June 2024—ISSUE 266

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

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TK
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AS FatheTU az zLA h i o - j
MU Et

LEENA
CONQUESTPETER
KNIGHTJIM
STALEYERIC
DOLPHYManaging Editor:
Laurence Donohue-Greene[Co-Founder/Editor Emeritus: Andrey Henkin]

To Contact:
The New York City Jazz Record
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Croton-on-Hudson, NY 10520
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Phone/Fax: 212-568-9628

June 2024 – ISSUE 266
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW: LEENA CONQUESTMarilyn Lester (Copy Editor)
Nate Dorward (Fact-Checker)

ARTIST FEATURE: PETER KNIGHT

Advertising:advertising@nycjazzrecord.com

ON THE COVER: MULATU ASTATKE

Keith Hoffman(Event Calendar Manager):calendar@nycjazzrecord.com
Suzanne Lorge (VOXNews):
voxnews@nycjazzrecord.com
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Staff Writers
Duck Baker, Matty Bannond,
Fred Bouchard, Stuart Broomer,
Daniel E. Brown, Jeff Cebulski,
Brad Cohan, Ken Dryden,
Phil Freeman, Paul Gaita,
Pierre Giroux, Kurt Gottschalk,
Tom Greenland, George Grella,
Jason Gross, Sophia Heinecke,Alex Henderson, Keith Hoffman,
Marilyn Lester, Suzanne Lorge,Franz Matzner, Marc Medwin,
Jim Motavalli, Russ Musto,
Mike Shanley, John Sharpe,
Elijah Shiffer, Elliott Simon,
Anna Steegman, Ken Waxman,
Scott Yanow
Contributing Writers
James Ilgenfritz, John ShandContributing Photographers
Caroline Conejero, Ursula Davis,
Alexis Maryon, Alan Nahigian,
Luciano Rossetti, Mike Shur,
Robert Sutherland-Cohen, Sarah Walker,
Jack Vartoogian, Anna Yatskevichnycjazzrecord.com

ENCORE: JIM STALEYLEST WE FORGET: ERIC DOLPHYLABEL SPOTLIGHT: AMP MUSIC & RECORDSVOXNEWSFESTIVAL REPORTALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY
IN MEMORIAM

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by kurt gottschalkby john shandby sophia valera heineckeby james ilgenfritz
by stuart broomer
by franz matzner
by suzanne lorge

BY MARILYN LESTER

Letter from the Editor

June unofficially marks the beginning of jazz festival season, with the exception of a few early birds that
got a jumpstart (see Festival Report for two such instances). So, we at TNYCJR would like to point you in the
direction of all of this issue’s features, each of which are dedicated to a different festival in the city this month:vibraphonist/percussionist/keyboard player and “Father of Ethio-jazz” Mulatu Astatke (On The Cover)
performs two nights at Sony Hall as part of the Blue Note Jazz Festival, while vocalist Leena Conquest(Interview) sings opening night of the weeklong Vision Festival at Roulette with William Parker (with whom
she’s been an intimate collaborator for 35 years.) Australian trumpeter/sound artist Peter Knight (Artist)
presents two projects on separate occasions as part of Jazztopad Festival New York, and the late legendary
alto/flute/bass clarinet playing dynamo, the never-to-be-forgotten Eric Dolphy (Lest We Forget) is fêted forthe two-day “Eric Dolphy: Freedom of Sound” festival. And then there’s trombonist and Roulette Intermedium
co-founder Jim Staley (Encore) who officially steps down from his role as Artistic Director after presenting
many a festival, as well as festival-like programming, at the venue for 45 years: the 45th Anniversary Gala thismonth (featuring Staley) promises to be a veritable festival in itself, given the confirmed participants andperformers!
And if all this isn’t enough to keep you busy this month, don’t forget to check out the schedules of the manyother festivals gracing NYC this month, including Summerstage, Peperoncino Festival, Bryant Park’s Picnic
concert series, Bronx River Sounds Performing Arts Festival, Lincoln Center’s Summer for the City, River toRiver Festival, New York Guitar Festival, etc. It’s of course always an embarrassment of riches for New Yorkers
and visitors every month, just more so now with festivals to take into account. Fact of the matter is it’s “festivallike” on any given day with the plethora of options consistently available for thirsty listeners (see Event
Calendar section to get overwhelmed or at least to use as your daily guide to navigate your way from one show
to the next).
Get out there, support the music and musicians and see you out at the shows… Onwards and outwards.
On The Cover: Mulatu Astatke (photo by Alexis Maryon)
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 June 2024 | THE NEW YORK CITY JAZZ RECORDNEW YORK @ N IGHTO

SSC 1708 / AVAILABLE NOW

ANNA YATSKEVICH

n his latest recording, Telmo’s Tune,
Klein looks to recapture a feeling of
spontaneity and community that he has
missed. So rather than composing heavily conceptual pieces for his flagship Los
Guachos ensemble, he chose to assemble aquintet (or, more appropriately, Quinteto)of New York based musicians to capture amore explorative band feeling.

One of the most important composers and musicians in

the history of jazz is living legend Benny Golson who got
his due last month at Smoke, even though he wasn’t inattendance for the weeklong tribute. The band consistedof five members of the New Jazztet – Eddie Henderson(trumpet), Steve Davis (trombone), Mike LeDonne(piano), Buster Williams (bass), Carl Allen (drums)
and Billy Pierce (tenor), the latter whom Golson once
threatened with grave bodily harm. Fittingly (May 9) theband opened with “Are You Real” from the Blakey book,a book that Golson had outsized influence on, despite his
relatively short stint with The Jazz Messengers. Daviswas outstanding with his consistently fluid, lovely,
melodic sound. On the easy-swinging ballad “Little
Karin”, LeDonne’s approach had the ageless 83-yearold Dr. Henderson swaying and smiling. Pierce and his
big sound were featured on “My One and Only Love”,
a courageous choice for a tenor, given the Sonny Rollins
and Coltrane/Hartman versions. After the tune, Pierce
said he was playing with The Jazz Messengers at North
Sea in the early ’80s, when he was approached by Golson
after the set. Golson said nothing, but handed him afolded piece of paper and walked away. The paper read,“I want to cut your fingers off.” Apparently it was a goodset for Pierce! The group closed with an extended version
of “Uptown Afterburn”, a later Golson composition and,unsurprisingly, a burner. Henderson was at his hard bopburn best, and Williams and Allen topped it with somegreat duo playing.
— Keith Hoffman

CAROLINE CONEJERO

GUILLERMO KLEINQUINTETOTELMO’S TUNE

Two Steinway grands, tucked together like black andwhite areas of a yin and yang symbol, stood on the Dizzy’s
Club stage (May 1), with Helen Sung seated left and her
special guest Geoffrey Keezer right, the two pianistsp(l)aying tribute to Duke Ellington’s wide-ranging works,
plus those from a few other jazz giants. The piano placement
suggested a metaphor for the artists’ musical personalities:
not opposites necessarily, but distinct individuals in fluid
dialogue, finding their balance, divided yet unified. The
second set commenced with “Angelica” (aka “Purple
Gazelle”), “Fleurette Africaine”, “Marrakesh Blues” (byRandy Weston) and “Cotton Tail“. Sung, a warm, bright
light, traversed the piano keys with telescopic runs,
punchy blues lines and swinging locked-hand shout
figures; Keezer, darker, more subdued, walked basslines or chopped off soft rapid two-hand drum patterns,
adding parts in empty spaces Sung left open, holding to
the pulse as she playfully tugged against it. After he’ddevised a magnificent coda to Chick Corea’s “Armando’s
Rhumba”, a number containing some of the duo’s mostintimate interplay, Sung set up the gorgeous “Single
Petal of a Rose” (from The Queen’s Suite) with swelling
excitement, swapping romantic lyricism for ecstatic
abandon. Keezer took over for a Sacred Concert feature,“T.G.T.T.” (Too Good to Title)”, brilliant yet contained,leaving the audience in a trance state. Two barnburners—
Billy Strayhorn’s “Tonk” and “C Jam Blues”—ended theset, both pianists steaming ahead at full throttle, laughingout loud at each other’s audacity.
— Tom Greenland

Geoff Keezer, Helen Sung @Dizzy’s Club

Billy Pierce, Eddie Henderson, Steve Davis @Smoke

With the advent of its 29th “birthday”, folks at Sistas’ Conductor Eric Jacobsen and Béla Fleck were in a

YVONNICK PRENÉ / GEOFFREY KEEZER
JOBIM’S WORLD
SSC 1727 / AVAILABLE 6/7/24

C

hromatic harmonica specialist Yvonnick
Prené looked to the Brazilian jazz schoolfor inspiration for his new duo recordingwith piano virtuoso Geoff Keezer, entitled
Jobim’s World. On Jobim’s World, Prené finds
a tremendous foil and collaborator in pianist
Geoff Keezer as they reimagine the musicalworld of Antônio Carlos Jobim.

www.sunnysiderecords.com

Place (May 11) were festive, especially since alto
saxophonist Antonio Hart was in the house with Duane
Eubanks (trumpet), Yu-Chen Tseng (piano), Alex Ayala(bass) and Vince Ector (drums). For the second set Hart andcompany kept energy percolating with two catchy hardbop medium swingers, Horace Silver’s “Shoutin’ Out” andDuke Pearson’s “Is That So?”. Both highlighted his logicalyet lyrical style, comprised of cleverly transposed melodic
shapes, call-and-response phrases and effortless doubletime passages. His first solo ended with a long, dramatic
upward glissando, his second with slowly ascending
skyscraper pitches, like a pole vaulter who keeps raising
the bar, the crowd in thrall, hoping he’ll make it. Twoballads followed, Rodgers & Hart’s “Easy to Remember”,
a feature for Eubanks, and Fred Lacey’s “Theme for Ernie”,
when Hart revealed his affinity for Johnny Hodges-esquetone sculpting: delicate scooping approaches, richly
resonant target tones, tasty terminal vibratos—each note astory unto itself. Tseng, one of the saxophonist’s students
at Queens College, is one to watch, rivaling his mentor for
logical/lyrical coherence delivered with relaxed finesse.
Another Silver cover, “To Beat or Not to Beat”, set toes
tapping again before Hart’s “91st Miracle” ended the set,
the leader at his most energetic: circular breathing andalternately hunching forward or arching backwards likea man possessed, occasionally forced to pause from sheer
overexcitement, panting for breath and wiping his browwhen the solo was over.
(TG)

4 June 2024 | THE NEW YORK CITY JAZZ RECORD

Brooklyn café. Seeing Fleck’s banjo case, the barista
asked, “Do you play banjo, like Béla Fleck?” Fleck
instantly deadpanned, “No one plays banjo like Béla
Fleck!” Perhaps apocryphal, the story is nonethelesstrue. Earl Scruggs rivaled Fleck in virtuosic technique,and J.D. Crowe moved the music along, but no one has
broadened the footprint of the banjo quite like Fleck.
That fact was on display at Carnegie Hall’s Stern
Auditorium (May 4), where Fleck honored the 100th
anniversary of the New York premier of Gershwin’s“Rhapsody in Blue” with his banjo-based arrangement,
backed by Jacobsen’s Aeolian Philharmonic. He later
brought out the My Bluegrass Heart ensemble for his
bluegrass arrangement of the work, “Rhapsody inBlue(grass)”. As if this wasn’t enough, the nearly threehour show also featured the banjoist in a trio settingwith master clarinetist Anat Cohen and Zakir Hussain,
widely regarded as the world’s greatest tabla player.
And if that wasn’t enough, how about pianist Bruce
Hornsby joining Fleck for “The Way It Is”. The wildly
appreciative, packed house gave no fewer than fourstanding ovations. The night’s only disappointment:
When Bruce Hornsby came out for the finale(surrounded by some of the finest bluegrass musicianson the planet, including Fleck), I expected to hear the
bluegrass version of “The Valley Road,” which Hornsby
recorded to magnificent effect with the Nitty Gritty Dirt
Band in 1989. Alas, they played another tune.
(KH)

Fresh from a two and half week European tour, bassist

Christian McBride returned to the Blue Note with thenewest of his numerous bands. His Ursa Major group—with Nicole Glover (tenor, soprano), Ely Perlman (guitar),
Michael King (piano, keyboards) and Savannah Harris(drums)—opened its week-long residency May 7. The
second set started with pianist Donald Brown’s “ThemeFor Malcolm”, a soulful Brazilian-tinged excursion thatflowed on top of King’s funky Fender Rhodes and piano,with both Perlman and Glover delivering authoritative
solos over McBride and Harris’ insistent groove. The
leader’s fast walking-bass introduced King’s “TwoCheck”, a rollicking straight-ahead escapade with thetenor saxophonist ramping up the energy, followed by
Perlman, McBride, then the composer stretching out
acoustically on piano, before Harris delivered a climactic
drum solo. Professing to taking a page out of the Mingus
tradition, the leader announced that the band was goingto “workshop” some new material, starting with Glover’s“Cherry Blossom”, a beautiful Eastern-influenced melody
that featured her on soprano. McBride’s unaccompanied
bass introduced a wildly exciting rendition of Chick
Corea’s “La Fiesta” that had Glover switching back toblowing explosive tenor before Harris delivered a hardhitting solo. McBride strapped on his bass guitar andreached back into his early songbook with “Black Moon”(an easy, grooving ballad from his Gettin’ To It 1995
debut album) before ending the set deep in the funk with
one of his newer songs, “Brouhaha”.
— Russ Musto

MIKE SHUR

R.I. SUTHERLAND-COHEN/JAZZEXPRESSIONS.ORG

Ranking as an extremely unusual event, the Metropolitan
Museum of Art hosted a Japanese in-gallery experience
entitled “Anxiety and Hope in Japanese Art” (May 10).
The focal point of the short evening (35 minutes) wasJapanese jazz violinist Meg Okura. The Tokyo-born artist
is also a composer and leader of the Pan Asian Chamber
Jazz Ensemble and member of Pharaoh’s Daughter, Emilio
Solla y La Inestable de Brooklyn and New York Tango
Quartet. She’s worked with jazz greats such as Michael
Brecker, Steve Swallow, Dianne Reeves and more. In
short, her status in jazz is impeachable. Curiously, though,this program wasn’t so much jazz-based (even with Brian
Marsella accompanying on keyboard) as it was an extensive
tutorial on the basics of Japanese music. Initially, the idea
was to follow Okura around the gallery as she played at
key works of art. Instead, Okura was positioned toward
the front of the gallery, necessitating audience members tostand in front of her for the duration of the program. Her
first selection, “Ome”, the place name of her birth, wasremarkable for the transformation of the violin into a quasi
kokyū. There were five musical selections and before eachone Okura spoke about the technical differences between
Japanese music and Western music, as well as about thephilosophy underpinning both approaches. Perhaps thiswas a consequence of the event being sponsored by themuseum’s education department. Finally, her “Anxiety
and Hope” followed by “Improvisation on G-E-C-C#”
infused some jazz into the program, but it was too little,
too late.
— Marilyn Lester

Meg Okura, Brian Marsella @Metropolitan Museum of Art

Nicole Glover, Christian McBride @Blue Note

Celebrating the 125th birthday of Duke Ellington,
granddaughter and Duke Ellington Center for theArts Founder/Artistic Director, Mercedes Ellingtonpresented a splendid extravaganza of Ellingtonia at
Symphony Space (May 6), co-hosting “Duke Ellington
Center Big Band Celebrating Duke’s 125 Birthday”
with colleague Tony Waag. For Mercedes Ellington,a dancer/choreographer, dance is essential to the
Ellington experience. Salted throughout the program,terpsichorians tapped, kicked (in a chorus line),tangoed and otherwise demonstrated their chops.
Thematically, the evening was built around a dramatic
narrative (no credit given), The City of Jazz, read bycabaret stalwart, Sidney Myer. The show began withthe cast entering from the rear of the auditorium as a
Second Line (a device used to close the concert as well).
Show highlights included Max Pollak’s inventive bodypercussions and tapper AC Lincoln’s artistry to “David
Danced Before the Lord”. Two very different versionsof Juan Tizol’s “Caravan” were presented, one dancecentric in a superb medley with “Scheherazade“, theother a thrillingly inventive exposition with vocalist
Antoinette Montague backed solely by the incredible
artistry of drummer/percussionist Bobby Sanabria.
Singer Nicolas King offered “Satin Doll” with tapper
Karen Callaway Williams, while Broadway’s Ty
Stephens (Sophisticated Ladies) delivered an exquisite“Sophisticated Lady”. “Mood Indigo” was the backdrop
for a touching In Memoriam.
(ML)

Kicking off a month-long tour celebrating the release of
his new album, Fearless Movement (Young), saxophonistkeyboardist Kamasi Washington brought a powerfulensemble to the Beacon Theatre for an exciting
performance (May 7). The group, spread across theaugust auditorium bandstand, included the leader’sfather Rickey Washington (soprano, flute) and Ryan
Porter (trombone) standing center stage. Flanking them,on staggered elevated risers on either side, were Patrice
Quinn (vocals), Brandon Coleman (piano, keyboards,
organ), Miles Mosley (bass), Tony Austin (drums) and DJ
Battlecat (turntables, percussion). The grouping cast anarresting sight recalling the striking imagery of antecedent
Afrofuturistic bands much like the showmanship of the
Sun Ra Arkestra and the dynamic of the Art Ensembleof Chicago. Sonically, the music followed in the same
“Great Black Music, Ancient to the Future” traditionof the latter group, while building upon the legacy ofWashington’s Los Angeles hometown predecessors
from Horace Tapscott’s Pan Afrikan Peoples Arkestra.
Beginning with the astral soundscapes of “Lesanu”,
followed by the earthy vocalizing of Quinn on “Asha The
First” and “Computer Love”, the group ran down theentire album’s playlist, traversing myriad emotions frommelancholy to exultant. Washington exuded both proudconfidence and exuberant joy as the crowd erupted inraucous applause after each solo and song, especiallyon the final pieces of the nearly two-hour performance,
which ended with a rousing “Lines in The Sand”. (RM)W H AT ’ S N E W S
Co-founded by Jen Shyu and Sara Serpa at the onset of thepandemic in March 2020, Mutual Mentorship for Musicians(M³) was conceived to empower and give increased visibility
to women and non-binary musicians in jazz and creative
music. M³ recently announced its 2024 Lifetime Achievement
Award recipient: saxophonist-composer Erica Lindsay. On
Jun. 4, Lindsay will be honored at the National Jazz Museumin Harlem, an event hosted by Cleo Reed and featuring a solo
set by pianist Sumi Tonooka. For more info visit
mutualmentorshipformusicians.org.
In conjunction with the Blue Note Jazz Festival (Jun. 1 – Jul. 7),
Blue Note Jazz Club is collaborating with Vilebrequin, theswimwear specialist company founded in the early ’70s. As of
the first of this month, specialty items (including swim trunks,
bucket hats, linen shirts, etc.) will be available online atvilebrequin.com and bluenotejazz.com as well as inVilebrequin stores (including the store’s locations on Madison
Ave. and on W. 33rd St.).
The Jazz Journalists Association’s annual JJA Awards
winners have been announced. TNYCJR was honored to havebeen nominated for the 18th time as “Best Jazz Periodical/
Website of the Year”. We tip our proverbial jazz cap to all our
fellow nominees as well as the winners, including Blue Note
Records (“Record Label of the Year”), Zev Feldman (“Record
Producer of the Year”), Sun Ra Arkestra (“Large Ensemble of
the Year”), Artemis (“Mid-sized Ensemble of the Year”),
Ambrose Akinmusire (“Trumpeter of the Year”), Lakecia
Benjamin (“Alto Saxophonist of the Year”), Nicole Mitchell(“Flutist of the Year”), Mary Halvorson (“Guitarist of the Year”),
Linda May Han Oh (“Bassist of the Year”), Kahil El’Zabar(“Percussionist of the Year”), Joel Ross (“Mallet Instrumentalistof the Year”), Brian Blade (“Traps Drummer of the Year”), Béla
Fleck (“Player of Instrument Rare in Jazz”), Will Friedwald(“Lifetime Achievement in Jazz Journalism”), Larry Blumenfeld(“Robert Palmer-Helen Oakley Dance Award for Excellence inWriting”), Sid Gribetz (“Marian McPartland-Willis ConnoverAward for Career Excellence in Broadcasting”), Adriano Mateo(“Lona Foote-Bob Parent Award for Career Excellence in
Photography”) and Luciano Rossetti (“Photo of the Year”). For
more info and to see the complete list, visit jjajazzawards.org.
Last month, Jazz at Lincoln Center announced the winners ofthe 29th annual Essentially Ellington High School Jazz
Band Competition & Festival, this year in celebration of
Ellington’s 125th birthday. Of the three top-placing high school
jazz bands in the nation, 1st Place went to Newark Academy(Livingston, NJ) with runner-up to Osceola County Schoolfor the Arts (Kissimmee, FL); 3rd Place was given toAgoura High School (Agoura Hills, CA). For more info visit
jazz.org/education/school-programs/essentially-ellington.
Washington D.C.’s The Blues Alley Jazz Society announced
the winners of its 7th annual Ella Fitzgerald Jazz Vocal
Competition. 1st Place: Dani Assis (New Canaan, CT), 2ndPlace: Aviana Gedler (West Des Moines, IA) and a three-way
tie for 3rd Place: Angelina Kolobukhova (Minsk, Belarus), Arvin
Ma (Shanghai, China) and Tina Hashemi (Charlottesville, VA).
Judges included members of the New York Voices: Peter
Eldridge, Lauren Kinhan, Darmon Meader and Kim Nazarian.
Registration for the 2025 Ella Fitzgerald Competition begins on
Nov. 1, 2024. For more info visit ellafitzgeraldcompetition.org.
As New York’s only homegrown jazz gazette for 22+ years,
The New York City Jazz Record is distributed throughout
New York City at hundreds of locations—from jazz clubs andrecord stores to instrument stores, schools and universities.
In the last few years, by kind invitation from Grand Central
Business Improvement District (BID), 34th Street Partnership
BID and Madison Avenue BID, copies of the monthly paper
have become more readily accessible than ever before atdozens of allocated CityRax streetcorner boxes. TNYCJR is
happy to announce that starting with the June issue, there will
be even more vendor boxes through Midtown carrying thehardcopy. Be sure to grab a copy if you’re walking throughMidtown or along the Upper East Side (and definitely let us
know if quantities need replenishing)—and tell a jazz-loving
friend!

THE NEW YORK CITY JAZZ RECORD | June 2024 5

LUCIANO ROSSETTI©PHOCUSAGENCYI NTERVIEWLEENACONQUEST
raining achievement

I’m thinking, wow, this is really profound. You hearpeople humming pop music or maybe “Take Five” orsomething like that. But they were humming, singing
some of the words to “Raining on the Moon”, which
I was very much pleased by. I said, “Oh, wow, thisresonates. The poetry of William resonates. Oh,
absolutely.”
TNYCJR: And the watermelon tree! It’s so funny, but
so relatable. It feels real. It feels like, “Oh, right. I’m notgoing to sit under the watermelon tree.” It doesn’t feellike a joke, which is interesting.
(CONTINUED ON PAGE 39)

BY KURT GOTTSCHALKWhen bassist, composer and bandleader William Parker
receives his Lifetime of Achievement recognition this monthat this year’s Vision Festival, one of the groups he’ll present
was responsible for a major shift in the current of his career.
Twenty-two years ago, Raining on the Moon introduced
Parker the songwriter, and Leena Conquest gave voice tothose songs. She has also worked with Sunny Murray andDave Burrell, but in recent years Conquest has been backhome in Dallas, TX, caring for her mother and teaching
youth the art of performance. She’s coming back to New
York, though, to sing about the watermelon tree again.
The New York City Jazz Record: Let me first ask you
about your name. It is your professional name or yourbirth name?
Leena Conquest: Actually, Kathleen is my name I
shortened to Leena. Conquest was a birth name, and I
said, well, I’ll use it.
TNYCJR: It’s a great name.
Conquest: Why not? Right?
TNYCJR: I first heard you with William Parker’s
Raining on the Moon. What were you doing before then?
Conquest: I was pretty much connected and immersedin jazz singing and doing that New York circuit,just on the scene. Very, very early on, I worked with(trumpeter) Doc Cheatham. I look back on it now,these places like Sweet Basil’s that are not there
anymore, sitting in and listening and learning. And
later on, I went to Europe and had some very enrichingexperiences. It’s actually where I met (drummer) Sunny
Murray with a group called The Reform Art Unit. That
was much later in the ’90s. But yeah—I guess you’d say
preparation, learning to sing. Growing up, you havethis education in school, choirs and churches and allof these things, these experiences, which as a child, I
didn’t realize it at the time, but I was learning aboutcall-and-response, for example, in my aunt’s Baptist
Church, just basically being immersed in that as well,learning about harmony. I guess in the oral tradition,
you could say. It was later when I got into the theory
and the sight singing and all of this formalization of thepedagogy. Nobody said, OK, we’re in the key of C, thisis the pitch. It’s just everybody’s singing.
TNYCJR: How did you and William meet?
Conquest: I’m so glad you asked me that because we
had several connectors. Do you know the sculptor
Alain Kirili, who passed? I guess it’s been three years
now. He would have these gatherings at his loft on
White Street. And I believe he would also work withmusicians, including people like William and Cecil
Taylor, early on before I was working with him. But wemet because of Sunny and Alain. Sunny and I had donea recording in Vienna with this group he was working
with for many years. I met the Reform Art Unit later.
William and I did a collaboration with Alain at agallery, and then we also worked together at anotherperformance.
That artistic scene really introduced me to theinterdisciplinary nature of the music—this artist, thisvisual artist, this musician, working together. I also
did some improvisation with dance as well, modern
dance. Then, of course, Patricia Nicholson-Parker[founder of the Vision Festival] was such a catalyst, notpast tense, IS such a catalyst, in terms of the linkage,
because I remember her being there, and I remember us
becoming involved with the Vision Festival.
TNYCJR: When Raining on the Moon (Thirsty Ear)came out in 2002, we were only beginning to hear from
William Parker as a songwriter. He recorded Song Cycle(Boxholder) with Ellen Christi and Lisa Sokolov in 1993,
but it wasn’t released until 2000; and Aleta Hayes sanghis “James Baldwin to the Rescue” on the 2002 William
Parker & The Little Huey Creative Music Orchestra
album Mayor of Punkville (AUM Fidelity). But Raining
on the Moon really felt like a band with a singer. How
did you two develop the songs?
Conquest: It was recorded at a studio in Brooklyn,
and it was me, William, no piano. He can be out andfree and improvised, but he can be very melodic. And
there’s so much to hold on to for a singer if you’relistening, when you’re looking for those moments ofconnection in terms of the improvisation. So basically,
it’s the words. He’s a poet. I would say conceptually,that is his record. He had written poems, and he sharedthem with me. For example, “Raining on the Moon“, I
just started dealing with the rhythm because he playsthat rhythm. It’s right there. Rhythmically, he is so
engaging, you want to connect with that. Basically, I
just use the words, staying with the rhythm, and thenfinding the pathos in it to communicate that story.
TNYCJR: Did he also write melody lines for the voice,for the lyrics, or were you coming up with that?
Conquest: I think you could say it’s a combination. I
was coming up with some, and I was connecting withwhat he was playing, listening to what was being
played. Because we had William on bass, Hamid[Drake] was on drums, and then (Louis) Flip Barnes
on trumpet and Rob Brown on alto saxophone (andflute). So there was a lot to borrow from. I think it’s
this collective creation, in a sense. I was listening to the
melodies and just finding ways to interact with it. So
some of them were my creation, you could say, someof the lines.
I still remember when we went to a festival in
Italy, it was probably early 2000s. The driver picks us
up and we’re all standing there and somebody comesup and they’re humming “Raining on the Moon”.

6 June 2024 | THE NEW YORK CITY JAZZ RECORDHMAY 28TH – JUNE 2NDH

BRAD MEHLDAU TRIOS(MAY 28-30): WITH VICENTE ARCHER & MARCUS GILMORE(MAY 31 - JUNE 2): WITH FELIX MOSEHOLM & JOE FARNSWORTHHJUNE 4TH - JUNE 9THH

RENEE ROSNES QUARTETCHRIS POTTER - PETER WASHINGTON - CARL ALLENHJUNE 11TH - JUNE 16THH

FRED HERSCH - DREW GRESSMARCUS GILMOREHJUNE 18TH - JUNE 23RDH

IMMANUEL WILKINS QUARTETMICAH THOMAS - RICK ROSATO - KWEKU SUMBRYHJUNE 25TH - JUNE 30THH

TERELL STAFFORD QUINTETTIM WARFIELD - BRUCE BARTHDAVID WONG - JOHNATHAN BLAKE

COMING IN JULYHKEVIN HAYSHHJAVON JACKSONH
HMARCUS GILMOREHHDAYNA STEPHENSHMONDAY NIGHTS ARE RESERVED FOR

THE VANGUARD JAZZ ORCHESTRASARAH WALKER

ARTIST F EATURE

Aussie Peter Knight came to the trumpet early, playing
with a municipal brass band at age nine, but came tojazz late. Then a decade into his playing jazz he began
wondering if it was possible to put a home-grown
Melbourne slant on it. The result was the creation ofa now long-lived band called Way Out West. Lately,
Knight has been stretching the potential for the music
and the trumpet even further in the same spirit that he
was drawn to the instrument way back when. “I liked
the sound of it, but I also liked the mechanics of it,” herecalls. “I was fascinated by the slides and valves andthe way that it worked. But also I think that music has
always been, and continues to be, a social activity. It’s
something you do with people.”
Knight’s high school years saw a gulf between thebrass-band and orchestral music he played and therock music he loved. “It wasn’t until I left high schooland somebody played me a Miles Davis record that I
went, ‘Oh my God, you can do that with the trumpet!’
It was then I started to really think seriously aboutbecoming a musician. Hearing Miles really unlocked it
for me. Until I heard A Tribute to Jack Johnson, I neverimagined that this was possible.” So, at age 19, Knight
became fixated on improvising and jazz, and about 30
when he began questioning how his obsession withartists from a different time and place related to his
own identity. “I couldn’t reconcile it… I started tothink if I was going to keep going with music, I had
to find a more personal mode of expression.” Thefirst breakthrough came when he met Dung Ngyen,
who played traditional Vietnamese instruments andelectric guitar. This collaboration (which continues 24
years later) led to the formation of Way Out West, areference to Melbourne’s western suburb of Footscray,with its heavy migrant population. “We were all local
musicians,” says Knight, “and we wanted to makesomething that somehow reflected the place that welive in.” The cross-cultural possibilities successfully
explored in this band whetted Knight’s appetite, and,via several other breakthrough projects, in 2018 heformed Hand to Earth, a quintet in which his trumpet,
electronics and percussion are joined by Aviva Endean(clarinet, electronics, harmonic flute), Korea-born
Sunny Kim (voice, electronics, percussion), Daniel
Wilfred (voice and bilma clapsticks) and brotherDavid Wilfred (yidaki didgeridoo, voice). The brothers
are First Nations’ musicians from Ngukurr in remote
Arnhem Land in the Northern Territory, and the
project is an offshoot from Knight’s time as artistic
director of the Australian Art Orchestra (AAO), a bandof fluctuating size, blessed with government funding
to explore eclectic improvisational contexts.
Knight’s predecessor, pianist/composer Paul
Grabowsky,
initiatedseveralcross-cultural
collaborations, including with the Wilfreds, resulting
in two albums under the title Crossing Roper Bar.
The trumpeter took over the AAO in 2013, pursuing
Grabowsky’s notion that one need not look far afield
to find what Knight calls “abundant cultural riches

PETER
KNIGHTfinding the new in the ancient

Recommended Listening:• 5+2 Brass Ensemble—Invisible Cities and Other Works(Rufus, 2005)• Peter Knight/Dung Nguyen—Residual(Parenthèses, 2008-9)• Peter Knight—Fish Boast of Fishing(Listen Hear Collective, 2010)• Peter Knight—Allotrope(Listen Hear Collective, 2011)• Peter Knight—Way Out West
(Jazzhead, 2015)• Australia Art Orchestra—Hand to Earth(AAO, 2019/2021)

BY JOHN SHAND
and musical inspirations”, while using improvisation“to release us from cultural hegemony… to create
possibilities for a new music that belongs to thisplace.” His tenure saw AAO move further fromidiomatic jazz, reflected in Hand to Earth. “There’s
more contemporary and electroacoustic influence,”
he suggests of this band that’s founded upon mutual
cultural respect, without the need to “tiptoe around
one another.” The Wilfred brothers’ contribution has
become more seamlessly interwoven into the whole,as shown on the band’s second release, Mokuy. Somesung pieces are devised by Daniel; others come fromtraditional song cycles, including one about the
dingo, Australia’s wild dog. “At a certain point [inperformance] Daniel moves out to the front of thestage,” says Knight, “and does this visceral, slow
dingo dance. It actually gives me goosebumps when
I see him do it.” The project is not one for virtuosic
soloing, and Knight’s trumpet is usually heavily
processed or played without the mouthpiece, creatinga flute-like sound. “It’s not like any other band I’ve
played in,” he says, “because I wouldn’t call what
we do improvisation, but it’d be impossible to do
it without improvisation. Daniel has found ways toimprovise the context and the placement of the songs
within what we do.”Knight’s other current projects include a second
solo album, the debut recording by a band called TLDR,
a collaboration with an Indonesian duo, as well as
scoring a feature film with Warren Ellis (of Dirty Threefame), an activity he hopes will become more regular.
His multifarious international collaborations occur
much less often in the States than he’d like, which hepartly attributes to the visa difficulties for Australian
players. “Practically, it’s much easier to work withartists from Asia, Europe and the U.K. just because of
the visa issues. Also, if we work with a European artist,often they can come to the table with some funding,and so it can be a reciprocal thing, but there just aren’t
those possibilities with U.S. musicians.”
Knight collaborated with Anthony Braxton at the2019 JazzFest Berlin, “an astonishing experience” that
he wanted to follow up in Australia, but the pandemic
ended that dream. On this forthcoming American
visit, however, he’s very much looking forward tocollaborating with drummer Hamid Drake in Bungul
and Polish violinist Amalia Umeda in Hand to Earth, aproject that remains close to his heart. “I think there’s ashared sense that as human beings we need to find new
ways to communicate, and to create a more positive
future,” he says. “I don’t want to be grandiose aboutit, but with Hand to Earth there is some little kernel of
optimism around what might be possible.”

Bertha Hope & the Elmo Hope Centennial Tribute
Sunday, June 9 - 7:00 pm
Soapbox Gallery Brooklyn$10 live or livestream

www.onebreathrising.org

For more info visit peterknightmusic.com. Knight is at
Lincoln Center’s Hearst Plaza with Hand to Earth (featuring
Amalia Umeda) Jun. 15 and Public Records with Bungul(featuring Hamid Drake) Jun. 16, both part of Jazztopad
Festival New York. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2024 7

ON THE COVER

MULATU ASTATKE
ALEXIS MARYON

Ethio- jazz Father
Ethioby sophia valera heinecke
True innovation requires an expansive understanding of

extant creativity beyond the desire to simply best one’s
peers. The 2024 Blue Note Jazz Festival, which set out toline up history-shaping innovators and worldwide icons,
has delivered on this intention by giving Mulatu Astatke
two nights headlining at Sony Hall this month. The
storied life of the vibraphonist, percussionist, keyboard
player, composer and acknowledged “father of Ethiojazz,” is a constellation of achievements overlayed against
his persistent desire to educate and raise awareness of
Ethiopia’s music and traditions. Maestro Astatke’s organic
desire to continuously teach and learn is distinct. It is
first out of necessity but also grows from his abundant
willingness to be exposed to the unknown.
On one of his early trips to New York for sessions ofMulatu of Ethiopia (1972), the manager of Worthy Records
staffed the sessions with skilled musicians who had
no concept of traditional Ethiopian music, which laid
the foundation for Astatke’s signature Ethio-jazz. This
dynamic would continue throughout his career, with
Astatke dropping newcomers into the framework, often in
one single rehearsal, equally influencing their knowledge
and his teaching aptitude. “Mulatu has changed a lotof lives. He is an unsung hero who grapples with themultiplicity of roles for music to play in culture on thecontinent of Africa,” says saxophonist Godwin Louis.
Louis now teaches at Berklee College of Music, where,in 1958, Mulatu was the first African student to attend,
studying percussion and vibraphone. “Everything I learnmusically or culturally,” Louis continues, “is all connected.
Analyzing and paying attention to what Mulatu does, it’slearning music, history and civics. He shows what can becommunicated if we all become historians.”
Louis, like many of Mulatu’s collaborators, has aunique relationship with him through his direct work
recording on the double-album Mulatu Steps Ahead (Strut),
as well as playing with him live, but also in the expansive
nature of the African Diasporic understanding of Ethiopia
as Africa’s jewel, the place where modern humanity
begins. “When Mulatu sat in with us,” Louis says, “it wasamazing. I wasn’t aware of music with that [Ethiopian]kind of philosophy. Until then, I was under the imperial
American guise of music: we study this improvised music
using this set of guidelines to display our virtuosic abilities
focused on ‘I can play really fast’; you give me a melody I
can build within that framework.”
Before the continent was called Africa, during thesame period that the Roman Empire rose and fell, there
was the influential Kingdom of Aksum, where the bordersof Eritrea and Ethiopia are now drawn. In the fourth
century A.D., Aksum became one of the first empires toembrace Christianity, which generated the Ethiopian
Orthodox Church, a central influence on the Ethiopiansounds rooted in chanting. “Linguists and theorists debate
as to whether song is derived from speech or vice versa, butthere is something pure in Mulatu’s melodies that connects
directly to the emotional core of what it is to be human,”says Astatke’s longtime collaborator and U.K. Music
Director James Arben. Mulatu’s first language, Amharic,
thrives on the coexistence of many possible meanings for aword or phrase. Spoken by 32 million people in Ethiopia,

it is similar in specific ways to both Arabic and Hebrew
as Ethio-jazz is similar to American jazz and Ethiopian
traditional music. You must understand the building
blocks of both languages to integrate them in a newcontext. This type of innovation comes from things being
broken and recombined.
This understanding is what happened when after yearsof study in Wales, at Trinity College in London, at Berklee,
and across the New York City scene in the ’70s, Astatke
absorbed the stylings of the Western form of jazz as well as
developed a keen enthusiasm for Latin rhythms, particularly
Cuban music. These notable and often improvised tactics
coalesced with the sacred treasure of his heritage: thefour Ethiopian modes known as the Kignit System. With
five notes in each of the four modal sets constructed with
Ethiopian instruments, these building blocks are used bysound practitioners to create tension and resolution andhave been passed down through generations. Astatke’s
distinct Ethio-jazz compositions use the diminished 12-note
scale overlayed on the chosen Ethiopian mode. The fourmost notable modes are: Tezeta, Bati, Ambassel and Anchi
Hoye. After having the opportunity to play with Mulatu in2004 in Ethiopia’s capital of Addis Ababa, Russ Gershon,
Ethio-music enthusiast and founder of Boston’s Either/
Orchestra, shares his thoughts on Astatke’s signature modal
integration, “The Ethiopian modes you have to stay within.
We come out of a chromatic 12-note jazz universe; our natural
inclination is to harmonize. The potency of these Ethiopian
modes is finding the balance of the contours and powers
with chromaticism.” To execute Ethio-jazz for Ethiopian
audiences to enjoy these valuable modes, an instrumentalist
must stay in that context and limit the superimposition of
additional sounds that might make a track distinct in theWestern jazz improv tradition: the modes themselves each
evoke and contain their own history.
Anchi Hoye mode is rebellious and evokes the final
word of a lover’s quarrel. The Bati scale is a variation of
the heptatonic Tezeta scale. It is often used in faster, more
upbeat songs. Bati was originally just a place. The mode
Ambassel is named after a mountain fortress in the Amhara
region. The stunning Tezeta scale is noted for its emotionaland connective power. “Many Tezeta tunes deal withhomesickness that relates to the diaspora. It is the blues of
Ethiopia,” says Louis. Hundreds of Ethiopian traditional
songs are called Tezeta, but Astatke’s composition is iconic.
It delivers so much soul, soul here meaning an energy thattranscends time, feeling as if it will continue on foreverwhile still holding a fondness for the different phases thathave passed.
Ethiopian traditional music centers on vocals. It is
an innovation in and of itself that Mulatu’s arrangements
are entirely instrumental interpretations that gained
wild popularity. An iconic exception highlighting lyrics
within the Astatke canon is “I Faram Gami I Faram”,
which was first offered on Afro-Latin Soul (1966), by his
Ethiopian Quintet and heavily influenced by his Cuban
collaborators. This adaptation of an ancient Ethiopiansong about youthful warriors was translated into Spanish
because he couldn’t find Ethiopian vocalists in New
York. “The youth isn’t scared of anything,” Astatke says.
“They just move forward.” In 2023, Jemberu Dembeke, an

8 June 2024 | THE NEW YORK CITY JAZZ RECORD

Ethiopian rapper who “grows his sound between the oldand the new,” revised the song, adding new lyrics that
amplify the warrior spirit required to be steadfast in themodern world.
Despite decades of European interference andabandonment, Ethiopia was never a colony. The culture
remains intact, with young Ethiopians still in love withsignature facets of expression, such as Eskista dancing.
The track “Esketa Dance”, on The Heliocentrics Inspiration
Information 3 collaboration with Astatke, sets a hypnotic
riff underneath keys and a chorus of horns evoking theshoulder-shaking style of the dance that has been bringing
Ethiopian bodies into harmony for some three thousand
years. Imperialism works to make us give up on culture,attempting erasures and fractures to control exports andstifle organizing against power structures. Of the waythat each composition creates a tapestry of many global
influences, Arben notes, “it is an antidote to a plastic
throw-away society.”
Arben also cites moments of surprise as a dominantfactor in engaging audiences for over five decades. “On[his] ‘Mulatu’, he usually takes a big solo on the vibraphone,but (for) this one show it was broken. In the middle of theshow, we have to explain this to him, so he walks back to
the grand piano, the pianist steps aside, and Mulatu plays.
The result was transcendent. I think he surprised us andhimself.” In the first recording of “Mulatu” (from Mulatu
of Ethiopia), the vibes envelop you, their resonance ripplingout around the other instruments, shimmering like water
sharing omphalos with the saxophone. To effectively pay
tribute to himself, Astatke seems compelled to make spacefor others. “He’s a little bit like a Miles Davis or a John
Zorn in his ability to empower other musicians and makethings happen, giving his imprimatur to it. He provides abeautiful umbrella,” Gershon noted.
Music is a science that can be measured in acoustics,
physics and waveforms, and developed alongside a
hypothesis. This we see honored in Astatke’s institutional
resume, having worked at MIT and Harvard; but whatmakes a global body of fans cry and shake is the experienceof his music that invigorates the human spirit, thesacredness of it. Giving through the art of teaching in theway Astatke does ensures that the gifts of culture continue
to expand while preserving acknowledgments of the past
to invigorate both practice and performance.
For more info visit mulatuastatke.bandcamp.com. Astatke is
at Sony Hall Jun. 19-20 (part of Blue Note Jazz Festival). See
Calendar.
Recommended Listening:• Mulatu Astatke & His Ethiopian Quintet—
Afro-Latin Soul, Vols. 1 & 2 (Worthy-Strut, 1966)• Mulatu Astatke—Mulatu of Ethiopia(Worthy-Strut, 1972)• Mulatu Astatke—Yekatit Ethio Jazz (Amha, 1974)• Mulatu Astatke—Mulatu Steps Ahead (Strut, 2007-9)• Mulatu Astatke & The Heliocentrics—
Inspiration Information 3 (Strut, 2008)• Mulatu Astatke + Black Jesus Experience—
To Know Without Knowing (BJX, 2020)

«ROGUEART»WILLIAM PARKER’S CONVERSATIONSThe Oral History at its best!

