• Lucy Yeghiazaryan Quintet
Blue Note 8, 10:30 pm $45-65• Soul Rebels• Jade Synstelien Quartet; James Austin QuartetCellar Dog 7, 8:30, 11 pm $10êWhit Dickey/Eri Yamamoto; Lee Odom Trio with Dmitry Ishenko, Jeremy Carlstedt; Fay Victor with Natalie Greffel,

Reggie Nicholson

Children’s Magical Garden de Carmen Rubio 2 pm

êT.K. Blue: “Celebration of Randy Weston” with Sharp Radway, Alex Blake, Neil Clarke, Regina Carter

Dizzy’s Club 7:30, 9:30 pm $25-50• JC Hopkins Biggish Band; Richard Cortez Band The Django 7:30, 9, 10:30 pm, 12 am $25
êDevin Gray
Endless Life Brewery 7 pmêSlavic Soul Party!
Flushing Town Hall 8 pm $20
êDavid Virelles
The Jazz Gallery 7:30, 9:30 pm $15-40
Knickerbocker Bar & Grill 9 pm
• Tommaso PerrazoêJazzmobile Presents John Coltrane|Miles Ahead Jazz Festival: Reggie Workman, Norman Connors, Najee, Ray Blue, TK
Blue, Kim Clarke, Patience Higgins, Bertha Hope, Yayoi Ikawa, Frank Lacy, Wallace Roney, Jr., Bill Saxton, Tarik ShahMarcus Garvey Park 3 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• David Berkman Trio; Dave Kikoski Duo
Roni
Ben-Hur
Trio
Room 31 at Arlo NoMad 7:30 pm $23.41•
êJazz at Lincoln Center Orchestra with Wynton Marsalis: “Beyond Black Codes”
Rose Theater 8 pm $45-175
êM³ Festival: Naomi Moon Siegel with Leonor Falcón, Jessica Ackerley, Frankie Patcher; Ruth Naomi Floyd/Vino Wu with
Sumi Tonooka, Keith Loftis; bright bright with Jessica Ackerley, Joan Sue; SONG and Saxreligious Quintet with Eli Maliwan,
Roulette 7 pm
Caili O’Doherty, Ethan Cohn, Eliza SaleêBruno Råberg
ShapeShifter Lab 6 pm $20
Shrine 7 pm
• Ken Kobayashi Quartet
Silvana 10 pm• Loop DoctorsêJames Carter Quartet
Sistas’ Place 8, 9:30 pm $50
êRachel Z, Steve Wilson, Jeremy Pelt, Jonathan Toscano, Ben Perowsky: “Tribute to Wayne Shorter”;
Jon Beshay Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êJazzmeia Horn Quartet with Victor Gould, Jason Clotter, Michael Reed
Smoke 7, 9, 10:30 pm $35-55
êAnna Webber, Adam O’Farrill, Mariel Roberts, Elias Stemeseder, Lesley Mok
The Stone at The New School 8:30 pm $20

THE NEW YORK CITY JAZZ RECORD | September 2023 39

• Antonio Ciacca

Two E Lounge 6, 7, 8 pmêBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40
êVillage Trip Festival: BETTY; The Peace Poets; People of Earth
Washington Square Park 4 pm

Sunday, September 24
Arthur’s Tavern 7 pm
• Creole Cookin’ Jazz Band
Bar Lunàtico 9, 10:30 pm $10• Miles Tucker & Many Blessings
ArturoO’Farrill
and
The
Afro
Latin
Jazz
Orchestra
Birdland
8:30, 10:30 pm $20-40•• Margot Sergent: “The Edith Piaf Experience” Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $30-65• Soul Rebels• Willie Martinez and His Latin Jazz Collective Brooklyn Museum of Art 2 pm
Cellar Dog 7, 8:30 pm $5• Ned Goold Trio
Chelsea Table + Stage 7 pm $22-42• Joie Bianco Quartet• Welf Dorr, Santiago Leibson, Dmitry Ishenko, Rob Mitzner

The Keep 9 pm
• Kevin Sun Quartet with Max Light, Walter Stinson, Jon Starks
Lowlands 8, 9:30 pm $10
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Kelly Green Trio; John Merrill TrioêNate Wooley Large Ensemble with Russell Greenberg, Matt Moran, Madison Greenstone, gabby fluke-mogul,
Joshua Modney, Mariel Roberts, Luke Stewart Roulette 8 pm $25
êMatt Wilson Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCooper-Moore, Brian Price, Hans Binter; Trusted Pilot with Shoko Nagai, Fung Chern-Hwei, Stephen Haynes, Andrew Drury,
VJ Pietrushka, Maciej Piatek
Soup & Sound 7 pmêJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
Village Vanguard 8, 10 pm $40• Alan Broadbent Trio with Harvie S, Billy Mintz Zinc Bar 7, 8:30 pm $30-35

Wednesday, September 27êJuan Pablo Carletti with Michael Wimberly, William Parker; Monique Ngozi Nri/Ahmed Abdullah;• Vinny Valentino with John Benitez, Kirk Driscoll 336 Lounge 7:30, 9:30 pm• Peter Zak Quartet; Michael Kanan TrioêJerome Sabbagh with Lex Korten, Joe Martin, Johnathan Blake: “Vintage”

DoYeon Kim/Jeong Lim-Yang

Children’s Magical Garden de Carmen Rubio 2 pm
The Django 6:30, 8, 9:30, 11 pm $25
êJon-Erik Kellso and the EarRegulars
Ear Inn 8 pmêBrandon Sanders with Jazzmeia Horn
Emmanuel Baptist Church 3 pm
• Teri Roiger with Steve Berger, John Menegon Entwine Wine Bar 6, 7, 8 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Ben Rosenblum Trio
North Square Lounge 12:30, 2 pm
• Erli Perez Trio
Patrick’s Place 12 pm $10• Boncellia Lewis and Friends• Aida Brandes-Hargrove; Mimi Jones: “Jazz and Jam Party”
Room 623 at B2 Harlem 6, 8, 10 pm $20
êJeff Lederer with Mary LaRose, Hank Roberts, Patricia Brennan, Michael Formanek, Matt Wilson
Roulette 8 pm $25
Saint Peter’s Church 5 pm
• Judy Niemack/Jeb Patton
Silvana 3:30 pm• Rabbi Steven Blane and his Jazz Trio
Saul
DautchQuintet;Aaron
JohnsonBoplicity
andJam•
Smalls 7:30, 9, 10:30 pm, 12 am $35• Jazzmeia Horn Quartet with Victor Gould, Jason Clotter, Michael Reed
Smoke 7, 9 pm $35-55• Village Trip Festival: Bodies Electric Guitar Quartet; My Guitar Wants To Kill Your Mama Guitar Quartet
St. Marks Church 4 pm $20-30êBill Stewart Trio with Walter Smith III, Larry GrenadierVillage Vanguard 8, 10 pm $40• Grove Street Stompers

Monday, September 25

Arthur’s Tavern 7 pm
Bar Lunàtico 9, 10:30 pm $10
Birdland Theater 5:30, 8:30 pm $20-40
Cellar Dog 7, 8:30 pm $5• Saul Rubin Trio
• Keith Loftis with John Chin, Dezron Douglas, Willie Jones lll: “The Original State”
Dizzy’s Club 7:30, 9:30 pm $20-45• Matthew Rotker-Lynn Quartet; Thomas Linger Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30• Spike Wilner Trio; Pasquale Grasso, Ari Roland, Keith Balla
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Roulette 8 pm $25• Isabel Crespo Pardo• Ari Hoenig Trio; Charles Goold Quartet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Mark Whitfield with Russell Hall, Timothy Angulo Zinc Bar 7, 8:30 pm $25-30
êEri Yamamoto Trio with William ParkerêVince Giordano And The Nighthawks

Tuesday, September 26• Steve Cardenas, Ugonna Okegwo, Diego Voglino and Jam

Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10
Artemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Erica von Kleist, Noriko Ueda, Allison Miller
Birdland 7, 9:30 pm $30-40
Birdland Theater 5:30 pm $20-30• Gabrielle Stravelli TrioêChampian Fulton Trio
Cellar Dog 7, 8:30 pm $5êSammy Figueroa with Aymée Nuviola, Kemuel Roig, Ricardo Rodriguez, Felipe Lamoglia, Francisco Dimas, Reinier Guerra
Dizzy’s Club 7:30, 9:30 pm $20-45
The Django 7:30, 9, 10:30 pm, 12 am $25• Conrad Herwig And The Latin Side All-Stars• Dave Miller; Yoona Kim-Ajaeng, Henry Lindennbaum
Downtown Music Gallery 6:30 pm• Tiyul with Tal MashiachêêJoshua Redman with Gabrielle Cavassa, Aaron Parks, Joe Sanders, Brian Blade

