YOUR FREE GUIDE TO THE NYC JAZZ SCENE

MARCH 2023—ISSUE 251

NYCJAZZRECORD.COM

WOMEN’SHISTORY MONT
H
ISSUE

NicoleMitchellFinding a
New Utopia

SARA
CASWELL

ENDEA
OWENS

ROSA
PASSOSCONNIECROTHERSManaging Editor:
Laurence Donohue-Greene[Co-Founder/Editor Emeritus: Andrey Henkin]

To Contact:
The New York City Jazz Record
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United States
Phone/Fax: 212-568-9628

march 2023 – issue 251

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

NEW YORK@NIGHT

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

INTERVIEW: SARA CASWELL

Advertising:advertising@nycjazzrecord.com

ARTIST FEATURE: ENDEA OWENSKeith Hoffman(Event Calendar Manager):calendar@nycjazzrecord.com

ON THE COVER: NICOLE MITCHELL

Suzanne Lorge (VOXNews):
voxnews@nycjazzrecord.com
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Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Marco Cangiano, Brian Charette,
Thomas Conrad, Pierre Crépon,Ori Dagan, Ken Dryden,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Keith Hoffman,
Marilyn Lester, Steven Loewy,
Suzanne Lorge, Jim Motavalli,
Russ Musto, John Pietaro,
John Sharpe, Elliott Simon,
Thomas Staudter, Anna Steegmann,
Eric Wendell, Scott Yanow

ENCORE: ROSA PASSOSLEST WE FORGET: CONNIE CROTHERSLABEL SPOTLIGHT: CRAFT RECORDINGSVOXNEWSFESTIVAL REPORTSPECIAL FEATURE: CAROL SLOANE IN MEMORIAM
ALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY

Contributing Writers
Fred Bouchard, Jason Gross, George Kanzler,
Franz Matzner, Zachary Weg
Contributing Photographers
Caroline Conejero, George Council,
Shervin Lainez, Alan Nahigian, Sherry Rubel,
Robert Sutherland-Cohen, Anna Yatskevich

IN CORRECTION (February 2023 issue)
We regret the following errors: misspellings of Immanuel Wilkins’ last namein Artist Feature, Jon Corbett’s first namein What’s News, Alvin Queen’s Silva
Records in Interview Feature and neglected
mention of publisher Meta in Adam
Rudolph In Print review.

nycjazzrecord.com

OBITUARIES

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by jim motavalli
by russ mustoby kurt gottschalkby suzanne lorge
by eric wendellby jim motavalli
by suzanne lorge
by tom greenlandby thomas staudter

Letter from the Editor
Welcome to another jam-packed issue of The New York City Jazz Record, featuring articles, reviews andconcert listings on the music we love created by musicians whom without the world would be a lesser place.
Closing in on the first days of Spring, NYC has already gotten substantial stretches of unseasonably warm
weather while snow shovels quietly have gathered dust (thanks global warming). So, as exciting as are Spring’s
first blooms, consider this our annual March bouquet salute to Women’s History Month. We are honored to
dedicate much of the editorial to women who have helped make the jazz fabric that much stronger—from
instrumentalists to vocalists, arrangers and composers, mentors and teachers.
Nicole Mitchell (Cover Story) encapsulates all of the above and then some (add book author to that list).
Violinist Sara Caswell (Interview Feature) has been bolstering the projects of others and finally releases her firstalbum as leader in two decades. And representing the younger generation, bassist Endea Owens (Artist Feature)
has been omnipresent, playing bass with Jon Batiste and the Stay Human Band and soon self-releasing her longawaited leader debut with her band The Cookout this Spring. And all three are leading their respective projects
in the city this month. Be sure to check out the front-loaded section of Album Reviews covering stellar releases
by stellar women (pgs. 16-21). We also pay tribute to two late elder stateswomen of jazz: pianist Connie Crothers(Lest We Forget) passed away a half-dozen years ago and is fêted this month by close colleagues, and vocalist
Carol Sloane (see Special Feature In Memoriam) whose very recent death has the jazz community reeling.
Just as with February’s Black History Month, Women’s History Month gives us the opportunity to pause
and reflect to show appreciation. But obviously it’s as important to make sure that such confined focus ofrecognition and respect doesn’t and shouldn’t start and end on the first and last days of these months.
Onwards and outwards, happy reading and listening—and see you out at the shows!
On The Cover: Nicole Mitchell (photos Courtesy of Artist)
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

CONCERTVOIXFRANCOPHONES
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journaliste sur France Interà l’occasion de la Journéeinternationale de la Francophonie
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NEW YORK @ N IGHT
Israeli-American clarinetist Anat Cohen and Brazilian

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www.sunnysiderecords.com“Force of nature” certainly applies to Gunhild
Carling—singer, band leader, dancer, composer andmusician who’s yet to meet an instrument she can’t
play. How about bagpipes or a recorder version ofAntonio Carlos Jobim’s “Wave”? From a family that’s avillage, the iteration of “Gunhild Carling and Family”
at Birdland (Feb. 11) was daughter Idun (trombone)and niece Nanna (soprano saxophone, curved bell),
excellent players who harmonize perfectly with
Carling’s instrument of the moment. Her style issyncopated jazz, Dixieland and blues swing, typified
in Al Hoffman/John Klenner’s “Heartaches” (1931)
energetically delivered in the manner of the day.
A vaudevillian at heart, Carling’s act included
performing a second line through the club and her big
party piece of playing three trumpets simultaneously.
But Carling is solid in her talent. Her sounds are brightand clear, and on her main instrument, the trombone,
she’s in full command, making it growl (“Swedish
Tiger”) or wail in high registers a la Cat Anderson.
Her own ballad “Love in the Snow” revealed Carlingas a proficient vocalist, too. Nanna’s solo was aswinging “C’est si bon” (Henri Betti, André Hornez),
while Idun sang and danced as if in a Cotton Club
revue to Ellington’s “It Don’t Mean a Thing (If It Ain’t
Got That Swing)”. Hauling out a tap board, Carlingdelivered a singing-dancing-swinging version of “YouRascal You” (Sam Theard) to end a thrill ride of ashow.
— Marilyn Lester

R.I. SUTHERLAND-COHEN/JAZZEXPRESSIONS.ORG

FOLIA - THE MUSIC OF EGBERTO GISMONTICAROLINE CONEJERO

GAIA WILMER LARGE ENSEMBLE

guitarist Marcello Gonçalves have enjoyed a specialmusical partnership since they met 20 years ago in thelatter’s hometown, Rio de Janeiro, a partnership that’s
fostered two duo albums, with another under way. Their
early set Wednesday (Feb. 8) at Mezzrow began withthree pieces from Outra Coisa, their 2017 tribute to MoacirSantos’ seminal 1965 album containing rearrangementsof his orchestrations: “Coisa #6”, a smoothly swinging
samba, Cohen plying her horn’s warm chalumeau
register; “Coisa #1”, a bit faster, with restless harmonies;
and “Coisa #5/Nanã”, which began with a conversational
clarinet soliloquy, moved to percussive 6/8, Gonçalvesrapping the soundbox like a cajón, to end with Cohen’s
expressive siren sounds and ‘laughs’. Next were songs
from the pair’s second project, 2021’s Reconvexa: a sparse,
empathetic reading of Tom Jobim and Luiz Bonfá’s“Correnteza”; Dorival Caymmi’s “O que é que a baiana
tem?”, featuring Cohen’s trembling vibrato and short,barking gestures; and Milton Nascimento and Caetano
Veloso’s “Paula e Bebeto”, one of the duo’s moreadventurous workouts. “Waiting for Amalia”, a catchychoro Cohen wrote for her unborn niece, contained oneof her finest solos. The final section shifted focus from
Brazil to Spain for Enrique Granados’ “Spanish Dance#2”, Cohen unloosing soulful, klezmer-esque krekhts,
then home to NYC’s San Juan Hill for the closer: arousing romp through Leonard Bernstein and Stephen
Sondheim’s “America”.
— Tom Greenland

Anat Cohen with Marcello Gonçalves @Mezzrow

Gunhild Carling @Birdland

N early a year after Russia’s invasion, John Zorn
enlisted colleagues to donate their talents to A Concert
for Ukraine, a benefit held at New School’s Tishman
Auditorium on Superbowl Sunday (Feb. 12). While
many Americans awaited the Chiefs-Eagles skirmish,this audience, through the medium of music, could
reflect on Ukraine’s (and Turkey and Syria’s) struggles
for survival. Four acts followed the form of a popularsong, AABA: ‘A sections’ were improvised sets, the‘B section’ a wholly composed string quartet (PhilipGlass’ 3rd, aka “Mishima”, performed by Brooklyn
Rider). In the first ‘A’, Zorn played a series of clucks,
bleats and altissimo skronks on alto in riposte toLaurie Anderson’s more circumspect gambits. The
second ‘A’, another duo, with guitarists Marc Ribot
and Mary Halvorson, began with his rap on “soldiersin the army”, the latter adding bells, whistles, scratchy
clusters, both walking basslines on the third/final
number to generate what you might call ‘avant-swing’.
The Glass piece, lingering hypnotically in D minor,
served as a respite/departure away from/back to themore bellicose sets. Ravi Coltrane’s trio with Dezron
Douglas (bass) and Kush Abadey (drums) revisited theurgency of current global affairs, Coltrane switching
between soprano, tenor and sopranino saxophones,
all filtered through his pedal board. What his tone
lacked in intimacy was made up for in wonderfullyrich, dense but translucent, harmonizer-enhanced
melodies.
(TG)

I t’s not unusual for jazz artists to be classicallytrained, which may or may not inform their later
playing, but for Aaron Diehl, that grounding has
become part of his mainstream artistry. With histrio—Vicente Archer (bass) and Aaron Kimmel(drums)—at Dizzy’s Club (Feb. 2), the program wasessentially “classical jazz”, with J.S. Bach’s “Prelude
and Fugue in D Major” the poster child for the set’s
musical leanings. Three of Sir Roland Hanna’s“Preludes” (Nos. 1, 2 and 3) were executed with alight, lyrical touch on the keys, a fair distance from
Hanna’s own interpretations, but then the classicallytrained Sir Roland, unlike Diehl, gravitated to avantgarde work in his career. That’s not to say that Diehl
isn’t a “jazzhead”, and though the mood of thisevening was toned down, even at his most swinging
Diehl’s artistry has an intellectual underlay to it.
His own seriously uptempo “Broadway Boogie
Woogie” on this outing leaned toward the laidback zone. Chick Corea’s “Tones for Joan’s Bones”
began with a harpsichordal take before entering
improvisational hard bop that featured a nifty calland-response segment with Kimmel, channeling
Duke Ellington. With a sidebar of the piece’s writer,
Mary Lou Williams, Diehl presented the “Virgo”,“Libra” and “Scorpio” movements from the Zodiac
Suite, featuring a duet with Archer at one point in“Virgo” that recalled Ellington’s work with Jimmie
Blanton.
(ML)

4 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

Standing center stage at Lincoln Center’s David Dianne Reeves needs no introduction to anyone with
Rubenstein Atrium (Feb. 9) Claudia Acuña poundedout a steady beat on a floor tom tom, accompanying
her solitary voice on the incantation “Yo”, initiating theambiance of spirituality that persisted throughout her
set, during which she demonstrated the full breadthof her formidable abilities, both as a vocalist andcomposer/arranger. Joined by Pablo Vergara (piano),Alex Henderson (bass) and Yayo Serka (drums),
the mood continued with a stirring rendition of her
prayerful ode “That’s What They Say”. Taking time out
to address the crowd, she recited the English translationof the Spanish language lyric to her “Historias”, asoulfully lilting waltz buoyed by Henderson on electricbass. On “Aguaita De Corazon” she evinced a spiritof melancholic optimism fitting for its theme about
the healing of a broken heart, singing with deliberate
determination over Serka’s slow processional beat.
Solo bass opened Acuña’s moving tribute to Chick
Corea on which she sang her original lyric to the latepianist’s “Crystal Silence”. The mood brightened on “ElCigarrito” by iconic Chilean singer-songwriter Victor
Jara, Acuña playfully leading the audience clapping thebeat. She opened up full throttle with an impassioneddelivery of her “Futuro”, traversing a variety of rhythms,
from the Caribbean to South America to North Africa,and on a rousing arrangement of Gary McFarland andGrady Tate’s “Sack Full of Dreams”, before closing out
with her feminist anthem “Hey”.
— Russ Musto

ears, so when the opportunity arose to cover her “Loveis in the Air” via Jazz at Lincoln Center’s Rose Theatre(Feb. 10), there was no hestitation. The renowned
vocalist is also celebrated for sharing the spotlight andso, the program opened with a “Softly As In A Morning
Sunrise” instrumental that set the stage, before Reeves
even took to the stage, for what would be an enlivening
set. Romero Lubambo (guitar), Edward Simon (piano/
electric keyboards), Reuben Rogers (upright and electricbasses) and Terreon Gully (drums) worked with seeming
telepathy. Lubambo, a master of Brazilian music, isparticularly adept at bossa novas of rapid-fire tempi,
deftly anchoring the clave. By Reeves’ opener “What’sNew?”, the crowd was roaring. Her voice was as open
and full-bodied as ever, soaring over repetitive rhythmic
figures. But it was just a warm-up. Her uncannily hornlike vocalizations resounded, casting improvisations into
the house’s considerable rafters. The musical relationshipbetween the vocalist and guitarist was frequently
displayed, particularly on the many Latin-American
pieces. However, he was just as quick to play jazz guitar
on an electric in classic combo fashion, fluttering blues
about the vocal flights. Highlights included a touching
rendition of “Alfie” (dedicated to the just-passed Burt
Bacharach) and “Someone to Watch Over Me” whichbrought dynamics to a whisper. But the energy on stage
and in the house only escalated, and the rapturous ovation
by set’s end demanded an encore.
— John Pietaro

W H AT ’ S N E W S
The Grammy Awards, which were held Feb. 5 in Los Angeles,
included these jazz-related winners: Samara Joy (Best New
Artist and Best Jazz Vocal Album), Robert Glasper – Black
Radio III (Best R&B Album), Wayne Shorter with soloist Leo
Genovese (Best Improvised Jazz Solo), Terri Lyne Carrington/
Kris Davis/Linda May Han Oh/Nicholas Payton/Matthew
Stevens – New Standards, Vol. 1 (Best Jazz Instrumental
Album), Steven Feifke/Bijon Watson Generation Gap Jazz
Orchestra – Generation Gap Orchestra (Best Large Ensemble
Album), Arturo O’Farrill Afro Latin Jazz Orchestra – Fandango at
The Wall in New York (Best Latin Jazz Album), Aaron Nevillewith Dirty Dozen Brass Band’s “Stompin’ Ground” (BestAmerican Roots Performance), Ranky Tanky – Live at the 2022
New Orleans Jazz & Heritage Festival (Best Regional RootsMusic Album), Geoffrey Keezer’s “Refuge” (Best Instrumental
Composition), John Beasley/SWR Big Band featuring Martin
Aeur’s “Scrapple From The Apple” (Best Arrangement,
Instrumental or A Cappella), Vince Mendoza “Songbird(Orchestral Version)” (Best Arrangement, Instruments andVocals, for Fleetwood Mac’s Christine McVie), Jazz Fest: A New
Orleans Story by Frank Marshall/Ryan Suffern/Sean Stuart(Best Music Film) and Ma Rainey (posthumous Lifetime
Achievement). We were happy to notice Pharoah Sanders andRamsey Lewis recognized in the In Memoriam segment of thetelecast (though noticeably absent, jazz legends lost last year
such as Ernie Andrews, Carlos Barbosa-Lima, Ronnie Cuber,
Betty Davis, Joey DeFrancesco, Sy Johnson, Sue Mingus,
Charnett Moffett, Badal Roy and Creed Taylor).
Celebrate Oscar night on Mar. 12 at baritone saxophonist Claire
Daly’s “Jazz Oscar Party” at Smalls. Pianist Chris Forbes,
bassist Hill Greene and drummer Dwayne “Cook” Broadnax joinin the fun, celebrating Oscar-winning tunes, songs written by
Oscar winners, tunes from Oscar winning movies and songs
with “Oscar” in the title. Awards will be given out, but dress iscasual. For more info, visit smallsjazzclub.com.

GEORGE COUNCILSHERRY RUBEL @SRSTUDIOS-BIZ

Toronto’s Women From Space shared its full festival lineup andschedule for their 5th Anniversary Edition (Mar. 8-11), theweekend following International Women’s Day (Mar. 8). Featured
performers include Nicole Mitchell, Karen Ng, Lotte Anker andAmirtha Kidambi. For more info, visit womenfromspace.com

Claudia Acuña @David Rubinstein Atrium

Dianne Reeves @Rose Theater

Marking his return to the Miller Theatre, Vijay Iyer
fittingly opened the evening’s performance (Feb. 4)
with the title track of his soon to be released album
Compassion, noting that it was composed a year ago
in that very room. The piece began ethereally withTyshawn Sorey gently brushing cymbals, making way
for the gradual entrance of Iyer’s pensive piano and
Linda May Han Oh’s ominously swelling bass line;
this set the tone for an organically developing group
improvisation that dynamically traversed a range ofharmonic and rhythmic variations that blurred thelines between soloist and accompanist, then morphed
into an exhilarating arrangement of Stevie Wonder’s“Overjoyed”. Reaching back to the band’s debut album
Uneasy, the three dug in deeply on a roiling medley thatbookended that disc’s “Combat Breathing” and Geri
Allen’s “Drummer’s Song” around Iyer’s powerfully
swinging “Maelstrom”. Each player stepped into the
spotlight to deliver engaging improvisations thatinspired balancing harmonic and rhythmic variations
from their partners. Iyer’s delicate piano introduced
his “Prelude: Orison”, which flowed into the band’stake on Art Ensemble of Chicago saxophonist Roscoe
Mitchell’s “Nonaah”. The concert concluded with
yet another medley of Iyer originals, with Uneasy’s“Children Of Flint” and “Entrustment” bracketing“Ghostrumental”. A standing ovation prompted anencore, the swinging Joe Henderson arrangement ofCole Porter’s “Night and Day”.
(RM)

The Hard Swallow, a classic East Village bar, swelledthrobbingly on an oddly warm Tuesday night (Feb.
7). The duet Jazz Gypsies—Mac Gollehon (trumpet/
samples/vocals) and Omar Edwards (dance/vocals)—commandeered the atmosphere, their manipulated prerecorded orchestral hits and rhythm tracks shredding
the whisky-soaked night air. Gollehon blared awarning call and Edwards tossed himself into a flurryof tireless movement, part jazz and tap, part hip hop,his syncopated steps ricocheting off the platform withabandon. Edwards’ triplet attacks sprayed the club liketommy gun bullets as Gollehon, a multi-instrumentalist
and mean jazz trumpeter whose session work islegendary, improvised bop heads, defying the dancer
at each turn. The swing was killing, with Edwards
popping quarter-note triplet figures on one footagainst 16th-note and 32nd-note triplets in the other,like Gene Krupa or Papa Jo Jones tearing into accented
rim shots. By the time the duo took on Paul Desmond’s“Take Five” and Hendrix’ “Third Stone from the Sun”,
Edwards was drenched in sweat, dancing in odd time
like it was common (pun intended). Various Latin andfunk pieces had Gollehon rapping and vocalizing over
the thunder and then moving throughout the tightly
crowded space, trumpet aloft, the crowd dancing andclapping wherever the backbeat may lay. At points,
percussionist Jeanne Camo added to the thicket on snare
drum. These Jazz Gypsies may be solely responsible foran entirely new genre.
(JP)

The search is on for the next great jazz singer! Registration for
the 12th Annual Sarah Vaughan International Jazz Vocal
Competition (presented by New Jersey Performing Arts Center)
opens Apr. 28. Solo vocalists from around the world over the ageof 18 are encouraged to submit entries before Sep. 5. The“Sassy Awards” top Five Finalists will be announced followed bya star-studded final performance on the iconic NJPAC stage.
Entrants are judged on vocal quality, musicality, technique,performance, individuality, artistic interpretation and ability toswing. Past winners include Samara Joy, Cyrille Aimée,
Jazzmeia Horn, Quiana Lynell and Laurin Talese. For more info,
visit SarahVaughanCompetition.com.
The 10th anniversary celebration and first-ever award ceremony
for the Doris Duke Artist Awards took place last month at Jazz at
Lincoln Center (hosted by Common). Vocalist and composer
Somi and trumpeter Chief Xian aTunde Adjuah are among six
new recipients to win the Doris Duke Artist Award, the largest
national prize dedicated exclusively to supporting individual
performing artists. This year, the prize doubled in size to$550,000 per awardee. Each award will act as an investment in
the artist’s potential while celebrating their extraordinary andinnovative contributions to the fields of jazz, contemporary
dance and theater at large. For more info, visit dorisduke.org.
The winners of this year’s Composers Concordance
Generations Composition Competition have been announced:
Paul Novak and Lee McClure, whose music will be performed
Mar. 8 at Greenwich House Music School featuring the
CompCord Ensemble. Honorable Mentions went to Kyle Miller
and Richard Heller. The judges for the competition werecomposer/co-director Dan Cooper, composer Charles Coleman,violinist Lara St. John, dancer Linda Pehrson, composer Gene
McBride, electronics producer Velizar Iordanov, composer
Roger Trefousse, poet Robert C. Ford and moderator/composer/
co-director Gene Pritsker. For more info, visit
composersconcordance.com.
Submit news to ldgreene@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 5

PHOTO BY SHERVIN LAINEZI NTERVIEWSARACASWELL

SC: I’m also on the faculty at NYU, plus the New
School and the Manhattan School of Music, and I’ve
got some private students as well. But I definitely
try to keep a balance between the teaching and theperforming. I love collaborating, and I love co-leadinggroups. The last couple of years, of course, COVID
was its own thing. But things have been getting backinto operation. I feel really fortunate I’ve been able
to keep a busy schedule and work with some really
incredible folks.
I love teaching, too, seeing the students’excitement about learning the instrument. They’re(CONTINUED ON PAGE 33)

BY JIM MOTAVALLIS ara Caswell, a Grammy-nominated first-call jazz violinist
and composer who lives in Brooklyn, just released The Way
to You (Anzic), her first album as a leader in nearly 20
years. But those two decades haven’t been idle—Caswell’s
been busy working with, among others, Esperanza Spalding,Henry Threadgill, Fred Hersch, Linda May Han Oh, Brad
Mehldau and Brian Blade. Her new album features three
original compositions that stand out, plus the uptempo
folk dance “7 Anéis” by Egberto Gismonti, Antonio
Carlos Jobim’s “O Que Tinha de Ser” (with Caswell on a
hybrid violin/viola) and a modern classic, Kenny Barron’s“Voyage”, all strong interpretations. Recording with
Caswell is her working group consisting of Jesse Lewis(guitar), Ike Sturm (bass), Chris Dingman (vibraphone)and Jared Schonig (drums)—the same group, which appears
with her at Birdland Theater (Mar. 5) and, just north of thecity in Tarrytown, at Jazz Forum Arts (Mar. 19).
The New York City Jazz Record: This is your firstalbum as a leader in almost 20 years?!
Sara Caswell: Yeah, it’s been a while (laughs).
TNYCJR: It sounds, though, that you’ve been busy
playing with a whole lot of people.
SC: I’ve been really fortunate. The years I’ve been in
New York have been busy ones, doing a lot of touring
and recording and collaborating with New Yorkmusicians. So I just wasn’t able to necessarily focus ona project of my own, writing and arranging and doing
all of that. To put together an album that I was happy
to record, it took a while to get things going.
TNYCJR: Tell me how you got into jazz violin in thefirst place.
SC: I grew up in Bloomington, Indiana, a college
town—Indiana University is located there. I started
playing violin when I was five. I was very much a kid
growing up at the university. My dad was a musicology
professor there for 30 years. I got to know many ofthe professors who were his colleagues and our family
friends. One of the professors who was hired aroundthe same time as my dad was David Baker, the head of
the jazz department at IU for 45 years.
Since both of my parents were music historians,
they were very well-versed in a lot of different styles.
They wanted to make sure that both my sister and I—
as we were learning about music and learning to playstringed instruments—had a very diversified musicalexposure. So in addition to doing Suzuki lessons, I
also started to play jazz violin around eight or nine,
taking lessons with David Baker. I was taking baroquelessons as well, and I loved all of those different
styles of music. As kids tend to do, I saw more of thesimilarities in those forms than the differences.
I did both forms of music to the end of myundergraduate years at Indiana. After I got my degrees

there, though I loved playing classical and was in a lotof classical competitions, I really felt that my voice wasleaning more in the jazz direction.
TNYCJR: Is it hard to switch between the two
disciplines? Classical music doesn’t encourage
improvisation as much, and jazz is all about that.
SC: It’s similar to a child who grows up in a home wheremultiple languages are spoken. They don’t necessarily
think much about switching back and forth.
TNYCJR: I’m going to list some violin players andtell me which of these were influential on you, or not:Stuff Smith, Stephane Grappelli, Eddie South, Michael
White, Jenny Scheinman, Ray Nance and Ornette
Coleman.
SC: Oh my goodness, that’s quite the diverse list.
When David Baker was working with me, he set a rulein place, and that was for the first four or five years
he didn’t want me to listen to any jazz violinists—heonly wanted me to transcribe horn players. So I waslistening to a lot of Bird, Dizzy Gillespie, Sonny Rollins
and pianist Bud Powell.
TNYCJR: So if you took a blindfold test you’d dobetter on horn players than violinists?
SC: You know, I think I actually might do better withthe horn players. It was only after those years of study
that I could appreciate the violin players’ individuality
and their styles. So, in terms of influences, I love Stuff
Smith’s sense of swing and playing in the pocket. I think
it was Billy Taylor who said nobody swings harder thanStuff Smith. Jenny Scheinman I’ve worked with a few
times. To listen to her play and take in her sound andher voice, it’s breathtaking. Stephane Grappelli is the
person that everybody associates with jazz violin, andrightfully so—he has such a beautiful, sweet sound.
And he’s the hardest one to get out from under because
he’s so ubiquitous. But I’m not that well versed in the
gypsy jazz style—it’s not the world I live in.
TNYCJR: Yes, I don’t hear it in your music at all.
SC: The thing that we share is that classical technique,with a classical upbringing and our approach to soundand tone. But what’s exciting about this next crew ofviolinists is that we all have very unique and different
approaches, though certainly share a lot of common
influences. It’s like with tenor and alto sax players—
there are so many out there, but we can still picksomeone out in four notes through their tone, theirbreath, their phrasing and their attack.
TNYCJR: So you live in Brooklyn now, and you teachat Berklee in Boston. Would you say that your dancecard is filled up these days?

6 MARCH 2023 | THE NEW YORK CITY JAZZ RECORDHFEBRUARY 28TH - MARCH 5THH

JOE LOVANO & DAVE DOUGLASSOUNDPRINTSLAWRENCE FIELDS - YASUSHI NAKAMURA - RUDY ROYSTONHMARCH 7TH - MARCH 12THH

BEN WENDEL QUINTETJULIAN LAGE - LARRY GOLDINGS - HARISH RAGHAVAN - NATE WOODHMARCH 14TH - MARCH 16THH

BRIAN BLADE

LIFE CYCLES: HONORING BOBBY HUTCHERSONJON COWHERD - MYRON WALDEN - MONTE CROFT - DOUG WEISS - JOHN HART - ROGERIO BOCCATO

HMARCH 17TH - MARCH 19THH

BRIAN BLADE

THE FELLOWSHIP BANDJON COWHERD - KURT ROSENWINKEL - MELVIN BUTLER - MYRON WALDEN - ROLAND GUERINHMARCH 21ST - MARCH 26THH

MARK GUILIANA QUARTETJASON RIGBY - SHAI MAESTRO - CHRIS MORRISSEYHMARCH 28TH - APRIL 2NDH

JOE MARTIN QUARTETMARK TURNER - KEVIN HAYS - MARCUS GILMORE

COMING IN APRILHMELISSA ALDANAHHJAVON JACKSONHHJOHN ZORNH
HDAYNA STEPHENSHHSAMARA JOYH

PHOTO COURTESY OF ARTISTARTIST F EATURE“I always knew that I would be some sort of amusician, but I didn’t know which instrument
it would be. I never had a doubt that it wouldn’t
happen. I knew whichever route that I took it would
happen”, New York-based bassist Endea Owens
says, speaking from her hometown of Detroit,
where she is preparing to play a concert with pianist
Cyrus Chestnut in that city’s Orchestra Hall. She
remembers, “I got interested in music at the ageof eight. My mom bought me a Yamaha keyboard
for Christmas, and I started playing everythingthat I heard by ear. Then when I was ten, I started
classical violin, and I was doing really well, doinga lot of competitions. I just happened to pick up
the bass one day and I played Mozart’s Symphony
No. 25 by ear, and my orchestra conductor made me
switch from violin to bass.”
Owens grew up in a home surrounded by thesound of gospel music. She says, “I definitely grewup as a church kid. I went to Perfecting Church on
the east side of Detroit. I sang in the youth choir foryears. I was on the step team. I was a youth usher. I
played electric bass for a short period of time. It was
mostly gospel music. A lot of funk. A lot of R&B.
My first introduction to jazz was actually Miles
Davis’ You’re Under Arrest cover (which included
his “Human Nature”). Then I started learning about
Dizzy Gillespie and Charlie Parker in high school,
because not only did my instructor make me switch
to bass, he also made me join the jazz band because
there was no bass player.”
It was at Detroit School of the Arts thatOwens first met her future mentor, bassist Rodney
Whitaker. He recalls, “Her band director was myband director when I was in high school, so I cameover to do a workshop. Endea was the bass player
in the band. She was probably about 15 years
old and very, very talented. She had a big soundalready and was really aware, aware of the legacy
of Detroit bass players. She was serious. She wasalready thinking about music as a way to heal
people. You don’t meet 15-year-olds thinking onthat level about music.”
While still in high school, Owens made her
first professional jazz gig with legendary Detroit
trumpeter Marcus Belgrave. She remembers, “He
had a youth program on Woodward Avenue in
Detroit called YouthBuild and he would teach us
standards, teach us a lot of Horace Silver. And hegave me my first gig. It was outside in the summer.
It was $25 and it was with no amp. I learned somuch on that gig.”
After high school Owens reconnected with
Whitaker. He recalls, “When she graduated fromhigh school, she auditioned at Michigan State,
and of course I accepted her. It was a joy to be herteacher. She was a very soulful human being andswinging. I wanted her to stay in Michigan as longas possible, but she wanted to go to New York and

ENDEA
OWENS

Recommended Listening:• Michael Dease – Father Figure(Posi-Tone, 2015)• Jerome Jennings – Solidarity (IoLa, 2019)• Karrin Allyson Sextet – Shoulder to Shoulder:Centennial Tribute to Women’s Suffrage(eOne, 2019)• Diego Rivera – Connections(Posi-Tone, 2019)• Mark Isham/Craig Harris –Judas and the Black Messiah (Soundtrack)(WaterTower Music, 2020)• Endea Owens and The Cookout - Feel Good Music(s/r, 2022)

BAR BAYEUXBY RUSS MUSTO

COCKTAILS, WINE, CRAFT BEER,

of course she was ready to go. You know, sometimes
when it’s calling you, you got to go. So she did.”Owens admits, “When I first applied to Juilliard
I actually didn’t get in, though I got into Manhattan
School of Music. But I ended up dropping out of
Manhattan shortly after the first semester. I justfigured that I would freelance. But then I decided
to apply to Juilliard again because I saw students
performing in the women’s department of Macy’s
and I was like, okay, maybe this is a sign that I
shouldn’t give up, and the second time I got in.”
At Juilliard she came to the attention of Wynton
Marsalis, who dubbed her one of Lincoln Center’s“Emerging Artists”. “It was a total learning lesson,playing with Wynton,” she declares. “So many
people have helped me. The Harper brothers,
Winard and Philip, they were some of the firstpeople to really believe in what I was trying toaccomplish as a musician. Patience Higgins wasvery essential to my growth, and also Marion
Cowings.”
Another was drummer Joe Saylor. He asserts, “Iheard Endea playing with E.J. Strickland at Smalls
and was deeply impacted by her groove, vibe andpresence. J Bat (Jon Batiste) was looking for a new
bassist for The Late Show band and I recommended
her for the gig. I have had the honor to share thebandstand with her consistently since 2021 andwitness her exponential growth as a bassist andmusician. She possesses a beautiful combinationof sensitivity, humility, assertiveness and bravery
that manifests through her playing. It is joy to makemusic with her!”Owens has also emerged as a bandleader in her
own right. She proclaims, “I started my band around2018 because I just felt like I wasn’t getting a lotof respect as a female musician, especially a black
female musician. So I just said, ‘You know what?
I’m going to start my own group and make it asequal and as inclusive as possible, and everybody’s
going to be killing.’ I call it The Cookout because
it’s kind of like the ode to all the cookouts that I’ve
been to growing up and what that feels like. Just
seeing all your family and friends and forgetting
all of your troubles. I wanted the initial band soundto be like Art Blakey and the Jazz Messengers. So I
had a sextet.” After a few gigs she added vocalists
J. Hoard and Shenel Johns, adding the feeling ofgospel and R&B to the mix. “I just think of, what
does jazz sound like to my ears now? What does
this sound like with everything that I’ve grown
up with?” It’s all there to hear on the group’s
forthcoming debut album, aptly titled Feel GoodMusic.

Tuesdays(8/9:30 pm)

Weekly Jam Session with Diego Voglino:
Ben Monder (3/7), Ed Cherry (3/14),
Ethan Iverson (3/21), Dred Scott & Matt Pavolka (3/28)

Wednesdays Simon Moullier Quartet (3/1)(8/9:30 pm)

Aaron Parks Trio(3/8)
Johnathan Blake Trio (3/15)
Jerome Sabbagh Trio (3/22)
Michelle Lordi Group (3/29)

Thursdays(5-7 pm) Happy Hour with Marta Sanchez Trio
(8/9:30 pm) Adam Kolker, Jeremy Stratton + guests:
Ed Neumeister (3/2), Bruce Barth & Adam Cruz (3/9),
Scott Robinson (3/16), Santiago Leibson (3/23),
Gary Versace & Anthony Pinciotti (3/30)

FridaysPeter Watrous (3/3), Emi Makabe (3/10),
Tim Berne (3/17), Steve Cardenas (3/31)

Saturdays(6-7:30 pm) Adam Kolker Duo Series (Mar. 4,11,18,25)(8/9:30 pm), Ethan Silverman (3/11), Sean Clapis (3/25),
Jimmy Macbride (3/4), Caleb Wheeler Curtis (3/18)(8/9:30 pm)

For more info, visit endeaowens.com. Endea Owens and
The Cookout is at Dizzy’s Club Mar. 18-19 and Sistas’
Place Mar. 11 and she is at Smalls Mar. 22 with Curtis
Nowosad. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 7

PHOTO COURTESY OF ARTISTON THE COVER

Nicole Mitchell
Finding a New Utopia
by Kurt Gottschalk
Utopian visions are hard things to transmit. Like thepurest of love songs, a description of utopia can all too
easily be heard as naïve, simplistic, even corny. It’s up to
the dreamer to sell the ideal.
Composer and flutist Nicole Mitchell dreams big. It
says a lot about her spirit that she can take inspirationfrom the noted science fiction author Octavia A. Butler—
whose dystopic novels of societal divisions won her Hugo
and Nebula awards and a MacArthur Fellowship—tocreate her own, perfect world.
Followers of Mitchell’s have known of the existenceof her dream-world at least since the 2017 album Mandorla
Awakening II: Emerging Worlds. But Mandorla was a hardplace to see, remote maybe, or under cloud cover. It wasn’t
described, not overtly anyway, in the music she composed
for her Black Earth Ensemble. But it was suggested and, as
it turns out, it was also there in the way the band worked
together.
Mitchell has now provided a clearer look into her
idealized world with her first book, The Mandorla Letters,
a hybrid of philosophy, reflection on current anxieties
and glimpses of the imagined land through the eyes ofa heroine earthling who finds herself there, wherever it
is. The beautifully designed and bound book (publishedby the University of Minnesota Press) matches Mitchell’smultiple through-lines. Printed in soft indigo ink, the fonts
and page orientation shift as the narrative perspectives
change, as if one book could barely contain all the ideas sothey had to pack it carefully.
“There are a lot of different voices in the book, so
it could easily be linearly done, each one being its own
book,” she said in a Zoom call from France. “I wanted themessage to be holistic, which is why it’s woven in a mosaic
like that, because I feel that it gives more opportunity for
you to open your mind in different ways versus if thenarrative was a straight narrative. What I would hope isthat not just myself but other people could take that seedidea and develop their own narratives.”
Mitchell has, in fact, opened Mandorla up for others
to run free. In 2014, while on the faculty of the Universityof California, Irvine, she designed a class in which she
guided her graduate students in the creation of their own
realizations of Mandorla through film, dance and music.
And the collaborative nature of her compositions for the
project allows the members of her ensemble to envision
their own Mandorlian societies. She is a generous landlord.
She hasn’t had the opportunity to have students
create Mandorla worlds in recent years, however. Mitchellleft UC Irvine in 2019 and has been on the move ever since.
She spent three years as the William S. Dietrich II Chairand director of jazz studies at the University of Pittsburgh
before accepting a professorship at the University ofVirginia in 2022, which was promptly followed by asabbatical in Paris and then a planned residency at
Oberlin College. But as soon as she’s able to stake groundin Virginia, it will be something of a homecoming. Her
grandparents lived near Richmond, where the university
is located, before relocating to Chicago in the 1920s; andMitchell has been crossing and retracing family lines
herself. Born in Syracuse, NY she grew up in Anaheim,
CA, a short distance from Irvine, studied at Oberlin andmade her way to Chicago, where she first made her markas a musician. Those early musical experiences, as wellas learning the racial codes in different cities across thecountry, are another subtext of Letters.
The original Mandorla concert program, with video
and light design, and the follow-up Emerging Worlds
concerts and recording “are just two possible imaginingsof the Mandorla Island concept and narrative,” shewrites in Letters. “That’s why I invite others to explore
the MA [Mandorla Awakening] concept to create theirown possibilities for including and collaborating withmusicians from varying traditions... a living sonicexperiment of people practicing a musical coexistence
while celebrating cultural and gender diversity andexercising a collaborative (intrinsically less hierarchical)
platform to improvisation.”
Another way of looking at Mandorla might be as astate of mind. Mitchell’s solo album Duo with Deer Isle wasrecorded in Maine in 2005 and made available through her
Bandcamp page in January. Duets incorporate sounds ofthe island (water plays a starring role), and she is heard
interacting with the environment on flutes and percussion
instruments, as well as singing and playing an Egyptian
harp. Even if it predates the Mandorla project, coexistencewith the natural world is central to that vision.
In Letters, she writes about the music of the natural
world, and what we might learn from it:
There is a call and response utilized by most wildlife innature. Birds return another bird’s song in their reply, as if
to say, “I hear you!” but with added embellishments. And so,together/not together is a way for us as musicians to play asimilar statement, while overlapping our voices imperfectly, sothat each texture and individual is heard.
together/not together expresses my sense of coexistence
in diversity. Rather than the “melting pot” concept of the ’70s,
where people were expected to give up their ways of being(assimilate) to reach an impossible white standard, diversity
coexistence is about people being respected for their differences
as they are.
People peacefully co-existing with one another isalso foundational to the Mandorlian philosophy. Whenshe set about expanding her Black Earth Ensemble for the
Mandorla material, she was looking to represent a coming
together of Black American, Japanese, Middle Eastern andEuropean cultures. Adding another layer, she writes thatshe saw the electric guitar and electronics in the ensemble
as representing urban life while the oud, shamisen,
shakuhachi and banjo represented the rural. “I’ve been
unintentionally doing this the whole time,” she said. “Iwanted there to be intercultural collaboration... The way
I frame the project when I work with people is a worldthat loves—can we embrace and overlap wisdom from all
the places that it exists and how we receive wisdom fromoutside the western complex? The answers are alreadythere.”
Some parts of Mitchell’s other worlds will be on
display in her Composer Portrait concert at Miller Theatre
this month. Mitchell’s flute will be heard, of course, but
the program commendably puts the focus on her work
as a composer, featuring performances by members of
the International Contemporary Ensemble (ICE). Also

8 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

present will be singer Lisa E. Harris, with whom Mitchellcomposed the 2020 album EarthSeed, inspired by Octavia
Butler’s writings.
Using music to represent a just society is nothing new
in jazz, of course. Such modeling was arguably a central
tenet to the Association for the Advancement of Creative
Musicians (AACM), the seminal Chicago collective
founded in 1965. Mitchell served as the organization’s
first female president (from 2009 to 2010) and has playedwith many of its illustrious elders, including as member ofthe expanded Art Ensemble of Chicago and with Anthony
Braxton. In Letters, she writes that “the most crystallized
expression of nonhierarchical performance I’ve everexperienced was as a member of Anthony Braxton’s
12+1tet,” playing his Ghost Trance Music.
“Braxton’s model for GTM is a true embodiment ofcommunitarianism, where the total expression of a concert
depends on the organized expression of small units ofmusicians performing as self-governing communities,”
she writes. “[I]t represents a democratic embodiment ofmusical teamwork that completely eradicates the Westernconcept of hierarchy within musical performance.”
As a performer, whether in her own ensembles or inthose led by others, Mitchell exudes sincerity. It’s there inher broad smile any time she’s onstage. It’s that sincerity
that ties the disparate threads of her book together and it’sthat sincerity that she brings to her music, to flipping thedystopian switch and finding a new utopia. Asked if she’s
optimistic about the future, she paused, and seemed to pickher words carefully. “I have hope,” she said. “We can’t
really exist without it, but we have to make some changes.
“Look at what’s happening now in California,” sheadded, referencing the latest in America’s unending seriesof mass shootings, with perhaps more faith in the planet
than the species. “I don’t really think that we’re damaging
the Earth. We might not survive. Sometimes music doesn’tfeel like enough. But we all have the power to imagine.”
Then, as if concerned about leaving on a negative note,
she described an open jam she had recently attended in
Paris: “It wasn’t a bar, any age could come, it was free
and they were just doing grooves,” she said. “Everyone
was dancing, nobody was sitting down. There was a real
feeling of non-hierarchy without that machismo judgment
vibe. It made me hopeful to see so many people excitedabout the music.”
For more info, visit nicolemitchell.com. Mitchell is at Miller
Theatre Mar. 30. See Calendar.
Recommended Listening:• Nicole Mitchell’s Black Earth Ensemble —Xenogenesis Suite (Firehouse 12, 2007)• Nicole Mitchell’s Black Earth Strings — Renegades(Delmark, 2008)• Nicole Mitchell’s Ice Crystal — Aquarius(Delmark, 2012)• Nicole Mitchell — Engraved in the Wind
(Rogue Art, 2012)• Nicole Mitchell’s Sonic Projections — The Secret
Escapades of Velvet Anderson (Rogue Art, 2013)• Artifacts — …and then there’s this (Astral Spirits, 2022)