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COURTESY OF ROULETTEENCOREJIM
STALEYROULETTE KINGBY JAMES ILGENFRITZ

A major shift is taking place in New York’s creative
music scene: Jim Staley, now 73, is preparing to step
down from his longtime role as the Artistic Director at
Roulette Intermedium, making room for long standing
Roulette associate Matt Mehlan to take the reins. No
major changes will be taking place overnight, of course:
the variables have been so exquisitely organizedthat the greatest effect may simply be the continued
vibrance of the community.
Roulette was founded 45 years ago by Staley,
David Weinstein, Laurie Szujewska and a few others
who had migrated to New York from the Illinois
college town of Champaign-Urbana. Staley had
already developed his family home into Staley Manor,
a “dumpy old three-story house with 12 people living
in seven rooms.” He had just returned to Illinois tocomplete his master’s degree after playing in the U.S.
Army band in Berlin for a couple of years, where heinteracted with the city’s jazz and improvised musicscene, notably trombonists Slide Hampton and Paul
Rutherford. “Paul Rutherford was influential, in a new
way of approaching improvisation and the trombone,”he says, “I spent some time with him, seeing a numberof performances, mostly with bassist Barry Guy, butalso going to East Berlin at the time and meeting East
German improvisers.” During this time in Berlin,
Staley also interacted quite a bit with trombonist andcomposer James Fulkerson: “He introduced me tothe extended techniques world of the trombone andto minimalism. He was on a DAAD fellowship andintroduced me to a number of composers and artists
in the program at the time… His wife Mary Fulkerson,
was a big influence on my interest in working withdance and supporting experimental choreographers.”
One project from Staley’s days in Illinois thathas continued with some consistency over the years
is the collaborative entity the Tone Road Ramblers.
First appearing at Roulette in April 1981, the group’s
mission statement asserted: “Our musical materials
are inclusive and diverse, from extended techniques,

the use of toys and unusual sound sources, tomicrotonality from diverse traditions.” The group
has met consistently since those early days for anannual two-week residency, initially at the RagdaleFoundation in Illinois. Along with Staley, othercontinuously appearing participants include trumpeter
Ray Sasaki, trombonist Morgan Powell (who passed
away last year) and flutist John Fonville.
While Tone Road Ramblers provides a connection
to collaborations that predates Staley’s migration to
the East Coast, audiences in New York can probably
expect a renewed engagement with his many longtime
New York-based colleagues in his post-Roulette phase.
Staley’s own work has always emphasized the role ofthe improviser: “Creating music in real-time with thepressure of the audience,” he says. Indeed, Staley has
always maintained a passionate engagement with thelanguage of free improvisation. Early colleagues who
remain frequent partners in improvised music include
Ikue Mori, Ned Rothenberg, William Parker, Zeena
Parkins, Elliott Sharp and John Zorn. Of the latter,
Staley remarks, “He had the most influence in myapproach to improvisation… I have been improvisingwith John since 1981.”
An early catalytic element came in the formof a donation from John Cage’s Foundation forContemporary Performance Arts (initially founded byCage, Jasper Johns, Willem de Kooning and others andnow known as Foundation for Contemporary Arts).
This boon provided a meaningful start to Roulette’s
efforts. “We got a check in the mail one day, and laterJohn Cage came in with his usual humorous approach,and asked ‘were you surprised?’,” Staley muses. Cage’s
support enabled Staley, Weinstein and the others to
pursue their concept in earnest. A contemporary article
in The Village Voice about the then-new West Broadway
venue put Roulette at odds with an outmoded bohemianvibe that carried over from the previous generation,requiring a needed newness.
Staley recalls that Roulette’s very first concert
makes for an interesting story: “Violinist-composer
Malcolm Goldstein was planning to do an improvised
concert for Phill Niblock’s series, but Phill was atthat time being a bit more of a purist, and only was
programming composed music. So, Malcolm’s concert
was the first concert, in October of 1980. To oursurprise, Cage and dancer Merce Cunningham, andall these composers showed up—Philip Corner andothers.” From that first concert, Roulette received
about 30 proposals from people wanting to play there.

So they decided to program all 30 concerts. Fromthat time forward, many of the previously mentioned
musicians in this article were regularly featured, as
were Billy Bang, Andrew Cyrille, Jerome Cooper, Fred
Ho and Jemeel Moondoc. Staley recalls that Chinese
American baritone saxophonist Ho first approached
him with a project featuring Amiri Baraka and Steve
McCall. “You just open your doors, and there’s no lackof accomplished people of all ages and stages in theirwork coming to you. The problem is not screwing up
and sending someone away that you’ll regret later,” hesays. Staley tries to keep a focus on the “raw creativity”
that emerging artists present. “I’d always had a thing
for the idea that ‘if someone has a good idea, let’s justmake it happen.’ Sometimes composers have greatideas but they can’t get outside of their own way, tomake it happen… so I’d say ‘why don’t you do yourpiece, we’ll do ours.’” It helped that Weinstein had the
publicity sensibility, and Szujewska had a strong senseof typography. Together they put together Roulette’s
distinctive posters (which now adorn the walls in the
Brooklyn location on Atlantic Avenue). The venue’s
success was built on a collaborative dynamic that was
already in place in Illinois: “When we all moved to
New York, we all continued in that same work.”
Staley invested so much energy and vision into
Roulette’s many decades of innovation and growth, it
may be difficult to think of him without thinking ofRoulette (and vice versa). But it is notable that Staley
doesn’t see himself as a “curator” per se and takes adecidedly improvisational approach to coordinating
events at Roulette. “If I was a curator, the programming
would be boring within three years. My approach isin taking what comes to me, because someone who’s
already got an idea is going to be more successful thansomeone I ask to do something.” It was always importantfor Staley to maintain a balance in the programming.
“When we started Roulette,” he offers, “I incorporated
the improvisers and the minimalism, and other scenes
like electronics, or dance, because it just makes for ahealthier scene. As long as it’s original work and people
are trying to push the language, that was the guiding
direction in the early days for David and me.”Roulette Intermedium’s conception has always
driven innovation. Einstein Records began in the’90s, documenting not only Staley’s own work but
also work by others associated with the organization(Staley quickly noted a collaboration between vocalist(e.g. bassist Scott LaFaro; trumpeters Fats Navarro andBooker Little), Dolphy’s music went through a longgestation period in Los Angeles and thus his publiccareer was startlingly productive despite its brevity.
His interests—comparable to John Coltrane’s, Cecil
Taylor’s and Ornette Coleman’s—went beyond jazz tocontemporary composers such as Edgard Varèse as well
as North Indian music, while he developed a personal
voice that spread from alto saxophone to bass clarinet
and flute (studying the latter with contemporary master
Severino Gazzelloni). Dolphy’s genuinely virtuosic
multi-instrumentalism, unique at the time, becamea model for younger reed players, such as Anthony
Braxton and Roscoe Mitchell, who have carried it tocontrabass depths and sopranino highs, while also
continuing the Third Stream impulse.
Dolphy knew Mingus, Coltrane and Clifford Brown
in the mid ’50s, but only emerged nationally in 1958
with the Chico Hamilton Quintet, a group definedby West Coast cool. That relative inconspicuousness
soon changed. Between 1960-64, Dolphy became atransformative figure, making major contributions
to many of the period’s greatest recordings. He gave

an intense, disquieting voice to Mingus’ most radical
statements in both the quartet of 1960 that produced
Charles Mingus Presents Charles Mingus (Candid) andthe sextet that toured Europe in 1964. On December
21, 1960, he played on Ornette’s singularly radical
Free Jazz, then drove to New Jersey to record his
own Far Cry, including both band tributes to Charlie
Parker and an unaccompanied version of the ballad“Tenderly”, a lyrical masterpiece ranging from ethereal
to impassioned. In 1961 he recorded on George Russell’s
Ezz-thetics (Riverside), Oliver Nelson’s Blues and the
Abstract Truth (Impulse!) and Booker Little’s Out
Front (Candid), arguably each leader’s most enduring
recording. The same might be said for a later sidemansession, Andrew Hill’s Point of Departure (Blue Note,1964). Dolphy worked extensively with Coltrane, as coorchestrator on Africa/Brass and playing in the tenor/
soprano saxophonist’s quintet with pianist McCoy Tyner,bassist Reggie Workman and drummer Elvin Jones. His
prominence in that band is immediately apparent in the
recently discovered recording, Evenings at the Village(CONTINUED ON PAGE 39)

URSULA DAVISLEST WE FORGETERIC
DOLPHYABSTRACT EXPRESSIONISM OF SOUNDBY STUART BROOMER

The punning title of a 1989 recording neatly captures

the prophetic brilliance of Eric Dolphy (1928-1964): The
Ericle of Dolphi (Po Torch) conflates his name and theancient Greek Oracle of Delphi, where three millennia
ago the priestess Pythia divined the future. The double
album, by an improvising quartet, featuring saxophonist
Evan Parker and bassist Dave Holland, celebrates
Dolphy’s vision and his impact on succeeding musicalgenerations. This month marks the 60th anniversary of
his passing, less than two weeks after turning 36, in a
Berlin hospital, shortly after he had decided to stay inEurope following a tour with Charles Mingus. Thoughsome brilliant contemporaries passed away younger

10 June 2024 | THE NEW YORK CITY JAZZ RECORD(CONTINUED ON PAGE 39)

L ABEL SPOTLIGHT

AMP MUSIC& RECORDS
SOUND OF THE NORTHBY FRANZ MATZNER

F or those outside the sphere of jazz, Scandinavia mightseem an unlikely region to be at the cutting edge of thegenre, but indeed the countries of that northland havea big footprint in the world jazz scene. Among them,
Norway since the ’60s has been influential, with a keen
expression of stylistic diversity and talented players
attuned to experimentation. Amidst this cultural
openness, the Norwegian scene is thriving. The Oslobased independent label AMP Music & Records boasts
a robust catalog with a distinguished and crisp aura ofconsequence. Individual artists signed by the label areones who represent a spectrum of styles and expressive
avenues, carving out their own characters and courses.
Founded ten years ago by drummer and composer
Anders Thorén, AMP is the combination of an acronym
and an abbreviation. The acronym is for Ambitious
Mindful Projects, and the abbreviation for AMPlify,
which encapsulates the label’s vision to bring ambition
and mindfulness to its projects, amplifying every part ofthe process of music making. Thorén, who is a graduateof California’s Los Angeles College of Music (LACM) is
well-equipped to carry out the label’s mission. He hasstudied with a cast of drumming greats such as Peter

Depth & Ease
VoicEquilibrium

Radio Inderberg
John Pål Inderberg Trio

Erskine, Marcus Gilmore and Ralph Humphrey, among
others. His international credits are extensive, too, andhe maintains active rolls in groups such as BRIDGES(with saxophonist Seamus Blake), THREE (with pianist
Lars Jansson and bassist Jesper Bodilsen), Nordic
Circles, Michael Bloch Trio and playing as a soughtafter sideman on various other projects. Heading thelabel, he focuses on, as he says, the “sound of theNorth.” Thorén explains that, quite naturally, his aim
in establishing AMP contained a vision “to highlightupcoming jazz talents from Scandinavia.” He clarifies
that the intent is not meant to be exclusionary basedon geography or limited to a predetermined sonicquality, but in an Ellingtonian way he declares that
“great music is great music!” Reasonably, he defines
the catalog as one that at its core, embodies that Nordic
sound, which is largely the desire to explore jazz ina free form, creating soundscapes that are new andexciting, and often with Scandinavian folk elementsthat uniquely inform Nordic jazz.
Yet, consistent with Scandinavian culture, thecatalog maintains an old-world, stoic quality blended
with the precision and angularity of modernity.
Throughout, echoes of vaulted ceilings, the clatterof cobblestones, and the unexpected twists of alleys
meld with contemporary electricity and architecturalfinesse. Dancing Seedlings, for instance, by Danish
guitarist Kristoffer Gori Verdoner’s quartet illustrates
this mix. Tunes such as “Oh Yeah” sway and jump
sprightly, while others such as “Dreaming of Texas”
amble with prolonged, bluesy adroitness. Similar
releases including the sometimes florid, sometimes
understated Get Your Goat by Oyvind Mathisen also

Continuum
BRIDGES with Seamus Blake

illustrate the duality of this dynamic. Contributing
to such a diverse yet definable sound, AMP also
explores less common instrumentation and stylistic
choices. On Fornemmelsen Av Hjemland vocalist
Gro-Marthe Dickson and D-Lovely reinterpret the
melodies with re-written original lyrics to Cole Porter’smusic. Dickson’s stretched, unconventional version
of “scat” launches beyond the common jazz idiom
into elongated vocalizations and improvisational
departures, causing the tunes to burst unexpectedly,
creating a novel experiment fusing old and new.
Janne Saarinen’s use of the oboe matched with Ilkka
Uksila’s vibraphone on the decorous Watercolors also
demonstrates this duality. From the opener “Elysian
Plain”, the oboe’s unmistakably supple and stately
profile glistens. Paired with mellifluous vibraphone,
the result is a moving, penetrating effect. On the mid
tempo “Sad Eyes“, Saarinen provides melancholy
reflection, while Uksila issues a bed of resonance.
When asked about the definition of a “Northernsound”, Saarinen responded emphatically that she
believes there is definitely a stylistic dynamic. She
describes it thusly: “It’s [a] very open and more modalor plagal sound [that] avoids strong dominant sounds[or] cadences. And even at faster tempos chords usuallychange slowly.” This phenomenon is identifiable on
many albums released by AMP, including the Jacob
Roved Quintet‘s Dawn. Overall offering a tonallywarm embrace, the album unfolds with a lush paletteand a generally downtempo suppleness, as Thomas
Fryland and John Ruocco entwine their horn and reed
(CONTINUED ON PAGE 38)

MementoAyumi Tanaka Trio

Sources of Inspiration
Anders Thorén Quartet

VOX NEWSDIALOGUESBY SUZANNE LORGE

Brazilian vocalist Jamile Staevie Ayres gracefully
shoulders the full weight of the sung poetry forcomposer/bandleader Mike Holober’s This Rock We’re
On: Imaginary Letters (Palmetto). This elegant record—asuite of compositions honoring both the beauty andfragility of the natural world—moves between full-length
instrumentals for big band and compact art songs inchamber settings. Ayres appears on the latter.
These seven vocal tracks (of 17 total) derive inspirit from Samuel Barber’s mid-century Hermit Songsand Edward MacDowell’s 19th century parlor songs,
at once dense with meaning and tricky melodies. Note
how the jagged, intervallic vocal line on “Three Words
for Snow” and the glancing, harmonic friction between
voice and piano on “Refuge” accentuate the songs’
ponderous words. Or how Ayres’ deft toggling between
a rich throatiness and a lilting lyricism on “Another
Summer” and “Another Summer Epilogue” suggest a
cozy familiarity with the listener. It’s on “To Virginia”,
though, that we hear her contemporary understandingof song, as she adorns the minimal vocal line with jazzcolorations.
The tunes featuring the vocalist provide a compelling
contrast with the Gotham Jazz Orchestra’s instrumental

selections (the bulk of the two-disc recording)—against
pieces such as “Domes”, an exultant big band statement,
and “Tower Pulse”, a masterful work of sleek modernism.
In this juxtaposition, Holober’s talents as a composer forboth a large ensemble and an intimate voice cannot be
underestimated: these are magnificent expositions bothmusically and literarily.
Each set of Holober’s lyrics—imagined dialogues
between great environmental thought leaders on the stateof our planet—are a gift to any singer, loaded as they arewith feeling and intent. Ayres wisely resists any impulse
toward brooding in their interpretation, however, instead
issuing their message without any indulgence. Her
delivery, clear-eyed as it is, thus stands as a challenge.
Holober releases the album with a concert at City Collegeof New York’s Aaron Davis Hall (Jun. 14).
Singer/songwriter Allegra Levy, too, ponders
weighty matters in her new release, Out of the Question,
her fifth for SteepleChase. Each of the album’s 13 titles
ends in a question mark as Levy takes on themes such as
existential angst (“What Is This Thing Called Love?”), thedepth of commitment (“What Are You Doing The Rest ofYour Life?”) and the pain of unrequited love (“What’ll I
Do?”). Levy also contributed lyrics to two instrumentals—
Benny Golson’s “Are You Real?” as a swinging, scatting
paean to new love, and Horace Silver’s “Que Pasa?”, an
English/Spanish take on a bad romance, and one of thealbum’s darker tunes. Levy officially releases the newrecord at Pangea (Jun. 18).
The 10 tracks of Good People, singer Tierney Sutton’slatest album with the large ensemble San Gabriel 7, also
finds her writing lyrics—this time for the cause of social
justice. The daughter of a civil rights lawyer and a memberof the Bahá’í faith, Sutton shares her ever-deepening
understanding of racial injustice on the title track, apointed lesson in white America’s blindness toward theissue. She expounds further on “The In Between”, a soft
Latin tune that urges us to question our beliefs so as to seesocial truths more clearly, and on “Ten”, her mournful
remembrance for 10 Iranian women executed for theirreligious beliefs. Not all of the record is so grim, though:Sutton closes with “Wait for Me”, a gentle ballad thatoffers a utopian vision of a more harmonious future.
A quick shout-out: Champian Fulton spearheaded
Jazz at The Ballroom’s Flying High: Big Band Canaries Who
Soared, a collection of 15 tunes popularized by jazz divasof yesteryear and performed by several of the best jazz
vocalists today—besides Fulton, Gretje Angel, Carmen
Bradford, Olivia Chindamo, Jane Monheit and Vanessa
Perea. The album release shows are in California thismonth, but you can catch Fulton with her trio locally at
the 11th Annual Jersey City Jazz Festival in Jersey City
(Jun. 1) and The Django (Jun. 6).
In the rooms: Michelle Lordi will front her quartet at
Mezzrow (Jun. 2), likely singing some of the fascinating
tunes from her 2023 release, New Moon (Imani). And
international headliner Samara Joy returns to her native
NYC to play two consecutive nights at The Town Hall
(Jun. 20-21) then the New Jersey Performing Arts Center(Jun. 23).

THE NEW YORK CITY JAZZ RECORD | June 2024 11

FESTIVAL REPORTHARLEM JAZZCLUB REVIVALGOTHAM
JAZZ FESTIVAL

James Carter @Minton’s

BY JOHN PIETARO

ALAN NAHIGIAN

ALAN NAHIGIANBY TOM GREENLAND

Hot Sardines’ Elizabeth Bougerol @Downtown Association Club

The newly inaugurated biennial Harlem Jazz Club
Revival, under the directorship of Dakota Pippins (ofHarlem Late Night Jazz), recently ran its second edition(Apr. 12-21), presenting ten days of events housedin sixteen venues. After taking the A Train north to125th Street, your correspondent took a deep dive into
Harlem’s thriving local music scene.
Opening night at Red Rooster, a lively bar/restaurant just north of Lenox Ave. and 125th Street,saw guitarist John Smith’s combo—Alva Nelson(keyboards) and Victor Wise (drums) with Stephanie
Jeannot (vocals)—mixing jazz covers with R&B/
soul standards. North from there, at Patrick’s Place,
Patience Higgins (tenor) faced a similarly boisterous
crowd with his quartet—Dave Janeway (piano), Nathan
Garrett (bass), Dave Meade (drums)—covering Cole
Porter, Duke Ellington, Randy Weston and even Stevie
Wonder’s “Happy Birthday” for a guest. Due west at
Hamilton’s Bar & Kitchen, big-toned tenor saxophonist
David Lee Jones’ trio—Matthew Smythe (organ) and
Gordon Lane (drums) with guests Lady Cantrese
and C. Kelly Wright (vocals)—played hard-swinging,organ-charged blues.
Day 2 featured tenor saxophonist Tommy
Morimoto’s quintet—Nate Lucas (organ), Santi
Debriano (guitar), Abe Fogle (drums), Joaquín Pozo
(conga)—at Dinosaur BBQ, the sprawling sports bar/restaurant, where it delivered an attention-grabbing
set that mixed jazz with War, Marvin Gaye, Stevie
Wonder and Aretha Franklin (with guest vocalist C.
Kelly Wright). At Room 623, a cozy basement venue
evoking a 1920s speakeasy, vocalist Noël Simoné
paid tribute to Lauryn Hill with her quartet—Ilya
Lushtak (guitar), Eric Ballard Jr. (keyboards), Daniel
Grey (drums)—conjuring up a church-like vibe firedby Grey’s ecstatic beat-keeping. Minton’s Playhouse,birthplace of bebop, was the site of several late-night(11 pm - 3 am) jam sessions, Saturday’s hosted by alto
saxophonist Kevin Oliver, Jr.’s quartet—Seth Finch(piano), Gervis Myles (bass), Gary Jones III (drums)—
performing the leader’s originals before turning the
mic over to guest instrumentalists and vocalists.
On Day 3, the Soul Power Band—C. Kelly Wright(vocals), Howie Robbins (keyboards), Lawrence Lane
(guitar), Tony Stevenson (bass), A. J. Swindell (drums),
Juaquín Pozo (congas)—could be heard halfway down
the block from Harlem Shake, covering choice hits
such as Redbone’s “Come and Get Your Love”, Bobby

Back in the day, New York City was a dazzling andvital developmental site of “hot” jazz, following its birthin New Orleans and journey up to points branchingfrom the Misssissipi to Chicago and ultimately The
Big Apple, where the breadth of the music and thesize of the bands progressively grew. This in mind, it’s
only appropriate that the Gotham Jazz Festival and its
umbrella organization Prohibition Productions, would
be based here in NYC. Enthusiasts of the fervor andintensity of le jazz hot are increasingly aware of the
network of 1920s-30s related events across the more than
250 annual presentations by Prohibition Productions.
Founder Patrick Soluri’s initial home-based salons in2001 gave the drummer (and his magnificent RadioKing kit) a leading place in this movement when hewasn’t otherwise occupied by his primary work as acomposer of opera, ballet, theater and film scores. By
2015, when his organization partnered with the NYC
Hot Jazz Camp and Gotham Jazz Fest (both foundedby the stirring trumpeter Bria Skonberg and vocalist
Molly Ryan), the magic really happened.
The multiple stages of the 2024 Gotham Jazz Festival(Apr. 28) sported an array of hot and swing musicplus dance within several rooms of the Downtown
Association Club, a landmark building dating back to
the mid-1800s. Many performers, as well as audience
members, wore period dress (who knew that tassels
could still be sexy?). But to be clear, this festival isfar from a stodgy display of blind nostalgia: nary astraw hat nor sleeve-garter was in sight, nor could
any of the music be called a cliched “Dixieland.” One
can imagine the organizers carefully crossing off alltheme-park tropes in the quest to book the core of thishistoric music for moderns. And in the spirit of earlier
jazz’ magnitude, the featured music was befitting ofHarlem, Greenwich Village and the midtown hotels
and ballrooms of another age.
The day opened with solo pianist/vocalist
Quintin Harris’ atmospheric set in the first-floor mainlounge. The classic American Songbook has rarely
felt so authentic, paired as it was with the lounge’s
gorgeously dark paneled walls, fireplace, grand bar
and 15-foot ceilings. The music seemed custom-madefor the décor, rather noir and recalling the days of yore.
Harris’ vocals, reminiscent as much of Chet Baker as
Michael Feinstein, warmly floated above the nest ofleather couches. The efffect seemed bourgeois, making
one wonder how many in attendance might have been

(CONTINUED ON PAGE 38)(CONTINUED ON PAGE 38)

12 June 2024 | THE NEW YORK CITY JAZZ RECORDFRIDAY, JUNE 7

123 W 43RD ST NYC | THETOWNHALL.ORG
CONNECT: @TOWNHALLNYCCARAMOOR

800-745-3000

ALBUM REVIEWS

Jobim’s World
Yvonnick Prené/Geoff Keezer (Sunnyside)by Ken Dryden

A rising master of the chromatic harmonica, Frenchnative Yvonnick Prené is the modern successor to
the late virtuoso Toots Thielemans. After recording
several albums with small groups, Prené pursued
this duo session with veteran pianist Geoff Keezer,
an artist whose work he had long followed, although
they had never before met. Prené’s previous focus wason jazz classics, standards and his own compositions,but he felt that the music of Brazilian composer
Antônio Carlos Jobim and some of his peers shouldbe the centerpiece of this recording. The harmonica
master worked together with bop pianist Laurent
Courthaliac to arrange several songs to interpret thistimeless Brazilian music in a fresh manner, mainly by
employing advanced harmonies. Two months after
they completed their work, the one-day record datewith Keezer took place without a hitch.
The wistful introduction to Jobim’s “Triste”
quickly gives way to an upbeat, joyful exploration with
dazzling improvisations by both men. The musicians
stay true to Courthaliac’s rhapsodic arrangement of
Jobim’s chart-topping “The Girl from Ipanema”, whichslows the tempo to allow its many facets to unfold.
The novel setting of Jobim’s “Desafinado” frees theplayers from the traditional bossa nova rhythm, with
Keezer’s dreamy piano slowly coming into focus
as Prené enters and they explore its rich tapestry inmesmerizing fashion. The Brazilian great’s “Double
Rainbow” is recast with a nod to John Coltrane andMcCoy Tyner, sounding as if a detour into the tenor
saxophonist’s famous modal arrangement of “MyFavorite Things” might happen at any moment. It’s
hard to believe that Brazilian masters aren’t actuallyplaying the brisk romp through Pixinguinha andBenedito Lacerda’s choro “Proezas De Solon”. Prené
original “Vagues à Lames” will immediately seemfamiliar, as it is based on the chord changes to “Wave”,
one of Jobim’s most recorded and performed hits. The
harmonica player’s other composition, “Too Many
Notes”, may have been inspired by Jobim’s “One Note
Samba”, but this darting, jagged melody enables themusicians to showcase their considerable chops withits many twists and turns.

concept—an almost all-female band and a collection ofsongs from various disciplines that come in the formof a query. The band: Carmen Staaf (piano), Mimi Fox(bass) and Allison Miller (drums) with cameos from
Roxy Coss (tenor, soprano), Aubrey Johnson (vocals)and Andrew Baird (guitar) is aces and above it all is
Levy’s darkly shaded vocals.
The Clash’s punk tune, “Should I Stay or Should I
Go?”, gains a wistfulness that the British group’s raw
version never attained. Miller rolls in delightfully
after a minute of upfront bass, before the tune starts
swinging and changing tempo with abandon. Staaf
solos boppishly, then the song becomes a heavy blues
with a riffing Baird channeling blues icon Albert
King. Levy wrote lyrics to Benny Golson’s “Are You
Real?” and Horace Silver’s “Que Pasa?”. On theformer, Coss has a starring role on tenor, and she isassured in both solo and support. The latter has therequisite Latin flavor and features a neat repetitive
figure from Staaf, a dash of scat from the leader andsome smoldering saxophone playing from Coss, plus
insanely inventive work from Miller, proving sheshould be on every New York musician’s first-call
list. Michel Legrand’s sometimes schmaltzy “What
Are You Doing the Rest of Your Life?” is delivered
as a tender ballad, Levy wringing out every bit oflonging. Matt Dennis’ “Will You Still Be Mine?”(first recorded by Tommy Dorsey in 1941) swings
mightily. The leader’s “What’s in a Name?”, an
autobiographical ode to her adopted home of New
York, offers a memorable melody: “…where dreams
like fish are waiting to be caught.” The prolific Irving
Berlin penned “How Deep Is the Ocean?” in 1932
(Sinatra didn’t get to it until 1946) and Levy gives it
a straightforward reading, though Staaf launches into
an extended exploration that works itself into a mind
meld with Miller. Berlin’s “What’ll I Do?” plays as asad late-night take accompanied by Baird on ukelele.
The Shirelles’ soulful version of Carole King’s “Will
You Still Love Me Tomorrow?” hit the charts in 1960,
followed by King’s own version on Tapestry, which
reclaimed it as a song of romantic pleading, here
echoed by Levy—who reinforces that a question is
actually being asked. Staaf is at her most delicate on
this track. Levy’s version of Frank Loesser’s “What
Are You Doing New Year’s Eve?” is just as yearning,and one you’ll want to listen to on repeat.
For more info visit steeplechase.dk. The album release
concert is at Pangea Jun. 19. See Calendar.

Sonic Bouquet
Jocelyn Gould (s/r)
by Anna Steegmann

J ocelyn Gould, a virtuoso guitar player, talented

T he honey-voiced Allegra Levy likes a good concept,
as her previous albums attest. For this, her latest
release, Out of the Question, she embraces a double

For more info visit jocelyngould.com. Gould is at Birdland
Theater Jun. 27. See Calendar.

del Cosmos—Cold Drinks,
R • Atrás
Hot Dreams (Blank Forms Editions)
Bäckstrom—e • Jonathan
Jonathan Bäckstrom Quartet (We Jazz)c • Dave Bass—Trio Nuevo (Tiger Turn)
Braxton Saxophone Quartet—o • Anthony
10 Comp (Lorraine) 2022m (Tri-Centric Foundation)m • Alina Bzhezhinska & Tony Kofi—
Vita (BBE Music)e • Altera
Yoon Soon Choi, Jeonglim Yang, Andrén Matos—Potions Vol. 1 (Robalo Music)
44—In the Grip (AUT)d •• Circles
Stephan Crump—Slow Watere (Papillon Sounds)
Dahl’s Dafnie—Står Op Med Solend • Amalie(Aguirre/Sonic Transmissions)• Roy Eldridge/Charlie Shavers—

For more info visit sunnysiderecords.com. The album
release concert is at Zinc Bar Jun. 4. See Calendar.

Out of the Question
Allegra Levy (SteepleChase)by Jim Motavalli

hovering around the six minute mark) are familiar
standards that, for the most part, unfold at an easygoing pace. The album, recorded a day after the bandreturned from playing 33 stateside gigs, aimed tocapture the atmosphere of a live performance while it
was fresh in the group’s musical DNA. Listeners willthus enjoy elements of swing, bebop, straight-ahead
jazz and great band chemistry.
The leader’s “Trail Blazer” brims with joyful
swinging energy. Both guitarists alternate between
taking the lead and supporting role. A beautiful
piano section rises above the melody, as the piano
trio takes center stage while the guitars fade, before
everyone magnificently returns together to join in on
the melody. Both guitars lead and improvise on the
lyrical “My Foolish Heart” (Victor Young), achievinga gorgeous sound, while Davis’ feathery drum touch
contributes to a gentle, tender tone. Slow and dreamy“Jessica’s Birthday” (Quincy Jones) picks up in paceand vigor, with McDonald’s great straight-aheadclarinet playing showcased (she also adds energy andsparkle to Joe Henderson’s “The Kicker”). “Is That
So?”, another original by the leader, features bothguitarists demonstrating skillful, impressive interplay
and a warm, combined timbre, while McDonald
again supplies bouncy clarinet escapades. “Tender isthe Night” (Sammy Fain) seduces with its romantic
mood and is remarkable for the interaction between
the bassist and drummer. The sensuous “Last of theRoundes” (Napoleon) will likely become an album andin-concert favorite, if it isn’t already.
Gould’s new album will enchant you: the more
you listen to it, the more you want to play it.

arranger, Juno Award winner and head of the guitar
department at Toronto’s Humber College, has beenrightfully called “a leader in the next generation ofgreat mainstream jazz guitarists.” For her third album,
Sonic Bouquet, she has assembled a talented group of
Canadian and American collaborators from multiple
generations, including her former teacher, Randy
Napoleon (guitar), Virginia McDonald (clarinet), Will
Bonness (piano), Rodney Whitaker (bass) and Quincy
Davis (drums).
The two guitarists contributed originals andarrangements, but the majority of the nine tracks (most16 June 2024 | THE NEW YORK CITY JAZZ RECORDn Swing Trumpets (Circle)
Forest—(D)ruminationse • The(Different Track Recordings)
w • Aaron Irwin Trio—(after) (Adhyâropa)
r
e
l
e
a
s
e
s

• Kolonel Djafaar—Getaway (Batov)• Luisa Muhr—Teuflin/She-Devil (Boomslang)• Dan Phillips—Points of Light in Duality(Lizard Breath)• PNY Quintet (Steve Swell, Rob Brown,
Michel Edelin, Peter Giron, John Betsch)—
Over the Wall (Rogue Art)
• Marta Sanchez—Perpetual Void (Intakt)• Scheen Jazzorkester & Cortex—Frameworks(Music by Thomas Johansson) (Clean Feed)• Matt Wilson—Good Trouble (Palmetto)• Eri Yamamoto—Colors of the Night Trio
(Mahakala Music)

Triptych Phase I/II/III
Stephane Wrembel/Jean-Michel Pilc (Water Is Life)by Scott Yanow

S tephane Wrembel is a brilliant guitarist perhaps
best known for his series of The Django Experimentrecordings in which he stretches the legacy of Django
Reinhardt’s style and repertoire. Born in Paris,
Wrembel was originally a classical pianist before
switching to guitar when he was 16 to play rock.
After discovering Reinhardt’s music, he changed
his musical direction and became a master of Gypsy
jazz. Wrembel attended Boston’s Berklee College ofMusic, graduating in 2002, the same year he made hisrecording debut. He gained attention for contributing
some of the music to a few Woody Allen films (mostnotably Midnight in Paris), created the Django á Gogo
Festival and Guitar Camp and, prior to Triptych Phase,
has led at least 14 recordings, including six in The
Django Experiment series. The three single albums of
Triptych Phase (I-III) find Wrembel teaming up withthe masterful pianist Jean-Michel Pilc in a group that
also includes, on various tracks, Thor Jensen (guitar),
Ari Folman-Cohen (bass), Nick Anderson (drums)
and occasionally Nick Driscoll (saxophones, clarinet);
two selections include Josh Kaye (guitar) and bassist
Eduardo Belo (bass), subbing respectively for Jensen
and Folman-Cohen.
Triptych Phase I starts with Wrembel looking
towards modern jazz and fusion, as well as his roots
in rock during the album’s first two numbers. “EccoHomo” has the guitarist leading his group througha passionate waltz with a catchy melody that, in its
orchestral feel, is slightly reminiscent of the Return
To Forever group and features a passionate Driscoll
soprano solo. “Lascaux” is a jazz waltz that finds
Pilc taking the music a bit outside. The pianist is
next featured on the thoughtful and solo “Triptych
Improvisation 1”. The second half of the album finds
the group exploring Reinhardt’s music and style byperforming the classic guitarist’s heated “Pêche á la
Mouche”, as well as his warm ballad “Anouman”,
plus Wrembel’s forceful swing piece “Le Mythede Sisyphe”. This first volume concludes with Pilc
creating another quietly emotional solo piano piece in“Triptych Improvisation II”.
Triptych Phase II continues in a similarly eclectic
manner, consisting of three of the leader’s originals,
two Django numbers and “Triptych Improvisation
III” (the latter which is the most intense of Pilc’s threeunaccompanied features). The three Wrembel pieces
are extended performances, including “Jonathan
Livingston Seagull”, the expansive opener and an
ensemble-oriented performance that is, like “EccoHomo”, orchestral with the individual solos being
logical extensions of the powerful ensembles. Similarstatements can be said of “Mystic Circles” and“Aléthela”, the latter a waltz with a singable melody
and a long statement of the theme. The group’s
treatment of the Django numbers really stretches the
Gypsy jazz idiom. “Flèche d’Or” is an uptempo romp
with wild piano and guitar solos; Pilc even tosses in aquote of the 1920s standard “I’ve Found a New Baby”
during his dazzling improvisation. “Minor Swing” isalso taken to some unexpected areas with a heatedclarinet solo and Wrembel showing what Django might
have sounded like if he had been 20 years younger andactive in the ’70s.
Triptych Phase III utilizes an exotic and haunting
melody on the three-part “Life In Three Stages”,
which is placed at the beginning, middle and endof this volume. The first time around has flamenco-type rhythms in the background, the second version
is mostly a statement of the theme by Wrembel, andthe third is a piano-guitar duo that sticks closely
to the melody. Also included on this set are theguitarist’s modern jazz piece “Orion”, Pilc’s romantic
waltz “Your Lullaby”, “Demain Sans Faute” andan adventurous exploration of Django’s “Douce
Ambiance”. While Triptych Phase I may have a slightedge over the others, each volume contains plenty of
rewarding music.

DROP THE NEEDLE

For more info visit stephanewrembel.bandcamp.com.
Wrembel is at Barbes Jun. 2, 9 and 16. See Calendar.
Where?
Ron Carter (with Eric Dolphy, Mal Waldron)(New Jazz-Craft Recordings)
by Fred Bouchard

Ere Guitar
Elliott Sharp, Sally Gates, Tashi Dorji (Intakt)
by Brad Cohan

T o many, the monumental (and still growing) canon ofvisionary polymath Elliott Sharp is the stuff of legend,
and in this varied catalog is revealed his mastery in
the art of collaboration. Sharp’s many partners inexperimental sound-making have included violist
Joanna Mattrey, multi-instrumentalist Jim O’Rourke
and visual artist/composer Christian Marclay, among
others. A “sixth sense” informs his improvisationalsettings, the multi-instrumentalist’s all-encompassing
approach fostering a special kind of alchemy when he
joins forces with like-minded explorers, as in 2017’s
Err Guitar, a fully-improvised set with guitarists Mary
Halvorson and Marc Ribot. With no shared history to
speak of, the trio achieved a synchrony to speak in asonic language of tones, drones, textures and riffs thatascended to another level.
The subsequent Ere Guitar represents a continuing
concept of Sharp’s in which, according to the liner
notes, he chooses musicians “whose focus is on
spontaneous improvisation.” The rapport he shares
here with guitarists Sally Gates and Tashi Dorji clicks
in mystical ways Err Guitar didn’t. Ere Guitar has noprior experiences to draw from—a fresh start for atrio who’ve never played together. While it’s easy toidentify Halvorson and Ribot’s guitar hallmarks thatflare up on the first installment of this series, there’s
an unknown factor of who’s playing what that sets
this sequel apart. Gates is a rising star for her jazzmeets-metal shred in Titan to Tachyons and Dorji is a
Bhutanese improviser whose style defies classification.
Might it be Gates going roughshod and attacking andbending the strings with abandon? Is it Dorji building
a wall of ecstatic sound? It’s futile to decipher themaelstrom but this much is clear: the pair teamingwith Sharp results in a troika toting the dissonant force
of a guitar army.
That’s not to say this ten-song set is one big noisefest. Far from it. On “Drill Core”, the trio survey dreamlike, ambient bliss that’s akin to alien transmissions
from the unknown. The trippy “Unfinished
Conversation” sounds as if their intersecting andentrancing guitar tones are suspended in air andstreaking across the sky. “Popular Science” is a mindaltering, skronk-laden drone. But in the end, Sharp’s
vision is clearly heroic guitar experimentation of thehighest collaborative order.
For more info visit intaktrec.ch. Sharp is at Roulette Jun. 13.
Gates is at Downtown Music Gallery Jun. 4. Dorji is at
Roulette Jun. 28. See Calendar.