92nd Street Y 7:30 pm $30-80
Bar Bayeux 8, 9:30 pmêArtemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Erica von Kleist, Noriko Ueda, Allison Miller

Birdland 7, 9:30 pm $30-40êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola with Alexis Cole

Birdland Theater 5:30, 8:30 pm $20-30
Cellar Dog 7, 8:30 pm $5• Zaid Nasser TrioêSammy Figueroa with Aymée Nuviola, Kemuel Roig, Ricardo Rodriguez, Felipe Lamoglia, Francisco Dimas, Reinier Guerra

Dizzy’s Club 7:30, 9:30 pm $20-45

The Django 7:30, 9, 10:30 pm, 12 am $25• Tyler Blanton Quartet; T.K. Blue Quartet
Iridium 8:30 pm $30-35• Zach Brock Quartet• Anthony Hervey with Sarah Hanahan, Isaiah J. Thompson, Russell Hall, Miguel Russell
The Jazz Gallery 7:30, 9:30 pm $20-30• Michael Olatuja & Lagos Pepper Soup; AC Lincoln and his All-Star Jazz Band
Joe’s Pub 7, 9 pm $25

êTJ Borden, Max Hamel, Webb Crawford; Ken Kobayashi Ensemble; Stephen Gauci, Adam Lane, Colin Hinton;

Juan Pablo Carletti, Yoni Kretzmer, Thomas Heberer, Kenny Warren, Rick Parker, Kenneth Jimenez; Chris Kelsey,
Lewis Porter, Phil Sirois, Dave Miller
Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deanna Witkowski Trio; Tyler Bullock Trio
Kavita
Shah
with
Bau,
Jorge
Almeida,MirocaParis,
Fantcha•National Sawdust 7:30 pm $25
Pangea 7 pm $25• Lauren White• Peter Brainin and Friends: “Harlem Jazz Session” Room 623 at B2 Harlem 8, 10 pm $20• Jim Rotondi Quintet; Alex Tremblay Quintet Smalls 7:30, 9, 10:30 pm, 12 am $35
St. Paul’s Chapel 6 pm
• Jon De Lucia’s Luce TrioêDan Weiss, Anna Webber, Darius Jones, Craig Taborn, Chris Tordini
The Stone at The New School 8:30 pm $20
Sultan Room Rooftop 7 pm $25.14• Nico Segal
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
Village Vanguard 8, 10 pm $40

Thursday, September 28
Bar Lunàtico 9, 10:30 pm $10• Secret Trio
• Three Blind Mice with Francis Jacob, Stomu Taekeishi, Gintas Janusonis

Barbès 8 pm $20
Artemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Erica von Kleist, Noriko Ueda, Allison Miller
Birdland 7, 9:30 pm $30-40
Blue Note 8, 10:30 pm $45-65• Cimafunk & La Tribu with Chucho Valdés• Darrell Green Quartet; Courtney Wright Quartet Cellar Dog 7, 8:30, 11 pm $5êBen Allison Quartet with Steve Cardenas, Chico Pinheiro, Allan Mednard; Jordan Williams Trio
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-45
The Django 7:30, 9, 10:30 pm, 12 am $25• Mike LeDonne Trio; Dan Aran BandêKanoa Mendenhall with Kalia Vandever, Micah Thomas, Craig Weinrib
The Jazz Gallery 7:30, 9:30 pm $20-30êSara Serpa/André Matos with Dov Manski, Thomas Morgan, Lesley Mok
Joe’s Pub 7 pm $20
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Jim Rotondi Trio; Jonathan Thomas Trio
National Jazz Museum in Harlem 2 pm
• Napoleon Revels-Bey “Nu Mo Swing”
Patrick’s Place 7 pm $10• Phil Young Experience• Alfredo Colon with Ryan Easter, Kengchakaj Kengkarnka, Harish Raghavan, Kobi Abcede
Roulette 8 pm $25• Owen Howard Trio; Thomas Linger Quartet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
ê

40 September 2023 | THE NEW YORK CITY JAZZ RECORD

George Cables Quartet with Craig Handy, Sean Conley, Jerome Jennings
Smoke 7, 9 pm $35-55

ê• Leonie Cohen Quintet with Lisa Parrott, Barry Kornhauser, Adam Armstrong, Eric Halvorson
Soapbox Gallery 8 pm $25
Dan Weiss, Peter Evans, Patricia Brennan, Miles Okazaki
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Eli YaminêJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
Village Vanguard 8, 10 pm $40
êFriday, September 29• Emilio Solla and the Flatbushees with Caleb Wheeler Curtis, Matt Aronoff, Roberto Giaquinto

Bar Bayeux 8, 9:30 pm
Bill’s Place 7, 9 pm $30
Birdland Big Band; Artemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Erica von Kleist, Noriko Ueda, Allison Miller
Birdland 5:30, 8:30, 10:30 pm $25-40
êBouncin’ with Bud Trio with Steve Smith, Manuel Valera, Lonnie Plaxico: “Bud Powell Birthday Tribute”
Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $45-65• Cimafunk & La Tribu with Chucho Valdés
Bridge & Tunnel Brewery 7:30 pm• Rotem Sivan
Cellar Dog 7, 8:30, 11 pm $10• Ehud Asherie Quartet; Jamale Davis QuartetêDavid Ostwald’s Louis Armstrong Eternity Band
Chelsea Table + Stage 7 pm $22-42
êBen Allison Quartet with Steve Cardenas, Chico Pinheiro, Allan Mednard; Jordan Williams Trio
Dizzy’s Club 7:30, 9:30 pm $25-45
The Django 7:30, 9, 10:30 pm, 12 am $25• Jim Rotondi Quintet; Nick Hempton BandêTuck & Patti
Iridium 8, 10:30 pm $50
êAngelica Sanchez with Adam O’Farrill, John Hebert, Reggie Nicholson
The Jazz Gallery 7:30, 9:30 pm $25-40• Arun Ramamurthy Trio with Sameer Gupta, Damon Banks
Joe’s Pub 7 pm $25
Knickerbocker Bar & Grill 9 pm
• Jon DavisêMark Guiliana with Billy Martin
Le Poisson Rouge 7:30 pm $20-25
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Yotam Silberstein Trio; Willerm Delisfort TrioêHarlem Jazz Boxx presents Reggie Workman
Mount Morris Ascension Presbyterian Church 7 pm
Patrick’s Place 8 pm
• Patience Higgins Jazz JamRoom 623 at B2 Harlem 7, 8:30, 10 pm $20• Mafalda Minozzi/Paul Ricci; Helio Alves• Mike DiRubbo Quartet; Ken Fowser Quintet and JamSmalls 7:30, 9, 10:30 pm, 12 am $40
êGeorge Cables Quartet with Craig Handy, Sean Conley, Jerome Jennings
Smoke 7, 9, 10:30 pm $35-55
Spectrum 7 pm
• Gordon Beeferman Organ TrioêDan Weiss, Jacob Sacks, Thomas Morgan
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
Village Vanguard 8, 10 pm $40• Bill Saxton & The Harlem All-Starsê

Saturday, September 30

Marty Ehrlich Quartet with Santiago Leibson, Matt Pavolka, Mark Ferber
Bar Bayeux 8, 9:30 pm
Bill’s Place 7, 9 pm $30• Bill Saxton & The Harlem All-StarsêArtemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Erica von Kleist, Noriko Ueda, Allison Miller
Birdland 8:30, 10:30 pm $30-40êBouncin’ with Bud Trio with Steve Smith, Manuel Valera, Lonnie Plaxico: “Bud Powell Birthday Tribute”
Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $45-65• Cimafunk & La Tribu with Chucho Valdés
Cellar Dog 7, 8:30, 11 pm $10• Donald Edwards Quintet; Avi Rothbard Trio
• Hans Young Binter Trio with Che Buford, Joshua Matthews; Shayna Dulberger/Djassi DaCosta Johnson; Aakash Mittal, Ivy Fu,
Lesley Mok
Children’s Magical Garden de Carmen Rubio 2 pm
• Sound Liberation with Adriana Valdés, David Banks, Charles Coleman, Franz Hackl, Gene Pritsker, Greg Baker, Laurence
Goldman, David Cossin
Delancey 7 pm $10êBen Allison Quartet with Steve Cardenas, Chico Pinheiro, Allan Mednard; Jordan Williams Trio
Dizzy’s Club 7:30, 9:30 pm $25-45• David Gibson Quartet; Jason Tiemann Quartet The Django 7:30, 9, 10:30 pm, 12 am $25
êAngelica Sanchez with Adam O’Farrill, John Hebert, Reggie Nicholson
The Jazz Gallery 7:30, 9:30 pm $25-40
Knickerbocker Bar & Grill 9 pm
• Jay Leonhart
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Yotam Silberstein Trio; Jeremy ManasiaêBryan Carrott
Sistas’ Place 8, 9:30 pm $30• Mike DiRubbo Quartet; Chris Beck Quintet and JamSmalls 7:30, 9, 10:30 pm, 12 am $40
êGeorge Cables Quartet with Craig Handy, Sean Conley, Jerome Jennings
Smoke 7, 9, 10:30 pm $35-55
êDan Weiss, Miguel Zenon, Matt Mitchell
The Stone at The New School 8:30 pm $20
Two E Lounge 6, 7, 8 pm
• Antonio Ciacca
êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
Village Vanguard 8, 10 pm $40êêMonte Croft Trio