"...Her voice pours like a waterfall...a force of nature!"~ Neil Tesser
Broadcaster & Journalist

Tammy

McCANN
2020 Chicagoan of the Year in Jazz
-Chicago Tribune

John Clayton
y award-winning bassist
Co-produced by: Gramm
ue
Haq
ed
Fare
st
tari
& Gui
est, Kahil El Zabar & more
Special Guests: Rhymef

New Album
Available
March 10, 2023
tammymccann.com

PHOTO COURTESY OF ARTISTENCOREROSAPASSOSBY SUZANNE LORGE

O n Rosa Passos’ new live recording, Samba Sem Você(Storyville), the celebrated Brazilian singer/guitarist
artfully negotiates the rhythmic currents and fastpaced melodies, her longtime trio synchronized toher pace. By the time she recorded this album—thesecond set from a gig at Copenhagen Jazzhouse in
the summer of 2001—the Bahian artist was two
decades out from her debut, Recriação, the recordthat launched her reputation as one of the foremostinterpreters of the Bossa Songbook.
The new album—a counterpart to 2021’s Dunas(Storyville), which relays the first set from thatsame Jazzhouse date—marks Passos’ 50th releaseas a leader or guest. This extensive discography
draws a roadmap of her global career, documenting
not only her accomplishments as a noteworthy
performer and composer in her own right, but her
many collaborations with musicians as diverse as
trumpeter Chris Botti, cellist Yo-Yo Ma, singer/
songwriter Kenny Rankin and bassist Ron Carter.
Passos’ exemplary musicianship is doubtless whatdrew all of these artists into her fold — the impeccableintonation, elegant sound and intuitive phrasing.
These qualities find exalted expression in Brazilian
musical forms especially, beloved for their romantic
imagery and seductive feels.
Passos comes by such musicality naturally, it
seems. Born in Salvador, Bahia, she studied piano asa child, but switched to guitar when she first heardJoão Gilberto and Tom Jobim as a teen. During thoseformative years, she also began composing, gaining
national attention for her exceptional abilities as asinger, player and songwriter. These early wins led
to recording contracts in Brazil that in turn caught
the attention of musicians—and audiences—abroad.
Before long, she was traveling the globe as anemissary of Brazilian music.
In translated email correspondence, Passos
explains why the world remains so enamored of theBrazilian bossa—a unique hybrid of samba and cool

jazz—more than six decades after its heyday: “Thebossa nova had artists of the highest quality, true
geniuses of Brazilian music, such as João Gilberto,
Nara Leão and Tom Jobim. Very qualified artists
who made the bossa nova a Brazilian heritage thatconquered everyone.”The canon of songs that “conquered everyone”
provides Passos with a wealth of material to perform.
For Samba Sem Você, Passos chose several titles by
Dorival Caymmi, one of the founding composers of
the early bossa movement. Among them is “Milagre”(“Miracle”), a popular 1977 duet between Dorivaland his wife, singer Nana Caymmi. The album’s
version, crisp and clean, takes on added depth withpianist Fábio Torres’ modern reharmonization andPassos’ bright percussive vocals—it’s a quick, happy
jaunt. But Caymmi also gives the album its mostcontemplative track—and one of Passos’ favorites on
the album—“Nem Eu” (“Not Me”), from 1952. Passos
opens the ballad with a gentle rubato section before
digging into the rueful melody and circumspectlyrics: “Love happens when you aren’t paying
attention…”
Whether or not one understands Portuguese(Passos’ native language), her emotional investmentin the lyrics is striking. Listen to the mounting
heartbreak on “Altos e Baixos” (by Sueli Costa/Aldir
Blanc), for instance, or the dogged vehemence on“Bala com Bala” (by João Bosco/Aldir Blanc). Thisintensity, much as it characterizes Passos’ vocal
performances, also informs her writing: “Whatinspires me to compose is the content of the lyrics,
what the poem is trying to say. From there, I lovingly
seek inspiration to serve as a conduit for music.”
Passos contributed two compositions to thealbum: the title track (with Fernando de Oliveira),a brisk up-tempo number whose optimism coyly
contradicts the longing in the lyrics, and “Gesto”, or“Gesture” (with Sérgio Natureza), a gently cadenced
flirtation about the life-giving joyfulness of song.
These originals are two of the record’s sunniest cuts.
That Passos can conjure moods so deftly speaks
in large measure to the solidity of the musicalbond with her trio: Torres, bassist Paulo Palelli,and drummer Celso de Almeida. On Ary Barroso’s“Aquarela Do Brasil” (“Brazilian Watercolor”),
a well-known Brazilian tune, Torres and Passos
expound on the harmonies, while Palelli andAlmeida build the unerring rhythmic foundation.
This effortless cooperation leaves Passos the creative

space to extemporize with vocal riffs and calls. It’s
hard to imagine a more satisfying closing track.
“We are like a family; we have been together
for many years”, Passos writes about her sideplayers. “This facilitates our relationship and ourmusical rapport.” When Passos plays JALC’s Appel
Room (Mar. 24-25), though, it won’t be with her
regular trio. Instead, she’ll be resuming her creative
partnership with pianist Kenny Barron, with whom
she concertized six years ago, also at JALC. It was
their first time playing together, and the Appel Roomreadily sold out. Adding to the significance of thismonth’s reunion, bassist Ron Carter will join the pair,revisiting one of Passos’ initial forays into Americanjazz.
“I first met Ron Carter [in 2003]. That’s when
we recorded an album on which we sing together,called Entre Amigos. It was a very important moment
in my career to record with Ron Carter, a living jazzlegend. And then I met Kenny [Barron], anotherliving jazz legend, doing the show in 2016 (alongwith Paulo Paulelli). I am sure that a show with atheme like Tom Jobim, and the participation of these
two legends, will be wonderful.” And historic. These
three important musicians have never performed all
together before. Adding to the evenings’ uniqueness,
Brazil-born/NYC-based Rafael Barata—a mainstay
drummer for such distinctive artists as Dianne
Reeves, Eliane Elias and Jaques Morelenbaum—willround out the quartet. The meeting of these musicalminds on this particular stage is also rare: Passos
doesn’t come through New York very often. Afterthese shows, she’s planning other performances, forvenues in Europe and South America, and a new
album. There’s only so much time—and so muchworld to conquer.
For more info, visit rosapassos.com.br. Passos is at JALC’s
The Appel Room Mar. 24-25. See Calendar.
Recommended Listening:• Rosa Passos – Recriação (Chantecler, 1978)• Rosa Passos – Festa (Velas, 1993)• Rosa Passos – Canta Antonio Carlos Jobim(40 Años De Bossa Nova) (Lumiar, 1998)• Rosa Passos – Dunas (Live in Copenhagen)(Storyville, 2001)• Rosa Passos/Ron Carter – Entre Amigos(Chesky, 2003)• Rosa Passos – Romance (Telarc, 2008)© 2015 ENID FARBER FOTOSLEST WE FORGETCONNIECROTHERSBY ERIC WENDELL

W hen pianist/composer Connie Crothers passed

away in 2016 at the age of 75, she left a communitythat loved her music and her warm heart. Crothers was
known equally for her brilliant style and support ofher fellow musicians. Trombonist Steve Swell recalls
this fondly: “She was the kind of person that when she
spoke to you, she made all your efforts that evening
feel important and worthwhile. I can’t say enough of
how her comments and the memories of them made me
feel, even now.”
Live and on record, Crothers seamlessly
synthesized classic virtuosity with a voice that was all
her own. That voice was admired by many, including

Patricia Nicholson-Parker, founder of Arts for Art
and the annual Vision Festival, who states, “Connie
Crothers was a consummate artist. She will always
stand out. She was not only one of a few greats, but abeacon for many.”
Connie Crothers was born Constance Rhea
Crothers on May 2, 1941, in Palo Alto, CA. She began
to play the piano at age nine and studied compositionat the University of California, Berkeley. After leaving
school, she soon found her way to New York and sought
the tutelage of pianist Lennie Tristano, beginning alifelong dedication to his work. In a 1983 documentary
produced by the Norwegian Broadcasting Corporation,
Crothers speaks about Tristano wanting more women
to be in jazz: “Lennie once told me he felt that in
all the world of art as we know it, all through thecenturies, there was a dimension missing and that was
the dimension of women.” Crothers also admired histeaching style: “Unlike most educators, he did not rely
on a method or system. His teaching was very open,
and he approached each person as an individual andhe would teach each person in a different way.” Herteaching was very much in Tristano’s style and she

10 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

had an active studio where she assisted many artists,
including singer Andrea Wolper. Wolper—who met
the pianist when she attended a panel of women
jazz musicians organized by pianist Ursel Schlicht inconjunction with The New School and International
Women in Jazz—remembers being “struck by the way
she spoke about truly spontaneous improvisation,
and although I didn’t yet consider myself much of an
improviser, her words resonated with me and I felt
compelled to ask her if she had room in her studiofor me. I now see it as one of those pivotal, perhaps
inevitable, moments in (my) life.”
In 1974, Crothers released the album Perception,
her debut as a leader. A piano trio (with bassist Joe
Solomon and drummer Roger Mancuso), it was releasedon SteepleChase Records, produced by founder Nils
Winther. “I was visiting Lennie Tristano at his home inLong Island, and he spoke highly of his student Connie
Crothers. Lennie considered her the most talented
student he ever had. He introduced me to Connie, whosold us the trio recording she had done at the studio”,
Winther recollects .
(CONTINUED ON PAGE 33)

L ABEL SPOTLIGHT

CRAFT RECORDINGSBY JIM MOTAVALLIW hat do Creedence Clearwater Revival and Sonny

Rollins have in common? They both recorded forlabels that were acquired by Concord Bicycle Music.
The list includes a huge amount of jazz, collected onsuch storied imprints as Milestone, Prestige, Riverside,
Jazzland, Savoy, Pablo, Telarc and Contemporary.
Concord now has more than 10,000 “active album
recordings”. To curate all that music—and selectively
reissue it—Concord created Craft Recordings, andlaunched it in 2017 with Thelonious Monk and John
Coltrane’s Complete 1957 Riverside Recordings.
Recent releases include two by Bill Evans, You
Must Believe in Spring and On a Friday Evening (anewly discovered 1975 performance); Another Side ofJohn Coltrane (featuring his work as a sideman); The
Futuristic Sounds of Sun Ra; and Cookin’ with Jaws and theQueen, featuring Eddie “Lockjaw” Davis with Shirley
Scott. All are available in multiple formats, and feature
the original artwork.
Nick Phillips has been producing projects at
Concord for 25 years, and is very active at Craft. The
first of his new releases, which comes out this month,gathers Sonny Rollins’ recordings for Lester Koenig’s
Contemporary label (founded in 1951, and known
for high-quality recordings of mostly West Coastbased players): Way Out West, And the Contemporary
Leaders, plus the Contemporary Alternate Takes. It comesin both a three-CD or LP boxed set package, Go West!

On A Friday Evening
Bill Evans Trio

The Birth Of Bop
Various

The Contemporary Records Albums, with new notes byAshley Kahn, a 2011 interview with Rollins and more.
Don’t expect any unreleased material. “The reallyprime cuts were on those records,” Phillips said.
“Rollins didn’t want the extra material that’s in thevaults to come out—it wasn’t up to his standards.” Themusic was remastered by legendary engineer Bernie
Grundman from the original tapes. Way Out West was
originally issued in March 1957, and featured bassist
Ray Brown and drummer Shelly Manne—a first for
Rollins in a trio setting. (Freedom Suite, with Oscar
Pettiford and Max Roach, was recorded a year later.)Phillips says that one thing that makes the
Rollins set on 180-gram vinyl special is its faithful
reproduction of the original covers, which in Way Out
West’s case includes the saxophone slinger standing
among the cacti with a ten-gallon Stetson hat, holster
and bandoliers of bullets. Johnny Mercer’s “I’m an
Old Cowhand” is just one of its many highlights. “I
used to go to the movies every week in Harlem and I
happened to be a big cowboy fan,” says Rollins in his
interview with Kahn. “They were my heroes and they
were always the good guys. They stood for justice. In
the end, good would always win over bad.”John Koenig, Lester’s son, literally grew up with
Contemporary Records. “My father was friends withthe musicians, and they were often at the houseplaying music,” he said. When he was quite young,
Koenig remembers the Kid Ory band in the livingroom. A particularly memorable session he attended
was for Teddy Edwards and Howard McGhee’s
Together Again, recorded in 1961. “McGhee isn’t wellknown; but he was an early figure in the development
of bebop.”

The Futuristic Sounds of Sun Ra
Sun RaMuch later, after his father died in 1977, son
Koenig ran Contemporary himself and produced
albums by a roster of artists—including George Cables,
Bobby Hutcherson, Chico Freeman, Jay Hoggard, Joe
Henderson, Joe Farrell and drummer Peter Erskine(including his first album as leader). He remembers
Way Out West as one of the label’s strongest catalog
items. Obviously, there’s a lot more to reissue—Koenig
says that Contemporary recorded 250 titles, 140 of
which are mainstream jazz (50 are traditional jazz, plus
there are classical releases too). Koenig contributed a
4,000-word essay as part of the label’s 70th anniversarycelebration. “As Contemporary evolved, its artist rostergrew to include top international jazz stars, whose
records have claimed an exalted place in jazz’ historicalcanon”, he wrote.
Grundman started working at Contemporary in
1966, where he was thrilled to work with the engineer
Roy DuNann, something of a West Coast Rudy Van
Gelder in terms of audiophile-quality recordings. He
hand-built most of the equipment he used in the studio.
Grundman says his biggest remastering challenge witha Sonny Rollins record was not on Way Out West but
on Blue Note’s Newk’s Time, working from a badly
damaged master tape with the left channel constantly
fading out and disappearing. “The Contemporary
masters are mostly in pristine condition,” he said.
“DuNann was a perfectionist who made the bestrecordings. Contemporary stole him away from
Capitol.” Grundman said he has so far worked oneight to ten Contemporary reissues for Craft. “They’recoming out slowly,” he said.
(CONTINUED ON PAGE 33)

Jazz Impressions of Black Orpheus
Vince Guaraldi Trio

Way Out West
Sonny Rollins

VOX NEWSRISING (UP)BY SUZANNE LORGE

I n 2021, saxophonist Lakecia Benjamin was in a car
accident that left her with multiple fractures, including
a broken jaw. She had just started touring her tributealbum, Pursuance: The Coltranes (Ropeadope), andplaying was extremely painful. In working throughan extensive recovery, however, Benjamin foundthe source material for her newest release, Phoenix(Whirlwind). On the album’s 11 tracks, almost all ofthem originals, Benjamin successfully pits resilienceagainst adversity. She also makes her first credited
appearance as a singer on a record.
To be clear, Benjamin’s primary contributions to
the album are as a killer player, composer, arranger
and producer. But her varied use of vocals throughout
the record speaks to her insightful understanding of
the voice as a compositional element. On the title
cut, for instance, a synth-enhanced vocal dreamscape(with lead singer Georgia Anne Muldrow) shadows
the track’s layered horn motif. Dianne Reevesfinesses Benjamin’s shifting melody line on “Mercy”.
And three leaders in cultural transformation drive
home Benjamin’s messages about justice and peace
through spoken word: poet Sonia Sanchez, with

bass-only accompaniment on “Peace is a Haiku
Song”, then with the full horn-led band on “Blast”;
author Angela Davis, on the siren-punctuated“Amerikkan Skin”; and saxophonist Wayne Shorteron “Supernova”, an electronica-laced ballad.
Through these vocal performances Benjamin adds
language to her authoritative playing—a reversalof the usual role, where singers seek to emulate thehorn. Harlem Stage, in cooperation with Carnegie
Hall, will sponsor the album’s official release concert(Mar. 11).
When Libby York decided to become a jazz singer,
she moved to New York City and studied with singer/
activist Abbey Lincoln. Today, many years into hercareer, you can hear how York emulates her mentor
on Dreamland (OA2), her fifth album as a leader andproducer. Both singers share a gift for impactfulcool phrasing—as on Lincoln’s seminal ballad,“Throw It Away”. In York’s rendering, the singer’s
clear, assertive vocals serve the tune’s declaration ofemotional fortitude. But her instrument can conjure
many moods: breathless seduction on “Hit the Road
to Dreamland”, quiet nostalgia on “When OctoberGoes”, restrained exuberance on “It’s Love”. In othermoments, York polishes off dustier standards suchas Rodgers and Hart’s “Mountain Greenery” andSchwartz and Dietz’ “Rhode Island Is Famous forYou”—tunes that shine under York’s attention. Yorkwill present the new album at Mezzrow (Mar. 12).

Rhode Island native Carol Sloane, born this monthin 1937, enjoyed rising-star fame as a jazz singer inthe ‘60s before the popularity of rock music forced
jazz (and Sloane’s career) into the niche bins. Evenso, Sloane continued to tour and record, turning out
almost 30 albums as a leader over the next five decades.
She passed away in January, soon after finishingup the filming for Sloane: A Jazz Singer by director
Michael Lippert. In making the film—a documentary
about Sloane’s largely unheralded contributions to
vocal jazz—Lippert follows Sloane as she prepares forher final NYC concert at Birdland in 2019. This gig,
which gave us last year’s Live at Birdland (Club44), alsochronicles the near-end of her decades-long creative
collaboration with another Rhode Island native, pianist
Mike Renzi, who died in 2021. Their warm comraderylights up the film, which respectfully documents thethrilling highs and poignant lows of a jazz life welllived. The film received its official release last month,with NYC screening dates pending.
JALC has tapped singer Alexis Cole to pay homage
to International Women’s Day, in remembrance of
women’s suffrage globally. In keeping with this year’s
theme—Embrace Equity—Cole will sing classic andcontemporary tunes by women composers at Dizzy’s
Club (Mar. 8). Many of these tunes come from New
Standards: 101 Lead Sheets by Women Composers, a
2022 compilation edited by jazz maestro Terri Lyne
Carrington.

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 11

F ESTIVAL REPORTWINTER JAZZFESTPHOTO BY ANNA YATSKEVICH

BY TOM GREENLAND

Samara Joy @Le Poisson Rouge

L ivestreams were a stop-gap solution, but after
two seasons staring at screens, fans hungered forthe real thing. The 19th instantiation of WinterJazzfest was the solution: a seven-day, all-youcan-eat smorgasbord (Jan. 12-18) with over 100
groups and 500 musicians, presented live/inperson at 17 different venues in Manhattan and
Brooklyn. Your correspondent attended four of
those nights.
Opening night offered a triple entrée: Parisianjazz at Le Poisson Rouge (LPR), improvised dancemusic at Nublu and a program of compositions
by female artists curated by Terri Lyne Carrington
at City Winery (see TNYCJR Jan. issue NY@Night
concert review).
Friday and Saturday nights (Jan. 13-14) held
the festival’s flagship events, the Manhattan
and Brooklyn “Marathons”, both presenting
continuous simultaneous programming in sevendifferent venues from early evening into the wee
hours. Friday’s Manhattan events occurred at Zinc
Bar, Bitter End and LPR in Greenwich Village, City
Winery (main stage and loft) in the meatpacking
district, The Jazz Gallery in NoMad and Nublu
in Alphabet City. Saturday’s Brooklyn events,
more clustered, occurred at Superior Ingredients,
Brooklyn Bowl, National Sawdust and Loove Labs
(all within seven blocks of each other); The Opera
House and Baby’s All Right (7-10 blocks south);and Club Curious (10 longer blocks southeast).
While some fans hunkered down at a single
venue for the night, others hopped around tovarious clubs. Unfortunately, long waiting lines
at smaller, packed-to-capacity venues precluded
hoppers from accessing popular shows last minute,but the upside was that founder/organizer Brice
Rosenbloom’s progressive programming ensured
there were plenty of hidden gem acts: unfamiliar
artists who, though you didn’t plan (or necessarilywant) to see, nevertheless opened your eyes andears. The fest, like the music, is always full of
surprises. And a tip for future hoppers: despite
cold weather, traveling by bicycle (as yourcorrespondent and a few others did) lets you
traverse the city’s complex topography in minimal
time, optimizing your live jazz exposure!
Friday’s Manhattan marathon began with
Immanuel Wilkins’ quartet set at LPR. The
saxophonist, clad in a thick, lime green waistlength down parka with wrap-around collar,
warmed the SRO crowd with an extended postbop romp prodded by drummer Kweku Sumbry’s
full-fisted polyrhythmic probing. Following was agently swinging ballad, Wilkins taking time now,

his tone sweet and ariose, even in the horn’s highest
registers. At City Winery, solo guitarist Yamandu
Costa proved to be an ear-opening surprise,performing an eclectic hybrid of jazz, classical andBrazilian music, combining flamenco rasqueado
strums and Michael Hedges-esque palm-slap
techniques, even a bit of whistling to draw whoops
from appreciative listeners. Upstairs in the loft
the O’Farrill brothers (leader/trumpeter Adam,
drummer Zack, tenor saxophonist Xavier Del
Castillo, bassist Walter Stinson) played originals
with a less-is-best aesthetic, negotiating musicalmood swings with remarkable cohesion, sounding
both well-rehearsed and extemporaneous. Back at
LPR the crowd was even more revved up for tenor
saxophonist Donny McCaslin’s quartet with Jason
Lindner (keys), Tim Lefebvre (bass) and Mark
Guiliana (drums). The latter, playing a pareddown kit, parts of which kept getting knocked
over in the heat of the moment, struck like a severe
weather front, his time-keeping straying from astrict metronomic pulse yet staying its course,
giving the music what McCaslin described as “anelement of danger”. Lindner, equally perilous,unleashed seismic electronic sound effects that
felt like a chest massage from the inside out.
Stymied by an around-the-block line to see
singer/guitarist Doug Wamble at Zinc Bar, yourcorrespondent zoomed back to the Winery loft
to catch part of the set by vocalist Sara Serpa
backed by singers Aubrey Johnson and Yoon Sun
Choi with spoken word by Erin Pettigrew (texts
by Emmanuel Idema), accompanied by pianist
Fabian Almazan and synthesist Qasim Naqvi,
and a backdrop of stark-still photography. The
Bitter End line was shorter, affording entrance
to Bada-Bada’s trance-inducing beats, drums andpercussion in synchronized lockstep, part Allman
Brothers Band, part Dawn of Midi. Arriving
early (to ensure entry) at The Jazz Gallery,
your correspondent hunkered down for Craig
Taborn’s entire solo piano set. Stepping onstage,
he greeted the gathered with a terse but friendly“Hello”, then launched into a three-part, hourlong improvisation. The first section, suggestinga B-flat tonality, utilized dampened chromaticbass figures and changing harmonies under astable melody to create a fractured sense of swing;
the second section was more polyphonic, withhigh chimes; the third faster yet gloomier, with
dazzlingly accurate high-speed runs pepperedwith note clusters—following which Taborn
strolled offstage, sweat-soaked but smiling. Afterseveral previous attempts, your correspondent
finally got a peek into Zinc Bar, where bassist
Richie Goods and vibraphonist Chien Chien Lu’s
quintet worked out on spacey funk jams. Friday’s
final stop was Nublu, where Isaiah Collier andthe Chosen Few held court in a packed house ofstill hungry festival-goers, Collier inviting fellow
tenor saxophonist Eric Wyatt up for a duo/duelthat ended just before the wee hour of 2 am withan extravagant coda.
Weather for Saturday’s (Jan. 14) Brooklyn
Marathon was colder, chillier, with wisping snow,
but the trusty bicycle retained its expedience forquick jaunts to outlier venues Baby’s All Right
and Club Curious, both well worth the trek. Firstup was a celebration titled “Black Lives: From
Generation to Generation” comprising a dectet
accompanying lead vocalists Christie Dashiell,
Adam Falcon, Stephanie McKay and spoken
word artist Sharrif Simmons. A zip up to Loove
Labs to see GEORGE wasn’t quite quick enough,the small backroom already overflowing. The
closest alternative was Cuban pianist Dayramir
Gonzalez’ gig just around the corner at National
Sawdust, which proved to be a hidden gem, the12 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

leader combining showmanship, chops and Latinrhythms to keep the audience engaged. Backat The Opera House, pianist Julius Rodriguez
led a sextet that functioned more as a backup band for his considerable skills than as acollective of peers. Rodriguez, who treads theline between understatement and over-playing,
was nevertheless impressive, technically andartistically, varying his approach to suit a variety
of songs, sitting at the drums to lay down a funky
go-go groove on Herbie Hancock’s “Actual Proof”.
It took 20 minutes to pedal over to Club
Curious and a bit longer to get in, but theinvestment paid dividends when drummer Daniel
Villarreal’s Chicago-based quintet reached anorgiastic state impelled by bassist Gordon Walters’
jabbing pizzicatos. There was plenty of room at
Brooklyn Bowl, where Igmar Thomas’ Revive Big
Band covered everything from Curtis Mayfield to
De La Soul. The evening’s edgiest act was Nu Jazzat Baby’s All Right, an unorthodox amalgam ofjazz, EDM (Electronic Dance Music), metal andpunk spearheaded by vocalist Danny Orlowski’s
death growl and anti-establishment rants.
Thinning crowds at Loove Labs permitted a listen
to alto saxophonist Alfredo Colon’s quintet withtrombonist Kalia Vandever: gentle, graceful, withjust a hint of rowdiness. At Superior Ingredients,
Irreversible Entanglements was finishing up its
set fronted by uncompromising vocalist Camae
Ayewa (aka Moor Mother), her rough-but-sweet
screams inciting vociferous audience response.
After a brief deejayed intermission, the last
performance set even the tiredest participantsin motion: deep-pocket drummer Nate Smith’strio with synthesist Lindner and bassist Lefebvredelivered hook-laden grooves with sci-fi SFX,
chicken clucks, pounding heartbeats and the like,the dancefloor now a sea of bobbing heads as red
and blue searchlights traced across the blackened
walls amid sparkles of golden stardust cast off by
the swirling silver ball.
Monday night (Jan. 16) began at Nublu,
where multi-instrumentalist Peter Apfelbaum led
his 11-piece New York Hieroglyphics ensemble(an extended musical family with strong ties toBerkeley, CA) in a set of African-inspired, avantleaning original charts characterized by loosely
layered rhythms, distinctive harmonies, dovetailed
melodies, punchy horn choruses and open-ended
forms. Apfelbaum’s hypnotic melodica set themood for the closer, “Titiwa”, which sank into asinuous 6/8 before the final rousing horn chorus.
Over at LPR, Samara Joy treated the jammed hallto an intimate reading of standards like “ThisIs the Moment”, “Can’t Get Out of This Mood”
and “’Round Midnight”, singing with impeccabletiming, tuning and invention, sounding a bit
strident in her chest range but warmer on low
notes and absolutely sublime in head register.
Her shout was most effective on the last number,a blues titled “Baby Please Don’t Go” featuring acameo by Julius Rodriguez and the rigorous but
refined accompaniment of pianist Luther Allison.
Against the odds, Winter Jazzfest once again
lived up to its premise/promise of presenting
intimate improvised music to the masses, jazz
fans and otherwise. Sure, venues were crowded,
but isn’t that the best way to experience thismusic: up close and sweaty, smelling the smells,
knocking elbows with neighbors, knocking back a
few drinks? Whether you’re a hunkerer or hopper,
bicyclist or pedestrian, local or tourist, youngbloodor aging hipster, this year’s fest offered familiar
favorites and unexpected surprises, providing
full satisfaction for curious listeners.
For more info, visit winterjazzfest.com

LIVE MUSIC | URBAN WINERY | RESTAURANT | BAR | PRIVATE EVENTSAT PIER 57 AT HUDSON RIVER PARKN E W YOR K • CHICAGO • NASHVILLE • ATL ANTA • BOSTON
PHIL ADE LPHIA • H U DSON VALLE Y • G R AN D CE NTR AL

3.11
Eric Benét
2 shows!

3.18
Elle Varner

4.15
Booker T. Jones

Celebrating 60 Years of“Green Onions”

LOCATED AT PIER 26 AT HUDSON RIVER PARK

3.14
3.28
Music of buena Vista
Social Club

3.15
3.30
Brazilian Jazz
& Flamenco with

Barbara Martinez

Tribute to Cuba’s Golden Age

3.19
New Moon Acoustic Blues@CITYVINEYARDNYC • CITYWINERY.COM/CITYVINEYARD

3.23
music of The Supremes& Dreamgirls byEmilie Surtees@CITYWINERYNYC • CITYWINERY.COM/NEWYORKI N ME MORIAM
I was first introduced to the artistry of Carol Sloane
in my 20s by my dear friend and mentor Sir Richard
Rodney Bennett. One afternoon when we were relaxing
at his upper West Side apartment, Richard said tome “we’re going to hear Carol Sloane tonight at Fat
Tuesday’s”. It was clear to me that this was both a gift
and a command by Sir Richard, who knew more about
singers and the song and pretty much about all music
than anyone I had ever known… but I had no idea how
deeply affecting, uplifting and life-changing that night
would become for me. We grabbed a cab and went
downtown. There was a palpable buzz of expectationin the room. When the set began, a diminutive elegant
lady walked onto the bandstand and sang with suchexquisite taste, warmth, complete control of her
instrument, perfect pitch and effervescence that I was
filled with that magical weightless floating feeling when
you experience a singular artist with that most elusiveand deepest sense of extemporaneous swing. My heart
was full, and each breath took the next breath away.
That night was the beginning of a lifelong friendship.
At Sir Richard’s suggestion, Carol reached out to me
to play with her at one of her next engagements. We
got on like a house on fire! The chemistry was instant,and thus began a wonderful four-year period where we
performed and recorded frequently. She trusted me andnurtured me musically. But it wasn’t just a professional
relationship. We became true friends. I often think about
one of the things that Fred Rogers talked about… thatis, people who loved you into being. Carol Sloane wasone of those very special people in my life. She was amodel of confidence coupled with humility. Her sound,always soulful and rich. Her spiritual generosity lifting.
Listen to the way she sings “Deep Purple” on her debut
recording with the incredible orchestral arrangement ofBill Finegan… or the deep probing lyrical nuance withwhich she approaches “When I Look in Your Eyes” fromthe first album we recorded together. The spirit of Carol
Sloane will live on forever in the beautiful music she left
us. I will love her and miss her forever.
—BILL CHARLAP, PIANO
I first met Carol Sloane on my first night on the jobfrom behind the bar at The Frog & Nightgown (Raleigh,NC) in the mid-‘70s. A petite, attractive woman walked
in, took a barstool and said “Hi. You’re new here. My
name is Carol Sloane. I’m a jazz singer who performs
here now and then.” We remained close friends andsometime-colleagues since that night almost 50 years
ago. We appeared in local musical theatre productions
together and sang the closing duet of “My Ship” in a
production of Lady in the Dark. We’d cook dinner foreach other. We listened to music. We went to movies.
She taught me about her life as a jazz singer—and I
grew more humbled by her strength and fortitude witheach passing year. In the early-‘80s, she was my righthand during our time together at Stephen’s, After All
in Chapel Hill. Five years ago, she asked me, “Do you
really think I will matter to anyone after I’m gone?”
And that’s why we’ve made the documentary, Sloane:
A Jazz Singer. It is equally a story about resilience,about struggles of age and insecurity, about loss, hope,
optimism, tenacity, respect and honoring those who’vebeen your guideposts and laid the Artist’s path foryou. It’s a story about what can grow from holding
a transistor radio in your hands as a 12-year-old andfinding, late at night in your room, music that speaks
to your very soul.
—STEPHEN BAREFOOT, PRODUCER(SLOANE: A JAZZ SINGER)
Carol Sloane was part of a generation of great music,
a time there were some of the best singers of that era.
Carol Sloane’s name would and should be named
among the finest of singers ever.
—MARY STALLINGS, VOCALS

Carol Sloane and I grew up in ‘Little Rhody’, no morethan twenty minutes apart. We were a decade apartin age so I didn’t get to see her in action until I wasjust out of college and starting to gig on my own. She
was appearing in Providence with our other RI hero
Mike Renzi. His keyboard facility and cushioning of
Sloane was astonishing. Her rich yet breathy soundseemed to come from an inner resonator. Effortless
yet so purposeful. Ear candy but deep down, suchintelligence. It had a profound impact. I decided
soon after to move to NYC. I wanted to see more live
performers, learn my craft and oh, if I could be even an
iota like them!
Some years later when Carol was living in NYC
with Jimmy Rowles we got better acquainted. To see/hear her with Jimmy was such a different vibe but as
masterful and fun. The two of them on his “Frasier (The
Sensuous Lion)” is still in my head. I also got to hear
her a lot at Michael’s Pub. I have this cute memory ofowner Gil Wiest after the gig dashing off with her in his
limo. Carol’s stints in Japan won her lots of ardent fansand I know a group of them from Tokyo who flew overfor her special Birdland live recording with Mike Renzi
and Scott Hamilton in 2019. The music that weekend
was of the highest level. Carol looked and sounded
beautiful. Her excitement at seeing all these fans fromfar and wide was palpable. Rhode Island roots run
deep. I play annual homecoming concerts at Chan’s
Jazz & Blues Club. Carol and her sister Lois would turnup. Sloane would even join me on the bandstand. She’dnever mention the key or even the song title. Just start
singing and I’d perk up my ears and keep my fingers
close to the keys. I’d hang around root and fifth until I
got it and our Songbird Sloane carried on as she always
does with her own inner resonator.
Carol Sloane was also an excellent writer. Former
DownBeat editor Dan Morgenstern, who first heard
her at the Newport Jazz Festival in 1961, had her write
some reviews and features which he praised. In theselast years Carol was writing essays about her careerand favorite experiences...even the Red Sox. I was
thrilled that she agreed to write liner notes for my mostrecent album. Her astute thought waves inspired acomparison of me to Gertrude Lawrence. Some friends
exclaimed “Gertie was a great actress—but she couldn’t
sing!” I loved calling Sloane after that and saying “thisis Gertie”. It always got a laugh.
—DARYL SHERMAN, VOCALS
I had the good fortune to hear Carol Sloane liveon two occasions. The first was at Bill Charlap’s
2006 Jazz in July at 92nd Street Y and more recently
at Winter’s Jazz Club Chicago in June 2019. Of
course, I had loved her recordings, but hearing
her live was a Master Class. My most vivid memoryof both performances was how she could sustain analmost achingly glacial tempo on a ballad and makeit the most engaging story you ever heard. You leaned
in to catch every word and emotion. Talk about lessis more. The crowds at both concerts were completely
in her pocket. She was so gracious to me after theWinter’s concert. I was honored she had ever heard myrecordings. Thank you, Carol. Your music will live on.
—LIBBY YORK, VOCALS
Carol Sloane was a beautiful person with an open
heart. There was no separation between the singer andthe song: they were one. Listening to Carol Sloane’srecordings is a Master Class in phrasing, swing andblues, and just inventing in the moment. It’s been an
honor and a privilege to have known Carol, and I’ve
learned (and continue to learn) so much from her
artistry. She embraced me like family from the firsttime we met, and I will always cherish that. Thank you,
Carol, for enriching my life.
—CATHERINE RUSSELL, VOCALS

14 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

Carol Sloane embodied all those rare qualities thata true jazz singer possesses. First of all, she had agorgeous, warm and naturally resounding voice,pitch-perfect phrasing, impeccable timing and—mostsignificantly—a precise delivery with absolutely no
trace of affectation. Everything about her singing
sounded true, simple and natural. And as it always
happens with true artistry, the truthfulness andsimplicity of her singing was another facet of her
personality: warm, witty, loving and humble. No
screaming, no need to pump up the volume or thedramatics. Carol did not need to do that in order tomake us feel the profound beauty of a melody, andto make us cry or rejoice at the stories she would tellin song. The many Masters that she collaborated withloved her deeply. So did we, her listeners and fans.
I grew up listening to her albums and, after I moved
to the U.S., I had the good chance of listening to some ofher amazing live concerts in NYC. I had the blessing of
knowing her in person and getting to spend time withher on a number of occasions. She was so gracious andkind to me, and I will treasure those moments filledwith joy and laughter. She maintained an openness
and curiosity about musicians throughout her life, andI can’t forget the thrill when she came to hear me at
Scullers in Boston where I was with my quartet as well
as at Tanglewood, where I was singing with one of her
many collaborators and friends, Master Hank Jones. I
was struck at the love of music that emanated from her,like a fire that burned within her and nothing could
extinguish. I know that this was what she always lived
for. A documentary is now being released about thisextraordinary artist, and I look forward to watching it.
I am sure that many more people will have the chance
to fall in love with her voice, just as I did.
We all wish she could have enjoyed more recognition
and more awards for her stellar career while she was stillamong us. But Carol Sloane, Master of the voice, lived
for and through music, and through music her voice
will live on. She lived, as Master Kenny Dorham used tosay, “with music in mind” (and in heart, body and soul).
Thank you from the bottom of my heart, dear Carol.
—ROBERTA GAMBARINI, VOCALS
Carol Sloane was one of the great singers andstorytellers. I regret I hardly knew her but I admired
her honest delivery. And that’s not a “sideways
compliment”—I do love that about musicians when that
happens. Thankfully, she left the world a wonderfullegacy of recordings.
—KARRIN ALLYSON, VOCALS
So upsetting when voices are stilled, especiallybeautiful voices like Carol Sloane’s. Our first albums
came out around the same time. We were friendly but
never close, but we had so many friends in common andshared all those years in the music world together. It
feels like a personal loss. In recent years the musicians
I worked with closely have been disappearing inalarming numbers. As the song says, the fundamental
things apply As Time Goes By.
—NANCY HARROW, VOCALSThe sad news of Carol Sloane’s passing stirred up a
lot of memories for me. She was a unique vocalist who
leaves us with a wonderful, recorded legacy. Anyone
fortunate enough to have heard her live will recall thedarker, rich quality of her voice and her easy swinging
style. Those of us who were fortunate enough to haveworked with her will remember all of the above alongwith a warm personality and sense of humor. Even
though we had lost contact when I moved out West,I was so gratified to see that the final stages of her
career were by far the most productive and personallyrewarding for her and her audience. R.I.P Carol.
—JOE LABARBERA, DRUMSThe first time I heard Carol Sloane, I was smitten. I
heard what anyone else with discerning ears heard—her
perfect intonation, velvety voice, impeccable taste andher ability to master any song in any style and at any
tempo. She could make the listener feel as if she were
singing directly to and for them. I was very fortunate toalso become her friend. We had a great appreciation forour shared sense of humor. In addition to all of Sloane’stalents, which included pie baking, she was smart,
articulate and possessed a dry and sharp wit. Sloane
called one day and insisted that I get involved with agroup called “Songbirds”. I joined and it afforded me
the opportunity to share special and intimate time withher, traveling and living as roommates. Of course, I
as a singer benefitted from the guidance that she sogenerously offered me, but my favorite memories will
be of the times that we spent together as two girlfriends
or—as she referred to us as—“sisters”!
—DONNA BYRNE, VOCALS
I was lucky to play with Carol for 10 years throughthe ‘90s into 2002 or so. The first time I worked withher I was blown away by her great intonation andher hard swinging feel. But for me she was at her
best singing a ballad. The way she delivered the lyric,personal, intense and with feeling: hard to find in asinger these days! Working with her, Bill Charlap andMichael Moore was an honor and one hell of a musicalexperience. She will be missed!
—RON VINCENT, DRUMS

I loved playing bass for Carol. She was such a finemusician and interpreter of song. And she was great towork for. I am so sorry she is no longer with us.
—JAY LEONHART, BASS
I have long admired Carol’s vocal skills and tone andher approach. We’ve lost a great talent.
—REBECCA KILGORE, VOCALS
I was a shy introvert, a student at Berklee Collegeof Music still finding my voice. It was the late-‘80s
and Carol was performing regularly at Boston’s jazz
venues. She was beloved. She also hosted a radio
program that aired on WGBH. I don’t know how she
found my demos, but she did. These were my firstever recordings, live to half-inch-tape—standards
like “Never Will I Marry”, “Chega de Saudade” and“You’ve Changed”. It was the first time in my life thatanyone, besides my teachers, had championed me. She
played me on her radio show. She was giving, kind,
nurturing, precisely when I needed sunlight.
I don’t think she ever knew how muchthat meant to me, being seen andsupported by her. It is an oftneglected responsibility of elders
tonurturenext-generations.
Carol sought me out, lifted me
up. She had a loving heart andmade a difference in my life.
—PAULA COLE, VOCALS

Carol Sloane was simply one of the most honest,
soulful, funny and swinging individuals I’ve evermet. Every encounter we had was magical—she wasa great storyteller on and off the bandstand and kept
her marvelously skewed view on life throughout
much heartache and tragedy, and remained absolutely
creative up until the end. I remember doing a trio
record with her where she said to me, “You’re goingto sing a duet with me on the next song”, that nextsong being “Just Squeeze Me (But Please Don’t TeaseMe)”. I looked at her aghast and said “I don’t know thewords” and she stared at me like the idiot I was andsaid, “Well, lucky for you I have a copy right here.”
She then counted it off and one take later we had—if
I say so myself—quite a charming and fun version in
the can. And that was Carol: full of surprises, witty,
great intellect, sharp as a tack and every song she sangreflected all of those qualities and a lot more. When shesang a song she meant it on every level—emotionally,
intellectually, etc. She couldn’t wait to share her joy ofsinging, and also did not suffer fools gladly. I greatly
admired her and now, sadly, greatly miss her. She wasinspiring in so many ways.
—KEN PEPLOWSKI, CLARINET/TENOR SAXCAROLSLOANE
1937-2023

PHOTO BY: ALAN NAHIGIAN

Carol was always a presence in the Boston scene, andthe vocal world, representing the epitome of sublime
phrasing and lyric expression. Sometime in the mid‘80s, I went to hear her perform at the Starlight Roof in
Kenmore Square in Boston, which was a lovely, intimate
club. Carol’s husband, Buck Spurr, booked the venue,
and I had worked there a time or two with Ran Blake
and Ricky Ford. That night, Carol was performing in atrio with guitarist Gene Bertoncini and bassist Michael
Moore. I was transfixed from the first note. To say it
was understated would be an understatement. Eachmusician played so minimally, yet the grove was deep
and the music almost unbearably expressive. It was aperfect trio, something very special. Later, in the mid‘90s, I was grateful that she was willing to sub for me
at New England Conservatory for a semester while I
was on maternity leave. I was so glad for my students
to have the unique opportunity to experience the depthof Carol’s unparalleled interpretations.
—DOMINIQUE EADE, VOCALSTHE NEW YORK CITY JAZZ RECORD | MARCH 2023 15

WOMEN’SHISTORYMONTH

ALBUM REVIEWS

Love in Exile
Arooj Aftab/Vijay Iyer/Shahzad Ismaily (Verve)
by Kurt Gottschalk

There’s an awful lot that a person could say about Lovein Exile, the debut album (there will hopefully be more)by singer Arooj Aftab, pianist Vijay Iyer and multiinstrumentalist Shahzad Ismaily. One could talk about
it as a cross-cultural meeting (likely employing some
metaphor about food) between the Saudi Arabian–born
Pakistani singer Aftab, first-generation Pakistani Ismaily
and Iyer, the son of immigrants from India, speculating
perhaps on the meaning(s) of “exile”. One could drawlines between minimalism, Sufi traditions and heady,low-key jazz, maybe dropping some nonsense, quotableline like “Nusrat Fateh Ali Khan singing with Bill
Evans in an interdenominational afterlife” that’s sure
to be picked up for promo copy. One could belabor thebridging of electronics and acoustics yet again, talking
about the otherworldly sonic spheres the musicians
create while inevitably bringing up Aftab being the first
Pakistani woman to win a Grammy, Iyer’s MacArthur
genius award and Ismaily’s lengthy list of collaborators
across numerous genres. But all of that would just be talkand Love in Exile doesn’t talk, it sings.
I don’t often turn to music for emotion—or, at least,
I don’t often use music to alter or bolster a current stateof the heart or mind. Music is abstract information, apuzzle to be solved, a code that remains mysterious evenafter it is broken. But I have found myself turning backto Love in Exile again and again in the short time since
the data files were dropped onto my hard drive andthinking, oh, this would feel good. Love in Exile doesn’ttell me to feel good, it doesn’t even (I don’t think) try
to make me feel good, it just does. It quietly puts goodfeelings into the air.
The album’s seven tracks stretch to an hour anda quarter but could just as easily loop all day. Aftab’s
vocals float with soft ripples, an easy melisma skipping
across the surface of a placid sound bed. Iyer, heard on
both piano and electric keyboards, doesn’t support her
melodies but complements them from afar. Ismaily, as
always, covers a wide sonic field, but never overfills it.
His bass sounds wonderful, and in fact the production
overall is spacious and rich. If this isn’t one of the best
albums of 2023, we have a lot to look forward to.
For more info, visit ververecords.com

The singer has a warm, expressive and maturevoice that will remind you of the late Carol Sloane. She’s
aces on ballads like “Cloudy Day” (circa 1958), writtenby Marvin Fisher and Joseph Allen McCarthy, Jr. andperformed most memorably by Peggy Lee (on her album
Mink Jazz). They take it at similar tempos, and withsimilar investment. Artie Shaw’s “Moonray” would havebeen catnip for Ms. Lee, but it was Helen Forrest whosang it way back when. The nod goes to York’s version.
York deserves credit for going beyond the mostfamiliar standards here. Sure, she does “MountainGreenery” and “Something Cool”, both of which havebeen much recorded lately. But she sure swings theformer selection, complete with finger snaps after acontemplative guitar-led intro. She also goes deep into
the Antonio Carlos Jobim/Vinícius De Moraes catalog
for a happy mid-tempo gem called “Estrada Blanca (ThisHappy Madness)”. Bassist Rodney Whitaker is featured
on this one.
It’s great to hear “An Occasional Man” again. It’svia Hugh Martin and Ralph Blane in 1955, and Julie
London had her way with it. With her very own tropicalisland, she only needs the guy every now and then. The
singer is supposed to sound satisfied and, boy, does she.
Whitaker again gets the solo nod, followed by guitarist
Randy Napoleon, a one-time regular with the late singer
Freddy Cole.
On Johnny Mercer’s classic “Hit the Road toDreamland”, York hits her marks like the knowing pro
she is—on stage, in the corner, while Sinatra is across theroom hitting up the bartender for last call. Napoleon has
a lovely late-night solo out of the Barney Kessel tradition.
“Throw It Away” is one of Abbey Lincoln’s best songs,
and Whitaker’s bass is its sole accompaniment until
Napoleon comes in gently. Drummer Keith Hall isadmirably subdued here. Lincoln takes it just a bit faster,with accordion, but this version is fine for savoring the
lyric.
“Rhode Island Is Famous for You” by Howard Dietz
and Arthur Schwartz (Jonathan’s dad) came out of a
1940s musical revue, and among its knowing interpreters
are Blossom Dearie and Erin McKeown. York got it from
Sandy Stewart. It’s one of the great state songs, alongwith “I Like Jersey Best”. John Pizzarelli, who does thelatter live to a fare-thee-well, is perhaps hipper thanYork, but not by much. She sings it “Colorad-ah” so it
rhymes with “Nevada”.
“It’s Love”, via Leonard Bernstein/Adolph Green/
Betty Comden and the musical Wonderful Town, isa standard and York’s sprightly version, features astraight-ahead solo by Napoleon. “When OctoberGoes”, from Mercer and, yes, Barry Manilow, is treatedby York like a venerable standard, which means it’s far
less gloppy than Manilow’s version. Still kind of gloppy,
though.
For more info, visit originarts.com. This project is at Mezzrow
Mar. 11. See Calendar.