A t the age of 87, bassist Ron Carter has amassed
a huge discography of around 2,300 dates. But
it was with a cello in August 1960 when he andbassist George Duvivier waxed Eric Dolphy’s
Out There! The two had met in 1959 aboard
drummer Chico Hamilton’s simmering chamber
quintet, when Carter subbed for bassist Carson
Smith (not cellist Fred Katz). Best known for
inventive bass lines in Miles Davis’ iconic second
quartet (1963-68), Carter by this time returned tohis childhood instrument (bass-tuned E-A-D-G.)
Seven weeks after the August date, Dolphy
returned the favor, appearing on Carter’s nonrhetorically titled leader debut Where? Bothdates manifest keen interest in subtly stretchingboundaries and delving fresh, airy sonorities, as
the label name implies. New Jazz (brain-childof Bob Weinstock’s Prestige Records) corralledaudacious talent in the ’60s and Craft Recordings
now dips into the vault to revive and remaster
those gems on 180-gram vinyl.
The tidy set offers six six-minute tracks: two
Carter originals and two standards (one blueseach), plus the title track and “Saucer Eyes” bypianist/composer Randy Weston, with whom
Carter freelanced early on in his career. On the
peppy “Rally” (32 bars with a bridge), Dolphy
builds jagged ziggurats for his adenoidal bass
clarinet, looping his signature recursive patterns
and a mock call-to-arms, with Mal Waldron’schattering comping. Carter’s bowing is a workin progress: raspy, off-pitch against Duvivier’s
earthy bass—but game. “Bass Duet” finds the twoeither at odds or snug over Charli Persip’s agile
brushes; Waldron comps lightly, Duvivier quotes“Dinah” and it’s all good fun. The Romberg
classic “Softly, as in a Morning Sunrise” goes at
a merry clip, Carter’s raggedy cello slurring thein-and-out-choruses. Dolphy’s alto crows clearly,
as a rooster at dawn, over Persip’s stutter-steptraps. Somber drama pervades the deeply felt
title tune, as Carter’s tremolo arco and sostenuto
on the bridge recall his classical training (at theEastman and Manhattan Schools of Music), before
his buzzy, bittersweet improvisation explores
new directions. Sy Oliver’s bouncy, bright-eyed“Yes, Indeed!” has a playful cello-flute front line,with a flying-squirrel flute from Dolphy, a cooland easy Waldron, and Carter’s finger-wagging
preachy pizz, with an ’ah-men!’ Weston’s kiddie
ditty “Saucer Eyes” brilliantly bookends the set:
fleet flute, jabbing keys, brisk bass-brush duo,done in a blink. Sweet!
For more info visit craftrecordings.com. “EricDolphy: Freedom of Sound” festival is at New
School’s Tishman Auditorium Jun. 1-2. Carter is at
Birdland with Emmet Cohen Trio Jun. 11-15. See
Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2024 17

At the Blackhawk, Vol. 1
Shelly Manne & His Men(Contemporary-Craft Recordings)
Jazz From The Pacific Northwest
Shelly Manne & His Men (Reel to Real)by John Pietaro

Shelly Manne (who was born 104 years ago this month)is rarely discussed among great jazz drummers, yet
he is perhaps the single most diverse drummer of his
generation. Through his father, a theatre musician, hebecame a student of Billy Gladstone, Radio City Music
Hall’s drummer through whom he developed the
grand technical skills and sheer musicality associatedwith his mentor. Manne haunted 52nd Street nightly
and worked with Woody Herman, Stan Kenton andothers, before packing up his drums with wife Florence,heading west to L.A.’s studio scene where he played
film scores as well as pop and jazz sessions. He wasa reluctant leader of the “West Coast School” and ina spectacular career, collaborated with every giant of
jazz. But he is best recalled for his ensemble, Shelly
Manne & His Men.
The recently remastered At the Blackhawk, Vol. 1 isthe first of four volumes from three nights recorded in
1959. The album saunters in with “Summertime”, themuted trumpet of Joe Gordon capturing the essenceof Miles Davis without flourish as Victor Feldman’s
piano drops chords about him, at once percussive andspiritual. Bassist Monty Budwig, another undersung
hero, throbs rhythmically, enforcing the downbeat
in the otherwise atmospheric take on the standard.
But it’s the leader who floats above, wire brushes
singing like evening summer rain. Gordon’s solostatement juxtaposes into that of tenor saxophonist
Richie Kamuca, whose solo foretells this period ofjazz in transition. Exhibited profoundly is Feldman’ssolo of modal improv beneath the bluest melodic
forays. While the selections range from pure ballad
to uptempo post-bop, the clean, vibrant L.A. sound isundeniable. “Poinciana” (Nat Simon/Buddy Bernier),
at killer-diller tempo, is a highlight, as are both takes of“Blue Daniel” (Frank Rosolino); take two is the tighter,slightly faster version. The album closes with “A Gem
from Tiffany” (Bill Holman), the perfect vehicle toleave us wanting more —such as Vol. 2, 3 and 4.
The drummer and his men ventured further for thecaptures found in the thoughtfully researched Jazz From
The Pacific Northwest. This 2-CD or double-LP package
carries the listener first to the 1958 Monterey Jazz
Festival and then to a pair of 1966 Seattle dates. Budwig
is retained throughout, the anchor on many levels. For
the Monterey selections, the rhythm section included
Russ Freeman (piano) with Herb Geller (alto) and Stu
Williamson (trumpet); in total it’s a highly different
sound from the Blackhawk date—more hard bop at thecore. Manne’s drumming at points (“Stop, Look and
Listen”) borders excitedly on free jazz. As always, theleader sought to reach beyond, hence Holman’s near
18-minute suite “Quartet”, the set’s heart. By the 1966
dates, the line-up now had Hampton Hawes (piano),with Frank Strozier (alto, flute) and Conte Candoli(trumpet) out front. Vocalist Ruth Price joins the lineup on “Dearly Beloved”. For a set of standards, themusicians enjoyed a very expansive outlook, withthe titles averaging about 10 minutes each. Romberg
and Hammerstein’s “Softly, as in a Morning Sunrise”
opens the second disc with fervor, subtly uptempo
and swinging. And “Summertime” is treated to an
arrangement reminiscent of Chico Hamilton with
Strozier’s sinewy, artful flute bending and blurring

18 June 2024 | THE NEW YORK CITY JAZZ RECORD

Gershwin’s melody. The saxophonist/flute player’s
career, so plentiful (Miles Davis, Oliver Nelson, Chet
Baker, Roy Haynes, Walter Perkins, Lee Morgan), wasaborted far too early. And Condoli, most notable forhis work with the Tonight Show band, counted mostof the great big bands among his employers. One candetect that all five players were stretching out, Mannein particular, casting a rollicking atmosphere whichstood far apart from the studio charts. These previously
unreleased recordings, packed with historic photos
and liner notes from drummers Peter Erskine and Joe
LaBarbera, as well as L.A. session ace Jim Keltner,
plus numerous others associated with the originalrecordings, amount to a treasure.
For more info visit craftrecordings.com and cellarlive.com

The Almighty
Isaiah Collier & The Chosen Few (Division 81)
by Jeff Cebulski

The path that Chicago saxophonist and multiinstrumentalist Isaiah Collier has taken is marked
by its approximation to the spiritual jazz tradition ofJohn and Alice Coltrane, Pharoah Sanders and others,
but there’s enough distinction between him andthese founders to certify the young saxophonist as anextender of a beloved jazz motif in his own right.
On the new album The Almighty, such a distinctionof Collier and his group is a Christian bent to the lyrics
sung by Dee Alexander and Collier himself; in contrast,
the Coltranes were expressing a more universal idea.
Yet Collier doesn’t marginalize his audience by wayof evangelism; this release is a personal expressionof holy desire and recognition of the Divine. The key
to the album’s power—outside the religious themes
and a wall-of-sound dynamic—is the bond between
the leader and his voluble drummer and frequentcollaborator Michael Shekwoaga Ode. Those who
relished the recording of Coltrane and Rashied Ali on
The Olatunji Concert will be excited by what they hearon the “Plus” section of the “Duality Suite”.
On album opener “LOVE”, when Alexander sings“Lord help me with sharing my heart/with my brothers
and my sisters/we all belong to this earth,” humility
reigns over proclamation, making The Almighty moreof a worship suite than a creedal screed. The Easterntinged rhythm will be familiar to followers of the
tradition established by Coltrane, Sanders, et al., withpianist Julian Davis Reid’s McCoy Tyner-ish twohanded chords dutifully driving the music, Jeremiah
Hunt’s sturdy bass and Ode’s pounding away on
drums. Collier is quite able to sustain his solos withenough dissonance to signify a manifest pleading.
On “Compassion”, longtime Chicagoan saxophonist
Ari Brown joins with exultant blowing. The nearly
20-minute title cut incorporates The Celestials, an
11-piece ensemble, in a dramatic composition thatapplies the sumptuous production style perpetrated byKamasi Washington to a latterday Coltrane vibe.
Even with its derivative touches, Collier’s new
album The Almighty builds mightily upon previous
releases, representing growth that anticipates adistinctive present and future.
For more info visit division81records.bandcamp.com. Collier
is at Roulette Jun. 18 and 23 (both as part of Vision Festival)
and National Sawdust Jun. 19. See Calendar.

Sunday, June 16th at Mezzrow (7:30 & 9 pm) 163 W. 10th St., NYC

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6.12 DUO with Johnathan Blake (drums)
6.13 DUO with Larry Grenadier (bass)
6.14 DUO with Jacob Sacks (piano)
6.15 TRIO with Immanuel Wilkins (sax), Craig Taborn (piano)

SEE THE FULL LINEUP AT SUMMERSTAGE.ORG
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8:30 PM$20 CASH ONLYLive at Dizzy’s Club: The Music of Elvin & McCoy
Gerald Cannon (Woodneck)by Alex Henderson

V eteran acoustic bassist Gerald Cannon, now 66,

has a strong connection to half of John Coltrane’s
trailblazing early ’60s quartet: spending 14 years withpianist McCoy Tyner and nine years with drummer
Elvin Jones. Tyner and Jones have since passed away,
and Cannon pays tribute to both on the inspired Liveat Dizzy’s Club: The Music of Elvin & McCoy recordedin June 2022. The performances include five pieces byTyner and two by Jones, plus Cannon’s contemplative“Three Elders” (written in memory of pianist Larry
Willis, another major talent the bassist played with).
Coltrane is unquestionably the prominent influence,from Tyner’s ballad “Search for Peace” to aggressive
post-bop swingers such as Jones’ “E.J.’s Blues”, “3 Card
Molly” and Tyner’s “Contemporary Focus”.
The leader is joined by an all-star lineup that
includes Eddie Henderson (trumpet), Steve Turre(trombone), Joe Lovano (tenor), Sherman Irby (alto),
Dave Kikoski (piano) and Lenny White (drums). The
album also has another major audible influence: the‘60s Blue Note sound. The horn arrangements on “Bluesin the Minor” and “Home” (both by Tyner) sound crisp

and focused in a way that recalls the classic recordingsof drummer Art Blakey’s Jazz Messengers and pianist
Horace Silver’s groups. Cannon, however, downsizes
and forms a piano trio with Kikoski and White on thetitle track of Tyner’s 1962 Inception (the pianist’s firstrecording as leader, which came at a time when he wasplaying alongside Jones and bassist Jimmy Garrison in
Coltrane’s quartet). Tyner, who was only 23 at the time,
led a trio that featured bassist Art Davis and Jones.
Here Cannon, Kikoski and White pay homage to that
trio, but with inspired improvisations of their own.
Although Coltrane died in 1967, he remained a
powerful inspiration to Tyner and Jones long after his
passing. And the innovative saxophonist is indeed still
very much an influence, as heard on Live at Dizzy’s
Club: The Music of Elvin & McCoy.
For more info visit cannonmusicnart.com. Cannon is atTown Hall Jun. 19 (part of Peperoncino Festival’s “All Star
Tribute to Michael Brecker“) and Center for Italian Modern
Art Jun. 15 (part of Peperoncino Festival). See Calendar.

adept at moving between pulse and clatter, while theexceptionally fluent Trzaska provides an exciting andimpassioned foil for Swell on both alto and bass clarinet.
Swell is also part of a fortuitous coming together
on Over The Wall by the PNY Quintet, where he
renews an old alliance with French flutist Michel
Edelin in Paris at the same time he affirms hislongstanding partnership with alto saxophonist Rob
Brown. Completing the line-up are the expat pairingof bassist Peter Giron and drummer John Betsch.
Limited studio time necessitated charts that could
be absorbed quickly while still providing sufficient
hooks to promote productive exploration, with threeeach from Swell and Edelin, two from Brown and four
improvs. With a dozen tracks in 47-minutes playing
time, solos are pithy, while varied arrangements
keep the music fresh. Years shared onstage ensurethat when the opportunity arises Brown and Swellintertwine in a ceaseless flux, also heard to good effecton “Nexus”. Edelin enjoys a potent flute/drum duo
on his own “New Orleans”, while Swell’s “For FrankLowe” is another standout.
For more info visit kilogramrecords.com and roguart.com.
Swell is at Roulette Jun. 18 and 23 (both part of Vision
Festival) and Loft 393 with Composers Concordance Jun. 20.

Space Cube Jazz
Matthew Shipp/Steve Swell (Rogue Art)
The Quiet Shout (Live at Pardon To Tu)
Inner Ear (Kilogram)
Over The WallPNY Quintet (Rogue Art)
by John Sharpe

It’s hard to think of a more complete contemporary
trombonist than Steve Swell. His unpredictabletrajectory and tonal freedom, often enhanced by adroit
plunger technique, means that he continually wrongfoots the listener—not least when he draws on a fragile
delicacy that belies his instrument’s timbral heft. Herehe brings his long experience of collective situations
to bear in three diverse settings, showing himself as amaster of inspired and responsive discourse.
In spite of moving in the same Lower Manhattan
orbits, Space Cube Jazz represents the first joint duo
venture by Swell and pianist Matthew Shipp. The
collaboration proves well worth the wait and the 2021
studio date offers a dozen succinct reasons why. As
Shipp notes in the liners, the format pushes players
into places outside of their norms. For his part, thetrombonist also recognizes that working in duet witha harmonic instrument requires a different approach,but nonetheless wants to avoid getting drawn into the
pianist’s customary way of working. No surprise thenthat the near constant dialogue (apart from one solo
cut each), comprises oblique interaction. Neither seems
more than momentarily inclined to melody, unison or
steady pulse. Instead, they focus on setting out ideas,
which when taken together surpass the constituent
parts. By the end it feels as if both have carved out an
engaging and rewarding space away from home turf.
The trombonist first united with Polish reedman
Mikołaj Trzaska, Swedish tubaist Per-Åke Holmlander
and Chicago drummer Tim Daisy during their tenure
in reedman Ken Vandermark’s Resonance Ensemble in2008. So fertile were their encounters that the foursome
has taken on a life of its own under the banner Inner
Ear, with The Quiet Shout its third album. The October
2023 live recording presents five group concoctions
which showcase the outfit’s strong suit of extemporized
give and take as they touch on a range of styles fromNew Orleans polyphony to timbrally adventurous
improv. Holmlander gives the band its distinctive
identity through the flexible underpinning of his
nimble blown bass, his willingness to hold down an
impromptu riff and ability to step into the front line ina brass wind chamber ensemble. Daisy proves similarly

20 June 2024 | THE NEW YORK CITY JAZZ RECORD

Among Giants
Sarah Hanahan (Blue Engine)by Matty Bannond

H ave you ever met your heroes? That may be an
abstract question for some, but alto saxophonist Sarah
Hanahan didn’t just meet them—she gathered her
mentors into a studio and steered them through anhomage to jazz greats. The result is Among Giants, aneight-track debut that reaches for the stars of bebop. It
may not be a Bird but it sure can fly. Hanahan’s profile
is rising rapidly and deserving of more recognition.
Marc Cary, her Juilliard professor, joins on piano; Nat
Reeves, who mentored Hanahan for many years, adds
his bass; and drummer Jeff “Tain” Watts additionallyagreed to help launch the career of one of his biggest
fans.
John Coltrane’s “Welcome” propels the album intoa blistering start, gathering momentum before bursting
through the clouds and into the heavens. The altoist
cracks and howls as the cabin pressure increases,
but the machine zips along in one piece thanks to its
powerful engine and experienced crew. Other tunes
encounter less turbulence. The calypso “Honey” (oneof four tracks that brings Robert Allende on board
for extra percussion) provides a smooth trip, while
dramatic scenery drifts past the windows on Hoagy
Carmichael’s “Stardust”. The skies are darker on thelatter, as Hanahan’s phrasing permits the ballad to
unfurl by adding many shades of the blues.
Among Giants showcases a new talent with
dazzling aptitude and bold attitude—and it soars to
dizzying altitudes often. Hanahan is a powerful player
who transports her listeners far up into exquisite cloud
kingdoms. Together with her heroes, she proves she
too can soar.
For more info visit:jazz.org/watch-listen-discover/blue-engine-records.
The album release concert is at Dizzy’s Club Jun. 6. Hanahan is
also at Dizzy’s Club with Quincy Davis Jun. 11. See Calendar.

12 straight weeks#1 Big Band on
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2023 winner of the
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A heartfelt tribute to JOE HENDERSON featuring fresh, newarrangements of the tenor saxophonist's compositions
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“An energetic, high-voltage utist who swings ferociously.”—allaboutjazz.com

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New Concepts in Piano Trio Jazz (ESP-Disk’)Circular Temple (Quinton-ESP-Disk’)
Matthew Shippby John Sharpe

A glance at pianist Matthew Shipp’s discography
reveals that one of the prime outlets for his artistry is hisclassic piano trio, which ranks among the pre-eminent
units in modern jazz. That’s down to the principal andhis choice of simpatico partners. Shipp in full flow
is unmistakable—a unique stylist who propounds amemorable mix of infectious motifs, glittering runs
and stomping bass register. The two releases here offer
the chance to compare and contrast different eras in his
career.
Shipp has a history of attention-grabbing titles(remember Greatest Hits?). While the grandiose New
Concepts in Piano Trio Jazz promises more than anyone
can perhaps deliver at this juncture, the latest offeringfrom Shipp’s outfit with Michael Bisio (bass) andNewman Taylor Baker (drums) certainly stands as asuperior outing. Having been in existence as a unit foralmost a decade, they have developed such a cohesive
and near telepathic identity that it would be easy tobelieve that many of the eight improvised cuts were
the result of preconceived gambits. In particular, theway in which Baker pares back his contribution to theessentials ensures an open and spacious canvas onwhich Shipp and Bisio thrive. A case in point is “TheFunction”. Bisio etches a continuous line that teeters
between walking and a riff, against which Shipppitches swinging figures, gaunt snags and ripplingromanticism. But Baker’s part is perhaps the mostremarkable as he interpolates a discontinuous series ofrhythmic cells and comments that skew the piece intonovel territory. Also notable is the gorgeous aching
melody of the opening “Primal Poem”, the tumbleof concise gestures of “Tone IQ” and the expansive“Coherent System”, distinguished by sparkling andunpredictable interplay, which elevates the entire date:it’s a further refinement of an already ultra-refinednotion.
Shipp’s was already a distinctive voice when, in
1990, he recorded his third album as leader/co-leader,
Circular Temple, which has now been reissued. Joining
the pianist are William Parker (bass) and Whit Dickey(drums) in a trio that would go on to fuel some ofsaxophonist David S. Ware’s fieriest sessions. Someof those same dense voicings appear on the four cuts
here, underpinned by a turbulent energy always
ready to erupt onto the surface. Skeletal thematic
material frames freewheeling interaction between thethreesome, notably the boppish vamp with which Shippintroduces “Circular Temple #2 (Monk’s Nightmare)”,or the insistent phrases that pepper the other pieces.
Dickey lays down multidirectional polyrhythms thatchatter but don’t corral, allowing his trio partners towander where they wish. The bassist especially, withbow in hand, slurs and groans expressively across thefingerboard. He and Dickey partake in a duet of darting
flurries on “#3”, an approach that carries over into
Shipp’s edgy unaccompanied intro to the lengthy “#4”.
The piece continues in a restless stream of exchanges,
intermittently swinging, stuttering and convulsive,
before a swirling cadenza with sustain pedal to the

22 June 2024 | THE NEW YORK CITY JAZZ RECORD

floor. With the release of Circular Temple over three
decades ago, Shipp was already a master.
For more info visit espdisk.com. Shipp is at New School’s
Tishman Auditorium Jun. 1 (part of “Eric Dolphy: Freedomof Sound” festival) and his trio is at Roulette Jun. 19 (partof Vision Festival). See Calendar.

Plays
Nicole Glover (Savant)by Matty BannondPart of the Artemis sextet (nominally led by pianist

Renee Rosnes) and a frequent performer with the Jazzat Lincoln Center Orchestra, tenor saxophonist Nicole
Glover has heretofore been most well-known as a sideplayer. That said, Plays is her third and latest album as
leader and features a barebones trio format with theleader standing in the foreground against the sparse
backdrop of bass (Tyrone Allen) and drums (Kayvon
Gordon).
Exploring the high-risk instrumentation with
low-risk arrangements, Glover’s heavy preference forswinging bop is exposed in sharp focus. In this collectionof solid tunes and consistent work, she contributes one
original alongside tunes by Ornette Coleman, McCoy

Tyner and others. The rhythmic backdrop behind
Glover, the album’s central character, together offersa constant, supportive presence, while Steve Nelson(vibes) joins as a special guest on half of the record’seight tracks. The album’s first two numbers, “Openor Close” and “The Fox”, each open with looping
motifs from Glover, in addition to walking bass andcymbal-driven swing. The tenor saxophonist steadilyraises the energy level in her squirmy solos, employing
extended techniques, including altissimo screaming.
The nervous quality of tentative footsteps on Allen’s“The A-Side” centrally positions the bassist’s viscousvoice and shows a different side to Glover. The leader’ssound is lighter here, while Gordon’s accompanying
brushwork subtly but audibly makes the kit shiver.
Listeners must wait until the album closer to check out
a snapshot of the bandleader’s strong writing: “Bluesfor Mel” is a traditional twelve-bar piece constructedaround a spiraling structure that serves as a solid
vehicle for Glover’s deeply communicative style andknockout sound.

For more info visit outofyourheadrecords.com. The album
release concert is at Threes Brewing Jun. 6. Warren is alsoat Barbes Jun. 30. See Calendar.

F rom the moment the opening salvo “Earf” inaugurates

the suitably named Sweet World, the debut fromtrumpeter and composer Kenny Warren’s trio with
Christopher Hoffman (cello) and Nathan Ellman-Bell(drums), you’re in for a wildly unpredictable journey.
The beauty of this synthesizer-splashed kaleidoscopic
nugget is it sounds nothing like the other seventeen
musical vignettes on the adventurous album. But thatdynamic has been par for the course for Warren; his
expansive oeuvre reaches all ends of the spectrum andeverything in between. He’s a longtime member ofbrass/jazz fusion dance collective Slavic Soul Party!,
slips into singer guise in Laila and Smitty, is no stranger
to the avant jazz scene as a member of the Angelica
Sanchez Nonet and leads his own myriad projects.
Sweet World, with its unconventional lineup offers
many stylistic possibilities. It could be labeled folk andcountry-centric, modern acoustic jazz, world music orclassical contemporary. The commonality is in non-stopeccentricity and rhythmically complex music, all whileachieving a fleet-footed and airy spirit. What’s striking
about the set’s fluid 18-song span is the intuitive
sensibility Warren, Hoffman and Ellman-Bell share,even as they bring their own distinct voices to the table.
The dynamic range of each player is worlds apart buton these songs the elements converge in a way that’ssimultaneously free-flowing and absolutely thrilling.
Warren is the proverbial star of the show, but thisalbum is a purely collaborative undertaking, eventhough the leader is credited with all but three ofthe compositions. The way in which he and Hoffman
ricochet harmonious spurts, phrases and tangents offeach other and in unison is hair-raising, guided by
Ellman-Bell’s shapeshifting beats and cymbal crashes.
The trumpeter’s melodic lines are akin to a gushing
hydrant; he consistently peppers each tune with slews ofexpressionistic shapes and form. Hoffman, meanwhile,
plays cello like a guitar, plucking, strumming andbowing with rhythmic and occasionally discordant

Presenting

NEXT GENERATION JAZZ
Monday Nites ft. Up & Coming Talent!
7:30pm & 10:30pm Shows Every Week!
SAT
6/1

Joe Strasser Quartet
Matt Cherkoff Quartet

7:30PM
10:30PMSUN
6/2

Alma Micic Quartet
Michael Weiss Trio

6:30PM
9:30PM

SpiritOliver Lake, Mathias Landæus, Kresten Osgood (Sfär)
by Jason Gross

MON
6/3

Max Bessesen Quartet
Ricardo Grilli Quartet

7:30PM
10:30PMIt shouldn’t be surprising if Oliver Lake’s name

TUE
6/4

Hendrick Meurkens Quartet
Sam Dillon Quartet

7:30PM
10:30PMWED
6/5

Jo Harrop
April Varner Quartet

7:30PM
10:30PM

THU
6/6

Champian Fulton Trio
Kieran Brown Quartet

7:30PM
10:30PM

FRI
6/7

Oz Noy Quartet
Dwayne “Cook” Broadnax Quartet

7:30PM
10:30PMSAT
6/8

Ron Jackson Trio
Craig Handy And 2ND Line Smith

7:30PM
10:30PMSUN
6/9

Pete Malinverni Quartet
Matt Chertkoff Trio

6:30PM
9:30PM

MON
6/10

James Haddad Quartet
Aaron Seeber Quartet

7:30PM
10:30PMTUE
6/11

Joe Alterman Trio
Jason Marshall Quartet

7:30PM
10:30PMWED
6/12

Conrad Herwig
Neal Caine Trio

7:30PM
10:30PMTHU
6/13

Joe Farnsworth Trio
Mariel Bildsten Septet

7:30PM
10:00PM

FRI
6/14

David Hazeltine Quartet
Nick Hempton Band

7:30PM
10:00PMSAT
6/15

Jason Tiemann Quartet
Hector Martignon’s Foreign Affair

7:30PM
10:30PMSUN
6/16

Carolyn Leonhart Quintet
Neal Miner Trio

6:30PM
9:30PMMON
6/17

Evan Sherman Quintet
Marcello Cardillo Quartet

7:30PM
10:30PMTUE
6/18

Misha Piatigorsky Quartet
Eric Alexander Quartet

7:30PM
10:30PMFor more info visit jazzdepot.com. Glover is at Appel Roomwith Artemis thru Jun. 1. See Calendar.

Sweet World
Kenny Warren (Out Of Your Head)by Brad Cohan

eek!
Open 7 Days a W

fervor. It’s difficult to choose a favorite, but rising to
the top are the steamrolling rollick of “Full of Briars”,
the carnival-esque energy of “Respectfullee”, thepropulsive post-bop stylings of “Angels Migration”,
the chamber-jazz feel of “Heart Eats Mind” and thedance of “Doin’ the Danube”.
There’s no shortage of bouncy, infectious melody
on the busy, and yes, sweet Sweet World even as the trio
zigzags its way with dizzying and quirky aplomb.

is familiar—he’s a multi-decade spanning, awardwinning saxophonist and painter, with dozens of
his own releases. He’s also co-founder of the World
Saxophone Quartet and has worked with the likes of
Anthony Braxton, Abbey Lincoln, Andrew Cyrille,
James Blood Ulmer, Lou Reed, Björk and Meshell
Ndegeocello, among others. On Spirit, his collaborators
are Danish drummer/multi-instrumentalist/composer
Kresten Osgood (a gadfly whose resume also includes
TV, radio appearances, rapping and chronicling jazzhistory) and Swedish pianist Mathias Landæus (whohas built up the jazz scene in his country, including
curated shows at the Underground club where thisalbum, which he also produced, was recorded in
October 2017).
Spirit features four Lake compositions, along with
one of his paintings as the original album cover art.
The epic 18-minute title track begins with his chanting
evocation before moving to a three-way freestyle romp,
which then breaks down into a moody, hyperactive
duet between Landæus and Osgood. Soon, Lake returns
to honk and blare, quietly backed by the drummer/
percussionist’s kalimba, Landæus re-entering withquizzical shadings. Osgood’s drum roll solos yield toa turn on the recorder with Irish jigs before returning
to thunderous drumming, which segues into thenext piece, “Is It Alright”. This second of four tracks
has Lake entering majestically over Osgood’s wild
thumps, before evolving into another three-way freefor-all, with occasionally bluesy wailing from the alto
saxophonist over jumping piano chords and drum
crescendos. The piece ends with a dramatic climax ofcymbal crashes and Lake bleating. “Aztec” starts out
with Lake’s solo, alternately sad/yearning and joyous/
playful. A lovely ballad emerges as Osgood entersand Landæus stretches out an R&B-like groove before
Lake gently dominates again in long, stretched-out
tones. The final track, “Bonu”, begins similarly, with amournful-sounding Lake on a haunting, slow-burn ofa piece and the two others adding sympathetic, often
dynamic shading around him. Lake later explodes
into squeals as the band picks up the pace behind him,
rumbling madly before settling back down into a calm,
reflective groove.
In all, Spirit is quite a stunning display ofcollaborative international musicality.
For more info visit landaeus.com. Lake is at Roulette Jun. 22(part of Vision Festival). See Calendar.

ViEe-wUPLIN

THE DJANGO N YC

Reserve
RESY

the
e. of
2 av ericas
am

evel

Cellar L

DINNER, LIBATIONS & LIVE JAZZ!
IN THEOF TRIBECA

THE NEW YORK CITY JAZZ RECORD | June 2024 23

WEBO
Charles Gayle, Milford Graves, William Parker(Black Editions)
Worlds in a Life, One
Thollem (ESP-Disk’)by George Grella

Known as the “Mayor of the East Village,” bassist

William Parker is more akin to the foundation on which
the free jazz scene has rested for around a half century.
As a leader or collaborator, he is seemingly everywhere(live and on record) and will be celebrated with a
Lifetime of Achievement award at this month’s Vision
Festival. Parker is such an enduring, stalwart presenceat the Vision that even in prior years it often seems like ashowcase of his greatness, vitality and range.
That range connects these two albums, WEBO andWorlds in a Life, One, which are both free improvisationand show two far-distant points in the galaxies of themusic. The archival trio album release, WEBO, withCharles Gayle (tenor), Parker (bass) and Milford Graves(drums), is somewhat an ideal example of free playing
in the extended jazz tradition, while the album fromkeyboardist Thollem (McDonas) is experimental, even
within this already exploratory field. The former is inthe-moment expression, while the latter is more process
music. Thollem improvises with samples of musicianshe has already improvised with on his trio albums with
Nels Cline, including Parker, Terry Riley and Pauline

Oliveros. What is intriguing on paper is mind-blowing
to hear on this digital download-only release. Thollem
seems to play at the stabbing awkwardness of much nonjazz improvisation before exploding it into completely
unexpected dimensions. There’s an uncanny but strong
flavor of Weimar-era Kurt Weill that comes through, but
via Parker it’s a sound within.
WEBO is a significant find from Graves’ tapearchives since it’s the first recording of Parker with
Gayle and Graves. The trio subsequently played
together seven times over a near 30-year span, and thisexquisite audiophile-quality 3-LP release captures twonights (over the course of 11 tracks) in June 1991 at the
short-lived WEBO space on Manhattan’s Lower East
Side. One word to describe these previously unreleased
recordings is: intense. The long first track erupts into
unflagging force—and it’s thrilling. There is a palpablefeeling of a vibrant feedback loop of expression andreaction between musicians and audience. The dramatic
tension of Parker’s rapid bowing and Graves’ cymbals
and gongs serve as a prelude for the saxophonist’s
throaty, howling tenor approach. Gayle was still a newpresence on the scene and his style is profound as hemoves from near-violence to sweet tenderness.
It is fascinating to hear the younger Parker in thiscontext. His contemporary playing has a strong unhurriedfeeling, even at fast tempos. In moments, he and Graves
work on top of the beat, while on other occasions thebassist plays such phenomenally fast pizzicato and arco
passages, he uses notes to mesh together a sound with
an impact like that from Graves’ drums and Gayle’s
fiery torrents. WEBO unquestionably represents both animportant and often extraordinary document.
For more info visit blackeditionsgroup.com and espdisk.com.
Parker presents five ensembles at Roulette for “Celebration ofWilliam Parker and his Lifetime of Achievement” Jun. 18 of
Vision Festival. See Calendar.

Let Yourself Go (Celebrating Fred Astaire)
Stacey Kent (Candid)
by Scott Yanow

Stacey Kent always exudes class in her singing. A
masterful interpreter of pieces from the Great American
Songbook, she uplifts each classic tune with her attractive
voice, solid sense of swing and subtle but personalphrasing. The vocalist made her first recordings for the
Candid label, issuing six albums during 1996-2003. The
recently reissued Let Yourself Go (Celebrating Fred Astaire)
was her third. For this 1998 project, a tribute to one ofher heroes, Kent is supported by Jim Tomlinson (tenor),Colin Oxley (guitar), David Newton (piano), Simon
Thorpe (bass) and Steve Brown (drums).
Astaire, along with Bing Crosby, introduced quite
a few standards in the ’30s. Songwriters loved him
because he stuck to the melody, lightly swung each tune
in a charming fashion, and perfectly articulated lyrics
while sounding like the common (if hip) man. Kent’s
tribute features a dozen songs written by Hollywood
heavyweights George and Ira Gershwin, Irving Berlin,
Jerome Kern, Harold Arlen and Howard Dietz, which

Jason Robinson
Ancestral Numbers I
Jason Robinson

tenor & soprano saxophones, alto flute

New from
PlayscapeMichael Dessen
trombone
Joshua White
piano
Drew Gress
bass
Ches Smith
drums, glockenspiel

AVAILABLE AT:

www.playscape-recordings.com+ all digital download stores

24 June 2024 | THE NEW YORK CITY JAZZ RECORD“It’s so rare nowadays that you heartruly original music that makes senseeven when it flaunts the rules.”—LYNN RENÉ BAYLEY, THE ART MUSIC LOUNGE
Upcoming: Ancestral Numbers II, Release date October 8, 2024

the singing dancer helped to popularize. Since thesewere all hits performed by Astaire in his films, none are
obscure, but Kent makes them sound fresh and joyful.
“Shall We Dance” and “A Fine Romance” are taken at afaster pace than usual. Adding variety to the program,“I Guess I’ll Have to Change My Plan” has the singer
just joined by Oxley while “By Myself” is a vocalpiano duet. Sprinkled throughout the set are solos by
Tomlinson (whose cool-toned tenor recalls Zoot Sims attimes), Newton and Oxley. Among the other highlights
are hearing the little-known verses of “They Can’t Take
That Away From Me”, the touching “He Loves and She
Loves”, and being reminded that Astaire (not Frank
Sinatra) introduced “One For My Baby (And One Morefor the Road)”.
All of Stacey Kent’s recordings can easily be enjoyedby those who love first-class swing singing. Let Yourself
Go is no exception.
For more info visit candidrecords.com. Kent is at Birdland
Jun. 18-22. See Calendar.

SONYHALL.COM
212.997.5123
235 W 46 ST
BTW 7/8 AVE@SONYHALL

BLUE NOTE JAZZ FESTIVAL
6.2
6.4

PAULA COLE

RITA MORENO

IN CONVERSATIONPRODUCED BY JILL NEWMAN PRODUCTIONS

6.5

MS. LISA FISCHER

6.7

MICHEL CAMILO“THREE + THREE”

6.9

JAZZ IS DEAD

ALPHONSO JOHNSON, STEVE KIMOCK,PETE LAVEZZOLI, BOBBY LEE RODGERS

6.12

YEMI ALADE
WITH DJ BUKA

Accidentals
Don Fiorino/Andy Haas (Resonant Music)
by Matty Bannond

Have you ever stepped into a crowded room where you

are the only stranger? Perhaps you felt something hot or
sharp in the sides of your neck, or over your shoulder
tops. You hear the music of Accidentals playing. You may
notice the people inside that room are welcoming. Then,as the room expands with each forward step you notice
portraits of smiling people on the walls, the eyes on the
portraits following you as you make your way, perhaps
across thick, staticky carpet. That is just the feeling that
Accidentals produces.
Don Fiorino and Andy Haas, both musicians partof the New York’s experimental scene, have improvised
together for almost two decades, without everdiscussing what they’re planning to play. Accidentals
is their third album as a duo since 2005, alongside fourlarger constellations. Fiorino plays electric guitar andfretless bass; Haas adds saxophone. The depth andbreadth of the recording is exemplified on “CurledTime”. Haas opens with squeaking altissimo and heavy
use of galactic gadgets. Fiorino’s bass strings speakwith a flush, viscous voice. Haas’ syllables are chatty,
while the bass lingers on phrases: both musicians movearound the ideas together as if trapped in each other’sorbit. Overall, listeners get a mixture of heavy “stuff”
as well as steadier improvisations. “Noise Ordnance”
features more extended techniques from guitar, until the
instruments become difficult to separate. There’s a solid
structure on “Elegy 4 Dee”, by contrast, with a folky
guitar pattern cantering at a steady four-four tempo.
Haas’ playing hangs in the middle register, breathy andsomber.
Accidentals blends strangeness and familiarity. Eachtrack from these two closely–connected musicians feels
like a hidden room or a secret passageway. Listeners
must weigh each forward step and overcome thosehot-sharp sensations. The people inside are indeed
welcoming and the images are alive. But take note, thewalls will keep moving until you hear the door softly
clicking shut behind you.
For more info visit american-nocturne.bandcamp.com. Haas
is at Downtown Music Gallery Jun. 11. See Calendar.

6.14

ELIANE ELIAS

6.15

SUN RA ARKESTRA,YO LA TENGOSOLD OUTCELEBRATING MARSHALL ALLEN’S
100TH BIRTHDAY

6.16

VICTOR WOOTEN &

6.17

HALEY
REINHART

2 SHOWS

6.19+20

THE WOOTEN BROTHERSMULATUASTATKE

6.21

FRED WESLEY &THE NEW JB’S,
THE BRECKER BROTHERSBAND REUNION

6.22

ANTIBALAS +HAILU MERGIA

6.24

THE WORLD FAMOUS

HARLEM GOSPEL CHOIRSINGS ARETHA FRANKLIN

6.25+26

STANLEY CLARKE
N 4EVER

6.27

GINO VANNELLIBOMBINO PLUSETRAN DE L’AIR

6.28
6.29

PROGJECTPLAYING GENESIS, YES, KING CRIMSON, ELP,PINK FLOYD, BRUFORD, UK & MORE

+ BILL BRUFORD
IN CONVERSATION WITH ANIL PRASAD

THE NEW YORK CITY JAZZ RECORD | June 2024 25

Boptics
Chris Byars (SteepleChase)by Ken Dryden

O ver his series of recordings for the SteepleChaselabel, saxophonist Chris Byars has proven himself
to be a master as a composer and arranger for his
distinctive sextet, which includes three different
reeds: Byars (tenor), Zaid Nasser (alto) and Stefano
Doglioni (bass clarinet), plus John Mosca (trombone),Ari Roland (bass) and Keith Balla (drums). All
but the drummer have played with the leader for anumber of years. The lack of piano is never an issue,
as a chordal instrument simply isn’t needed with thedepth of Byars’ writing and the skills of the musicians
he surrounds himself with. While Byars has a deep
appreciation of standard bop repertoire, his primary
focus is on his originals, which hint at the influenceof some of the greats who preceeded him, while atthe same time breaking fresh ground with his uniquevoicings, lively charts and rich arrangements, whichalternate between featuring soloists backed by horns
and/or the rhythm section.
The infectious opener is the intricate, Tadd
Dameron-ish “Bopthamology”, which keeps themusicians on their toes. “Melatonin’” is a foot-tapping

swinger that blends elements of bop and cool jazz,highlighted by Doglioni’s playful vocal-like bass
clarinet and Nasser’s spirited alto playing (Mosca
and Byars shine as well). The snappy “Ekat” finds
both Nasser and Doglioni channeling Eric Dolphy on
their respective instruments and a hip bowed basssolo by Roland. The theme to the leader’s bittersweet“Endure and Remain”, a Billy Strayhorn-like ballad,features Byars’ robust tenor as the only soloist, withcolorful background harmony provided by the otherhorns. The sole non-original is pianist Freddie Redd’s
infrequently heard “Emily Reno”, a joyful chart that
reminds jazz fans of the undiscovered gems of thepast that merit exploration, long a skill and missionthat Byars has exhibited. Throughout the date Roland
and Balla provide a strong foundation that fuels thefront line, with Roland’s arco bass solos adding spiceto the already cooking charts.
As is evidenced on Boptics, Chris Byars is a masterat writing new bop repertoire with a fresh perspective.
For more info visit steeplechase.dk. The album release
concert is at Ornithology Jun. 13. See Calendar.

Orange Fish Tears
Baikida E.J. Carroll (Palm-Souffle Continu)
by Duck Baker

A s one of the most significant improvising trumpet

voices of the past 50 years, it’s shocking to realizethat Baikida Carroll has only averaged barely one
record per decade as a leader. Yet, he has participatedin noteworthy collective efforts and has a long list ofsideman credits, including many with saxophonist/
flutist Oliver Lake, who, like Carroll was a memberof the St. Louis-based Black Artists Group (BAG). In
1972 Carroll went to Paris with BAG luminaries Lake,
trumpeter Floyd LeFlore, trombonist Joseph Bowie anddrummer Charles Bobo Shaw, recording In Paris, Aries
1973, which led to Carroll being invited to lead his own
date, Orange Fish Tears, recorded exactly 50 years ago
this month and reissued for the very first time.
As support for this debut, Carroll invited Lakealong with Chilean pianist Manuel Villarroel and thegreat Brazilian percussionist Naná Vasconcelos. The
presence of these Latin players confirms that it wasn’t
just American musicians who found the Paris scenestimulating at this time; Vasconcelos was there from1970-75, and Villaroell, who established residence
in 1971, is still living there (his may be the leastfamiliar name for most, but his early work was very
interesting: Terremoto by his group Septet Matchi-Oul,is well worth checking out).
Orange Fish Tears has been seen as an example ofthe then-emerging world-music style, though we don’t
usually associate fire-breathing free jazz soloists suchas Carroll and Lake with this genre. Certainly “Forest
Scorpion” shows how well these soloists can fit witha strong rhythmic backing that has nothing to do with
jazz, but Vasconcelos is just as valuable on the title
track and “Porte D’ Orleans”, where time-keeping isabandoned for free-floating abstract impressionism.
On these tracks he plays an assortment of percussion
instruments: bells, whistles, bird calls and other noisemakers, with Carroll and Lake often joining in on
small instruments, especially on the quieter title track.
Villarroel finds all kinds of ways to fit his keyboards
in effectively on these very impressive pieces. Lake’s

26 June 2024 | THE NEW YORK CITY JAZZ RECORD“Rue Roger” (the only one of the four selections notcomposed by and credited to the leader) is a duo fortrumpet and soprano that starts with a repeated fournote figure before developing in various ways. The
use of space is particularly impressive here, though
the same can be said for the entire program.
This was a most impressive debut, and it stands
the test of time extremely well as a unique gem that
amply rewards repeated listening.
For more info visit soufflecontinurecords.com(D)ruminations
The Forest (Different Track)by Marc Medwin(D) ruminations is the debut recording by The Forest,a percussion ensemble comprising Gustavo Aguilar,
Leah Bowden, Andrew Drury, Lesley Mok andMichael Wimberly. The fact that their guests include
Warren Smith (who also has a composing credit here)
and J.D. Parran says nothing of the group’s sonicappearance, an extraordinary manifestation of size influx and diversity matched only by the breathtakingly
vivid recording.
The lion’s share of the album is given over to thetitular composition, a 44-minute opus in four parts,
composer Drury’s homage to his mentor Ed Blackwell.
The piece is based on what would be simplistic tocall themes taken from Don Cherry and Blackwell’s
superb Mu (BYG, 1969). Yes, those germinating
motives, implied harmonic structures and attendantrhythms can be gleaned in this work, as with the “Sonof the East” material forming integral componentsof (D)rumination’s first part, but appreciation of thismonumental composition is certainly not dependent
on familiarity with its inspirational source. Drury’ssuite evolves as a tapestry of myriad and cinematicinfluenced juxtapositions. One of the most beautiful
elements is the vibraphone, marimba and piano
dialogue glacially emerging from 2:27 into the fourth
movement, following on the heels of a roiling andwhooping exchange, caught in a sonically different
environment, absorbing on its own terms, which
renders that change of timbre even more poignant.
Similarly majestic is the multi-colored timpaniand gong interplay, presumably from Warren
Smith, bringing the third movement toward a regal
conclusion. It’s all open space and shade after thevariously swinging and dancing combo workouts
anticipating that meditative moment. All is conflated
in the final movement, where the aforementioned
dialogue is only the first gesture toward mountains ofensemble playing that dissolve into variously hewed
drum and percussion solos as the movement crestsand crashes.
Through it all, Parran’s diverse and remarkably
human clarinet and saxophone solos are supportedby the wonderful ensemble work that makes Smith’s“Elements of a Storm” the success it is. Completely
evocative as its title suggests, the windy, rainy
and thunderous miniature is both immediately
recognizable and mysterious, rounding out theastonishing debut from an ensemble to match.
For more info visit differenttrackrecordings.bandcamp.com.
The album release concert is at Andrew Freedman Home
Jun. 16. See Calendar.

THE RHYTHM OF UNITY: A JAZZ MUSICIAN’S LIFELONG JOURNEY BEYOND BLACK & WHITENOW AVAILABLE IN AUDIOBOOK FORMAT!
In March 2020, the jazz world lost a treasured pianist, composer and educator in MIKE LONGO. Today, we gain the stories heleft behind—painting a picture of a lifetime of musical endeavors and one powerful message for humanity, including
his close professional and personal relationships with Dizzy Gillespie and James Moody. Mike believed that regardlessof race, sex, ethnicity, color, religion or philosophical beliefs, music is a universal tie that binds us as human beings.
The Rhythm of Unity is the story of a man who fought all odds for music to be an uncompromised vehicle to countercultural division and promote the reality that there is only one race: the human race. You will be amazed and riveted
as you visit (or re-visit) the excitement and historical drama of the Civil Rights era through the very personal
perspectives of Mike, Dizzy, Moody, Paul West and others who toured the world, including the Deep South,
as one of the few interracial bands during that unsettling time.
The book explores the plights and points of inspirationthat lead to Mike’s 20 solo albums, The Rhythmic Nature of Jazz
4-DVD series, and 10 educational books; as well as
his founding the Consolidated Artists Productions label,
his 17-piece big band the New York State of the Art Jazz
Ensemble, and his 16-year weekly live series Jazz Tuesdays
at the John Birks Gillespie Auditorium. The printed versions,as well as the newly released audiobook of The Rhythm of Unity(which includes excerpts from some ofMike’scompositions), are available at mikelongojazz.com which willtake you to the correct pages on Amazon, Barnes & Noble,
Audible. The audio version is also available on Apple Books.