Wednesday,
February 1
CONNECTICUT
333 Lounge 7:30, 9:30 pm

9/1,Douglas-Moore,
9/8, 9/15, 9/22, 9/29
(7 pm)
Bill’sDominic
All-Star Jazz
Band
Eric
Wong,
Coles;
Seth Cluet			• Ian
		Bill’s Seafood (Westbrook, CT) billsseafood.com
411 K
9/6, 9/13, 9/20, 9/27 (7 pm) Hartford Jazz Society presents Black-Eyed Sally’s Jazz JamBlack-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) blackeyedsallys.com
9/8 (8 pm) Ken Serio Jazz Trio
9/16 (8 pm) Shoreline Jazz Quintet with Adam Anderson
Buttonwood Tree Performing Arts Center (Middletown, CT) buttonwood.org
9/2 (4 pm) Michael Coppola Jam
9/9 (4 pm) Gary Grippo Jam
9/16 (4 pm) Tony Di Jam
9/23 (4 pm) Chervansky, Tappan & Ice Jam
9/30 (4 pm) NHJU Jazz Jam
Café Nine (New Haven, CT) cafenine.com

100 MILES OUT
9/20 (7 pm) Leonieke Scheuble Trio with Tim Givens, Nick Scheuble
9/22 (6:15/8:30 pm) Blue Soul Quintet with Herb Woodson, Bailey Gee, Ted Brancato, Mike Hogan,
Joseph DeVico
Shanghai Jazz (Madison, NJ) shanghaijazz.com
9/5 (7 pm) Ilan Eisenzweig Band and Jam
9/7 (7 pm) Vanessa Perea Quartet
9/12 (7 pm) Jacob Hurlock Quartet and Jam
9/14 (7 pm) Kate Curran Quartet with Julian Lee, Noel Sagerman, Anthony Perez, Will Gorman
9/19 (7 pm) Pierre Cornilliat Quartet and Jam
9/21 (7 pm) Nancy Kelly Trio
9/26 (7 pm) CJ Margolis & the Cats and Jam
9/28 (7 pm) Najawa Parkins Quartet
Tavern on George (New Brunswick, NJ) tavernongeorge.com
NEW YORK

9/20 (8 pm) Pat MethenyInfinity Hall (Hartford, CT) infinityhall.com

9/9, 9/23 (7:30 pm) Leslie Pintchik Trio
Alvin & Friends (New Rochelle, NY) alvinandfriendsrestaurant.com

9/28 (6 pm) Houston Person With Bill Crow, Roger Post, Andrew Wilcox
La Zingara (Bethel, CT) lazingara.com

9/23 (8 pm) NEXUS Percussion with Garry Kvistad, Paul Winter, Steve Reich, Henrique Eisenmann
Bardavon (Poughkeepsie, NY) bardavon.org

9/6, 9/13, 9/20, 9/27 (9 pm) Kevin Saint James Band
Owl Shop (New Haven, CT) owlshopcigars.com

9/9 (8 pm) Irreversible Entanglements
Basilica Soundscape (Hudson, NY) basilicahudson.org

9/8 (7/9 pm) Lucy Woodward, Henry Hey with Guests
9/24 (11 am) Albert Rivera with Damian Curtis, Richie Barshay
Palace Theater Poli Club (Waterbury, CT) palacetheaterct.org/shows/jazz

9/1 (7 pm) Carlos Jimenez Mambo Quintet
9/2 (7 pm) Goods Project with Richie Goods
9/10 (3 pm) Vicente Saav
9/15 (7 pm) An Evening with KJ Denhert
9/16 (6 pm) Trilateral Project with Tomoko Ohno, Marcus McLaurine, Samuel Martinelli
9/22 (7 pm) Stix Bones and the Bone Squad
9/23 (6 pm) Marty Isenberg’s Wes Anderson Playlist
9/30 (6 pm) Gerry Malkin Quintet with Scott Wendholt, Chris Morrison, Mike McGuirk, Steve Johns
Bean Runner Café (Peekskill, NY) beanrunnercafe.com

9/24 (2:30 pm) Joe Morris, Charles Downs, Darius Jones, Aquiles Navarro
Real Art Ways (Hartford, CT) realartways.org
9/8 (8 pm) John Pizzarelli Trio
9/19 (7:30 pm) Pat Metheny
Ridgefield Playhouse (Ridgefield, CT) ridgefieldplayhouse.org
9/1 (8:30 pm) Sheila Jordan with Harvie S, Roni Ben-Hur
9/2 (8:30 pm) Stephane Wrembel Quartet
9/8 (8:30 pm) Gray Sargent, Marshall Wood, Les Harris, Jr
9/16 (8:30 pm) Steve Slagle Quintet with Scott Wendholt, Lawrence Fields, Ugonna Okegwo,
Jason Tiemann
9/23 (8:30 pm) Noah Preminger Quartet with Max Light, Kim Cass, Dan Weiss
9/29 (8:30 pm) Jamie Baum Quartet
9/30 (8:30 pm) Carl Allen Quartet with Steve Wilson, Donald Vega, Vicente Archer
Side Door (Old Lyme, CT) thesidedoorjazz.com

9/3 (1-5:30 pm) Bearsville Jazz and Art Festival: Steve Gorn/Eric Archer; Jay Collins and Gravy Trainwith Matt Finck, Adam Cote; “Guitar Masters in the Round” with Steve Cardenas,
Freddie Bryant, Joel Harrison, Matt Munisteri with Jay Anderson, Jeff Siegel
Bearsville Theater (Woodstock, NY) bearsvilletheater.com

9/10 (4 pm) Lenore Raphael, Hilliard Greene, Dwayne “Cook” Broadnax
Wilton Library (Wilton, Ct) wiltonlibrary.org

9/8 (7 pm) Richard Baratta Quartet
Dutch Crown, The (Poughkeepsie, NY) dutchcrownpk.com/

9/29 (7:30 pm) Bertha Hope
Yale University Morse Recital Hall (New Haven, CT) music.yale.edu

9/7 (6:30 pm) T.K. Blue with Greg Murphy
Barrow Mansion (Jersey City, NJ) barrowmansion.org

9/1 (7:30 pm) Glen David Andrews
9/3 (7:30 pm) Patrick Zimmerli with Steve Wilson, Chris Potter, Ron Blake, Edward Simon, Scott Colley,
John Hollenbeck
9/10 (7:30 pm) Donny McCaslin, Ingrid Jensen, Gary Versace, David Ambrosio, Adam Nussbaum:“Civil Disobedience: Blue Note Records in the Progressive ‘60s”
9/17 (7:30 pm) Julian Lage
The Falcon (Marlboro, NY) liveatthefalcon.com

9/30 (8 pm) Branford Marsalis Quartet
Bergen Performing Arts Center (Englewood, NJ) bergenpac.org

9/1 (7 pm) Richard Baratta Quartet
Farm to Table Bistro (Fishkill, NY) ftbistro.com

9/1 (7:30/9:15 pm) T.K.Blue and Organ Eyes with Matt Smyth, Orion Turre
9/8 (7:30/9:15 pm) Greg Murphy Trio
9/15 (7:30/9:15 pm) Radam Schwartz Band
9/22 (7:30/9:15 pm) Calvin Hill Trio
9/29 (7:30/9:15 pm) Santi Debriano Arkestra Bembe
Brothers Smokehouse (Ramsey, NJ) brotherssmokehousenj.com

9/7 (7/8:45 pm) Organ Groove with Jesse Lewis, Paul Connors, Jon Doty
9/9 (7/8:45 pm) Gerry Malkin Jazz Collective with David Janeway, Chris Morrison, Mike McGuirk,
Bobby Leonard
9/14 (7/8:45 pm) Organ Groove with Jesse Lewis, Paul Connors, Jon Doty
“9/21 (7/8:45 pm) Organ Groove with David Ullman
9/28 (7/8:45 pm) Organ Groove with Jesse Lewis, Paul Connors, Jon Doty
Jazz at The Lodge (Ossining, NY) jazzatthelodge.com