Live at Birdland
Carol Sloane (Club44)
by George Kanzler

Dreamland
Libby York (OA2)
by Jim Motavalli

On this, only her fifth release as a leader in a 40-year Walter Donaldson’s “You’re Driving Me Crazy” is a,
career as a jazz vocalist, Libby York is backed by anunusual instrumentation—guitar, bass and (on only 4 of
the 12 tracks) drums. There’s no piano in sight, but you
won’t miss it.

perhaps THE, paradigmatic swing number. Developed
from “Moten Swing”, a riff tune by the Benny Moten
Band that morphed into Count Basie’s, it is one of manyhighlights on this recording, which documents the late

16 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

singer Carol Sloane’s penultimate live performance
before the COVID shutdown and suffering a stroke.
Her rendition, in the company of Mike Renzi (piano),
Jay Leonhart (bass) and Scott Hamilton (tenor), is anobject lesson in swing, all without the aid of a drummer.
She delivers the lyric straight up for one chorus, herburnished suede tones riding right on top of the beat.
But on a second chorus she plays tag with that beat,lagging then chasing it, making it pliable and flexible.
She next breaks into scat singing, returning to the lyrics
just for the bridge, her scat percussively emphasizing“D” sounds. After a bass-with-scat solo from Leonhart,
she returns with a final chorus incorporating sexuallysuggestive, funny asides into the lyrics.
Sloane was surprisingly feisty for an octogenarian,scatting on other uptempo songs too, including tradeswith Hamilton on “Wrap Your Troubles in Dreams”
reminiscent of Ella Fitzgerald. And her command oftime, stretching or condensing it without ever losing it, isthe essence of easy swing on the old Fats Waller chestnut“Blue Turning Grey Over You”, as she subtly alters the
melody by singing just behind the beat.
But Sloane was also a superb ballad singer, so attuned
to melody that she made it glisten at glacial tempos, as she
does on an intimate, conspiratorial delivery of the Ralph
Grainger-Leo Robin standard “If I Should Lose You”,
with just Renzi’s spare, poetic piano. Sloane illuminates
the meaning of the lyrics in her delivery of melodies, andthat reverence for the melody is shared by the musicians
here. Perfect examples are Hamilton’s complementary
tenor solo on “The Very Thought of You”, and how thefour collectively unfurl the set’s only medley: Rodgers
and Hart’s “Glad to Be Unhappy” with Harold Arlen-Ted
Koehler’s “I Got a Right to Sing the Blues.”
For more info, visit club44records.com

Aftab/Vijay Iyer/Shahzad Ismaily –R • Arooj
Love in Exile (Verve)
Fox Organ Trio – One For Wes
e • Mimi(Origin)c • Ingrid Laubrock – The Last Quiet Placeo (Pyroclastic)
Novoa – Trio, Volume 1 (577 Records)m •• Eva
Aymée Nuviola feat. Kemuel Roig –m Havana Nocturne (Worldwide)
York – DreamLand (OA2)e •• Libby
Izumi Kimura, Artur Majewski, Barry Guy,n Ramon Lopez – Kind of Light
Słuchaj)d • (Fundacja
Jo Lawry – Acrobats (Whirlwind)e • Joëlle Léandre – Zurich Concert (Intakt)
Frith/Susana Santos Silva –d • FredLaying Demons To Rest (RogueArt)• Anat Fort Trio – The Berlin Sessionsn (Sunnyside)
Benjamin – Phoenix (Whirlwind)e •• Lakecia
Christine Correa –w Just Stand and Listen With Me (Sunnyside)
r
e
l
e
a
s
e
s

• Christine Abdelnour/Andy Moor –Unprotected Sleep (Unsounds)• Molly Ryan—Sweepin’ The Blues Away
(Turtle Bay)
• Sanah Kadoura – Duality (s/r)• Satoko Fujii/Otomo Yoshihide –Perpetual Motion (Ayler)• Lyna Nyberg & Bohuslän Big Band –The World’s A Stage (Prophone)• Maggie Nicols/Mark Wastell –And John (Confront)• Eartha Kitt – Bad But Beautiful (Verve/UMe)WOMENHISTORY’S
MONTH

Evolution
Andrea Brachfeld & Insight (Origin)by Terrell Holmes

Evolution, by flutist Andrea Brachfeld & Insight, is notjust an album; it’s an eloquent, impassioned plea forhumanity. Brachfeld, with a first-call rhythm section of
pianist Bill O’Connell, bassist Harvie S and drummer
Jason Tiemann, sets out a musically and culturally
diverse welcome table that is instructive as well asentertaining.
Brachfeld has serious jazz chops, and she declares
her pedigree when the band bears down on straightahead hard bop tunes like “What’s Up”, “The Unravelingof It All” and “Decimation of Transformation”.
Brachfeld’s exploration of world music, however, makes
this album a standout. Her beautiful arrangement of“Qingauiit”, by the Inuit throat singing duo Tudjaat,
is a lovely surprise, as is the band’s tender version of
Rabbi Shlomo Carlebach’s “Ko Ribon”, a Hebrew songpraising God for His miracle of creation. The additionof an African wood flute, kalimba and shekere on “TheHut Song” enhances the atmosphere around the song’s
toe-tapping African rhythm, augmented by Brachfeld’s
spirited internal flute dialogue. “Child of the Earth”, aspoken word affirmation, might be the album’s defining

moment. Brachfeld’s delivery reflects the words’
urgency, her gradually rising voice driving the rhythm
section relentlessly as the music builds and intensifies
beneath her elemental message of acceptance and love.
Brachfeld clearly ranks among the top tier ofjazz flutists. She plays with an enviable fluidity anddeep passion, applying a feathery touch on ballads,or unleashing a controlled cyclonic fury on uptempo
tunes, laying down staccato passages at the speed of ahummingbird’s wings. It takes redoubtable supporting
players to keep up with her, and it would be difficult tofind a more energetic and talented trio than Harvie S,
Tiemann and O’Connell. Their anticipation, spacing andmeshing indicate either an extended period working
together or a case of instant simpatico. The first-ratecomposing, arranging and playing throughout Evolution
establish it as one of the best releases of the year so far.

Grammy-nominated jazz vocalist

Roseanna Vitro
Quartet

For more info visit andreabrachfeld.com. Brachfeld is at
Iridium Mar. 18 with Santi DeBriano and Lincoln Center
Mar. 24. See Calendar.

Featuring NOLA guitarist

Ted Ludwig

Oscar Perez-p Dean Johnson-b
Tim Horner-d Tommy Campbell-d

Universal Code
Muriel Grossmann(Dreamland)by Marco Cangiano

Saxophonist Muriel Grossmann stands out for her
original approach, yet remains an underrated artist,
particularly in the U.S. Her associations with Radomir
Milojkovic (guitar), Gina Schwartz (bass) and Uros
Stamenkovic (drums) date back at least a decade, while
Llorenç Barceló (organ) entered her inner circle somefive years ago. Universal Code is in many ways a natural
progression from her earlier recordings, as her deep
Coltrane-inspired spirituality meets an earthier feeling,where the soul component seems to prevail. Such a blend
recalls Grant Green’s underrated last phase, mainly due tothe hypnotic interplay between Milojkovic’s fleet guitars
and Barceló’s thick Hammond organ sound. Grossman’ssaxes float over this tapestry, while Stamenkovic’s earthy
drumming provides a solid foundation.
When Schwartz’ full-sounding bass enters in“Transience”, the group takes a slightly different tack,more inclined toward a modal landscape. One thinks ofthe classic Coltrane quartet when listening to the dance
between Schwartz and Stamekovic; Barcelo’s spacey
organ à la Larry Young leads to the saxophonist’s
impassioned solo. Taken together, “Transience”,“Non-Duality” and “Essence” form a suite of such rareintensity that a parallel to A Love Supreme may not be
overly far-fetched. Grossmann’s restraint and attention
to the spaces between the notes contributes enormously
to the overall atmosphere. In this regard, she sounds
more comfortable on soprano, as in “Essence” where hersolo navigates over Schwartz’ insistent pattern.
With “Liberation”, the group shifts back to a quartet
and a more soul-anchored mood, Barcelo’s bass pedal
taking charge. The leader on tenor soars over a dense
rhythmic vamp. “Post-Meditation” has a suspensefulatmosphere at the outset, suddenly turning into a staccato
blues-drenched solo by Milojkovic—once again Greencomes to mind thanks to repeated single note lines—andculminating in a tight dialogue between Grossmann andStamenkovic. “Compassion”, a folksy medium-tempo
ballad, concludes the album in a vintage rock-blues
mode, Grossmann showing her more raucous side.
For more info, visit murielgrossmann.com“In addition to having a long career as a recording
artist, performer, and educator, she’s worked hard tostrengthen the community of jazz singers... Charlie
Parker could be for everybody, she says. “It used to bethat singers would shy away from ‘bebop’... true artists
make arrangements according to their own voice...
this project filled my heart.” – Lee Mergner, JazzTimes“…more than a dozen albums, earning jazz-world
prominence with her dark-honey timbre and exuberantly versatile phrasing… She’s mined rich musicalore by diving in... – Neil Tesser, Jazziz“Ludwig has a soulful melodic style with a great harmonic palate, and he can flat burn up the fingerboard
with mindboggling technique!” – Jazziz“Ludwig’s jazz is a carefully distilled product, like thefinest Gin. He is rhythmically and metrically perfect.
He is the definition of swing.” – All About JazzLIVE AT MEZZROW
2 sets Wed. Mar. 8 • 7:30 pm & 9pm
Reservations: smallslive.com

THE DEER HEAD INN
Delaware Water Gap, PA Fri. Mar. 3 • 7pm
Res: (570) 424-2000

THE JAZZ FORUM
Tarrytown, NY Sun. Mar. 5 • 4pm & 6pm
Res: (914) 631-1000

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 17

WOMEN’SHISTORYMONTH

G LO B E U N I T Y

Acanthis
Maya Homburger/Barry Guy/Lucas Niggli (Maya)
Anime Mundi
Sana Nagano (577 Records)
The Emerald Figurines
Biliana Voutchkova/Michael Zerang (Relative Pitch)
by John Sharpe

Three women string players from diverse backgrounds

and locales explore a world of possibilities.
Swiss violinist Maya Homburger joins with partner
Barry Guy (bass) and fellow countryman Lucas Niggli(drums) on Acanthis. Previous Homburger/Guycollaborations have encompassed baroque, improv andcontemporary bases, but here focuses firmly on the last ina captivating program of works by Guy and Hungariancomposer György Kurtág, alongside two paradoxicallyloose yet precise percussion solos by Niggli. Appearing
in various permutations, they create music which isrefined, beautiful, austere, occasionally playful, but
always profound. In a virtuoso performance, Homburger
makes her violin sing, soar, creak, even whistle. She
spirals and soars on Guy’s “Celebration”; his “Five For
Anja” is by turns joyous, pensive, impetuous, mournful
and jittery, while “Aglais” alternates edgy passages with
moments of repose. Guy’s admiration for Samuel Beckett
manifests in his recitation of “Roundelay”, prior to thefinal “Hommage à Eberhard Feltz” by Kurtág, arranged
expressly for the duo, hugging the contours of the text.
Very different but equally appealing is Anime Mundi
by Japanese-born, NYC-based violinist Sana Nagano.
Part of avant-bluegrass outfit Astroturf Noise and leaderof the quintet Smashing Humans, Nagano wields FX to
supplement her violin’s natural tone with a raw cuttingedge. Her masterstroke, though, is the recruitmentof veteran pianist/vibist and Creative Music Studio
founder Karl Berger and drummer Billy Martin. Though
the trio operates without charts, both Berger and Martin
bring a strong sense of form and a healthy dose of the jazz
tradition to this dynamic liberates rather than constrains
Nagano, whose plugged-in snark, convoluted lines andemotive cries dip and swoop around Berger’s reiterated
motifs and Martin’s almost-a-groove pulsation. Amongthe many high points are the blistering siren song of“Apocalypso”, where Nagano recalls Billy Bang in his
pomp, and the lovely coda to “Tears”, when her soulful
bowing nuzzles into Berger’s chiming vibes.
Also venturing off the map is the duo of Berlinlocated Bulgarian violinist Biliana Voutchkova andChicago percussionist Michael Zerang on The Emerald
Figurines. The download-only session forms the first ofseven duos initiated by Voutchkova in 2022. You mightterm their interaction experimental, except that theyknow exactly what they are doing. Without conventional
pitches or meter, the juxtapositions of noises, texturesand colors succeed or fail dependant on the judgment
and skill of the performers. Fortunately, both are assured
practitioners of this art. Voutchkova draws an astonishingrange of timbres from her instrument, evoking variously
flutes, electronics and industrial processes, while Zerang
is no less inventive. How do those barely registeredviolin scratches sit with the elliptical abrasions on the
drum head reminiscent of a distant train? As ever, it’s asubjective business, but there are rewards to be had for
those with open ears.
For more info, visit maya-recordings.com, 577records.com andrelativepitchrecords.bandcamp.com. Nagano is at Downtown
Music Gallery Mar. 7, Main Drag Music Mar. 8 and Barbes
Mar. 28. See Calendar.

Beautiful Tomorrow
Hailey Brinnel (Outside In Music)
Sweet Tooth
Mali Obomsawin (Out of Your Head)Golden Hour
Jocelyn Gould (s/r)
by Anna Steegmann

T here’s a bright future for women in jazz, as theserecordings by a younger generation of female
instrumentalists attest (and occasional vocalists).
Despiteher
youth,
Philadelphia-based
trombonist (and vocalist) Hailey Brinnel is an
old pro. She started to perform at age 12 with herfather, David Brinnel. Her debut album, I’m ForeverBlowing Bubbles, had an enthusiastic reception; andin 2021, she was a finalist in the Sarah VaughanInternational Jazz Vocal Competition. On Beautiful
Tomorrow, the sound she creates with her bandmatesfeels both vintage and modern. A relatively small
number of musicians—Chris Oatts (saxophones),
Terell Stafford and Andrew Carson (trumpet),Brimmel (voice and trombone), Silas Irvine (piano),
Joe Plowman (bass) and Dan Monaghan (drums)—
achieve a powerful big band sound steeped inswing and bebop. This is happy music that makes
you want to get up and dance. Brimmel’s singing
alternates with instrumental sections, giving all
the musicians room to shine. Her love for jazztunes of the 1930s and 1940s is evident, and shebreathes new life into well-known standards. The
opening track, the Disney theme song “There’s
a Great Big Beautiful Tomorrow” (Richard andRobert Sherman), stands out for the warmth of her
singing, the soulful sound of her trombone and thesolos by Oatts and Irvine. “Wayfaring Stranger”,
an early 19th century folk song, the front-runneramong eight standards, transports the listener to an
exuberant 1940s New Orleans. Brinnel excels in a
deeper register, both singing and on trombone. In
the fast-paced “The Sound”, one of two originals,
her scatting beautifully compliments Irvine. And
her raunchy composition “I Might Be Evil” would
make Eartha Kitt proud.
Sweet Tooth, by bassist (and singer) Mali
Obomsawin, is a stunning debut album thatpays tribute to her tribal community of the
Wabanaki First Nation. She brought together
a group of extraordinary musicians: Savannah
Harris (drums, vocals), Miriam Elhajli (acoustic
and electric guitar, vocals), Allison Burik (bassclarinet, alto saxophone, vocals), Noah Campbell(tenor, soprano and alto saxophones), and Taylor
Ho Bynum (cornet, flugelhorn). The featured
instruments reflect the jazz and marching
band traditions often introduced to indigenous
communities through residential schools. The
album uses traditional songs, field recordings
and stories of the Wabanaki and connects them toimprovisation and free jazz. Obomsawin created athree-part suite of resistance, a musical explorationof Indigenous life, colonization, love and rage. The
listener will hear elements of blues, jazz, hymns,
folk and Native songs, as well as free jazz. The
slower tracks—“Odana”, an arrangement of an
18th-century Abenaki ballad, “Wawasint8da,”based on a Jesuit hymn wrapped around an
Abenaki mourning song, and “Fractions”—
immediately captivate. The rich sound of the
instruments complements the beautiful andhaunting singing. “Blood Quantum” starts witha long percussion introduction, before horns andbass join in, becoming lively and energetic. The

18 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

singing that accompanies the rhythmic drummingis hypnotic.
Manitoba-born, Toronto-based guitarist Jocelyn
Gould made a splash with her debut Elegant Traveler,
winning the JUNO, Canada’s major music award,
for Album of the Year. Her second album Golden
Hour showcases her dazzling guitar playing (shecites her primary influences as Wes Montgomery,
Grant Green, Joe Pass and Kenny Burrell), vibrantcompositions and singing (on three of the ten tracks).
The recording contains six of her compositions andfour standards. Her collaborators are Will Bonness(piano), Quincy Davis (drums), Rodney Whitaker(bass) and Jon Gordon (saxophone), all giftedmusicians. The opening title track is warm andswinging, with a captivating melody and impressive
guitar and bass solos. “Horizon” feels gentle andenticing, like a summer breeze; melody and voicecomplement the rhythm section and highlight
Gould’s gorgeous guitar playing. “Serendipity”
brings a change of pace with its buoyant samba
rhythm. ”Tides Are Turning” is an introspective
ballad. “Bright Note” pays homage to the classic
bebop blues melodies and is noteworthy for themusicians’ playful collaboration. The American
songbook standard “Sweet Lorraine” stands out
for Gould’s stunning solo work, which alternates
between deconstructing and following the melody.
“Lover Come Back to Me” and “A Cottage forSale” are soulful interpretations, made especiallyenjoyable by her guitar/piano duets with Bonness.
All in all, the album is a winner.
For
more
info,
visit
outsideinmusic.com,
outofyourheadrecords.com
andjoceylyngould.com.
Brinnel is at Birdland Mar. 26; Obomsawin is at
National Jazz Museum in Harlem Mar. 28 and Public
Records Mar. 29; Gould is at Birdland Mar. 13 with
Allicyn Yaffeeand Smalls Mar. 22 with Curtis Nowosad.
See Calendar.

Live in Marciac
Gonzalo Rubalcaba & Aymée Nuviola (5Passion)
Harlem Nocturne (feat. Kemuel Roig)
Aymée Nuviola (Worldwide)by George Kanzler

A ymée Nuviola is the most acclaimed Cuban
songstress since Celia Cruz. As Gonzalo Rubalcaba
says: “since Celia Cruz, we haven’t seen any singer
with the power of attraction and charisma and grace
and talent that we see from Aymée”. Rubalcaba
is a preternaturally talented and creative Cuban
pianist who, in his early 60s, is in the top rank ofjazz pianists. Both of these albums are affectionate
professions of nostalgia for the music Nuviola and
Rubalcaba grew up listening to in Havana.
The pair originally teamed up in 2019-20 totour with a band, the music preserved on the album
Viento Y Tiempo, recorded live at Blue Note Tokyo.
Post-pandemic, they decided to tour again, thistime as a duo, redoing some of the Viento Y Tiempo
repertoire while adding other material. The result
is Live in Marciac. Almost all of it is what Rubalcaba
calls.“memory music. This music is part of ourmemory. It’s not a music we had to learn. It’s music
we know already.”
That music is what they heard growing up in
Havana, at a time when rhumba, bolero and soncompeted with the more balladic, romantic strainsof filin, a lush style that originated in Havana in theWOMENHISTORY’S
MONTH‘40s. Filin is front and center on the album’s opening
track, “Besame Mucho”, which undulates alongon lush piano chords, Nuviola’s honeyed voice
exhaling the familiar lyrics at a slow, sultry tempo.
Another filin song, “Dos Gardenias”, is lyricallycaressed by Nuviola’s voice and Rubalcaba’s piano;
on Mexican composer Armando Manzanero’s
ballad “El Ciego (The Blind)”, her voice brims withemotion.
This was a live concert, so the pair also engage
the audience in their performance. Nuviola asksthem to sing/repeat the title phrase of “Bemba
Colora”; gets the crowd clapping to the bouncing
beats of “El Raton“, and turns the finale of “El
Manisero (The Peanut Vendor)” into a scat trading
session with the audience.
Havana Nocturne is Nuviola’s own trip down
Havana memory lane, joined by the trio of CubanAmerican pianist Kemuel Roig. It opens in jazzy
fashion with “Imágenes”, a heartbeat ballad adding
Julian Avilia’s guitar to Roig’s trio in a lilting vocal
version incorporating Spanish scat singing. But theheart of the album is Nuviola’s passionate singing
on dramatic and melodramatic ballads, such as“Realidad Y Fantasia”, by the founder of filin, Cesar
Portilio de la Luz, or her emotionally modulateddelivery of Marta Veldes’ ballad “Tu No Sospechas(You Suspect Us)”, with just Roig’s piano. The
album comes to a dramatic climax as Celia Cruz’signature song, “Me Cantaron de Ti”, is followed by
Argentine tango pianist Virgilio Exposito’s “Vete deMi (Get Away from Me)”, replete with suppressedsobs from Nuviola.
For more info, visit 5passion.com and worldwideentertainment.com

ON SCREEN

Sloane: A Jazz Singer
Michael Lippert (goingbarefoot.inc)
by Ori Dagan

Critically acclaimed, deeply revered and criminally
under-the-radar vocalist Carol Sloane passed away on
January 23rd at the age of 85. The new documentary
Sloane: A Jazz Singer sets out to justify her place inthe pantheon. After introducing us to a tasteful,sophisticated vocalist with golden ears, the film
eventually uncovers a tough yet tender woman who
is impossible not to love.
Hailed as “one of the best in the business”
following her debut at the 1961 Newport Jazz Festival,
Sloane was promptly signed to Columbia Records; in
one of the film’s most touching scenes, the octogenarian
listens to the original tape of “Little Girl Blue” from
Newport with a cathartic tear in her eye. Enter
Beatlemania: jazz clubs were folding, Sloane’s careeron the decline, her hopes getting slender. The film goeson to expose progressively darker blues, finding theartist penniless, drunk, divorced and even suicidal:“When you go through hell, keep going.” Sloane foundnew love and made a comeback when she signed with
Contemporary and then Concord Records. She madeover 30 albums in her lifetime, all gems.
Included in the documentary are interviews withcritics, peers and friends as well as footage from her
storied career, including a rousing televised version
of “Sweet Georgia Brown” from 1962 that begs to be
seen and heard in its entirety. The film proceeds tofocus on preparations for Sloane’s final album, Live at
Birdland (her last NYC concert and penultimate live
appearance), recorded in Sep. 2019 with the stellar
Mike Renzi (piano), Jay Leonhart (bass) and Scott
Hamilton (tenor). Priceless are the behind-the-scenes
footage of rehearsals and jitters, and the capturing of
the ultimate triumph of this live recording, as wellas its motivation from the vocalist: “It sounds silly,
but what I want to hear is ‘Miss Sloane, the house isStanding Room Only’, and then when I finish my set,
I want a vigorous applause and a standing ovationthat I deserve, not because it’s the fashion to do it, but
because I really did earn it. That’s what I want.”
Despite Sloane’s modesty, director Michael
Lippert managed to document her unflinchinghonesty, sparkling wit and scintillating humor—all
qualities that carry over to her delightfully swinging,authentically spontaneous style of singing. “Art don’tpay”, she declares in the film. This documentary is aninvaluable gift to all of us who loved Sloane, and willundoubtedly earn her new fans with each screening.
For more information, visit goingbarefoot.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 19

WOMEN’SHISTORYMONTH

See Our Way
Jane Ira Bloom (Radio Legs Music)
2.3.23Jane Ira Bloom / Mark Helias / Bobby Previte(Radio Legs Music/Rank Hypocri$y)
by Franz Matzner

S oprano saxophonist Jane Ira Bloom has followed

a path of unbridled creativity throughout her
career, from the innovative use of electronics tomonumental projects focusing on interpretations ofJackson Pollock and the poetry of Emily Dickinson.
Her playing always carries a particular weight andprecision, whether she’s emitting joyful melodies,
ethereal notes or stratospheric improvisation. See
Our Way and 2.3.23 carry on this tradition.
The duo album See Our Way is luxuriant. Bloomand bassist Mark Helias are both recognized mastersof their instruments, but on See Our Way theirmusical relationship runs deeper than mere masteryto a rare kind of empathetic musical discourse.
Their improvised compositions arise from the sameroot before expanding into a sphere of possibility.
This album is an invitation into this potentiality,
a transference of its peaceful quality, whether
bittersweet, as on “As Close As It Gets”, or spirited,as on “Hold the Wire”. The album’s 13 pieces unfold
spaciously and at a measured pace. There are manyhighlights: Helias’ expressionist bowing on “Laser

Plane”; Bloom’s melancholic opening to “Perfect
Memory”, the notes dripping blue and her tone fluid
and pure; the jaunty notes of “Detectives” swirlingand chasing each other like playful ferrets. Whether
absorbed as a whole or considered in detail, See Our
Way delivers a feast for the ears.
On 2.3.23, the addition of drummer Bobby
Previte to the duo alters the dynamic significantly.
Atmospherically, however, it feels like anequally centered invitation into a shared space ofredefinition and transformation. The music emerges
with patience even amidst its unpredictability, andeven achieves moments of grace, as on “Where
the World Went” and “Ground and Distance”.
Previte’s presence, however, opens the door to adifferent treasury of colors and textures, rhythms
and pulse. On “Checkpoint”, his snare patterns andcross cymbal work join with Helias’ accelerating
walking bass line, and “Akimbo” has passages of
implied swing. There are many other more nuanced
moments, as when Helias and Previte trade a rapid
succession of bursts somehow perfectly supporting
Bloom’s fluttering ascensions. All three musicians
are adept at utilizing space and dynamics to shapeeach piece as an equitable, continually unfolding
conversation. Although it is aligned with the jazztrio tradition, 2.3.23 is augmented by modern
sensibilities and many years of experimentation.
For more info, visit markhelias.bandcamp.com. Helias is
at The Stone at New School Mar. 8 with Jon Irabagon.
See Calendar.

Phoenix
Lakecia Benjamin (Whirlwind)by Jason Gross

W hen you think of a post-millennium star

who’s stylish and ambitious, steeped in female
empowerment and favoring a variety of styles andwide-ranging collaborations, most people would
probably picture Beyoncé, but you could say allof the same things about an alto saxophonist from
Washington Heights. Lakecia Benjamin has worked
with everyone from drummer Rashied Ali andguitarist James “Blood” Ulmer to Stevie Wonder
and Alicia Keys. After starting out with an R&B/
funk twist on jazz on her 2012 debut Retox, Benjaminleaned more towards funk/rock fusion on 2018’s
Rise Up, and took another turn on 2020’s satisfying
Pursuance: The Coltranes, soaking up the spiritualityof the famous couple, aided by legends such as Gary
Bartz, Ron Carter and Reggie Workman.
Benjamin continues to evolve and progress on
her latest album, which is something of a culminationof her work, leaning away from her R&B roots while
infusing political themes with an impressive castof elder stateswomen. She starts out with a clarion
call featuring police sirens, gunshots and a recitalfrom activist Angela Davis leading to an elegant,sinuous horn theme (“Amerikkan Skin”). The album
features a number of other notable collaborations,
including Dianne Reeves’ soaring vocals over strings(“Mercy”), a Latin-tinged buoyant joint with pianist
Patrice Rushen (“Jubilation”), singer Georgia Anne
Muldrow joining in on the psychedelic gospel andsynth-fusion stylings of the title track, a strident,
cosmic march turned sensual groove with bits of

20 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

dialog from poet Sonia Sanchez (“Blast”) and a brief
recital from Wayne Shorter with electronic effects(“Supernova”).
Even without her special guests, Benjaminshines with jumpy, playful themes that lead tobluesy harmolodics (“New Mornings”) and lovely
flowing bop (“Moods”) as well as the delicate,elegant “Rebirth” and tributes that include anothermodal-style nod to the saxophone legend (“Trane”)
and a toast to an artistic icon which features frantic
horns amid a cool bop atmosphere (“Basquiat”).
With such an expansive, expressive album now
under her belt, it will be fascinating to see where
Benjamin’s muse takes her next.
For more info, visit whirlwindrecordings.com. This
project is at Harlem Stage Mar. 11. See Calendar.

DIVA Swings Broadway
DIVA Jazz Orchestra (DIVA Jazz)
9 to 5
3D Jazz Trio (DIVA Jazz)by Scott Yanow

T he DIVA Jazz Orchestra is one of jazz’ top big

bands, with a discography that goes all the way
back to 1995. Led and driven by drummer Sherrie
Maricle, the 15-piece DIVA always swings hard on
medium-tempo charts, shows sensitivity on ballads
and features top soloists and ensemble players, allof whom happen to be female. It is a measure of
the band’s talents that every musician in the current
version of the orchestra (other than lead trumpeter
Liesl Whitaker) has at least one solo on Swings
Broadway.
Their latest set consists of nine songs thatwere featured in Broadway shows. Eight different
arrangers (Scott Whitfield contributed two charts)
were employed, yet the program has a strong
unity. But while the arrangements are impressive,
it is the more freewheeling moments that are mostmemorable. Trumpeter-flugelhornist Jami Dauberis impressive during her two solos, bassist Noriko
Ueda is showcased on “The Man I Love”, thethree trombonists get to romp during a boisterous“Seventy-Six Trombones” and altoists Mercedes
Berkman and Alexa Tarantino battle it out colorfullyon “Get Me to the Church on Time”. It is also apleasure getting to hear “You’ve Gotta Have Heart”(from Damn Yankees) in DIVA’s joyous Steven Feifke
chart.
On their website it says that the 3D Jazz Trio
is “fiercely swinging on purpose”. Comprising
Jackie Warren (piano), Amy Shook (bass) andMaricle (drums), it is certainly a high-powered andenergetic unit, one whose energy is matched by theircollective enthusiasm and musicianship. Since its
formation in 2014, the trio has recorded four albums
including the recent 9 to 5. The group performs fresh
renditions of standards, two originals and a pair of
unexpected choices. The trio is very much a musicaldemocracy: although pianist Warren is a powerfulsoloist, Shook and Maricle are often involved in the
melody statements and make strong contributions
as soloists and in the ensembles.
“I Only Have Eyes for You” leads off the
program with a bass riff; Shook and Warren sharethe melody, and then the pianist stretches thetune, taking it briefly into some unexpected places.
Among the other highlights are transformations of
the pop song “Sing” (originally heard on Sesame

WOMENHISTORY’S
MONTHStreet) and “9 to 5” into jazz tunes, a touching
rendition of “Some Other Time” (dedicated to the
pianist’s father) and a jubilant version of “There Is
No Greater Love” that Oscar Peterson would haveenjoyed. Those who primarily think of Maricle as a
big band drummer will be impressed by her taste
and subtlety in this group. Listeners who enjoy
hearing a swinging piano trio will definitely wantto pick up 9 to 5.
For more information, visit divajazz.com. DIVA is at
Dizzy’s Club Mar. 30 - Apr. 2. See Calendar.

s/t
Salome Bey(Canadian Talent Library/Quality - Bey Enterprises)
by Anna Steegmann

F ans of Salome Bey’s soulful singing will be thrilled
about the re-release of this 1970 recording. However,
if you do not know Bey or have never been able tosee her perform live, start with the YouTube clip ofher performance at the 1981 Montreux Jazz Festival
and watch her bring down the house with Billy
Taylor’s “I Wish I Knew How It Feels to Be Free”.
Born into a musical family in Newark, NJ in 1933,
Bey (one the Bey Sisters who performed and recordedwith younger brother/vocalist Andy) attended thesame performing arts high school as Wayne Shorterand Sarah Vaughan. At age 14, she won the amateurnight at The Apollo before she moved to Toronto in
1964. Revered as a singer-songwriter, composer andactress, she won a Grammy nomination and an Obieaward. An honorary member of the Order of Canada,
her adopted country celebrated her as Canada’s First
Lady of the Blues and a postage stamp was issued
to honor her contributions to Canadian music andtheater. Many Black actors and musicians remember
her for mentoring and encouraging Black performers
and creating opportunities for them. Unfortunately,
progressing dementia forced her to stop performing
in 2011 (she died almost three years ago).
This album, her first solo recording, was fundedby the Canadian Talent Library in 1969/’70. Not
much is known about who contributed to it, onlythat saxophonist Rick Wilkins played on it and thattrombonist Russ Little also arranged and wrote
several songs (the ten tracks, 33 minutes in total,
are available on several streaming platforms).
Her expressive, emotional singing and
impeccable phrasing immediately captivate. Johnny
Ace’s “The Clock”, one of the slower selections,is beautiful and heartbreaking. “Underground
Railroad” has a gospel feel to it and pays homage toBlack heroes and heroines from Harriet Tubman to
Malcolm X. Bey gives a powerful interpretation of
Gilles Vigneault’s “Mon pays”, a song that praises
the beauty of the province of Quebec in lyrics about
the wind, cold, snow, ice, the solitude of wide-open
spaces and the ideal of brotherhood. Her delivery
is thunderous and enthralling, and it’s easy to
imagine her captivating a massive audience in amusical theater.
Each track is exceptional and demonstrates anintensity and passion of what was an immense,
hopefully not forgotten, talent.
For more information, visit salomebey.com.

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 21

Respiration (Live in Warsaw ’68)
Cecil Taylor (Fundacja Słuchaj)Music from Two Continents(Live at Jazz Jamboree ’84)
Cecil Taylor (Fundacja Słuchaj)by Duck Baker

Time Bandits
John Bailey (Freedom Road)
by Pierre Giroux

W hile every addition to the available Cecil Taylor
discography helps further our understanding of thisgreat artist who would be 94 this month (he died 5
years ago next month), some really stand out. Last
year’s The Complete, Legendary, Live Return Concert wassuch a release, and so is Respiration, a solo recording
dating from October 1968. A solo concert recorded
earlier that year was released in 1982 on the double LP
Praxis, but that recording is hard to find and suffersfrom poor sound quality. These two 1968 outings
are very different from Taylor’s later solo concerts.
He had not yet developed certain motifs he would
return to repeatedly from 1972 on, and the playing
sounds, unsurprisingly, more like what he did on“Communications #11” with the Jazz Composer’s
Orchestra in June 1968. No doubt the excellent soundquality has a lot to do with it, but Respiration hits far
harder than Praxis, and ranks with the most satisfyingof Taylor’s solo records. The fact that his material
was considerably different from what we are used
to hearing draws the listener in immediately, andthe audio quality really helps; one rarely hears how
dramatic Taylor’s dynamic range was on record but
you certainly hear it here, from absolute pianissimo
to full fortissimo. It’s like sitting in the front row ofa small room. One senses in his 1968 recordings that
Taylor was captured at an exciting moment, growing
into his full stature as a pianist, and we hear that
excitement in this record. Respiration really is a must.
Music from Two Continents is excellent, as well,and it also helps fill in the picture, in this case ofwhat Taylor was aiming for on his fascinating 1985
release, Winged Serpents (Sliding Quadrants). Thatstudio record was taped in the middle of a European
tour, and both this concert and three others have been
available on bootlegs or on YouTube for some time(one with video). This, the first licensed release, isfar superior to the others in terms of sound quality,
but no doubt Taylor fanatics will continue to study
all available recordings from this tour because eachconcert was different; with ten incredible improvisers
on stage, no other outcome was possible. In fact, there
were eleven for the Warsaw concert, with trombonist
Konrad Bauer joining a group which featured:
Enrico Rava and Tomasz Stańko (trumpets), Jimmy
Lyons (alto sax), Frank Wright (tenor), John Tchicai
and Gunter Hampel (reeds), Karen Borca (bassoon),
William Parker (bass) and Andre Martinez (drums).
Everyone in the band also contributes somewhat
random vocals as they did on “Cun-un-un-un-an”
from Winged Serpents; these are even more random
in the live performances, as people move aroundon stage. Similarly, the other tracks from the studiorecord are heard mostly in the same order, but they
are much more open and wilder. Some listeners prefer
the tightness of the studio recordings but, for many,
hearing how Taylor structures function live witha large group of improvisers is even more exciting.
There are fantastic solos, duos and other combinations
along the way, but even when everyone is blowing
their heads off, it is always, unmistakably, the musicof Cecil Taylor.