MIKELONGOJAZZ.COM

ON SCREEN

Recorda Me - Remembering Joe Henderson
Lori Bell Quartet (s/r)
by Alex Henderson
The Sun Rises in The East: The Birth,
Rise & Legacy of Brooklyn’s Black Nation
Tayo Giwa and Cynthia Gordy Giwa
(Black Owned Brooklyn)
by Paul Gaita

A s a historical document of a remarkable culturalexperiment, Tayo Giwa and Cynthia Gordy Giwa’s
documentary, The Sun Rises in The East: The Birth,
Rise & Legacy of Brooklyn’s Black Nation, condenses
the impact of The East, the Bedford-Stuyvesant,Brooklyn-based organization that provided Black
residents with Pan-African-centered cultural andeducational resources from the late ’60s through the
mid ’80s. Participants in The East project included
Black educators, community leaders and artists.
The film includes an impressive array of current
interviews as well as archival footage. Documented
are members and graduates of The East and its
associated school, Uhura Sasa Shule and otherarchival visual material. The Giwas, who oversee
the Black cultural website Black Owned Brooklyn,
paint an exceptional story of ambition made wholeand vibrant for a community underserved by its
city and specifically, its educational gatekeepers.
Borne out of a crisis—the 1968 NYC teachers’
strike abetted by a lack of substantive educational
opportunities for Brooklyn’s Black children in
the wake of desegregation—The East, under the
direction of a committee overseen by teacher turned
activist Jitu Weusi (who died in 2013) eventually
blossomed into a vibrant hub fueled by the enginesof self-determination and self-empowerment.
In addition to the school, The East eventuallyencompassed a Black nationalist newspaper(Black News), a food cooperative, bookstore, and aperformance space that featured some of the mostimportant jazz artists of the period.
In addition to Pharoah Sanders, who recorded
his Live at The East (Impulse!, 1971) there, The
East’s performance space hosted the Sun Ra
Arkestra, Max Roach, Gary Bartz, Gil Scott-Heron,
The Last Poets and many others. Viewers hoping toglimpse some of these performers in action may besomewhat disappointed by the film’s yield, which
comprises a handful of photos and some vibrantfliers. However, The Sun Rises in The East does
provide one tantalizing nugget of information:
many performers favored the space because
the audience took an active part in their gigs bybringing and playing percussion instruments
during their sets. Not every aspect of The East’s
utopian vision was a success; experiments withpolygamy, outdated gender expectations and a
combination of leadership change and pressure
from outside governmental forces eventually led toits downfall. But at the height of its powers, The
East experiment was not only visionary but also
set the template for a half-century of Black-centric,
community-based education and organizations, afact borne out in moving images and words by thisconcise and illuminating documentary.
For more info visit sunrisesintheeast.com

J azz lost a stellar tenor saxophonist and originalcomposer when Joe Henderson, a heavy smoker
who suffered from emphysema, died at age 64 fromheart failure 23 years ago this month. Thankfully,
he left behind a large and rich catalog, as he was aprolific composer who wrote his share of post-bop
standards—some of which San Diego-based flutist
Lori Bell interprets on her Recorda Me - Remembering Joe
Henderson. Most of the originals on this tribute album
have been recorded often, from “Isotope” and theIndian-influenced “Punjab” to the Brazilian-flavored
title track. But putting her melodic, lyrical flute up
front inevitably sets Bell’s interpretations apart fromother versions of these standards. In her liner notes,
she points out that the flute is “an unusual instrument
to represent Joe Henderson” because he “rarely played
it in public (and) was not known as a doubler.”
Indeed, albums where Henderson played anythingother than the tenor were the exception rather than
the rule. Bell, who is joined by Josh Nelson (piano),David Robaire (bass) and Dan Schnelle (drums),
doesn’t include any saxophone at all on this album,
creating an intriguing and unorthodox way to honor
his legacy. But when Bell puts her flute-based spin
on Henderson favorites such as “Inner Urge” or “A
Shade of Jade”, it works exceedingly well. Her main
instrument on this release is the C flute, but she
switches to alto flute on “Black Narcissus”—a haunting
modal gem that Henderson unveiled on his Power tothe People (Milestone, 1969). Over the years, it has beenrecorded by a wide range of players and vocalists
from Brazilian singer Flora Purim to alto saxophonist
Frank Morgan (whose 1988 recording actually featured
Henderson) to the Los Angeles-based group Ambiance,
the jazz collective headed by Nigeria-born, multiinstrumentalist, arranger, producer and photographer
Daoud Abubakar Balewa—and Bell demonstrates thatit’s still a fine vehicle for modal improvisation. The
only original by the flutist on the album is “OuterUrge”, which fits right in to the whole and is not unlike
a composition that Henderson would have written.
In Portuguese, “Recorda Me” means “Remember
Me”, and Bell remembers Henderson with fine resultson this engaging tribute.
For more info visit loribellflute.com

The Great Mirage
Joel Harrison and Anthony Pirog (AGS Recordings)
by Elliott Simon

The Alt Guitar Summit, led by musical alchemist Joel
Harrison, takes place each August roughly 130 miles
northwest of Manhattan in the Adirondack wilderness.

28 June 2024 | THE NEW YORK CITY JAZZ RECORDThis gathering brings together notable alternative
guitarists such as Bill Frisell, Marc Ribot and Wayne
Krantz, to collaborate with students in an open setting,fostering the creation of new music. Under their label,
AGS Recordings, the musicians explore their genrespawning approach, as seen in Harrison’s collaboration
here with guitarist Anthony Pirog on The Great Mirage.
This session is somewhat of a father-son meeting; bothmusicians hail from the DC area and their previous
release, as The Spellcasters (Music from the Anacostia
Delta, Cuneiform, 2019), is a part of local lore that traces
its inspiration to DC guitar legend Danny Gatton. Pirog
has played with fellow guitarist Henry Kaiser (FiveTime Surprise, Cuneiform, 2019), alt-funk-punk-rockpowerhouse The Messthetics, and is half of the cello/guitar duo, Janel & Anthony.
Harrison’s offerings include the opening title,“There’s Never Enough Time”, which floats along like
an ambient wave, a mournful ode to getting older that
ends on a positive note, as well as the closer “Buffalo
Heart” with its dueling blues/rock guitars. Pirog
weighs in with a gorgeous power-metal ballad, “It
Slipped Through My Fingers”, and his very intense
reworking of Keith Jarrett’s “Mortgage on My Soul”.
All of these cuts could well be considered a study inthe dynamics of the instrument highlighting its range,
intensity and infinite harmonic possibilities. Although
the guitars take center stage in this session, whattruly enhances its memorability as a work of art are
the incredible contributions of Stephan Crump (bass)
and Allison Miller (drums). The structural integrity ofbluesy soundtrack “East Hurley” calls out for a return
to a funky dance atmosphere before transitioning toa psych fade out. Similarly, the hypnotic rhythm of“Critical Conversation” captivates with its ambient,mind-blowing essence. Their structure, no matter
where the guitars go, is brilliantly held together.
The musicians employ lots of influences, as is to be
expected, and the amazing expressive capabilities ofboth guitars are well showcased whether it is jazz subgenres, blues, jazz, rock or country and beyond.
For more info visit agsrecordings.bandcamp.com. Harrison
is at Bar Bayeux Jun. 29. See Calendar.

Colors of the Night
Eri Yamamoto (Mahakala Music)
Live at the Vision Festival XXVI
Sparks Quartet (Mahakala Music)
by John Sharpe

Although NYC-based Japanese pianist Eri Yamamoto
often presents an elegant and soulful take on tradition
via the medium of her songs, she is equally at homein the company of adventurers such as reedman/trumpeter Daniel Carter and bassist William Parker.
Indeed, she can claim tenure in the latter’s Raining
on the Moon ensemble ever since her appearance on
2008’s Corn Meal Dance (AUM Fidelity). She skillfully
combines these two approaches of tradition andexploration on the pair of releases at hand, improvising
freely without ever becoming unmoored for long fromeither melody or rhythm.
The pianist showcases a special band on the 2022
live recording, Colors of the Night. Alongside drummer
Ikuo Takeuchi, ever-present in her regular trio since
its debut in 2001, she enlists Parker’s rock-solid yet
wonderfully supple bass playing. On four freewheelingnumbers, the pianist’s talent for crafting bittersweettunes is well in evidence, most notably on the opening
title track. She begins each cut with a similarly well-turned kernel before the three embark on a stream ofengaging variations marked by their group-orientatedfocus and seamless dynamic shifts. Parker endlessly
cycles through angular shapes, always seeming on theverge of pivoting into a deep groove, but never quite
yielding to the temptation, while Takeuchi offers apulsating but understated metric carpet that comments
as much as it colors. Yamamoto’s alluring blues-infused
figures periodically surface to ground the interplay
throughout. On “Passion”, Parker’s muscular pizzicato
motifs sculpt a superstructure around which the pianist
places her forceful chording to dramatic effect, while
the concluding “El Sol”, a bright yet wistful caper thatfirst featured on her solo Yellow Flower (Blau), builds
to a rhapsodic climax, one in no way diminished when
the bassist unholsters his bow for some moaning linesthat underscore the ambivalent feel.
Yamamoto also comprises one quarter of the cooperative Sparks Quartet, which is captured in full
flow on Live at the Vision Festival XXVI. The outfit’s
performance at the 2022 edition followed its debut(recorded the previous year) with an unchanged line
up completed by Parker, Chad Fowler (reedman and
Mahakala label boss) and Steve Hirsh (drums). On two
cuts the foursome trades in an especially harmonious
form of spontaneous interaction, Yamamoto noticeably
enjoying a particular connection with both Parker
and Fowler. Her naturally rhythmic style meshes wellwith the bassist’s effortlessly propulsive patterns,
while Fowler often picks up and elaborates from thepianist’s phrases, whether in an enveloping vibrato
or an emotion-laden wail. Meanwhile, Hirsh avoids
closing down any option with a multifaceted rattle,
which is potent but never overbearing. As adept at offthe-cuff melody as the pianist, Fowler lends a balladlike quality to the beginning of “Part One”, while on

flute his atmospheric invocation opens “Part Two” intoanother spellbinding journey. Later in the same piece
you can almost hear the real time negotiation, whether
to prolong Yamamoto’s earthy lope or transition tosomething more fragmented and restless. The tension
as the quartet moves back and forward between these
two modes lays the process of creation bare.
For more info visit mahakalamusic.com. Yamamoto is at
Arthur’s Tavern with her trio Jun. 6, and at Roulette with
William Parker’s Raining on the Moon Jun. 18 (part ofVision Festival). See Calendar.

My Multiverse
Pearring Sound (s/r)
by Elijah Shiffer

My Multiverse is a bold title, but this album certainly
delivers on its promise to assert itself. In his first solo
release, alto saxophonist Jeff Pearring (who uses thelabel Pearring Sound for his various projects) covers
a vast amount of ground in nine freely-improvised
tracks. Though there are plenty of common threads,
each offers a unique story that shows a different facetof Pearring’s language on his instrument. And in thisexposed solo setting, the many shifts of perspective

sustain listener interest throughout.
Pearring takes a well-rounded approach in his
improvising, essaying many topics within the jazz
tradition, but also using a repertoire of original ideas
all his own. He gives refreshing proof that free improv
doesn’t need to be esoteric and abstruse; especially inthe first three tracks, the focus is on pure and simple
melody. Noisy extended techniques do pop up, but
mostly as a punctuation rather than the main content,draped over the music like approaching and recedingstorms.
Several tracks are dedications. As if to prove that
this music is not purely born of the avant garde, twoof these are tributes to Louis Armstrong. Particularly
in “Papa Louis”, Pearring takes subtle elementsfrom Armstrong’s style of melodic embellishment,
expanding and fracturing them into playful threadsof abstraction. “Ooh Ra Ra” is named for Sun Ra; here
the saxophonist paints in broad strokes of flurries andtremolos. Ornette Coleman is not specifically honored,
but his influence is felt throughout, especially on the
opening “Chiquitita De Latón” (“Tiny Brass Girl”) in
which Pearring develops a few licks from Coleman’s“Una Muy Bonita”.
Two tracks contrast with the others by
incorporating electronics, solidifying the album’s status
as a multiverse. “Rising” features several overdubbed
altos over an immersive sampled soundscape that does
just what the title implies. On “Monolith” the alto isnearly imperceptible within a wall of futuristic effects.
These pieces are just as powerful as the acoustic tracks.
Far from being out of place, they simply show anotherside of Pearring’s grand, eclectic vision.
For more info visit pearringsound.com. Pearring is at Ibeam
Brooklyn Jun. 12 and 22. See Calendar.

THE HARLEM CHAMBER PLAYERS,

City College Center for the Arts and Jazzmobile present

JUNE 7
7PM ET

AARON DAVIS HALL AT CITY COLLEGE
115 CONVENT AVENUE, NEW YORK, NY, 10027$20 - General Admission$15 - Student/Senior Discount$50 - VIP Seating (Front orchestra seating)$150 - VIP Patron* (Front orchestra seating +printed Supporter listing in the program)
Tickets must be purchased online. Fees will be added at checkout.*Each VIPPatron ticket includes a $100 tax-deductible donation to The Harlem Chamber Players,which will help pay for this production. You will receive a tax receipt for your contribution(s).

SCAN THISCODE TO
PURCHASE

TICKETSHARLEMCHAMBERPLAYERS.ORG
THE NEW YORK CITY JAZZ RECORD | June 2024 29

G LO B E U N I T Y

Remedy II
Thomas Heberer, Joe Fonda, Joe Hertenstein(Fundacja Słuchaj)
The Absence of Zero
Andrea Massaria, Meinrad Kneer,
Joe Hertenstein (Setola di Maiale)
Unzeit Quartett
Matthias Bauer, Joe Hertenstein, Frank Paul
Schubert, Céline Voccia (Trouble in the East)
by Daniel A. Brown

In some regards, Joe Hertenstein is emblematic of themost positive attributes of his generation of players.
Born in 1977 and the son of a Black Forest lumberjack,the German-born drummer spent his childhood playing
on drumsticks he carved from wood and horns. After
pursuing doom and hardcore music, while in his lateteens he first heard the music of Charlie Parker (fittingly,
on a bootleg cassette) and answered the clarion call of
jazz—albeit as a jazz musician equally versant in themusic of SUNN O))) as he is Sunny Murray. Currently
splitting his time between NYC and Germany, a series
of international releases (on labels from Poland, Italy
and Germany) featuring Hertenstein, offer both the fan
and uninitiated listener his certain ability to elevate jazzmusic in a captivating manner.

Remedy II, Hertenstein’s second outing with Thomas
Heberer (trumpet) and Joe Fonda (bass), is an eightsong set of sturdy trio explorations composed by eachparticipant. And the three players are not afraid to dig
deep. Opening salvo “One For Mark” features Heberer
emitting a sanctified Ayler-like motif, a two-note intervalof tonic and fifth, as Hertenstein and Fonda goad thetrumpeter to disregard and return to the source melody
through a series of impressive horn lines. Like Ed Blackwell
before him, Hertenstein explores a drum-timbre-asmelodic device, in particular on the rolling “The Variant”,
a showcase for the drummer and the masterful Fonda.
The 10-minute “I’ve Been Singing” is an unhurried swing,with the bassist’s muted throb as a centerpoint until hemorphs into a walking line; Heberer and Hertenstein seembracing to detonate the song into an explosion that neveroccurs, only adding to its tension.
The five-part The Absence of Zero is so abstract itmakes Remedy II sound downright conventional. An
improv throwdown between Hertenstein, Andrea
Massaria (guitar) and Meinrad Kneer (bass), the pieces
sound best when heard as a continuous experience. The
seething hum of “Zero Three”, cultivated through a seriesof bowed and scraped bass harmonics, cymbal washes
and eerie, decaying guitar tones, evokes an alien void.
Conversely, the remainder of the album—particularly“Zero One” and “Zero Four”—deliver riveting, electroacoustic guitar chirps, upper-register pizzicato bassruns and Hertenstein’s relentless percussion. Whether
through default or design, The Absence of Zero could
give trad-jazz purists an allergic response, which is not

30 June 2024 | THE NEW YORK CITY JAZZ RECORD

necessarily a bad thing.
The most-recent of the three albums, Unzeit Quartett,features Frank Paul Schubert (alto, soprano), Céline
Voccia (piano), Matthew Bauer (bass) and Hertenstein.
An informal 2021 session initiated by Voccia, it’s isa document of a loose and lively gathering of worthy
European improvisers. “Frezeit” is a microdose of thepast 60 years of improvised music; yet the band doesn’tsound burdened by free jazz signifiers or predictablein making appealing spontaneous music. “Mahlzeit”
features Schubert issuing bird-like coos and trills fromhis soprano, and Voccia cascading dissonant intervals
over the edgy pulse laid out by the bassist and drummer.
The penultimate track, “Eiszeit”, benefits from theensemble’s familiarity with one another; sketches ofideas and themes are erased as quickly as introduced.
Hardly for the fainthearted, Hertenstein aligns
himself with dynamic music and players that pushcontemporary jazz. These three albums are vigorous
listening experiences. Those willing to engage fully withthe drummer and his allies’ willingness to swim against
the undertow of even “familiar” improvised music will
surely be carried along to surprising and rewarding
places.
For more info visit sluchaj.bandcamp.com, setoladimaiale.net
and troubleintheeastrecords.bandcamp.com. Hertenstein
is at The Keep with Welf Dorr Jun. 2, El Barrio’s Artspacewith Ray Anderson Jun. 3, Ibeam Brooklyn with Remedy
Jun. 5, Jazzhabitat and Nublu with Spacepilot Jun. 18, andOrnithology with Lamy Istrefi Jun. 19. See Calendar.

Measured Response
Josh Lawrence (Posi-Tone)by Phil Freeman

Measured Response is trumpeter Josh Lawrence’s sixth
album as leader for the Posi-Tone label. Having also
appeared on saxophonist Tom Tallitsch’s Wheelhouse(2018), Lawrence was additionally a member of thefirst lineup of New Faces, a group Posi-Tone producer
Marc Free puts together from time to time showcasingpromising new talent. Originally from Philadelphia,
Lawrence has also had strong ties to Philly pianist
Orrin Evans, as a member of Evans’ Captain Black Big
Band for several years in addition to guesting with theEvans collective trio Tarbaby.
On his new album, Lawrence is joined by pastcollaborators: Art Hirahara (piano) and Rudy Royston(drums) were on his prior album And That Too (Hirahara
also appeared on Lawrence’s 2022 release Call Time),and Luques Curtis (bass) was on the trumpeter’s 2018and 2019 albums Contrast and Triptych. Diego Rivera(tenor) is a first-time front-line partner, but the pianistand drummer were on the saxophonist’s last two
albums (and Curtis was on his most recent release),
all also on Posi-Tone. What do these cross connections
mean? The answer: these players all know each other’splaying intimately, creating a groove where they’reable to click together easily. There’s audibly nohesitancy about the tunes or the performances.
The music of Measured Response takes a variety offorms, some more obvious and explicit than others:“A Tragic Tango Comedy” is indeed a jazz tango,simmering with passion, while “Texas Tenor” is a
Wynton Marsalis-esque blues, more Crescent City
than Lone Star State. The rubato mood piece “Songfor the Whales” has the autumnal, introspective
feel of Miles Davis’ Nefertiti. And then there’s thestunningly beautiful version of John Coltrane’s “WiseOne”, on which Royston’s drumming is explosive andLawrence’s horn gleams like the sun.
Measured Response is modern jazz at its timelessbest.

Schneider Orchestra and Wynton Marsalis’ Jazz at
Lincoln Center Orchestra.
Charles’ 22-man band stars hip sons of the
Caribbean, including Bahamian trumpeter Giveton
Gelin, and Port-au-Prince-raised, Berklee-alum reedwhiz Godwin Louis. The Haitian-American rhythmteam boasts sensationally chameleonic NOLA pianist
Sullivan Fortner, bassist Jonathan Michel, drummer
Obed Calvaire and Venezuelan cuatro maestro Jorge
Glem. Charles has a blithe, affable manner with alighthearted, agile tunefulness. As a composer he’sadventuresome: border-hopping devilment possesses
him, and pieces burst open in piñatas of kaleidoscopic
creolizations. Charles rustles up a spicy jambalaya
of dancing rhythms and tasty tunes, simmered with
hot solos and served up with eye-watering riffs. The
loaded album melds two diverse sets. The band’s initial
dance-grooves cruise polyglot styles (Soca, Ska, HipHop, Reggae). In “Old School”, sly Mighty Sparrowcalypso meets Thad Jones/Mel Lewis savvy swing withsax swells and brass shakes. “Poison” layers chiming
section chords with eclectric piano and guitar fills
and flip-hop lyrics. “Douens” alternates smooth piano
octaves with pretty Wynton-ish trumpet arabesques
over a calypso island beat. “Think Twice” shifts gears
and sections between reggae and swing with ensemble
dynamism recalling Brazilian composer Moacir Santos,
with turns for lead trumpeter Jumaane Smith andtrombonist Michael Dease.
The later set, hewing to Count Basie’s deep swing,features dazzling vocalist René Marie who conjures
Eartha Kitt to “purr-fection” with sly innocence to feline
clawing. She rides slow and easy atop band clamor on
Harry “Sweets” Edison/Jon Hendricks’ “Centerpiece”,
while her nonchalant canoodling down the “Colorado
River” evokes Sassy’s elegant poise. The band tosses a
playful game of catch to open “Stompin’ At The Savoy”
and kicks goals on Joe Henderson’s “A Shade of Jade”.
Louis invests his solos with Cannonball authority andaplomb throughout, a first-magnitude star in Charles’
giddy galaxy.
Pardonnez-moi if I gush. This marvelous band cracks
open a joyful treasure trove of exciting achievement,
and gives an arms-wide embrace to “norteamericano”
jazz and all its citizens.
For more info visit etiennecharles.com. The album release
concerts are at Dizzy’s Club Jun. 14-16. See Calendar.

and Feels” and “Synchronie”. Though the results
might feel experimental, when the loping melody of“Saturday the 14th” emerges, one gets the feeling theseguys are locked in. The theme on “Smooth Sails” mightsound like a mere Monk reconstruction, and its followup, “Where Does Time Go?”, does imply “Pannonica”
in its languid pace and melodic musing. However, inboth cases Giallorenzo uses the connection as the museto his own pianistic hikes, a thinking-aloud approachthat the bassist and drummer adjust to as smoothly
as whiskey reacts to a splash. On “Bindara Bùndara”,
the opening bars set a Copland-esque scene—suggesting the hectic, ever-moving city—before thetrio establishes a neat pocket of chamber music, as the
pianist’s plodding comp bolsters an Abrams solo that
progressively swings. An equally impressive piano/bass counterpoint occurs in the abstract excursions“Meditation” and “Decomposition” where Abrams
hearkens memories of Charlie Haden’s duets with
Keith Jarrett. In between, the trio is Monk-ish once
again (given with a touch of New Orleans) in “Bouncing
with Berman”. Later, the spectre of Nichols returns
on “Combustion”, but with Giallorenzo mixing someblues within the tossed rhythmic salad.
In the liner notes, the leader states that he tries “tokeep the music rooted in a rhythmic swing context…
And then we can put our personal touch on top of it.”This stylistic choice makes the music on Play accessible
to listeners while keeping things fresh and intriguingin live performance. Given the pedigree of its members
and the inventiveness of their approach, the Paul
Giallorenzo Trio is definitely an ensemble to keep an
eye on.
For more info visit delmark.com. The album release concert
is at Ibeam Brooklyn Jun. 12. See Calendar.

The new all-original album from

Boptics
John Mosca
Zaid Nasser
Stefano Doglioni
Ari Roland
Keith Balla

For more info visit posi-tone.com. Lawrence is at Smalls
Jun. 2. See Calendar.

Play
Paul Giallorenzo Trio (Delmark)by Jeff Cebulski

Creole Orchestra (feat. René Marie)
Étienne Charles (Culture Shock Music)
by Fred Bouchard

N ew

Orleans-born Creole jazz spans French,
Spanish, Haitian Creole and Bajan cultures; its
melodies and rhythms range wider yet. Trinidadianby birth, trumpeter Étienne Charles’ Creole Orchestra
experiments successfully in this new releasewith cross-pollinating these traditions, the leader
influenced by a variety of American musical sources
and work with the Count Basie Orchestra, Maria

It’s been around a half-dozen years since the Paul
Giallorenzo Trio’s first Delmark album Flow, where asturdy, inventive bassist, Joshua Abrams, bolstered theleader’s peripatetic piano playing and Mikel Patrick
Avery’s restless percussion. On the trio’s latest album
Play, nothing has changed; the Thelonious Monk/
Herbie Nichols influence (with touches of Andrew
Hill and Sun Ra) that characterizes Giallorenzo’s
compositional approach continues, generally avoiding
needless repetition and plain derivation. Abrams
shines as usual, a foil to the pianist’s constant musing,while Avery demonstrates appropriate restraint andpunctuations throughout.
Initially the trio finds a groove and experimentswith it, searching for an idea, as in the openers “Vamps“Chris Byars, a formidable tenor
saxophonist who has retained astrong feeling for the bebop
tradition and a taste for
expanded ensembles andfastidious arrangements”- The New Yorker

Album release party at Cafe Ornithology
June 13 7:30pm and 9:30pm

THE NEW YORK CITY JAZZ RECORD | June 2024 31

B OXED SE T

10 Comp (Lorraine) 2022
Anthony Braxton (Tri-Centric Foundation)
by Stuart Broomer

T he work of alto saxophonist/multi-instrumentalist
Anthony Braxton (who turns 79 this month) has
developed increasingly expansive contours since
his great quartet of the ’80s and ’90s with Marilyn
Crispell, Mark Dresser and Gerry Hemingway,
wherein the group created expansive pieces inwhich segments of other compositions would beinterspersed within a single overarching structure.
The Ghost Trance series expanded through longlines of rhythmically uniform eighth notes, while
the Diamond Curtain Wall Music included interactive
electronic elements triggered unpredictably by certain
sonic events coming from live musicians. In each ofthese developments, various material from Braxton’sother compositions would appear within new works,
effectively constructing a musical collage. The mostextended and inclusive of these compositions camewith the Echo Echo Mirror House Music in which live
musicians employed mp3 players to access the vast
trove of Braxton’s recordings and construct a vast
complex of simultaneously “live” and “memorex”
elements, reaching its greatest incarnation at JazzFest
Berlin 2019 with 61 musicians performing his Sonic
Genome through the expanses of the Gropius Bau
exhibition space for six hours.
The most recent development in his music, theLorraine series, also incorporates electronic elements,
including Diamond Curtain Wall material, played
by Braxton in addition to his usual complement ofreeds. However, some of its initial manifestations
emphasize small groups and a concentrated lyricism.
The scores have multiple layers of focus, combiningcolor coding, symbols and choices. Recordings of
Lorraine’s first stages have begun to appear in the past
year. The first was a duo recording of “Composition
No. 429” with fellow saxophonist James Fei: Duet
(Other Minds) 2021 (Soundohm). There’s also the
4-CD set, Sax QT (Lorraine) 2022 (I dischi di angelica),
containing “Composition 436” to “439”, for asaxophone quartet with Braxton and Fei joined by
Chris Jonas and André Vida or Ingrid Laubrock.
10 Comp (Lorraine) 2022, a 10-CD set thatlasts almost nine hours, fills in the compositionalsequence with two contrasting ensembles. Braxton
pays effusive tribute to his collaborators, several
distinguished by their relative youth, most new
to his music, and all significant contributors to therealized music: “The best is yet to come. I would
like to thank the musicians on this project for theircreativity and dedication. There is a new generationof creative artists who are already advancing freshareas of imagination, technology and surprises. I
have been lucky to meet some of these people and I
look forward to learning more about the unfolding
world of new horizons and the hope of cosmic
radiance. Life is great!”
The first six CDs are from a European tour in
October and November 2021, each CD a concert, withtwo brilliant young musicians: Portuguese trumpeter

Susana Santos Silva and American accordionist andsinger Adam Matlock. While Braxton and Santos
Silva’s mercurial lines chatter back and forth,
Matlock’s accordion lines burst around them. His
vocal performance can suggest the variety andtheatricality of veteran improviser Phil Minton,
whether it’s rapid-fire, inarticulate near-speech, orheart-rending growls suggesting The lsland of Doctor
Moreau. The group is emphatically lyrical, with
Braxton focusing on his upper register saxophones:
alto, soprano and sopranino. Santos Silva extends her
own expressive range by doubling on flugelhorn. She
and Braxton control timbre to such a degree that attimes her trumpet will lose any trace of brassy attack,while Braxton’s alto might suggest an overblown
trumpet. “Composition 426”, from a Lisbon concert,
begins with the shimmering, icy glitter of electronics,
a frequent backdrop. Santos Silva enters with a long
tone, shifting to a brief melody, before Braxton enterswith a sustained tone, building a chord. Then there’s
a flourish of accordion; a pattern of exchange follows,each pursuing a slightly different path, the electronic
backdrop falling away, only to appear again slightly
changed. The underlying pulse doesn’t shift, whilean overarching field of sustained electronics andoccasional accordion chords reinforce it.
Each member of the trio plays individually
distinct, rapid, arching runs, until there is a senseof orchestral complexity, each part a prominent
individual feature. Clearly composed events occur,whether unison blasts from trumpet and saxophoneor related trilling figures that conjoin saxophone andaccordion. There’s a complex unfolding, a kind of
dreamscape. At one point a duet emerges, begun onalto, reinforced by trumpet and ultimately supported
by accordion, but that duet is one of duck calls andsquawks, much of it likely created by the mouthpiecesof virtuosi alone. Such miracles, many housed in, andcomplementing, a resonant chamber of electronic
whispers, continue unabated in a process that sounds
neither improvised nor composed, but dictated bytrance or ordained by chance.
The final four pieces, Nos. 432 to 435, wererecorded in a studio in New Haven, CT, over twodays in May 2022. It’s an American quartet playing
related material, but with a different sound. Braxtonand Fei bring a range of saxophones to the event,from sopranino to contrabass, and they’re joined by
two bassists, Zach Rowden and Carl Testa, together
creating thick textures in which slow moving, nearsubterranean forces are matched by dense andrapid surface movement, a frequent knitwork ofhigh frequency electronics, bowed string harmonics
and guttural reeds that suggest static. If Braxton
and Santos Silva match one another’s lyricism on
the European tracks, here identities are fused inlike instruments, breeding solidarity rather thancompetition, with personalities most defined when
alto saxophones are in use. Fei, the harsher of thetwo, plays abrasive lines littered with creative honks
and burrs, while Braxton more often elects for highspeed legato lines. The contrabass saxophones soundlike earth-moving equipment, whether prehistoric
reptiles of the imagination or contemporary
excavating machines, crushing, grinding, roaring.
The bowed-string basses often occupy the same
territory. It’s a dark, brooding complement to therelatively light and open character of the European
recordings. In tribute to the composer, it’s likely
created with very similar scores and an openness toradically varied instruments and interpretations.
For more info visit tricentricfoundation.org

32 June 2024 | THE NEW YORK CITY JAZZ RECORD

Ars MemoriaPeter Evans Being & Becoming (More Is More)by John Sharpe

A rs Memoria, like its predecessor, the eponymous debut

by trumpeter Peter Evans’ Being & Becoming, sportsa cover painting by Russian artist Wassily Kandinsky
created 100 years ago, yet still flagging something
about the contents: abstract, sleekly designed andglinting with the promise of an unknowable future.
In this release, Evans retains the services of acclaimed
vibraphonist Joel Ross and upcoming bassist Nick
Jozwiak, and introduces Michael Shekwoaga Ode(known for his collaboration with reedman Isaiah
Collier) to replace Savannah Harris behind the trap
set. Having workshopped and road tested the charts,
the band approaches each number in the studio as theymight do in a live setting, running pieces together toachieve a continual flow.
Although comprising a squadron of accomplishedinstrumentalists, Evans’ conception is primarily
ensemble-orientated: this isn’t the place to come to be
wowed by feats of stunning virtuosity. Yet, virtuosity
happens nonetheless, almost as a matter of course, evenas the players bend to the needs of the music. While
Evans’ extended roller coaster invention stands upfront
on the opening “Cell”, he’s buttressed by the constantactivity of the rest of the group: Jozwiak’s throb, Ode’s
widescreen multi-faceted rhythms and Ross’ splashy
commentary. Thereafter, the delivery takes on almost
orchestral dimensions. “Nowhere” taps into thetrumpeter and vibraphonist’s shared predilection forthe potency of repetition, as phrases pass in a mesmericwelter of overlapping, almost minimalist reiterations,which gradually mutate, but never develop. On “Salah”,
long tones reverberate with a doom-like menace,
while “Opus 5” offers a somber annunciatory theme
unfurling atop splintered percussive chatter. Showing
the attention to detail in the production, the track fades
on an explosion of drums and vibes, which forms theperfect segue to the fade-in of the tumultuous start of
the final title cut (recorded live at The Jazz Gallery).
It’s here in this track, that amid the angular unisonsand dashing excursions, the band get to exercise theirchops—Evans in particular airs his astonishing powersof execution at pace.
For more info visit peterevanstrumpet.com/music. Evans is
at Scholes Street Studio with Joakim Rainer Trio, and at Bar
Bayeux, both Jun. 14, and Sisters Jun. 18. See Calendar.

The Talisman
Dave Pietro (SteepleChase)by Ken Dryden

During Dave Pietro’s long career, the alto saxophonist
has established his reputation as an innovative
composer, arranger and bandleader. In spite of threedecades on the jazz scene as a veteran of large ensembles
including the Toshiko Akiyoshi-Lew Tabackin Jazz
Orchestra, the Maria Schneider Orchestra and the Gil
Evans Project, he is still deserving of wider attention.
Most of his albums as leader have been for European
labels, which rarely get much coverage stateside. The
Talisman, his first recording for the widely distributed(by Stateside) Danish label SteepleChase should catchthe attention of those who have overlooked him.
The album features a mix of old friends such as
Scott Wendholt (trumpet) and Gary Versace (piano),along with two of the most in-demand artists forrecord dates and frequent SteepleChase participants:
Jay Anderson (bass) and Billy Drummond (drums).
The saxophonist’s compositions make up the core ofthis release, beginning with the brisk, bop-infused“Essence”, a work that would have been very much athome in the ’60s, yet sounds as fresh today. Wendholt’s
fluid trumpet is the perfect foil for the leader’s bright
alto playing. “Auriga” (an extended work for Pietro’s
fiery alto, Versace’s introspective piano and therhythm section) has a constantly evolving pace thatchanges directions and tempo as the band explores thecomposition’s possibilities. The exotic air of the album
is not only fueled by its lush harmony, but its infectious
rhythmic undercurrent.
The tender ballad “Alexandra” is a heartfelt
statement, celebrating the birth of the leader’s niece.
Pietro’s choice of songs by other composers is wideranging: his quartet setting of Michel Legrand’s“The Windmills of Your Mind” is a striking, fresh
arrangement (taken at a faster tempo than usual),
making use of the full range of his instrument; Joe
Zawinul’s not widely-known ballad “Yvette” is given
a rhapsodic quintet treatment; and “Adagietto” (fromGustav Mahler’s “Symphony No. 5”) retains the essenceof its ballad-like nature while giving it a personal touch
to conclude this masterful session.

the shadows and “The Harlem Meer” brings us to thepark’s northernmost lake. “When Was” is Myers’ solecomposer credit on the set, a lovely, three-minute pianosolo that teeters on the verge of gospel.
Myers and Smith offer dedications to two fallen
musicians in “Albert Ayler, A Meditation in Light”
and “Imagine, a Mosaic for John Lennon”. Ayler lived
in Harlem, north of Central Park, and I want to believethat he’s pictured playing somewhere near the Meeron the cover of The Hilversum Session. That’s what I see
when Smith flirts with the opening notes of “NatureBoy”; this seems a lost opportunity, like so many thatcame with Ayler’s death at age 34. Lennon famously
lived and was killed at the Dakota, an apartment housedirectly across from the western edge of the park at
72nd Street; the mosaic in his memory lies near, justwithin the park’s boundaries. His dedication closes
the album in an elegiac deconstruction, too slow toeven call a ballad. It’s a wonder that this is the first
duo album by Myers and Smith, long acquainted as
members of Chicago’s Association for the Advancementof Creative Musicians (AACM). Its 37 minutes passby with promise for more. Both players are soulful
singers, but no voice is heard on the album, and I
suspect few would object to more of Myers’ organ. The
duo also doesn’t make it south of 72nd Street, leaving
at least a third of the park untouched. There’s so much
more ground to explore.
For more info visit redhookrecords.com. Myers is at RouletteJun. 22 (part of Vision Festival). See Calendar.

overload. Unlike his saxophone lines, the leader’sflute forays are light and trilling. Yet in a reversal,
ringing sustain from the vibes prevent those transverse
expositions from becoming too flighty. Throughout,
Braufman melds the lightness of some themes, as in the
concluding “Liberation”, with arco bass string buzzing
and clenched saxophone slurs, slides and split tones,
creating a sound that resembles John Coltrane’s intense
late period.
By staking out this musical path for himself,
Braufman signals his ongoing originality andadaptability.
For more info visit valleyofsearch.com. The album release
concert is at National Sawdust Jun. 7. See Calendar.

FROM MAY 23 rd
UNTIL JUNE 24 th
crowdfunding forŽiga Koritnik’s NEW BOOK

If interested to support or order it,
kindly invited to find project on a
Kickstarter or send your request to:

zkoritni@gmail.com
www.zigakoritnikphotography.com

For more info visit steeplechase.dk. Pietro is at Birdland
Theater Jun. 6. See Calendar.
Infinite Love Infinite Tears
Alan Braufman (Valley of Search)by Ken Waxman

Central Park’s Mosaics of Reservoir, Lake,
Paths and Gardens
Wadada Leo Smith/Amina Claudine Myers(Red Hook)by Kurt GottschalkO ur guided tour of Central Park, led by pianist
Amina Claudine Myers and trumpeter Wadada Leo
Smith, begins near the northeast corner of this vast
city greenland, with “Conservatory Gardens”. Named
not for a musical conservatory but for a greenhousethat once stood there, the piece begins with a slowly
unfolding piano figure, not so unlike a flower bud
opening before being hit by a bright ray from Smith’s
golden trumpet. That description might tread a bit trite,
but it’s a track, and an album, that invites speculationand contemplation.
Central Park’s Mosaics of Reservoir, Lake, Paths andGardens follows Smith’s fascination over the last decadewith natural formations—coral reefs, the nationalparks, the Great Lakes—with a partner that seems atrue spiritual sibling. Myers switches to the Hammond
B3 for “Jacqueline Kennedy Onassis Reservoir”,
providing rich orchestration for his unrushed,
exploratory soloing. “Central Park at Sunset” gives us
the color field, yellows and oranges dancing between

O ne of the most heartening tales of resumed creative
music careers is that of Alan Braufman. A mid ’70s Loft
Jazz era associate of Cooper-Moore and others, the alto
saxophonist/flutist left New York and those sounds
for decades, only to reappear with new music about adecade ago. Despite his pedigree, he’s no nostalgia act,
investing his recent compositions with new texturesand new players. Returning from earlier albums are
Ken Filiano (bass) and James Brandon Lewis (tenor),while first time associates include Patricia Brennan(vibes), Chad Taylor (drums) and Michael Wimberly(percussion). Contributions from the vibraphonist andpercussionist are particularly crucial to the architectureof Infinite Love Infinite Tears. Wimberly’s continuous
pulse and idiophone effervescence situates tunes such
as “Edge of Time” into the rarely explored groove where
percussive Latin accents play off free jazz cries from thetwo saxophonists. Brennan’s multi-mallet patterning iseven more key to the expositions. Alternating between
the punching and the pleasing, she gives additional
oomph to the drummers’ raps with echoing resonations
and adds a light dusting of motor-driven reverb on topof the overblowing and multiphonics propelled by the
saxophonists. Lewis splatters a collection of intense
honks and smears into his solos, while Braufman
responds or leads improvisations in kind with angularcries.
Each musician plays with complete control.
Beside cunning use of extended techniques, Braufman
and Lewis also propel in tandem bouncy, cheerful
motifs that join with Brennan’s mallet pops to lighten
tracks including “Spirits”, soothing stentorian reed
THE NEW YORK CITY JAZZ RECORD | June 2024 33

UNEARTHED GEM

The Complete Maiden Voyage Recordings
Art Pepper (Omnivore)by Mike Shanley
The Mighty Warriors: Live in Antwerp
Mal Waldron/Steve Lacy (Elemental Music)
by Ken Waxman

T his live 1995 recital from Antwerp, Belgium

provides alternate glimpses of four masterfulimprovisers at the top of their form. Co-led bypianist Mal Waldron (1925-2002) and sopranosaxophonist Steve Lacy (who died at 69, twenty
years ago this month), the so-called “backing”
players were bassist Reggie Workman anddrummer Andrew Cyrille, both still very much
active mid-octogenarians. Free jazz players, before
the term was in common usage, Lacy and Waldron
first recorded together in 1958, and by the ’70s
(when both had expatriated to Europe) were
frequent collaborators. Their initial connection was
the music of Thelonious Monk. Lacy, who briefly
was part of Monk’s group, consistently played
Monk’s music throughout his career. Waldron,
who worked with A-listers from Charles Mingus
to Billie Holiday, would also become one of thefirst pianists to be influenced by Monk. Cyrille, thelong-time Cecil Taylor associate, and Workman, amember of John Coltrane’s quartet, prove to be anatural fit with this duo.
The double album features a musical duality.
Disc one has the quartet interpreting two Monk
compositions, plus one each by the co-leaders;
while the second disc is made up of two pieces
that clock in on either side of 25 minutes: amedley of Waldron’s compositions, “Snake Out/
Variations On A Theme By Cecil Taylor” andWorkman’s “Variation of III”. The latter proves
to be the concert’s most challenging performance:
contrasting the bassist’s stirring introduction,
which feints and flutters from wide arco sways toa walking bass line, the pianist, in counterpoint,
slows down the tempo to a Monk-ish hunt-andpeck. Suddenly, Waldron augments the theme
into a near piano-concerto awash with honky-tonk
blues and jagged swing references as an instanceof the tail wagging the dog. When Lacy finallyjoins in, the saxophonist’s frequent key and pitchchanges rejuvenate the initial exposition. Shiftingamong even, expressive and energetic motifs,
the Waldron medley suggests the support andemphasis Cyrille’s drum kit and cymbal beats
would have provided to Taylor, as Lacy expresses
surprising neo-bop melodiousness, until in unison,
the pianist’s and saxophonist’s affiliations build
up to a distinctive narrative.
The sophistication of multiple variations
is put to its best use on the first disc. Lacy’s
pointillist bites and Waldron’s piledriver chording
and askew variations animate “Epistrophy”
and “Monk’s Dream” so that with firm rhythm
section backing the four create performances thatare simultaneously idiosyncratic and familiar.
Although not a working group, this set shows how
mighty musical warriors can immediately meld tocreate decidedly profound sounds.