NEW JERSEY

9/16 (7 pm) EarRegulars with Jon-Erik Kellso, Matt Munisteri, Scott Robinson
Brush Culture (Teaneck, NJ) brvshcul7ur3.com
9/6 (6 pm) S.O.L.E. with T.K.Blue
Canco Park (Jersey City, NJ) cancoparkconservancy.org
9/2 (3:30 pm) Dan Kostelnik
9/9 (3:30 pm) Rob Henderson
9/16 (3:30 pm) Leonieke
9/23 (3:30 pm) James Stewart
9/30 (3:30 pm) Carrie Jackson
Candlelight Lounge (Trenton, NJ) candlelighteventsjazz.com
9/15 (7:30/10:30 pm) Tim Armacost, Joe Locke, Jim Ridl, Kenny Davis, Billy Hart
Clement’s Place (Newark, NJ) njpac.org
9/17 (7:30 pm) Pat Metheny
9/30 (8 pm) Buddy Guy
Count Basie Center’s Hackensack Meridian Health Theatre (Red Bank, NJ) thebasie.org
9/23 (7 pm) Nelson Riveros Latin-Jazz Quartet
Englewood Public Library (Englewood, NJ) englewoodlibrary.org
9/16 (4 pm) T.K. Blue with S.O.L.E.
Journal Square (Jersey City, NJ) jclibrary.org/services/community-awareness-series
9/28 (6-8:30 pm) Edison Stage: JP Stevens Jazz Ensemble; Delegations;
Victor Quezada Latin Jazz Band
9/29 (7-9 pm) Perth Amboy Stage: Julian Meyers Koncept; Forbidden Tropics
9/30 (1-5:30 pm) New Brunswick Stage: New Brunswick Jazz Project Brass; Conrad Herwig Latin Side;Nat Adderley Jr. Quartet
9/30 (6-9:30 pm) Metuchen Stage: Jill Justin Dance Alliance; Metuchen High School Jazz Ensemble;
Molly Ryan and Manhattan Premier; Chestnut Quartet
Middlesex County Jazz Festival (New Brunswick, NJ) middlesexcountyjazzfestival.org
9/9 (1-9 pm) Montclair Jazz Festival: Eric Person/Houston Person; Edmar Castaneda;
Vince Ector Organatomy; Regina Carter; Michael Mwenso and the Shakes
9/9 (1-9 pm) Montclair Jazz Festival: Jazz House Collective: “Celebrates Dexter Gordon”;
Steve Turre; Melanie Charles; Christian McBride’s New Jawn with Josh Evans,
Marcus Strickland, Justin Faulkner; Antibalas
Montclair Jazz Festival (Montclair, NJ) montclairjazzfestival.org
9/1, 9/8, 9/15, 9/22, 9/29 (8 pm) Winard Harper Jazz Jam
9/3, 9/10, 9/17, 9/24 (7 pm) Winard Harper Jazz Jam
Moore’s Lounge (Jersey City, NJ) winardharperjazz.com/moore-s-lounge
9/22 (5-10 pm) Morristown Jazz & Blues Festival: Ty Stephens and Soul Jazz; Debra Devi Group;
Downtown Charlie Brown Blues Band
9/23 (12-10 pm) Morristown Jazz & Blues Festival: U.S. Navy Jazz Band; Gotham City Latin
Jazz Septet; Hot Sardines; Ana Popovic Band; Louis Prima Jr. & The Witnesses
Morristown Green (Morristown, NJ) morristownjazzandblues.com

9/10 (2 pm) Martin Wind, Jim McNeely, Ed Neumeister9/23 (3 pm) Jerome Sabbagh Quartet with Ben Monder, Matt Penman, Jochen Rueckert
Beattie-Powers Place (Catskill, NY)
mapquest.com/us/new-york/beattie-powers-place-442876838

9/1, 9/2 (7/9:30 pm) Dave Stryker Quartet with Rob Dixon, Jared Gold, McClenty Hunter Jr
9/3 (4/6 pm) Andromeda Turre
9/8, 9/9 (7-9:30 pm) Camille Thurman with the Darrell Green Quartet
9/10 (4/6 pm) Andrea Brachfeld Brazilian Quartet
9/22, 9/23 (7-9:30 pm) Nilson Matta & Brazilian Voyage Quintet
9/29, 9/30 (7-9:30 pm) Tito Puente, Jr. Latin Jazz Ensemble
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
9/6 (1,6,7 pm) Tom Manuel & the Young at Heart Trio with Steve Salerno, Keenan Zach;
Darrell Smith; The Jazz Loft Jam with Keenan Zach
9/7 (6, 7 pm) Steven Salerno; Jazz Loft Big Band
9/8 (7 pm) Richard Julian, Stacy Dillard, Dan Rieser, Matt Pavolka, John Chin: “Mose Allison Tribute”
9/9 (7 pm) Tim Hagans Quartet
9/13, 9/20 (7 pm) The Jazz Loft Jam with Keenan Zach
9/21 (7 pm) Harbor Jazz Festival: Bad Little Big Band
9/22 (7 pm) Harbor Jazz Festival: Nicole Zuraitis Quintet
9/23 (1-9 pm) Harbor Jazz Festival/Village Green Stage: Hye Seon Hong Lee Jazz Orchestra;
Mingus Big Band; TJL Big Band with Pete Caldera
9/23 (3-8 pm) Harbor Jazz Festival/Jazz Loft Lawn Stage: Warren Vache Ensemble withEddie Montero, Earl Sauls; Sam Dillon/Andrew Gould Quintet
The Jazz Loft (Stony Brook, NY) thejazzloft.org
9/1 (7/9 pm) Jonah Smith Quartet
9/2 (7/9 pm) Rob Garcia 4 with Noah Preminger, Gary Versace, Kim Cass
9/3 (12 pm) Robine Klein
9/7 (8 pm) Andrew Finn Magill Quartet and Jam with Paul Frances, Jason Yeager, Yoshi Waki
9/8 (7/9 pm) Vicki Burns Quartet with Sean Fitzpatrick, Sam Bevan, Paul Bollenback
9/9 (7/9 pm) Richard Baratta Quartet
9/10 (12 pm) Juliet Ewing, Ron Drotos
9/14 (8 pm) Ray Blue Organ Quartet and Jam
9/16 (7/9 pm) Michelle Walker Quartet
9/17 (12 pm) Tammy Brown, Sharp Radway
9/21 (8 pm) Johnny Youngblood, Paul Toscano, Steve Minervini, Chris Kaiser: “Blues Jam”
9/23 (7/9 pm) Nicole Zuraitis Quartet
9/24 (12 pm) Niccolò Cavoli Trio with Stefano Battaglia, Oto Gvardjančič
9/28 (8 pm) Laura Anglade Quartet and Jam with Ben Rosenblum, Marty Jaffe, Ben Zweig
9/29 (7/9 pm) Shawn Pfaffman Organ Trio with, Bruce Royal, Evan Sinclaire
9/30 (7/9 pm) Anna Kolchina Quartet with JinJoo Yoo, Charlie Himel, Keith Bala
Jazz on Main (Mt. Kisco, NY) jazzonmain.com
9/10 (4 pm) Paul Harding, Kirk Knuffke, Michael Bisio
Lace Mill, The (Kingston, NY) facebook.com/TheLaceMill
9/2 (7 pm) Pete McCann Quartet
9/9 (7 pm) Joel Harrison Trio
Lydia’s Café (Stone Ridge, NY) lydias-cafe.com