I n his third release as leader, the eclectic trumpeter
John Bailey has brought together a stellar groupof musicians—pianist George Cables, bassist Scott
Colley and the exemplary drummer Victor Lewis—fora virtuosic exploration of the vitality of the trumpet
tradition. The quartet assembled for several days
early last year at the Van Gelder Studio in Englewood
Cliffs, NJ with engineer Maureen Sickler, laying
down ten tracks that interleave Bailey originals withother compositions from a variety of genres.
The session starts out with the leader’s title
track, which swings with shapeshifting melodicism.
Bailey’s trumpet is relentless and blistering withsolid intonation while Cables delivers some craftylines in his solo interventions. The band reaches backto 1944 for Jerome Kern/Ira Gershwin’s song “LongAgo and Far Away” (used in the movie Cover Girlthat same year). The number dashes along nicely,
both the trumpeter and pianist demonstrating theirresourcefulness and highly adaptable command of
their respective instruments. Colley chips in with asprightly bass solo, too.
Bailey puts his coolly investigative temperament
on display with two ballad offerings: the first, his
original “Ode to Thaddeus”, is a paean to trumpeter
Thad Jones; the second Lennon/McCartney’s classic“She’s Leaving Home”. On the former, the trumpeter
remains under control with a brooding approach
while Cables shows clarity in his pianistic attack. For
the latter, Bailey is starkly suggestive as he covers
the lyric, Cables soulfully effective in his musings.
Garry Dial’s little-heard composition “How Do
You Know” harkens back to the 1982 release Spirit by
the Red Rodney/Ira Sullivan Quintet. Colley opens
the number by stating the melody, which Bailey
then nimbly picks up; the bassist shows his clean
tone and an unwavering technique. The leader takes
the number out, following a self-assured solo frompianist Cables.
“Groove Samba” closes the album in delicious
fashion, Lewis laying down a sleek samba beatthat draws both trumpeter and pianist into thescintillating music.

For more info, visit sluchaj.bandcamp.com

jazz encyclopedia, so he’d be the first to tell you that

For more info, visit johnbailey.com. This project is at
Smalls Mar. 24-25. See Calendar.

Popular Culture (Community Music, Volume 4)
Steven Bernstein’s Millennial Territory Orchestra(Royal Potato Family)
by Jim Motavalli

S lide trumpet player Steven Bernstein is a walking

22 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

territory bands thrived from the 1920s the 1960s,
typically with eight to twelve players, playing VFW
halls and Moose Lodges, with a repertoire of thecurrently popular songs. It’s not a surprise, then,that his version of a territorial band for the 2020s is
one whose repertoire includes a Beatles song: George
Harrison’s “Long Long Long”.
One of the revelations of Elijah Wald’s book
Escaping the Delta was that blues artists like RobertJohnson probably included songs from the Great
American Songbook in their repertoire. And why not,those were the popular songs then. So Chuck Berryand Buddy Holly probably made it onto territorial
band music stands. Also here: the Grateful Dead’s“Black Peter”. But Mingus, Ellington and Eddie
Harris are also on board.
Harris’ “I’m Gonna Leave You by Yourself”
enters on lonesome clarinet (Doug Wieselman) thatgets embellished by Peter Apfelbaum’s tenor andthe loose full-band arrangement, which has a certain
Mingus flavor to it—a very human swing. Bernstein
has a nice call-and-response with Wieselman near
the end. “Black Peter”, the only vocal track (viaguitarist Matt Munisteri, sounding uncannily like
Jerry Garcia) is the Dead by way of second-line
New Orleans. The surviving bandmembers would
undoubtedly approve. The deft, layered arrangement
is horn-heavy and totally serves the song. “It’s a ball
to work with Steven,” bassist Ben Allison told me.
“He is very knowledgeable and digs deep into thehistory, especially when it comes to brass players.”
Ellington’s “Flirtibird” is from Otto Preminger’s
1958 Anatomy of a Murder, and features Bernstein as aslightly off-kilter soloist. The edginess really brings
the compact arrangement to life. “Duke Ellington’sSound of Love” is from Mingus’ Changes One, andpresented here in a lush take that recalls ‘40s dancebands. The soloists ride on a creamy bed of horns.
Mingus’ 1974 version isn’t that different but features
piano (Don Pullen), an instrument that’s absent inBernstein’s territorial band. Porter Grainger’s “Putit Right Here” is bluesy, with Munisteri in thelead. Never heard of Porter Grainger? Well, it’s
not surprising that Bernstein knows his work—
he had an intriguing but short career as a pianist,
songwriter and playwright, worked with Smiths
Mamie and Bessie, played with Sidney Bechet andco-wrote songs with Fats Waller. Bernstein came lateto The Beatles, but was gobsmacked in his early 20s
when he listened to a copy of The White Album (fromwhich “Long Long Long” comes) that someone hadabandoned. Frankly, The Beatles didn’t do the tune

justice—the Popular Culture chart, heard here withthe massed horns telling the story, really brings out
its poignancy.
This small band sounds like a bigger one,something Ellington himself was exceptionally good
at. Check out the 1958 Duke Ellington’s Spacemen: The
Cosmic Scene for proof. That’s a nonet, too.
For more info, visit royalpotatofamily.com. This project is
at The Stone at New School Mar. 25. See Calendar.

WBGO PRESENTS

JAZZ BRUNCH
MAR 5

DONALD VEGAQUARTETDROP THE NEEDLE
To Live and Breathe…
Vinny Golia/Bernard Santacruz/Cristiano Calcagnile(Dark Tree)by Stuart Broomer

W hen it comes to the musician playing the mostLive in Tokyo
Charles Tolliver/Music Inc.
(Strata-East - Pure Pleasure)by Scott Yanow

Charles Tolliver (who turns 81 this month) madehis recording debut in 1964 with Jackie McLean,
worked early on with Horace Silver, Booker Ervinand Max Roach and was one of the brightest young
trumpeters of the ‘70s. He formed the quartet Music
Inc. with pianist Stanley Cowell in 1969, and also
led a big band during the era; together, he andCowell also founded the Strata-East label. Tolliver
maintained a much lower profile (particularly onrecords) after 1975 but had an outburst of activity
during 1988-90 before finally making an official
comeback in 2005.
Live in Tokyo, which was recorded Dec. 7,
1973, was the final album by Tolliver’s Music Inc.,
which at the time included Cowell, Clint Houston(bass) and Clifford Barbaro (drums). It was recently
reissued on vinyl as an exquisitely beautiful gatefold
edition by Pure Pleasure Records. The trumpeter, 29
at the time, is heard throughout and in top form,
displaying a clear tone and an adventurous yet
melodic style.
Tolliver contributes four of the fivecompositions. “Drought” begins with dramatic
trumpet before the quartet joins him at a racing
tempo. Tolliver plays forcefully and with fire. There
are piano and drum solos while the furious tempo
somehow stays quite steady. “Stretch” has a catchy
theme played by Houston, who also takes the firstsolo. “Truth”, a laidback ballad, retains its moody
quality even during the trumpeter’s heated solo.
The jazz waltz and memorable melody of “Effi” isnotable for Houston’s virtuosic solo after Cowellstretches out. The most unusual performance is thequartet’s rendition of Thelonious Monk’s “’Round
Midnight”, which is mostly unrecognizable andtaken at a surprisingly blazing tempo with but a hintof the famous theme.
The music on Live in Tokyo still sounds fresh andlively, showing just how strong Charles Tolliver wasin his early days.
For more info, visit purepleasurerecords.com

members of the woodwind families, even Anthony
Braxton might have to cede the title to Vinny Golia(Golia, one year Braxton’s junior, celebrates his
77th birthday this month) who plays the full rangeof saxophones: from soprano to bass; alto and bass
clarinets; of the transverse winds, piccolo to bass
flute; of the double-reeds, English horn and bassoon;
he has also played tarogato, the wooden Eastern
European instrument merging elements of clarinet
and soprano saxophone. But for this 2017 concert inTrevosso, Italy, Golia was traveling light, playing
only soprano saxophone and piccolo.
The opening “An Introduction to Bonsai Basics”
has him crafting fluid, coiling lines that wander subtly
between microtones at the same time he constructs
a more conventional line, creating a strangely
compound oscillation that’s richly expressive, apsychic zone that flirts with multiple meanings.
The track introduces the rhythm section of Bernard
Santacruz (bass) and Cristiano Calcagnile (drums), a
subtle pairing who provide consistently empathetic
support, shadowing, accenting and lifting Golia’s
lines, then coming to the fore in delicate flashes ofbrilliance. “Thoughts within the Vineyard” feels
like a continuation, lightening the insistence while
shifting the locale with a certain tonal inflection
towards the Middle East.
Calcagnile is an immediate presence on thepiece dubbed “Drumstart”. He’s at once energetic
and restrained, matching light cymbals and deftdrumbeats with a subtly propulsive bass drum thatclears a space for the entry of Golia and Santacruz.
The bassist spins his own intricate web through themultiple metallic mix of snare and cymbals, and thetwo supporting musicians create a complex field
against which Golia can flutter, gather energy andsoar. “Visit to the Mountains” is a gently piquantinterlude with a certain touch of the blues.
The concluding “Evanesce” (the verb a direction
rather than mere description) has Golia playing
piccolo, a thin, piping, yet beautiful sound. He
seems often here to be playing multiphonics, notes
sometimes doubling, even shadowing themselves,a compound discourse in which ultimate growls
through the instrument press toward speech.
This is a dense, rewarding, virtuosic set, one inwhich Golia’s impressive array of other winds, fromalto to bass registers in multiple forms, is nevermissed.

MAR 12REZA KHAN“MYSTICAL” ALBUMRELEASE SHOWMAR 19THE WORLD FAMOUS

HARLEMGOSPEL CHOIRMAR 25 (SAT)
MOTOWN BRUNCH:

A DECADE
OF SOULWITH PRENTISS MCNEIL

MAR 26SHEILA
JORDAN TRIOFEATURING RONI
BEN-HUR & HARVIE S

131 W 3rd St, New York 10012
212.475.8592 • bluenotejazz.com

For more info, visit darktree-records.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 23

MAR 1JOSH LAWRENCE QUINTET + INTERLOCHEN JAZZMAR 2–5

One More, Please
Tim Berne/Matt Mitchell (Intakt)
by Steven Loewy

TIERNEY SUTTONMAR 6NEW YORK YOUTH SYMPHONY JAZZMAR 7

THEMBELIHLE DUNJANA QUINTETMAR 8

ALEXIS COLEMAR 9–12

BILLY CHILDS QUARTET FEAT. SEAN JONESMAR 13

JAZZ AT LINCOLN CENTER YOUTH ORCHESTRAMAR 14–15

JUDY CARMICHAEL QUARTET
MAR 16–17

ISAIAH J. THOMPSON QUARTET:
THE POWER OF THE SPIRITMAR 18–19

ENDEA OWENS & THE COOKOUT
MAR 21ELLEN ROWE & MOMENTUM
MAR 22–25

DUDUKA DA FONSECA, MAUCHA ADNET AND HELIO ALVESMAR 26

SONGBOOK SUNDAY: LERNER & LOEWE
MAR 27JUILLIARD JAZZ ENSEMBLES
MAR 28WILLIAM PATERSON UNIVERSITYJAZZ ORCHESTRA & ENSEMBLESOne of the strengths of great jazz musicians is theirability to master a genre, expand upon it, evolve andembrace change. Those who have followed saxophonist
Tim Berne’s career closely recognize his perpetual ability
to view the world in a unique way, one that incorporates
his experience as a free jazz performer but never fits into
any kind of box. Beginning with his Snakeoil recordings
more than a decade ago, Berne has worked closely withpianist Matt Mitchell, whose deceptively mainstream
approach fuels Berne’s imagination in myriad ways. One
More, Please is their fourth duo release and it is a tour
de force, a beautiful homage to the art of the jazz duo.
Berne’s lush tone, combined with Mitchell’s remarkable
piano technique, is one of the best examples of thesaxophone/piano duo, reminiscent in some ways of thecollaboration between saxophonist Ivo Perelman andpianist Matthew Shipp, at least in its longevity.
Berne and Mitchell display a singular vision,
the saxophonist’s extended technique subordinatedto a more gentle, though no less deconstructive
path. There are times, such as on the eclectic “Oddly
Enough/Squidz”, where the two energetically recall
the confrontational energies of the avant-garde, butelsewhere there is a gentler, though no less subversive
tone. On “Middle Seat Blues/Chicken Salad Blues”
which is only peripherally a blues, Berne flies throughcomplex lines with a simple fluidity and Mitchell listens
closely and spurs the saxophonist on. Julius Hemphill’s“Number 2” (the only piece not composed by Berne)
is performed slowly, with Berne and Mitchell weaving
through intricate lines. The results are riveting, withbeautifully syncopated runs and marvelous interactions.
Mitchell is the perfect foil, with a quirky sophisticatedstyle, as the two players dance together in harmony. The
final piece, the winding “Rolle Oats/Curls” is especially
impressive, the gentle piano virtually merging with
Berne’s flowing saxophone.
For more info, visit intaktrec.ch. Berne is at Lowlands Mar. 9
and Mar. 16 and Bar Bayeux Mar. 17. See Calendar.

MAR 29JEFF “TAIN” WATTS QUINTET

August). More than Stan Getz, Zoot Sims and Al Cohn,
Moore was a Young devotee, even holding his tenor at
the same odd 120-degree angle as Pres. While most of
the other Pres-influenced tenors gradually developed
their own individual voices and styles, Moore remainedmuch closer to his model. But even he came under thespell of Charlie Parker, as he told The New York Times in
1968: “When I heard what Bird had done for himself, I
realized that Pres was not the complete messiah. So I
combined Bird and Pres and my own thing.”
The music here, culled from 1961 radio and TV
concert tapes in Denmark and Sweden, reveals a Presdisciple at the top of his game, with musicians fromhis adopted hometown of Copenhagen, where Moore
lived after 1960. He is joined by pianist and alto horn
brass player Harold Goldberg, who was also co-ownerof Copenhagen’s famous Jazzhus Montmartre jazz club.
The house rhythm section—a 15-year-old Niels-HenningØrsted Pedersen on bass, and Alex Riel (21) on drums—
completes the quartet.
Over eight tracks—four from each concert—Moore
never disappoints, indefatigably swinging while reelingoff long, logically contiguous solo lines, mostly at midto up tempos. Highlights include “Manny’s Tune”, an
infectious earworm of a tune from his San Francisco (late‘50s) band’s pianist, John Marabuso. The jaunty piece,
a sixteen bar A-B form repeated twice, is heard in two
versions. The Pres-inspired highlight is a barn-burning“I Want to Be Happy”, recalling Young’s version withNat “King” Cole and Buddy Rich. Bird is represented
with “Yardbird Suite”, including notable exchanges
between Moore and Pedersen, and “Scrapple fromthe Apple”. Tenor sax and alto horn intertwine, Gerry
Mulligan Quartet style, on the closer, “Special Brew”.
For more info, visit steeplechase.dk

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

MAR 30– APR 2DIVA JAZZ ORCHESTRA

LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Special Brew
Brew Moore (SteepleChase)by George Kanzler

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

212.258.9595
BROADWAY AT 60TH ST.

Until the ascendency of John Coltrane in the late ‘50s/

early ‘60s, perhaps the most influential tenor saxophonist
in jazz was Lester (“Pres”) Young, whose light tone andbar-crossing extended lines were emulated by a raftof post-war saxophonists. They included members of
Woody Herman’s bop-inspired Third Herd (or FourBrothers), and Brew Moore (1924-1973) who was activein New York in the late ‘40s and early ‘50s and whose
centiennial will be next March (he died 50 years ago this24 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

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.

King’s Dream
George Colligan (PJCE)
by Fred Bouchard

A man, a plan, a piano. On King’s Dream, veteran pianist

George Colligan shares an intimate, reflective solo suitefrom his home in post-pandemic Portland, OR. He
transports us into that heady ether between seamless,breathlessness and spirituality, holding us aloft withpower and grace. He boldly captures the deliberateelan of modal masters McCoy Tyner and Joe Bonner
on sweeping tours-de-force such as the stage-setting“Clearing The Mind” and “Daddy Go Bye Bye”.
His full-spectrum palette may evoke dark
Rachmaninoff forest rumbles here or the oriental wholetone pastels of Debussy there, always with an eye cast
onto the greater organic picture. His sturdy walking
left hand scrawls under an ironic, twisting “Doom
Sandwich”, and in wry homage to the late bassist (andearly ‘90s collaborator) Dwayne Burno.
With “Golden Years”, Colligan’’s sweet legato
gestures to a panorama of peace, harmony and gratitude.
It’s cut from the same strong whole cloth as the titular
ode to Martin Luther King, Jr.—highminded, restless,offering an uplifting vision—with a final jubilant carillon.
“Liam’s Lament” builds dreamily layered, cascading
chords somehow evocative of Sir Roland Hanna. Waxing
rhapsodic, he peers meditatively into the cosmos. By theend of this the 67-minute set (each original a firm firsttake), we’re pretty much reaching out there with him
and yet, with our feet, remain blessedly planted on solid
earth.
For more info, visit PJCE.org. Colligan is at Mezzrow Mar.
27. See Calendar.

Ashanti
Santi Debriano & Arkestra Bembe (JoJo)
by Keith Hoffman

Like his contemporary, Cuban-born pianist Elio
Villafranca, bassist and composer Santi Debriano isboth a child of the West African Diaspora and a gifted
ethnomusicologist. Born in Panama but raised in
Brooklyn, Debriano took a degree in that discipline from
Wesleyan University. During the lockdown he invitedmusicians to his Staten Island home for sessions heconceived as “bembe”—the Yoruba word for culturalcelebrations with music and dance, food and drink.
Gradually, as the kindred musicians workshopped his
compositions, à la Charles Mingus, they took a moredefinite form.
When he premiered the work at Smalls in July of lastyear, there was the palpable excitement of novel creation.
His opener there, “Imagined Nation”, just blew the doors
off. Of course, there was also the difficulty of fitting his
nonet into the space, and the imperfections inherent
when a large ensemble does so and without monitors.

On Ashanti, Debriano and Arkestra Bembe—Andrea
Brachfeld (flute), TK Blue (alto), Tommy Morimoto(tenor), Ray Scro (baritone), Emile Turner (trumpet),
Adrian Alvarado (guitar), Mimiko Watanabe (piano),
Robby Ameen (drums)—manage to keep a great deal ofthat excitement while sanding away the imperfectionsin the studio. The recording is clean, surprisingly airy
for such a large group and extremely well-balanced. For
example, the outstanding guitar work of Alvarado—lost in
the live mix—is front and center on album opener “AngelHeart”. Brachfeld’s outstanding solos on “Spunky” and“Arkestra Boogaloo” are clean, lovely and unforced.
While the quality of the compositions, arrangements
and performances is excellent throughout, a few merit
special attention. “Imaginary Guinea”, based on the
Haitian notion that the souls of the departed float home
to Africa, is a long, languid and gorgeous piece in 6/4.
And Bobby Hutcherson’s “’Til Then”, the album’s lone
non-original, gets a loving update.
This is an excellent addition to Debriano’s substantial
and perhaps under-appreciated body of work as leader.
For more info, visit jojorecords.com. This project is at IridiumMar. 18. See Calendar.

The Source
Kenny Barron (Artwork)by George Kanzler

Saying “That’s Kenny Barron” when you hear a piano onrecord isn’t always easy. Barron is less about style thanapproach, an approach that is tailored to the material he’s
playing. On this, his first solo recording since the 1980s,
Barron’s masterfully encompasses a broad range andhistory of jazz piano styles. Over nine tracks including
four originals, Ellington-Strayhorn and two by Monk
plus the old Fats Waller hit “I’m Confessin’”, he embraces
a panoply of jazz piano styles, gestures and approaches,
all in service of the tunes being addressed.
Kicking off these proceedings is his own “What If”,
introduced by pounding rubato chords that skirt atonality,
before he sidles into a 21st century version of stride that
underpins and propels his right-hand improvisational
forays. Later, on “I’m Confessin’”, he demonstrates
his proficiency in traditional stride, creating a catchy
bounce for his bright, lilting right hand figures. The two
Strayhorn pieces offer contrasting approaches: “Isfahan”
stresses the insistent descending figure in the melody,
while “Day Dream” emphasizes the tune’s dreaminess in
its slow reverie of legato notes.
A veteran of Monk tribute band Sphere, Barron is acreative interpreter, never aping the master’s style whilestill illuminating it. He applies a Monk-ish touch to “Teo”(Monk’s contrafact of “Topsy”), repeatedly emphasizing
the opening bars. In contrast, “Well You Needn’t”
becomes a quicksilver fantasia on the familiar melody,
hidden in the uptempo framework.
Barron’s other originals offer three distinctive
approaches. “Dolores Street, SF” is saturated in
the melancholy feel elicited by his delicate touch.
“Sunshower”, which unfurls as a full Afro-Latin pieceon his group recording, sways along in a gentle, partly
implied, montuño. And “Phantoms” bounces along on an
infectiously propulsive mid-tempo rhythm.
For more info, visit pias.com. Barron is at The Appel RoomMar. 24-25 with Rosa Passos and The Apollo for “A GreatNight in Harlem’ Mar. 30. See Calendar.

DROP THE NEEDLE

ZodiacBarney Wilen(Disques Vogues-We Are Busy Bodies)by Pierre Crépon
There were many phases to the career ofFrench-American saxophonist Barney Wilen who
would have turned 85 this month (he died in
May 1996). Zodiac dates from the beginnings ofa relatively short period of public identification
with free jazz. In October 1965, Wilen cameout of retirement and began a residency at theReunionese restaurant Le Requin Chagrin withdrummer Jacques Thollot as his main partner.
Over the course of a full year in that Parisiancave, they were joined by various bassists, mostoften Jean-François Jenny-Clark. Their audience
included artists such as filmmaker Chris Marker
and cartoonist Siné, the creator of Zodiac’s coverart. Aged 28, with a résumé including Miles
Davis and Art Blakey’s Jazz Messengers, Wilen
had already surpassed what could reasonably
be expected for a French musician. But he feltthat he had engaged bop when the music wasalready over, and he kept looking for otheravenues. What he turned to in free jazz was
Ornette Coleman’s elimination of chord changes,
not the outer register explorations of Ayler or,increasingly, Coltrane.
On Zodiac, the trio were joined by German
vibraphonist Karl Berger. No recording date islisted, but circumstantial evidence—including
Berger and Jenny-Clark’s work in Paris with Don
Cherry’s great quintet—confirms the circulating
date of January 1966. For this record, the groupattempted something specific: the creationof twelve 3-minute miniatures based on eachzodiac sign. “Each composition will illustrate thecharacteristics of one of these signs,” Wilen told
Jazz Magazine before the session. “For Aquarius[“Verseau”], for instance, it is Saturn, impulse,
mystery: right away, this gives an idea of theatmosphere, of the theme.” Non-astrologicallyinclined listeners won’t be able to gauge thesuccess of the enterprise, but the music can standon its own. A certain gentleness and a cinematic
quality predominate. It is not surprising tolearn in photographer Jean Larivière’s notesthat a related film project once existed. For
French musicians, it seems that freeing jazzat first did not mean cracking open the sonic
frontiers but rather investing the freedom toorganize preexisting material in new ways.
Wilen, for instance, possessed a beautiful sound,serviceable in West Coast contexts, and he did
not leave it behind. This repress by Toronto label
We Are Busy Bodies was not sourced from theoriginal tapes but from an extremely clean vinyl
copy and is sonically very good. It is a well-donereissue of a non-essential but quite interesting
record.
For more info, visit wearebusybodies.bandcamp.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 25

B OXED SE T

Reed Rapture in Brooklyn
Ivo Perelman (Mahakala Music)
by Steven Loewy

F resh on the heels of Brazilian tenor saxophonist
Ivo Perelman’s freely improvised duets withnine outstanding pianists, documented in
his monumental Brass and Ivory Tales, thesaxophonist presents Reed Rapture in Brooklyn. This
extraordinarily intense, exhausting, yet utterly
fascinating collection pits Perelman against twelve
outstanding saxophonists and clarinetists, across
103 tracks recorded over a six-month period! The
challenges of such an ambitious venture cannot be
understated. There is no rhythm section or othersupport for the players. There was virtually noplanning, and all of the pieces are fully improvised.
That it succeeds is a tribute to Perelman and his
extraordinary partners, each of whom brings anindividual voice and years of experience to theproject. There is a lot going on, and this is the sortof recording that cries for repeated listening tocontemplate its many intricacies and mysteries. For
those who love the sound of free jazz saxophone,these recordings evoke the joy a young child getsfrom being let loose in a giant candy store.
The sound is surprisingly diverse across thecollection, suggesting a giant canvas where every
imaginable color, shade and texture is addressed.
Far from a free jazz screeching session, there arehuge variations in rhythm, volume, tempo, range
and tone. Perelman thrives in the altissimo range,and his tight embouchure features near-perfectintonation, not an easy task. He particularly enjoys
luring his partners into slightly dissonant andprickly long, high tones that maintain an ironclad
focus.
Highlights abound, and while the performances
are challenging, each listener is bound to findfavorite matchups. The set opens with elder
statesman Joe Lovano (performing mostly on
C-melody sax and sopranino) on fourteen relatively
short pieces. This is one of the more jazz-infusedsets, supplying a magnificent diversity of moods,
at times reminiscent of Warne Marsh–Lee Konitz
collaborations. Perelman and Lovano play off one
another delightfully, exploring different groundas the players react to one another with a focused
intensity. The fiery collaboration with the eclectic
Tim Berne (alto) on five long tracks is filled withaltissimo work from both players, often in slightdissonance. Some passages feature incredible
technical prowess, with split tones, trills, repetition,rough spurts and super-fast runs; then they shift toa simple quietude. They indulge in their respective
instrument’s entire range, at times recalling Evan
Parker’s advances, and at others a gorgeous
symmetry. David Murray performs exclusively on
bass clarinet, and the contrast between Perelman’s
regular excursions way up high contrast nicely with
Murray’s explorations of lower depths. The second
track from Murray relies, in part, on pointillistic
spurts from the two, adding exaggerated vibrato,

long low tones and varied tempos. The last of
their duos pits the lower register of Murray’s bass
clarinet against a sometimes mellifluous Perelman.
Dane Lotte Anker (soprano and alto oneight tracks) opens slowly, then integratingwith Perelman, building with focused energy.
The unhurried third track is a splendid exampleof their closeness, tension building gradually.
With compatible approaches, the two bounce off
one another, changing pace or style on a whim,
exploring the full breadth of their horns, Anker
wonderfully acquitting herself with great range
and technique, while eliciting exciting momentsfrom her duo partner. It comes as little surprisethat Ken Vandermark (solely on clarinet) impresses
mightily. His uniquely eclectic approach pulls
the duo into the higher ranges, though his total
control manifests selflessly. Sandwiched between
two shorter tracks, the almost 40-minute second
track with Roscoe Mitchell on bass sax stands
apart with a somewhat disjointed, thoughenjoyable collaboration, the full-toned Mitchelltraveling the lower depths, sometimes mimickedby Perelman, the Art of Ensemble saxophonist
embracing moments of silence while his colleague
follows his elder’s cue and builds on it. Multiinstrumentalist James Carter’s (baritone sax
on nine tracks) masterful chops unsurprisingly
inspire Perelman, who reacts to, leads andpushes Carter to impressive heights. With power,
long tones and dramatic changes in volume andspeed, the two wind their way through numerous
permutations. Jon Irabagon’s (slide soprano sax
and sopranino) intensity arouses, as the twoseem to share a special understanding often
playing at mid-tempo. The duo performs withsuch emotional intensity, weaving through flutter
tones and more as they embrace and project thesound with singular verve.
Joe McPhee’s contributions (tenor sax andoccasional vocals) make for some of the mostaccessible of the duets. On the fifth track, he openswith slow vocal inflections followed by a deep
full tenor sound, as Perelman eventually blows
altissimo with uncanny control, ending with fullthrottle runs. Colin Stetson may be best known forhis movie soundtrack work, but he also has a strong
background in experimental music. Focusing hereon contrabass sax and tubax (a modified sax withthe range of a contrabass sax but a lighter tone),
Stetson’s interactions with Perelman are among
the highlights of these sessions. His compellingly
stark contrast to Perelman’s higher tones feature
split tones, dissonance, flutters, growls and longslow blowing, inspiring some stunningly wild
responses. Vinny Golia has long entertainedwith his assortment of reeds, but here he limits
himself to the small soprillo sax, clarinet basset
horn and alto clarinet. There is a fluidity andenergy with Perelman that lures the listener intoa den of complex interactions that are surprisingly
upbeat and life-affirming, sometimes sensuous.
Last, but not least, comes the masterful Dave
Liebman (soprano) whose opening piece with
Perelman begins mournfully, building gradually.
The seventh track summarizes the vitality anddiversity of this entire set, starting deliberately
as two saxophonists go way up high, down low,
accelerando, diminuendo, all while compellingly
navigating complex rhythms and ideas. A fitting
end to a wonderful set.
For more info, visit mahakalamusic.com

26 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

the sound of listening
Mark Guiliana (Edition Records)
by Tom Greenland

D rummer Mark Guiliana is best known forcollaborations
withbassistAvishai
Cohen,
saxophonist Donny McCaslin (he and McCaslin were
key contributors to David Bowie’s Blackstar), pianist
Brad Mehldau, vocalist (and wife) Gretchen Parlato
and BEAT MUSIC! collective. In his work as a leader,he combines grunge-like aggression and throbbing
EDM (Electronic Dance Music) beats (he cites Aphex
Twin and Squarepusher as key influences) with theharmonic and improvisatory proclivities of jazz.
His third quartet release, the sound of listening, with
Jason Rigby (tenor), Shai Maestro (piano) and Chris
Morrissey (bass), should be satisfying both for those
who don’t necessarily like jazz as well as those who
do—no easy feat! The album’s ten tracks are arranged
in alternating order: the shorter, odd-numbered
tracks thickened with added percussion, keyboards(Maestro overdubs mellotron and ampliceleste,
Guiliana synths and drum programming) andadditional winds (Rigby’s bass clarinet, clarinet
and flute add distinctive coloring), each functioning
as a brief tone poem and/or palate cleanser forthe longer, even-numbered tracks, which are lessstructured, more stretched out, with extended solos
and heightened group interaction.
Tunes such as “the most important question” and“continuation” are good examples of how Guiliana
conjoins erudition and danceability: both employ
syncopated, long-form beat patterns that, though
they parse into dancer-friendly 4/4 meter, likewisecontain off-kilter accents that make the second halfof the cycle feel ‘off” (even though it’s ‘on’), a yinyang effect temporarily throwing listeners/dancers
into a parallel rhythmic universe. On “our essential
nature” he follows a similar strategy with seven-beatgroupings. Rigby’s genial tone on tenor provides the
melodic focal point, his soloing guiding the bandto collective climaxes on “everything changed after
you left” and “under the influence”. Both cuts also
spotlight Guiliana, who elsewhere remains ensconced
in the collective momentum, and the ever-inventive
Maestro, who sings along with his fast funky boplines on the former, playing even faster, trickier andmore abstract runs on the latter.
For more info, visit editionrecords.com. Guiliani is atVillage Vanguard Mar. 21-26. See Calendar.

SchwarzwaldfahrtPeter Brötzmann / Han Bennink (FMP-Trost)by Kurt GottschalkI n 1976, during an engagement at Free Jazz Meeting
Baden-Baden, Peter Brötzmann (who celebrates his

82nd birthday this month) and Han Bennink (whoturns 81 next month) got in a van and went into
the woods. The musical results of their journey into
the Black Forest are not a new discovery, although
they might easily be lost in their mountainous
discographies. But a new packaging of the album
shows what a magical moment in time that was.
It was around this time that the Dutch drummer
Bennink billed himself as playing “anything/
everything” on his records, and that spirit ofabandon overtook the German reed player for theoutdoor sessions. The instrumental credits on thealbum—originally issued by the German label
FMP and now given deluxe treatment from theAustrian imprint Trost—don’t distinguish between
players, but simply catalogue their cargo (clarinets,
saxophones, birdcalls, viola, banjo, cymbals, wood),
adding credits for trees, sand, land, water and air. As
good fortune would have it, the van also carried a
Stellavox portable tape recorder.
The 44 minutes of audio preserved from thetrip are filled with adventure. There’s a sense
that, perhaps more than ever for the impromptu
wilderness troubadours, anything was good to go.
There are reed duets, percussion jams and scavenged
marimbas. There are also natural sounds and a hugesense of audio space. It’s not a noisy record. It’s
actually abstractly sublime. But none of that’s news.
The record’s already been reissued a couple of times
between the initial LP and the new set. What’s new is
the 120-page book filled with photographs taken by
Bennink and Brötzmann during the excursion.
The black-and-white images don’t nail thesounds down; there’s still plenty of mystery in der
Schwarzwald. The photographs capture the wholeof the trip, from driving to arrival to lodging

LUIS RUSSELL
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visit dottimerecords.com to orderand exploration. They’re snapshots, sometimes
saturated, sometimes blurred and they’re perfect.
We don’t see the musicians with their instruments;
presumably if one started playing, the other would
too. But we do see instrument cases stacked on a
rock. In fact, there are more images of rocks thanthere are of the artists. We see the van and theroad through the windshield and the lake and adisplay of laid-out logs that, apparently, became an
instrument. There’s a charm to the book that only
enhances the album. At last, their outdoor session
gets the housing it deserves.

IN PRINT

For more info, visit trost.at
Ruminations & Reflections: The Musical Journey ofDave Liebman & Richie Beirach
Dave Liebman & Richie Beirach with Kurt Renker(Cymbal Press)by Ken Dryden

New Works Reflecting the Moment
SFJAZZ Collective (SFJAZZ)by Marco Cangiano

T he SFJAZZ Collective needs no introduction.

Founded nearly 20 years ago, its alumni include
some of the best and brightest musicians in jazz. Thislatest edition, now under Chris Potter’s directorship,
is no exception. New Works Reflecting The Moment is
an ambitious undertaking that tries to capture thetensions and conflicts affecting American society.
Compared with earlier versions of the group, thisiteration relies more strongly on vocals. The program,recorded live, includes originals drawing inspirationfrom episodes of recent history such as the January
6, 2021 attack on the U.S. Capitol and the murder ofGeorge Floyd. But the program also includes new
arrangements of landmark tunes such as “Lift Every
Voice and Sing”, Marvin Gaye’s “What’s Going On”,
and Abbey Lincoln’s “Throw it Away”, with a coda
recalling “Freedom Day” from Max Roach’s Freedom
Now Suite.
The result is a varied and interesting program.
Edward Simon’s emotional piano aptly sets the scene
in “Lift”, joined by Martin Luther McCoy’s churchlike singing, to which Gretchen Parlato adds her
voice as the band moves seamlessly into vibraphonist
Warren Wolf’s original up-tempo “Vicissitude”. This
album is a showcase for the Collective, with brilliant
solos by Simon, Potter, David Sanchez (tenor) and
Wolf. Matt Brewer on electric bass and Kendrick
Scott’s drumming are spectacular. This is SFJAZZ
at their very best, loose and tight at the same time,assertive and yet reflective, combining different
voices in a real collective effort. Brewer’s switching to
the acoustic instrument introduces Lincoln’s “Throw
It Away”, possibly the most dramatic tune of the
program. Parlato does not try to reproduce Lincoln’stone and finds her own personal way through thetext. Etienne Charles’ trumpet solo shines. Simon’s
piano introduces “8’46”” (which is how long it took
to execute George Floyd) in a dirge-like mood, and issoon joined by Parlato’s mournful vocals, integratingmusic and politics in a programmatic fashion. There
are many highlights, including Potter’s tenor workon his own captivating “Mutuality”, the infectious“Ay Bendito” by Sanchez, and Brewer’s funkinessin “Already Died”, underpinned by Potter’s bass
clarinet and Charles’ fluegelhorn and featuring
another brilliant vibraphone solo by Wolf.
For more info, visit sfjazz.org. SFJAZZ Collective is at
Birdland Mar. 21-24. See Calendar.

J ournalists enjoy interviewing jazz musicians,
but even the best of them can’t get a jazz masterto open up as completely as an old friend andfrequent collaborator. Dave Liebman andRichie Beirach began working together overa half century ago and they have assembled
formidable,
diversediscographies,
both
together and individually, in addition to theirimmense contributions as jazz educators. With
the encouragement of their frequent producer,
Kurt Renker, they have assembled an unusual
book, incorporating autobiography, criticalimpressions of various musicians, and reflections
on their recordings and other topics in concise,entertaining chapters that make for easy reading.
The reader feels like a fly on the wall hearing
their spontaneous, unfiltered conversations thatseem to have had minimal editing, due to how
free-flowing they are, just as spontaneous astheir music.
The duo’s remarks about their approach tomusic come across as accessible to both students
and non-musicians, with a helpful glossary
for any unfamiliar terms. Liebman and Beirach
make it clear how challenging it is to succeed,with shrinking numbers of venues and few
opportunities to play as sidemen with veteran
bandleaders, as they did in their youth. But theyalso make it clear the steps a fledgling musician
must take to get to the next level: a lot of hard
work, research and experimenting are required.
There’s a genuine sense of nostalgia when
they drive around New York neighborhoods
where they lived, went to school, ate and worked,
as they recall businesses and clubs, many ofthem long since closed, along with people they
met along the way. A nice touch is adding theaddresses for many of these homes, restaurants,
stores and clubs.
Perhaps the most moving section consistsof letters that each man wrote to deceased
bandleaders with whom they worked or who
inspired them, telling them in the present what
they couldn’t have as younger men. Liebman’s
letter to Miles Davis and Beirach’s note to his
friend Bill Evans especially stand out as heartfelt.
Beirach takes time to discuss some of theirfavorite recordings together, giving backgroundand reflections on them. The book is best enjoyeda few chapters at a time, with their music playing
in the background. There is much to learn fromthe wisdom of these two masters, no matter thereader’s level of familiarity with their music.
For more info, visit cymbalpress.com. Liebman is at
The Stone at New School Mar. 21 and Iridium Mar.
18 with Santi DeBriano. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 27

UNEARTHED GEM

Back Home in Kansas City
Bobby Watson (Smoke Sessions)by Phil Freeman
George Avakian Presents One Step to Chicago:
The Legacy of Frank Teschemacher andthe Austin High Gang
Dick Hyman/Kenny Davern/Dan Levinson(Rivermont)by Ken Dryden

I n 1992, producer George Avakian and pianist
Dick Hyman (who turns 96 this month) gathered
top musicians to pay tribute to clarinetist Frank
Teschemacher, who made legendary recordings
with fellow members of the Austin High School
Gang before his death in 1932. After Avakian
invested considerable personal funds in producing
the sessions, his backer bowed out and the project
was shelved until the opportunity came for it to
finally be issued last year.
Hyman led the first session, playing notefor-note recreations of six songs recorded by
Teschemacher. Recreating music exactly as it
was first recorded is not to be dismissed, because
it is a challenge to transcribe and perform theoriginal music while retaining its character. Also,
modern engineering brings out instruments thatare not so easily heard on the original 78 rpm
discs. The results speak for themselves, as theplayers prove to be superb chart-readers while
retaining the energy and freshness of the music.
In addition to Hyman (piano), the band includes
Peter Ecklund or Dick Sudhalter (cornet), Jon-Erik
Kellso (mellophone), Dan Barrett (trombone),Ken Peplowski (tenor), Bob Haggart (bass),
Vince Giordano (tuba), Marty Grosz (banjo) andArnie Kinsella (drums). Highlights include therollicking “I’ve Found A New Baby” and a peppy“Shim-Me-Sha Wabble” that brings images offlappers dancing up a storm with their beaus in
The Roaring Twenties.
Clarinetist Kenny Davern leads the second
session, playing new interpretations of songs
from Teschemacher’s repertoire, which gives theband a chance to stretch out beyond the limits ofa 78 rpm disc. All of the music turned out well,especially the engaging interplay in “Darktown
Strutter’s Ball” and the loping, bluesy “Baby,
Won’t You Please Come Home”. But top honors
go to the deliberate rendition of “Indiana”,
featuring lyrical solos by Davern and Howard
Alden (guitar). The band also includes Hyman,
Barrett and Kellso, Milt Hinton (bass) and Tony
DeNicola (drums).
This enjoyable CD release is packaged in a
hardcover book that has 80 pages of detailed liner
notes describing Teschemacher’s background,along with the 1992 sessions, featuring both
vintage and session photographs. It’s priced a little
higher than a typical single CD, but considering
the hefty investment made by Avakian in 1992 toproduce it, plus the Rivermont label’s elaborate
annotations and packaging, it is a tremendous
value for any fan of Chicago jazz.
For more info, visit rivermontrecords.com

A lto saxophonist Bobby Watson’s third album
for Smoke Sessions is a beautiful demonstrationof how jazz is played outside New York. This isa slick squad of expert musicians—trumpeter
Jeremy Pelt, pianist Cyrus Chestnut, bassist
Curtis Lundy (plus Carmen Lundy on “Our Love
Remains”) and drummer Victor Jones—but what
they’re delivering here is pure, melodic, bluesbased loveliness. There are no hipper-than-thoucompositional tricks on display, no subversively
lurching rhythms, just swinging tunes. Some ofthem are new melodies on borrowed chord changes:
the title track is based on “Back Home Again in
Indiana”, while “Bon Voyage” tweaks Herbie
Hancock’s “Maiden Voyage” and “Side Steps”
nods to John Coltrane’s “Giant Steps”. But whocares? These new pieces stand on their own. “SideSteps” opens with a short but attention-grabbing
drum solo (there’s another one toward the end),
and the melody is a jumpy call to attention that’s
as much Latin as bebop. Similarly, “Back Home in
Kansas City” and “Mind Wine” (the latter written
by pianist John Hicks) are high-energy hard bop
anthems that could have come from an Art Blakey
or Horace Silver album, while“Red Bank Heist”,
written by Jones, recalls the work of Art Farmer
and Benny Golson’s Jazztet. Pelt’s “Celestial” feels
inspired by “Nefertiti” (Wayne Shorter) as theband works its way through a hypnotic melody
over and over again.
These are players who have been working
together for decades in some cases—Watsonand Lundy have a relationship that goes back to
the mid ’70s, both were also part of John Hicks’
bands in the ’80s and ’90s. But even the younger
generation of players here have such a deep
respect for the tradition they’re working in thatit all comes together seamlessly. Chestnut, withhis deep, gospel feel, is the perfect pianist for thisband, particularly on the version of Coltrane’sballad “Dear Lord”, and Pelt’s ability to shift from
intricate hard bop to emotive blues makes him
ideal as well. Simply put, this album cooks.
For info, visit smokesessionsrecords.com. This projectis at Smoke Mar. 23-26. See Calendar.