For more info visit elemental-music.com

To put it mildly, Art Pepper lived a rough life, much ofit self-inflicted. The alto saxophonist (who died 42 years
ago this month at age 56) battled a heroin addiction thatlanded him in jail several times, including two trips to
San Quentin. Anyone who thought the title of his vivid
memoir, Straight Life, implied that it would end with aredemptive story of clean living was probably shocked
by the conclusion, which doesn’t wrap things up somuch as it simply stops (his widow Laurie Pepper’s
2014 book, ART: Why I Stuck With a Junkie Jazz Man,is a more empathetic follow-up to Pepper’s story).
Never completely kicking substance problems, at one
point Pepper wore a harness so hernia issues wouldn’t
conflict with his performances. Despite all his issues,
though, it appears that Pepper, even at his lowest,
never had a bad gig, at least when the tapes wererolling. His mind was always sharp, able to dig into a
deep well of melodic ideas that dispelled the idea that
West Coast jazz musicians weren’t in the same league
as their East Coast brethren. Not only was Pepper agifted improviser, he was also an astute composer. The
song (from which the book got its title) alone stands asa solid addition to the bebop canon.
In August 1981, ten months before he died of a
stroke, Pepper’s quartet (with pianist George Cables,bassist David Williams and drummer Carl Burnett)
played three nights at Maiden Voyage in Los Angeles.
Nearly half of the 42 performances have been releasedon various collections but The Complete Maiden Voyage
Recordings compiles all seven sets that were recordedthat week, along with the saxophonist’s endearing,occasionally nervous between-song introductions.
In her liner notes, Laurie Pepper calls the music “adocumentary voyage into the heart and mind of
the artist at the end of his life.” But the fire in her
husband’s playing bears no indication that an end
might be around the corner. Pepper plays throughout
these dates with a restless quality akin to a musician
still early on in his journey, mining classics including“Everything Happens to Me”, “But Beautiful” (a duetwith Cables that inspires the leader to call the pianist“Mr. Beautiful” during introductions) and “Begin the
Beguine” (on B-flat clarinet), looking for new avenues
to keep them vital. His speed and clarity on Charlie
Parker’s demanding “Donna Lee” is astounding,especially on the Thursday night set. To raise the bar,
Pepper’s arrangement includes trick endings, in which
the quartet jumps back into the bridge and rips throughthe theme several more times.
He had spent the first half of the ’60s out ofcommission, but Pepper kept up with the innovationsof John Coltrane and other players. Many of his solos
near the end of a tune have a restless, double-time
quality that reaches for free playing. The original“Landscape” starts with a revamped take on the blues
structure and, on Friday night especially, the quartet
cuts loose during the coda in the spirit of the Coltrane
quartet—all this even after Cables inserts a sly quoteof Duke Ellington’s “It Don’t Mean a Thing”. “Road
Waltz” begins like a cousin of Miles Davis’ “All Blues”
before it too heads into a completely different melodic
structure.
The quartet had some tours under their collective
belt by that summer, so they’re familiar with Pepper’s

34 June 2024 | THE NEW YORK CITY JAZZ RECORD

charts and interact as a unit. Cables’ heavy chords in“Without A Song” nod to McCoy Tyner, which brings theold chestnut into the modern era. And when the groupkicks into a Pepper original titled alternately “Arthur’sBlues” and “Thank You Blues”, the mood gets low andslow. Williams plays a spare but heavy walking-bassline and Burnett shows tasteful discipline, opting fora steady backbeat that only varies in dynamics. In thelatter version, Cables’ comping takes things to church;both versions catch Pepper getting deeply emotional.
The Maiden Voyage box includes extras suchas reproductions of the leader’s handwritten notes
rating the tracks (“I could do better”; “Laurie – This
is in OR ELSE!”). But some details play up the “warts
and all” quotient that Laurie alludes to in the notes.
She retells a story from Straight Life about drummer
Lawrence Marable making fun of the saxophonist
during a set and telling him, “None of you whitepunks can play.” (She omits his name, but it’s in thebook.) The incident hurt Pepper deeply and played on
his insecurities throughout his life. But she goes on to
add anecdotes about a Pepper tour with other African
American musicians who she says also looked down
on Art. Another awkward incident involves Pepper
confronting a French woman selling photos of jazzmusicians, asking her why none of the artists are white.
Granted, Laurie also mentions a time that Freddie
Hubbard called Pepper “the greatest saxophonist
in the world.” Yet while Pepper’s insecurities werelegitimate, he never had the experience a la Miles Davisof being clubbed by a policeman in front of the venue
where has playing. And for all we know, Marable
might have been as mercurial as a ranting Buddy Rich,
but the point is, in a post-George Floyd world, tellingtales about a victimized white musician comes acrossas inappropriate. Yet, Art Pepper fans know his story
has uncomfortable moments and, ultimately, one of his
handwritten comments about a solo actually speaks
volumes: “My whole life went into this.” It’s true, andit can be felt in each set.
For more info visit omnivorerecordings.com

Beautiful Moons Ago
Gabrielle Stravelli (Big Modern Music)
by Marilyn Lester

In the Big Band era, singer Gabrielle Stravelli would
surely have fronted for the likes of the Dorseys, Artie
Shaw or Harry James. In this modern era, she walks
in the footsteps of vocalists such as Carols Sloane andFredette, Mary Stallings and Laurel Massé, among
others. Greatness in this arena is generally the resultof an innate sense of swing and intuitive phrasing.
Stravelli possesses these qualities in spades. In her fifth
release, Beautiful Moons Ago, with her long-standing
trio of Michael Kanan (piano) and Pat O’Leary (bass),the vocalist brings her modern sensibility to twelve
songbook standards.
The title song, by Oscar Moore and Nat King Cole,reveals Stravelli at her ballad best. She has a generally
light, slightly Streisand-esque nasal vocal tone, but
knows how to add range and depth in her phrasing
and interpretations. Though delivered fairly straight,
Stravelli adds jazz underpinnings in her subtle
approach to lyric interpretation, gently stressing notes
and syllables to tell the story. O’Leary inserts a melodic
bass interlude for support. On the opposite side of thecoin is the swinger, and probably best-known tune of
the set, the Gershwins’ “They All Laughed”. She hasa ball with this one, adding great dollops of humor
in her sly interpretation. The fun and creativity are
mirrored in Kanan’s zippy, playful pianism. For a solid
template of what makes a great jazz singer, there’s theopener, “Did I Remember” (Walter Donaldson, Harold
Adamson). With mid-tempo swing, Stravelli digs deep
into the lyric, pulling out a superb interpretation with
impeccable phrasing, and spicy support from Kananand O’Leary. There’s a clever medley in the combinationof “Day Dream”, a product of Ellington and Strayhorn
and John Latouche from Broadway’s Beggar’s Holiday
and “You Stepped Out of a Dream” (Gus Kahn, Nacio
Herb Brown). The first is delivered with a smartly
arranged air of the wistful and haunting in slow tempo.
Sung through, the tune immediately yields to thesecond number, which carries a tempo and mood shift
to a logical expectation and hope of the dream coming
true. A similarly witty combination is presented in“Let’s Begin” (Jerome Kern, Otto Harbach) with “I’m
Beginning to See the Light”, attributed to Ellington,
Johnny Hodges, Harry James and Don George.
Beautiful Moons Ago is an album that can beendlessly appreciated, especially as a window into a
potential jazz legend in the making.
For more info visit gabriellestravelli.com. Stravelli is at
Birdland Jun. 1, 3, 22 and 29. See Calendar.

Heritage/Evolution, Volume 3
PRISM Quartet (XAS)
by Marc Medwin

N early a decade after the series began, the PRISM

Quartet releases the third volume of the aptly titled
Heritage/Evolution series. We hear guest contributions
from alto saxophonist Miguel Zenón, trumpeter Terell
Stafford and Chilean tenor saxophonist/composer
Melissa Aldana and, again, the past is evoked on
multiple historical and sonic levels while affording upand-coming voices a well-deserved outlet. The group’s
now-expected forays into the conjoining worldsof “jazz” and “classical” inform each moment, but
Matthew Levy’s exquisitely ruminative arrangement of
Steven Sondheim’s “Send In The Clowns” opens a third
space. As annotator (and longtime WNYC radio host)John Schaefer observes, dissonance proves integral
to the neo-Stravinskian half-resolutions immediately
preceding the sustained chord at 3:17, from which
Zenón proffers a cadenza taking off from that sonority,a model of rhythmic proportion and winning restraint.
Levy’s “Found” pits introspective episodes against
invitations to the dance, including infectious interplay
involving Tim Ries’ fantastic flute work. The delicately
shaded tracery of “Found” is decidedly swept aside by
Stafford’s “Favor”, an homage to Lee Morgan soaked
in deep blues topped with an Ellingtonian melody ofsinews, curves and unexpected syncopations. Aldana
spends much of her tenor solo exploring higher
registers, a dare-devil leap at 4:16 setting the tone. Her
cultural past, viewed through the kaleidoscopic lens of
Latin-American poetry, comprises Reflections, a suite offive miniatures, and more exquisite statements would
be difficult to imagine. The first two are crafted in athorough-going chromaticism whose closest ancestor
might be Carla Bley’s Escalator Over the Hill. The second
movement, “El Atardecer by Pablo Neruda” employs

a similar harmonic motion, exploring chromatic areas
but with a wonderfully syncopated underpinning overwhich Aldana eventually solos with that glidingly
emotive way one note transitions to the next.
Through it all shines the prismatic ensemble
playing. The fact that each member is a more thancapable soloist never negates the sophisticated andsubtle approach to voicing, timing and dynamics thatdefines PRISM’s sound. Each moment is as fraught
with intent and allusion as is every offering on whatmight be the best of the series to date, an homage topast glory and future intention.
For more info visit prismquartet.com. The album release
concert is at Roulette Jun. 9. See Calendar.

with the key soloists being the three tenors (DavidEl-Malek, Stephane Guillaume and Margitza), Pierrede Bethmann (piano), Nicolas Folmer (trumpet) andDenis Leloup (trombone). “Quartet No. 3” really cooksin spots. Dal Sasso has a fine feature on the Ellingtoninspired ballad “Quartet No. 2, Part 1”, while Margitza
pays homage to Coltrane during the uptempo “Quartet
No. 2, Part 2”. Other than “Tones For Joan’s Bones”,
these pieces are not particularly well known, but they
serve as a reminder about the vast musical legacy that
Corea has left behind for future generations.
For more info visit belafleck.com and jazzandpeople.com. A
Chick Corea tribute featuring Taylor Eigsti is at Dizzy’s
Club Jun. 12. See Calendar.

Remembrance
Chick Corea/Béla Fleck (s/r)
Chick Corea’s “Three Quartets” Revisited
Dal Sasso Big Band (jazz&people)
by Scott Yanow

The combination of Chick Corea with banjo virtuoso
Béla Fleck as a duo may not have been inevitable, but
it worked quite well. Corea was one of Fleck’s heroes
and their occasional collaborations, which included theearlier albums The Enchantment and Two, along with a
few tours, rank with some of the high points of Fleck’s
musical life. The pianist clearly enjoyed the fresh
setting and the chance to interact with an artist from adifferent field. In 2019, the two went on tour and halfof the resulting double-LP Remembrance is drawn fromthose concerts; with the onset of the pandemic theyrecorded the rest of the material remotely. Four brief(around two minutes apiece) “Impromptus” had the
keyboardist improvising and then Fleck later adding
to the music. Corea’s “Enut Nital” (read it backwards)
probably could not have been as successful if recorded
live, for it features its composer playing a line andthen Fleck immediately echoing him while the pianist
creates another idea, creating an instant arrangement.
Among the other more memorable selections are thebanjoist’s playful if complex “The Otter Creek Incident”
and his eccentric “Small Potatoes”, Thelonious Monk’s“Bemsha Swing”, “Scarlatti Sonatas” (some charmingclassical themes adapted for this unique duo) andCorea’s title track, which is a minor-toned piece witha bossa-nova feel (and which other musicians shouldlook into exploring).
In 1981, Corea put together an all-star quartet withMichael Brecker (tenor), Eddie Gomez (bass) and Steve
Gadd (drums) to record his “Quartet No. 1”, “Quartet
No. 2” (its two parts were dedicated to Duke Ellington
and John Coltrane), and “Quartet No. 3”, alongwith some other pieces including “Slippery When
Wet”. Those originals have rarely been performed
since. Christophe Dal Sasso is the longtime leader
and arranger for the Dal Sasso Big Band, a 12-piece
unit from France consisting of his flute, three tenor
saxophonists (including American Rick Margitza),
clarinet/bass clarinet, two trumpets, two trombones
plus rhythm section. Among their past recordings are
big band adaptations of Coltrane’s A Love Supreme andAfrica/Brass, along with sets of original music. On Chick
Corea’s “Three Quartets” Revisited, the group tackles
the complex quartet pieces (which Dal Sasso adapts
well to a small big band setting) along with “Folk
Song”, “Tones For Joan’s Bones” (the title track to
Corea’s 1966 Vortex album and which does not appear
on his Three Quartets) and the colorfully arranged“Slippery When Wet”. The musicianship is top-notch,
THE NEW YORK CITY JAZZ RECORD | June 2024 35

IN PRINT
Guillaume
Belhomme

Eric
DolphyCandidSunny Five (Intakt)
by Phil Freeman

Biographicalsketches
wolke

Eric Dolphy: Biographical Sketches
Guillaume Belhomme (Wolke Verlag GMBH)
by Ken Waxman

Dedicated and detailed, yet in some ways also

disappointing, French critic Guillaume Belhomme’s
slim volume aims to bring up to date all the available
data on the brilliant but foreshortened musical careerof American multi-instrumentalist Eric Dolphy(born this month in 1928, passing away at age 36
sixty years ago). Translated from French by Pierre
Crépon, and subtitled Biographical Sketches, Belhomme
comprehensively traces the musical and contemporary
circumstances involved in nearly all of Dolphy’s mostcelebrated albums. These include not only those under
his leadership, but also as part of ensembles led byJohn Coltrane, Ornette Coleman and Charles Mingus,
as well as, among others, Chico Hamilton and evenJohn Lewis’ Third Stream experiments.
The book is particularly valuable when Belhomme
deals with previously unreleased, obscure or unknown
recordings, such as a 1954 house concert that has theLos Angeles-born Dolphy playing bebop alongside
trumpeter Clifford Brown; or a series of radio checks(perhaps bootleg sessions) with European players in1964 during Dolphy’s final weeks in Europe before
his death in Berlin (from diabetes-related causes).
By that time even though the multi-reeds player wasconsidered a committed member of the avant garde,due to his work on seminal albums such as Ornette’s
Free Jazz, Coltrane’s Olé and Charles Mingus Presents
Charles Mingus, he still retained his mainstream
connections with live setlists including originals plus
jazz and songbook standards.
Detailed and chronological reports on recording
sessions and live dates balance the author’sinterpretations of the music with that of Dolphy’s
contemporaneous reviewers. Many of these critics
were less than complimentary, with some calling
Dolphy’s (and Coltrane’s) creations, “anti-jazz.” Themost disappointing part of the volume, though, is thefailure to portray Dolphy as a fully-formed human,
beyond simply a musician. Only in the final chapter
does Belhomme begin to transcend these limitations,by amplifying his compendium of secondary sources
with personal interviews and original reviews.
Particulars about Dolphy’s impending marriage todancer Joyce Mordecai, reminiscences by European
musicians in German vibraphonist/bass clarinetist
Gunter Hampel and Dutch drummer Han Bennink
and details about his death and transportation of his
body to the U.S. for burial offer glimpses of a man who
was consumed by music but still had other interests.
Hopefully, and before too long, an author who’s
up to the monumental task will chronicle Dolphy’slife and music with the same care and detail given tobooks on Sun Ra, Coltrane and others. Until then, thisvolume remains a valuable gateway for those whowant to know more about Dolphy’s music and varied,
though cut short, recording career.
For more info visit wolke-verlag.de. The “Eric Dolphy:
Freedom of Sound” festival is at New School’s Tishman
Auditorium Jun. 1-2. See Calendar.

S unny Five is a new Tim Berne band that’s essentiallyan expansion of his trio Sun of Goldfinger, which
made its recorded debut with a self-titled 2019 ECM
album. Berne (alto), David Torn (guitar) and Ches
Smith (drums) are joined on Candid by longtime
Berne collaborator, Marc Ducret (guitar), and a new
addition to the saxophonist’s company of players,
Devin Hoff (bass), who was most recently heard with
Smith, guitarist Ava Mendoza and saxophonist James
Brandon Lewis in the scorching Mendoza Hoff Revels.
The Sunny Five lineup represents a group of friends
dedicated to pursuing a far-reaching common visionthat juxtaposes and integrates acoustic elements witha heavy dose of electric/electronic sound generation.
In the personnel and instrumentation—saxophone,
two electric guitars, electric bass and drums—any
listener who comes to this album expecting pure longform skronk in the vein of previous Berne bands (e.g.
Science Friction, Big Satan, Hard Cell, the Torn-led
Prezens), will be in for a surprise. That said, the music
rises to some extraordinary peaks, particularly on the
19-minute “Scratch” and the 35-minute “Floored”.
Hoff drops bass bombs that reach almost Laswell-ian
depths as Berne screams through his saxophone and theguitars grind and growl; there are also long passagesof minimal, atmospheric exploration in which crackles
and drones are heard over (or underneath) gently
plucked, almost acoustic-sounding guitar melodies
and soft rustles of cymbals, as Berne emits long tones
so delicate they could almost be distant feedback. The
album’s four tracks, which function as a suite, add up
to nearly 72 minutes of music: the finale, “Floored”,
takes up the album’s entire second half, travelingthrough zones of raw dub-jazz as heavy as John
Zorn ever cooked up with Painkiller. Long passagesof drifting post-punk horror atmosphere are created,
Smith’s electronic percussion sounding like somethingfrom a Godflesh album as Hoff’s bass strings seem on
the brink of coming unwound.
Far from sunny, Candid is in many ways one of
Tim Berne’s starkest, darkest albums.
For more info visit intaktrec.ch. Tim Berne is at Lowlands
Jun. 6 and 24. David Torn is at Nublu Jun. 29. See Calendar.

Bernstein in Vienna
Peter Erskine and the Jam Music Lab All-Stars(Origin)by Pierre Giroux

C omposer-conductor

Leonard Bernstein was amusical chameleon who effortlessly traversed musicalstyles and genres on which he built an unparalleledlegacy. Drummer Peter Erskine (who celebrates his

36 June 2024 | THE NEW YORK CITY JAZZ RECORD

70th birthday this month), along with the musiciansthat make up Vienna’s Jam Music Lab All-Stars:
Robert Unterköfler (tenor), Bertl Mayer (harmonica),
Cozy Friedel (violin), Andreas Varady (guitar), Danny
Grissett (piano) and Danny Ziemann (bass), embark on
a captivating journey through the composer’s timelessmelodies in this live recording at the Funkhaus in
Vienna, Austria.
Bernstein in Vienna’s eight tracks are carefully
chosen from Broadway musicals and offer a testament
to the timelessness of Bernstein’s music. The iconic
West Side Story (1957), the charming Wonderful Town
(1953) and the timeless On The Town (1944) are all
represented. From the start, Erskine and the Jam
Music Lab All-Stars demonstrate virtuosity, versatility
and a keen attention to detail in this diverse selectionof Bernstein repertoire. Their understanding of themaestro’s work is evident in their interpretations,starting with the opening track, “Somewhere”(arranged by Alan Pasqua), which sets the tone forthe session. Taken by the trio of Erskine, Grissett andbassist Ziemann as a ballad, they find layers of nuancewith a warm, soft glow, breathing new life into thispiece’s familiar melody. Erskine’s precise drummingand Grissett’s sophisticated piano playing add depth
to the chart. “I Feel Pretty” skips along brightly,
beginning with Mayer stating the theme, then segues
into a solo by the harmonica player, showcasing his
unique flair while Varady, Unterköfler and Grissett,against the swirling rhythmic undercurrents, provide
color and texture to the number. Continuing in an uptempo fashion, “It’s Love” is buoyed by the leader’s
expressive rhythmic performance, setting the table
for solos by Grissett, Unterköfler, Mayer, Friedel andVarady, all who are effortlessly charismatic. The closer
is “Cool” (from West Side Story) in an arrangement thatengages each member of the band, developing a senseof collaboration and camaraderie as their passion
shines through each and every note.
In celebrating Bernstein’s legacy, Peter Erskine
and the Jam Music Lab All-Stars have created a fitting
tribute to one of the most influential figures in 20thcentury music.
For more info visit originarts.com

Last Chance to Crelve
Will Bollinger (s/r)
by Sophia Valera HeineckeI f the banjo, the iconic instrument of the American
South was in love with a Game Boy and addicted to Led
Zeppelin, it would follow and be easy to understandhow one-man band Will Bollinger developed these
influences into his unforgettable and abundantly
creative solo debut, Last Chance to Crelve. Growing up
in central Virginia, the archive of Bollinger’s listening
life appears here, but never quite obvious, yet callingin undertones of jazz, new wave, rock and folk. This
work is a trip, a black hole of loops and riffs set withcollapsing star energy that you can lose yourself in.
Almost choir-like, all the instruments played by
Bollinger are voices in unison most of the time. The
banjo is expertly utilized both rhythmically andharmonically, and played at lightning speed, erasingfrom memory the relaxed flow of banjo picking and therolling signature common to American folk music. The
album is ultimately a frenetic pas de deux between thebanjo and various electronics, peppered with tritones
that are villainous but relatable.
Frenetic yet calculated, rapid-fire but neverchaotic, Bollinger describes his process with a humility
and clarity that explains his unique sound and centerson his love for the banjo. “For this project, I started
writing on banjo and had a complete part written
before opening up to electronics. I enter the notes tomake the MIDI instruments play the same notes as thebanjo part. After that, I develop the drums, bass andsynth parts.” Written over three months and completed
in under a year, the compositions form a mysterious
work that can summon strength in listeners to listen
to its 18 tracks in one sitting. Certain tracks, such as“Classical Squid Mask” have an ’80s arcade novelty
about them that is simultaneously nostalgic andcutting edge, while other tracks are an epic journey,
notably “Refurbished Spatula”. The most surprising
composition, “Diagonal Lightbulb Belt”, is akin to theuse of the harpsichord in Bach’s time as a solo melody
instrument as well as an accompaniment to other
instruments playing the central melodic line. Even if
it’s not for you, Bollinger’s idiosyncratic brilliance andundeniable talent on banjo make Last Chance to Crelve
worth a listen.

Not to suggest the music is repetitious or reductive—
rhythms are arranged in 5’s, 6’s, 7’s and 9’s, or 4’s
superimposed over 3’s, while a melody might
contain all 12 chromatic pitches—only that craft issecondary to discovery, a mere vessel towards thosetranscendental moments (or ‘trance-figurations,” if
you will) that occur, for example, in the middle of“Black Apollo” or “Triptych”, when it feels like justabout anything is about to happen. The final track,“Élan Vital”, ending with a slow churchy backbeat,serves to ground the sublime adventurers back onterra firma.
For more info visit intaktrec.ch. Lewis is at New School’s
Tishman Auditorium Jun. 2 (part of “Eric Dolphy: Freedomof Sound” festival), National Sawdust with Alan Braufman
Jun. 7 and Roulette Jun. 19 and 21 (both part of Vision
Festival). See Calendar.

For more info visit willbollinger.bandcamp.com. Bollinger
is at Record Shop Jun. 2. See Calendar.
SanyasSteve Turre (Smoke Sessions)by Alex Henderson

O ver decades, Steve Turre has appeared on many

Transfiguration
James Brandon Lewis Quartet (Intakt)
by Tom GreenlandA t 40 years of age, tenor saxophonist James Brandon

Lewis, a jazz conservatory alumnus who garneredconsiderable acclaim for The Jesup Wagon (2021), hasbegun to question his own “trained intuition,” hoping
to move beyond skill, habit and gratuitous complexity
to explore deeper meanings of music-making.
Transfiguration, his fourth quartet album for Intakt,
with Aruán Ortiz (piano), Brad Jones (bass) and Chad
Taylor (drums), is a promising step in this direction.
The first thing to hit you is Lewis’ stentorian sound,an echo of tenor titans Sonny Rollins, John Coltrane
or Albert Ayler, who could command attention witha single, richly reverberant note. Emotional gravitas
from Lewis’ gospel background is here too, an ability
to generate skin-prickling electricity. His tunes arehummable, harmony serving melody, not the otherway ‘round. But the quality most responsible fortaking this music “deeper” is cohesion, the kind of
empathy and trust that allows the quartet to change
its collective mindset at will or whim, to launch off on
any promising new detours, following in each other’sfootsteps even as they lead the way.
While many tracks adhere to the customary
sequencing of solos, “Trinity of the Creative Self”,“Swerve” (based on a Muddy Waters-type blues
drone), “Black Apollo” and “Triptych”, show a lessordered division of labor, where soloist, timekeeper
and accompaniment roles overlap and blur.
Another esthetic trope, heard on “Swerve”, “Per6”, “Black Apollo” and throughout both in solos
and accompaniment, is the use of repeated riffs todeepen and intensify the groove with each iteration,
each added layer, creating “nagging incantation[s]freighted with emotional heft.” (as John Sharpe writes
in the liner notes). Muddy Waters and then some.

live recordings as a sideman. But Sanyas, recorded
at Smoke on Manhattan’s Upper West Side (a venue
with which he has had a long association), marks thefirst time the trombonist, now 75, has so recorded asa leader. This recording for the club’s inhouse label
finds him fronting a cohesive acoustic hard bop/
post-bop quintet that includes Nicholas Payton(trumpet), Ron Blake (tenor), Isaiah J. Thompson(piano), Buster Williams (bass) and the eclectic Lenny
White (drums). Only a year younger than bandleader
Turre, and having worked with the likes of Chick
Corea’s fusion powerhouse Return to Forever (aswell as his years leading the Queens-based funk/soulband Twennynine), this live album reveals that thedrummer has never lost his touch with straight-ahead
acoustic jazz. Here White noticeably thrives as a bop/
post-bop drummer.
Latin music has long been a major inspiration for
Turre, and with White and company the trombonist
brings a strong Afro-Cuban influence and inspired
performances to trumpeter Lee Morgan’s “Mr.
Kenyatta” and the Jerome Kern standard “All the Things
You Are”, while the interpretation of “These FoolishThings” (Jack Strachey) draws on both Brazilian music
and funk. The latter has been recorded countless times
since it was written in 1935, but usually as a straightballad. Here Turre gives the standard a mid-tempo
makeover with a modern light funkiness. The album’s
sole full-fledged ballad treatment comes on “Wishful
Thinking”, a dreamy original by the bandleader thatbears a slight resemblance to John Coltrane’s “Naima”.
Coltrane is additionally an influence on the Indianflavored title track, a Turre original that predates thetrombonist’s recording career as a leader (Viewpoint,1987). He wrote “Sanyas” five decades ago for Woody
Shaw’s The Moontrane (Muse, 1974), Turre’s first of
many albums with the trumpeter, who he was closely
affiliated with for a dozen years.
On Sanyas, these rewarding performances makeone wish that Steve Turre had recorded his own live
album a long time ago.
For more info visit smokesessionsrecords.com. The album
release concerts are at Smoke Jun. 27-30. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2024 37

(HARLEM CLUB CONTINUED FROM PAGE 12)
Caldwell’s “What You Won’t Do for Love” and Ini
Kamoze’s “Here Comes the Hotstepper”. Eight blocks
north from there, at American Legion Post #398, Greg
“Organ Monk” Lewis tickled and teased the in-house
Hammond B3, backed by David Lee Jones (alto) and
Russell Carter (drums). With the closing of The Baby
Grand, La Famile, Lickety Split and, most recently,
Showman’s Jazz Club, ALP #398 is one of the only
places (if not the only place) left in Harlem to experience
the authentic B3 sound.
On Day 4, Silvana’s downstairs space held its
weekly downhome blues session featuring former Bobby“Blue” Bland drummer, Phil Young’s House of Blues—
Morimoto (tenor), Mark Bowers (guitar), Pat Marafiote(keyboards), Lee Marvin (bass), Beverly Crosby(vocals)—laying down traditional repertoire driven by
the leader’s late-dropping backbeat shuffles, Bowers’
scalding solos and Crosby’s soulful interpretations.
The New Amsterdam Musical Association (NAMA)
hosted pianist Yovanne Pierre’s Les Artistes trio—
Robbie Roberts (bass), Fred Wells (drums)—on a set of
fired-up Latin jazz descarga. Slightly north, at Harlem
Nights (known for raucous open-mic comedy), theChild Support Band—Mike Parker (keyboards), Levon
Fulmore (bass), Greg Norwood (drums)—flaunted jazz
chops on Jaco Pastorius’ “The Chicken” before jammingon neo-soul numbers.
For Day 6, after a night off, your correspondent
visited The Shrine, a venue notable for hundreds of LP
record covers almost completely enveloping the walls
and ceiling (everything from Aztec Two-Step’s Second
Step to Jackie Mittoo’s Macka Fat), along with African
statuary and drums and the obligatory silver ball. The
New Vigilantes and Black Rose Burning performed
two very different sets: retro-rock and post-punk,respectively.
Up at Lucille’s bar/restaurant on Day 7 was theubiquitous saxophonist Kevin Oliver Jr.’s trio—Mwanzi
Harriott (guitar), Devon Gates (bass, vocals)—playing a
subdued set of standards at a relaxed pace, slipping ina free improv based on a four-note motive and lullingthe diners.
The festival’s swingingest set occurred on Day 9,at the National Jazz Museum in Harlem, where bassist
Ari Roland’s Now’s the Time for Jazz Diplomacy
octet—Zaid Nasser (alto), Chris Byars (tenor), John
Mosca (trombone), Stefano Doglioni (bass clarinet),
Pasquale Grasso (guitar), Keith Balla (drums), Yaala
Ballin (vocals) with guests Eli Yamin (piano), Reggie
Parker (dance) and Claudio Cruz (tenor)—hustledthrough a set of up-tempo swing/bebop standards aswell as Middle Eastern, Mongolian and Roma tunes,
each and every musician demonstrating sterlingsolo chops, inspiring each other to ever higher
improvisational heights. At Minton’s, up-and-coming
vocalist Alexandria DeWalt’s quartet—Tim Watson(guitar), Dan Finn (bass), Christian McGhee (drums)—
explored songs including the leader’s extended scats
heard in “I’m Through With Love”, a tune sung by
Marilyn Monroe. At Cotton Club, the house band—
Ray Blue (tenor), Ron Granger (piano), Michael
Brown (guitar), Stan Thompson (bass), Calvin Portia(drums)—warmed the crowd up with Benny Golson’s“Killer Joe” and Ellington’s “In a Sentimental Mood”.
Back at Minton’s, Oliver Jr.’s quartet once again hosted
the late-night session, a saxophone summit featuring
Oliver and James Carter (tenor), invigorated by anongoing influx of talented guests, including Morimoto(tenor), Jason Marshall (baritone), and Morgan Faw(alto). Oliver’s cool restraint proved an apropos foil for
Carter’s flamboyant exuberance.
The final day began with a gospel brunch at Ginny’s
Supper Club (Red Rooster’s cellar venue), where Sing
Harlem, a seven-voice choir led by Ahmaya Knoelle
Higginson, lifted spirits with heartfelt and skillfully
melismatic singing, covering old and new gospel

standards, adeptly accompanied by Darrell Nickens(keyboards) and Tyler Newson (drums). Upstairs,organist Nate Lucas’ All Stars—Matt Chertkoff(guitar), Victor Wise (drums), Letrice Arlene (vocals)—held court from a corner of the crowded room, coaxing
patrons’ attention just as John Smith’s combo had done
the previous week, Arlene rocking Jerome Kern andDorothy Fields’ “The Way You Look Tonight” plus
George and Ira Gershwin’s “Love Is Here to Stay” ina resonant alto, changing up the mood with bossa,
reggae and slow funk. Your correspondent’s final setof the festival was James Carter’s very first gig as aheadliner at Minton’s (an item on his bucket list sincechildhood). Backed by Sharp Radway (piano), Hilliard
Greene (bass) and Kahlil Kwame Bell (drums), he
nimbly switched between soprano, tenor and baritone
saxophones, wowing the audience with his prodigious
facility and control, abrupt dynamic changes and afearsome locomotive tone. Set highlights included ashort reading of “In a Sentimental Mood” and a freeinterpretation of David Murray’s “Ming” (dedicatedto the late baritone saxophonist and World Saxophone
bandmate and founder Hamiet Bluiett).
Resurfacing after an eight-day deep dive into
Harlem jazz, your correspondent took the A Train
home to Brooklyn, ears abuzz.
For more info visit harlemlatenightjazz.org/jazz-club-revival(GOTHAM FESTIVAL CONTINUED FROM PAGE 12)
welcomed as a club member in the music’s heyday—yet
the old New York imagery flourished. The atmosphere,
the scene, was maintained throughout much of the day,and this particular area served as an oasis from thehustle and swing of the other rooms. Another pianist
featured here was Ramona Baker, whose ragtime andstride at points recalled a still earlier phase of jazz’
development.
The Club’s Ballroom, up the grand mahogany
staircase to the third floor, was another site of ongoingmusic. Rotating ensembles of the New York Hot JazzCamp (an adult music camp as the copy reads, but withmany youthful musicians in tow) heated up the space
as it rolled out the bands: featured were The Barrow
Street Basement Jazz Band, BnB on Barrow, Tal & the
Talents, the 7th Avenue Seven, Jazz Cappuccino a laCrème, and the very hiply-named Jazznauseum. Later,
the location hosted the NYHJC Faculty band, boasting
an incendiary lineup of Catherine Russell, Mike
Davis, Dan Levinson, Ron Wilkins, Cynthia Sayer,
Rossano Sportiello, Tal Ronen and Kevin Dorn.
Special kudos go to banjo maestra Sayer, who not only
has been specializing in this music for many years, butalso has been playing with a plethora of ensemblesof importance. The Big Apple Dance Workshop held
two sessions led by Adrienne Weidert and Gaby
Cook. Their teachings must have stuck, for highlyspirited dancing followed many of the ensembles—theCharleston and Black Bottom being just part of thedance proceedings. Jon-Erik Kellso, a proponent of allthings Bix, is known for his capture of Beiderbecke’s
tone and feel, as well as that of founding father Louis
Armstrong. His EarRegulars (a Sundays constant at
the Ear Inn) traveled just a bit southwest to conquer
the DTA Ballroom as few could. From start to tailgate,
the set was on fire, even with a uniquely small lineup including Matt Munisteri (guitar), John Allred(trombone) and Neal Miner (bass).
In the whirlwind of a music festival such as this,a one-day, 12-hour veritable cornucopia of soundwith concurrent sets, it’s impossible to see every act.
But one gift of the day, Andy Schumm and his Gang,
held this writer’s attention. This ensemble traveled infrom Chicago, carrying the gorgeously erratic energyof that pioneering crop of Chicagoans in 1927-28. The
leader’s cornet sang out in the best Austin High School

38 June 2024 | THE NEW YORK CITY JAZZ RECORD

Gang tradition, with vital aspects of Beiderbecke
overwhelmingly alive in his horn. Josh Holcomb(trombone) wrapped his lines warmly around thoseof Jay Rattman (bass saxophone), casting a rhythmictapestry with Dalton Ridenhour (piano) and Josh Dunn
(banjo). Surely, ghosts of the California Ramblers
haunted this set: Rattman’s sinewy, almost percussive
bass lines couldn’t help but recall the brilliance of
Adrian Rollini (who went on to play in multiple
Beiderbecke ensembles). Rattman’s solo statements on“Cheating on Him”, among other titles, were grippingin a manner singular to the bass sax. But for the size ofthe ax, one imagines that this instrument would be acommon sight. The line-up at points could also speak
to that of Armstrong’s Hot Five where Lil Hardin’s
piano and Johnny St. Cyr’s banjo were the entire
rhythm section.
Ray Noble’s “Love Is the Sweetest Thing” offeredample room for Holcomb to transport the crowded
room and “(Back Home Again In) Indiana”, written
earlier (1917) but claimed as an anthem of sorts by the
Chicago school, roared joyfully. And when Schumm
traded his cornet for a clarinet, ignoring the entirely
different embouchure that prevents most fromattempting this feat, he wailed like Sidney Bechet. Hisvarying leads and solos on the instrument also bore
the influences of Frank Teschemacher and Pee Wee
Russell. And yet, back on cornet, he seemed to conjure
Armstrong’s lead trumpet with Fletcher Henderson on
the latter’s recording of “I’ll See You in My Dreams”.
If not for the absence of white noise hiss, one might
have mistaken this performance for a series of cleverlyconcealed, very cool 78 RPMs that just about every
collector is killing to own.
For more info visit gothamjazzfestnyc.com(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)
lines. Solos evolve rather than roar, illustrated by
Roved’s svelte inventiveness on “Last Exit to Dawn”.
Addressing what he considers and distinguishes AMP
and Thorén’s approach to producing music, Roved
explains that “AMP works with serious artists who
have a story to tell with their music…. there [also is an]
integration of a visual identity, a dedication to coverartworks.” This continuity of visual appeal is anotheraspect of AMP’s attention to detail.
On the production end, Thorén’s vision includes
building strong relationships with a chosen cadre of thebest studios in Europe. AMP works closely, for example
with Oslo’s Rainbow Studio, a full-service recording,
mixing and mastering facility established by soundengineer Jan Erik Kongshaug. Thorén is an advocate
of teamwork, committed to providing a keen guiding
hand in everything the label chooses to produce. At
the same time, he acknowledges that artists have afocused understanding of their own musical personas,
which the label encourages. AMP also provides fullinternational distribution of physical releases throughMusikkoperatørene (with the exception of Japan, which
is distributed by Inpartmaint), and offers full digital
distribution through Believe Music. Thorén keeps aclose eye on the music business, continuously working
on expanding the distribution network to maximize theexposure of his artists and their releases.
With a decade of success to its credit, AMP Music& Records has continued to grow carefully and withpurpose. It’s a hub for talented artists and “the musicof the North,” which otherwise might be overlooked.
Moving from strength to strength, that segment ofpeople in the jazz sphere who may shake their heads
quizzically at the notion of Scandinavian jazz (and its
excellence) will significantly diminish as time moveson.
For more info visit ampmusicrecords.com

(INTERVIEW CONTINUED FROM PAGE 6)
Conquest: Oh, yeah. Especially if anybody’s looking
for a watermelon tree, right?
TNYCJR: You were involved in another remarkableproject with William, I Plan To Stay A Believer: The Inside
Songs of Curtis Mayfield (AUM Fidelity) with poet Amiri
Baraka. That’s powerful stuff to have put on the table.
Conquest: I was so aware of Curtis Mayfield, thatwas part of my youthful soundtrack, hearing that on
the radio here in Dallas. He was such a tremendous
songwriter. But this whole thing of “inside songs,” thatwas challenging to find. William has this connection
to the tone world, I always say. He talks about that.
And so I tried to utilize some of the melodies that hewould compose within that Curtis Mayfield realm. Of
course, Amiri Baraka is one of a kind in terms of thestorytelling and just the historical scope of his writing,from plays to short stories. This poetry he was doing
was a commentary on social events of sorts. Not tojust put it all into that, but I’m summarizing. It kept
evolving. We were working with a choir, so we hadvoices and collective improvisation from the group.
TNYCJR: Standing there next to Baraka, you said alittle about his reputation—but for yourself, what wasthat like being the voice next to him?
Conquest: I must say that I’m thinking of the words“enthralled” and “engaged” and “inspired” and also
trying to stay out of the way sometimes, because I ama lover of poetry, and I think that’s why William and I
have connected so well on a lot of these compositions,because I appreciate the mystery and the complexity
and the challenge of poetry, and of course, there’s
symbolism, metaphor, all these kinds of things, thatongoing discovery that you get when you engage witha poem. You might read it the next day and say, oh,didn’t think about that. I think that’s the way it waswith Amiri Baraka. And just his stamina, I thought tomyself, “How do you keep doing this? How do you
keep speaking up and just carrying on like this in sucha manner?”
TNYCJR: Who were vocal influences for you? Whowere you listening to as you were deciding, “Jazz issomething I want to do”?
Conquest: I listened. I am a listener. That’s one thing I
know about myself. And of course, that also evolved.
You might hear the singers your parents are listening
to or the singers on the radio. There was always Ellaand Billie Holiday and Sarah Vaughan. Later, Abbey
Lincoln, of course, Betty Carter, because of her senseof time and space, just the way she could extend
the lyrics. Oh, gosh. I think Johnny Hartman, withDuke Ellington, who also worked with Coltrane. Of
course, Louis Armstrong. I was so drawn to him as achild, even. I think a lot of children may be [drawn to
Armstrong], but I know I was. I was just captivatedby Louis Armstrong. I like the diction of people like
Barbra Streisand. I listen to her. My mother played a lotof her songs. Nina Simone, of course. I like the sound ofvoices. Alberta Hunter. I know that she’s a singer that’s
a little different, but just her ability to tell a story.
TNYCJR: What’s coming up for you? We’re excited
to see you back in New York for William’s Lifetime ofAchievement concert as the opening night of this year’s
Vision Festival—what do you want people to know?
Conquest: Thank you for that. I’m actually working on
a record called The Poetry Sessions, where I’ve scoredsome of my poems and then poets that I really admire,in addition to some material that I just like. So, I’m
hopeful that I’ll be able to put that out in the Fall.