9/1 (8 pm) Steve Millhouse, Rich Perry, Allen Farnham, Eric Halvorson
9/2 (8 pm) Brian Charette Organ Trio with Jordan Young, Eric Zolan
9/9 (8 pm) Martin Wind, Jim Mcneely, Ed Neumeister: “”Counterpoint”” with Jordan Young, Eric Zolan
9/15 (8 pm) Dave Berkman Quartet with Steve Wilson, John Herbert, Ronen Itzik
9/16 (8 pm) Pat Bianchi Trio
Maureen’s Jazz Cellar (Nyack, NY) maureensjazzcellar.com
9/14 (8 pm) Eugene Chadbourne and Jim McHugh
New Victory Theater (Poughkeepsie, NY) newvictory.org
9/10 (5:30 pm) Houston Person BandPJS Jazz Society (Vernon, NY) pjsjazz.org
9/8 (7:30 pm) SOUND EMBRACE with John Menegon, Jean-Michel Pilc, Chet Doxas, Jim Doxas
Senate Garage (Kingston, NY) senategarage.com/
9/2 (11 am-8pm) Jazzmatazz!; Lowell Oakley; Jazgazm; Tim Siciliano; Chad LB
St. Markella Performance Hall and Fesitval Grounds (Wantagh, NY)
eventbrite.com/o/rt-jazz-entertainment-67741271653
9/3 (2-9 pm) LehCats; Christian Winther Quartet; Marc Neely Quintet; Spike Wilner Quartet with
Joe Magnarelli
9/4 (11 am-9:30 pm) The Hot Reds; Kim Parker; Svetlana and The Delancey Five; David Liebman;
Emmet Cohen; Gene Perla Trio; Robert Tormé & 3X Jazz
St. Markella Performance Hall and Fesitval Grounds (Wantagh, NY)
eventbrite.com/o/rt-jazz-entertainment-67741271653
9/23 (8 pm) Pat MethenyStaller Center for the Performing Arts (Stony Brook, NY) thejazzloft.org
9/6 (12 pm) Aaron Seeber Quartet
9/6 (12 pm) Helen Sung: “PUSH”
9/6 (5:30 pm) Doug Munro and La Pompe Attack; Joe Boykin & Friends; Lynette Washington
9/7 (6:30 pm) Louis Hayes Quartet with David Hazeltine, Dezron Douglas, Abraham Burton
9/8 (12 pm) Edmar Castañeda
9/8 (7/9 pm) John Scofield/Joe Lovano Quartet
9/9 (2 pm) MCW Jazz Faculty Ensemble: “A Tribute to Wayne Shorter”
9/9 (7/9 pm) Cécile McLorin Salvant/Sullivan Fortner
9/10 (12:30 pm) Westchester Center for Jazz & Contemporary Music Ensemble; Richie Goods &Chien Chien Lu; Mike Freeman ZonaVibe; Endea Owens & The Cookout; Mike Phillips
White Plains Jazz Fest (White Plains, NY) artswestchester.org/programs/jazz-fest-2
PENNSYLVANIA
9/1, 9/2 (7:30/9:30 pm) Ari Hoenig Trio
9/6 (7:30/9:30 pm) Jay Epstein Quartet
9/7 (7:30/9:30 pm) Andrew Gioannetti Compass Quintet
9/8 (7:30/9:30 pm) Ben Turner’s Organ Trio with Tommaso Perazzo, Maria Marmaro
9/9 (7:30/9:30 pm) Hendrik Meurkens Quartet with Paul Bollenback
9/13 (7:30/9:30 pm) Hudson River Band
9/14 (7:30/9:30 pm) Bianca Love
9/15 (7:30/9:30 pm) Noah Halpern Quintet
9/16 (7:30/9:30 pm) Joe Block Quartet with Abdias Armenteros, Willie Jones, III
9/21 (7:30/9:30 pm) Michael Kaplan Superband with John Swana, Banks Sapnar, Mikey Mester,
Tim Ragsdale, Anthony Aldissi
9/22, 9/23 (7:30/9:30 pm) Kevin Hays Trio with Alex Claffy, Eric Harland
9/26 (7:30/9:30 pm) Gropup 4 with Norman David, Tom Lawton, Jason Fraticelli, Dan Monaghan
9/29 (7:30/9:30 pm) Darryl Yokley Quartet
9/30 (7:30/9:30 pm) Pete Malinverni, Anaïs Reno, Dylan Band
Chris’ Jazz Café (Philadephia, PA) chrisjazzcafe.com
9/1 (7 pm) Nancy Reed/Spencer Reed Quartet with Ed Ludwig, Eliot Zigmund
9/2 (7 pm) Alan Broadbent, Harvie S, Billy Mintz
9/3 (5 pm) Bill Charlap
9/7 (7 pm) Jazz Jam with Bill Washer
9/8 (7 pm) Martin Wind with Jim McNeely, Ed Neumeister
9/9 (12:30 pm ) COTA Annual Festival: Gabrielle Stravelli Trio; Jay Rattman Group; Jon-Erik Kellso andthe EarRegulars; Eric Mintel Quartet; Water Gap Jazz Orchestra; Erin McClelland:
Davey Lantz Quartet with Jonathan Ragonese; Nancy Reed Quintet;
Giacomo Gates Trio
9/10 (12:30 pm) COTA Annual Festival: Mike Lorenz Trio; COTA Cats; Silvano Monasterios; Nicole
Zuraitis Quintet; Christian Porter: Alan Broadbent Trio; Paul Jost/Jim Ridl; Nellie McKay
9/14 (7 pm) Jazz Jam with Bill Washer
9/15 (7 pm) Dena DeRose, Noriko Ueda, Sherrie Maricle
9/16 (7 pm) Vinny Bianchi with Bill Washer, Paul Rostock, Danny Gonzalez, Ruben Ariola
9/17 (5 pm) Marvin Stamm/Mike Holober Quartet with Mike McGuirk, Dennis Mackrel
9/21 (7 pm) Jazz Jam with Bill Washer
9/22 (7 pm) Addison Evans
9/23 (7 pm) Carrie Jackson & Jazzin’ All Stars with Radam Schwartz, Takashi Otsuka, Gordon Lane
9/24 (5 pm) Riverside Rhythm Band
9/28 (7 pm) Jazz Jam with Bill Washer
9/29 (7 pm) Ken Peplowski Quartet
9/30 (7 pm) Sam Martinelli
Deer Head Inn (Delaware Water Gap, PA) deerheadinn.com
9/22 (8 pm) Pat Metheny
Keswick Theater (Glenside, PA) keswicktheatre.com
9/8 (8 pm) Patrick Zimmerli: “Messages” with Chris Potter, Roman Filiu, Ron Blake, Ed Simon,
Scott Colley
9/10 (8 pm) Irreversible Entanglements with Camae Ayewa, Luke Stewart, Tcheser Holmes,
Keir Neuringer, Aquiles Navarro
9/11 (8 pm) Chris Speed Trio with Chris Tordini, Dave King
9/15, 9/16 (8 pm) Idris Ackamoor and The Pyramids with Sandy Poindexter, Margaux Simmons,
Bobby Cobb, Mark Williams, George Hearst, Kele Nitoto
9/18 (8 pm) Dan Weiss Trio with Jacob Sacks, Thomas Morgan
9/19 (8 pm) Nick Dunston’s Spider Season with Kalia Vandever, DoYeon Kim
9/21-9/23 (8 pm) Natural Information Society with Joshua Abrams, Ari Brown, Lisa Alvarado,
Mikel Patrick Avery, Jason Stein
9/25 (8 pm) Ches Smith and We All Break with Immanuel Wilkins, Matt Mitchell, Nick Dunston,Daniel Brevil, Fanfan Jean-Guy Rene, Markus Schwartz, Sirene Dantor Rene, Tossie Long,
Lalin St. Juste
9/28 (8 pm) Joseph Daley Tuba Trio with Warren Smith, Scott Robinson
Solar Myth (Philadelphia, PA) arsnovaworkshop.org
9/1, 9/2 (7/9:30 pm) Victory Boyd
9/3 (6:30/8:30 pm) Mike Boone/Mekhi Boone
9/7-9 (7/9 pm) Terell Stafford Quintet
9/10 (6:30/8:30 pm) Steve Turre Sextet with Andromeda Turre
9/16-17 (7/9:30 pm) Majid Khaliq
9/22, 9/23 (7/9:30 pm) Tuck & Patti
9/24 (6:30/8:30 pm) Tuck & Patti
South Jazz Club (Philadelphia, PA) southjazzkitchen.com