Live at Smalls (Cellar Music/smallsLIVE)
Trust and Honesty (Newvelle)
Dave Liebmanby George Grella

T hese are two very different albums fromsaxophonist Dave Liebman Liebman, whichshow his range, yet only represent a part of his
overall history—perhaps two corners of a cubethat includes his legacy with Miles Davis’ electric

28 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

bands and music-making with the likes of Adam
Rudolph which brings together international
improvising traditions. The albums under review
are at opposite ends of the jazz spectrum, one
focusing on interpretations of song forms andstandards, the other on collective improvisation
outside familiar structures.
Way outside, Live at Smalls is a continuous
75-minute group improvisation recorded Januaryof last year, with the album marked into three
sections: “The Beginning”, “The Middle” and“The End”. Within this flow of music there areinternal sections that, ironically, are very much
like what a group does in a head-improv-headarrangement, with individual musicians taking
a solo lead and the others either laying out or
accompanying in a somewhat responsive—notcomping—way. Liebman has said the album ispart of a conscious effort he’s making to play freemusic on a consistent basis.
The saxophonist is no stranger to this, nor
are any of his associates here, which include
Peter Evans (trumpet), Leo Genovese (piano),John Hébert (bass) and Tyshawn Sorey (drums).
But the problem is that the musicians sound as
if not in sync. Liebman had played with all ofthem by this time, though this was their firstopportunity to play (and record) as an ensemble,
and that’s what comes across at times. There
are no antagonisms; everyone sounds amicable,
but there’s also no conversation, or sense ofworking together. The playing is often brilliant:
Evans plays some stunning solos, and Genovese
spins some warm passages. Liebman sounds
a bit removed, introverted where the rest are
extroverted. Mainly, though, the musicians taketurns and defer to each other. Everything is finebut on parallel lines, and there’s nothing thatsuggests any urgent reason for these guys to be
improvising.
Trust and Honesty shares bassist Hébert withthe live album, but otherwise everything is quite
different. As a trio, with Ben Monder (guitar), thisthreesome rely on well-known material such as“Lover Man” and “Bye Bye Blackbird”. Though
an LP release, in digital form the release offersa couple of extra cuts that include short solofeatures for the bassist and guitarist. Overall, theplaying is absolutely lovely. This is the kind ofoutwardly modest, inward-looking music-making
that, by focusing on space and working at a pacethat is ideal for sitting and listening, feels broadly
expansive,
theuniverse-in-a-grain-of-sandexperience.
Monder is as versatile as any guitarist around;
here he mostly plays gentle, big, resonant chords,
like a lake on which Liebman sails, while Hébert is
the wind. The leader plays with a distinct tone on
soprano, centered but full of changing timbres. The
dynamics are low and the means are simple, butthere’s variety in the playing and across the tracks.
The arrangements of the aforementioned two
standards go beyond just playing the recognizable
melodies: there are structural ideas at work here.
This is the kind of playing where the details mean
everything, like the tension before Liebman’s
beautiful entrance on “Stella by Starlight”. “Bluein Green” comes out in measured and thoughtfulphrases, with space opening up between each of
the saxophonist’s breaths. Without mannerism
or obvious emphasis, the plain statement of thissimplest of melodies emerges as deeply andbeautifully as it’s ever been.
For more info, visit cellarlive.com and newvellerecords.com. Liebman is at The Stone at New School
Mar. 21 and Iridium Mar. 18 with Santi DeBriano.
See Calendar.

True Stories
Mark Wade Trio (Mark Wade Music)
by Terrell Holmes

W hen paying homage to one’s artistic models it

is wise not to walk too closely in their footsteps.
Faithful interpretations of classic works can beentertaining, perhaps even moving, but too muchreverence might result in nothing more than an echo.
Bassist Mark Wade honors his influences by using
elements of their work as points of departure for his
own composing on True Stories. With Tim Harrison(piano) and Scott Neumann (drums), Wade filters
past music through his unique lens to produce anengaging album of vivid originals.
The driving, Miles Davis-inspired “I Feel More
Like I Do Now” establishes the band’s tensile
strength right away. Wade honors Wayne Shorter
with “Falling Dolores”, a moody, clever mashupof the haunting “Fall” with the more optimistic
Shorter composition “Dolores”. The tip of the cap
to Shorter continues on “In the Market”, where thetrio takes on Weather Report masterfully, down tothe unusual time signatures. The trio has fun with
“Piscataway Went That-A-Way”, a nod and wink toFred Hersch’s skulking, playful “Swamp Thing”. The
album downshifts with the ballad “A Simple Song”, ashimmering tribute to one of Wade’s mentors, the latepianist Frank Kimbrough. The two-part invention“Song with Orange and Other Things” combines aCharles Mingus tune with a Wade original, both ofwhich joyously recall Mingus’ big band pedigree,
passionate gospel inflections and bear-hug warmth.
Wade doesn’t even need an entire song for his
musings. The beautiful suite “The Soldier and the
Fiddle”, for example, is based on the military marchfrom Igor Stravinsky’s “The Soldier’s Tale”. And
Wade borrows the opening bars of “Solokvist”, atune by Corpo (the Swedish jazz band he touredwith) for “At the Sunside”, the album’s crisp closer.
But none of this would matter without theexcellent playing of Wade, Neumann and Harrison.
They strike a perfect balance throughout True Stories.
Their interplay is dynamic, with flawless timing
and stellar musicianship. Every song is a pleasure
to hear, portending that the Mark Wade Trio willundoubtedly be major players on the jazz scene forsome time.

For more info, visit markwademusicny.com. This
project is at Saint Peter’s Mar. 19. See Calendar.

Black, Brown and Blue
Eric Reed (Smoke Sessions)by Tom Greenland

P ianist Eric Reed comes from a gospel church
background and emerged with precocious chopsin the late ’80s among the pride of “young lions”,
first gaining notoriety in Wynton Marsalis’ band.
Now a middle-aged “cat”, he has released almosta disc per year since Soldier’s Hymn, his 1990
debut as a leader. Black, Brown and Blue, his 32ndalbum and fourth for the Smoke Sessions imprint,
is one of his best, the title alluding to its theme:
songs by composers of color. Mentoring a pair ofyounger musicians—Luca Alemanno (bass) andReggie Quinerly (drums)—the leader includes
an original by each (Quinerly’s “Variation 23”,
Alemanno’s “One for E”). Two tracks feature thegritty but elegant vocals of Calvin B. Rhone (BillWithers’ “Lean on Me”) and David Daughtry(Stevie Wonder’s “Pastime Paradise”), both active
ministers in L.A.’s gospel scene.
The remaining pieces include the title track(an improvised blues) plus covers of Duke
Ellington’s “I Got It Bad (and That Ain’t Good)”,which features Reed’s subtle but satisfying chord
substitutions; Benny Golson’s “Along Came
Betty”, a bossa featuring piled-on phrases thatgather momentum, Reed’s ecstatic, singing tone
recalling Keith Jarrett; Thelonious Monk’s “Ugly
Beauty”, a bouncy, adventurous gambol thatquotes the composer’s plunging atonal runs;and Horace Silver’s “Peace” followed by McCoy
Tyner’s “Search for Peace” (the latter including
a quote of Ornette Coleman’s “Peace”); Wayne
Shorter’s “Infant Eyes”, here rendered in gospel/blues triplets; plus two lesser played gems
in Buddy Collette’s “Cheryl Ann” and Buster
Williams’ “Christina”, both beautiful ballads withpoignant harmony.
The album’s impact is in its duality. Thoughtemperate ballads abound, there’s a concurrent
attitude of adventurousness, heard in theimpatient, self-interrupting phrases, trembling
ornaments and generally dramatic disposition.
The upshot is a satisfying blend of refined
craftsmanship and exuberant delivery—at times
bordering on garrulity. Reed is equably poised
between self-discipline and passion, treadingthat line without losing his balance or sense of
direction.

decidedly 2020s pained beauty to the rest of thealbum.
“The Blues Still Blossoms”, for example,
with its drums stammering below the leader’sflying saxophone, almost sounds like a lament
for modern America. It is the sound of a man
who, surveying the chaos of the country, holds
out hope and wails for peace. On the title track,
his horn fluttering wildly, Lewis turns inward,
sounding out his own ennui. A composer with big
ideas and an even bigger heart, he turns the song
into a threnody for the nation. “We’re hurting”,
he seems to be saying, “but we can get through allof this wreckage.”
Pointing the way forward, he then begins“Within You Are Answers” searching for solace,with a tender solo that hints he may have finallyfound some. Then, however, Jaffe’s ramshackle
drums come followed by a tense saxophone
outro, but Lewis hasn’t yet climbed his mountainand seen the view. It is only as Eye of I nears
completion that Lewis, having blasted his own
blues and the country’s, attains contentment. His
saxophone swirling on “Send Seraphic Beings”,
he segues into “Even the Sparrow”, which, withits blaring horns and almost metal-like melody,
dips back into tension. But it’s on the closer, “FearNot (feat. The Messthetics)” where Lewis finallyfinds jubilation. As his bandmates cause a ruckus,
wild strings and guitar fuzz almost halting his
flight, the tenor saxophonist wails and wails until
the woes fall away.
For more info, visit anti.com. Lewis is at Le Poisson
Rouge Mar. 20. See Calendar.

For more info, visit smokesessionsrecords.com. This
project is at Smoke Mar. 9-12. See Calendar.

Eye of I
James Brandon Lewis (ANTI-Records)
by Zachary Weg

T here is a moment toward the end of James
Brandon Lewis’ fiery new record, Eye of I, where
his saxophone convulses like a dying cobra afteran adrenaline shot. With its sputtering horns andclashing cymbals, this album is an anguishedjourney towards paradise, Lewis’ saxophone hislodestar.
After a frenetic opener, “Foreground”,
the tenor saxophonist launches into Donny
Hathaway’s “Someday We’ll All Be Free”, and allgather at attention. Infusing the track with a punkrock energy alongside Max Jaffe (drums) andChris Hoffman (cello), Lewis’ instrument soars
up to seeming infinity. Coltrane certainly comesto mind here, but the rawer sensibility brings a"The rainbow of his work is in reinventing
his music, along with his life, and being
daring enough to share it with the world."— MUSICALMEMOIRS"An intense musical testimony...
it deserves your full attention."— CULTUREJAZZVISIT FALKNEREVANS.COM

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 29

while Farmer adds vocal commentary to a rendition
both solid and ghostly. Archer’s title track finishes
the album on a jaunty note, again demonstrating
an astute appreciation of how to curate a satisfying
listening experience.
For more info, visit discus-music.co.uk
Bass Trombone Dave Taylor

Dave & Gene Duo

Gene Pritsker Guitar

Dave Taylor - Bass Trombone, Gene Pritsker - Guitar
COMCON0076

Heartless
Forensic Trio: Martin Archer/Pat Thomas/
Johnny Hunter (Discus-Music)
Wasp Honey
Wasp Honey: Martin Archer/John Jasnoch/Sarah Farmer/Lee Boyd Allatson (Discus-Music)
by John Sharpe

M ulti-instrumentalist Martin Archer (who celebrates

his 66th birthday this month) may be best known forthe saxophone quartet Hornweb and his association
with vocalist Julie Tippetts, but he pursues such a
panoramic range of interests that it’s hard to knowwhat to expect. Will it be free jazz, avant-pop, progrock, noise, electronica or something else? In pursuitof his muse Archer ignores boundaries between
genres, generating his own forms, following his own
logic, though these two fine outings hew closest to
free jazz in that list.
To complete the adventurous Forensic Trio,
Archer enlisted pianist Pat Thomas and drummer
Johnny Hunter in a markedly empathetic unit, as
borne out by the selfless exchanges that make up thefour spontaneous cuts on Heartless. Archer toggles
between electronics and saxophone, utilizing bothin the spacious interaction of “Rotten Start”, createdfrom the well-judged juxtaposition of metallic taps,
Thomas’ rubbed and plucked piano innards, circuitboard shimmers and twisted reed blurts. A terminal
exclamatory squawk leads without pause into theshort “Improvisation in Traditional Form”, whichis exactly what the name implies, making clear that
Archer’s tradition also encompasses the fire music
vernacular, as his squalling saxophone switchbacks
mesh with Hunter’s lurching rattle and Thomas’
unfettered blues infusions. While on the surface“Heartless, Heartless..../Rotten State” suggests a
return to the moody ambience of the opener, it’s more
complicated than that. Invoking the example of Miles
Davis and Teo Macero’s diced studio jams, Archer
edits together alternating parts of two separate
longer improvisations, but it’s done so sensitively
that the effect is never jarring and the subtle contrasts
afforded by passages of bleating sopranino, tappy
percussion and staccato piano enhance the overalloutcome. A further intervention, capping the halting
swing of the final “Rotten Star” with an overdubbed
saxophone shout, neatly rounds off an intriguing andenjoyable album.
Hatched from an encounter in the Birmingham
Improvisers Orchestra, Wasp Honey matches Archer
and long-time collaborator electric bassist John
Jasnoch with violinist Sarah Farmer and drummer
Lee Boyd Allatson on an eclectic but left-leaning
program. They share a common wavelength, shown
best in the three collective imaginings that comprises
two thirds of the hour-long set. The opening “Flood”
drifts atmospherically, providing an aural equivalent
to the blurry cover images, mutable, lacking sharpedges, shapes bleeding into one another. On“Troop”, lines intertwine, approach consonance,and sometimes meander, while “Swoon” comes
off as the most forceful of the improvs, courtesy ofAllatson’s clattery momentum. Three varied Archer
compositions break up the set, of which the eventful“Two Way Traffic” constitutes the pick. Four pithysolo interpretations of a graphic score by Walt
Shaw pepper the set, giving scope for unalloyedindividual expression. Archer’s alto excursion isparticularly notable, a tangle of leaping intervals,
silences, drawn-out sibilance and clarion bellows,

30 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

1. Pandemic Dance #22 - Gene Pritsker
2. Too TILTED LILT - Dave Taylor
3. Three Dances (Movement 1) - Dave Taylor
4. Poem #2 - Gene Pritsker(Reflections in sound on the poem:'The Carcass''by Charles Baudelaire)
5. Organ Grinder - Dave Taylor
6. Monkey Cup Dance - Dave Taylor
7. Scary Stories - Gene Pritsker(Words by: Erik T. Johnson, Thomas Hardy, Urban Legend)
8. Our Gang - Dave Taylor
9. Three Dances (Movement 2) - Dave Taylor
10. Pandemic Dance #26 - Gene Pritsker
11. Houdini's Serenade - Dave Taylor(Words by Folger McKinsey)
12. Three Dances (Movement 3) - Dave Taylor

Recorded at Noizepunk and TLB Studios
Mixed & Mastered by Gene Pritsker and Dave Ta

Dave & Gene Duo
Dave Taylor/Gene Pritsker(Composers Concordance)
by Elliott SimonT he pairing of bass trombonist Dave Taylor

and guitarist Gene Pritsker seems an unlikely
instrumental combination, but Dave & Gene Duo puts
any skepticism to rest. Taylor, an NYC fixture forover 50 years, is a renowned classical, jazz and studiomusician who has revolutionized the bass trombone
as a solo instrument through extended techniques,
homemade mutes and superb articulation. Pritsker
has written over 800 compositions and like Taylor
defies convention. His strong interest in lowkey instruments and poetry, and his previous
collaboration three years ago with Taylor (Pandemic
Dances, Composers Concordance), serve as thefoundation for this release.
The session begins with Pritsker’s lively romp
“Pandemic Dance #22” and Taylor’s off-kilter “TooTilted Lilt”. Together, they highlight the pair’s
synergy and feature closely interlocking playing,
exceptional mute work and advanced techniques.
Subsequent cuts boast seamless bass trombone
and guitar interplay, creating a rich and dynamic
sound that is at once classical and experimental.
Pritsker’s lengthy “Scary Stories” features spoken
word against an appropriately spooky backdrop
while “Poem #2” transitions from intense to wistfuland back to a cacophony, reflecting the sensual
decay in Baudelaire’s “The Carcass”. A reworked
and surprisingly lithesome “Pandemic Dance #26”
rounds out Pritsker’s contributions.
Taylor recites Folger McKinsey’s prose in a
powerful performance of “Houdini’s Serenade”
that offers the escape artist’s skill as a metaphor forstraitjacketed and oppressed people everywhere. It
is a haunting and introspective piece that highlights
Taylor’s lyrical playing and the pair’s uncanny
ability to set a mood. The partners dance to different
rhythms but find one another for “Three Dances”.
Taylor’s trombone blends eerily with Pritsker’s guitar
on its three movements to create quirky, surprisingly
melodic tunes. Both “Monkey Cup Dance” and “OurGang” begin as fast-paced and energetic pieces thatshowcase impeccable timing and musical chemistry.
Dyadic runs in step devolve into give-and-takeconversations.
Released as a digital download only, Dave &Gene Duo is the convergence of two skilled andinnovative musicians, pushing the boundaries of
their instruments and challenging prior conceptionsof genre.
For more info, visit composersconcordance.com. Pritsker
is at Greenwich House Music School with ComCord
Ensemble Mar. 18 and with his Sound Liberation at
Birdland featuring Anne Akiko Meyers Mar. 16. See
Calendar.

PrimeDave Stryker Trio (Strikezone)
by Dan Bilawsky

B ack in the fall of 2020, guitarist Dave Stryker’s

working trio with Jared Gold (organ) and McClenty
Hunter (drums) had an out-of-town concert on its
calendar. But with uncertainty in the air and pandemicrelated safety concerns complicating traveling, analternate arrangement was made: they would record
a show to be streamed by the venue. Sensing an
opportunity within that scenario—a reunion in astudio after months in lockdown— Stryker wrote
new music for the occasion. And when the day finallyarrived, everybody was raring to go.
These nine numbers—eight originals, one
standard—were recorded as single takes. No
mulligans, overdubs or fixes figured into the equation,
nor were any necessary. After playing together forwell over a decade, these men are seriously attuned
to each other…and all three clearly came to play. On
the opening title track, a 24-bar burner, the trio drives
with pure passion. The follow-up—a sly “Lockdown”,
in a slower gear and with a slanted metric outlook—hits a devious sweet spot. “Captain Jack” grooves
hard and hearty, recalling Stryker’s sideman times
with organist Jack McDuff. “Hope”, with its lightly
bouncing charms, and “As We Were”, offering areflective gaze, give hints as to how the guitarist
would come to expand his vision on 2022’s withstrings album As We Are. And the hip, multi-facetedbeyond-funk of “Mac”, written for Hunter, leverages
the drummer’s many strengths.
The final third of the program leads with apersuasive take on the classic “I Should Care”,
showcasing the chemistry between these men andhighlighting the respect and imagination they bringto the music. Then there’s “Deep”, sizzling andflowing over Hunter’s samba-esque groove; and“Dude’s Lounge”, which sees the trio digging in. The
latter, another nod to McDuff, spotlights Stryker ona masterful solo guitar introduction before the hardshuffling fun begins. As the first recording by thislong-standing trio, Prime demonstrates what real
camaraderie and connection are all about.

tour with Woody Herman. He barreled on to anchor
distinguished reed sections in the Vanguard Jazz
Orchestra and the big bands of Mel Lewis, Dizzy
Gillespie, Dave Holland and Carla Bley. Smulyan has
faithfully espoused neglected bop anthems over his
career and Tadd Dameron has been a shining star inhis constellation. Dameron’s well-crafted, expressivepieces suit Smulyan’s expansive personality to a T. On
many albums for the late Mark Feldman’s Reservoir
label, often in raw bass/drum trios, we find Smulyan’s
jagged cuts of gems like “Jahbero” (Hidden Treasures,2005) and tunes by Tadd acolytes.
Smulyan here brings to light Dameron’sheretofore unknown Library of Congress trove ofstandard-quality off-Broadway gems. He tosses arelaxed knuckleballer with a satisfying full docketof vocal Dameronia, showcasing a hand-in-glove trioof top pros and an ingenue singer ,Anaīs Reno. Who
knew of beauties such as Tadd’s unique waltz “ThisNight of Stars”? Its wide-eyed lyric is one of three by
Bernie Hanighen (of Monk’s “Round Midnight” fame;
three were penned by Irving Reid, two by Dameron
himself). Pianist Pete Malinverni stays deliciously
understated and alert throughout, and bassist David
Wong and drummer Matt Wilson make a comfy fit.
But the true discovery here is Reno. A vocal studentof Malinverni’s at Purchase SUNY, Reno emerges as aserendipitous oracle to unveil Dameron’s legacy as acreditable off-Tin-Pan-Alley tunesmith. Like the late
Carol Sloane, Reno delivers the cozy confessionals
with quiet confidence, crystal-clear enunciation andhonest (if a tad green) emotion, while eschewing scatand histrionics. When on the Strayhorn-like worldweary “I’m Never Happy Anymore” she wistfully
asks, “Where is the wide-eyed sweet and simple girl I
used to be?”, you’d hardly believe she’s 19.
Highlights are plentiful. Latin rimshots spark acrystalline ski-date “Weekend” as Reno reminisces,
Wong muses and Smulyan shines a Sun Valley
bellful of Pepper Adams rays. On “Lovely One in the
Window” Reno reaches an aching plea to a desired
person with doubletime bari. On “You’re a Joy”
Reno grins, drums/bari spar smart fours and pianobuoys up, quoting Monk’s “Nutty”. After a blithe
vocal, Wilson lifts the 3/4 “This Night of Stars” with
bomb-drops over piano chords as Gary’s bari quotes
Dameron classic “Good Bait”. Stay tuned for moreAnaïs Reno, Dameron songs and Smulyan odes to joy.

mostly leads this band from within, creating fields
of fresh energy, arraying large accentual patterns as
contexts for improvisation, splashing colors. He is amaster of the suggestive detail. When he does moveout front, as on “Threshold” and “Your Destiny
Awaits”, he is riveting.
Some of the leader’s pieces here, such as “What Day
Is It?” and the title track, sound like the compositionsof a drummer: they are quick, forceful send-offs thatlaunch the band into motion. But other tunes offer
clear, spare melodies and recur until they deepen
into haunting incantations. Scott conceived Corridors
during the lockdown of 2020, and the music’s diversityof emotions suggests both what was lost and the pathforward.
Smith thrives in this wide open environmentthat encompasses both sadness and hope. He is acommanding improviser with a rich, declamatory yet
nuanced tenor sound, who can move from darkness
to light in a heartbeat. His solos often feel like aseries of eruptions, driven by creative passion, but heassembles the component parts of his improvisations
into complete designs. Perhaps more than any of his
previous recordings, Corridors reveals that his edginesscontains a capacity for introspective lyricism.
A major reason for this album’s impact is its superb
sound, which is the work of elite recording engineer
James Farber. If you have a decent hi-fi system, Farber
will make three instruments live and breathe in yourlistening room. His rendering of Rogers’ powerfully
resonant instrument is an object lesson in how torecord an acoustic bass.
For more info, visit bluenote.com. Scott is at Manhattan
School of Music Mar. 15 with Ingrid Jensen and Birdland
Mar. 21-24 with SFJAZZ Collective. See Calendar.

For more info, visit steeplechase.dk. Smulyan is at Smalls
Mar. 28. See Calendar.

For more information, visit davestryker.com. Stryker is
at Birdland Theater Mar. 8 with Frank Vignola and Café
Bohemia Mar. 11. See Calendar.

Corridors
Kendrick Scott (Blue Note)by Thomas Conrad

T he classic saxophone trio (sax/bass/drums) is too
Tadd’s All, Folks!
Gary Smulyan (SteepleChase)by Fred Bouchard

B aritone sax players are a rare and ornery but
doggedly enthusiastic breed, as witness Gary
Smulyan’s passionate durability. At 22, he dropped
alto for bari and exited college on graduation eve tobare and stark for some jazz listeners. But for many ofus, it is a favorite format. In the absence of a chordal
instrument there is nowhere to hide. Three voices
stand out in bold relief. Kendrick Scott (drums),
Reuben Rogers (bass) and Walter Smith III (tenor)
have performed in many fine ensembles in addition
to leading their own. But none has played with more
open space around him than here on Corridors.
Scott is one of the most gifted of the new generationof jazz drummers, an enormously resourceful artist
with a huge vocabulary of percussive expression. He

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 31

Montgomery-like octave here and there, the pianist
moving into a fast six for his solo, then triplets groupedin four bring us gently back to the short cadence at theend. These albums, which showcase a brilliant artist in
unusual settings, will put you in a trance for sure.
For more info, visit bluenote.com.
Trios: Sacred Thread
Trios: Ocean
Charles Lloyd (Blue Note)by Brian CharetteJuba Lee
Avram Fefer Quartet (Clean Feed)by Robert BushWith a career that spans six decades, NEA Jazz MasterCharles Lloyd (who turns 85 this month) has recently
released three trio albums for Blue Note. We will lookat two of them here: Sacred Thread (with guitarist Julian
Lage and percussionist Zakir Hussain) and Ocean (withguitarist Anthony Wilson and pianist Gerald Clayton).
In the liner notes for Sacred Thread Lloyd recounts
how he first fell in love with Indian music at USC when
Ravi Shankar and Alla Rakha (Hussain’s father) played
a concert there. Lloyd compares Hussain, who he firstheard with Shakti, to blues artist Howlin’ Wolf, saying
the virtuoso percussionist has an “internal shake” inhis playing. “Desolation Sound” starts with Lloyd’s
breathy tenor accompanied austerely by Lage. Hussain
is esoteric at first, with just a few sounds and rolls. Sad
chords drip from Lage’s guitar as Lloyd dips into theblues. Hussain has a variety of percussion instruments
which provide interesting stereo effects. “Nachekita’s
Lament” features Lloyd on flute and the percussionist’s
witchy vocalizing. Lage adds plucky mutes and drone
strings, making his guitar sound like a sitar, then theleader re-enters as Hussain starts a tabla groove. The
same breathy quality found on flute can be heard from
Lloyd’s tenor playing. He again plays the flute in the
lovely “Kuti”. Lage plays crunchy open string chordsas Hussain adds pentatonic cries, which Lloyd answers
with pretty harmony. As deceptively quick tabla enters,
Lage gets more active, with Lloyd catching all his riffs.
Lage, on his solo, adds interesting harmonies and evenan occasional hammer-on. “The Blessing” has Lloyd
exploring outside intervals and resonant low notes.
Hussain’s shakers provide just the right backdrop for
Lage, who accompanies himself beautifully on thebottom strings with singing lines on top. An almost
imperceptible flute harmonic dips in and out a few
times, tweaking the listener’s ear.
Lloyd’s lyrical playing is on full display again on
Ocean with Anthony Wilson and Gerald Clayton. This
album was recorded in the Lobero Theatre in Lloyd’s
hometown of Santa Barbara, and you can hear his
comfort with the room and audience. His original “The
Lonely One” opens the set, Lloyd introduces the languid
melody, Wilson and Clayton have such a feel for eachother that their accompaniment sounds like some lovely
new instrument that you have never heard. After the
meditative opening, the strident bridge changes shakeyou. Wilson takes over as Clayton moves in major
thirds and contemporary classical hues. After sometense chords, they move into a lovely major key section.
Lloyd’s overblown harmonics last just for a moment
before the melody returns. “Jaramillo Blues” has coolquartal chords from Clayton and features Lloyd on flute.
Joining the leader, Wilson harmonizes with Lloyd and,as Clayton starts to walk a bass line, the group reallydigs in. The pianist’s solo starts in thirds in contrast to
his quartal comping (Lloyd can be heard cheering him
on in the background!). High octaves build intensity
as Wilson enters working Clayton’s last riff. “KuanYin” has a prepared piano intro that almost sounds
like an upright bass. An ostinato enters and a bolero
takes shape. With great control over his sound, thetenor saxophonist slowly lets the dynamics in and out
as he climbs the horn’s range, continuing with spookyminor-major harmony and short melodic interludes
echoed by the whole group. On his solo, Wilson’s warm
tone and expertly placed lines break only to add a Wes

We’re Playing in Here?
Gebhard Ullmann/Steve Swell/Hilliard Greene/
Barry Altschul (NoBusiness)by Stuart Broomer

G ebhard Ullmann and Steve Swell are both wideranging musicians who have played across a variety offorms and groupings in their careers. Ullmann’s varied
projects include the recent mikroPLUS, a quartet
exploring quarter-tone improvisation, and the longrunning Clarinet Trio, a group devoted to the clarinet
in its various ranges. Swell has led the big band Nationof We and conducted distinctive explorations of themusical terrain of composers Olivier Messiaen andLuciano Berio.
In contrast to such conceptual projects, the quartet
that Ullmann and Swell have co-led through the years
is a much more traditional grouping, a free jazz quartet
with its improvisations rooted in diverse themes. The
quartet debuted with Desert Songs and Other Landscapes(CIMP, 2004), while this studio recording dates from2007. It’s a band of substantial power, from the rhythm
section of bassist Hilliard Greene and recently-turned
octogenarian veteran drummer Barry Altschul to theforceful front-line match of Swell’s trombone with
Ullmann’s outsize tenor voice and bass clarinet. It’s alsoa band that interacts. The opening “Planet Hopping
on a Thursday Afternoon”, the first of four Swellcomposed themes, moves from the head to the collective
improvising of the two horns before a soloist emerges.
Swell’s forceful bluster, sometimes reminiscent of thelate Roswell Rudd, his former teacher, is well matchedto Ullmann’s volatile tenor, with its constant shifts in
timbre including vocalic honks and slurs.
After an explosive conclusion to “Planet Hopping”,“Mariposa” slows the movement down considerably,
dropping the rhythm section’s volume to a whisper
for a sparsely accompanied Ullmann oration on bass
clarinet, with a range of diverse sounds comparable tohis tenor work, and a solo from Greene filled with subtle
detail. The other pieces, too, have a distinct character,from the rapid, boppish stops and starts of “Sketch#4” to the diverse dimensions of the ballad-tempo title
track, which is rich in quiet, sometimes near-mumbled,collective improvisations. Swell’s muted trombone
complements Ullmann’s varied palette, which ranges
from gasps and squawks to a throaty saxophone voice.
Ullmann’s concluding “Kleine Figuren #1” is built
on an infectious repeated horn pattern and returns therecording to its beginnings with an Altschul solo as
complex and animated as it is secure. It’s an effective
conclusion to a dynamic essay in group interplay that
more than deserves its long-delayed release.
For more info, visit nobusinessrecords.com. Swell and Greene
are at Main Drag Music Mar. 15; Swell is at Downtown
Music Gallery Mar. 14; Greene is at Birdland through Mar.
4 with James Carter, NAAMA Mar. 8 and Smalls Mar. 12;
Altschul is at The Stone at New School Mar. 8 with Jon
Irabagon. See Calendar.

32 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

It would be fair on the merits to say that the Clean Feedlabel, operating out of its home base of Lisbon, Portugal,
has become the Blue Note of this era for cutting-edge
improvisers. One of the most exciting artists to join thelabel over the past few years is multi-reed instrumentalist
Avram Fefer. With his top-drawer quartet featuring
Marc Ribot (guitar), Eric Revis (bass) and Chad Taylor(drums), Fefer recorded Testament for the label in 2019.
He had planned a series of live gigs to further explore
the same material with these cats, until the COVID-19
crisis changed everyone’s plans for the next two years.
Thankfully, they were able to pick up where they left off
last March, when the group cut this excellent follow-up,
Juba Lee. There’s a great vibe throughout the album, andif you love post-Ornette themes delivered in swinging
fashion, it would be hard to top this music.
“Showtime” is an exceptionally strong opening
gambit, featuring a winding unison head by Fefer andRibot over muscular walking bass and chattering drums.
Fefer has a great, dry tone as distinctive as they come andRibot is no slouch when it comes to carving out his own
aesthetic. He mixes scale fragments and chromatic angles
and makes everything swing in an odd fashion. Taylor’s
infectious ride cymbal rhythm lays the groundwork
for Revis’ lock-step bass vamp on “Brother Ibrahim”.
The quartet give this tribute to the South African music
hero an appropriate amount of joyous bounce before
taking it out with bravura solos from the guitarist anddrummer, ratcheting the excitement even higher. A
definite highlight is “Gemini Time”, where the groove
established by Revis’ huge woody sound and Taylor’s
swirling brushes draws out forceful statements from bothguitarist and saxophonist. On this one, however, it’s Revis
who steals the show, with a solo that brings Percy Heathand Fred Hopkins to mind. Ribot switches to acoustic
guitar to accompany the leader (heard on bass clarinet)
for the wonderful and sensitive “Sweet Fifteen for G.T.”,a dedication to Fefer’s close friend, the late Greg Tate. All
in all, a great effort for a group with limitless potential.
For more info, visit cleanfeedrecords.bandcamp.com. Fefer is at
I-Beam Brooklyn Mar. 19 and Main Drag Music Mar. 15. See
Calendar.

(INTERVIEW CONTINUED FROM PAGE 6)(LEST WE FORGET CONTINUED FROM PAGE 10)

just eager, and they’re hungry for the music. And
certainly they’re grateful that we’re able to get
together in person now. Those two years of COVID
were pretty traumatizing, especially for a lot of thesekids who were just coming out of high school intocollege. Right now, I’m grateful every time I cango into a classroom, or a rehearsal room or onto abandstand and make music with my colleagues.

In 1982, Crothers recorded a duo album with Max
Roach entitled Swish. The album was the first for New
Artists Records, founded by Crothers and Roach after
they could not find a label to release it. The album wasgiven four stars in DownBeat, and the label released
several more albums by Crothers, including Duo
Dimension (1985), Love Dimension (1988) and Concert inParis (2014).
Crothers passed away on August 13, 2016, after abattle with lung cancer. A tribute concert titled “Love& Music: A Celebration of Connie Crothers” was heldat Roulette a few months later, honoring her life andmusic and featuring dozens of artists and speakers
including saxophonist Ras Moshe, bassist Henry
Grimes and violinist Jason Kao Hwang.
A posthumous album, Live at The Stone(Important)—a duo with Pauline Oliveros recorded
two years before the pianist’s passing and only a few
months before the accordionist died—was released two
years ago. In her wake, Crothers has left a bevy of people
that not only loved her music but also her warmth ofcharacter. “She was an extraordinary musician, an
extraordinary human being,” Wolper shared. And ina recent email Patricia Nicholson exclaimed, “For thelisteners, the deep listeners, they could feel the Love,the sound, the river of music, where she was at home.
I believe she is still there, a part of the river of music.”

TNYCJR: You self-released an album with yoursister, Alive in the Singing Air, so tell me about that.
SC: Rachel and I have been making music together
since we were little kids. I started out on the violin
when I was five, and she started out on cello when
she was around nine. And my mom played piano.
She would find all these terrific piano trio pieces we
could do together. So we grew up having that kind ofmusic experience.
Rachel did her undergraduate degree with jazzcello, but as much as she loved the instrument,
she felt her calling was more in the vocal arena.
So she got a master’s in jazz voice at New EnglandConservatory. And she’s been singing ever since.
When she switched to voice, that’s really where we
started to collaborate in more of a jazz setting. It
was a really amazing experience experimenting with
Rachel, because a lot of what she sings is comingfrom what she did as a cellist. It’s a very instrumental
approach to singing.
TNYCJR: Is it all original compositions on thatrecord?
SC: No, one or two are by me, but the bulk of what we
did were songs from the Great American Songbook.
We also did a couple of Fred Hersch’s tunes that hearranged, because he was the co-producer. Having
the opportunity to record with Rachel and thenalso to work and collaborate with Fred, it was just a
dream. I’m very proud of that record.
TNYCJR: You’ve also been in Joseph Brent’s 9 Horses
Trio, and Chuck Owens’ The Jazz Surge. Is all of thatstill ongoing?
SC: I was just down in Florida, doing some
performances and recording with Chuck Owens’
smaller group. That now includes Kate McGarry,a wonderful jazz singer. I’ve known Chuck for along time, and I joined his band a few years back.
I love Chuck’s writing. Chuck’s album that cameout in 2017, Whispers on the Wind, had four Grammy
nominations, and one of them was for a solo I did on“I Can’t Remember Why”.
TNYCJR: Does being nominated for a Grammychange your life?
SC: It’s still me. I’m just grateful for the associations
and for the collaborations I’ve been invited to bepart of, and I grow with each collaboration. It’s whatjazz is all about, evolving and finding our voice andlearning.
For more info, visit saracaswell.com. Caswell is at
Birdland Theater Mar. 5. See calendar.
Recommended Listening:• Sara Caswell – First Song (Double-Time, 2000)• Sara Caswell – But Beautiful (Arbors, 2004)• Bucky Pizzarelli and Strings – So Hard To Forget(Arbors, 2008)• Nadje Noordhuis – s/t (Little Mystery, 2010)• Linda May Han Oh – Adventurine (Biophilia, 2017)• Sara Caswell – The Way To You (Anzic, 2019)

For more info, visit conniecrothers.net. A Crothers tribute—featuring William Parker, Patricia Nicholson, Mara
Rosenbloom, Andrea Wolper, Melanie Dyer, Warren Smithand others—is at 411 Kent’s Shift series presented by Arts
for Art Mar. 3. See Calendar.
Recommended Listening:• Connie Crothers – Perception (SteepleChase, 1974)• Max Roach/Connie Crothers – Swish(New Artists, 1982)• Connie Crothers/Lenny Popkin Quartet –Love Energy (New Artists, 1988)• Connie Crothers – Music From Everyday Life
(New Artists, 1993-96)• Jemeel Moondoc/Connie Crothers – Two(Relative Pitch, 2011)• Steve Swell’s Kende Dreams – Homage À Bartók(Silkheart, 2014)

MAR 10 – 11 ROSE THEATERJLCO WITH WYNTON MARSALIS:
THE MUSIC OF TOSHIKO AKIYOSHIThe Jazz at Lincoln Center Orchestra with
Wynton Marsalis celebrate iconic pianist/composerand NEA Jazz Master Toshiko Akiyoshi, whose musiccombines swing, bebop, classical, and elements drawn
from her Japanese heritage. Music directed by JLCO
saxophonist Ted Nash with special guest saxophonist
Lew Tabackin.

MAR 24 –25 THE APPEL ROOMROSA PASSOS WITH KENNY BARRON,RON CARTER, AND RAFAEL BARATA
Legendary Brazilian vocalist and guitarist Rosa Passos
returns to Jazz at Lincoln Center’s Appel Room for the
first time since her sold-out 2016 appearance. She isjoined by two NEA Jazz Masters: pianist Kenny Barronand bassist Ron Carter. Rounding out the performanceis first-call Brazilian drummer Rafael Barata.

MAR 25 ROSE THEATER

FAMILY CONCERT: WHO IS THAD JONES?
This season’s spring family concert with the
Jazz at Lincoln Center Orchestra and music director
Vincent Gardner explores the music of great trumpeter
and groundbreaking bandleader Thad Jones in this hourlong concert for audiences of all ages.

MAR 31–APR 1 ROSE THEATER

INTERNATIONALLY ELLINGTON
Featuring a hand-picked ensemble of some of thegreatest young talent in jazz today—including a numberof Essentially Ellington alumni—this concert explores
the international side of Duke Ellington. In the words ofWynton Marsalis, “Duke was out there in front, dealing
with the world as a singular place.”(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)
Craft, of course, has many label reissues in its
pipeline. The Birth of Bop is a two-CD (or five 10” LPversion) collection coming out later this month withthirty tracks from, among others, Charlie Parker,
Dexter Gordon, Stan Getz, Don Byas, J.J. Johnson,
Milt Jackson, Allen Eager and “Lockjaw” Davis. “It
captures the transition from swing to bebop,” Phillips
said. “The music was taken from 10-inch Savoys
released in 1952 and 1953. It’s a mountain of amazingrecordings. As with the Rollins set, we wanted theoriginal artwork and liner notes, complete withtypographical errors.” Among the less-celebrated
artists you will meet on The Birth of Bop are Leo Parker,
Budd Johnson, Roy Porter and Morris Lane. The
context of this transitional music comes from writerand broadcaster Neil Tesser. Phillips has other Craft
projects in the works, including a deluxe, expanded
version of Vince Guaraldi’s big 1962 hit album, Jazz
Impressions of Black Orpheus (featuring “Cast Your
Fate to the Wind”, which reached #22 on the Billboard
charts). The reissue includes a dozen unreleased takes.
Considering the huge amount of music in Concord’svaults, there should be decades of material for reissues.