It’s so interesting, when I discovered that William
was being honored, it was almost like, hasn’t William
been honored already? I kept thinking, no, he hasn’t,
really, officially, because he’s such a presence. And likeI said, Patricia Nicholson-Parker has been just, I keep
going back to that word, a “catalyst,” well, artist in her
own right, just driving it forward. So I’m really glad toknow about it and be part of it because he has such a
way of making music philosophy. He melds the two insuch an accessible way. And it’s a marvelous expression.
For more info visit facebook.com/leena.conquest. Conquest
is at Roulette with William Parker’s Raining on the Moon
Jun. 18 (part of Vision Festival). See Calendar.
Recommended Listening:• William Parker Quartet (feat. Leena Conquest)—
Raining on the Moon (Thirsty Ear, 2001)• William Parker Raining on the Moon—
Corn Meal Dance (AUM Fidelity, 2007)• William Parker Raining on the Moon—
Great Spirit (AUM Fidelity, 2007)• Dave Burrell—Plays His Songs(featuring Leena Conquest) (Rai Trade, 2008)• William Parker—Flower in a Stained Glass Window &The Blinking Of The Ear (Centering, 2018)• William Parker—Universal Tonality (Centering, 2022)(LEST WE FORGET CONTINUED FROM PAGE 10)
Gate (Impulse!), as is his radical freedom, though there’s
also evidence on Live at the Village Vanguard (Impulse!)from November 1961. Dolphy’s sustained pitch-bending
cries and rapid, register-leaping lines were creating an
abstract expressionism of sound.
Turning to Dolphy’s work as a leader, there arebrilliant moments throughout The Complete Prestige
Recordings, documenting 13 sessions of him as bothleader and sideman from April 1960 to September
1961. However, his most creative work under his own
name appeared later. On the Resonance release Musical
Prophet: The Expanded 1963 Studio Sessions (the original
Douglas recordings from two days in July 1963), herecorded in formats from solo (“Love Me”) to duetswith bassist Richard Davis (a sustained abstraction on“Alone Together” and a sublime recording of Duke
Ellington’s “Come Sunday”) to a quintet recording ofFats Waller’s “Jitterbug Waltz” to visionary nonet andtentet recordings of his own “Iron Man” and “Burning
Spear” compositions. The large ensembles range
through generations as well as repertoire, stretchingfrom bassoonist Garvin Bushell (who recorded with
Jelly Roll Morton in 1928) to then 18-year-old trumpeter
Woody Shaw. In February 1964, Dolphy recorded his
most widely recognized masterpiece, Out to Lunch(Blue Note), a program made up entirely of his own
compositions with Bobby Hutcherson (vibes), Freddie
Hubbard (trumpet), Davis (bass) and Tony Williams(drums).
Not soon to be forgotten, Dolphy’s vision still lives
in the wealth of recordings he made, as well as theupcoming, highly anticipated two-day “Eric Dolphy:
Freedom of Sound” festival in NYC this month. As thefestival’s (and SEED Artists) Creative Director Chris
Napierala remarks, “Dolphy’s sound is still fresh andstartling and compelling, perhaps because it is bothotherworldly and so deeply and nakedly human. The
signature intervallic leaps, the evocations of humanspeech and birdsong, the Gaudi-like architecture of hislater compositions—for me, this is Dolphy relentlesslypressing forward and challenging himself and us.”“Freedom of Sound” is set to explore many of thedimensions of Dolphy’s music. Among the participants:
Don Byron, James Newton, James Brandon Lewis,
Pheeroan akLaff and Angelica Sanchez are all key
figures who also appeared a decade ago at the festival’s
inaugural concerts (in Montclair, NJ), which celebrated

the 50th anniversary of Dolphy’s passing. While hissignificant collaborations are largely documented, one
that’s missing is with Cecil Taylor, two remarkably
similar musicians who reportedly jammed together.
A couple of “Freedom of Sound” duos are set to draw
inspiration from that very pairing: Nicole Mitchell(flute) with Craig Taborn (piano), and Rob Brown (alto)
with Matthew Shipp (piano). Shipp remarks that “theconnection to Dolphy is inspirational.”
Other festival program highlights: the Dolphy Trio,
devoted to his timbral palette and composed of his
primary instruments with Mitchell (flute), Darius Jones(alto) and JD Parran (bass clarinet); Byron’s quartet ofbass clarinetists; and the late Geri Allen’s Celebration
Suite for Eric Dolphy (led by Sanchez), which has only
been performed once before (35 years ago), with akLaff
reprising his original role; while Newton, a leading
authority on Dolphy’s music, will lead a listening
session and symposium with Workman and Mitchell.
For more info visit seedartists.org. The “Eric Dolphy:
Freedom of Sound” festival is at New School’s Tishman
Auditorium Jun. 1-2. See Calendar.
Recommended Listening:• John Coltrane—The Complete 1961 Village Vanguard
Recordings (Impulse!, 1961)• Oliver Nelson—Blues and the Abstract Truth(Impulse!, 1961)• Eric Dolphy—Musical Prophet (The Expanded 1963
New York Studio Sessions) (Resonance, 1963)• Eric Dolphy—Out to Lunch (Blue Note, 1964)• Andrew Hill—Point of Departure (Blue Note, 1964)• Charles Mingus—The Great Concert of Charles Mingus(America-Verve, 1964)(ENCORE CONTINUED FROM PAGE 10)
Jeanne Lee and trumpeter Wadada Leo Smith on an
early Einstein release). Likewise, RouletteTV enabled
Roulette to document work in increasingly meaningful
ways. Roulette started posting videos and otherrecordings on its website from the early days of theinternet. “We had a robotic camera system with adirector calling up the shots in real-time, and we would
do some work in post to edit it down to a TV show,” hereports. “Livestream was too intermittent then, but thework was posted after the fact. Now, the work can bedone in real-time; it can be both more cost-effective andmore interesting.”
The same vision of inter-penetrating artistic
disciplines that drove Roulette’s founders has also
been the compass for its evolution post-COVID andwill continue in the next phases. “We’re so limitedwith the physical space, that if you can take it out, andhave a quality that gives you an aesthetic experience,
it becomes something more.” The same will certainly
be true for Staley’s commitment to furthering his own
output as a creative musician in his next phase. Ikue
Mori’s words summarize things well: “He is a greattrombone player and improvisor whom I respect—andI always have great fun playing with him. (I) hope hecan play more after (he) retires from the ‘administrate’work.”For more info visit roulette.org. Staley is at Roulette Jun. 11(part of Roulette’s 45th Anniversary Gala). See Calendar.
Recommended Listening:• Jim Staley (with John Zorn)—OTB (Lumina, 1984)• John Zorn—Cobra (hatART, 1985-6)• Jim Staley—Mumbo Jumbo (Rift, 1986)• John Zorn—Spillane (Nonesuch, 1986-7)• Jim Staley, Borah Bergman, Phoebe Legere—
Blind Pursuits (Einstein, 1995/1996)• Jim Staley, Joey Baron, William Parker—
Scattered Thoughts (Einstein, 2008-9)

THE NEW YORK CITY JAZZ RECORD | June 2024 39

CALENDAR
Saturday, June 1êArtemis with Renee Rosnes, Nicole Glover, Alexa Tarantino,

Ingrid Jensen, Noriko Ueda, Allison Miller
The Appel Room 7, 9:30 pm $80-100• Seydurah & Her Avecmoi Band of Blues; Mireya Ramos
Arthur’s Tavern 7, 10 pm• Kaisa Mäensivu, Max Light, Eden Ladin, Joe Peri
Bar Bayeux 8, 9:30 pm• Reginald Chapman’s Chaphouse
Bar LunÀtico 9, 10:30 pm $10• Pakula Surprise with Eric Pakula, Blake Lindberg, Nick Cudahy;
Michael Buscemi; Joy Askew with Tony Mason, Andy Hess,
Luca Benedetti; Banda de Los Muertos with Oscar Noriega,
Jacob Garchik, Chris Speed, Ben Holmes, Justin Mullens,Curtis Hasselbring, Brian Drye, Rachel Drehmann, Jim Black,
Mireya I. Ramos
Barbès 3, 6, 8, 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êGabrielle Stravelli Trio; Monty Alexander 80th Birthday Celebration
Birdland 5:30, 8:30, 10:30 pm $20-45
êScott Robinson Quartet with Helen Sung, Martin Wind,
Johnathan Blake
Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $55-75• Soulive• Philip Harper Quintet; Avi Rothbard Trio
Cellar Dog 7, 8:30, 11 pm $10• Blue Note Jazz Festival: Andra Day; Alex Vaughn; Ebony Riley; DJ
Lady D Wells Central Park Summerstage, Rumsey Playfield 7 pm
• Dion Parson and 21st Century Band with Melvin Jones, Ron Blake,
Carlton Holmes, Reuben Rogers, Victor Provost, Alioune Faye
Dizzy’s Club 7, 9pm $25-65• Joe Strasser Quartet; Matt Chertkoff Quartet with Houston Person
The Django 7, 8:30 pm $5êPotions Trio with Yoon Sun Choi, Jeong Lim Yang, Andre Matos
Ibeam Brooklyn 8 pm $20
êHarish Raghavan Quintet with Walter Smith III, Lage Lund, Taylor
Eigsti, Kendrick Scott
The Jazz Gallery 7:30, 9:30 pm $35-45• Jane Penny; Tatiana Eva-Marie & The Avalon Jazz Band Djangology
Joe’s Pub 7, 9:30 pm $20-25êPete Malinverni, Ben Allison, Aaron Seeber; Steve Ash, Neal Miner,
Aaron Seeber
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Victor Solano

ê = Recommended Shows

Monday, June 3êEric Dolphy: Freedom of Sound with Pheeroan akLaff New School

Dolphy Ensemble; Matthew Shipp/Rob Brown; Patricia Brennan;
Don Byron Dolphy Bass Clarinet Quartet with JD Parran, Bob
Debelis, Todd Marcus; Reggie Workman with Jen Shyu, Jason
Hwang, Ayana Workman; Dolphy Trio with Nicole Mitchell, Darius
Jones, JD Parran
New School Tishman Auditorium 6 pm
• Rico Jones Quartet with Max Light, Joe Martin, Nasheet Waits
Ornithology Jazz Club 1 pm
Shrine 7 pm
• Robert Castelli GroupêTC III Quartet
Sistas’ Place 8, 9:30 pm $30• Rick Germanson Sextet with Josh Evans, Steve Davis, John Barnett,
Paul Gill, Chris Beck; Lew Tabackin Trio with Boris Kozlov,
Tony Jefferson; Round About Midnight Jam with Gregg Glassman /Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êNicholas Payton Trio with Peter Washington, Kenny Washington
Smoke 7, 9, 10:30 pm $25-55
Soapbox Gallery 8 pm $25• Dave Meder QuartetêTrickster with Miles Okazaki, Matt Mitchell, Anthony Tidd,
Sean Rickman
The Stone at The New School 8:30 pm $20
êDavid Amram Symphony Space Leonard Nimoy Thalia 8 pm $25-50
êBrad Mehldau Trio with Felix Moseholm, Joe Farnsworth
Village Vanguard 8, 10 pm $40

Sunday, June 2• Dariada David Jazz Brunch; Jazz Jam 449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band; Alyson Murray Arthur’s Tavern 7, 10 pm
Bar LunÀtico 9, 10:30 pm $10• Mireya RamosêBen Sidran with Leo Sidran, Alexis Cuadrado, John Ellis;

Stéphane Wrembel

Barbès 6, 8 pm $20• Sam Dillon Quartet; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40êScott Robinson Quartet with Helen Sung, Martin Wind,

Johnathan Blake

Birdland Theater 7, 9:30 pm $20-30• World Famous Harlem Gospel Choir; Soulive

Blue Note 1:30, 8, 10:30 pm $30-75

Cellar Dog 7, 8:30 pm $5• Ehud Asherie Trio
• Dion Parson and 21st Century Band with Melvin Jones, Ron Blake,

Carlton Holmes, Reuben Rogers, Victor Provost, Alioune Faye
Dizzy’s Club 5, 7:30 pm $25-65• Alma Micic Quartet; Michael Weiss Trio The Django 7, 8:30 pm $5êWelf Dorr, Elias Meister, Dmitry Ishenko, Joe Hertenstein
The Keep 9 pm
• Michelle Lordi Quartet with Ian Macaulay, Matthew Parrish,
Wayne Smith Jr; Richard Cortez Polite Jam with Dylan Shamat,
Addison Frei
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Kirk Bailey• Oran Etkin Timbalooloo Jazz For Kids National Sawdust 11 am $20
êEric Dolphy: Freedom of Sound with James Newton, Peter Bodge,
Reggie Workman, Nicole Mitchell; Tom Chiu String Quartet;
Eugene Chadbourne; James Brandon Lewis with Kirk Knuffke,
Chris Lightcap, Chad Taylor; Nicole Mitchell/Craig Taborn; Geri
Allen’s Celebration Suite for Eric Dolphy with Angelica Sanchez,
James Brandon Lewis, Jaleel Shaw, T.K. Blue, Jay Rodriguez, Amir
El-Saffar, Patricia Brennan, Kalia Vandever, Pheeroan akLaff, Chad
Taylor, Devon Gates
New School Tishman Auditorium 3 pmêMarion Cowings with Emi Tadada, Saul Rubin, Melissa Slouch
North Square Lounge 12:30, 2 pm
• Sound Liberation Di. J. Quartet, Franz Hackl’s IDO,Dan Cooper Quartet
Nublu 151 7 pm $22.66• Rico Jones Quartet with Max Light, Joe Martin, Nasheet Waits
Ornithology Jazz Club 1 pm
• Andy Clausen; Wish with Alena Spanger, Ray Larsen
The Owl Music Parlor7:30 pm $12• Jazz Brunch with Boncellia Lewis Patrick’s Place 12 pm• Aliya Ultan, Taiga Ultan, Ross Lewicki, Will Bollinger
Record Shop 7:30 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 am• Kari van der Kloot with Elsa Nilsson, Jamie Reynolds, Gary Wang,
Nathan Ellman-Bell
Rockwood Music Hall Stage 1 8 pm
• ISO at Third Street Spring Concert Rose Theater 3 pm $40
êAmanda Monaco, Lauren Sevian, Mimi Jones, Shirazette TinninSaint Peter’s Church 5 pm
• Jake Hart, John Hart, Bill Moring, Tim Horner
ShapeShifter Lab 8 pm $20• Shrine Big Band; Robert Castelli Group Shrine 8, 10 pm• Aiden Woods; Robert Castelli Group Silvana 7, 8 pm
Sisters 7 pm
• Javier Robiou Trio
• Philip Harper Quintet with Bernell Jones II, Jordan Williams,
Jason Maximo Clotter, David Hawkins; Josh Lawrence Quintet with
Willie Morris III, Luke Carlos O’Reilly, Noah Garabedian,
Sarah Gooch; Round About Midnight Jam with Aaron Johnson
Smalls 6, 7:30, 9, 10:30 pm, 12 am $35
êNicholas Payton Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $25-55• Blue Note Jazz Festival: Paula Cole Sony Hall 8 pm $35-65
êBrad Mehldau Trio with Felix Moseholm, Joe Farnsworth
Village Vanguard 8, 10 pm $40

40 June 2024 | THE NEW YORK CITY JAZZ RECORD• Grove Street Stompers Arthur’s Tavern 7 pm
• Vinícius Gomes/Salamão Soares Bar LunÀtico 9, 10:30 pm $10• Musics with Ilusha Tsinadze, Gocha Tsinadze, Chris Tordini,
Jason Nazary

Barbès 7 pm $20• Gabrielle Stravelli & Billy Stritch Birdland 7 pm $30
êVince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $30-40
Blue Note 8, 10:30 pm $25-35
êPete Malinverni
Bryant Park 2 pm
êEd Cherry Trio
Cellar Dog 7, 8:30 pm $5êHarlem Stage 40th Anniversary Gala City Winery 6 pmêTed Nash Big Band
Dizzy’s Club 7, 9pm $20-50• Max Bessesen Quartet; Ricardo Grilli Quartet
The Django7, 8:30 pm $5êJoe Hertenstein Quartet El Barrio Artspace 7 pm $30• Spike Wilner Trio; Ed Cherry Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Red Rooster Harlem 6:30 pm• Ahmaya KnoelleêSpirit Stronger Than Blood: A Fare-Well Celebration of the Music ofFrank London with Aaron Alexander, Shai Bachar, Newman Taylor
Baker, Richie Barshay, Ron Caswell, Rob Curto, Matt Darriau,
Javier Diaz, Brian Drye, Hilliard Greene, Marilyn Lerner, Yuval Lion,
Marcus Rojas, Josh Roseman, Brandon Seabrook, Ilya Shneyveys,
Lorin Sklamberg, Greg Wall, Michael Winograd, Kenny Wollsen,
Rob Schwimmer, et al.
Roulette 8 pm $25
Scarlet Lounge 6, 8 pm
• Charlie JudkinsêMichael Sarian Quartet
Shapeshifter Lab 9 pmêRodney Green Trio; Mike Boone Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40• Derrick Hodge

Tuesday, June 4êRich Perry, Ugonna Okegwo, Diego Voglino and Jam

Bar Bayeux 8, 9:30 pm• Star Rover with Jeremy Gustin, Will Graefe, Kenny Wollesen
Bar LunÀtico 9, 10:30 pm $10• Tamar Korn; Slavic Soul Party with John Carlson, Kenny Warren,Peter Hess, Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley,
Matt Moran, Chris Stromquist Barbès 7, 9 pm $20
Birdland 7, 9:30 pm $40-50• Joao Bosco• Eric Comstock & Barbara Fasano
Birdland Theater 5:30, 8:30 pm $20-30
Blue Note 8, 10:30 pm $25-35• Derrick HodgeêPete Malinverni
Bryant Park 2 pm
Cellar Dog 7, 8:30 pm $5• Dan Aran Trio
• Harper Collective with Terence Harper, Frank Houston, Kenny
Banks, Jr., Dishan Harper, Terreon Gully, Danny Harper, Winard
Harper, Terry Harper
Dizzy’s Club 7, 9pm $20-40• Hendrik Meurkens Quartet; Sam Dillon Quartet
The Django 7, 8:30, 11 pm $5• Sally Gates, Lesley Mok; Kyle Motl, Rocio Diaz De Cossio,
Fernando Solares; Eric Duane Plaks’ Coltrane Meditations Project;
Invisible Guy with Ben Goldberg, Michael Coleman, Hamir Atwal
Downtown Music Gallery 6:30 pm
Green-Wood Cemetery 6:30, 8:30 pm $40• Odeya NiniêAnthony Wonsey Trio; John Merrill Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Layale Chaker & Sarafand with Jake Charkey, Phillip Golub, Sam
Minaie, John Hadfield
Nublu 151 7 pm $22.66• Deborah Newallo Experience Red Rooster Harlem 6:30 pm• Adnata Ensemble; Brandon Seabrook Trio Sisters 8 pm
• Elijah Jamal Balbed Quartet with Alex Brown, Marcos Varela, Kush
Abadey; Tyler Mitchell Quartet Smalls 7:30, 9, 10:30 pm, 12 am $35• Blue Note Jazz Festival: Rita Moreno Sony Hall 8 pm $65-175• Jed Distler; Zach Brock/Steven Sandberg; Eric Clark
Symphony Space Leonard Nimoy Thalia 7 pm $25-50
êRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40
êYvonnick Prené/Geoffrey Keezer Zinc Bar 7, 8:30 pm $35-45

Wednesday, June 5êEri Yamamoto Trio; Anwar Marshall Trio Arthur’s Tavern 7, 10 pm• Adi Meyerson Quartet with Jaleel Shaw, Brandon Woody, JK Kim
Bar Bayeux 8, 9:30 pm• Luisito Quintero & 3rd Element Bar LunÀtico 9, 10:30 pm $10• Andy Statman Trio with Larry Eagle, Jim Whitney; Mamady Kouyate
and his Mandingo Ambassadors Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s
Guitar Night with Mike Stern Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $25-35• Derrick Hodge• Joao BoscoêPete Malinverni

Bryant Park 2 pm

Café Erzulie 7 pm
• Omer Leshem
Cellar Dog 7, 8:30 pm $5• Brandi Disterheft Trio
• Harper Collective with Terence Harper, Frank Houston, Kenny

Banks, Jr., Dishan Harper, Terreon Gully, Danny Harper, Winard
Harper, Terry Harper
Dizzy’s Club 7, 10 pm $20-40• Jo Harrop; April Varner Quartet The Django 7, 8:30, 11 pm $10êMingus Big Band
Drom 7:30, 9:30 pm $30
Flute 7 pm
• Verena McBee TrioêEva Novoa; Remedy with Thomas Heberer, Joe Fonda,
Joe Hertenstein
Ibeam Brooklyn 7:30 pm $20• Altus with Dave Adewumi, Isaac Levien, Neta Raanan, Nathan Reising,
Ryan Sands
The Jazz Gallery 7:30, 9:30 pm $25-35• BMI/New York Jazz Orchestra Marjorie S. Deane Little Theatre 7:30 pm• Dave Lalama, Tony DePaolis, Evan Hyde; Ben Rice Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Arun Ramamurthy Trio National Sawdust 7:30 pm $20• Yago Vazquez, Pablo Menares, Rodrigo Recabarren
Ornithology Jazz Club 7:30 pm
Pangea 7 pm $25• Thaisa Olivia Quartet
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Sujae Jung, Steve Cardenas, Wolf Robert Stratmann,
Marko Djordjevic; Anthony Muthurajah, Rez Abbasi, Tony F
ShapeShifter Lab 7, 9 pm $20
Shrine 10 pm• Spaghetti Eastern• Amirtha Kidambi’s Elder Ones Sisters 7 pm
• Nabaté Isles Sextet with Vincent Chandler, Matthias Loescher,Michael King, Eric Wheeler, Gene Lake; Alex Tremblay Sextet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVijay Iyer Trio with Harish Raghavan, Jeremy Dutton
Smoke 7, 9 pm $25-55• Blue Note Jazz Festival: Lisa Fischer Sony Hall 8 pm $50-85
êNels Cline, Trevor Dunn, Tom Rainey, Ben Goldberg
The Stone at The New School 8:30 pm $20
êRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40

Thursday, June 6êTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pmêSantiago Leibson with Jeremy Stratton Bar Bayeux 8, 9:30 pm• Dolunay with Jenny Luna, Adam Good Barbès 8 pm $20
Birdland 7, 9:30 pm $40-50• Joao BoscoêHigh Society New Orleans Jazz Band; Dave Pietro Quintet

Birdland Theater 5:30, 8:30 pm $25-40
Blue Note 8, 10:30 pm $50-65• SouliveêPete Malinverni
Bryant Park 2 pm
Café Erzulie 7 pm
• Keenyn Omari• Cellar Dog All Stars; Akiko Tsuruga Quartet
Cellar Dog 7, 8:30, 11 pm $5êSarah Hanahan with Marc Cary, Nat Reeves, Jeff “Tain” Watts
Dizzy’s Club 7, 9pm $20-55• Champian Fulton Trio; Kieran Brown Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Hudson River Park 6:30 pm• Robert Kimbrough, Sr.
• Roy Hargrove Big Band Mahogany Suite
The Jazz Gallery 7:30, 9:30 pm $40-50êTim Berne with Scott Colley, Tim Angulo, Oscar Noriega,
Gregg Belisle-Chi
Lowlands 8 pm $10
ê3D Jazz Trio with Sherrie Maricle, Jackie Warren, Amy Shook;
Dabin Ryu Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Manny and the Boogaloo Crew Minton’s 7, 9 pm $25• Bobby Harden & The Soulful Saints; Hironobu Saito, Davis Whitfield,
Barry Stephenson, Mark Whitfield Jr. Nublu 151 7, 10 pm $22.66• Sabeth Perez; Nicola Caminiti The Owl Music Parlor 8 pm $12
Red Rooster Harlem 6:30 pm• Lynette WashingtonêRoulette’s 45th Anniversary Gala with Henry Threadgill; Yuka Honda
and Nels Cline; Immanuel Wilkins and Joel Ross; Zeena Parkins andIkue Mori; Holland Andrews and yuniya edi kwon; John Zorn and
Jim Staley
Roulette 7:30 pm $125
Silvana 9 pm
• John Colonna• Owen Howard Drum Lore and More with Chet Doxas, Adam Kolker,
David Cook, Joe Martin; Jon Beshay Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVijay Iyer Trio with Harish Raghavan, Jeremy Dutton
Smoke 7, 9 pm $25-55
êJohn Ellis, Steve Cardenas, Will Bernard, Ben Allison, Allan Mednard,
The Stone at The New School 8:30 pm $20
Ben GoldbergêKenny Warren’s Sweet World with Nathan Ellman-Bell,
Christopher Hoffman
Threes Brewing 8 pmêRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40

Friday, June 7• Denton Darien

449 La Scat in Harlem 8 pmêDuke Ellington: In a Symphonic Mood with Damien Sneed, Terrance

McKnight, Brandie Sutton, David Berry, Wycliffe Gordon Quintet,
Harlem Chamber Players Aaron Davis Hall 7 pm $15-150• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pm
Bar Bayeux 8, 9:30 pm• Jerome Sabbagh• Ajoyo with Yacine Boulares Bar LunÀtico 9, 10:30 pm $10êOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher
Tordini, Jason Nazary; Jack Grace Band; Big Lazy with Stephen
Ulrich, Andrew Hall, Yuval Lion Barbès 5:30, 8, 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Birdland Big Band; Joao Bosco
Birdland 5:30, 8:30, 10:30 pm $25-50• Jumaane Smith Quintet Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $50-65• SouliveêYasser Tejeda
Bronx River Art Center 7:30 pmêPete Malinverni
Bryant Park 2 pm
• Darrell Green Quartet; Ai Murakami Quartet
Cellar Dog 7, 8:30, 11 pm $10• Medieval Radiance and Incarnate Jazz present Hidden Dimensions
with Sarah Pillow, John Mark Rozendal, Christopher P. Thompson,
Marc Wagnon, Dave Kikoski, Hamish Smith, Alexandra Ridout,
Mike Clark
Church of the Incarnation 6 pm
• Rajna Swaminathan with Charles Overton, Matt Brewer, Ganavya
Doraiswamy, Kalia Vandever Dizzy’s Club 7, 9pm $20-45• Oz Noy Quartet; Dwayne “Cook” Broadnax Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Alone Not Lonely with Yoon Sun Choi, Allison Philips, Eugenia Choe,
Ibeam Brooklyn 7:30 pm $20
Charlotte JacobsêJoel Ross
The Jazz Gallery 7:30, 9:30 pm $35-45• Eric Harland Trio with Kevin Hays, Alexander Claffy; Jon Davis Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Lady CantreseêAlan Braufman with Patricia Brennan, Ken Filiano, Brandon Woody,
Newman Taylor Baker, Cooper-Moore National Sawdust 7:30 pm $20
êSimon Moullier Quartet; Nicole Glover Trio; Karriem Riggins
Nublu 151 7, 10 pm $22.66• Jazz Jam with Patience Higgins Patrick’s Place 8 pm

THE NEW YORK CITY JAZZ RECORD | June 2024 41

• Cameron Campbell

Record Shop 7:30 pm

Wynton Marsalis

Rose Theater 8 pm $55-175

êRhythms of India: Jazz at Lincoln Center Orchestra withêJoakim Rainer Trio with Peter Evans

Scholes Street Studio 7 pm

Silvana 8 pm
• A.F. Mejia• Ralph Lalama Trio with Akiko Tsuruga, Clifford Barbaro;

MAY 30–JUN 2

DION PARSON AND 21ST CENTURY BAND
JUN 3

TED NASH BIG BAND: THE FREER SIDE
JUN 4–5

TERENCE HARPER & THE HARPER COLLECTIVE
JUN 6

SARAH HANAHAN: AMONG GIANTS

Duduka da Fonseca Quartet with Vinicius Gomes, Vitor Goncalves,
Gili Lopes; Round About Midnight Jam with Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êVijay Iyer Trio with Harish Raghavan, Jeremy Dutton
Smoke 7, 9, 10:30 pm $25-55
êBlue Note Jazz Festival: Michel CamiloSony Hall 7 pm $45-85
êKenny Wollesen, Michael Coleman, Hamir Atwal, Ben Goldberg
The Stone at The New School 8:30 pm $20
êBlue Note Jazz Festival: Arturo O’Farrill with Yamandu Costa,
Hamilton De Holanda
The Town Hall 8 pm $60-85
êRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40
êTroy Roberts Quartet
Zinc Bar 7, 8:30 pm $35-45

Saturday, June 8

JUN 7

RAJNA SWAMINATHAN• Denton Darien• Xiomara Laugart

JUN 8

REZ ABBASI/JOSH FEINBERG & NAYA BAAZ
JUN 9

SONGBOOK SUNDAYS: JOHNNY MERCER
JUN 10

JAZZ AT LINCOLN CENTER YOUTH ORCHESTRA
JUN 11QUINCY DAVIS: EMPATHY SUITE
JUN 12

CELEBRATING CHICK COREA AND GARY BURTON
JUN 13JAZZTOPAD FESTIVAL: KRIS DAVIS & LUTOSLAWSKI QUARTET
JUN 14–16

ETIENNE CHARLES CREOLE ORCHESTRA
JUN 17

CHARLES TURNER: IT’S GIVING PRIDE
JUN 18MICHAEL DEASE QUINTET: GROVE’S GROOVE
JUN 19C. ANTHONY BRYANT: JUNETEENTH JUBILEE
JUN 20–23

JOE FARNSWORTH’S TIME TO SWING QUINTETJUN 24STEVEN FEIFKE BIG BAND
JUN 25

ARMSTRONG SIGNATURE: A LIFE IN JAZZ
JUN 26

TYSHAWN SOREY: TRIBUTE TO MAX ROACH
JUN 27–29

CHARLIE SEPULVEDA & THE TURNAROUND

449 La Scat in Harlem 8 pm
Arthur’s Tavern 7 pmêTroy Roberts, Tim Jago, Massimo Biolcati, JK Kim
Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• TubbyêErica Mancini; Shoko Nagai’s Tokala with Sita Chay,
Satoshi Takeishi
Barbès 6, 8 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êGabrielle Stravelli Trio; Joao Bosco
Birdland 5:30, 8:30, 10:30 pm $40-50• Jumaane Smith Quintet Birdland Theater 7, 9:30 pm $20-30• Music of the Buena Vista Social Club; Soulive
Blue Note 1, 8, 10:30 pm $25-65
êMimi Jones
Bronx River Art Center 7:30 pm• Abraham Burton Quartet; Gabriele Donati Quartet
Cellar Dog 7, 8:30, 11 pm $10• Rez Abbasi/Josh Feinberg & Naya Baaz with Pete Swanson,
Roberto Giaquinto
Dizzy’s Club 7, 9pm $25-60• Ron Jackson Trio; Craig Handy and 2nd Line Smith
The Django 7:30, 9, 10:30 pm, 12 am $25
First Corinthian Baptist Church 8 pm
• Roseline Layo
• Galaxy Trio with James Keepnews, Dave Miller, Ras Moshe;
Ill Logic Flextet with Daniel Carter, Ayumi Ishito, James Keepnews,
Zach Swanson, Michael Wimberly, Alexis Marcelo
Ibeam Brooklyn 8 pm $20
êJoel Ross
The Jazz Gallery 7:30, 9:30 pm $35-45
êNduduzo Makhathini
Le Poisson Rouge 8:30 pm $25-50
êEric Harland Trio with Kevin Hays, Alexander Claffy;
Johnny O’Neal Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êRay Blue
Minton’s 7, 9 pm $25
National Sawdust 8 pm $20• Arushi JainêKahil EL’Zabar/David Murray Nublu 151 7 pm $22.66• Rhythms of India: Jazz at Lincoln Center Orchestra with
Wynton Marsalis
Rose Theater 1, 8 pm $55-175
Shrine 9 pm
• Ken KobayashiêPerson 2 Person Quintet with Eric Person + Houston Person
Sistas’ Place 8, 9:30 pm $30• Lucy Yeghiazaryan Quartet with Rossano Sportiello, Neal Miner,
Aaron Kimmel; Duduka da Fonseca Quartet with Vinicius Gomes,
Vitor Goncalves, Gili Lopes; Round About Midnight Jam with
Gregg Glassman / Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êVijay Iyer Trio with Harish Raghavan, Jeremy Dutton
Smoke 7, 9, 10:30 pm $25-55• Centuries Trio with Gene Pritsker, Arthur Dibble, Jai Jeffryes andSishel Claverie, Jay Elfenbein, Sophie Dunér, Max Pollak
St. John’s in the Village 8 pm $20
êAngelica Sanchez, Carmen Quill, Ches Smith, Ben Goldberg
The Stone at The New School 8:30 pm $20
êRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40

Sunday, June 9

JUN 30RODNEY WHITAKER & FRIENDS

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

212.258.9595
BROADWAY AT 60TH ST.

• Dariada David Jazz Brunch; Jazz Jam

449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band; Stew Cutler Arthur’s Tavern 7, 10 pm• Marcio Philomena with Kiko Freitas, Gili Lopes
Bar LunÀtico 9, 10:30 pm $10êStéphane Wrembel
Barbès 8 pm $20• Susan Wagner High School Jazz Band; Afro Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $20-40• Jumaane Smith Quintet Birdland Theater 7, 9:30 pm $20-30• World Famous Harlem Gospel Choir; Soulive
Blue Note 1:30, 8, 10:30 pm $30-65

42 June 2024 | THE NEW YORK CITY JAZZ RECORD

Cellar Dog 7, 8:30 pm $5• Organ Grooves• Songbook Sundays: Johnny Mercer with Deborah Grace Winer,

Billy Stritch, Klea Blackhurst, Kenita Miller
Dizzy’s Club 5, 7:30 pm $20-45
êPete Malinverni Quartet; Matt Chertkoff Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êWelf Dorr, Shoko Nagai, Francesco Marcocci, Kevin Shea
The Keep 9 pm
• Marty Elkins Quartet with Janice Friedman, Yoshi Waki,
Vito Lesczak; Naama Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Kirk Bailey
North Square Lounge 12:30, 2 pm
• Kate Baker Trio
• Jazz Brunch with Boncellia Lewis
Patrick’s Place 12 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 amêPRISM Quartet featuring David Gilmore, David Krakauer,
Diane Monroe, Reuben Rogers, Ursula Rucker, Tyshawn Sorey,
Susan Watts
Roulette 8 pm $25
êCaroline DavisSaint Peter’s Church 5 pm
Shrine 8 pm
• Matthew Alec
Silvana 7 pm
• Lexi Weege/JJ Slater• Johnny O’Neal Trio; Mike Jackson Quartet with Rave Tesar,
Earl Sauls, Jeff Siegel; Round About Midnight Jam with
Aaron Johnson
Smalls 6, 7:30, 9, 10:30 pm, 12 am $35
êVijay Iyer Trio with Harish Raghavan, Jeremy Dutton
Smoke 7, 9 pm $25-55
êBertha Hope’s Elmo Hope Centennial Tribute
Soapbox Gallery 7 pm $25• Blue Note Jazz Festival: Jazz Is Dead with Alphonso Johnson,
Steve Kimock, Pete Lavezzoli, Bobby Lee Rodgers
Sony Hall 8 pm $50-75
êRenee Rosnes Quartet with Chris Potter, Peter Washington,
Carl Allen
Village Vanguard 8, 10 pm $40

Monday, June 10• Grove Street Stompers Arthur’s Tavern 7 pm
• Stéphane San Juan Acoustic Trio with Kely Pinheiro,
Guilherme Monteiro

Bar LunÀtico 9, 10:30 pm $10
Birdland 7 pm $30
êVince Giordano and the Nighthawks
Birdland Theater 5:30, 8:30 pm $30-40êBrandee Younger
Blue Note 8, 10:30 pm $25-35
Cellar Dog 7, 8:30 pm $5• Saul Rubin Trio
Dizzy’s Club 7, 9pm $20-45• JALC Youth Orchestra• James Haddad Quartet; Aaron Seeber Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• J. Hoard; Esther Fallick Joe’s Pub 7, 9:30 pm $25
êAlan Broadbent, Harvie S, Billy Mintz; Pasquale Grasso Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle• Nava Dunkelman with ÉMU, Shayna Dunkelman, Amma Ateria
Roulette 8 pm $25
Scarlet Lounge 6, 8 pm
• Charlie Judkins
êOz Noy Quartet with Jeff “Tain” Watts, James Genus, David Kikoski
ShapeShifter Lab 9 pm $20• Jose Gobbo Trio; Villagers Brass Brand
Shrine 7, 10 pm• Ari Hoenig Quartet with Tivon Pennicott, Gilad Hekselman,
Ben Tiberio; Obasi Akoto anf Sparx with Anna-Lisa Kirby,
Nii Akwei Adoteye, Zach Brock, Aaron Goldberg, E.J. Strickland
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40• Steve Cardenas/Ricardo Silveira
Zinc Bar 7, 8:30 pm $35-45• Susan Mack

Tuesday, June 11• Wayne Tucker and The Bad Mothas

Arthur’s Tavern 7 pm

• Slice with Tom Beckham, Brad Shepik, Gary Wang, Diego Voglino
and JamBar Bayeux 8, 9:30 pm• Slavic Soul Party with John Carlson, Kenny Warren, Peter Hess,

Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 9 pm $20
êEmmet Cohen Trio with Ron Carter
Birdland 7, 9:30 pm $40-50• Eric Comstock/Barbara Fasano; Janis Siegel/Yaron Gershovsky
Birdland Theater 5:30, 8:30 pm $20-35êJazz at Lincoln Center Orchestra with Wynton Marsalis
Blue Note 8, 10:30 pm $85-155
Cellar Dog 7, 8:30 pm $5• Vanderlei Pereira Trio• Quincy Davis’ Empathy Suite with Christie Dashiell, Marcus Printup,
Jon Gordon, John Ellis, Chloe Kiffer, Meg Okura, Chala Yancy,
Samuel Quiggins, Riza Printup, Helen Sung, Spencer Paulsen
Dizzy’s Club 7, 9pm $20-45• Joe Alterman Trio; Jason Marshall Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êAndy Haas with David Grollman, James Paul Nadien;
Richard Rosenthal; Eden Quartet with Dan Kurfirst, Eric Plaks,
Evan Crane, Nick Lyons Downtown Music Gallery 6:30 pm• Kyshona; Lulu and the Broadsides with Dayna Kurtz
Joe’s Pub 7, 9:30 pm $25• Sarah Jane Cion, Alec Safy, Michael Camacho; Michael Kanan Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo Experience Red Rooster Harlem 6:30 pm
Roulette 8 pm $25• Isabel Crespo Pardo
Silvana 7 pm
• Jose Gobbo TrioêAssembly No. 18 with Lester St. Louis, Luke Stewart
Sisters 7 pm
• Bruce Williams Quartet; Mike Troy Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35-45• Sacha Boutros

Wednesday, June 12• Sabeth Perez Quintet with Charles Altura, Miki Yamanaka,

Yasushi Nakamura, Jimmy Macbride
Bar Bayeux 8, 9:30 pm• BIGYUKI X Jharis Yoakley Bar LunÀtico 9, 10:30 pm $10• Mamady Kouyate and his Mandingo Ambassadors
Barbès 10 pm $20
êEmmet Cohen Trio with Ron Carter
Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band;
Frank Vignola’s Guitar Night with Mike Stern
Birdland Theater 5:30, 8:30 pm $25-35
êJazz at Lincoln Center Orchestra with Wynton Marsalis
Blue Note 8, 10:30 pm $85-155
Café Erzulie 7 pm
• Craig Hill
Cellar Dog 7, 8:30 pm $5• Ehud Asherie Quartet• Christian Tamburr/Taylor Eigsti Celebrating Chick Corea andGary Burton
Dizzy’s Club 7, 9pm $20-45
êConrad Herwig’s The Latin Side of McCoy Tyner; Neal Caine Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êAntoine Roney
Hudson River Park 7 pmêJeff Pearing, Guillermo Gregorio, Charley Sabbatino;
Paul Giallorenzo Trio with Ingebrigt Haker Flaten,
Mikel Patrick Avery
Ibeam Brooklyn 7:30 pm $20
The Jazz Gallery 7:30, 9:30 pm $25-35• Esteban Castro• Joe Alterman, Nathaniel Schroeder, Marlon Patton; Marty Jaffe,
Jason Ennis, Miro Sprague Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Pangea 7 pm $25• John Zweig Quartet
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Impuls Respons with Laura Cocks, Zach Layton, Brian Chase,
Samantha Sea Sea, MV Carbon
Roulette 8 pm $25• Jack Beal/Adrienne Schoenfeld
ShapeShifter Lab 7 pm $20
Shrine 10 pm• Drew Hayes
Silvana 9 pm
• Goon Dads
• Eyal Vilner Big Band with Imani Rousselle, John Lake, Brandon Lee,
Ron Wilkins, Julieta Eugenio, Joshua Lee, Jonathan Thomas,
Ian Hutchison, Eran Fink; Mikey Migliore Trio with Joe Block,Hank Allen-Barfield
Smalls 7:30, 9, 10:30 pm, 12 am $35
êEric Reed Quartet with Giveton Gellin, John Beshay, Nick Jozwiak,
Ethan Kogan
Smoke 7, 9 pm $25-55• Blue Note Jazz Festival: Yemi Alade
Sony Hall 9 pm $40-80êThomas Morgan/Johnathan Blake
The Stone at The New School 8:30 pm $20
êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Thursday, June 13êTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pmêSteve Cardenas with Adam Kolker, Jeremy Stratton,

Anthony Pinciotti

Bar Bayeux 8, 9:30 pm• Sunny Jain’s Wild, Wild East with Ben Parag, Alison Shearer, Shubh
Saran, Almog Sharvit; Zach Brock, Bob Lanzetti, Keita Ogawa
Barbès 7, 8:30, 10 pm $20

êEmmet Cohen Trio with Ron Carter

Birdland 7, 9:30 pm $40-50• High Society New Orleans Jazz Band; Richard Cortez/EstebanCastroBirdland Theater 5:30, 8:30 pm $25-40

êJazz at Lincoln Center Orchestra with Wynton Marsalis

Blue Note 8, 10:30 pm $85-155• Jose Benjamin Escobar Café Erzulie 7 pm
• James Burton Quintet; Simona Premazzi Quartet

Cellar Dog 7, 8:30, 11 pm $5êKim Gordon; Sun Ra Arkestra; Slauson Malone

Central Park Summerstage, Rumsey Playfield 6 pmêJazztopad Festival New York: Kris Davis & Lutoslawski Quartet

Dizzy’s Club 7, 9pm $20-40êJoe Farnsworth Trio; Mariel Bildsten Septet

The Django 7:30, 9, 10:30 pm, 12 am $25

Hudson River Park 6:30 pm• Jonathan Kalb
The Jazz Gallery7:30, 9:30 pm $35-45• Gregoire Maret• Ben Perowsky, Gary Versace, Ugonna Okegwo; Ray Gallon, David
Wong, Billy DrummondMezzrow 7:30, 9, 10:30 pm, 12 am $35

Ari Roland, Keith Balla

Ornithology Jazz Club 7:30 pmêChris Byars with John Mosca, Zaid Nasser, Stefano Doglioni,êMichael Bates’ Northern Spy with Michael Blake, Josh Deutsch,

Santiago Leibson, Michael Sarin
The Owl Music Parlor8 pm $12
Red Rooster Harlem 6:30 pm• Lynette WashingtonêElliott Sharp: Die Grösste Fuge
Roulette 8 pm $25• Joe Wittman Trio; Private Label Trio
Shrine 8, 9 pm
• Leo Kim Trio; Part-Time Samurai
Silvana 8, 9 pm
• Joe Abba Quintet with Paul Tynan, Mitch Marcus, Art Hirahara,
Julian Smith; Curtis Nowosad Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êEric Reed Quartet with Giveton Gellin, John Beshay, Nick Jozwiak,
Ethan Kogan
Smoke 7, 9 pm $25-55
êThomas Morgan/Larry Grenadier
The Stone at The New School8:30 pm $20
êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40

LIVE AT LPR

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ZOH AMBA,STEVE GUNN,SHAHZAD ISMAILY& JIM WHITEJULY 29, 2024

SEPTEMBER 10, 2024

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THE NEW YORK CITY JAZZ RECORD | June 2024 43