THE NEW YORK CITY JAZZ RECORD | September 2023 41

C LU B D I RE C TO RY• 333 Lounge 333 Flatbush Ave.
(718-399-8008) Subway: B, Q to Seventh Ave. 333lounge.com• 411 Kent 411 Kent Ave.
Subway: J, M, Z to Marcy Ave. 411kent.org• The 92nd Street Y Lexington Ave. at 92nd Str.
(212-415-5500) Subway: 6 to 96th Str. 92ny.org• Aberdeen Street Community Garden 98 Aberdeen Str., Brooklyn
Subway: L to Bushwick Ave / Aberdeen Str.
• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str. arthurstavernnyc.com• Bar Bayeux 486 Halsey Str.
(718-513-0339) Subway: A, C to Kingston-Throop Ave. barlunatico.com• Bar LunÀtico 376 9th Str. at 6th Ave., Brooklyn(718-965-9177) Subway: F to 7th Ave. barbesbrooklyn.com• Barbès 376 9th Str. at 6th Ave., Brooklyn(718-965-9177) Subway: F to 7th Ave. barbesbrooklyn.com• Bella Abzug Park Hudson Blvd. btwn. W. 37th Str. And W. 33rd Str.
Subway: A, C, E to Penn Stationnycgovparks.org/parks/hudson-park• Bill’s Place 148 W. 133rd Str. btwn. Lenox and 7th Ave.
(212-281-0777) Subway: 2, 3 to 125th Str. billsplaceharlem.com• Birdland 315 W. 44th Str. btwn. 8th and 9th Ave.
(212-581-3080) Subway: 7, A, C, E, F, N, Q, R, to 42nd Str.
birdlandjazz.com• The Bitter End 147 Bleecker Str. btwn. Thompson and LaGuardia(212-673-7030) Subway: A, B, C, D, E, F, V to W. 4th Str.
bitterend.com• Blue Note 131 W. 3rd Str. at 6th Ave.
(212-475-8592) Subway: A, C, E, F, V Grand Str. Shuttle to W. 4th Str.
bluenotejazz.com• The Blue Owl 196 Second Ave. at 12th Str.
(212-505-2583) Subway: L to First Ave.
• Bridge & Tunnel Brewery 1535 Decatur Str., Brooklyn(347-392-8593) Subway: J to Halsey Str. bridgeandtunnelbrewery.com• Brooklyn College 2900 Bedford Ave.
(718-951-5655) Subway: 2 to Flatbush Ave. - Brooklyn College• Brooklyn Museum of Art 200 Eastern Parkway(718-638-5000) Subway: 2, 3 to Eastern Parkway
brooklynmuseum.org• Bryant Park 5th and 6th Ave. btwn. 40th and 42nd Str.
(212-768-4242) Subway: 4, 5, 6 to 42nd Str. bryantpark.org• Café Luce 235 E. 53rd Str.
(646-590-2777) Subway: E, M to Lexington Ave. / 53rd Str.
cafelucenyc.com• Cellar Dog 75 Christopher Str. at 7th Ave.
(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Chelsea Table + Stage Hilton Fashion District Hotel, 152 W 26th Str.
(212-434-0499) Subway: C, E to 23rd Str.; R, W to 28th Str.
chelseatableandstage.com• Children’s Magical Garden de Carmen Rubio 129 Stanton Str.
Subway: F to Second Ave. artsforart.org• Church of St Luke and St Matthew 520 Clinton Ave.
(718-638-0686) Subway: A, C to Clinton-Washington Ave. s
stlukeandstmatthew.org• Church of the Advent Hope 111 E 87th Str.
Subway: 4, 5, 6 to 86th Str. carnegiehillconcerts.org• Culture Lab LIC 5-25 46th Ave., Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Ave.
facebook.com/culturelablic• The Cutting Room 44 E. 32nd Str.
(212-691-1900) Subway: 6 to 33rd Str. thecuttingroomnyc.com• The Delancey 168 Delancey Str.
(212-254-9920) Subway: F to Delancey Str. thedelancey.com• Dizzy’s Club 33 W. 60th Str., 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• The Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
thedjangonyc.com• Don’t Tell Mama 343 W. 46th Str.
(212-757-0788) Subway: A, C, E, F, V to 42nd Str. -Port Authority
donttellmama.com• Downtown Music Gallery 13 Monroe Str.
(212-473-0043) Subway: F to E. Broadway downtownmusicgallery.com• Drom 85 Ave. A(212-777-1157) Subway: F to Second Ave. dromnyc.com• The Ear Inn 326 Spring Str. at Greenwich Str.
(212-246-5074) Subway: C, E to Spring Str. earinn.com• Elsewhere 599 Johnson Ave.
Subway: L to Jefferson Str. elsewherebrooklyn.com• Emmanuel Baptist Church 279 Lafayette Ave.
(718-622-1107) Subway: G to Classon Ave. ebcconnects.com• Endless Life Brewery 585 Franklin Ave.
(347-789-4211) Subway: C, S to Franklin Ave.
endlesslifebrewing.com• Entwine Wine Bar 765 Washington Str.
(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Str.

entwinenyc.com• First Street Green 33 E. First Str. near Second Ave.
Subway: F, V to Second Ave.
• First Unitarian Church 50 Pierrepont Str., Brooklyn(718-624-5466) Subway: M, R to Court Str. fuub.org• Flushing Town Hall 137-35 Northern Blvd., Queens(718-463-7700) Subway: 7 to Main Str. flushingtownhall.org• Fotografiska 281 Park Ave. South(212-433-3686) Subway: 6 to 23rd Str. fotografiska.com/nyc• Governors Island
Subway: Ferry from Battery Maritime Building
govisland.com/things-to-do/events/jazz-by-the-water• The Green Room at Yotel 570 Tenth Ave.
(646-449-7700) Subway: 1, 2, 3, 7, A, C, E, S to 42nd Str. /Times Sq.
yotel.com• Green-Wood Cemetery 500 25th Str., Brooklyn(718-768-7300) Subway: D, N, R, W to Prospect Ave.
green-wood.com• Harlem Stage Gatehouse 150 Convent Ave. at W. 135th Str.
(212-650-7100) Subway: 1 to 137th Str. harlemstage.org• Ibeam Brooklyn 168 7th Str. btwn. Second and Third Ave.
Subway: F to 4th Ave. ibeambrooklyn.com• Iridium 1650 Broadway at 51st Str.
(212-582-2121) Subway: 1,2 to 50th Str. theiridium.com• Issue Project Room 22 Boerum Pl.
(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall issueprojectroom.org• The Jazz Gallery 1158 Broadway, 5th fl(212-242-1063) Subway: 1, 2 to 28th Str. jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Str. btwn. Madison and Lenox Ave.
(212-348-8300) Subway: 6 to 125th Str. jazzmuseuminharlem.org• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 to Astor Pl.
joespub.com• The Keep 205 Cypress Ave., Queens(718-381-0400) Subway: L to Jefferson Str. thekeepny.com• Knickerbocker Bar & Grill 33 University Pl. at 9th Str.
(212-228-8490) Subway: N, R to 8th Str. -NYU
knickerbockerbarandgrill.com• Knitting Factory 361 Metropolitan Ave.
(347-529-6696) Subway: L to Lorimer Str. knittingfactory.com• Le Poisson Rouge 158 Bleecker Str.
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Str.
lepoissonrouge.com• Louis Armstrong Center 34-56 107th Str., Queens(718-478-8274) Subway: 7 to 111th Str. louisarmstronghouse.org• Lowlands 543 Third Ave., Brooklyn(347-463-9458) Subway: R to Prospect Ave. lowlandsbar.com• Main Drag Music 50 S. 1st Str. between Kent and Wythe Ave.s(718-388-6365) Subway: L to Bedford Ave. maindragmusic.com• Mama Tried 787 3rd Ave., Brooklyn(718-788-1401) Subway: D, N, R, W to 25th Str. mamatriedbk.com• Marcus Garvey Park, Richard Rodgers Ampitheater 120th Str. btwn Mt.
Morris Park and Madison Ave.
(212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Str.
cityparksfoundation.org• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str. smallslive.com• Michiko Studios 15 W. 39th Str. Floor 7(212-302-4011) Subway: N, Q, R, W to Times Squaremichikostudios.com• Miller Theatre 2960 Broadway and 116th Str.
(212-854-7799) Subway: 1 to 116th Str. -Columbia University
millertheater.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Str.
• National Sawdust 80 N. 6th Str.
(646-779-8455) Subway: L to Bedford Ave. nationalsawdust.org• New Amsterdam Musical Association NAMA 107 W. 130th Str.
(212-234-2973) Subway: 2, 3 to 125th Str.
• New School Stiefel Hall 55 West 13th Str., 4th Floor(212-229-5600) Subway: F, V to 14th Str. newschool.edu• New School, 5th Floor Jazz Performance Space 55 W. 13th Str.
(212-229-5600) Subway: F, L, M to 14th St / 6th Ave newschool.edu• North Square Lounge 103 Waverly Pl. at McDougal Str.
(212-254-1200) Subway: A, B, C, E, F, V to West 4th Str.
northsquareny.com/about-jazz.php• Nublu 151 151 Ave C
Subway: L to 1st Ave. nublu.net• Nuyorican Poets Café 236 E. 3rd Str. btwn. Ave. B and C(212-505-8183) Subway: F, V to Second Ave. nuyorican.org• Ornithology Jazz Club 6 Suydam Str., Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Ave. ornithologyjazzclub.com• The Owl Music Parlor 497 Rogers Ave.
(718-774-0042) Subway: Subway: 2 to to Sterling Str. theowl.nyc• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave. pangeanyc.com