Rosa Passos by Frank Stewart

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

For more info, visit craftrecordings.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 33

CALENDAR
Wednesday, March 1

Knickerbocker Bar & Grill 9 pm
• Miho Sasaki• Kato Hideki with Doug Wieselman, Masahiko Kono, Gordon Beeferman,
Roulette 8 pm $20• Bill Goodwin Trio; Dave Kikoski Trio					Ryan Sawyer
		Mezzrow 7:30, 9, 10:30 pm $25-40
The Roxy Lounge at Roxy Hotel 1 pm
• Hector Martignon TrioêEd Cherry Trio
333 Lounge 7:30, 9:30 pm
Saint Peter’s Church 5 pm
• Anthony Veneziale, Vivek Venugopal “American Immigrants:• Christopher McBride Trio
Arthur’s Tavern 10 pm• Ashley Pezzotti Quartet
A Musical Improv Show”
Midnight Theatre 7, 9 pm $30-45
Silvana 10 pm• John ColonnaêSimon Moullier Quartet with Lex Korten, Alexander Claffy, Jongkuk Kim		• Sacha Perry; Ralph Lalama Ornithology Jazz Club 6:30, 9 pm
• Simon Moullier Quartet with Lex Korten, Alexander Claffy, JK Kim;		Bar Bayeux 8, 9:30 pm
Pierre Hotel 6, 7:45 pm
Aaron Johnson Boplicity
Smalls 7:30, 9, 10:30 pm $25-40• Antonio Ciacca
Barbès 8 pm $20• Andy Statman Trio
The Porch 8 pmêRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash		• Bianca LoveêJames Carter Quartet: “Music of Eddie Lockjaw Davis” with Gerard Gibbs,
		
Smoke 7, 9 pm $25-60• Louise Rogers, Mark Kross; Ray Blue, Greg Murphy, Belden Bullock,
Hilliard Greene, Kahlil Kwame Bell					Alvester Garnett
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-50
êJoe Lovano & Dave Douglas Sound Prints with Lawrence Fields, Yasushi		
Birdland 7, 9:30 pm $30-40
The Roxy Lounge at Roxy Hotel 8 pm
Nakamura, Rudy Royston
Village Vanguard 8, 10 pm $40• Chino Pons
• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night
John
and
David
Sneider
Quintetwith
Jeb
Patton,UgonnaOkegwo,Andy•with Saul Rubin
Birdland Theater 5:30, 8:30 pm $20-30
Watson;Ken
FowserQuintetSmalls
7:30,
9,
10:30
pm
$25-40Blue Note 8, 10:30 pm $45-65• Hiromi/Michel Camilo
Monday, March 6êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash		êBrandi Disterheft Trio
Cellar Dog 7 pm $5
		
Smoke
7,
9,
10:30
pm
$25-60Chelsea Table + Stage 7 pm $25-40• Harmolodics Trio
Arthur’s Tavern 7 pm
• Grove Street Stompers
Sony Hall 8 pm $35-65• L. Shankar• Josh Lawrence Quintet + Interlochen Jazz				Rich Hinman vs. Adam Levy Bar Lunàtico 9, 10:30 pm $10•
Aaron
Edgcomb
Large
Ensemble					•		Dizzy’s Club 7:30, 9:30 pm $15-60• George Abud/Katrina Lenk: “Swung”; Jim Caruso’s Cast Party				The Stone at The New School 8:30 pm $20
êMichael Rabinowitz Quartet; Dave Schumacher and Cubeye					
Birdland 7, 9:30 pm $30-40
êJoe
Lovano&Dave
DouglasSound
Printswith
Lawrence
Fields,Yasushi		
The Django 7:30, 9, 10:30 pm $25
Birdland Theater 8:30 pm $20-30• Tedd Firth Trio
Nakamura,
Rudy
RoystonVillage
Vanguard
8,
10
pm
$40
• Zacchae’us Paul, Malik “Jit Jr.” Barnes, Idris, Malachi Mabson, Jonathan
Cellar Dog 7 pm $5• Rick Germanson Trio
Michel, Morgan Guerin
The Jazz Gallery 7:30, 9:30 pm $20-30• NY Youth Syphony Jazz: “Quiet Pride–The Elizabeth Catlett Project”		
Saturday,March
4• Musique Libre Femmes: Cheryl Pyle, Haruna Fukazawa, Claire de Brunner;		Dizzy’s Club 7:30, 9:30 pm $15-60
Adam Caine, Robert Dick, Ken Filiano, Michael T.A. Thompson; Stephen Gauci,• Alexa Tremblay Quartet; Cameron Campbell Quartet 			Axel
Tosca;
Noé
Socha
Arthur’s
Tavern7,10pm•
Adam Lane, Kevin Shea; Lim Yang, Andre Matos, Yoon Sun Choi; Santiago		
The Django 7:30, 9, 10:30 pm $25
Bar Bayeux 8, 9:30 pm• Jimmy Macbride
Leibson, Michael Attias, Tom Rainey					• Spike Wilner Trio; Pasquale Grasso, Ari Roland, Clifford Barbaro		
Bill
SaxtonandThe
HarlemAll-Stars				•		
Main Drag Music 7 pm
		
Mezzrow 7:30, 9, 10:30 pm $25-40
		Bill’s Place 7 pm $30
êBen Allison, Ted Nash, Steve Cardenas; Leonid Morozov Trio			
Ornithology Jazz Club 6:30, 9 pm
• Lex Korten; Hillai Govreen• Eric Comstock with Sean Smith, Barbara Fasano						Mezzrow 7:30, 9, 10:30 pm $25-40
The Schomburg Center 7 pm $35• Shirazette Tinnin		
Birdland
5:30
pm$20-30Greg
Glassman;
Mike
Karn
Ornithology
Jazz
Club
6:30,
9
pm
•
• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio; Miki Yamanaka Trio		
James
CarterQuartet:“Musicof
Eddie
Lockjaw
Davis”
with
GerardGibbs,
•
Val
Hawk
with
Steve
Berger,Jennifer
Vincent						
Smalls 7:30, 9, 10:30 pm $25-40•
Hilliard Greene, Kahlil Kwame Bell							Pangea 7 pm $25
êThe Vanguard Jazz Orchestra Village Vanguard 8, 10 pm $40
		Birdland
8:30,
10:30
pm
$30-40Cynthia
Soriano
The
Porch
8
pm
Zinc Bar 7, 8:30 pm $30•• Jonathan KreisbergêBen Allison Quartet
Birdland Theater 7 pm $20-30
Room 623 at B2 Harlem 8 pm $15-50• Peter Brainin and Friends
JessikaKenney,Eyvind
Kang
Blank
Forms
7:30
pm
$25-30•
Tuesday,
March 7
Matt
Marantz
Quartetwith
Luke
Marantz,
RickRosato,Adam
Arruda;•Blue Note 8, 10:30 pm $50-75• Hiromi/Michel Camilo
Benny Benack Quartet
Smalls 7:30, 9, 10:30 pm $25-40• Willy Rodriguez; Gary Kerkezou Quartet				Smoke 7, 9 pm $25-60• Diego Voglino Jam Session with Ben Monder				• Sarah Hanahan Quartet		
Café Bohemia 7:30, 9, 10:30 pm $15
		
Bar Bayeux 8, 9:30 pm• Chris Williams/Aaron Edgcomb Duo					• Akiko Tsuruga Quartet; James Austin Quartet						The Stone at The New School 8:30 pm $20• Caracas Trio with Gabriel Chakarji, Juan Diego Villalobos, Daniel Prim		
		
Cellar Dog 7, 11:30 pm $10
		Bar Lunàtico 9, 10:30 pm $10
Swing 46 5:30 pm• Kevin Blancq Swing Band
Barbès 9 pm $20• Alejandra Hernàndez; Philip Weberndörfer Trio				• Slavic Soul PartyêJoe Lovano & Dave Douglas Sound Prints with Lawrence Fields, Yasushi		Chelsea Table + Stage 7, 9:30 pm $25-40
Birdland 7, 9:30 pm $30-40• Jane Bunnett MaquequeNakamura, Rudy Royston
Village Vanguard 8, 10 pm $40• Deanna Witkowski Trio with Tony DePaolis, Scott Latzky			 • Hey Rim Jeon; The Lineup with Susie Mosher						
Church of St. Francis Xavier 7:30 pm
		
Birdland Theater 5:30, 8:30 pm $20-30
Thursday, March 2êRavi Coltrane
Blue Note 8, 10:30 pm $30-45• Tierney Sutton Band with Christian Jacob, Kevin Axt, EJ Strickland;
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Continuum with Kendrick McCallister				• Amanda McBroom and Ann Hampton Callaway				Caili O’Doherty Quartet		
Café Bohemia 7:30, 9, 10:30 pm $15
		
54 Below 7 pm $60-110• Danny Jonokuchi Quintet; Ben Stivers Quartet				Cellar Dog 7 pm $5
		The Django 7:30, 9, 10:30 pm $35• Johnny O’Neal Trio
• Miss Maybell and Her Ragged Jazz Band; Terry Waldo’s Gotham City Band
Church of the Intercession 7:30, 9 pmêSylvie Courvoisier with Patricia Brennan, Thomas Morgan, Dan Weiss		
• Dan Tepfer		Arthur’s Tavern 7, 10 pm
		
The Jazz Gallery 7:30, 9:30 pm $20-30• Thembelihle Dunjana Quintet Dizzy’s Club 7:30, 9:30 pm $15-60
êMarta Sanchez
Bar Bayeux 5 pm
Knickerbocker Bar & Grill 9 pm
• Conrad Herwig and the Latin Side All-Stars: “The Latin Side of Herbie Hancock”
êAdam Kolker, Jeremy Stratton, Ed Neumeister				• Miho Sasaki		Bar Bayeux 8, 9:30 pm• Juan De Marcos and the Afro-Cuban All Stars				with Alex Norris, Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen,
Camilo Molina
The Django 7:30, 9:30 pm $35
		Lehman Center 8 pm $25-75
êJames Carter Quartet: “Music of Eddie Lockjaw Davis” with Gerard Gibbs,
êLouise D.E. Jensen; Dave Miller/Ras Moshe; Anders Griffen/Sana Nagano		
Hilliard Greene, Kahlil Kwame Bell					• Bill Goodwin Trio; Jeremy Manasia Trio						
Downtown Music Gallery 6:30, 7:30, 8:30 pm
		Mezzrow 7:30, 9, 10:30 pm $25-40
		Birdland 7, 9:30 pm $30-40• Marius Duboule, Ohad Talmor, Thomas Morgan, Kenny Wollesen		Birdland Theater 8:30 pm $20-30• Anthony Veneziale, Vivek Venugopal “American Immigrants:• Charu Suri Quartet
		Ibeam Brooklyn 7:30 pm $15-20
A Musical Improv Show”
Midnight Theatre 7, 9 pm $30-45• Jessika Kenney, Eyvind Kang Blank Forms 7:30 pm $25-30• Kevin Sun Quartet with Evan Main, Walter Stinson, Eliza Salem		Blue Note 8, 10:30 pm $45-65• Sean Jones with Allyn Johnson, Aidan Taylor, Eric Kennedy			• Hiromi/Michel Camilo		Lowlands 8, 9:30 pm
		Miller Theatre 8 pm $30-40êDezron Douglas
Café Bohemia 7:30, 9, 10:30 pm $15êMike Lipskin Trio with Ricky Alexander, Kevin Dorn; John Merrill Trio		• Yuval Amihai; Ai Murakami Ornithology Jazz Club 6:30, 9 pm
• Frank Basile Quartet; Ai Murakami Quartet						
Mezzrow 7:30, 9, 10:30 pm $25-40
Pierre Hotel 6 pm
		Cellar Dog 7, 11:30 pm $5• Antonio Ciacca• Yaala Ballin; Julia Banholzer Ornithology Jazz Club 6:30, 9 pm
The Porch 8 pm
Chelsea Table + Stage 7 pm $25-40• Casa Mantequilla• Izze Stein
The Roxy Lounge at Roxy Hotel 8 pm
• Vito Dieterle Quartet• Helio Alves Trio; Sarah King The Roxy Lounge at Roxy Hotel 1, 8 pm
• Tierney Sutton Band with Christian Jacob, Kevin Axt, EJ Strickland; CailiêSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold;Sistas’ Place 9, 10:30 pm $20
O’Doherty Quartet
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Akua Dixon GroupElam Friedlander Quartet
Smalls 7:30, 9, 10:30 pm $25-40• John and David Sneider Quintet with Jeb Patton, Ugonna Okegwo, Andy
• Mike DiRubbo Quartet; Joe Strasser Quartet				• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,
Watson; Philip Harper Quintet Smalls 7:30, 9, 10:30 pm $25-40
		The Django 7:30, 9, 10:30 pm $25
Nate Wood
Village Vanguard 8, 10 pm $40
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash		
The Jazz Gallery 7:30, 9:30 pm $20-30• Alfredo Colon• Manuel Valera with Hamish Smith, Lenny White						
Smoke 7, 9, 10:30 pm $25-60• Deanna Witkowski Trio with Tony DePaolis, Scott Latzky; Ray Gallon Trio		Zinc Bar 7, 8:30 pm $30
		Mezzrow 7:30, 9, 10:30 pm $25-40• Clak: Alex Koi, Andres Abenante, Isaac Levien, Aaron Edgcomb						The Stone at The New School 8:30 pm $20
Ornithology Jazz Club 6:30, 9 pm
• Dida Pelled; John Lang
Wednesday,
March 8êJoe Lovano & Dave Douglas Sound Prints with Lawrence Fields, Yasushi
Pierre Hotel 6 pm
• Eric Yves Garcia
Nakamura,
Rudy
RoystonVillage
Vanguard
8,
10
pm
$40
Marty
Scott
QuintetSilvana
9pm•
333 Lounge 7:30, 9:30 pm• Jon Davis Trio
• Maria Kaushansky, Paul Gill Winemak’Her Bar 5, 6:30 pm• McBone Jazz Series: Nicole Connelly				êMichaël Attias Solo
411 Kent 8 pm $15
MartinBejerano
Zinc
Bar
7,
8:30
pm
$30
		
Silvana 7pm•
Arthur’s Tavern 10 pm• Sol Liebskind• Ben Rosenblum Nebula Project; David Gibson Quartet			• Aaron Parks Trio with Thomas Morgan, Joe Dyson			
Sunday, March 5		Smalls 7:30, 9, 10:30 pm $25-40
		Bar Bayeux 8, 9:30 pmêRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash		• Brian Melvin with Soren Lee, Danny Walsh, Arthur Kell			• Creole Cookin’ Jazz Band; Bobby Bryan Band						Smoke 7, 9 pm $25-60
		Bar Lunàtico 9, 10:30 pm $10
		Arthur’s Tavern 7, 10 pm• Microclimate: David Leon, Priya Carlberg, Aaron Edgcomb			
Jane Bunnett MaquequeBirdland 7, 9:30 pm $30-40• Believers with Brad Shepik, Sam Minnae, Jon Hadfield			 •• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar
		
The Stone at The New School 8:30 pm $20
		Bar Lunàtico 9, 10:30 pm $10êJoe Lovano & Dave Douglas Sound Prints with Lawrence Fields, Yasushi
Night with Dave Stryker
Birdland Theater 5:30, 8:30 pm $20-30êMax Johnson/Brandon Lopez Barbès 6 pm $15
Nakamura, Rudy Royston
Village Vanguard 8, 10 pm $40
êRavi Coltrane
Blue Note 8, 10:30 pm $30-45
Birdland 5:30 pm $20-30• Manuel Valera Big BandêTerri Lyne Carrington and Social Science with Aaron Parks, Matthew Stevens,
Cellar Dog 7 pm $5• Tamar Korn Quartet• Arturo O’Farrill and Afro Latin Jazz Orchestra				Morgan Guerin, Debo Ray, Kokayi Zankel Hall 7:30 pm $45-55
Church of the Intercession 7:30, 9 pm
• Dan Tepfer		Birdland 8:30, 10:30 pm $30-40êAlexis Cole with Arcoiris Sandoval, Brandi Disterheft, Allison Miller		êSara Caswell Quartet with Jesse Lewis, Ike Sturm, Jared Schoenig +Friday, March 3
		Dizzy’s Club 7:30, 9:30 pm $15-60
Chris Dingman
Birdland Theater 7 pm $20-30• Jason Tiemann Quartet; Alexander Claffy Quartet			Blue Note 12:30, 2:30 pm $25-25• Johnny O’Neal Trio; Bobby Harden with Off Da Hook			 • Donald Vega Quartet
		
The Django 7:30, 9, 10:30 pm $25
Blue Note 8, 10:30 pm $50-75
		Arthur’s Tavern 7, 10 pm• Hiromi/Michel CamiloêCompCord Ensemble with Zara Lawler, Lynn Bechtold, Mara Navas,êDayna Stephens Quartet; Emmanuel Michael				Bar Bayeux 8, 9:30 pm• Peter Watrous
Kathleen Supové
Greenwich House Music School 7:30 pm $20-30
		Café Bohemia 7:30, 9, 10:30 pm $15• Bill Saxton and The Harlem All-Stars				• Jazzmobile presents Berta Moreno, Christie Dashiell, Manuel Valera,
Cellar Dog 7 pm $5
		Bill’s Place 7 pm $30• Nick Biello Trio
Maksim Perepelica, Evan Hyde Interchurch Center 7 pm
Birdland 5:30 pm $20-30• Deanna Witkowski Trio, Saint Thomas Xavier Church Choir:• Birdland Big BandThe Jazz Gallery 7:30, 9:30 pm $20-30• Jeremy Dutton
Mary Lou Williams’ Mass for the Lenten Season				êJames Carter Quartet: “Music of Eddie Lockjaw Davis” with Gerard Gibbs, Hilliard• Ethan Lipton and His OrchestraJoe’s Pub 7 pm $20
		
Church of St. Francis Xavier 11:30 am
Greene, Kahlil Kwame BellBirdland 7, 9:30 pm $30-40• Sam Day Harmet, Sana Nagano, Zach Swanson; Kuba Cichocki;êImmanuel Wilkins
Dia Chelsea 12 pm
êBen Allison Quartet
Birdland Theater 7 pm $20-30
Stephen Gauci, Adam Lane, Colin Hinton; Shoko Nagai, Hans Tammen,• Tierney Sutton Band with Christian Jacob, Kevin Axt, EJ Strickland		 William Hooker; Max Kutner, Michael Eaton, Kevin Shea			• Joel Harrison and The Stardust Reunion Band						Dizzy’s Club 5, 7:30 pm $15-60
		
The Bitter End 8 pm $15
Main Drag Music 7 pm
• Jeb Patton Quartet; Michael Weiss Trio				• Jessika Kenney, Eyvind Kang Blank Forms 7:30 pm $25-30
êRoseanna Vitro Trio with Ted Ludwig, Oscar Perez, Dean Johnson;
		
The Django 6:30, 8, 9;30 pm $25
Blue Note 8, 10:30 pm $50-75• Hiromi/Michel Camilo
Lex Korten Trio with Alden Hellmuth, Dan Montgomery			êIssue Project Room presents: Andrew Cyrille/Kieran Daly			• Teri Roiger, Steve Berger, John Menegon						Mezzrow 7:30, 9, 10:30 pm $25-40
		Entwine Wine Bar 6, 7:30 pm
		
Brooklyn Music School 8 pmêFrank Lacy with Hillard Greene, Yayoi Ikawa, Taru Alexander					
New Amsterdam Musical Association 8, 9:30 pm• Vicki Burns Trio with Art Hirahara, Sam Bevan; Jam Session with Jamile		• Pat Bianchi; Mike Camacho Café Bohemia 7:30, 9, 10:30 pm $15
Mezzrow 7:30, 9, 10:30 pm $25-40• Chris Beck Quartet; Gabriele Donati Quartet				• Yotam Ben Or; Adam Frumkin Ornithology Jazz Club 6:30, 9 pm
		Cellar Dog 7, 11:30 pm $10• Kate Baker Trio with Paul Bollenback, Evan Gregor			• Deanna Kirk Duo with John di Martino						North Square Lounge 12:30, 2:15 pm
Chelsea Table + Stage 7 pm $20-40
		Pangea 7 pm $25• Aggeliki• Nitzan Gavrieli; Grant Stewart Ornithology Jazz Club 6:30, 9 pm
• Tierney Sutton Band with Christian Jacob, Kevin Axt, EJ Strickland;• Gregor Huebner El Violin Latino The Porch 8 pm
The Porch 8 pm
Caili O’Doherty Quartet
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
Room 623 at B2 Harlem 8 pm $15-50• Kristina Koller• Peter Brainin and Friends
Room 623 at B2 Harlem 6 pm $15-50
The Django 7:30, 9 pm $35• Marcus Goldhaber• Nir Felder Quartet• Ephemeris with Louise D.E. Jensen, Carol Liebowitz, Tom Blancarte,
Scholes Street Studio 8 pm $15• Jazz Jam with Mimi Jones and Friends				John Wagner• Angelica Sanchez with Adam O’Farrill, John Hebert, Reggie Nicholson				
Room 623 at B2 Harlem 8, 9:30 pm $15-50
Silvana 8 pm
		
The Jazz Gallery 7:30, 9:30 pm $20-30• Ji Money Experiment

34 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

Bar Bayeux 8, 9:30 pm• Ethan Silverman
Friday, March 10
Robert Edwards Quartet
Smalls 7:30, 9, 10:30 pm $25-40
Barbès 8 pm $15• Sirius QuartetêGeorge Coleman: “88th Birthday Celebration” with Mike LeDonne,• Bill Saxton and The Harlem All-Stars				• Svetlana and The New York Collective; Bobby Harden with Off Da Hook		
George Coleman, Jr.
Smoke 7, 9 pm $25-60
		Bill’s Place 7 pm $30
Arthur’s Tavern 7, 10 pmêJon Irabagon Quartet with Uri Caine, Mark Helias, Barry Altschul		• Emi Makabe• Eric Comstock with Sean Smith, Barbara Fasano				Bar Bayeux 8, 9:30 pm
		
The Stone at The New School 8:30 pm $20
		
Birdland 5:30 pm $20-30• Bill Saxton and The Harlem All-Stars				Birdland 8:30, 10:30 pm $30-40• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,• Jane Bunnett Maqueque		Bill’s Place 7 pm $30
Nate Wood
Village Vanguard 8, 10 pm $40
êOrnette Coleman Birthday Tribute with Ben Allison, Jimmy Greene, Steve Smith
Birdland 5:30 pm $20-30• Birdland Big Band		
Birdland Theater 7, 9:30 pm $20-30
Birdland 8:30, 10:30 pm $30-40• Jane Bunnett MaquequeThursday, March 9êRavi Coltrane
Blue Note 8, 10:30 pm $30-45êOrnette Coleman Birthday Tribute with Ben Allison, Jimmy Greene, Steve SmithêDave Stryker Trio; Matthew Rotker-Lynn					
Birdland Theater 7, 9:30 pm $20-30êTerry Waldo Gotham City Band Arthur’s Tavern 10 pm
		Café Bohemia 7:30, 9, 10:30 pm $15êRavi Coltrane
Blue Note 8, 10:30 pm $30-45êMarta Sanchez Trio with Savannah Harris, Chris Tordini			êJason Marshall Quartet; Sarah Hanahan Quartet				• Red Baraat Festival of Colors with Sunny Jain						
Bar Bayeux 5 pm
		Cellar Dog 7, 11:30 pm $10
		
Brooklyn Bowl 8 pm
Bar Bayeux 8, 9:30 pm• Bruce Barth, Adam Cruz
City Winery 6, 9 pm $55-75• Eric BenétêGary Smulyan Quartet; Rico Jones Quintet with Dave Kikoski			• Chris Dingman Trio with Keith Witty, Allan Mednard					êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig;
Café Bohemia 7:30, 9, 10:30 pm $15
		Bar Lunàtico 9, 10:30 pm $10
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Wayne Tucker Quintet; Kyoko Oyobe Quartet				Caili O’Doherty Quartet
Barbès 10 pm $15• Dingonek Street Band
• David Gibson Quartet; Freddie Deboe Band						Cellar Dog 7, 11:30 pm $10
Jane
Bunnett
MaquequeBirdland7,
9:30
pm$30-40•The Django 7:30, 9, 10:30 pm $35
Chelsea Table + Stage 9:30 pm $25-40• Brasil Trio + 1êOrnette Coleman Birthday Tribute with Ben Allison, Jimmy Greene, Steve Smith• Gaucimusic Series: Rich Rosenthal with Ken Filiano, Guillermo Gregorio,êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig;
		Birdland Theater 8:30 pm $20-30
Leonid Galagnov; Stephen Gauci, Adam Lane, Kevin Shea; Jeremy Carlstedt/
Caili O’Doherty Quartet
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
êRavi Coltrane
Blue Note 8, 10:30 pm $30-45
Nick Demopoulos
Downtown Music Gallery 6, 7, 8 pm
• Erena Terakubo Quartet; Akiko Tsuruga Quartet				êSasha Berliner
Café Bohemia 7:30, 9, 10:30 pm $15êLakecia Benjamin
Harlem Stage Gatehouse 7:30 pm
The Django 7:30, 9, 10:30 pm $35• Greg Glassman Quartet; Richard Clements Quartet					Peter Bernstein/Pasquale Grasso
with David Wong, Andy Watson		 • Peter Bernstein/Charles Altura with Ben Street, Eric McPherson		•		
Cellar Dog 7, 11:30 pm $5
		The Jazz Gallery 7:30, 9:30 pm $20-30
		The Jazz Gallery 7:30, 9:30 pm $20-30êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig;
Knickerbocker Bar & Grill 9 pm
• Jon Davis
Knickerbocker Bar & Grill 9 pm
• Jon Davis
Caili O’Doherty Quartet
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
Jazz
at
Lincoln
Centerpresents“Songs We Love”			•• Harry Allen Trio with Andy Brown, Mike Karn; Jeremy Pelt Trio		• Tim Ries and Friends; Ray Gallon Quartet						Lehman Center 8 pm $25-75
		Mezzrow
7:30,
9,
10:30
pm
$25-40		
The Django 7:30, 9, 10:30 pm $25• Harry Allen Trio with Andy Brown, Mike Karn; Obasi Akoto Trio, Steve Kirby
Ornithology Jazz Club 6:30, 9 pm
• Chris Bittner; Mike Troy
• Kevin Laskey’s The Snow, Like Me with Molly Netter, Mikael Darmanie,		
Mezzrow 7:30, 9, 10:30 pm $25-40
Jill
McCarron
PierreHotel
6pm•
Eleonore Oppenheim
The Jazz Gallery 7:30, 9:30 pm $20-30
Peter Watrous; Charlie Sigler Ornithology Jazz Club 6:30, 9 pm•
AC
Lincoln
The
Porch
8
pm
•
• Ethan Lipton and His Orchestra Joe’s Pub 7 pm $20
Pierre Hotel 6 pm
• Jill McCarron• Joseph Miller; Courtney Wright, Caelan Cardello, Sameer Shankar,êTim Berne with Ches Smith, Aurora Nealand				• Lee Hogans and Pursuance The Porch 8 pm
Simon Ribas
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-50
Lowlands 8, 9:30 pmêJazz at Lincoln Center Orchestra with Wynton Marsalis and Lew Tabackin: “TheêJazz at Lincoln Center Orchestra with Wynton Marsalis and Lew Tabackin: “The• Zach Brock Trio; Greg Murphy Trio 					Music of Toshiko Akiyoshi” Rose Theater 8 pm $40-170
Music of Toshiko Akiyoshi” Rose Theater 8 pm $40-170
		Mezzrow 7:30, 9, 10:30 pm $25-40• Matthew Avedon Trio; Eitan Kenner Quartet				• Joanna Mattrey: Arrhythmia with Patrick Shiroishi, Chris Williams,• Julien Lourau with Jason Lindner, Ben Zwerin, Yuval Lion, Nitzan Gavrieli				
The Roxy Lounge at Roxy Hotel 1, 8 pm
gabby fluke-mogul
Roulette 8 pm $25
		
Nublu 151 7, 8:30 pm $22.66
êEndea Owens
Sistas’ Place 9, 10:30 pm $20
The Roxy Lounge at Roxy Hotel 8 pm
• Howard Paul Quartet• Neta Raanan; Matt Knoegel Ornithology Jazz Club 6:30, 9 pm
• Rodney Jones Quartet with Dabin Ryu, Lonnie Plaxico, Ronnie Burrage;
The Owl Music Parlor 7:30 pm $10• Greg Glassman Quartet; Jon Beshay Quartet with Jonathan Thomas, Dylan• Gregg Belisle-Chi Quartet
Greg Glassman Quartet
Smalls 7:30, 9, 10:30 pm $25-40
Shamat, Peter Van Nostrand Smalls 7:30, 9, 10:30 pm $25-40
Pierre Hotel 6 pm
• Eric Yves GarciaêEric Reed with Eric Lawrence, Dezron Douglas, Billy Drummond		
The Porch 8 pmêEric Reed with Eric Lawrence, Dezron Douglas, Billy Drummond				• Max Bessesen
Smoke 7, 9, 10:30 pm $25-60
		
Smoke 7, 9, 10:30 pm $25-60• Dan Joseph/Michael Byron Roulette 8 pm $20
êJon Irabagon Ensemble with Peter Evans, Mariel Roberts, Miles Okazaki,
Silvana 9 pmêJon Irabagon Quartet with Matt Mitchell, Chris Lightcap, Dan Weiss		• Short Memory
Matt Mitchell, Chris Lightcap, Dan Weiss, Levey Lorenzo					The Stone at The New School 8:30 pm $20• Brian Melvin Quartet with Danny Walsh, Tim Hegarty, Soren Lee, Arthur Kell;
		The Stone at The New School 8:30 pm $20
Josh Evans Quintet
Smalls 7:30, 9, 10:30 pm $25-40• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,• Anderson Brothers: “Play Cole Porter”				êEric Reed with Eric Lawrence, Dezron Douglas, Billy Drummond		 Nate Wood
Village Vanguard 8, 10 pm $40
		Symphony Space Leonard Nimoy Thalia 2,
		Smoke 7, 9 pm $25-60
		
4:30 pm $20-35
êI Don’t Hear Nothin’ But The Blues: Jon Irabagon, Mick Barr, Ava Mendoza,
Saturday, March 11• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,
Mike Pride
The Stone at The New School 8:30 pm $20
Nate Wood
Village Vanguard 8, 10 pm $40• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,• Tony Middleton; JT Bowen and The Mighty Kings Of Soul			• Elijah Shiffer’s Star Jelly Horns; Jeremy Danneman and The Down On Me				
Arthur’s
Tavern7,10pm
Nate Wood
Village Vanguard 8, 10 pm $40
		Young Ethel’s 3 pm

• Tom Guarna Quartet with Aaron Goldberg, Alexander Claffy, Johnathan Blake;

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CHRIS POTTER TENOR SAXOPHONE DAVID SÁNCHEZ TENOR SAXOPHONESCCD 31941

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MIKE RODRIGUEZ TRUMPET WARREN WOLF VIBRAPHONEEDWARD SIMON PIANO MATT BREWER BASS KENDRICK SCOTT DRUMS“JAZZ’S PREMIER ALL-STAR BAND.”— THE NEW YORK TIMESSCCD 36504

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THE NEW YORK CITY JAZZ RECORD | MARCH 2023 35

Sunday, March 12

Cellar Dog 7 pm $5
The Roxy Lounge at Roxy Hotel 8 pm
• Vanderlei Pereira Trio
• Liya Grigoryan Quartet• Jazz at Lincoln Center Youth Orchestra				• George Coleman Quartet with Spike Wilner, David Williams, Joe Farnsworth;		Dizzy’s Club 7:30, 9:30 pm $15-60
Jason Clotter Quartet
Smalls 7:30, 9 pm $25-40• Creole Cookin’ Jazz Band; Noé Socha				êBrian Blade: “Life Cycles Honoring Bobby Hutcherson” with Jon Cowherd,• Ashley Pezzotti Quartet; Lex Korten Quartet						Arthur’s Tavern 7, 10 pm
		
The Django 7:30, 9, 10:30 pm $25
Myron Walden, Monte Croft, Doug Weiss, John Hart, Rogerio Boccato		
• Night Service with Jon Lampley					Bar Lunàtico 9, 10:30 pm $10êAlan Broadbent, Don Falzone, Billy Mintz; Pasquale Grasso, Keith Balla,		Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $30

Ari Roland
Mezzrow 7:30, 9, 10:30 pm $25-40
Barbès 8 pm $20• Benito Gonzalez• Jim Campilongo 4-tet• Colson Jimenez; Thomas Linger					• Arturo O’Farrill and Afro Latin Jazz Orchestra						

Birdland 8:30, 10:30 pm $30-40• Steven Feifke Big Band; Ornette Coleman Birthday Tribute with Ben Allison,		

Wednesday, March 15

Ornithology Jazz Club 6:30, 9 pm

• Davey Williams Memorial Concert: George Cartwright, Chris Cochrane,êAkiko Tsuruga Trio
333 Lounge 7:30, 9:30 pm
Andrew Drury, Judy Dunaway, Bruce Golden, Susan Hefner, Evan Lipson,
Birdland Theater 5:30, 7, 9:30 pm $20-30êJohnathan Blake Trio with Ravi Coltrane, Dezron Douglas			
Clifford McPeek, Ann Rupel, Elliott Sharp, LaDonna Smith, Jack Wright		
Blue Note 12:30, 2:30 pm $25-25
		
Bar Bayeux 8, 9:30 pm
		Roulette 8 pm $25
êRavi Coltrane
Blue Note 8, 10:30 pm $30-45• Walter Parks and The Swamp Assembly with Steven Williams, Matt Lindsey• Original Pinettes Brass Band The Schomburg Center 7 pm $35• Dayna Stephens Quartet; Emmanuel Michael 						Bar Lunàtico 9, 10:30 pm $10
		Café Bohemia 7:30, 9 pm $15• George Coleman Quartet with Spike Wilner, David Williams, Joe Farnsworth;êThe Cookers with Billy Harper, Donald Harrison, Eddie Henderson,
Miki Yamanaka Trio
Smalls 7:30, 9 pm $25-40
Cellar Dog 7 pm $5• Saul Rubin Trio
David Weiss, George Cables, Cecil McBee, Billy Hart			êThe Vanguard Jazz Orchestra Village Vanguard 8, 10 pm $40
êBilly Childs Quartet with Sean Jones, Hans Glawischnig, Ari Hoenig				Birdland 7, 9:30 pm $30-40
Zinc Bar 7, 8:30 pm $30
		Dizzy’s Club 5, 7:30 pm $15-60• Jack Wilkins• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night• Aaron Goldberg Quartet; Michael Kanan Trio				Tuesday, March 14
with Ken Peplowski
Birdland Theater 5:30; 8:30 pm $20-30
		The Django 6:30, 8, 9;30 pm $25
Blue Note 8, 10:30 pm $25-35• Brasstracks• Teri Roiger, Steve Berger, John Menegon						
Entwine Wine Bar 6, 7:30 pm• Wayne Tucker and The Bad Mothas					• Sylvia Cuenca Trio with Roni Ben-Hur, Harvie S						
Arthur’s Tavern 7 pm
		Cellar Dog 7 pm $5êLibby York, Spike Wilner, Todd Coolman; Jam Session with Vanisha GouldêDiego Voglino Jam Session with Ed Cherry						Mezzrow 7:30, 9, 10:30 pm $25-40• Brazilian Jazz and Flamenco Featuring Barbara Martinez 					Bar Bayeux 8, 9:30 pm
		City Vineyard 7:30 pm $25• ”Mark Murphy Remembrance” North Square Lounge 12:30, 2:15 pm
Dizzy’s Club 7:30, 9:30 pm $15-60• Caleb Wheeler Curtis with Rashaan Carter, Mike Sarin			 • Judy Carmichael Quartet• Ehud Asherie; Joe Magnarelli Ornithology Jazz Club 6:30, 9 pm
		Bar Lunàtico 9, 10:30 pm $10• Spin Cycle with Tom Christensen, Scott Neumann, Pete McCann, Phil Palombi;• Sue Matsuki/Gregory Toroian Pangea 1 pm $25
êThe Cookers with Billy Harper, Donald Harrison, Eddie Henderson,
Ben Wolfe Trio
The Django 7:30, 9, 10:30 pm $25
The Porch 8 pm
• LadyJam with Lady LeahDavid Weiss, George Cables, Cecil McBee, Billy Hart			 • Álvaro Torres, John Hébert, Barry Altschul				
Room 623 at B2 Harlem 6 pm $15-50• Marcus Goldhaber		Birdland 7, 9:30 pm $30-40
		The Jazz Gallery 7:30, 9:30 pm $20-30• Jazz Jam with Mimi Jones and Friends				êClaire De Brunner, Melanie Dyer, Virg Dzurinko; Sean Conley, Darius Jones,		
Room 623 at B2 Harlem 8, 9:30 pm $15-50• Vince Giordano & the Nighthawks					Birdland Theater 8:30 pm $20-30
James Nadien; Stephen Gauci, Adam Lane, Kevin Shea; Jeremy Carlstedt,
The Roxy Lounge at Roxy Hotel 1 pm
• Itai Kriss
Hilliard Greene, Ray Anderson; Conduction Orchestra with Darren Johnston,Saint Peter’s Church 5 pm
• Mike LeDonne’s Groover Trio Café Bohemia 7:30, 9, 10:30 pm $15• Tahira Clayton Trio
Cellar Dog 7 pm $5
Michael Attias, Nora Stanley, David Leon, Travis Sullivan, Elijah Shiffer, DaveSilvana 7 pm
• Ehud Asherie Trio
• Audrey Silver
Chelsea Table + Stage 7 pm $25-25
Sewelson, Sara Schoenbeck, Peter Hess, Kenny Warren, Steven Bernstein,êClaire Daly Quartet with Chris Forbes, Hilliard Greene,• Maria Corsaro
Thomas Heberer, Steve Swell, Lesley Mok, Kevin Murray, Colin Hinton, Jeff
Dwayne “Cook” Broadnax
Smalls 7:30, 9 pm $25-40• ”The Music of Buena Vista Social Club: Tribute to Cuba’s Golden Age”		
City Vineyard 7:30 pm $25
Davis, Michael Bates, Santiago Leibson, Matt Moran			êEric Reed with Eric Lawrence, Dezron Douglas, Billy Drummond				Dizzy’s Club 7:30, 9:30 pm $15-60
		Main Drag Music 7, 8, 9, 10, 11pm
		
Smoke 7, 9 pm $25-60• Judy Carmichael Quartet• Conrad Herwig and the Latin Side All-Stars: “The Latin Side of Wayne Shorter”• Tony Davis Trio with Alex Tremblay, JK Kim; Nick Masters Trio		• LaDonna Smith with Andrew Drury; Joel Nelson/Taylor Russ;
with Alex Norris, Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen,		Mezzrow 7:30, 9, 10:30 pm $25-40
Home of Easy Credit: Louise D.E. Jensen/Tom Blancarte			Camilo Molina
The Django 7:30, 9:30 pm $35
		Soup & Sound 3 pm
• John Restrepo; Fat Cat Big Band							Ornithology Jazz Club 6:30, 9 pm
• Aron Namenwirth, Steve Swell, Rodney Chapman; Paul Austerlitz and• Ben Wendel Quintet with Larry Goldings, Julian Lage, Harish Raghavan,
The Spirit Clarinet Orchestra Downtown Music Gallery 6:30, 7:30 pm
Nate Wood
Village Vanguard 8, 10 pm $40• Stephanie Nakasian Trio with Matt Baker, Karl Kimmel					Pangea 7 pm $25• Kevin Sun Quartet with Evan Main, Walter Stinson, Eliza Salem		
Monday, March 13
		
Lowlands 8, 9:30 pm
The Porch 8 pm
• Simon Mogul Quartet
Room 623 at B2 Harlem 8 pm $15-50• Martin Pizzarelli Trio with Linus Wyrsch, Bob Albanese; Michael Kanan Trio
• Peter Brainin and Friends
Arthur’s Tavern 7 pm
		
Mezzrow 7:30, 9, 10:30 pm $25-40• Grove Street Stompers• Clovis Nicolas Quartet with Jeremy Pelt, Adam Birnbaum, Bill Stewart;
Bar Lunàtico 9, 10:30 pm $10
Smalls 7:30, 9, 10:30 pm $25-40• Alison Shearer Quartet• Daniele Germani; Dan Weisselberg					Benny Benack Quartet
Birdland Theater 8:30 pm $20-30
		Ornithology Jazz Club 6:30, 9 pmêNicole Glover Quintet with Simon Moullier, Miki Yamanaka, Tyrone Allen,• Alicyn Yaffee BandBlue Note 8, 10:30 pm $25-35
PS 133 6 pm
Kayvon Gordon
Smoke 7, 9 pm $25-60• Brasstracks• Alex Weiss

Jimmy Greene, Steve Smith• Reza Khan

NYCJ AZZRYOUR FREEJULYGUIDE TOTHE NYC JAZZECOR D.CO

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NYCJ AZZRSCENEYOUR FREEGUIDE TOTHE NYC JAZZECOR D.CO

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NYCJ AZZRSCENEYOUR FREEGUIDE TOTHE NYC JAZZECOR D.CO

ONG

IN A STRAKA
SHABHINGS

PLACE

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GUIDE TOTHE NYC JAZZECOR D.CO

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FRANY
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PLAN

TC HERE
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NYCJ AZZRYOUR FREE—ISSUE 248

2022
DECEMBER

SEPTE

GRID
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SCENE—ISSUE 245
MBER 2022—ISSUE 244
AUGUST 2022

E 243
2022—ISSU

JAZZGASEEDHOLIDAY
GIFT
GUIDE

DE LF EAYOIS
MA RS ALDAVEST RY KE R

CH AR LIE
GA BR IELJO HN
LE WI SAV ISH AI
CO HE NN
BR AN DOLÓ PE ZAB IO DU NE
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FO ST ER

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LAUR ENSE VI ANALVI NCU RR ANEXCLUSIVE CONTENT ON JAZZ& IMPROVISED MUSIC IN NEW YORK CITY
COMPETITIVE & EFFECTIVE ADVERTISING“Simply the hippest journal about jazz in
New York that has ever been published” - Joe Lovano“The most comprehensive periodical on the musicthat I have ever read” - Andrew Cyrille“One of the most consistent sources available for tracking
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36 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

UR BI EGR EE NêBrian Blade: “Life Cycles Honoring Bobby Hutcherson” with Jon Cowherd,
Myron Walden, Monte Croft, Doug Weiss, John Hart, Rogerio Boccato				
Village Vanguard 8, 10 pm $40• Jonathan Saraga Quartet with Max Light, Chris Tordini, Kayvon Gordon;• Diego Voglino Jam Session with Ethan Iverson				Greg “Organ Monk” Lewis
Café Bohemia 7:30, 9, 10:30 pm $15
		
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 9, 10:30 pm $10• Jade Synstelien Quartet; Courtney Wright Quartet			• Sarah Cabral
		
Cellar Dog 7, 11:30 pm $10êSFJAZZ Collective with Chris Potter, David Sánchez, Mike Rodriguez,
Thursday, March 16• Chronicles; Chardavoine and The Evolution				Warren Wolf, Edward Simon, Matt Brewer, Kendrick Scott					Chelsea Table + Stage 7, 9:30 pm $25-50
		Birdland 7, 9:30 pm $30-40êTerry Waldo’s Gotham City Band					City Winery 8 pm $35-50• Elle Varner• Ella Mae Dixon; The Lineup with Susie Mosher						Arthur’s Tavern 10 pmêEndea Owens and The Cookout; Sasha Berliner Group					
Birdland Theater 5:30, 8:30 pm $20-30êMarta Sanchez Trio with Savannah Harris, Chris Tordini					Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
Blue Note 8, 10:30 pm $45-65• Marcus Miller
		
Bar Bayeux 5 pm
Café Bohemia 7:30, 9, 10:30 pm $15• Joe Farnsworth; Richard Cortez Band				• The OctetêScott Robinson
Bar Bayeux 8, 9:30 pm
		
The Django 7:30, 9, 10:30 pm $35
Cellar Dog 7 pm $5• Our Delight• Maleem Hasaan Benjaafar, Innov Gnawa, Dan Freedman, Gilad Hekselman• Lena Bloch, Russ Lossing, Cameron Brown, Billy Mintz			 êEllen Rowe and Momentum with Ingrid Jensen, Melissa Gardiner, Lisa Parrott,		Bar Lunàtico 9, 10:30 pm $10
		Ibeam Brooklyn 7:30 pm $15-20
Virginia Mayhew, Kaleigh Wilder, Marion Hayden, Allison Miller		êThe Cookers with Billy Harper, Donald Harrison, Eddie Henderson, DavidThe Jazz Gallery 7:30, 9:30 pm $20-30• Sachal Vasandani		Dizzy’s Club 7:30, 9:30 pm $15-60
Weiss, George Cables, Cecil McBee, Billy Hart				• Alexander Leonard, Jay Leonhart					• Conrad Herwig and the Latin Side All-Stars: “The Latin Side of Miles Davis”
		Birdland 7, 9:30 pm $30-40
Knickerbocker Bar & Grill 9 pm
with Alex Norris, Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen,• Anne Akiko Meyers with Gene Pritsker’s Sound Liberation:• Rick Germanson Trio; John Chin Trio				Camilo Molina
The Django 7:30, 9:30 pm $35“Ludwig’s Night Out”
Birdland Theater 8:30 pm $20-30
		Mezzrow 7:30, 9, 10:30 pm $25-40• Simon Willsón Quartet with Kevin Sun, Andrew Boudreau, Kayvon Gordon• Krasno Moore Project with Eric Finland				Ornithology Jazz Club 6:30, 9 pm
• Ned Goold; Steve Nelson
		
Lowlands 8, 9:30 pm
		Blue Note 8, 10:30 pm $25-35
Pierre Hotel 6 pm
• Antonio Ciacca• Felix Lemerle Trio with Neal Miner, Christopher Latona; Tardo Hammer Trio
Café Bohemia 7:30, 9, 10:30 pm $15• Eric Alexander
The Porch 8 pm
• Marcelino Feliciano		Mezzrow 7:30, 9, 10:30 pm $25-40• Philip Harper Quintet; Jared Gold Trio				• Q Morrow Trio; Brian Charette Quartet						
Cellar Dog 7, 11:30 pm $5• Nat Harris; Stefano Doglioni Ornithology Jazz Club 6:30, 9 pm
		
The Roxy Lounge at Roxy Hotel 1, 8 pmêIsaiah J. Thompson Quartet with Julian Lee, Russell Hall, Miguel Russell;• Lucie Vitková: “Pieces from Darkness” with Xiaoer Liu, Drew Wesely,
Sistas’ Place 9, 10:30 pm $20• Mimi Jones
Teerapat Parnmongkol
Roulette 8 pm $25
Sasha Berliner Group
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Eliot Zigmund Quintet; Saul Rubin Zebtet				John Lee Quartet
The Roxy Lounge at Roxy Hotel 8 pm•
• Joe Magnarelli Quartet; Mark Whitfield						Smalls 7:30, 9, 10:30 pm $25-40
êLew Tabackin Trio and Jeremy Pelt with Boris Kozlov, Jason Tiemann;		The Django 7:30, 9, 10:30 pm $25
êJacky Terrasson Trio with Burniss Travis, Jeremy Dutton			
Russell Hall Quintet
Smalls 7:30, 9, 10:30 pm $25-40• Chembo Corniel Quintet with Hery Paz, Carlos Cuevas, Ian Stewart,		Smoke 7, 9, 10:30 pm $25-60
êDave Liebman, Billy Hart, Adam Rudolph Trio				
Diego Lopez
Drom 7:30 pm $20-25êBrian Blade Fellowship with Melvin Butler, Myron Walden, Kurt Rosenwinkel,
The Jazz Gallery 7:30, 9:30 pm $20-30
		The Stone at The New School 8:30 pm $20• Roy Hargrove Big BandJon Cowherd, Roland Guerin Village Vanguard 8, 10 pm $40
êTim Berne with Tom Rainey, Gregg Belisle-Chi 				• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey				
Lowlands 8, 9:30 pm
		Village Vanguard 8, 10 pm $40
Sunday, March 19
Zinc Bar 7, 8:30 pm $30• Bill Cunliffe Trio; Jesse Green, Su Terry, Gene Perla			• Marc Copland		Mezzrow 7:30, 9, 10:30 pm $25-40
êBriggan Krauss solo
440
Gallery
4:40
pm
$10
Katie
Kosco;Peter
BraininOrnithology
Jazz
Club
6:30,
9
pm
Wednesday,
March 22•
• Creole Cookin’ Jazz Band; Stew Cutler and Friends			
Pierre Hotel 6 pm
• Eric Yves Garcia
		
Arthur’s Tavern 7, 10 pm
The Porch 8 pm
333 Lounge 7:30, 9:30 pm• Greg “Organ Monk” Lewis• Rachel Z Trio
• Wayne Tucker and The Bad Mothas					êPeter Evans Being and Becoming with Joel Ross, Nick Jozwiak,
Jerome Sabbagh Trio
Bar Bayeux 8, 9:30 pm•
		
Bar Lunàtico 9, 10:30 pm $10
Michael Shekoaga Ode
Roulette 8 pm $25• Hannah Marks Quartet with Nathan Reising, Chris McCarthy, Steven Crammer
Baklava
ExpressBarbès10pm$20•McBone
Jazz
Series:Ben
Barnett					•		Bar Lunàtico 9, 10:30 pm $10êJihye Lee Orchestra
Birdland 5:30 pm $20-30
		
Silvana 7 pm
Barbès 8 pm $20• Balsa de Fuego
ArturoO’Farrill
and
Afro
Latin
Jazz
Orchestra				
•
Marty
Scott
QuintetSilvana9pm•êSFJAZZ Collective with Chris Potter, David Sánchez, Mike Rodriguez,		Birdland 8:30, 10:30 pm $30-40êMike Clark Trio; David Gibson Quartet				Warren Wolf, Edward Simon, Matt Brewer, Kendrick Scott			êOrrin Evans Quartet
Birdland Theater 7, 9:30 pm $20-30
		
Smalls 7:30, 9, 10:30 pm $25-40
		Birdland 7, 9:30 pm $30-40• World Famous Harlem Gospel Choir					êJacky Terrasson Trio with Burniss Travis, Jeremy Dutton			• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night		Blue Note 12:30, 2:30 pm $25-25
		
Smoke 7, 9 pm $25-60
with Pasquale Grasso
Birdland Theater 5:30; 8:30 pm $20-30• Krasno Moore Project with Eric Finland				êBrian Blade: “Life Cycles Honoring Bobby Hutcherson” with Jon Cowherd,Blue Note 8, 10:30 pm $45-65• Marcus Miller
		Blue Note 8, 10:30 pm $25-35
Myron Walden, Monte Croft, Doug Weiss, John Hart, Rogerio Boccato		êSheryl Bailey Trio
Cellar Dog 7 pm $5êDayna Stephens Quartet; Emmanuel Michael 						Village Vanguard 8, 10 pm $40• Duduka Da Fonseca, Maucha Adnet, Helio Alves						Café Bohemia 7:30, 9 pm $15
		Dizzy’s Club 7:30, 9:30 pm $15-60
êMike LeDonne Trio
Cellar Dog 7 pm $5
Friday, March 17êSylvia Cuenca Quartet with Craig Handy, Paul Bollenback, Essiet Okon Essiet;
City Vineyard 7:30 pm $15• New Moon Acoustic Blues
Sachal Vasandani Presents The Django 7:30, 9, 10:30 pm $25• Johnny O’Neal Trio; Bobby Harden with Off Da Hook			 êEndea Owens and The Cookout							Arthur’s Tavern 7, 10 pm
Dizzy’s Club 5, 7:30 pm $15-60
êTim Berne Bat Channel with Eivind Opsvik, Gregg Belisle-Chi, Jeff Davis		
The Django 6:30, 8, 9;30 pm $25• Geoffrey Keezer Trio		
Bar Bayeux 8, 9:30 pm• Teri Roiger, Steve Berger, John Menegon						
Entwine Wine Bar 6, 7:30 pm• Cali Mambo with Dred Scott, Tom Beckham, Matt Pavolka, Moses Patrou				
Bar Lunàtico 9, 10:30 pmêAvram Fefer Quartet
Ibeam Brooklyn 8 pm $15-20• Axel Asher Quartet with Julia Chen, Kyle Miles, Joel Matteo; Living Language• Danny Fox Trio; Jam Session with Naama Gheber					Barbès 8, 10 pm $15
		Mezzrow 7:30, 9, 10:30 pm $25-40
êBrandee Younger
Museum of Art and Design 11 am $25• Bill Saxton and The Harlem All-Stars						
Bill’s Place 7 pm $30• Marianne Solivan Trio with Leandro Pellegrino, Steve Wood			Birdland 5:30 pm $20-30
		North Square Lounge 12:30, 2:15 pm• Birdland Big BandêThe Cookers with Billy Harper, Donald Harrison, Eddie Henderson,• Daniel Berkey; Tardo Hammer Ornithology Jazz Club 6:30, 9 pm
David Weiss, George Cables, Cecil McBee, Billy Hart			 • Joe Pino Quartet
The Porch 8 pm
		Birdland 8:30, 10:30 pm $30-40
Room 623 at B2 Harlem 6 pm $15-50• Marcus GoldhaberêOrrin Evans Quartet
Birdland Theater 7. 9:30 pm $20-30• Jazz Jam with Mimi Jones and Friends						
Room 623 at B2 Harlem 8, 9:30 pm $15-50• Krasno Moore Project with Eric Finland						Blue Note 8, 10:30 pm $25-35
The Roxy Lounge at Roxy Hotel 1 pm
• Hector Martignon Trio
• Zaid Nasser Quartet; Miki Yamanaka Quartet				• Mark Wade with Tim Harrison, Scott Neumann						Cellar Dog 7, 11:30 pm $10
		Saint Peter’s Church 5 pmêIsaiah J. Thompson Quartet with Julian Lee, Russell Hall, Miguel Russell;• Asaf Yuria Quartet with Jeremy Manasia, Ugonna Okegwo, Jason Brown;
Sasha Berliner Group
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
Aaron Johnson Boplicity
Smalls 7:30, 9, 10:30 pm $25-40
êJacky Terrasson Trio with Burniss Travis, Jeremy Dutton			• Chris Beck Quartet; Nick Hempton Band						The Django 7:30, 9, 10:30 pm $35
		
Smoke 7, 9 pm $25-60
The Jazz Gallery 7:30, 9:30 pm $20-30êBrian Blade Fellowship with Melvin Butler, Myron Walden, Kurt Rosenwinkel,• Sachal Vasandani• Alexander Leonard, Jay Leonhart					Jon Cowherd, Roland Guerin Village Vanguard 8, 10 pm $40
		Knickerbocker Bar & Grill 9 pm
Monday, March 20• Rick Germanson Trio; David Berkman Trio						Mezzrow 7:30, 9, 10:30 pm $25-40
Arthur’s Tavern 7 pm
Ornithology Jazz Club 6:30, 9 pm
• Grove Street Stompers• Neal Caine; Ben SolomonêBob Stewart Quartet with Kelvyn Bell, Dwayne “Cook” Broadnax,
Pierre Hotel 6 pm
• Antonio Ciacca
Curtis Stewart
Bar Lunàtico 9, 10:30 pm $10
The Porch 8 pm
• Moon Soul
• Karen Mason; Jim Caruso’s Cast Party				• Johnathan Blake; Simon Mogul 							Birdland 7, 9:30 pm $30-40
		Room 623 at B2 Harlem 7, 8:30, 10 pm $15-50
Birdland Theater 8:30 pm $20-30
The Roxy Lounge at Roxy Hotel 8 pm
• Orange Coffee• Ben Stivers Quartet
Blue Note 8, 10:30 pm $25-25• Brady Watt
• Eliot Zigmund Quintet; Corey Wallace Dubtet with Luke Carlos O’Reilly, James
Cellar Dog 7 pm $5
Robbins, Darrian Douglas
Smalls 7:30, 9, 10:30 pm $25-40• Noriko Ueda TrioêJacky Terrasson Trio with Burniss Travis, Jeremy Dutton			• Dominick Farinacci and The Tri-C Jazzfest Academy Alumni Ensemble				
Dizzy’s Club 7:30, 9:30 pm $15-60
		
Smoke 7, 9, 10:30 pm $25-60
êBrian Blade Fellowship with Melvin Butler, Myron Walden, Kurt Rosenwinkel,• Naama Gheber Quartet; Hank Allen-Barfield Quintet			 “Mark Wade has
Jon Cowherd, Roland Guerin Village Vanguard 8, 10 pm $40
		
The Django 7:30, 9, 10:30 pm $25
advanced the art ofêJames Brandon Lewis Trio
Le Poisson Rouge 8 pm $26.78
Saturday, March 18
Natu
Camara,Hervé
Coeur,
Mélissa
Laveaux				jazz composition”•
		Lycée Francais de New York 6:15 pm- Ed Enright, DownBeat• Axel Tosca; Fred Thomas of the J.B.’s				
• Spike Wilner, Paul Gill, Anthony Pinciotti; Pasquale Grasso, Ari Roland,		
Arthur’s Tavern 7, 10 pm
Clifford Barbaro
Mezzrow 7:30, 9, 10:30 pm $25-40“One of the
Bar Bayeux 8, 9:30 pm• Caleb Wheeler Curtis• Agustin Uriburu; Giuseppe Cucchiara				Barbès 10 pm $20
		Ornithology Jazz Club 6:30, 9 pm
• Brooklyn Qawwali Party
preeminent musicians
The Schomburg Center 7 pm $35• Bill Saxton and The Harlem All-Stars				• Lizz Wrightof his generation”
		Bill’s Place 7 pm $30
Joe
Farnsworth
Quartet;Alexander
ClaffyQuintetwithJohn
Ellis,•• Eric Comstock with Sean Smith, Barbara Fasano				Simon Moullier, Matthew Rotker-Lynn, Anwar Marshall			- Alan Musson, UK Vibe		
Birdland 5:30 pm $20-30
		
Smalls 7:30, 9, 10:30 pm $25-40
êThe Cookers with Billy Harper, Donald Harrison, Eddie Henderson,êThe Vanguard Jazz Orchestra Village Vanguard 8, 10 pm $40
David Weiss, George Cables, Cecil McBee, Billy Hart			 • Charlie Ballantine
Zinc Bar 7, 8:30 pm $30
		
Birdland 8:30, 10:30 pm $30-40êOrrin Evans Quartet
Birdland Theater 7, 9:30 pm $20-30
Tuesday, March 21• Krasno Moore Project with Eric Finland						Blue Note 8, 10:30 pm $25-35
Arthur’s Tavern 7 pm
• Will Bernard Trio

March 19th Jazz Vespers @St. Peter’s Church(5 pm)(619 Lexington Ave., New York)

Website: markwademusicny.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 37

êDavid Haney, Adam Lane, Kirk Knuffke, Cheryl Pyle, Dave Sewelson		• Tyler Blanton Trio; Thomas Linger Trio				Sunday, March 26
		Ibeam Brooklyn 8:30 pm $15-20
		
Mezzrow 7:30, 9, 10:30 pm $25-40
êIngrid Laubrock’s Lilith with David Adewumi, Adam Matlock, Yvonne Rogers,
Nublu 151 7, 8:30 pm $22.66• Alex Skolnick Trio
• Creole Cookin’ Jazz Band; Charlie Apicella and Iron City			
Eva Lawitts, Henry Mermer
The Jazz Gallery 7:30, 9:30 pm $20-30• Ben Meigners; Fukushima Tainaka 							Arthur’s Tavern 7, 10 pm
		Ornithology Jazz Club 6:30, 9 pm
• Caleb Wheeler Curtis, Igor Lumpert, Jeff Miles; Noa Fort, Shinya Lin,Sam Reider and The Human Hands					•Jonathan Reisnin; Stephen Gauci, Adam Lane, Kevin Shea; Yoni Kretzmer/Juan
Pierre Hotel 6 pm
• Eric Yves Garcia
		
Bar Lunàtico 9, 10:30 pm $10
Pablo Carletti’s BIGGISH; Aliya Ultan, Javen Lara, Colin Hinton		• Keith “The Captain” Gamble The Porch 8 pmêMichaël Attias Double Shadow Spin with John Hébert, Stephan Crump, Eric		
Main Drag Music 7, 8, 9, 10, 11pm
• String Theories Festival: String Orchestra of Brooklyn with Andrew Yee		
McPherson, Elias Stemeseder Barbès 8 pm $20
Roulette 8 pm $25• Neal Kirkwood Trio; Andrea Domenici Trio				• Hailey Brinnel: “Beautiful Tomorrow” 						Mezzrow 7:30, 9, 10:30 pm $25-40
Silvana 10 pm• Marty Scott Quintet
		
Birdland 5:30 pm $20-30• Ievgen Pugachov; Kazuhiro Yokoshima 				• Itai Kriss Quartet; Sarah Hanahan Quartet				• Arturo O’Farrill and Afro Latin Jazz Orchestra						
Ornithology Jazz Club 6:30, 9 pm
		
Smalls 7:30, 9, 10:30 pm $25-40
		Birdland 8:30, 10:30 pm $30-40êBobby Watson Quintet with Wallace Roney Jr, Cyrus Chestnut, Curtis Lundy,• Marcus Goldhaber Duo with Sean Fitzpatrick				Birdland Theater 7, 9:30 pm $20-30• Don Braden Quartet
Victor Jones
Smoke 7, 9 pm $25-60
		Pangea 7 pm $25
êSheila Jordan
Blue Note 12:30, 2:30 pm $25-25êSteven Bernstein with Scott Colley, Nasheet Waits			
The Porch 8 pm
• Rodrigo Bonelli Quartet
Blue Note 8, 10:30 pm $45-65• Marcus Miller
		
The Stone at The New School 8:30 pm $20
Room 623 at B2 Harlem 8 pm $15-50• Peter Brainin and FriendsêDayna Stephens Quartet; Emmanuel Michael 				• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey		• String Theories Festival: String Orchestra of Brooklyn with Nepanthae				Café Bohemia 7:30, 9 pm $15
		Village Vanguard 8, 10 pm $40
		Roulette 8 pm $25
Cellar Dog 7 pm $5• Ned Goold Trio
• Tim Hegarty Quartet; Curtis Nowosad Quartet				•“Songbook Sunday: Lerner & Loewe”				
Friday, March 24
		Smalls 7:30, 9, 10:30 pm $25-40
		Dizzy’s Club 5, 7:30 pm $15-60
êSteven Bernstein/Arturo O’Farrill Project				• Sasha Dobson/Neal Miner Quartet; Ben Stivers Trio			êRosa Passos with Kenny Barron, Ron Carter, Rafael Barata					The Stone at The New School 8:30 pm $20
		
The Django 6:30, 8, 9;30 pm $25
		
The Appel Room 7, 9:30 pm $70-90• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey		• Johnny O’Neal Trio; Bobby Harden with Off Da Hook			 • Teri Roiger, Steve Berger, John Menegon						Village Vanguard 8, 10 pm $40
		
Entwine Wine Bar 6, 7:30 pm
		Arthur’s Tavern 7, 10 pmêScott Robinson Trio; Jam Session with Richard Cortez			Bargemusic 7 pm $35• Rob Schwimmer
Thursday, March 23
		
Mezzrow 7:30, 9, 10:30 pm $25-40• Bill Saxton and The Harlem All-Stars						
Bill’s Place 7 pm $30• Ben Cassara with Addison Frei, Perrin Grace				êTerry Waldo’s Gotham City Band					Birdland 5:30 pm $20-30
		North Square Lounge 12:30, 2:15 pm• Birdland Big Band		
Arthur’s Tavern 10 pm
Ornithology Jazz Club 6:30, 9 pm
• Nick Green; Don Hahn
• Marta Sanchez Trio with Savannah Harris, Chris Tordini			 êSFJAZZ Collective with Chris Potter, David Sánchez, Mike Rodriguez,
Warren Wolf, Edward Simon, Matt Brewer, Kendrick Scott			
The Porch 8 pm
		
Bar Bayeux 5 pm
• Rich Townsend
		
Birdland 8:30, 10:30 pm $30-40
Room 623 at B2 Harlem 6 pm $15-50
Bar Bayeux 8, 9:30 pm• Marcus Goldhaber• Santiago Leibson
Birdland Theater 7, 9:30 pm $20-30• Don Braden Quartet
Bar Lunàtico 9, 10:30 pm $10• Jazz Jam with Mimi Jones and Friends				• Flamenco Inside Out
Blue Note 8, 10:30 pm $45-65• Marcus MillerêSFJAZZ Collective with Chris Potter, David Sánchez, Mike Rodriguez,		Room 623 at B2 Harlem 8, 9:30 pm $15-50• Tivon Pennicott Quartet; Tim Norton				Warren Wolf, Edward Simon, Matt Brewer, Kendrick Scott			êJohn Zorn New Masada with Julian Lage, Jorge Roeder, Kenny Wollesen		
Café Bohemia 7, 8:30, 10:30 pm $15
		
Birdland 7, 9:30 pm $30-40		Roulette 8 pm $40• Dave Gibson Organ Quartet; Jamale Davis Quartet			• Itai Kriss
Birdland Theater 8:30 pm $20-30
The Roxy Lounge at Roxy Hotel 1 pm
• Monday Michiru
		
Cellar
Dog
7,
11:30
pm
$10
Blue Note 8, 10:30 pm $45-65• Marcus Miller• Flyways with Mara Rosenbloom, Anaïs Maviel, Rashaan Carter		Chelsea Table + Stage 9:30 pm $20-40• Meital Waldmann Quartet
Café Bohemia 7:30, 9, 10:30 pm $15• Max Light		Saint Peter’s Church 5 pm
DudukaDa
Fonseca,
MauchaAdnet,
Helio
Alves;
Vinicius
Gomes
Quartet		•êWayne Escoffery Quartet; Simona Premazzi Quartet			• Saul Dautch Quartet; Evan Sherman Quintet						
Dizzy’s
Club
7:30,
9:30,
11:15
pm
$15-60		
Cellar Dog 7, 11:30 pm $5
Smalls 7:30, 9 pm $25
êTommy Campbell Trio; Craig Handy & 2nd Line Smith			• ”The Music of The Supremes and Dreamgirls” with Emilie Surtees 		 		êBobby Watson Quintet with Wallace Roney Jr, Cyrus Chestnut, Curtis Lundy,The
Django
7:30,
9,
10:30
pm
$35
		
City Vineyard 7:30 pm $15
Victor Jones
Smoke 7, 9 pm $25-60
The Jazz Gallery 7:30, 9:30 pm $20-30• Yosvany Terry• Duduka Da Fonseca, Maucha Adnet, Helio Alves; Vinicius Gomes Quartet		• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey		
Arnie
Sanz
Knickerbocker
Bar
&
Grill
9
pm
•
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
Village Vanguard 8, 10 pm $40• Kevin Hays Trio; Jon Davis Trio					êBen Goldberg
The Jazz Gallery 7:30, 9:30 pm $20-30
Mezzrow
7:30,
9,
10:30
pm
$25-40êDavid Haney with Bernard Purdie All Stars and Creative Music Studio with Billy
Monday, March 27
Martin, gabby fluke-mogul, Marty Ehrlich, Adam Lane, Kirk Knuffke		 • Michael Fahn; Todd Herbert Ornithology Jazz Club 6:30, 9 pm
Antonio Ciacca
Pierre Hotel 6 pm•		Joe’s Pub 9:30 pm $20
Arthur’s Tavern 7 pm
• Grove Street Stompers
The Porch 8 pm
• Russel HallêTim Berne with Tom Rainey, Gregg Belisle-Chi 				• The Jason Yeager Septet; Jim Caruso’s Cast Party			• Elijah Shiffer and the Robber Crabs							Lowlands 8, 9:30 pm
		
Birdland 7, 9:30 pm $30-40
		
Red Room at KGB Bar 10 pm
Blue Note 8, 10:30 pm $25-25
Room 623 at B2 Harlem 7, 8:30 pm $15-50• James Francies• James HaddadêAkiko Tsuruga Quartet
The Roxy Lounge at Roxy Hotel 8 pm
Cellar Dog 7 pm $5• Bruce Harris Trio
Silvana 8 pm
Dizzy’s Club 7:30, 9:30 pm $15-60• Peter Louis Octet• Juilliard Jazz Ensembles
Smalls 7:30, 9 pm $25-40• John Bailey QuartetêApril Varner Quartet; Liya Grigoryan Quartet				êBobby Watson Quintet with Wallace Roney Jr, Cyrus Chestnut, Curtis Lundy,		
The Django 7:30, 9, 10:30 pm $25
Victor Jones
Smoke 7, 9, 10:30 pm $25-60• Shai Maestro/Michael Mayo The Jazz Gallery 7:30, 9:30 pm $20-30êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny WollesenêGeorge Colligan Trio; Pasquale Grasso, Keith Balla, Ari Roland				The Stone at The New School 8:30 pm $20
		Mezzrow 7:30, 9, 10:30 pm $25-40• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey		Matt Pavolka Band with Ben Monder, Santiago Leibson, Allan Mednard		•		
Village Vanguard 8, 10 pm $40
Nublu 151 8 pm $22.66
Ornithology Jazz Club 6:30, 9 pm
• Akira Ishiguro; Jon Elbaz
Saturday, March 25
Room 31 at Arlo NoMad 7:30 pm• Lauren Lee QuartetêBill Orcutt Guitar Quartet with Wendy Eisenberg, Ava Mendoza, Shane ParishêRosa Passos with Kenny Barron, Ron Carter, Rafael Barata					
Roulette 8 pm $30
		
The Appel Room 7, 9:30 pm $70-90• Philip Dizack Quartet; Simon Moullier Quartet				Bar Bayeux 8, 9:30 pm• Sean Clapis
		
Smalls 7:30, 9 pm $25
Bar Lunàtico 9, 10:30 pm $10• King Kozy
• The Vanguard Jazz Orchestra Village Vanguard 8, 10 pm $40• Bill Saxton and The Harlem All-Stars						
Bill’s Place 7 pm $30
Zinc Bar 7, 8:30 pm $30• Ed Cherry• Eric Comstock with Sean Smith, Barbara Fasano						Birdland 5:30 pm $20-30
Tuesday, March 28êSFJAZZ Collective with Chris Potter, David Sánchez, Mike Rodriguez,
Warren Wolf, Edward Simon, Matt Brewer, Kendrick Scott			
• Diego Voglino Jam Session with Dred Scott, Matt Pavolka					
Birdland 8:30, 10:30 pm $30-40
		Bar Bayeux 8, 9:30 pm
Creative Music Studio
Birdland Theater 7, 9:30 pm $20-30• Don Braden Quartet
Bar Lunàtico 9, 10:30 pm $10• Itamar Borochov Quartet
Prentiss McNeil: “A Decade of Soul”				•êSana Nagano’s SMASHING HUMANS with Peter Apfelbaum,
Members		Blue Note 12:30 pm $25-25
Jonathan Goldberger, Ken Filiano, Danny Sher				
Blue Note 8, 10:30 pm $45-65• Marcus Miller
		Barbès 7 pm $20• Tom Guarna/Mike Moreno Quartet; Wilfie Williams with Josh Evans		 Eliane Elias
Birdland 7, 9:30 pm $30-40•
		Café Bohemia 7, 8:30, 10:30 pm $15• Vince Giordano and the Nighthawks				• Brazilian Grooves; Stefano Doglioni Quartet				Birdland Theater 8:30 pm $20-30
		Cellar Dog 7, 11:30 pm $10
Café Bohemia 7, 8:30, 10:30 pm $15• Ben Tibiero Quartet• Duduka Da Fonseca, Maucha Adnet, Helio Alves; Vinicius Gomes Quartet		
Cellar Dog 7 pm $5• Ehud Asherie Trio
Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60
êSanti Debriano Group; Sarah Hanahan Quintet				•“The Music of Buena Vista Social Club: Tribute to Cuba’s Golden Age”		
Storyteller and pianist David Haney, Bernard Purdie All-Stars, and Creative
City Vineyard 7:30 pm $25
		
The Django 7:30, 9, 10:30 pm $35
Music Studio special guests gather for this epic night at Joe’s Pub! Highly
The Jazz Gallery 7:30, 9:30 pm $20-30• Yosvany Terry• William Paterson University Jazz Orchestra and Ensembles			entertaining stories about the Creative Music Studio from Oliver Lake,
Knickerbocker Bar & Grill 9 pm
• Arnie Sanz		Dizzy’s Club 7:30, 9:30 pm $15-60• Kevin Hays Trio; Johnny O’Neal Trio					êConrad Herwig and the Latin Side All-Stars: “The Latin Side of John Coltrane”
Adam Rudolph, Marilyn Crispell, Juma		
Mezzrow 7:30, 9, 10:30 pm $25-40
with Alex Norris, Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen,
Sultan, Tom Schmidt - all retold byOrnithology Jazz Club 6:30, 9 pm
• Peter Watrous; Leo Yucht
Camilo Molina
The Django 7:30, 9:30 pm $35
Antonio
CiaccaPierreHotel
6pm•David Haney with an improvised
Juilliard School Paul Hall 7:30 pm $20• Juilliard Jazz Ensembles
CaroleSylvan
The
Porch
8
pm
•
soundtrack by Bernard Purdie,• SeaJun Kwon, Jacob Shulman, Phillip Golub, Colin Hinton			• ”Who Is Thad Jones?” Family Concert						
Lowlands 8, 9:30 pm
Adam Lane and members of the		Rose Theater 3 pm $20-35
êEd Cherry Trio; Chris Byars Trio					Matthew
AvedonTrio;
ChinoPons					•Creative Music Studio.
		Mezzrow 7:30, 9, 10:30 pm $25-40
		The Roxy Lounge at Roxy Hotel 1, 8 pm
• Daniel Bereket; Andrew Wagner					Sistas’ Place 9, 10:30 pm $20• Lil Phillips
		
Ornithology Jazz Club 6:30, 9 pm
• John Bailey Quartet; Eric Wyatt Quartet				The Roxy Lounge at Roxy Hotel 8 pm
• Andrew Latona Quartet		
Smalls 7:30, 9, 10:30 pm $25-40
9:30pm• Gary Smulyan Quartet; Jason Clotter Quartet				êBobby Watson Quintet with Wallace Roney Jr, Cyrus Chestnut, Curtis Lundy,
March 23, 2023
		
Smalls 7:30, 9 pm $25
Victor Jones
Smoke 7, 9, 10:30 pm $25-60
https://publictheater.org/
êSteven Bernstein’s MTO with Curtis Fowlkes, Charlie Burnham,• Jeff Goldblum with Mildred Snitzer Orchestra				Joe’s Pub at the Public
productions/joes-pub/2023/n/
		
The Town Hall 8 pm $55-140
Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Ben Allison,
425 Layfayette
new-york-jazz-stories/êJoe Martin with with Mark Turner, Kevin Hays, Marcus Gilmore		
Ben Perowsky
The Stone at The New School 8:30 pm $20
		Village Vanguard 8, 10 pm $40• Mark Giuliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey		
New York, NY 10003
		
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $30• Alan Broadbent

Bernard Purdie
All Stars
Adam Lane
David Haney

Billy Martin
gabby fluke-mogel
Marty Erhlich

Tickets -38 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

Wednesday, March 29
Bar Bayeux 8, 9:30 pm• Michelle Lordi Group
Birdland 7, 9:30 pm $30-40• Eliane Elias• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Nightwith Ken Peplowski

Birdland Theater 5:30; 8:30 pm $20-30
Cellar Dog 7 pm $5
Dizzy’s Club 7:30, 9:30 pm $15-60• Nick Biello Quartet; Ian Hendrickson-Smith						The Django 7:30, 9, 10:30 pm $25• Noa Fort, Yoon Sun Choi, Hannah Schorken; Eric Plaks, Ayumi Ishito,
Zach Swanson, Lesley Mok; Stephen Gauci, Adam Lane, Colin Hinton; Fred
Lonberg-Holm, Mat Maneri, Tom Rainey, Michaël Attias; Giacomo Merega,
Josh Sinton, Todd Neufeld Main Drag Music 7, 8, 9, 10, 11pm
• Jay Rattman Trio; Sean Mason Trio							Mezzrow 7:30, 9, 10:30 pm $25-40• Noam Avnon; Nicola Caminiti Ornithology Jazz Club 6:30, 9 pm
• Ronny Whyte: “Gershwin and Friends”						
Pangea 7 pm $25
The Porch 8 pm
• Olli Soikkeli
Public Records 7 pm $25• Mali Obomsawin Sextet
Room 623 at B2 Harlem 8 pm $15-50• Peter Brainin and Friends• Dan Pugach Quartet; Frank Lacy Quartet				Smalls 7:30, 9 pm $25
êAdam Rudolph/Alexis Marccelo							The Stone at The New School 8:30 pm $20
êJoe Martin with with Mark Turner, Kevin Hays, Marcus Gilmore				
Village Vanguard 8, 10 pm $40
êChampian Fulton TrioêJeff “Tain” Watts Trio

Thursday, March 30
ê”A Great Night in Harlem” presented by Jazz Foundation of America featuring

Monty Alexander, Kenny Barron, Jon Batiste, James Carter, Davell Crawford,
Monte Croft, Cecil McBee, Rufus Reid, Larry Ridley, Wallace Roney Jr.,Paul West, Matthew Whitaker, Buster Williams, Reggie Workman, et al.		
		
The Apollo 8 pm $75-$1,500• Danny Lipsitz and His Brass Tacks; Terry Waldo’s Gotham City Band		
Arthur’s Tavern 7, 10 pmêMarta Sanchez
Bar Bayeux 5 pm
• Gary Versace, Anthony Pinciotti 					Bar Bayeux 8, 9:30 pm
Birdland 7, 9:30 pm $30-40• Eliane Elias
Birdland Theater 8:30 pm $20-30• Arianna Neikrug
Café Bohemia 7:30, 9, 10:30 pm $15• Erena Terakubo• Brandon Lee Quintet; Katie Cosco Quartet						
Cellar Dog 7, 11:30 pm $5• Brazilian Jazz and Flamenco Featuring Barbara Martinez 					City Vineyard 7:30 pm $25
êDIVA Jazz Orchestra; Russell Hall Big Band						Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Tim Ries & Friends; Helio Alves Quartet						The Django 7:30, 9, 10:30 pm $25
Drom 9 pm $20-25• Pedrito Martinez• Cross Identity with Chris Fishman, Nicola Caminiti, Miguel Russel				
The Jazz Gallery 7:30, 9:30 pm $20-30• David Cook Trio; Steve Ash Trio							Mezzrow 7:30, 9 pm $25-40• Nadav Samuel; Joe Barna Ornithology Jazz Club 6:30, 9 pm
Pierre Hotel 6 pm
• Eric Yves Garcia
The Porch 8 pm
• Tyler Mitchell• McBone Jazz Series: Grisha Alexiev				
		
Silvana 7 pm
• Matt Haviland Quartet; Sarah Hanahan Quartet						
Smalls 7:30, 9 pm $25
êGeorge Cables Quartet with Craig Handy, Essiet Okun Essiet,
Jerome Jennings
Smoke 7, 9 pm $25-60
êAdam Rudolph solo
The Stone at The New School 8:30 pm $20
êJoe Martin with with Mark Turner, Kevin Hays, Marcus Gilmore				
Village Vanguard 8, 10 pm $40

Friday, March 31• Johnny O’Neal Trio; Bobby Harden with Off Da Hook					Arthur’s Tavern 7, 10 pm
Bar Bayeux 8, 9:30 pm• Steve Cardenas
Bar Lunàtico 9, 10:30 pm $10• Super Yamba
Birdland 5:30 pm $20-30• Birdland Big Band
Birdland 8:30, 10:30 pm $30-40• Eliane Elias
Birdland Theater 7, 9:30 pm $20-30• Emilie-Claire BarlowêBrian Charette Quartet; Alon Benjamini						
Café Bohemia 7, 8:30, 10:30 pm $15êFrank Lacy Quartet; Jinjoo Yoo Quartet						
Cellar Dog 7, 11:30 pm $10êDIVA Jazz Orchestra; Russell Hall Big Band						Dizzy’s Club 7:30, 9:30, 11:15 pm $15-60• Spike Wilner Trio; Joe Saylor and The Kingdom						
The Django 7:30, 9, 10:30 pm $35
êMelanie Dyer, Kyoko Kitamura, Mara Rosenbloom; Jeff Pearring,
Eri Yamamoto, Adam Lane, Patrick Golden				Ibeam Brooklyn 8, 9 pm $15-20• Camila Meza with Gadi Lehavi, Noam Weisenberg, Keita Ogawa		
		
The Jazz Gallery 7:30, 9:30 pm $30-40• Ethan Iverson Trio; Jon Davis Trio					Mezzrow 7:30, 9 pm $25-40• Troy Roberts, Alex Ridout, Jackson Potter, Hamish Smith, Marcello Cardillo		Nublu 151 7, 8:30 pm $22.66• Gabriele Donati, Anthony Fung							Ornithology Jazz Club 6:30, 9 pm
Pierre Hotel 6 pm
• Antonio Ciacca
Lee
HogansandPursuance
The Porch 8 pm•
Vitor
Gonclaves
Room 623 at B2 Harlem 7, 8:30 pm $15-50•• Jazz at Lincoln Center Orchestra: “Internationally Ellington”				Rose Theater 8 pm $55-170
êJack Walrath Quartet; Corey Wallace Dubtet with Luke Carlos O’Reilly, James
Robbins, Darrian Douglas
Smalls 7:30, 9 pm $25
êGeorge Cables Quartet with Craig Handy, Essiet Essiet, Jerome Jennings
Smoke 7, 9, 10:30 pm $25-60
êJoe Martin with with Mark Turner, Kevin Hays, Marcus Gilmore				
Village Vanguard 8, 10 pm $40

15 to 21 may
2023

39 th
editionA LL I N DI V I DUA L TICK ETS ON SA LE ON M A RCH 15

POIL UEDAIKUE MORI« Tracing the Magic »ZOH AMBA« Bhakti »LORI FREEDMAN« BeingFive »EMILIE ŠKRIJELJ
TOM MALMENDIER« Les Marquises »CAMILLE BRISSONISABELLE CLERMONT« Collectif Tendancielle »JOE SORBARA
MATTHIAS MAINZ« Aurealities »FRED FRITH TRIOHEIKE LISSSUSANA SANTOS SILVA« Drawing Sound »SIMON HANES« Void Patrol »BUÑUEL
FUJI||||||||||TA / EYEFRANÇOIS HOULE
KATE GENTILEALEXANDER HAWKINSNINA GARCIA
ARNAUD RIVIÈRE
« Autoreverse »« GNR8RZ »NOORG
GUY THOUIN &L'ENSEMBLE INFINITASHI DORJIDAVE REMPISELLIOTT SHARP
COLIN STETSONBILLY MARTINPAYTON MACDONALD