42 September 2023 | THE NEW YORK CITY JAZZ RECORD• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Str.
patricksplaceharlem.com• Prime Produce 424 West 54th Str.
(774-633-9339) Subway: A, C, E to 50th Str.; 1, 2 to Columbus Circle
primeproduce.nyc• Public Records 233 Butler Str.
(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Ave.
publicrecords.nyc• Queens Central Library 89-11 Merrick Boulevard(718-990-0700) Subway: F to 169th Str. queenslibrary.org• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: N, Q, R, W to 28th Str.
rizzolibookstore.com• Room 31 at Arlo NoMad 11 E. 31st Str.
(212-806-7000) Subway: 6 to 33rd Str. arlohotels.com/nomad• Room 623 at B2 Harlem 271 W. 119th Str.
(212-280-2248) Subway: B, C to 116th Str. b2harlem.com• Rose Theater Broadway at 60th Str., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• Roulette 509 Atlantic Ave.
(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Ave. roulette.org• Saint Peter’s Church 619 Lexington Ave. at 54th Str.
(212-935-2200) Subway: 6 to 51st Str. saintpeters.org• Salmagundi Club 47 Fifth Ave.
(212-255-7740) Subway: 4, 5, 6, N, R to 14th Str. -Union Sq.
salmagundi.org• Scholes Street Studio 375 Lorimer Str.
(718-964-8763) Subway: L to Lorimer Str. ; G to Broadway
scholesstreetstudio.com• ShapeShifter Lab 18 Whitwell Pl.
(646-820-9452) Subway: R to Union Str. shapeshifterlab.com• Shrine 2271 Adam Clayton Powell Blvd. btwn. 133rd & 134th Str.
(212-690-7807) Subway: B, 2, 3 to 135th Str.
shrinenyc.com• Silvana 300 W. 116th Str.
(646-692-4935) Subway: B, C, to 116th Str. silvana-nyc.com• Sistas’ Place 456 Nostrand Ave. at Jefferson Ave., Brooklyn(718-398-1766) Subway: A to Nostrand Ave. sistasplace.org• Smalls 183 W 10th Str. at Seventh Ave.
(212-252-5091) Subway: 1 to Christopher Str. smallslive.com• Smoke 2751 Broadway btwn. 105th and 106th Str.
(212-864-6662) Subway: 1 to 103rd Str. smokejazz.com• Soapbox Gallery 636 Dean Str.
Subway: 2, 3 to Bergen Str. soapboxgallery.org• SoulBk 706 Nostrand Ave., Brooklyn(347-240-8440) Subway: 2,3,4 to Nostrand Ave. soulbk.com• Soup & Sound 292 Lefferts Ave. btwn. Nostrand and Rogers Ave.
(917-828-4951) Subway: 2 to Sterling Str. soupandsound.org• Spectrum 481 Van Brunt Str., Door 7A, Brooklyn
Subway: F, G to Smith-9th Str. spectrumnyc.com• St. Marks Church 2nd Ave. and 10th Str.
(212-674-6377) Subway: 6 to Astor Pl.
• St. Paul’s Chapel 209 Broadway(212-233-4164) Subway: 4, 5, A, C to Fulton Str.
trinitywallstreet.org• The Stone at The New School 55 West 13th Str.
(212-229-5600) Subway: F, V to 14th Str. thestonenyc.com• The Sultan Room Rooftop 234 Starr Str.
(612-964-1420) Subway: L to Jefferson Str. thesultanroom.com• Superfine 126 Front Str., Brooklyn(718-243-9005) Subway: A, C to High Str. superfine.nyc• Sweet Afton 30-09 34th St, Queens(718-777-2570) Subway: N, W to 30th Ave. sweetaftonbar.com• Threes Brewing 333 Douglass Str.
(718-522-2110) Subway: R to Union Str. threesbrewing.com• Town Hall 123 W. 43rd Str.
(212-997-1003) Subway: 7, B, D, F, M to 42nd Str. -Bryant Park
the-townhall-nyc.org• Two E Lounge 2 E. 61st Str.
(212-940-8113) Subway: N, R, W to Fifth Ave. thepierreny.com• Union Pool 484 Union Ave. at Meeker(718-609-0484) Subway: L to Lorimer St union-pool.com• Village Vanguard 178 Seventh Ave. South at 11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str. villagevanguard.com• Washington Square Park
Subway: A, B, C, D, E, F, M to W. 4th Str.
• Young Ethel’s 506 5th Ave., Brooklyn
Subway: F, G to Fourth Ave.-Ninth Str. youngethels.com• Zinc Bar 82 W. 3rd Str.
(212-477-8337) Subway: A, C, E, F, V, Grand Str. Shuttle to W. 4th Str.
zincbar.com• Zürcher Gallery 33 Bleecker Str.
(212-777-0790) Subway: 6 to Bleeker Str. ; B, D, F to Broadway-Lafayettegaleriezurcher.com

I N ME MORIAM
ROB AGERBEEK (Sep. 28, 1937 – Jul. 5, 2023) The Dutch
jazz/boogie-woogie pianist died at 85 in The Hague,
Netherlands. Born in Batavia, Dutch East Indies (nowJakarta), Agerbeek was self-taught. At first influenced
by Pete Johnson, Albert Ammons and Meade Lux Lewis,
he eventually broadened his playing, working with tenor
saxophonists Ben Webster, Johnny Griffin, Dexter Gordon,
Gene Ammons and Hank Mobley.
LENY ANDRADE (Jan. 25, 1943 – Jul. 24, 2023) The vocalist
known as “Brazil’s First Lady of Jazz” died at 80 in Rio deJaneiro from pneumonia following a years-long struggle
with Lewy body dementia. Born in Rio, Leny de Andrade
Lima was a classical piano student at 6, a singer on radio
programs at 9 and, after absorbing samba and becoming
a devotee of bossa nova, a night club performer at 15,
eventually working with a trio led by Sérgio Mendes. She
released her first album, A Sensação, in 1961, had a hit in1965 with “Estamos Aí”, pushing bossa nova into a dynamic
jazz realm with a bravura scat performance, and achieved
greater popularity the following year while working withsinger Pery Ribeiro and the Bossa Três in a group called
Gemini V. In the ’80s, Andrade began splitting her time
between the U.S. and Brazil, and in 1993 moved to New
York City, performing and recording widely and receiving
critical acclaim, before moving back to Brazil several years
ago. Andrade shared a Latin Grammy Award (in 2007) forBest MPB (Musica Popular Brasileira) album with César
Camargo Mariano. Earlier this year Andrade released arecording of “Por Causa de Vôce” (by Antônio Carlos Jobim
and Dolores Duran) with pianist Gilson Peranzzetta, whoalong with his wife Eliana, cared for the singer in her lastyears.
JOCHEN ARP (Nov. 5, 1944 – Jun. 27, 2023) The German
saxophonist-flutist and big band leader died at 78. Active
since the early ’70s, Arp recorded with the Bob Cats quintet,
and his own Rhythmus-Arp-Ensemble before focusing
on larger groups, including Arpi Schock. He founded the
Criss Cross Big Band in Hamburg and, through work as
an educator, the Skyliner Jazz Big Band at the Universityof Hamburg. Arp also worked with jazz cellist Gesa Riedel
and arranged for the NDR Dance Orchestra.
TOM ARTIN (Nov. 12, 1938 – Jul. 25, 2023) The trombonist,photographer and arts manager died at 84 in Sparkill, NY.
Artin grew up in Princeton, NJ, where he began playing
trombone in junior high, studying with composer John
Harbison. A literature major at Princeton University,
Artin maintained dual careers as a musician and fine art
photographer. He worked with notable jazz groups including
the Smithsonian Jazz Repertory Ensemble, Louis Armstrong
Alumni All-Stars and World’s Greatest Jazz Band, alongwith Mel Tormé, Bob Wilber and Wild Bill Davison. In recent
years, he collaborated with Ed Polcer while leading his own
16-piece big band, the TomCats Jazz Aces.
MICHAEL BAKER (Oct. 7, 1957 – Jul. 9, 2023) A jazz andpop music drummer (he was Whitney Houston’s musicaldirector for 18 years), Baker died at 65 in Italy, where helived. Originally from Duluth, MN, he worked with someof the pop world’s biggest stars: Aretha Franklin, Sir Elton
John, Luther Vandross, Bruce Hornsby and Michael Jackson.
He also worked more recently with the Italian vocalist
Giorgia. Baker’s jazz credits include stints with Al Jarreau,
Stanley Turrentine, Billy Childs, Dianne Reeves and Wayne
Shorter.
TONY BENNETT (Aug. 3, 1926 – Jul. 21, 2023) A beloved
singer, admired around the world for his devotion to theGreat American Songbook, Bennett died at 96 in New York
City. He also enjoyed a dual career as an artist, encouraged
and mentored by Duke Ellington, signing his work withhis birth name, Anthony Benedetto. Diagnosed with
Alzheimer’s in 2016, he continued performing nonethelessuntil August 2021, when he bowed out with two final showsat Radio City Music Hall with Lady Gaga. His long career
stretched back to the end of the Swing era in the early ’50s