JOHN ZORNNEW MUSIC FOR TRIOSJOHN ZORNNEW MASADA QUARTET

fimav.qc.ca
THE NEW YORK CITY JAZZ RECORD | MARCH 2023 39

êMonte Croft Trio

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

3/1,Douglas-Moore,
3/15 (7 pm) CorinthianJazz Band
Eric Wong,
Dominic Coles; Seth Cluet			• Ian
Allstar		3/3, 3/10, 3/17, 3/24, 3/31 (7 pm) Bill’s 411
K Jazz Band
Bill’s Seafood (Westbrook, CT) www.billsseafood.com
3/1, 3/8, 3/15, 3/22, 3/29 (7 pm) Hartford Jazz Society presents Black-Eyed Sally’s Jazz JamBlack-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) www.blackeyedsallys.com
3/4 (7 pm) Jen Allen Quartet
3/11 (8 pm) Altus with Dave Adewumi, Isaac Levien, Ryan Sands, Neta Raanan,
Nathan Reising
3/17 (8 pm) The Modern Riffs
Buttonwood Tree Performing Arts Center (Middletown, CT) www.buttonwood.org
3/14 (7 pm) Autumn Asbridge
3/28 (7 pm) Ben SimmonsCafé Nine (New Haven, CT) www.cafenine.com
3/12 (3 pm) Zwelakhe-Duma Bell le Pere Quartet
3/19 (3 pm) Skyler Hagner Nonet
3/26 (3pm) Simón Willson Quartet with Kayvon Gordon, Andrew Boudreau, Kevin Sun;
(4:30 pm) Nat Reeves and Friends
Center Church - First Church of Christ (Hartford, CT) www.centerchurchhartford.org
3/7, 3/14, 3/21, 3/28 (8 pm) Kevin St. James Quintet
Christopher Martins (New Haven, CT) www.christophermartins.com
3/29 (7 pm) Jobimfest ‘23 featuring Joe Carter and the Brazilian Allstars with Hendrik Meurkens,
Ali Ryerson, Harvie S, Graciliano Zambonin
Edgerton Center for the Performing Arts @Sacred Heart University (Fairfield, CT)
www.edgertoncenter.org
3/6, 3/13, 3/20, 3/27 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) www.elicitbrewing.com
3/24 (8:30 pm) Joe Morris Trio with Sam Newsome, Francisco Mela
3/31 (8:30 pm) Joe Fonda Quartet with Sam Bardfeld, Kenny Wessel, Rob Garcia
Firehouse 12 (New Haven, CT) firehouse12.com
3/12 (3:30 pm) Jane Bunnett & MaquequeGreenwich Library Berkeley Theater (Greenwich, CT) www.greenwichlibrary.org
3/1 (6:30 pm) Nelson Riveros Quartet
3/8 (6:30 pm) Jeff Fuller Trio with Darren Litizie, Ben Bilello
3/15 (6:30 pm) Larry Haddad Quartet with Joe Corsello, Jeff Fuller, Joe McWilliams
3/22 (6:30 pm) Ali Ryerson Quartet
3/29 (6:30 pm) Andrew Beals Trio
La Zingara (Bethel, CT) www.lazingara.com
3/9 (7:30 pm) Bang On A Can Allstars
Lincoln Theater @University of Hartford (Hartford, CT)
www.hartford.edu/academics/schools-colleges/hartt/performances
3/5, 3/12, 3/19, 3/26 (11 am) Jeff Fuller & Friends
The Lobster Shack (East Haven, CT) www.lobstershackct.com
3/3 (8 pm) Ryan Sands Trio
Milford Arts Council (Milford, CT) milfordarts.org
3/1, 3/8, 3/15, 3/22, 3/29 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) owlshopcigars.com
3/24 (7/9 pm) Litchfield Jazzfest presents Caili O’Doherty Quartet
Palace Theater Poli Club (Waterbury, CT) www.palacetheaterct.org/shows/jazz/
3/5 (2:30 pm) Daniel Carter with Jamie Saft, Joe Morris, Michael Wimberly
Real Art Ways (Hartford, CT) www.realartways.org/
3/8 (7:30 pm) L. Shankar
Ridgefield Playhouse (Ridgefield, CT) ridgefieldplayhouse.org
3/3 (8:30 pm) Mike Flanagan with Lauren Scales, Chris Grasso, Luques Curtis, Richie Barshay
3/4 (8:30 pm) Tom Guarna’s Reimagine Trio with Pat Bianchi, Jason Tiemann
3/10 (8:30 pm) Jacky Terrasson Trio
3/11 (8:30 pm) Sasha Berliner Quartet
3/17 (8:30 pm) Dominick Farinacci Quartet
3/18 (8:30 pm) Jane Bunnett & Maqueque
3/24 (8:30 pm) Sanah Kadoura with Stacy Dillard, Willerm Delisfort, Jonathan Michel
3/25 (8:30 pm) Ben Wolfe Trio with Aaron Diehl, Aaron Kimmel
Side Door (Old Lyme, CT) thesidedoorjazz.com
3/4 (7 pm) Connecticut Guitar Festival presents Speakeasy Jazz Club with Joe Carter Trio +Rich Goldstein & Friends
Suzuki Music School (Westport, CT) suzukischools.org
3/3 (7:30 pm) Jane Bunnett & Maqueque
Yale University Morse Recital Hall (New Haven, CT) music.yale.edu
NEW JERSEY
3/12 (3 pm) Mike Davis & The New Wonders “Bix Bash 2023”
Bickford Theatre at Morris Museum (Morristown, NJ) morrismuseum.org/theatre-information
3/6, 3/13, 3/20, 3/27 (7:30 pm) “Monday Night Jazz at Brightside”
The Brightside Tavern (Jersey City, NJ) www.brightsidetavernmenu.com
3/3 (7:30/9:15 pm) Melissa Slocum Trio
3/10 (7:30/9:15 pm) T.K. Blue “Sky Bluu”
3/17 (7:30/9:15 pm) Pucci Amanda Jhones Quartet
3/24 (7:30/9:15 pm) Lynette Washington Ensemble
3/31 (7:30/9:15 pm) Bertha Hope Trio
Brothers Smokehouse (Ramsey, NJ) www.brotherssmokehousenj.com
3/4 (3:30 pm) James Stewart
3/11 (3:30 pm) Dan Kostelnik
3/18 (3:30 pm) Aaron Graves
3/25 (3:30 pm) Trinice Robinson
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
3/1 (7 pm) Deanna Witkowski Trio with Tony DePaolis, Scott Latzky
Clement’s Place (Newark, NJ) www.njpac.org
3/2 (7:30 pm) Suzzette Ortiz Group
Collingswood Community Center (Collingswood, NJ) www.jazzbridge.org
3/16 (7:30 pm) Chad Lawson Trio
3/26 (7 pm) Stanley Clarke
Count Basie Center’s The Vogel (Red Bank, NJ) thebasie.org
3/1 (8 pm) Trombone Shorty & Orleans Avenue
Count Basie Center’s Hackensack Meridian Health Theatre (Red Bank, NJ) thebasie.org
3/5 (2 pm) Tri-State Jazz Society presents Annie and the Fur Trappers
Haddonfield United Methodist Church (Haddonfield, NJ) tristatejazz.org

100 MILES OUT
3/4 (6 pm) Nat Adderley, Jr. Quartet
New Jersey Performing Arts Center @Bethany Baptist Church (Newark, NJ) www.njpac.org
3/1 (7 pm) Warren Vache Trio with Earl Sauls, Eddie Monteiro
3/4 (7 pm) Nicki Denner Trio with Jennifer Vincent, Pablo Bencid\
3/5 (6 pm) Kanttara Naba with Arturo, Efrat
3/8 (7 pm) Danny Tobias Trio
3/9 (7 pm) Meant To Be Quartet! with Glen Merritt, Alan Hayes, Pete Omelio, John Higgins
3/15 (7 pm) Olli Soikkeli with Paul Sikivie, Joe Peri
3/16 (6 pm) Stephanie Nakasian Trio with Ted Rosenthal, Elias Bailey
3/17 (7 pm) Dave Stryker Quartet feat. Warren Wolf
3/18 (7 pm) Nat Addlerley Jr. Trio
3/19 (6 pm) Jan Findlay Quartet with Tomoko Ohno, John Zweig, Rick Crane
3/22 (7 pm) Leonieke Scheuble’s Generations of Jazz Trio with Bill Crow, Nick Scheuble
3/23 (7 pm) Deep Groove Jazz Trio with Dan Kostelnick, Leo Jordan, John Vourtsis
3/24 (7 pm) Blue Soul Quintet with Herb Woodson, Bailey Gee, Ted Brancato, Mike Hogan,
Joseph DeVico
Shanghai Jazz (Madison, NJ) www.shanghaijazz.com
3/25 (8 pm) Dirty Dozen Brass Band
3/26 (4 pm) WP Latin Jazz Ensemble with Jose Madera
Shea Center for the Performing Arts @William Paterson University (Wayne, NJ)
www.wpunj.edu/wppresents/jazz-room-series/
3/4, 3/11, 3/18, 3/25 (6 pm) Joel Zelnik Trio
Steakhouse 85 (New Brunswick, NJ) www.steakhouse85.com
3/2 (7/8:30 pm) Erena Terakuba Quartet
3/7 (7/8:30 pm) Ariana Sowa Quartet
3/9 (7/8:45 pm) Cynthia Soriano Quartet
3/14 (7/8:30 pm) Alicyn Yaffee Quartet
3/16 (7/8:45 pm) Kate Curran Quartet
3/21 (7/8:30 pm) CJ Margolis Quartet
3/23 (7/8:45 pm) Akiko Tsuruga Quartet
3/28 (7/8:30 pm) Angelina Kolobukhova Quartet
3/30 (7/8:30 pm) Carrie Jackson Quartet
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com
3/2 (5 pm) Ariana Sowa Trio
Zimmerli Art Museum (New Brunswick, NJ) nbjp.org
NEW YORK
3/3 (7 pm) Victor LaGamma Quartet
3/4 (7:30 pm) Rocky Middleton Trio
3/11, 3/25 (7:30 pm) Leslie Pintchik Trio
3/18 (7:30 pm) Alexander McCabe Trio
Alvin & Friends (New Rochelle, NY) www.alvinandfriendsrestaurant.com
3/3 (7 pm) Lady Got Chops Festival presents Anaïsa with Jessica Valiente, Ay Millán, Anna MilatMeyer, Yasuyo Kimura, Genevieve Gazone, Julie Rosado, Las Hermanitas Valientes
3/4 (6 pm) Gerry Malkin Quintet with Robert Aries, Chris Morrison, Mike McGuirk, Bobby Leonard
3/5 (3 pm) David August Collective
3/10 (7 pm) Lady Got Chops Festival presents Jeanne Ricks Band
3/11 (6 pm) Lady Got Chops Festival presents Erena Terakubo Trio with Matt Wong, Richie Goods,
Sylvia Cuenca
3/18 (6 pm) Lady Got Chops Festival presents Cocomama
3/19 (4 pm) Acute Inflections
3/25 (7 pm) Lady Got Chops Festival presents SAGE with Charisa “The Violin Diva”, Mimi Jones,
Yayoi Ikawa, Luciana Padmore
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com
3/4 (6:30 pm) “The Big Easy” with Trombone Shorty & Orleans Ave.
The Capitol Theatre (Port Chester, NY) www.thecapitoltheatre.com
3/24 (8 pm) Sean Mason Quintet
Caramoor Jazz (Katonah, NY) caramoor.org
3/5 (12:30/2 pm) Matt Munisteri with Sean Cronin, Aaron Thurston
3/10 (7/8:30 pm) Jon Herington/Dennis Espantman Duo
3/12 (12:30/2 pm) Jerry Vivino with Rave Tesar, John Arbo
3/19 (12:30/2 pm) Ryan Berg Trio with Pete Levin, Steve Rubin
3/26 (12:30/2 pm) Rick Savage with Earl Sauls, Joe Vincent Tranchina
The Cove Castle (Greenwood Lake, NY) covecastleny.com
3/2, 3/9 (7/8:30 pm) Jon Doty Unity Band with Tom Kohl, Mike Dopazo, Matt Garrison, Bob Gingery
3/11 (7:30/8:45 pm) Ron Aries, Thierry Arpino, Kip Sophos
3/16 (7/8:30 pm) Thursday Organ Groove with Paul Connors and Jon Doty
3/23, 3/30 (7/8:30 pm) Thursday Organ Groove with Paul Connors, Jon Doty + John Basile
3/25 (7:30/8:45 pm) Jim Donica with Mark Dziuba, Bob Meyer
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com/shows
3/25 (8 pm) Elliott Sharp/Donald Sturge Anthony McKenzie II
Elysium Furnace Works @Cunneen-Hackett Arts Center (Beacon, NY) cunneen-hackett.org
3/2 (7 pm) Analog Jazz Orchestra
3/5 (7 pm) Ricky Ford Quartet with John Kordalewski, Tony Marino, Thurman Barker
3/9 (7 pm) Mahavishnu Project “Celebrating 50th Anniversary of Birds of Fire and Life of Jeff Beck”
with Gregg Bendian, Neil Alexander, Robbie Mangano, Brian Mooney3/10 (7 pm) Club D’Elf with John Medeski, Reeves Gabrels, Mat Maneri, Eric Kalb, Mister Rourke,
Mike Rivard
3/12 (7 pm) Brian Melvin Quartet with Tim Hegarty, Soren Lee, Arthur Kell
3/16 (7 pm) Jane Bunnett & Maqueque
3/19 (7 pm) Mark Guiliana with Chris Morrissey, Jason Rigby, Shai Maestro
3/26 (7 pm) Martin Pizzarelli Trio & Friends with Hyuna Park, Linus Wyrsch, Mark Sganga,
Ben Sapporito + Alexia Gardner
The Falcon (Marlboro, NY) www.liveatthefalcon.com
3/2 (8 pm) Ben Cassara with Marius Van Der Drink, Jon Lang, Andy Pasternak
3/9 (8 pm) Gabrielle Stravelli with Art Hirahara, John Long, Andy Pasternak
3/16 (8 pm) Bob Arthurs with Steve LaMantina, John Lang, Andy Pasternak
3/23 (8 pm) Chris Byars with John Merrill, John Lang, Andy PasternakFirst Name Basis at Divino Cucina (Hastings-on-Hudson, NY) facebook.com/FNBhastingsny
3/31 (8 pm) Catherine Russell
Gardiner Theater (Pawling, NY) www.pawlingconcertseries.org
3/3, 3/4 (7/9:30 pm) Steve Davis Sextet with Abena Koomson-Davis, Tony Davis, Brandon McCune,
Nat Reeves, Willie Jones III
3/5 (4/6 pm) Roseanna Vitro “Sing A Song of Bird” with Ted Ludwig, Oscar Perez, Dean Johnson,
Tim Horner; (8 pm) David Budway Jam Session
3/10, 3/11 (7/9:30 pm) Jon Faddis Quartet
3/12 (4/6 pm) Judy Niemack Quartet
3/17, 3/18 (7/9:30 pm) Benny Green solo
3/19 (4/6 pm) Sara Caswell Quartet
3/24 (7/9:30 pm) Houston Person Quartet
3/26 (4/6 pm) Neal Spitzer & Friends
3/31 (7/9:30 pm) John Pizzarelli Trio with Mike Karn, Isaiah J. Thompson
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
3/1 (1/7 pm) Young At Heart Jazz Loft Trio with Keenan Zach
3/2 (7 pm) Jazz Loft Big Band
3/8, 3/15, 3/29 (7 pm) Jazz Loft Trio Jam Session with Keenan Zach
3/9 (7 pm) Warren Vache Quartet with Tom Manuel, Wayne Sabiella, Dean Johnson, Dan Pugach
3/16 (7 pm) Bad Little Big Band with Rich Iacona + Madeline Kole

40 MARCH 2023 | THE NEW YORK CITY JAZZ RECORD

3/21 (7 pm) Swing Into Spring Festival
3/23 (7 pm) Carlos Jimenez Mambo Dulcet
3/24 (7 pm) Bay Big Band, Moment’s Notice, Keenan Zach Trio
3/25 (7 pm) Aubrey Johnson Quartet with Tomoko Omura, Chris McCarthy, Matt Aronoff
3/30 (7 pm) Interplay Jazz Orchestra
The Jazz Loft (Stony Brook, NY) www.thejazzloft.org
3/3 (7/9 pm) Butterfly Blue with Gizem Gokoglu, Linus Wyrsch, David Pearl
3/9 (8 pm) Anton Breton Combo + Jam with Jim Carlucci, Richard Devens
3/10 (7/9 pm) Brian Charette’s Mighty Grinders with Matt Chertkoff, Eric Kalb
3/16 (8 pm) Cary Brown Trio + Jam with Sam Bevan, Joe Abba
3/17 (7/9 pm) Wayne Tucker and The Bad Mothas with David Linard, Tamir Shmerling, Diego Ramirez
3/18 (7/9 pm) Susan Mack Quartet with Tim Armacost, Allen Farnham, Jim Donica, David Silliman
3/23 (8 pm) Hattie Simon Quartet + Jam with Andrew Freedman, Ben Tiberio, Horace Phillips
3/24 (7/9 pm) Nelson Riverson Latin Quartet with Bob Albanese, John Benitez, Pablo Bencid
3/25 (7/9 pm) Willerm Delisfort Project
3/30 (7 pm) Marty Elkins Quartet with John Merrill, Dimitri Kolesnik, Jaz Freddie Jacobs
Jazz on Main (Mt. Kisco, NY) jazzonmain.com
3/10 (7:30 pm) Jamie Baum Septet+ with Jonathan Finlayson, Sam Sadigursky, Chris Komer,
Brad Shepik, Luis Perdomo, Ricky Rodgriguez, Jeff Hershfield + Sara Serpa
Jazzstock @ Senate Garage (Kingston, NY) jazzstock.com
3/5 (4 pm) Eunhye Jeong/Michael Bisio
The Lace Mill (Kingston, NY) www.facebook.com/TheLaceMill
3/11 (7 pm) Matt Munisteri with Joe Barbato, Danton Boller, Ben Perowsky
3/18 (7 pm) Vinnie Martucci Trio with Rich Syracuse, Jeff “Siege” Siegel + Laurel Massé
3/25 (7 pm) Marty Elkins Quartet with Peter Tomlinson, Lew Scott, Larry Balestra
Lydia’s Café (Stone Ridge, NY) www.lydias-cafe.com
3/3 (8 pm) Judy Niemack Quartet with Pete Malinverni, Harvie S
3/10 (8 pm) Matt Munisteri Quartet with Joe Barbato, Danton Boller, Ben Perowsky
3/11 (8 pm) Mike LeDonne Trio
3/18 (8 pm) Paul Jost Quartet
3/18, 3/25 (10 pm) David Budman
3/24 (8 pm) Peter Brainin Quartet with Gary Versace, Peter Slavov, Anthony Pinciotti
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
3/19 (2 pm) Richard Baratta Gotham City Latin Jazz Quintet
Ossining Public Library (Ossining, NY) ossininglibrary.org
3/12 (5 pm) Cross Cultural Connection + Jeremy Pelt
PJS Jazz Society at First Presbyterian Church (Mt. Vernon, NY) pjsjazz.org
3/9 (8:30 pm) Matt Mottel
Quinn’s (Beacon, NY) www.quinnsinbeacon.com/live-music
3/4, 3/11, 3/18, 3/25 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY)
www.facebook.com/pages/category/Bar---Grill/Rafters-Tavern-894552874038817/
3/10 (7:30 pm) Jerron Paxton/Dennis Lichtman
Tompkins Corner (Putnam Valley, NY) www.tompkinscorners.org
3/12 (6 pm) The Messthetics/James Brandon Lewis
Tubby’s (Kingston, NY) www.tubbyskingston.com
3/6, 3/13, 3/20, 3/27 (8pm): Monday Jazz Sessions with John RichmondTurning Point Café (Piermont, NY) piermont.club
PENNSYLVANIA
3/1 (7:30 pm) Doug Hirlinger
Cheltenham Center for the Arts (Cheltenham, PA) www.jazzbridge.org
3/1 (8/9:30 pm) Andrew Long Quintet “Tribute to Bird” with Christian Ertl, Luca Colonna, Eli Pace,
Ben Cohen
3/2 (8/9:30 pm) Lora Sherrodd Band
3/3 (8/10 pm) Charlie Apicella Iron City
3/4 (8/10 pm) Jane Bunnett & Maqueque
3/9 (8/9:30 pm) Mike Lorenzo Trio
3/10 (8/10 pm) Chris Beck Quartet with Andrew Wagner, Esteban Castro, Elam Friedlander
3/11 (8/10 pm) Jonathan Michel Quartet with Julius Rodriguez, Troy Roberts, Nasir Ebo + Tyreek McDole
3/15 (8/9:30 pm) Omeed Nyman Quartet with Mike DeMonte, Bill Schilling, David Chodor
3/16 (8/9:30 pm) Oliver Mayman Trio
3/17, 3/18 (8/10 pm) Pasquale Grasso Trio with Peter Bernstein
3/22 (8/9:30 pm) Scott Edmunds Trio
3/23 (8/9:30 pm) Adrien Chevalier Gypsy Jazz Five
3/24 (8/10 pm) Aaron Matson Quintet with Charles Bittner, Raul Reyes, Charles Goold, Joe Block3/25 (8/10 pm) Joe Block Quintet with Stella Katherine Cole
3/29 (8/9:30 pm) Peter Rushing Quintet
3/30 (8/9:30 pm) James Austin, Jr. Trio
3/31 (8/10 pm) Alexander Claffy Quartet with Tim Brey, Matt Chalk, Byron Landham
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
3/12 (12 pm) Hot Club of Philadelphia
City Winery (Philadelphia, PA) citywinery.com/philadelphia/
3/2, 3/9, 3/16, 3/23, 3/30 (7 pm) Bill Washer & Friends
Deer Head Inn (Delaware Water Gap, PA) deerheadinn.com
3/13 (8 pm) Fire Museum presents Joanna Mattrey, gabby-fluke mogul, Chris Williams,
Patrick Shiroishi; Totally Automatic with Anne Ishii, Eugene Lew, Matthew Smith Lee
Icebox Project Space (Philadelphia, PA) iceboxprojectspace.com
3/19 (8 pm) The Messthetics & James Brandon Lewis Trio
Johnny Brenda’s (Philadelphia, PA) www.arsnovaworkshop.org
3/6, 3/13, 3/20, 3/27 (5:30-9:30 pm) Tony Williams Jazz Quartet with Dave Posmontier, Mike Boone,
Craig McIver
La Rose Jazz Club (Philadelphia, PA) jazzclublarose.com
3/10 (8 pm) ArsNova presents Sun of Goldfinger with Tim Berne, David Torn, Ches Smith
3/11 (8 pm) ArsNova presents Bat Channel with Tim Berne, Gregg Belisle-Chi, Eivind Opsvik,
Jeff Davis
3/26 (8 pm) ArsNova presents Bill Orcutt’s “Music for Guitars” with Ava Mendoza, Wendy Eisenberg,
Shane Parish
3/28 (8 pm) ArsNova presents Mark Guiliana Jazz Quartet with Shai Maestro, Chris Morrissey,
Jason Rigby
Solar Myth (Philadelphia, PA) www.arsnovaworkshop.org
3/2 (7/9:30 pm) Karen Briggs with Gerald Veasley Band
3/3, 3/4 (7/9:30 pm) Nicole Henry
3/5 (6:30/8:30 pm) Lynn Riley & The World Mix
3/12 (6:30/8:30 pm) Alison Crockett “The Jazz Sides of Chaka Khan: Echoes of an Era Redux”
3/17, 3/18, 3/19 (6:30/8:30 pm) Julie Dexter3/31 (7/9:30 pm) Emily Braden “Dear Etta!”
South Jazz Club (Philadelphia, PA) southjazzkitchen.com
3/25 (8 pm) David Sanford Big Band
Williams Center for the Arts (Easton, PA) williamscenter.lafayette.edu
3/9 (8:30 pm) Emmanuel Ohemeng III & Perpetual Motion Jazz Jam
World Café (Philadelphia, PA) worldcafelive.com

C LU B D I RE C TO RY• 333 Lounge 333 Flatbush Avenue(718-399-8008) Subway: B, Q to Seventh Avenue
333lounge.com• 411 Kent 411 Kent Avenue
Subway: J, M, Z to Marcy Avenue
411kent.org• 440Gallery 440 Sixth Ave., Brooklyn(718-499-3844) Subway: F, G to Seventh Ave.
440gallery.com• 54 Below 254 W. 54th Str.
(646-476-3551) Subway: N, Q, R to 57th Str. ; B, D, E
to Seventh Ave.
54below.com• Appel Room Broadway at 60th Str., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str.
arthurstavernnyc.com• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street
barbayeux.com• Bar Lunàtico 486 Halsey Str.
(917-495-9473) Subway: C to Kingston-Throop Ave.
barlunatico.com• Barbès 376 9th Str. at 6th Ave., Brooklyn(718-965-9177) Subway: F to 7th Ave.
barbesbrooklyn.com• Bargemusic Fulton Ferry Landing(718-624-4061) Subway: F to York Str. , A, C to High Str.
bargemusic.org• 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: A119
birdlandjazz.com• Bitter End 147 Bleecker Str. btwn. Thompson and LaGuardia
Subway: A, B, C, D, E, F, V to W. 4th Str.
bitterend.com• Blank Forms 468 Grand Avenue, 1D
Subway: C to Clinton-Washington Avenues
blankforms.org• 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• Brooklyn Bowl 61 Wythe Ave.
(718-963-3369) Subway: L to Bedford Ave.
brooklynbowl.com• Brooklyn Music School 126 Saint Felix Str.
(718-907-0878) Subway: 4 to Atlantic Ave.-Pacific Str.
brooklynmusicschool.org• Café Bohemia 15 Barrow Street
Subway: 1 to Christopher Street
cafebohemianyc.com• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Chelsea Table + Stage Hilton Fashion District Hotel,
152 W 26th Street(212-434-0499) Subway: C, E to 23rd Street; R, W to 28th Street
chelseatableandstage.com• Church of St. Francis Xavier 46 W. 16th Str.
(212-627-2100) Subway: F, V to 14th Str.
sfxavier.org• Church of the Intercession 550 W. 155th Str.
(212-283-6200) Subway: 1 to 157th Str.
intercessionnyc.org• City Vineyard 233 West Street(646-677-8350) Subway: A, C, E, F to Canal Street
cityvineyardnyc.com• City Winery 25 11th Avenue (at 15th Street)(646-751-6033) Subway: A, C, E, L to 14th Street
citywinery.com• Dia Chelsea 537 West 22nd Street(845 -231-0811) Subway: C, E to 23rd St
diaart.org/visit/visit-our-locations-sites/dia-chelsea-new-yorkunited-states• 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• Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
thedjangonyc.com• Downtown Music Gallery 13 Monroe Str.
(212-473-0043) Subway: F to East Broadway
downtownmusicgallery.com• Drom 85 Ave. A(212-777-1157) Subway: F to Second Ave.
dromnyc.com• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
entwinenyc.com• Greenwich House Music School 46 Barrow Str.
(212-242-4770) Subway: 1 to Christopher Str.
greenwichhouse.org• 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• Interchurch Center 475 Riverside Drive at 120th Str.
Subway: 1 to 116th Str.
interchurch-center.org• Jazz Gallery 1160 Broadway, 5th fl(212-242-1063) Subway: C, E, to Spring Str. ; 1, 2 to Houston Str.
jazzgallery.org• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 to Astor Pl.
joespub.com• Juilliard School Paul Hall 155 W. 65th Str.
(212-769-7406) Subway: 1 to 66th Str.
juilliard.edu• Knickerbocker Bar & Grill 33 University Pl. at 9th Str.
(212-228-8490) Subway: N, R to 8th Str. -NYU
knickerbockerbarandgrill.com• Le Poisson Rouge 158 Bleecker Str.
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Str.
lepoissonrouge.com• Lehman Center 250 Bedford Park Blvd. West, Bronx(718-960-8833) Subway: 4, D train to Bedford Park Blvd.
lehmancenter.org• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue
lowlandsbar.com• Lycée Francais de New York 505 E. 75th Str.
(212-439-3820) Subway: 6 to 77th Str.
lfny.org• Main Drag Music 50 S. 1st Street between Kent
and Wythe Avenues(718-388-6365) Subway: L to Bedford Avenue
maindragmusic.com• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str.
mezzrow.com• Midnight Theatre 75 Manhattan West Plaza
Subway: 7 to 34th Street-Hudson Yards
midnighttheatre.com• Miller Theatre 2960 Broadway and 116th Street(212-854-7799) Subway: 1 to 116th Str. -Columbia University
millertheater.com• Museum of Art and Design 2 Columbus Circle(212-299-7777) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
madmuseum.org• New Amsterdam Musical Association (NAMA) 107 W. 130th Str.
(212-234-2973) Subway: 2, 3 to 125th Str.
newhouseartassociates.com/id80.html• 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: M to 1st Ave.
nublu.net• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
ornithologyjazzclub.com• Owl Music Parlo 497 Rogers Ave.
(718-774-0042) Subway: 2 to Sterling Str.
theowl.nyc• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave.
pangeanyc.com• Pierre Hotel Fifth Ave. at 61st Str.
(212-940-9109) Subway: 4, 5, 6 to 59th Str.
thepierreny.com• Porch 750A St. Nicholas Avenue(646-895-9004) Subway: A, B, C, D to 145th Street
theporchnyc.com• PS 133 610 Baltic Str, Brooklyn(718-398-5120) Subway: M to Atlantic Ave. or Union Str.
ps133brooklyn.org• Public Records 233 Butler Street(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue
publicrecords.nyc• Red Room at KGB Bar 85 E. 4th Street(347-441-4481) Subway: 6, B, M, R to E. 4th Street
redroomnyc.com• Room 31 at Arlo NoMad 11 E. 31st Street(212-806-7000) Subway: 6 to 33rd Street
arlohotels.com/nomad• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street
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• Roxy Lounge at Roxy Hotel 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
roxyhotelnyc.commorgan@njfpr.com• Saint Peter’s Church 619 Lexington Ave. at 54th Str.
(212-935-2200) Subway: 6 to 51st Str.
saintpeters.org• Scholes Street Studio 375 Lorimer Str.
(718-964-8763) Subway: L to Lorimer Str. ; G to Broadway
scholesstreetstudio.com• Schomburg Center 515 Macolm X Blvd.
(212-491-2200) Subway: 2, 3 to 135th Str.
nypl.org/locations/schomburg• 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.
smallsjazz.com• Smoke 2751 Broadway btwn. 105th and 106th Str.
(212-864-6662) Subway: 1 to 103rd Str.
smokejazz.com• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street
sonyhall.com• Soup & Sound 292 Lefferts Ave. btwn. Nostrand and Rogers Ave.
Subway: 2 to Sterling Str.
soupandsound.org• Stone at The New School 55 West 13th Street(212-229-5600) Subway: F, V to 14th Street
thestonenyc.com• Swing 46 349 W. 46th Str.
(646-322-4051) Subway: A, C, E to 42nd Str.
swing46.com• Symphony Space Leonard Nimoy Thalia 2537 Broadway
at 95th Street(212-864-5400) Subway: 1, 2, 3 to 96th Str.
symphonyspace.org• Town Hall 123 W. 43rd Str.
(212-997-1003) Subway: 7, B, D, F, M to 42nd Str. -Bryant Park
the-townhall-nyc.org• Village Vanguard 178 Seventh Ave. South at 11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str.
villagevanguard.com• Winemak’her Bar 492 5th Ave., Brooklyn(929-633-8603) Subway: M to 4th Ave./9th Str.
winemakher-bar.com• Young Ethel’s 506 5th Avenue, Brooklyn
Subway: F, G to Fourth Avenue-Ninth Street
youngethels.com• Zankel Hall 881 Seventh Ave. at 57th Str.
(212-247-7800) Subway: N, Q, R, W to 57th Str.
carnegiehall.org• Zinc Bar 82 W. 3rd Str.
(212-477-8337) Subway: A, C, E, F, V,
Grand Str. Shuttle to W. 4th Str.
zincbar.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 41

SAVE THE DATEJAZZFOUNDATIONOFAMERICA

A
GREAT
NIGHT
IN
HARLEM
GALA CONCERTTHURSDAYMARCH 30, 2023
HARLEM’S WORLD FAMOUS
APOLLO THEATER

For more information and to purchase tickets andbenefit packages (including dinner and after-party), visit:

JazzFoundation.org/Gala2023

I N ME MORIAMMICHAEL SNOW (Dec. 10, 1928 – Jan. 5, 2023) The
renowned experimental filmmaker, photographer, wideranging artist and jazz pianist died at age 94 in Toronto frompneumonia. Snow moved to New York City for a decade in
the early ’60s. Concurrent with his long and distinguishedcareer in the arts was a dedication to improvised music.
Snow’s 1964 film New York Eye and Ear Control featured afree jazz soundtrack with Albert Ayler and Don Cherry
and with his landmark 1967 film Wavelength, earned him areputation of a nonconforming avant-gardist.

DENNIS BUDIMIR (Jun. 20, 1939 – Jan. 10, 2023) The
versatile jazz/rock guitarist, known for his studio session
work with The Wrecking Crew, died at age 83. A Los
Angeles native, Budimir began playing professionallyat 14. In the mid ’50s he played in a quartet with Don
Cherry, La Monte Young and Billy Higgins, then worked
with Harry James, Chico Hamilton, Kentonite trumpeter
Ken Hanna, Bud Shank, Peggy Lee and Bobby Troup andsettled into a long career as a session musician. He also
played on 900+ film soundtracks.

FIONNA DUNCAN (Nov. 5, 1939 – Dec. 6, 2022) The
vocalist and “the first lady of Scottish jazz” died at age
83 in Edinburgh, Scotland from an aortic aneurysm. For
60+ years Duncan performed across the UK. She learned
traditional ballads and blues at the Rutherglen Academy,
and by 16 was singing professionally, winning local
competitions, even turning down a recording contract withRiverside Records. In the late ’50s, Duncan began working
with clarinetist Forrie Cairns, a musical partnership thatlasted decades; both joined the Clyde Valley Stompers, a
noted traditional jazz band in Glasgow. In 1962, Duncan
shared the stage with Louis Armstrong at his insistence andoften performed interval spots in clubs with The Beatles.
For several years she resided in London and worked with
Kenny Ball and Humphrey Lyttelton. With bassist Ronnie
Rae, her partner, she led a quartet in the mid ’80s, and wasjoined by Buddy Tate, Al Grey and Bud Freeman at the
Edinburgh Jazz Festival.

WALTER “WOLFMAN” WASHINGTON (Dec. 20,
1943 – Dec. 22, 2022) The guitarist and singer from New
Orleans, LA, who mixed R&B, blues and jazz, died at age
79 in his hometown from tonsil cancer. A Crescent City
mainstay for over six decades, Washington worked with
Irma Thomas, Ernie K-Doe, Lee Dorsey and Johnny Adams
before leading his Roadmasters. He also played regularly
with organist Joe Krown and drummer Russell Batiste, Jr.
and released a dozen albums between 1981-2018.

MACK GOLDSBURY (Sep. 29, 1946 – Dec. 26, 2022) A
tenor and soprano saxophonist with a remarkable historyof bandstand and studio credits straddling both jazz andpop worlds, Goldsbury died in Lancaster, CA, at age 76.
Goldsbury’s father was a fiddle player for the Blue Bonnet
Playboys, and had his son learning mandolin and violin
at the age of three. Goldsbury worked with Red Garland
before moving to New York in 1979 and recorded his firstalbum, Anthropo-Logic, with John Scofield, Ed Schuller
and Billy Hart. He toured with Stevie Wonder, Cher and
Sinatra, The Temptations and The Supremes, and playedin the bands of Paul Motian, Stanley Turrentine, Bob
Moses, Billy Eckstine and Pharoah Sanders. Goldsbury
also led his own bands, and worked with Wayne Horvitz’
New Composers’ Orchestra. In 1992, he moved to Berlin,
where he lived for 16 years, teaching and playing with the
RIAS Radio Band and drummer Ernst Bier. Goldsbury
appeared on over 60 recordings and earned several
Grammy nominations.
MARTIN ZIELINSKI JR. (May 30, 1930 – Dec. 24,2022) A classical musician who played trumpet with theCleveland Orchestra under George Szell and was a firstcall musician, Zielinski died in St. Augustine, FL. at age
92 from complications of a stroke. Born in Wilkes-Barre,
PA, Zielinski moved to Cleveland at 11 and started playing
trumpet two years later, working to emulate the sound ofHarry James. After graduating with a music education
degree from the Baldwin Wallace Conservatory of Music,
Zielinski found work in symphonies and orchestras
throughout Ohio while also accompanying Dave Brubeck,
Isaac Hayes and Glen Campbell. His polka recordings
earned him two Grammy Award nominations.
LATOZI “MADOSINI” MPAHLENI (Dec. 25, 1943 –Dec. 23, 2022) Xhosa music artist/storyteller/educatorand cultural icon, known simply as Madosini died in
Mthatha in South Africa at age 79. Known for playing
traditional musical bows—the isitolotolo and uhadi—andthe mhrubhe, a mouth bow, she was intent on showing
connections between indigenous music and African jazz,working with Gilberto Gil and British vocalist Patrick Duffy
from alternative rock band Strangelove, and collaboratingwith South African stars Thandisaw Mazwai, Derek
Gripper and Hilton Schilder. Madosini began performingat WOMAD festivals around the world in 2006, and in 2013
a Lifetime Achievement Award from South Africa’s Arts
and Culture Trust.

CHRISTIANE UFHOLZ (Sep. 1, 1947 – Jan. 1, 2023) The
rock and jazz singer was discovered dead in her Berlin
apartment at age 75. Born in Leipzig in what was then East
Germany, she came to prominence with art rock band Lift
before shifting stylistically to jazz, working in the Klaus
Lenz Big Band and Günther Fischer’s septet.
LÁZARO VALDÉS (Dec. 17, 1940 – Jan. 1, 2023) The
Cuban pianist/bandleader died in Havana at age 83.
Valdés was raised in a musical family (no relation to Bebo
or Chucho). He served as pianist for the great sonero Beny
Moré in Banda Gigante from 1958 until Moré’s death in
1963, and then led the band for three years more. In 2003,
Valdés launched his quintet Son Jazz.
JEFF BECK (Jun. 24, 1944 – Jan. 10, 2023) The trailblazing
British rock guitarist, who also left his mark on the jazz
world died in East Sussex, England at age 78 from bacterial
meningitis. Beck joined The Yardbirds, one of England’s
seminal rock bands, in 1965. He formed the Jeff Beck Group
with vocalist Rod Stewart in the late ’60s and continued
to lead other rock-oriented groups in the ’70s. Beck’s
dazzling virtuosity and technical mastery of the electricguitar came to the fore on Blow by Blow and Wired, mid ’70s
instrumental albums regarded as jazz fusion masterpieces.
UDO MOLL (1966 – Jan. 14, 2023) The German trumpeter,
composer and sound artist died at age 56 in Cologne,
Germany. He studied trumpet with Manfred Schoof andwas a longstanding member of the wide-ranging Schäl Sick
Brass Band. Moll worked with Gerry Hemingway, Elliott
Sharp and performed with the WDR Big Band and was
known for promulgating “Moll’s Law” in which a minuteof improvised music is followed by a minute of silence.
HERB SNITZER (Nov. 11, 1932 – Dec. 31, 2022) The
prolific photographer died at age 90 in St. Petersburg,
FL due to complications of Parkinson’s disease. Born in
Philadelphia, he moved to New York City after studying
photography at Philadelphia College of Art. One of his
first assignments was taking photos of Lester Young. His
iconic images of Louis Armstrong, Basie, Monk and Miles
became part of jazz’ visual history.
ALAN BATES (Aug. 26, 1925 – Jan. 30, 2023) The British
jazz producer/record label owner died in London at age
97. Born in Derby, Bates made his name in UK jazz circles
in the early ’60s by co-founding Interdisc, importing
records from U.S. labels such as Blue Note and Riverside.
Working with Atlantic and Polydor gave him the impetus
to start Black Lion Records in 1968 and whose roster would
include Cecil Taylor, Dexter Gordon, Steve Lacy, Mal
Waldron and Ben Webster; subsidiary, Freedom Records
focused on free jazz. In the late ’90s, acquired Candid fromsinger Andy Williams, reissuing its vaunted back catalog
and helping jumpstart the careers of Stacey Kent and Jamie
Cullum.

RENÉE GEYER (Sep. 11, 1953 – Jan. 17, 2023) The renowned
Australian jazz/soul singer died at age 69 in Geelong, in
Victoria, Australia from complications after hip surgery.
She had mid ’70s hits then later was a backing vocalist
for Joe Cocker, Sting, Julio Iglesias, Jackson Browne
and Chaka Khan. She worked with jazz-rock outfit Sun,
then signed with RCA Records in 1973. Geyer moved to
the U.S. in 1976, though never achieved breakthroughsuccess. In the mid ’90s Geyer moved back to Australia
and in 2000 released her autobiography Confessions of a
Difficult Woman.
RICHARD OESTERREICHER (Nov. 10, 1932 – Jan. 17,2023) The big band leader died at age 90 in Vienna. The sonof a music teacher, Oesterreicher joined the ORF Big bandin 1972, then founded the Richard Oesterreicher Big Bandand also conducted the orchestra for Austria’s EurovisionSong Contest participants.
DON COFFMAN (Nov. 7, 1939 – Dec. 11, 2022) The
bassist/educator died at age 83 in Davie, FL. Originallyfrom New Jersey, he began his professional career in thelate ’60s and worked with Sonny Stitt, Chet Baker, Lee
Konitz, Pat Metheny, Red Rodney, Joe Pass and Michael
Brecker. In the late ’70s, Coffman joined the faculty at Frost
School of Music where he mentored countless students for
40+ years.
MARCEL ZANINI (Sep. 9, 1923 – Jan. 18, 2023) The French
jazz saxophonist/clarinetist/singer known for his 1969
novelty hit “Tu veux ou tu veux pas” (“You want or you
don’t want”) died at age 99 in Paris. Born in Istanbul, hemoved in 1930 with his family to Marseille, France. He
joined Léo Missir’s popular orchestra in 1946, led his owngroups in the early ’50s, then moved to New York where
he lived until 1958, serving as a correspondent for Frenchmagazine Jazz Hot.
RASUL SIDDIK (Sep. 20, 1949 – Jan. 16, 2023) The
trumpeter and member of the Association for the
Advancement of Creative Musicians (AACM) died at age
73. Born Jan Corlus Mahr in St. Louis, MO, Siddik was
drawn to the trumpet at age 6 after hearing Miles Davis.
He played with the St. Louis Creative Ensemble and was
exposed to the music of the Black Artist Group (BAG)
featuring Julius Hemphill, Lester Bowie and Oliver Lakeand moved to Chicago, in 1967. By then, he had changed
his name and was attending AACM’s music school, co-led
BAG and founded the Now! Artet which released House of
Art in 2009. In the ’80s he worked with Karlton Hester’sContemporary Art Movement, Michele Rosewoman andHenry Threadgill, then moved to Paris in the ’90s andplayed with Billy Bang, Kahil El’Zabar, Hamiet Bluiett,
Bobby Few and Sunny Murray.
CAROL SLOANE (Mar. 5, 1937 – Jan. 23, 2023) The
veteran jazz singer, often compared to Ella Fitzgerald,
died in Stoneham, MA at age 85 from complications of a
stroke. Born Carol Anne Morvan in Providence, RI, shebegan singing professionally at 14. After an early marriage
and divorce, Sloane was singing in local Rhode Island
clubs when she was “discovered” by the road manager
for Les and Larry Elgart. Sloane went with Larry (her newstage name was his idea), which led to festival work andsubbing for Annie Ross in Lambert, Hendricks & Ross. Her
successful 1961 appearance at the Newport Jazz Festival
led to Columbia Records immediately signing her for two
albums. She appeared regularly on The Tonight Show with
Johnny Carson and worked steadily until the mid ’60s.
Changing tastes in popular music, bad luck and personal
setbacks stalled her career for more than two decades. In
the late ’80s, Sloane was back singing in Boston and New
York clubs, delighting a new generation of admirers.
She released two albums on Contemporary and several
acclaimed albums for Concord. Her last album, Live at
Birdland, was released last year. The documentary film
Sloane: A Jazz Singer premiered last month.
—Thomas Staudter

THE NEW YORK CITY JAZZ RECORD | MARCH 2023 43

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