BY THOMAS STAUDTER
and brought him 19 Grammys and a Grammy Lifetime
Achievement Award. He was also an NEA Jazz Master and
Kennedy Center honoree. Born in Queens, he began singing
at an early age; at 10, he sang at the ribbon cutting ceremonyof the Triborough (now Robert F. Kennedy) Bridge. In 1962,
Bennett released his signature song, “I Left My Heart in
San Francisco”, and continued to make the charts throughrock’n’roll’s ’60s ascendancy. Substance use nearly cost
Bennett his life in the ’70s before he regained his health. In
the late ’80s, Bennett enjoyed a resurgence in popularity
with a new generation of listeners and admirers, and by
the time he appeared on MTV’s Unplugged in 1994 he was
America’s pre-eminent male vocalist.
OSCAR BRASHEAR (Aug. 18, 1944 – Jul. 7, 2023) The
Los Angeles-based veteran trumpeter died at 78. Bornin Chicago, IL, he first started on piano before moving totrumpet at 11. A graduate of DuSable High School and(what is now) Wilbur Wright College, Brashear worked with
Woody Herman before joining the Count Basie Orchestra in1968. Two years later, he returned to Chicago and playedwith saxophonists Sonny Stitt, Dexter Gordon and James
Moody before moving permanently to Los Angeles in 1971.
A regular studio musician at countless sessions, he worked
with jazz luminaries and pop-rock stars alike, though neverrecorded as leader.
JOÃO DONATO (Aug. 17, 1934 – Jul. 17, 2023) The
pianist/composer, one of the most influential figures inbossa nova and Brazilian jazz, died at 88 in Rio de Janeiro
from pneumonia. Self-taught on accordion, he became aprofessional accordionist at 15. Donato played with violinist
Fafá Lemos and led the bossa nova band Os Namorados
before making his debut recording, an EP, in 1953. Antônio
Carlos Jobim produced his first full-length album, Chá
Dançante. While in São Paulo, Donato collaborated withJoão Gilberto on the album Dance Conosco, which included
their classic “Minha Saudade”. (Gilberto claimed Donato
invented bossa nova.) Donato moved to the U.S. in 1960
and quickly became an important figure in the Latin musicscene, working with Mongo Santamaria, Tito Puente andEddie Palmieri. He masterminded a Brazilian music album
for Bud Shank in 1965 and released his own The New Sound
of Brazil, which included the hit “A Rã”, co-written with
Caetano Veloso. In 1970, he released the jazz-funk classic
A Bad Donato. Back in Brazil in 1972, Donato recorded as
leader and worked as a side musician, most notably for
Gal Costa and Milton Nascimento. Ensuing decades were
extremely active, and his 2021 collaboration with Ali
Shaheed Muhammed and Adrian Younge of Jazz Is Deadon JID007 further proved and showcased Donato’s bossa
nova mastery.
RALPH LAMPKIN, JR. (Apr. 29, 1957 – Jun. 24, 2023) The
vocalist, producer and publicist died at 66 in South Bend,
IN, of a heart attack. Gigging around New York City, where
he was born, Lampkin moved to Chicago in 1981. And
after years of performing, he started his own management,
production and consulting company in 1988, and later
started a record label and another consulting company with
Lynn Orman.
BARRY “KID” MARTYN (Feb. 23, 1941 – Jul. 17, 2023)
The prolific and indefatigable traditional jazz drummer
and historian died at 82 in New Iberia, LA. Born Barry
Martyn Godfrey in London, England, he began drummingat 15 and was soon leading a ragtime band. He moved to
New Orleans in 1961, studied with Cie Frazier, founded the
M.O.N.O. record label, and lived in Los Angeles, where hefounded the Legends of Jazz group before returning to The
Crescent City—all while performing with trad jazz veterans.
Martyn authored or co-authored a number of books on New
Orleans music, including Bunk Johnson: Song of the Wanderer.
LINCOLN MAYORGA (Mar. 28, 1937 – Jul. 3, 2023) The
pianist, who lived for many years in Columbia County,
NY and returned to CA in 2019 died at 86. Mayorga wasborn in Los Angeles, studied classical piano and worked

as a professional musician soon after graduating from
Hollywood High School. A staff pianist for Walt DisneyStudios, he contributed to many film and televisionsoundtracks. Mayorga worked with Barbra Streisand,Frank Zappa, Phil Ochs and others. In 1964, he launchedhis own TownHall Records, and later the stereophile label
Sheffield Lab Recordings, releasing several of his own jazzand classical albums as well as those by Phil Woods, Shelly
Manne, Marc Johnson and mentor Lou Busch (Joe “Fingers”
Carr).
PETER NERO (May 22, 1934 – Jul. 6, 2023) The popular
pianist, composer and conductor died at 89 in Eustis, FL.
Born Bernard Nierow in Brooklyn, NY, he was a childprodigy who studied at Juilliard before falling under thesway of Art Tatum and releasing his first album as Bernie
Nerow. He was Peter Nero by the time his first RCA album,
Piano Forte, was released in 1961. His career skyrocketed,backing stars such as Sinatra, Andy Williams and Mel
Tormé. He led the Philly Pops for 34 years, beginning in
1979, before moving to Florida and serving in a similar rolewith the Florida Philharmonic Orchestra for 10 years. Neroreleased more than 70 albums as leader.
ERNST-LUDWIG (“LUTEN”) PETROWSKY (Dec. 10, 1933
– Jul. 10, 2023) The saxophonist, clarinetist, flutist who led thedevelopment of free jazz in the former German Democratic
Republic, died at 89 in Berlin. Although the Gustow native
studied violin, he was mostly self-taught. Petrowsky
founded trailblazing ensembles, Studio IV and Synopsis,
collaborated with Germany’s top jazz artists (appearing
on over 120 albums) and was a member of Alexander von
Schlippenbach’s Globe Unity Orchestra. After the fall of the
Berlin Wall in 1989, Petrowsky worked primarily with hiswife, singer Uschi Brüning, and drummer Michael Griener,
in the group Ruf der Heimat. He was honored with manyof Germany’s top musical awards, including the Deutscher
Jazzpreis in 2022.
KNUT RIISNÆS (Nov. 13, 1945 – Jul. 22, 2023) The
Norwegian saxophonist and flutist died at 77 after a longillness. Born in Oslo, Riisnæs was the son of pianist Eline
Nygaard Riisnæs; his younger brother Odd Riisnæs is also
a prominent jazz saxophonist. Often compared to Coltrane,
Riisnæs was collaborating with Norway’s top jazz stars
by his early 20s. He recorded with John Scofield, Palle
Danielsson and Jon Christensen in 1992, and stayed at theforefront of Norway’s jazz scene throughout his career.
ALAIN ROCHETTE (Nov. 30, 1950 – Jul. 16, 2023) The
pianist-composer died at 72 in Wavre, Belgium. Born inBrussels, Rochette worked with Univers Zero guitarist
Roger Trigaux in Present and released several recordings,
including a 2011 duo with baritone saxophonist Alain
Cupper, and Victor Jara, Le Poète Au Chant Libre (with theMichel Mainil Quartet) in 2020.
MARIO STANCHEV (Mar. 16, 1948 – Jul. 14, 2023) Also
known as Mario Stantchev, the Bulgarian pianist-died in
Lyon, France at 75. Born in Sofia, Stanchev, at 22, he formed
the Mario Stantchev Quartet and later joined flutist Simeon
Shterev’s Fokus ’65 quartet. Seeing Freddie Hubbard andthe Toshiko Akiyoshi-Lew Tabackin Big Band with Randy
Brecker at the 1977 Warsaw Jazz Jamboree was a turning
point. A year later he moved to France, where he founded
the jazz department at the Lyon Music Academy. Stanchev
led a number of different bands in France; his 1992 album
Kaleidoscope featured Ron Carter and Billy Drummond.
LILIAN TERRY (Dec. 15, 1930 – Jun. 29, 2023) The BritishMaltese-Italian vocalist, composer, journalist, producer,
radio and TV personality and concert organizer died at 92
in Nice, France. Born in Cairo, she moved with her family to
Rome when she was nine. The first jazz vocalist to appear
on Italian television, Terry recorded a number of albums ina long career, including a 1982 date with Tommy Flanagan.
She founded the Dizzy Gillespie Popular School of Music in
Bassano del Grappa.

THE NEW YORK CITY JAZZ RECORD | September 2023 43