Friday, June 14• Denton Darien

SEASON

2024 2025

449 La Scat in Harlem 8 pmêMike Holober and the Gotham Jazz Orchestra
Aaron Davis Hall 7 pm
• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pmêPeter Evans, Mark Shim, Esteban Castro, Gervis Myles, Adriel
Vincent-Brown
Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Super YambaêOscar Noriega’s Crooked Quartet with Marta Sanchez,
Christopher Tordini, Jason Nazary; Jazztopad Festival New York:Marta Sanchez, Amalia Umeda, Michael Bates, Lesley Mok
Barbès 5:30, 8 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBirdland Big Band; Emmet Cohen Trio with Ron Carter
Birdland 5:30, 8:30, 10:30 pm $25-50
Birdland Theater 7, 9:30 pm $25-35• Emilie Claire BarlowêJazz at Lincoln Center Orchestra with Wynton Marsalis
Blue Note 8, 10:30 pm $85-155
Bronx River Art Center 7:30 pm• Caracas Trio
• Samba de Gringo; Tad Shull Quartet
Cellar Dog 7, 8:30, 11 pm $10êEtienne Charles’ Creole Orchestra with Nathaniel Williford,
Austin Muthyala, Anthony Hervey, Summer Camargo, Dion Tucker,
Sam Keedy, Rashaan Salaam, Gina Benalcazar-Lopez,
Godwin Louis, Jordan Pettay, John Ellis, Paul Nedzela, Alex Wintz,
Andre White, Axel Tosca, Brandon Rose, Harvel Nakundi,
Joseph Herbst
Dizzy’s Club 7, 9pm $20-50êDavid Hazeltine Quartet; Nick Hempton BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êPeperoncino Festival: John Patitucci
Istuto Italiano di Cultura 6 pm
• Alfredo Colón’s Blood Burden with Lex Korten, Steve Williams,
Connor Parks
The Jazz Gallery 7:30, 9:30 pm $25-35
êNew York Guitar Festival 25th Anniversary: Marc Ribot &Leyla McCalla; Yasmin Williams; Neel Murgai/Kunal Prakash
Merkin Concert Hall 8 pm $45-65• Spike Wilner, Paul Gill, Anthony Pinciotti; Caelan Cardello Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Soul Power• Jazz Jam with Patience Higgins
Patrick’s Place 8 pm
• Jazz Foundation of America All-Stars Riverside Park 7 pm
Shrine 10 pm• The Outside In
Silvana 9 pm
• Eric Nakanishi• Corey Wallace Dubtet; George Coleman Jr. Quartet; Round About
Midnight Jam with Eric Wyatt Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êEric Reed Quartet with Giveton Gellin, John Beshay, Nick Jozwiak,
Ethan Kogan
Smoke 7, 9, 10:30 pm $25-55• Blue Note Jazz Festival: Eliane Elias Sony Hall 8 pm $45-85
êThomas Morgan/Jacob Sacks
The Stone at The New School 8:30 pm $20
êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35-45• Joe Alterman Trio

Saturday, June 15449 La Scat in Harlem 8 pm
• Denton Darien• Alexa Tarantino and Second Ending Ensemble

The Appel Room 8 pm $95-125• Premazzi/Nasser Quartet with Kyle Nasser, Simona Premazzi, Noah
Garabedian, Jay Sawyer

Bar Bayeux 8, 9:30 pmêPakula Surprise with Eric Pakula, Blake Lindberg, Nick Cudahy;

Erica Mancini; Jazztopad Festival New York: Michael Bates’ Acrobatwith Lutosławski Quartet; Super Yamba
Barbès 3, 6, 8, 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êGabrielle Stravelli Trio; Emmet Cohen Trio with Ron Carter
Birdland 5:30, 8:30, 10:30 pm $40-50
Birdland Theater 7, 9:30 pm $25-35• Emilie Claire Barlow• Jazz at Lincoln Center Youth Orchestra; Jazz at Lincoln Center
Orchestra with Wynton Marsalis Blue Note 1:30, 8, 10:30 pm $25-155
êEdmar Castañeda
Bronx River Art Center 7:30 pm• James Austin Quartet; Kyoko Oyobe Quartet
Cellar Dog 7, 8:30, 11 pm $10êPeperoncino Festival: Gerald Cannon featuring Jerry Weldon,
Elio Coppola
Center for Italian Modern Art 6 pmêEtienne Charles’ Creole Orchestra with Nathaniel Williford,
Austin Muthyala, Anthony Hervey, Summer Camargo, Dion Tucker,
Sam Keedy, Rashaan Salaam, Gina Benalcazar-Lopez,
Godwin Louis, Jordan Pettay, John Ellis, Paul Nedzela, Alex Wintz,
Andre White, Axel Tosca, Brandon Rose, Harvel Nakundi,
Joseph Herbst
Dizzy’s Club 7, 9pm $20-50• Jason Tiemann Quartet; Hector Martignon’s Foreign Affair
The Django 7:30, 9, 10:30 pm, 12 am $25
êJazztopad Festival New York: Peter Knight’s Hand to Earth with
Amalia Umed
Lincoln Center Hearst Plaza 4:30 pm

44 June 2024 | THE NEW YORK CITY JAZZ RECORDêTony Malaby’s Firebath with Dave Ballou, Ben Monder,

Angelica Sanchez, Mark Helias, Allan Mednard
The Jazz Gallery 7:30, 9:30 pm $35-45• New York Guitar Festival 25th Anniversary: Medicine Singers with
Lee Ranaldo, Yonatan Gat; Maalem Hassan; BenJafaar/Yonatan Gat;
Laraaji/Mamady Kouyate Merkin Concert Hall 9 pm $45-65• Spike Wilner, Paul Gill, Anthony Pinciotti; Tyler Bullock Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Those Guys
Patrick’s Place 7 pm
• YoungbloodsêJoe Magnarelli Quartet with Victor Gould, Clovis Nicolas,
Rodney Green; George Coleman Jr. Quartet; Round About Midnight
Jam with Gregg Glassman / Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êEric Reed Quartet with Giveton Gelin, John Beshay, Nick Jozwiak,
Ethan Kogan
Smoke 7, 9, 10:30 pm $25-55
êBlue Note Jazz Festival: Sun Ra Arkestra, Yo La Tengo
Celebrating Marshall Allen’s 100th BirthdaySony Hall 8 pm $50-85
êThomas Morgan, Craig Taborn, Immanuel Wilkins
The Stone at The New School 8:30 pm $20
êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Sunday, June 16• Dariada David Jazz Brunch; Jazz Jam

449 La Scat in Harlem 1, 4 pmêThe Forest’s (D)ruminations with Andrew Drury, JD Parran,

Warren Smith

Andrew Freedman Home 3 pm

• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
• Wayne Tucker & The Bad Mothas

Bar LunÀtico 9, 10:30 pm $10êJuancho Herrera/ Franco Pinna; Stéphane Wrembel

Barbès 6, 8 pm $20• Svetlana’s Big Band; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $30-40

Birdland Theater 7, 9:30 pm $25-35• Emilie Claire Barlow• Jazz at Lincoln Center Youth Orchestra; Jazz at Lincoln Center

Orchestra with Wynton Marsalis
Blue Note 1:30, 8, 10:30 pm $25-155
Cellar Dog 7, 8:30 pm $5• Jon Davis Trio
• Blue Note Jazz Festival: Corinne Bailey Rae, Dixson, DJ RellyRell,
DJ OOOChild Central Park Summerstage, Rumsey Playfield 7 pmêEtienne Charles’ Creole Orchestra with Nathaniel Williford,
Austin Muthyala, Anthony Hervey, Summer Camargo, Dion Tucker,
Sam Keedy, Rashaan Salaam, Gina Benalcazar-Lopez,
Godwin Louis, Jordan Pettay, John Ellis, Paul Nedzela, Alex Wintz,
Andre White, Axel Tosca, Brandon Rose, Harvel Nakundi,
Joseph Herbst
Dizzy’s Club 5, 7:30 pm $20-50• Carolyn Leonhart Quintet; Neal Miner Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êPeperoncino Festival: Elio Coppola New York Trio with Joey Ranieri,
Emmet Cohen
Frederick Loewe Theater 7:30 pm• Akiko Yano Trio with Will Lee, Chris Parker
Joe’s Pub 6, 8:30 pm $25
êWelf Dorr, Elias Meister, Dmitry Ishenko, Kenny Wollesen
The Keep 9 pmêJudi Silvano Quartet with Jacob Sacks, Dave Ambrosio,
Vinnie Sperrazza + Joe Lovano; Lucy Wijnands Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Kirk Bailey
North Square Lounge 12:30, 2 pm
• Aubrey Johnson TrioêJazztopad Festival New York: Peter Knight’s Bungul with Hamid
Drake, David Wilfred, Daniel Wilfred, Sunny Kim, Aviva Endean,
Amalia Umeda
Public Records 8 pmêTony Malaby, Kaelen Ghandhi, James Paul Nadien
Record Shop 7:30 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 amêJazztopad Festival New York: Stephan Crump/Amalia Umeda
Rizzoli Bookstore 5 pm
Saint Peter’s Church 5 pm
• Daniel Kelly Trio
Shrine 8 pm
• Peter Louis Octet
Silvana 8 pm
• Justin Rothberg• Chuck Redd Quartet; Leo Genovese Quartet; Round About Midnight
Jam with Aaron Johnson Smalls 6, 7:30, 9, 10:30 pm, 12 am $35
êEric Reed Quartet with Giveton Gelin, John Beshay, Nick Jozwiak,
Ethan Kogan
Smoke 7, 9 pm $25-55• Blue Note Jazz Festival: Victor Wooten & The Wooten Brothers
Sony Hall 7:30, 10 pm $50-70êFred Hersch, Drew Gress, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Monday, June 17• Grove Street Stompers

Arthur’s Tavern 7 pmêLeo Genovese Quartet with Tim Hagans

Bar LunÀtico 9, 10:30 pm $10

• Reginald Chapman’s Chaphouse with Maxx Spinelli, Julia Chen,

Ryan Easter, Mark McIntyre, Eli Rojas; Slavic Soul Party withJohn Carlson, Kenny Warren, Peter Hess, Peter Stan, Tim Vaughn,
Adam Dotson, Ken Bentley, Matt Moran, Chris Stromquist
Barbès 7, 9 pm $20• Natalie Douglas Juneteenth Jubilee – The Women
Birdland 7 pm $35
êVince Giordano and the Nighthawks
Birdland Theater 5:30, 8:30 pm $30-40
Blue Note 8, 10:30 pm $25-35• Julius RodriguezêZaid Nasser Trio
Cellar Dog 7, 8:30 pm $5êCharles Turner
Dizzy’s Club 7, 9pm $20-45• Evan Sherman Quintet; Marcello Cardillo Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êJoe Farnsworth Trio; Stefano Doglioni Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle
Scarlet Lounge 6, 8 pm
• Charlie Judkins
êOz Noy Quartet with Colin Stranahan, James Genus, David Kikoski
ShapeShifter Lab 9 pm $20
Shrine 10 pm• Muffin Man OrchestraêLaura Cocks/Frederico Isasti; DoYeon Kim/Henry Fraser
Sisters 8 pmêLarry Goldings/John Sneider Quartet; ELEW Trio
Smalls 7:30, 9, 10:30 pm, 12 am $35• Blue Note Jazz Festival: Haley Reinhart
Sony Hall 8 pm $35-70
êPeperoncino Festival: Benny Benack III Quartet with Leo Larratt,
Joseph Lepore, Elio Coppola Spring Place Tribeca 7 pmêVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40• Nate Radley with Gary Versace, Jay Anderson, Adam Nussbaum
Zinc Bar 7, 8:30 pm $35

Tuesday, June 18• Ben Monder, Joe Martin, Diego Voglino and JamêSteve Nelson Quartet; Benny Benack Quintet

Smalls 7:30, 9, 10:30 pm, 12 am $35

Bar LunÀtico 9, 10:30 pm $10
Barbès 7 pm $20• Tamar KornêStacey Kent
Birdland 7, 9:30 pm $40-50• Eric Comstock/Barbara Fasano
Birdland Theater 5:30, 8:30 pm $20-30
Blue Note 8, 10:30 pm $25-35• Julius Rodriguez
Cellar Dog 7, 8:30 pm $5• Our DelightêMichael Dease with Steve Davis, Jocelyn Gould, Geoffrey Keezer,
Rodney Whitaker, Matt Wilson Dizzy’s Club 7, 9pm $20-45• Misha Piatigorsky Quartet; Eric Alexander Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êSPACEPILOT with Elias Meister, Leo Genovese, Joe Hertenstein
El Barrio Artspace 7 pm $30• Danny Mixon Trio with Bryce Sebastion, Chuck Ferruggia andProfessor Hank Williams. Local 802 6:30 pmêDaryl Sherman, Will Anderson, Peter Anderson; Tardo Hammer Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êSPACEPILOT with Elias Meister, Leo Genovese, Joe Hertenstein;
Dafna Naphtali
Nublu 151 10 pm $22.66• Deborah Newallo Experience Red Rooster Harlem 6:30 pmêVision Festival 2024: “Celebrating William Parker Lifetime ofAchievement” with Lisa Sokolov; Roots & Rituals with William
Parker, Joe Morris, Joshua Abrams, Mixashawn Rozie, Jackson
Krall, Juma Sultan, Michael Wimberly, Hamid Drake, Isaiah Parker;
Trails of Tears with Andrea Wolper, Raina Sokolov-Gonzalez,
AnneMarie Sandy, Mara Rosenbloom, James Brandon Lewis,
Mixashawn Rozi, Isaiah Parker, Hamid Drake; Raining on the Moon
with William Parker, Rob Brown, Steve Swell, Eri Yamamoto, Hamid
Drake, Leena Conquest; The Ancients with William Parker, Isaiah
Collier, William Hooker, Dave Burrell; William Parker’s Huey’s Pocket
Watch with Rob Brown, Aakash Mittal, Isaiah Barr, Alfredo Colon,
Steve Swell, Colin Babcock, Taylor Ho Bynum, Diego Hernandez,
Colson Jimenez, Hans Young Binter, Juan Pablo Carletti, Ellen
Christi, Kyoko Kitamura, Patricia Nicholson-Parker
Roulette 6 pm $25• Afro Latin Jazz Orchestra & Wagner Highschool Jazz Band
Collaborative Concert
ShapeShifter Lab 7 pm $20
Silvana 8 pm
• Seth TrachyêSam Ospovat Headvoice with Peter Evans, Brandon Seabrook,
John Hébert; Tilt Brass; Sam Weinberg
Sisters 7 pm

Kweku Sumbry

Wednesday, June 19• Mimi & The Podd Brothers; FMS feat Day Kornegay

Arthur’s Tavern 7, 10 pm
Bar Bayeux 8, 9:30 pm• Jonathan Scales Fourchestra
Bar LunÀtico 9, 10:30 pm $10• Buck And A Quarter Quartet; Mamady Kouyate and his
Mandingo Ambassadors Barbès 8, 10 pm $20
êStacey Kent
Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band;
Frank Vignola’s Guitar Night with Mike Stern
Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $25-35• Julius Rodriguez
Cellar Dog 7, 8:30 pm $5• Chris Beck Trio
• C. Anthony Bryant Juneteenth Jubilee with Mika Nishimura-Abustan,
Zwelakhe-Duma Bell le Pere, Ahmad T. Johnson
Dizzy’s Club 7, 9pm $20-50êJonny King Trio; Jason Marshall Juneteenth Celebration
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $40-50êMarta Sanchez Trio with Chris Tordini, Savannah Harris;
Alberto Pibiri Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êBlack Science Fiction; Brother Moves On; Isaiah Collier Duo
National Sawdust 7:30 pm $20
êLoren Stillman Quartet; Vinnie Sperazza Apocryphal
Nublu 151 7 pm $22.66
êLamy Istrefi, Jon Elbaz, Joe Hertenstein
Ornithology Jazz Club 10 pm $10êAllegra Levy with Carmen Staff, Mimi Jones and Matt Wilson
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio© 

© 

êSteve Slagle

6/29
tickets

JUNE 29, 8PM
SOUP & SOUND 200 PART 1TERRY JENOURE withJOE FONDAREGGIE NICHOLSON+
ANDREW DRURY TENTET withJASON KAO HWANG
STEPHANIE GRIFFIN
THOMAS HEBERER
JD PARRANBRIGGAN KRAUSSFRANK LACY
ALEXIS MARCELOCHRISTOPHER HOFFMAN
KEN FILIANOANDREW DRURY@ Zürcher Gallery
33 Bleecker St, NYC | $20

JUNE 30, 4PM

SOUP & SOUND 200 PART 2DoYEON KIM
SARAH BERNSTEIN
GWEN LASTERMELANIE DYERTESSA BRINCKMANSARAH HUGHESMARA ROSENBLOOM
ANDREW DRURY+
TRICYCLE                 

soupandsound.org
continuumculture.org

Village Vanguard 8, 10 pm $40

 Live Performance with The Forest
Percussion Ensemble, Warren Smith & JD Parran!
Release of The Forest’s CD, (D)RUMINATIONS!
Book release of Warren Smith's autobiography!
We’re celebrating Father’s Day! And Juneteenth!

THE ANDREW FREEDMAN HOME
1125 GRAND CONCOURSEBRONX, NY 10452 | $20

Leo Larratt, Elio Coppola Spring Place Tribeca 7 pmêImmanuel Wilkins Quartet with Micah Thomas, Rick Rosato,

PRESENTED BY CONTINUUM CULTURE & ARTSTHE
FORESTCELEBRATESWARREN
SMITH@90êPeperoncino Festival: Nicole Zuraitis/C.L.C. Trio with Alex Claffy,

SOUP & SOUND 200

SUNDAYJUNE 16
3PM

tickets

PRESENTED BY WIS PERCUSSION THEATER + CONTINUUM CULTURE & ARTS

Bar Bayeux 8, 9:30 pmêChet Doxas Trio with Thomas Morgan, Jacob Sacks@ 292 Lefferts Ave, Brooklyn$20 | doors open at 3pm for food

THE NEW YORK CITY JAZZ RECORD | June 2024 45

êVision Festival 2024: Davalois Fearon with Mike McGinnis, Adriel

Vincent-Brown, Gino Sitson, Lonnie Plaxico; James Brandon Lewis/
Chad Taylor; Matthew Shipp Trio with Michael Bisio, Newman Taylor
Baker; Nasheet Waits Tarbaby with Orrin Evans, Eric Revis
Roulette 7 pm $25• Leo Genovese Chupacabra with Daniele Germani, Hery Paz, Max
Seigel, Juan Chiavassa SEEDS 8 pm
• Jim Beard Memorial Celebration
ShapeShifter Lab 6 pm
• Caleb Curtis Trio with Sean Conly, Michael Sarin; Kyle Nasser
QuartetSmalls 7:30, 9, 10:30 pm, 12 am $35
êLouis Hayes Cannonball Legacy Band with Jeremy Pelt,
Vincent Herring, Rick Germanson, Dezron Douglas
Smoke 7, 9 pm $25-55
êBlue Note Jazz Festival: Mulatu Astatke
Sony Hall 8 pm $50-80êSteve Coleman, Jonathan Finlayson, Anthony Tidd, Sean Rickman
The Stone at The New School 8:30 pm $20
êPeperoncino Festival: Allstar Tribute to Michael Brecker with
Branford Marsalis, Joe Lovano, George Garzone, Jerry Bergonzi,
Steve Wilson, Marcus Printup, Mike Mainieri, Joey Calderazzo,
John Patitucci, Gerald Cannon, Bill Stewart
The Town Hall 8 pm $68-100• Immanuel Wilkins Quartet with Micah Thomas, Rick Rosato,
Kweku Sumbry
Village Vanguard 8, 10 pm $57

Thursday, June 20êRichard Cortez; Terry Waldo’s Gotham City Band

Arthur’s Tavern 7, 10 pm• David Cook/Allan Mednard with Adam Kolker, Jeremy Stratton
Bar Bayeux 8, 9:30 pm• Momentum with Joy Hansen Bar LunÀtico 9, 10:30 pm $10• Pre-War Ponies with Daria Grace, J. Walter Hawkes, Jim Whitney,
Willie Martinez; Brain Cloud with Dennis Lichtman, Tamar Korn,
Raphael McGregor, Skip Krevens, Kevin Dorn, Andrew Hall
Barbès 8, 10 pm $20
êStacey Kent
Birdland 7, 9:30 pm $40-50• High Society New Orleans Jazz Band; Woongsan Quartet with
Greg Osby
Birdland Theater 5:30, 8:30 pm $30-50
Blue Note 8, 10:30 pm $25-35• Julius Rodriguez

A welcome stroke of genius… Mr. Clemente continues to impress with the
deep study of his subjects and when he surfaces for air his musical oﬀeringis always erudite, brimful of new ideas, harmonic and rhythmic concepts…
allowing the performers led by the tenor saxophonist with an almighty tone,
David Murray, to shape his playing of these works not as a collection ofmusical interpretative exercises but as a “speaking” work of meditation and prayer…
—Raul Da Gama /Latin Jazz Net...a savant of world music and jazz...Clemente is a voracious polymath of a musician
whose interests have ranged from classical music to jazz, Middle Eastern, Indian,
Cuban and African; along the way learning to play multiple instruments including
Asian horns to African and Middle Eastern percussion, Venezuelan harp, pocket
trumpet and piano. —The New York City Jazz Record

ADRIANOCLEMENTE.NET

Oliver Lake - Mathias Landæus - Kresten Osgood“SPIRIT” (Sfär Records)
Limited edition vinyl & CD available atmathiaslandaeus.bandcamp.com

Café Erzulie 7 pm
• Francesco Amenta• Will Terrill Quartet; Carol Morgan Quartet

Cellar Dog 7, 8:30, 11 pm $5êColette Michaan
Clemente Soto Velez 7:30 pmêJoe Farnsworth with Emmet Cohen, Sean Jones, Sarah Hanahan,
Yashushi Nakamura
Dizzy’s Club 7, 9pm $20-45• Tyler Blanton Quartet; Lee Taylor
The Django 7:30, 9, 10:30 pm, 12 am $25• Jimmy Hill and the Allstarz Hudson River Park 6:30 pmêPeperoncino Festival: George Garzone’s Italian Quartet with Daniele
Germani, Stefano Battaglia, Adam Arruda
InterContinental New York Barclay’s Club 6:30 pm $55
êDarcy James Argue’s Secret Society
The Jazz Gallery 7:30, 9:30 pm $40-50êMichael Marcus Trio
Jazz Museum in Harlem 2 pm
• Composers Concordance: My Guitar Wants To Kill Your Mama with
Jane Getter, Gene Pritsker; Miolina with Mioi Takeda, Lynn Bechtold,
John S. Hall, Lila Meretzky, Shu-Wei TsengJim Kempner Fine Art Gallery 8 pm $20-30• Franck Amsallem, Peter Bernstein, David Wong; Marc Devine Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Harmony BartzêWelf Dorr, Elias Meister, Dmitry Ishenko, Kenny Wollesen
Nublu 151 10 pm $22.66
êCaroline Davis/Wendy Eisenberg The Owl Music Parlor 8 pm $12• Toadal Package; Samantha Kochis/Kevin Murray
Record Shop 7:30 pm
Red Rooster Harlem 6:30 pm• Lynette WashingtonêVision Festival 2024: Jen Shyu Fertile Land Fertile Body with Layale
Chaker, Martha Redbone, Maeve Gilchrist, Devon Gates; Ingrid
Laubrock Lilith with David Adewumi, Yvonne Rogers, Adam Matlock,
Eva Lawitts, Henry Mermer; Darius Jones Quintet with Christopher
Hoffman, Liani Matteo, Nick Saia, Jason Nazary, Laura Sofia Perez;
James Blood Ulmer Black Rock Trio with Mark Peterson, G. Calvin
WestonRoulette 7 pm $25
Silvana 8 pm
• Anthony Stanco• Bernd Reiter Quintet with Joe Magnarelli, Gary Smulyan, Jeb Patton,
Mark Lewandowski; David Gibson Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êLouis Hayes Cannonball Legacy Band with Jeremy Pelt,
Vincent Herring, Rick Germanson, Dezron Douglas
Smoke 7, 9 pm $25-55
êBlue Note Jazz Festival: Mulatu Astatke
Sony Hall 8 pm $50-80êSteve Coleman, Jonathan Finlayson, Anthony Tidd, Sean Rickman
The Stone at The New School 8:30 pm $20
êSamara Joy with Paul Sikivie, Connor Rohner, Evan Sherman,
David Mason, Kendric McCallister, Donavan Austin, Jason Charos
The Town Hall 8 pm $60-100êImmanuel Wilkins Quartet with Micah Thomas, Rick Rosato,
Kweku Sumbry
Village Vanguard 8, 10 pm $40

Friday, June 21449 La Scat in Harlem 8 pm
• Denton Darien• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pmêMatt Lavelle and the 12 Houses Philharmonic

Astoria Park 12 pm
Bar LunÀtico 9, 10:30 pm $10êOscar Noriega’s Crooked Quartet with Marta Sanchez,
Christopher Tordini, Jason Nazary; Miss Maybell & The Jazz Age
ArtistesBarbès 5:30, 8 pm $20
êPeperoncino Festival: John Patitucci Brazilian Trio with
Yotam Silberstein, Rogerio Boccato
Baretto at Fasano Restaurant 9, 10:30 pm• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBirdland Big Band; Stacey Kent Birdland 5:30, 8:30, 10:30 pm $25-50
Birdland Theater 7, 9:30 pm $20-30• Evan Palazzo• Soul Rebels with Ghostface Killah
Blue Note 8, 10:30 pm $50-65
êJulieta Rada
Bronx River Art Center 7:30 pmêSarah Vaughan Centennial featuring Charenée Wade Septet
Bryant Park 7 pm
• Jade Synstelien Quartet; Jamale Davis Quartet
Cellar Dog 7, 8:30, 11 pm $10êJoe Farnsworth with Emmet Cohen, Sean Jones, Sarah Hanahan,Peter Washington
Dizzy’s Club 7, 9pm $20-45
The Django 7:30, 9, 10:30 pm, 12 am $25• David Gibson Quartet• Iseul Kim’s Culture Night Ibeam Brooklyn 8 pm $15
The Jazz Gallery 7:30, 9:30 pm $35-45• Yosvany Terry• Billy Drummond Trio; Jon Davis Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Rome Neal
• Diego Ramirez and Wayne Tucker & The Bad Mothas
Nublu 151 7 pm $22.66• Jazz Jam with Patience Higgins
Patrick’s Place 8 pm

• Tiga Jean Baptiste

46 June 2024 | THE NEW YORK CITY JAZZ RECORD• Vision Festival 2024: Isaiah Barr Duo with David Frazier, Jr.;

Miriam Parker Core-Edge Quartet with Lester St. Louis,
Raina Sokolov-Gonzalez, No Land; Fred Moten; Trio Plex with
Cooper-Moore, Michael TA Thompson, Ken Filiano; Mendoza Hoff
Revels with Ava Mendoza, Devin Hoff, James Brandon Lewis,
Ches Smith
Roulette 6:30 pm $25
êPhillip Golub
Shapeshifter Lab 9 pm
• Spiral; Strawberry Sun; Danaya Band Shrine 7, 8, 10 pm• Metropolitan Horn Authority; John Skweird
Silvana 9, 10 pmêMike Fahn Quartet; Rachel Z Quintet; Round About Midnight Jamwith Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êLouis Hayes Cannonball Legacy Band with Jeremy Pelt,
Vincent Herring, Rick Germanson, Dezron Douglas
Smoke 7, 9, 10:30 pm $25-55
Soapbox Gallery 8 pm $25• Jun IidaêBlue Note Jazz Festival: Fred Wesley & The New JBs; Brecker
Brothers Band Reunion Sony Hall 8 pm $70-100êSteve Coleman, Jonathan Finlayson, Anthony Tidd, Sean Rickman
The Stone at The New School 8:30 pm $20
êSamara Joy with Paul Sikivie, Connor Rohner, Evan Sherman,
David Mason, Kendric McCallister, Donavan Austin, Jason Charos
Town Hall 9 pm $60-100êImmanuel Wilkins Quartet with Micah Thomas, Rick Rosato,
Kweku Sumbry
Village Vanguard 8, 10 pm $40

Saturday, June 22449 La Scat in Harlem 8 pm
• Denton Darien• Axel Tosca; JT Bowen & The Mighty Kings of Soul
Arthur’s Tavern 7, 10 pmêSantiago Leibson with Matt Pavolka, Satoshi Takeishi

Bar Bayeux 8, 9:30 pm• Erica Mancini; Zemog with Abraham Gomez-Delgado;

La Banda Chuska with Felipe Wurst, Sam Day Harmet,
Adele Fournet, Erica Mancini, Abe Pollack, Joel Mateo
Barbès 6, 8, 10 pm $20
êPeperoncino Festival: Paul Wertico Italian Trio with Fabrizio Mocata,
Gianmarco Scaglia
Baretto at Fasano Restaurant 9, 10:30 pm• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êGabrielle Stravelli Trio; Stacey Kent
Birdland 5:30, 8:30, 10:30 pm $40-50
Birdland Theater 7, 9:30 pm $20-30• Evan Palazzo• Soul Rebels with Ghostface Killah
Blue Note 8, 10:30 pm $50-65
êZacchae’us PaulBronx River Art Center 7:30 pm• Bebop Collective; Miki Yamanaka Quartet
Cellar Dog 7, 8:30, 11 pm $10• Blue Note Jazz Festival: Yussef Dayes Experience; Aneesa Strings;
Dana and Alden Central Park Summerstage, Rumsey Playfield 6 pmêJoe Farnsworth with Emmet Cohen, Sean Jones, Sarah Hanahan,
Yashushi Nakamura
Dizzy’s Club 7, 9pm $20-45
êTommy Campbell Trio; Bruce Williams Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
êJeff Pearring Horntet with Diego Hedez, Ayumi Ishito, Stan Zenkov,
Guillermo Gregorio, Daniel Carter
Ibeam Brooklyn 7:30 pm $20
The Jazz Gallery 7:30, 9:30 pm $35-45• Yosvany TerryêBilly Drummond Trio; Jeremy Manasia Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• John SmithêPeperoncino Festival: Mafalda Minnozzi Trio with Paul Ricci,
Maruo Refosco
Obicà Flatiron 12, 2 pm
Pangea 7 pm $25• Verena McBee Trio
• Marcelo Cardozo Trio with Letrice Arlene
Patrick’s Place 7 pm
Riverside Park 7 pm
• Lady CantreseêVision Festival 2024: Melanie Dyer’s Incalcuable Likelihood
with Carla Cook, Kyoko Kitamura, Jason Walker, JD Parran,
Shanyse Strickland, Charlie Burnham, Gwen Laster, Alex Waterman,
Ken Filiano, Alexis Marcelo, Malik Washington;
Amina Claudine Myers; Jason Kao Hwang/Cooper-Moore;
Oliver Lake/William Parker; Holding Bridges Falling Down withPatricia Nicholson-Parker, DJ Marcellus, Ellen Christi,
Devin Brahja Waldman, Michael TA Thompson, Jason Jordan
Roulette 6:30 pm $25
êRas Moshe Burnett/Sam Newsome Ensemble; Matt Lavelle and
The 12 Houses Orchestra Scholes Street Studio 7, 9 pmêRichie Vitale Quintet; Rachel Z Quintet; Round About Midnight Jamwith Gregg Glassman / Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êLouis Hayes Cannonball Legacy Band with Jeremy Pelt,
Vincent Herring, Rick Germanson, Dezron Douglas
Smoke 7, 9, 10:30 pm $25-55• Blue Note Jazz Festival: Antibalas; Hailu Mergia
Sony Hall 8 pm $50-75
êSteve Coleman, Jonathan Finlayson, Anthony Tidd, Sean Rickman
The Stone at The New School 8:30 pm $20
êImmanuel Wilkins Quartet with Micah Thomas, Rick Rosato,
Kweku Sumbry
Village Vanguard 8, 10 pm $40

Sunday, June 23• Dariada David Jazz Brunch; Jazz Jam

449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band; Charlie Apicella & Iron City
Arthur’s Tavern 7, 10 pm
Bar LunÀtico 9, 10:30 pm $10• Miki Yamanaka Trio
• Luca Benedetti with Tony Scherr, Tony Mason Barbès 8 pm $20• Eyal Vilner Big Band; Afro Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $20-40
Birdland Theater 7, 9:30 pm $20-30• Evan Palazzo• World Famous Harlem Gospel Choir; Soul Rebels with
Ghostface Killah
Blue Note 1:30, 8, 10:30 pm $30-65êSheryl Bailey Trio
Cellar Dog 7, 8:30 pm $5êJoe Farnsworth with Emmet Cohen, Sean Jones, Sarah Hanahan,
Yashushi Nakamura
Dizzy’s Club 5, 7:30 pm $20-45• Jed Levy Quartet; Bennett Paster’s Understated Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êWelf Dorr, Taulant Mehmeti, Dmitry Ishenko, Dave Miller
The Keep 9 pmêTessa Souter, Luis Perdomo, Mark Lewandowski; Vanisha Gould
Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Kirk Bailey• Ben Cassara with Justin Wert, Dean Johnson
North Square Lounge 12:30, 2 pm
• Alicia Svigals with Aaron Alexander, Ilya Shneyveys, Jim Guttman,
Jordan Hirsch, Curtis Hasselbeing Nublu 151 7 pm $22.66
êPeperoncino Festival: Mafalda Minnozzi Trio with Paul Ricci,
Dave Schroeder
Obicà Flatiron 12, 2 pm
• Jazz Brunch with Boncellia Lewis Patrick’s Place 12 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 amêVision Festival 2024: Matana Roberts COIN COIN with Matt Lavelle,
Ryan Sawyer, Cory Smythe, Mike Pride, Darius Jones, Stuart Bogie;
Thollem McDonas/AC Villa; Isaiah Collier & The Chosen Few withNat Reeves, Michael Ode; Watershed Continuum with Rob Brown,
Steve Swell, Alexis Marcelo, Whit Dickey; Marshall Allen’s 100thbirthday & The Arkestra Roulette 5 pm $25
êBrian Charette Trio
Saint Peter’s Church 5 pm
• Antoine Dowdell Group Shrine 8 pm
Silvana 8 pm
• Andrew Luhn

Tuesday, June 25• Rufus Cappadocia/Sheila Anozier; Trina Basu/Arun Ramamurthy

Sisters 7 pm
• Alex Norris Quintet with Ari Ambrose, Jeremy Manasia, Paul Gill,
Brian Floody; Frank Basile/Gary Smulyan Quintet with Steve Ash,
Mike Karn, Aaron Seeber; Round About Midnight Jam with
Aaron Johnson
Smalls 6, 7:30, 9, 10:30 pm, 12 am $35
êLouis Hayes Cannonball Legacy Band with Jeremy Pelt,
Vincent Herring, Rick Germanson, Dezron Douglas
Smoke 7, 9 pm $25-55
êImmanuel Wilkins Quartet with Micah Thomas, Rick Rosato,
Kweku Sumbry
Village Vanguard 8, 10 pm $40• Wayne Tucker and The Bad Mothas

Arthur’s Tavern 7 pm

• Miki Yamanaka, Joe Martin, Diego Voglino and Jam
Bar Bayeux 8, 9:30 pm• Tobias Meinhart Quartet with Eden Ladin, Matt Penman, JK Kim
Bar LunÀtico 9, 10:30 pm $10• Slavic Soul Party with John Carlson, Kenny Warren, Peter Hess,

Monday, June 24• Grove Street Stompers Arthur’s Tavern 7 pm
• Michael Daves/Jacob Jolliff Bar LunÀtico 9, 10:30 pm $10
Birdland 7 pm $40• Clint HolmesêVince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $30-40

Blue Note 8, 10:30 pm $30-45• Ozomatli
Cellar Dog 7, 8:30 pm $5• Willerm Delisfort Trio
• Steven Feifke Big Band Dizzy’s Club 7, 9pm $20-45• Liam Sutcliffe Quintet; Marcos Varela Quartet

The Django 7:30, 9, 10:30 pm, 12 am $25

êTim Berne, Gregg Belisle-Chi, Tom Rainey, Aurora NealandLowlands 8 pm

• Spike Wilner Trio; Pasquale Grasso Trio

Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Obed Calvaire with Godwin Louis, Harold St. Louis, Addi Lafosse,
Sullivan Fortner

Nublu 151 8 pm $22.66
Red Rooster Harlem 6:30 pmêBill Frisell/Bill Morrison
Roulette 8 pm $50
Saint Peter’s Church 6:30 pm• Rob Crocker Memorial
Scarlet Lounge 6, 8 pm
• Charlie Judkins
Silvana 10 pm• Jon Menges QuartetêCarol Morgan Quartet with Steve Nelson, Daniel LaCour Duke, Andy
Watson; Miki Yamanaka Trio Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40• Ahmaya KnoellePeter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 9 pm $20
êRavi Coltrane Quartet
Birdland 7, 9:30 pm $30-40• Eric Comstock/Barbara Fasano
Birdland Theater 5:30, 8:30 pm $20-30
Blue Note 8, 10:30 pm $30-45• OzomatliêDeanna Witkowski
Bryant Park 2 pm
Cellar Dog 7, 8:30 pm $5• Ehud Asherie Trio
• Armstrong Signature: A Life in Jazz with Luther Allison, Brandon
Woody, Joe Giordano, Markus Howell, Jonathon Müir-Cotton,
Michael Reed
Dizzy’s Club 7, 9pm $20-45• Manuel Valera Quintet; Benito Gonzalez Trio
The Django 7:30, 9, 10:30 pm, 12 am $25• Henry Hey Trio; Shai Jaschek Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo Experience Red Rooster Harlem 6:30 pm
Silvana 7 pm
• The Jazz Duo• Alex Ayala Quartet; Jason Clotter Sextet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBlue Note Jazz Festival: Stanley Clarke N 4Ever
Sony Hall 8 pm $65-95
êTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40
êHarold Danko with Kirk Knuffke, Jay Anderson
Zinc Bar 7, 8:30 pm $35

Wednesday, June 26• Sol Liebskind

Arthur’s Tavern 7 pm

Mark Ferber

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10êMarc Copland Quartet with Robin Verheyen, Drew Gress,• Big Lazy

50 years of jazz recordings

New May-June releases - CD & Digital

Complete catalog: www.steeplechase.dk

SCCD 31960

SCCD 31961

SCCD 31962

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SCCD 31959

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Recent new releases - CD & Digital

New & Recent 180g audiophile vinyleFirst Tinim
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THE NEW YORK CITY JAZZ RECORD | June 2024 47

• Roman Angelos with Rich Bennett, Brittany Anjou, Matt Filler,

Pam Fleming, Rose Rutledge, Duncan Malashock, Spencer Cohen;
Mamady Kouyate and his Mandingo Ambassadors
Barbès 7, 10 pm $20
êRavi Coltrane Quartet
Birdland 7, 9:30 pm $30-40êDavid Ostwald’s Louis Armstrong Eternity Band;
Frank Vignola’s Guitar Night with Mike Stern
Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $30-45• OzomatliêDeanna Witkowski
Bryant Park 2 pm
Café Erzulie 7 pm
• Ben Freidkin
Cellar Dog 7, 8:30 pm $5• Greg Glassman TrioêTyshawn Sorey’s Tribute to Max Roach with Adam O’ Farrill,
Mark Shim, Lex Korten
Dizzy’s Club 7, 9pm $20-40• Emily Braden; Asen Doykin Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êGeorge Braith
Hudson River Park 7 pm
• Sirintip with Andrew Gutauskas, Danny Jonokuchi, Ben Wendel,
Zach Brock, Kalia Vandever, Kengchakaj, Kaisa Mäensivu,
Nolan Byrd, Nitcha Tothong, Marie Lloyd
The Jazz Gallery 7:30, 9:30 pm $25-35• Tal Cohen Trio; Andrea Domenici Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Livio Almeida 4tet with Helio Alves, Peter Slavov, Rogério Boccato
Nublu 151 7 pm $22.66
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
Shrine 9 pm
• AishaE• Joris Teepe Quartet with Adam Kolker, Jon Davis, Matt Wilson;
Nick Hempton Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBlue Note Jazz Festival: Stanley Clarke N 4Ever
Sony Hall 8 pm $65-95• Eliza Bagg/Catherine Brookman
The Stone at The New School 8:30 pm $20
êTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40
êMari Okubo, Kenny Wessel, Alexi Marcelo, Al McDowell
Zürcher Gallery 8 pm $20

Thursday, June 27êTerry Waldo’s Gotham City Band

Arthur’s Tavern 7 pm

Anthony Pinciotti
Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Secret Trio
• Eszter Balint with David Nagler, Marlon Cherry
Barbès 8 pm $20
êRavi Coltrane Quartet
Birdland 7, 9:30 pm $30-40êHigh Society New Orleans Jazz Band; Jocelyn Gould Quartet
Birdland Theater 5:30, 8:30 pm $20-40• Chief Adjuah Christian ScottBlue Note 8, 10:30 pm $30-45êDeanna Witkowski
Bryant Park 2 pm
Café Erzulie 7 pm
• Aaron Bazzell• Richard Clements Quintet; Mariel Bildsten Quartet
Cellar Dog 7, 8:30, 11 pm $5• Charlie Sepulveda and The Turnaround with Natalia Mercado,
Emmanuel Rodolfo Rivera-Gambaro, Gabriel Rodriguez Hernandez,
Francisco Estebal Alcala Loaiza, Gadwin Vargas, Jean-Lou Treboux
Dizzy’s Club 7, 9pm $20-45
êDave Stryker Quartet; Mark Whitfield
The Django 7:30, 9, 10:30 pm, 12 am $25
Hudson River Park 6:30 pm• Seydurah Avecmoi
The Jazz Gallery7:30, 9:30 pm $25-35• Sasha Berliner• Greg Skaff, Ugonna Okegwo, Jonathan Barber; Or Bareket Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Red Rooster Harlem 6:30 pm• Lynette Washington
Roulette 8 pm $25• Scott Wollschleger• Michael Veal’s Armillary Sphere; Gil Schwartz
Shrine 8, 10 pmêMarc Copland Quartet with Robin Verheyen, John Hebert,
Anthony Pinciotti; Greg Murphy Trio with Joris Teepe, Steve Johns
Smalls 7:30, 9, 10:30 pm, 12 am $35
êSteve Turre Sextet with Nicholas Payton, Ron Blake,
Christian Sands, Buster Williams, Lenny White
Smoke 7, 9 pm $25-55• Blue Note Jazz Festival: Gino Vannelli
Sony Hall 8 pm $65-85• Eliza Bagg/Booker Stardrum The Stone at The New School 8:30 pm $20
êTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40• Keiko Toda Judy - Piece of the Rainbow with Kiyoko Ogino, Fumika
Imai, Yoko Suzuki Weill Recital Hall at Carnegie Hall 8 pm $80-90

Friday, June 28

Colligan

449 La Scat in Harlem 8 pm
• Denton Darien• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pm

Bar Bayeux 8, 9:30 pm• Robin Verheyen• Anwar Marshall Group with Khemist

Bar LunÀtico 9, 10:30 pm $10• Oscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher

You’ll Hear It

Over the past thirty years,
George Colligan has released
thirty seven albums. With histhirty-eighth album You’ll Hear It, Colligan showcases
his seemingly boundless songwriting and creativity.
The pianist assembles a band from all the hubs of hismusical life: his current home in Portland, his old homein New York, and his first home in Baltimore/DC.
l a res e r ve re c o rd s.c o m

Saturday, June 29• Glenn Zaleski with Adam Kolker, Jeremy Stratton andTordini, Jason Nazary; Mamie Minch; Living Language with Nikhil P.
Yerawadekar
Barbès 5:30, 8, 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBirdland Big Band; Ravi Coltrane Quartet
Birdland 5:30, 8:30, 10:30 pm $25-40
Birdland Theater 7, 9:30 pm $25-35• Carole Bufford• Chief Adjuah Christian Scott Blue Note 8, 10:30 pm $30-45êGodwin LouisBronx River Art Center 7:30 pm• Blue Note Jazz Festival: Os Mutantes Brooklyn Bowl 8 pm $30-40• Wayne Tucker Quintet; John Lang Quartet
Cellar Dog 7, 8:30, 11 pm $10• Charlie Sepulveda and The Turnaround with Natalia Mercado,
Emmanuel Rodolfo Rivera-Gambaro, Gabriel Rodriguez Hernandez,
Francisco Estebal Alcala Loaiza, Gadwin Vargas, Jean-Lou Treboux
Dizzy’s Club 7, 9pm $20-45
êRick Germanson Trio; JC Hopkins Biggish BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êConcert for Albert “Tootie” Heath with Antonio Hart & The Queens
Jazz Orchestra
Flushing Town Hall 7 pm $48
êNasheet Waits
The Jazz Gallery 7:30, 9:30 pm $35-45• Bill Mays Trio; Jesse Green Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Minton’s 7, 9 pm $25• Art Baden• Jazz Jam with Patience Higgins Patrick’s Place 8 pm
• Leo Chang with Alex Zhang Hungtai, Che Chen, Tashi Dorji
Roulette 8 pm $25
êJoe Block Quartet with Harish Raghavan, Michael Ode; John
Fedchock Quartet Celebrates J.J. Johnson with Allen Farnham,
Ugonna Okegwo, Tim Horner; Round About Midnight Jam with
Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êSteve Turre Sextet with Nicholas Payton, Ron Blake,
Christian Sands, Buster Williams, Lenny White
Smoke 7, 9, 10:30 pm $25-55• Blue Note Jazz Festival: Bombino with Etran De L’Aïr
Sony Hall 7 pm $30-55• Eliza Bagg/Chris Pattishall The Stone at The New School 8:30 pm $20
êTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40

48 June 2024 | THE NEW YORK CITY JAZZ RECORD

449 La Scat in Harlem 8 pm
• Denton Darien• KJ Denhert & The NY Unit Arthur’s Tavern 10 pm• Joel Harrison with Jonathan Goldberger, Stephan Crump, Mike Kuhl
Bar Bayeux 8, 9:30 pm• Álvaro Benavides Group Bar LunÀtico 9, 10:30 pm $10• Pangari and the Socialites with Alec Spiegelman, Kyle Nasser,

Maria Eisien, Jackie Coleman, Adam Dotson, Dany Fox, Rob Ritchie,
Adam Minkoff, Ari Folman-Cohen, Nick Anderson
Barbès 10 pm $20• Bill Saxton Harlem All-Stars
Bill’s Place 7,9 pm $30
êGabrielle Stravelli Trio; Ravi Coltrane Quartet
Birdland 5:30, 8:30, 10:30 pm $30-40
Birdland Theater 7, 9:30 pm $25-35• Carole Bufford• Brass Queens; Chief Adjuah Christian ScottBlue Note 1:30, 8, 10:30 pm $25-45
êJon Thomas and Firm Roots Bronx River Art Center 7:30 pm
Cabrini Shrine 6:30 pm• Meg Okura• Dave Gibson Quartet; Jinjoo Yoo Quartet
Cellar Dog 7, 8:30, 11 pm $10• Charlie Sepulveda and The Turnaround with Natalia Mercado,
Emmanuel Rodolfo Rivera-Gambaro, Gabriel Rodriguez Hernandez,
Francisco Estebal Alcala Loaiza, Gadwin Vargas, Jean-Lou Treboux
Dizzy’s Club 7, 9pm $20-45• Rale Micic Quartet; Richard Cortez BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êNasheet Waits
The Jazz Gallery 7:30, 9:30 pm $35-45• Bill Mays Trio; Willerm Delisfort Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êDavid Torn/Scott Amendola; Gregg Belisle-Chi
Nublu 151 7 pm $22.66
Silvana 8 pm
• Steven BlaneêAkiko Tsuruga Quartet with Myron Walden, Charlie Sigler,
Byron Landham; John Fedchock Quartet Celebrates J.J. Johnsonwith Allen Farnham, Ugonna Okegwo, Tim Horner; Round About
Midnight Jam with Gregg Glassman / Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm, 12 am $40
êSteve Turre Sextet with Nicholas Payton, Ron Blake,
Christian Sands, Buster Williams, Lenny White
Smoke 7, 9, 10:30 pm $25-55• Eliza Bagg/Rohan Chander aka Bakudi Scream
The Stone at The New School 8:30 pm $20
êTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40
êAndrew Drury Tentet with Jason Kao Hwang, Stephanie Griffin,
Thomas Heberer, JD Parran, Briggan Krauss, Frank Lacy, Alexis
Marcelo, Christopher Hoffman, Ken Filiano; Terry Jenoure with Joe
Fonda, Reggie Nicholson Zürcher Gallery 8 pm $20

Sunday, June 30• Dariada David Jazz Brunch; Jazz Jam

450 La Scat in Harlem 1, 4 pm

• Harish Raghavan Quartet Bar LunÀtico 9, 10:30 pm $10• Kenny Warren’s Sweet World with Nathan Ellman-Bell,
Christopher Hoffman

Barbès 8 pm $20• Junko Yagami Duo; Yardbird Big Band with David DeJesus

Birdland 5:30, 8:30, 10:30 pm $30-40

Birdland Theater 7, 9:30 pm $25-35• Carole Bufford• World Famous Harlem Gospel Choir; Chief Adjuah Christian ScottBlue Note 1:30, 8, 10:30 pm $30-45êNed Goold Trio
Cellar Dog 7, 8:30 pm $5êDavid Chamberlain’s Band of Bones

Christ and St. Stephen’s Church 3 pm $25
Dizzy’s Club 5, 7:30 pm $20-40• T.K. Blue Quartet; Michael Kanan Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êWelf Dorr, Robert Boston, Dmitry Ishenko, Yuko Togami
The Keep 9 pm
• Susan Tobocman Quartet with Tyler Henderson, Caleb Tobocman,
Phil Stewart; Jamile Polite Jam Session
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Kirk Bailey• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 amêGregory “Organ Monk” Lewis Saint Peter’s Church 5 pm
• Duane Eubanks Quintet; Charles Owens Quartet with John D’Earth,Peter Sparr, Karl Tietze; Round About Midnight Jam with
Aaron Johnson
Smalls 6, 7:30, 9, 10:30 pm, 12 am $35
êSteve Turre Sextet with Nicholas Payton, Ron Blake,
Christian Sands, Buster Williams, Lenny White
Smoke 7, 9 pm $25-55
êDoyeon Kim, Sarah Bernstein, Gwen Laster, Melanie Dyer,
Tessa Brinckman, Sarah Hughes, Mara Rosenbloom, Andrew Drury+ Tricycle
Soup & Sound 7 pmêTerell Stafford Quintet with Tim Warfield, Bruce Barth, David Wong,
Johnathan Blake
Village Vanguard 8, 10 pm $40
êRodney Whitaker

100 MILES OUT
CONNECTICUT
Butler-McCook House (Hartford, CT)
ctlandmarks.org/properties/butler-mccook-house-garden
6/13 (6 pm) Jen Allen Quintet with Jonathan Barber, Leala Cyr, Matt Dwonszyk,
Dan Liparini
6/21 (7 pm) Ed Fast and Conga Bop with Sammy Figueroa, Steve Davis,
Jorge Fuentes Viera, Pedro Gonzalez, Joshua Bruneau,
Nathan Edwards, Matt Dwonszyk, Gianni Gardner, Dina De Marco
Firehouse 12 (New Haven, CT) firehouse12.com
6/7 (8:30/10 pm) Will Bernard’s Pond Life with Chris Lightcap, Ches Smith
Owl Shop (New Haven, CT) owlshopcigars.com
6/5, 6/12, 6/19, 6/26 (9 pm) Kevin Saint James Band
Palace Theater Poli Club (Waterbury, CT) palacetheaterct.org/shows/jazz
6/7 (7/9 pm) Matt Wilson & Permission Slip
6/16 (11 am) Don Braden Quartet
6/28 (7/9 pm) Warren Chiasson Quartet with Gerry Beaudoin
Ridgefield Playhouse (Ridgefield, CT) ridgefieldplayhouse.org
6/1 (8 pm) esperanza spalding
6/13 (8 pm) Chris Botti
6/30 (7 pm) Brubeck Brothers Quartet
Round Hill Community House (Greenwich, CT) backcountryjazz.org
6/6 (6:30 pm) Bennie Wallace; Godwin Louis; Simon Moullier; Donald Vega,
Yasushi Nakamura, Herlin Riley; Ekep Nkwelle
Side Door (Old Lyme, CT) thesidedoorjazz.com
6/1 (8:30 pm) Sheryl Bailey Trio
6/7, 6/8 (8:30 pm) Peter Bernstein Quartet
6/14 (8:30 pm) Matt Dwonszyk Quintet
6/15 (8:30 pm) Greg Skaff Trio
6/21 (8:30 pm) Benito Gonzalez Trio with Buster Williams, Lenny White
6/22 (8:30 pm) Jerry Bergonzi Quintet
NEW JERSEY
Bethany Baptist Church (Newark, NJ) njpac.org
6/1 (6 pm) Matthew Whitaker
Brothers Smokehouse (Ramsey, NJ) brotherssmokehousenj.com
6/7 (7:30/9:15 pm) T.K.Blue
6/14 (7:30/9:15 pm) James Austin Trio
6/21 (7:30/9:15 pm) Greg Murphy Trio
6/28 (7:30/9:15 pm) Bryan Beninghove Band
Clement’s Place (Newark, NJ) njpac.org
6/20 (7:30 pm) Jazz Jam with James Austin, Jr.
6/24 (6 pm) John Lee with Tommy Campbell, Alex Collins, Freddie Hendrix
6/25 (6 pm) MPACK Music with Clarence Conover, Patricia Walton,
Glenn Merrit, John Dubois, Kim Smith
6/26 (6 pm) Blues People with Clarence Conover, Patricia Walton, Glenn Merrit,
John Dubois, Kim Smith
6/28 (6 pm) Lynette Sheard Experience
6/30 (6 pm) Lance Bryant and Shout!
Elmwood United Church (East Orange, NJ) atthewood.org
6/22 (3 pm) Leonieke Scheuble Generations of Jazz with Bill Crow,
Nick Scheuble
Exchange Place (Jersey City, NJ) riverviewjazz.org
6/1 Jersey City Jazz Festival: (12 pm) Riverview Jazz All-Stars with
Lezlie Harrison; (2 pm) Lance Bryant & Shout!; (4 pm) Paris Monster;(6 pm) Nation Beat; (8 pm) Mambo Legends Orchestra
6/2 Jersey City Jazz Festival: (12 pm) Yvonnick Prené Quintet; (2 pm) Honk
Family Band; (4 pm) Cyro Baptista’s Chama; (6 pm) LA EXCELENCIA
Ford’s Gin Row Stage (Jersey City, NJ) riverviewjazz.org
6/1 Jersey City Jazz Festival: (1 pm) Champian Fulton Trio; (3 pm) Orrin Evans
Trio; (5 pm) Trio HGH with John Hébert, George Garzone, Billy Hart;(7 pm) David Kikoski Trio with Billy Hart, Joe Martin
6/2 Jersey City Jazz Festival: (1 pm) Curtis Brothers with Craig Handy;(3 pm) George Coleman Organ Quartet with George Coleman Jr.,
Brian Charette, Peter Bernstein; (5 pm) Brianna Thomas Band
Hyatt House (Jersey City, NJ) riverviewjazz.org
6/2 Jersey City Jazz Festival: (11 am) Kate Curran/Ron Affif
Hyatt House Rooftop (Jersey City, NJ) riverviewjazz.org
6/1 Jersey City Jazz Festival: (10 pm) Moses Patrou Organ Trio
Hyatt House Terrace Level (Jersey City, NJ) riverviewjazz.org
6/1 Jersey City Jazz Festival: (9 pm) Tyreek McDole Jam Session
Jersey City Pier Stage (Jersey City, NJ) riverviewjazz.org
6/1 Jersey City Jazz Festival: (1:30 pm) United Children’s Music Project; (3 pm)
Rachel Therrien Latin Jazz Project; (5:30 pm) Winard Harper & Jeli Posse
6/2 Jersey City Jazz Festival: (12:30 pm) NJCU Jazz Combo; (1:30 pm)
Alon Nechushtan Quartet; (4:30 pm) Juanga Lakunza Quintet with
Kazemde George, Oscar Pérez, John Benitez, EJ Strickland
Metuchen Public Library (Metuchen, NJ) tavernongeorge.com
6/9 (2 pm) Larry Fuller, Lorin Cohen, Carmen Intorre Jr.
Moore’s Lounge (Jersey City, NJ) riverviewjazz.org
6/2 Jersey City Jazz Festival: (9 pm) After Party with Winard Harper
Mt. Zion AME Church (Millburn, NJ)
african-methodist-churches.cmac.ws/mt-zion-a-m-e-church/1594
6/23 (11:30 am) John Lee, Alan Collins, Karl Latham, Lynete Sheard

New Jersey Performing Arts Center @Prudential Hall (Newark, NJ)
njpac.org
6/23 (7 pm) Samara Joy
Rutherfurd Hall (Allamuchy, NJ) rutherfurdhall.org
6/2 (2 pm) Bill Mays Trio
South Valley BBQ (West Orange, NJ) southvalleybbqandlounge.com
6/2 (1 pm) Phensic
6/7 (6:30 pm) Rafiki Jazz with Joy Topping Mann, Norman Mann, Gene Ghee
6/9 (1 pm) Lynette Sheard Experience
6/14 (6:30 pm) Dave Stryker/Jared Gold
6/16 (1 pm) Kahlil Kwame Bell6/23 (1 pm) Ty Stephens and SoulJaazz
6/30 (1 pm) Dre Barnes Quartet
Tavern on George (New Brunswick, NJ) tavernongeorge.com
6/4 (7/8:30 pm) Sid Suppiah Quartet
6/6 (7/8:45 pm) Pat Bianchi Trio
6/11 (7/8:30 pm) Peter Rushing Quartet
6/13 (7/8:45 pm) Gabriel Bar-Cohen Quartet
6/18 (7/8:30 pm) Donald Solomon Quartet
6/20 (7/8:45 pm) Bryan Beninghove Quartet
6/25 (7/8:30 pm) Frankie Midnight Quartet
6/27 (7/8:45 pm) Skyler Nolan Veracity Quartet
William Morrow Beach (Somers Point, NJ) southjerseyjazz.org
6/7 (7 pm) Andrew Neu Big BandNEW YORK
Beanrunner Café (Peekskill, NY) beanrunnercafe.com
6/1 (6 pm) Eric Person Quartet
6/8 (6 pm) The Dulcetones
6/15 (6 pm) Triloka
6/22 (6 pm) Gerry Malkin Sextet
6/28 (7 pm) Jeremy Baum HB3 Organ Trio
6/29 (6 pm) John Basile Trio
Cunneen-Hackett Arts Center (Poughkeepsie, NY) cunneen-hackett.org
6/22 (8 pm) Jamaaladeen Tacuma/James Brandon Lewis
The Falcon (Marlboro, NY) liveatthefalcon.com
6/1 (7:30 pm) Jesse Harris
6/2 (7:30 pm) Kristina Koller
6/7 (7:30 pm) Chrissi Poland with Stu Mindeman, James Genus, Josh Dion
6/9 (7:30 pm) Kevin Hays, Alexander Claffy, Eric Harland
6/16 (7:30 pm) Ricky Ford Quartet
6/20 (7:30 pm) Jonathan Scales Fourchestra
6/22 (2/7:30 pm) Ed Palermo Big Band
6/28 (7:30 pm) Chris Bergson Band with Alexis P. Suter, Dave Keyes
6/29 (7:30 pm) Paa Kow
6/30 (7:30 pm) Analog Jazz Orchestra with Joe Lovano
Isaan Thai Star Restaurant (Hudson, NY) isaanthaistar.com
6/2, 6/9, 6/16, 6/23, 6/30 (6 pm) Armen Donelian
Jazz at The Lodge (Ossining, NY) jazzatthelodge.com
6/6 (7/8:30 pm) Jon Doty/Tom Kohl Quartet with Matt Garrison, Bob Gingery
6/13, 6/20, 6/27 (7/8:30 pm) Organ Groove with Dave Kain, Paul Connors,
Jon Doty
6/15 (7/8:45 pm) Bianca Mancinelli with Clifford Carter, Jeff Barrone,
Chris Conte, Sammy Wags
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
6/1 (7/9:30 pm) Paquito D’Rivera Quintet
6/2 (4/6/8 pm) Guilherme Monteiro Quartet; Jam with David Janeway Trio
6/7, 6/8 (7/9:30 pm) Joey Alexander Trio
6/9 (4/6 pm) Melissa Stylianou With Vitor Goncalves, Tal Yahalom
6/14, 6/15 (7/9:30 pm) Bill Charlap Trio with Peter Washington,
Kenny Washington
6/16 (4/6 pm) Diego Figueiredo
6/21, 6/22 (7/9:30 pm) Houston Person Quartet
6/23 (4/6 pm) Eddie Monteiro Quartet
6/28, 6/29 (7/9:30 pm) John Pizzarelli Trio
6/30 (4/6 pm) Gabriel Espinosa Quintet
The Jazz Loft (Stony Brook, NY) thejazzloft.org
6/1 (7 pm) Harry Allen Quartet
6/4, 6/18 (6 pm) Summer SWAP Outdoor Concert
6/5 (1 pm) Young At Heart with Tom Manuel, Steve Salerno, Keenan Zach
6/6 (7 pm) Jazz Loft Big Band
6/12, 6/19, 6/26 (7 pm) Jam at The Loft with Keenan Zach
6/13, 6/14, 6/15 (7 pm) Viva Havana! Jazz Loft Big Band
6/19 (6 pm) Steve Salerno
6/20 (7 pm) Bad Little Big Band
6/27 (7 pm) Interplay Jazz Orchestra
6/28 (7 pm) Dave Brubeck Octet with Jon De Lucia, Jay Rattman,
Becca Patterson, Andrew Hadro, Glenn Zaleski, Daniel Duke,
Keith Balla, Brandon Lee
6/29 (7 pm) Havana Night with Tom Manuel’s Latin Band
Karpeles Manuscript Museum (Gloversville, NY) karpeles.com
6/8 (7 pm) Adam Siegel, Michael Bisio
Lace Mill, The (Kingston, NY) facebook.com/TheLaceMill
6/30 (4 pm) Allen Shawn/Michael Bisio

Lydia’s Café (Stone Ridge, NY) lydias-cafe.com
6/22 (7/8:30 pm) John Menegon’s SOUND EMBRACE with Jeff Lederer,
Dave Lopato, Harvey Sorgen
Maureen’s Jazz Cellar (Nyack, NY) maureensjazzcellar.com
6/1 (7 pm) Alan Broadbent Trio
6/7 (8 pm) Judi Marie Canterino Quartet with Conal Fowkes
6/8 (8 pm) Bill Mays Trio
6/9 (1 pm) David Budway with Ron Affif, Ben Perowsky, Cameron Brown
6/14 (7 pm) Secret Trio with Ara Dinkjian, Ismail Lumanovski, Tamer Pınarbaşı
6/15 (7 pm) Valery Ponomarev Quartet with Victor Jones, Todd Bashore,
Dmitri Kolesnik
6/21 (8 pm) Bobby Belfry/Lauren Mufson with David Budway, Jim Donica,
Tony Jefferson
6/22 (8 pm) Tony Jefferson Quartet with Hiroshi Yamazaki, Nathan Peck,
Jeff Barone
6/28, 6/29 (7/9 pm) Hubert Laws Quartet with David Budway, Jeff Grubbs,
James Johnson III
Pocantico Center (Tarrytown, NY) rbf.org/pocantico
6/26 (7 pm) Ayodele Casel
Purpl (Hastings-on-Hudson, NY) purpl.org
6/1 (4 pm) David Janeway with Eliot Zigmund, Earl Sauls
Seligmann Art Center (Chester, NY) kurtseligmanncenter.org
6/1 (3 pm) Hilary Brown-Istrefi, Teri Roiger, John Menegon, Lamy Istrefi
Shirt Factory (Kingston, NY) aplaceforjazz.org/venue/the-shirt-factory
6/23 (4 pm) CMS Improvisers Orchestra with Peter Apfelbaum, Ingrid Sertso,
Joe Hertenstein
Uncle Cheef (Brewster, NY) unclecheef.com
6/1 (7:30 pm) Henry Hey
6/2 (12 pm) Tyler Blanton
6/6 (7:30 pm) GREASE PATROL
6/7 (7:30 pm) Moses Patrou
6/8 (7:30 pm) Jeremy Pelt
6/9 (12 pm) Chiara Izzi
6/13 (7:30 pm) Drew Angus
6/14 (7:30 pm) Ian Hendrickson-Smith
6/15 (7:30 pm) Wayne Henderson
6/20 (7:30 pm) Adam Falcon
6/22 (7:30 pm) Alex Claffy
6/28, 6/29 (7:30 pm) Jumaane Smith
6/30 (12 pm) Helio Alves
Westchester Collaborative Theater (Ossining, NY)
wctheater.org/music-in-the-box
6/8 (7:30 pm) Conigliaro Consort with Hiroshi Yamazaki
6/14 (7:30 pm) Sara Carbone with Frank Pisani, Jimmy Lento, Anne Carpenter,
Tiffany Hébert
6/27 (7:30 pm) Low Lily with Flynn Cohen, Liz Simmons
6/29 (7:30 pm) Oren Neiman Quartet
PENNSYLVANIA
Deer Head Inn (Delaware Water Gap, PA) deerheadinn.com
6/1 (7/8:30 pm) Zach Brock Quartet with Jim Ridl, Dean Johnson,
Alon Benjamini
6/2 (5 pm) Bill Charlap
6/6, 6/13, 6/20, 6/27 (7 pm) Jazz Jam with Bill Washer
6/7 (7/8:30 pm) Melissa Stylianou Quartet with Gary Versace, Gary Wang,
Mark McLean
6/8 (7/8:30 pm) 3D Jazz Trio with Sherrie Maricle, Jackie Warren, Amy Shook
6/9 (5 pm) Jon Ballantyne/Bill Washer
6/14 (7/8:30 pm) Eric Mintel, Nelson Hill, Dave Antonow, Dave Mohn
6/15 (7/8:30 pm) Jon Gordon Quartet with Bill Mays, Marcos Varela, John Reilly
6/16 (5 pm) Bill Mays Trio with Dean Johnson, Ron Vincent
6/21 (7/8:30 pm) Co-Op Bop with Alan Gaumer, Nelson Hill, Tom Hamilton,
Craig Kastelnik, Tom Kozic, Tyler Dempsey
6/22 (7/8:30 pm) Paul Jost
6/23 (5 pm) Nancy Reed, Skip Wilkins, Dan Wilkins
6/24 (7:30 pm) Water Gap Jazz Orchestra
6/28 (7/8:30 pm) Spencer Reed Band with Tony Marino, Tyler Dempsey
6/29 (7/8:30 pm) Giacomo Gates Trio with Ron Drotos, Evan Gregor
6/30 (5 pm) Carolyn Leonhart
Evangelical Lutheran Church of the Atonement (Philadelphia, PA)
firemuseumpresents.com
6/7 (8 pm) Catherine Sikora/David Menestres; Dan DeChellis/Toshi Makihara
Maas Building (Philadelphia, PA) firemuseumpresents.com
6/30 (8 pm) Sam Newsome/Max Johnson; Kyle Press; Glazier/Ranaglia
The Perch (Philadelphia, PA) firemuseumpresents.com
6/13 (7:30 pm) Dave Burrell; Paul Giallorenzo Trio; Silvervest
The Rotunda (Philadelphia, PA) firemuseumpresents.com
6/16 (8 pm) Matchess with Haley Fohr, Lula Asplund; Manna Pourrezaei
Soloveev (Philadelphia, PA) firemuseumpresents.com
6/15 (8 pm) Thollem, ACVilla; Pureply
Studio 34 (Philadelphia, PA) firemuseumpresents.com
6/22 (8 pm) DeForrest Brown, Jr; HxH (Lester St. Louis/Chris Williams);
Glitch Proverb

THE NEW YORK CITY JAZZ RECORD | June 2024 49

C LU B D I RE C TO RY• 449 La Scat in Harlem 449 Lenox Ave.
Subway: 2, 3 to 135th Str.
• Aaron Davis Hall 133rd Str. and Convent Ave.
(212-650-7100) Subway: 1 to 137th Str. /City College
ccny.cuny.edu/theatre/aarondavis• Andrew Freedman Home 1125 Grand Concourse(718-410-6735) Subway: 4, D to 167th Str.
andrewfreedmanhome.org• The 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• Aron’s Place 1372 Greene Ave.
Subway: M to Knickerbocker Ave.
• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str.
arthurstavernnyc.com• Astoria Park 19th Str. And Ditmars Blvd., Queens
Subway: N, W to Astoria Blvd.
nycgovparks.org/parks/astoria-park• Bar Bayeux 1066 Nostrand Ave.
(347-533-7845) Subway: 2, 5 to Sterling Str.
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• Bill’s Place 148 W. 133rd Str. btwn. Lenox and 7th Ave.
(212-281-0777) Subway: 2, 3 to 125th Str.
billsplaceharlem.com• Birdland / Birdland Theater 315 W. 44th Str. btwn. 8th and 9th Ave.
(212-581-3080) Subway: 7, A, C, E, F, N, Q, R, to 42nd Str.
birdlandjazz.com• 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., Brooklyn(718-963-3369) Subway: L to Bedford Ave.
brooklynbowl.com• Bryant Park 5th and 6th Ave. btwn. 40th and 42nd Str.
(212-768-4242) Subway: 4, 5, 6 to 42nd Str.
bryantpark.org• Cabrini Shrine 701 Fort Washington Ave.
Subway: A to 190th Str.
jazzwahi.com• Café Erzulie 894 Broadway, Brooklyn
Subway: J, M, Z to Myrtle Ave.
cafeerzulie.com• Cellar Dog 75 Christopher Str. at 7th Ave.
(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Central Park Summerstage, Rumsey Playfield 72nd Str. and Fifth Ave.
(212-360-2777) Subway: B, D to 72nd Str.
summerstage.org• Christ and St. Stephen’s Church 120 W. 69th Str.
Subway: 1, 2, 3 to 72nd Str.
• Church of the Incarnation 209 Madison Ave.
(212-689-6350) Subway: 4, 6 to 33rd Street
churchoftheincarnation.org• City Winery 25 11th Ave. (at 15th Str.)(646-751-6033) Subway: A, C, E, L to 14th Str.
citywinery.com• Dizzy’s Club 33 W. 60th Str., 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• The Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
thedjangonyc.com• 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• El Barrio Artspace 215 E. 99th Str.
Subway: 6 to 96th Str.
artspaceps109.org• First Corinthian Baptist Church 1912 Adam Clayton Powell, Jr Blvd.
(212-864-5976) Subway: 2, 3 to 115th Str.
fcbcnyc.org• Flushing Town Hall 137-35 Northern Blvd., Flushing(718-463-7700) Subway: 7 to Main Str.
flushingtownhall.org• Flute 205 W.54th Str.btwn. 7th and Broadway(212-265-5169) Subway: B, D, E to 7th Ave.
• Green-Wood Cemetery 500 25th Str., Brooklyn(718-768-7300) Subway: D, N, R, W to Prospect Ave.
green-wood.com• Hearst Plaza at Lincoln Center 66th Str. and Broadway(212-875-5108) Subway: 1 to 66th Str.
lincolncenter.org• Hudson River Park 555 12th Ave. at 44th Str.
(212-627-2020) Subway: A, C, E, F, V to 42nd Str. -Port Authority
hudsonriverpark.org• Ibeam Brooklyn 168 7th Str. btwn. Second and Third Ave.
Subway: F to 4th Ave.
ibeambrooklyn.com• InterContinental New York Barclay’s Club 111 E. 48th Str.
(212-755-5900) Subway: 6 to 51st Str.
intercontinentalnybarclay.com/• The Jazz Gallery 1158 Broadway, 5th fl(212-242-1063) Subway: N, Q, R, W to 28th Str.; F, M to 23rd Str.
jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Str. btwn. Madison and Lenox Ave.
(212-348-8300) Subway: 6 to 125th Str.
jazzmuseuminharlem.org• Jim Kempner Fine Art Gallery 501 W. 23rd Str.
Subway: C, E to 23rd Str.
jimkempnerfineart.com• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 to Astor Pl.
joespub.com• The Keep 205 Cypress Ave., Queens(718-381-0400) Subway: L to Jefferson Str.
thekeepny.com• Local 802 322 W. 48th Str. btwn. Eighth and Ninth Ave.
(212-245-4802) Subway: C to 50th Str.
jazzfoundation.org• Lowlands 543 Third Ave., Brooklyn(347-463-9458) Subway: R to Prospect Ave.
lowlandsbar.com• Marjorie S. Deane Little Theatre 10 W. 64th Str.
(212-630-9600) Subway: 1 to 66th Str.
ymcanyc.org• Merkin Concert Hall 129 W. 67th Str. btwn. Broadway and Amsterdam(212-501-3330) Subway: 1 to 66th Str. -Lincoln Center
kaufmanmusiccenter.org• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str.
smallslive.com• Minton’s 206 W. 118th Str. btwn. Str. Nicholas Ave. and Adam Clayton
Powell Jr. Blvd
(212-243-2222) Subway: B, C to 116th Str.
mintonsnyc.com• National Sawdust 80 N. 6th Str.
(646-779-8455) Subway: L to Bedford Ave.
nationalsawdust.org• New School 66 W. 12th Str.
(212-229-5600) Subway: F, V to 14th Str.
newschool.edu• Nublu 151 151 Ave C
Subway: L to 1st Ave.
nublu.net• Ornithology Jazz Club 6 Suydam Str., Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Ave.
ornithologyjazzclub.com• The Owl Music Parlor 497 Rogers Ave.
(718-774-0042) Subway: Subway: 2 to to Sterling Str.
theowl.nyc• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave.
pangeanyc.com• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Str.
patricksplaceharlem.com• Public Records 233 Butler Str.
(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Ave.
publicrecords.nyc• The Record Shop 360 Van Brunt Str.
(347-668-8285) Subway: Bus: B61to Van Brunt Str./King Str.
360recordshop.com• Red Rooster Harlem 310 Malcolm X Blvd.
(212-792-9001) Subway: 2, 3 to 125th Str.
redroosterharlem.com• Riverside Park 97th Str.
Subway: A, C, B, D to 96th Str.
riversideparkfund.org

50 June 2024 | THE NEW YORK CITY JAZZ RECORD• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Str.
rizzolibookstore.com• Rockwood Music Hall Stage 1 196 Allen Str.
(212-477-4155) Subway: F, V to Second Ave.
rockwoodmusichall.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., Brooklyn(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Ave.
roulette.org• Saint Peter’s Church 619 Lexington Ave. at 54th Str.
(212-935-2200) Subway: 6 to 51st Str.
saintpeters.org• Scarlet Lounge 468 Amsterdam Ave.
Subway: 1, 2 to 79th Str.; 1,2 to 86th Str.
scarletloungenyc.com• Scholes Street Studio 375 Lorimer Str.
(718-964-8763) Subway: L to Lorimer Str. ; G to Broadway
scholesstreetstudio.com• SEEDS 617 Vanderbilt Ave.
Subway: 2, 3, 4 to Grand Army Plaza
seedsbrooklyn.org• ShapeShifter Lab 837 Union Str., Brooklyn(646-820-9452) Subway: D, N, R, W to Union Str.; B, Q to 7th Ave.;
shapeshifterlabplus.org• Shrine 2271 Adam Clayton Powell Blvd. btwn. 133rd & 134th Str.
(212-690-7807) Subway: B, 2, 3 to 135th Str.
shrinenyc.com• Silvana 300 W. 116th Str.
(646-692-4935) Subway: B, C, to 116th Str.
silvana-nyc.com• Sistas’ Place 456 Nostrand Ave. at Jefferson Ave., Brooklyn(718-398-1766) Subway: A to Nostrand Ave.
sistasplace.org• Sisters 900 Fulton Str.
(347-763-2537) Subway: C to Clinton-Washington Ave.s
sistersbklyn.com• Smalls 183 W 10th Str. at Seventh Ave.
(212-252-5091) Subway: 1 to Christopher Str.
smallslive.com• Smoke 2751 Broadway btwn. 105th and 106th Str.
(212-864-6662) Subway: 1 to 103rd Str.
smokejazz.com• Soapbox Gallery 636 Dean Str.
Subway: 2, 3 to Bergen Str.
soapboxgallery.org• Sony Hall 235 W. 46th Str.
(212-997-5123) Subway: N, R, W to 49th Str.
sonyhall.com• Soup & Sound 292 Lefferts Ave. btwn. Nostrand and Rogers Ave.
(917-828-4951) Subway: 2 to Sterling Str.
soupandsound.org• St. John’s in the Village 218 W. 11th Str.
(212-243-6192) Subway: 1 to Christopher Str.
stjvny.org• The Stone at The New School 55 West 13th Str.
(212-229-5600) Subway: F, V to 14th Str.
thestonenyc.com• Symphony Space Leonard Nimoy Thalia 2537 Broadway at 95th Str.
(212-864-5400) Subway: 1, 2, 3 to 96th Str.
symphonyspace.org• Threes Brewing 333 Douglass Str.
(718-522-2110) Subway: R to Union Str.
threesbrewing.com• Town Hall 123 W. 43rd Str.
(212-997-1003) Subway: 7, B, D, F, M to 42nd Str. -Bryant Park
thetownhall.org• Village Vanguard 178 Seventh Ave. South at 11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str.
villagevanguard.com• Weill Recital Hall at Carnegie Hall 154 W. 57th Str. at Seventh Ave.
(212-247-7800) Subway: N, R 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• Zürcher Gallery 33 Bleecker Str.
(212-777-0790) Subway: 6 to Bleeker Str. ; B, D, F to BroadwayLafayettegaleriezurcher.com

I N ME MORIAM
JEAN-PHILIPPE ALLARD (Apr. 8, 1957 - May 18, 2024) The
French record producer, born in Saint-Mandé, died at age
67. Allard began with Polygram in 1987 and was appointed
to Polydor in 1998. In 2007, he headed to Universal Music
Publishing France and in 2014 he restarted the Impulse!
label. During his career he produced albums for a long listof major artists including Charlie Haden, Randy Weston,Abbey Lincoln, John McLaughlin, Hank Jones, Helen
Merrill, Kenny Barron, Shirley Horn, Johnny Griffin, Aldo
Romano, Ran Blake, Jacky Terrasson, Lee Konitz, Steve Lacy
and Roswell Rudd, plus many others.
NÉSTOR ASTARITA (Sep. 21, 1938 - May 14, 2024) The
Argentine drummer, who as a child drummed with hismother’s knitting needles, died in Buenos Aires at age 85.
In the late ’50s he worked with the Georgians Jazz Band,later founded the free jazz group Cuarte Buenos Aires andworked with the Alfredo Remus Trio. Astarita jammed withthe likes of Lionel Hampton, Dizzy Gillespie, Duke Ellington
and Stan Getz. Other collaborators included Oscar Alemán,
Enrico Rava, Massimo Urbani, Dino Saluzzi and Gato
Barbieri.
KEN BRADER (Jan. 21, 1954 - May 4, 2024) The trumpeter,
who started playing at age four, died from cardiac arrestat age 70. Initial jobs were with the Tommy Dorsey andGlenn Miller Orchestras. He would become the principal
trumpet player for the Philly Pops Orchestra for 20 years
and worked with Derek Smith and His Smithsonians, aswell as the Phil Woods Big Band for 30 years. He playedwith the bands of the Tonight Show and The Mike Douglas
Show and led his Holiday Brass Big Band for four decades.
As an educator he taught at Marywood University andLafayette College.
MICHAEL CUSCUNA (Sep. 20, 1948 - Apr. 20, 2024) Bornin Stamford, CT, the writer and record producer died athome in Stamford after a battle with cancer at age 75. Hestarted collecting records at age 7, and by college knew that
he wanted to produce records. He produced via radio andalso wrote for Rolling Stone and DownBeat early in his career.
Working for Arista-Freedom, Muse, Elektra and Novus, hethen took charge of Blue Note Records’ dormant back catalog
and, in 1983, became co-founder of Mosaic Records. Cuscuna
was instrumental in releasing unissued jazz treasures andout of print albums from a long list of jazz greats. The
exhaustive and “Complete” limited edition Mosaic boxed
sets he was responsible for included releases under suchlegendary jazz names as: Chu Berry, Tina Brooks, Don Byas,
Sonny Clark, Chico Hamilton, Andrew Hill, Hank Mobley,
Lennie Tristano and many others. He won Grammy Awards
for producing sets of Nat King Cole and Billie Holiday, as
well as for the liner notes to Miles Davis Quintet 1965-’68 (TheComplete Columbia Studio Recordings).
CHRISTIAN ESCOUDÉ (Sep. 23, 1947 - May 13, 2024) The
French Gypsy jazz guitarist of Romani descent, who playedwith a bebop influence and was active in keeping the musicof Django Reinhardt alive, died at age 76. He was active
since the late ’60s, played in a trio with drummer Aldo
Romano in the ’70s and with pianist John Lewis’ quartet
in the ’80s. Mid-career, the guitarist signed with Verve, in
addition to his albums recorded for Musica, Red, Gitanes
Jazz Productions, Frémeaux & Associés and Universal
Music France. His high–profile credits include work with
Steve Potts, Bill Evans, Charlie Haden, Mike Zwerin, Michel
Portal, René Urtreger, Teddy Edwards and many others.
JEAN-FRANÇOIS GEORGES (1941 - May 11, 2024)
The French saxophonist, who died at age 83, was also anaeronautical engineer and pilot. With a particular passion for
Billie Holiday and Duke Ellington, he founded the Le Swing
Limited Corporation big band in 1964 and also recordedwith French organist Eddy Louiss.
BILL HOLMAN (May 21, 1927 - May 6, 2024) The NEA Jazz
Master and West Coast jazz legend, who was a saxophonist,composer, arranger and clinician, died at 96. In an important

BY MARILYN LESTER
international career that spanned seven decades, Holman
formed his first band in high school and headed various
ensembles through the years. It was in big bands thatHolman excelled, exhibiting a talent for innovative and often
whimsical writing and arranging. He and/or his band were
nominated for a Grammy Award seventeen times, winning
three. He was consistently voted Best Arranger in Readers’and Critics’ Polls, and in 2000, the Bill Holman Collection ofscores and memorabilia was established at the Smithsonian
Institution; another collection of scores is housed at theLos Angeles Jazz Institute. In addition to his eponymously
titled 1954 leader debut for Capitol, Holman recorded forvarious labels through his career including HiFi, Coral,
JVC, Koch, Hänssler Classic and Jazzed Media. And he wasassociated with a long list of major artists including Stan
Kenton (many of Holman’s first recording credits were with
Kenton starting in the early ’50s), Charlie Barnet, Shorty
Rogers, Shelly Manne, Red Norvo, Maynard Ferguson, Ray
Brown, Chet Baker, Bud Shank, Mel Lewis, Johnny Mandel,
Ella Fitzgerald, Mark Murphy and Art Pepper. Composing/arranging credits are a who’s who of jazz; scratching thesurface are luminaries such as European Jazz Ensemble,
BBC Big Band, NDR Big Band, Cleveland Jazz Orchestra,
Vanguard Jazz Orchestra, SWR Big Band, Empire Jazz
Orchestra and Swiss Jazz Orchestra, as well as numerous
high school and college jazz ensembles.
DESMOND “DESI” JONES (Feb. 21, 1959 - May 11, 2024)
The Jamaican drummer died suddenly in Kingston at age 65
after being rushed to the hospital by a family member. He had
been gigging the night before at the F&B Downtown club.
A member of the Skool Band and a drummer for Chalice,
Jones played with Sonny Bradshaw, Myrna Hague, Marcia
Griffiths, Gem Myers and Mutabaruka, among others.
Among his jazz/reggae credits, he appeared on several of
pianist Monty Alexander’s albums since the mid ’90s.
PALLE DANIELSSON (Oct. 15, 1946 - May 18, 2024) The
Stockholm, Sweden-born bassist, who was a revered giantof European jazz and beyond since the mid ’60s, died atage 77. His interest in music began with his sister, who
studied at the first music school in Stockholm. Danielsson
applied for admission and began studies on the violin, later
switching to double bass. He continued his studies at theRoyal College of Music in Stockholm in 1962. In the ’60s hetoured Europe with trombonist Eje Thelin, drummer Billy
Brooks and saxophonist Barney Wilen, an experience thatdefined for him a particular perspective on Sweden andinformed his position as a jazz musician there. By the early’70s, he had already established himself professionally as afirst-call player. Danielsson preferred working as a sideman
than as a leader, working with everyone from veteran alto
player Lee Konitz and tenor saxophonist Charles Lloyd, to
the German free jazz trombonist Albert Mangelsdorff andworld-musician Collin Walcott. He had a long association
with vocalist Rita Marcotulli (from the mid ‘90s until 2015),
as well as with pianist Bobo Stenson and saxophonist Joakim
Milder. One of his most recent collaborations was withsaxophonist Fredrik Nordström on Svensk Standard (2019).
Danielsson, a stalwart ECM artist, was a member of Rena
Rama, Oriental Wind and Reflexionen. He had decades
worth of prime collaborations with the likes of Bengt
Nordström, Bill Evans, Georg Riedel, Karin Krog, Steve
Kuhn, Svend Asmussen, Jan Johansson, Baden-Baden Free
Jazz Orchestra, Slide Hampton, Keith Jarrett, Rolf Kühn,
Edward Vesala, Michel Petrucciani, Archie Shepp, Peter
Erskine, Dino Saluzzi, John Taylor and Marilyn Crispell aswell as many, many others.
JOHN PERETT (1944 - May 7, 2024) Born in Cambridge, MA,
and raised in Southern California, Perett, who died at age
80, was a drummer, instructor and author of instructional
material for drummers. He toured with Ray Charles andDonna Summer and had credits with Tony Rizzi, Ron
Escheté, Mike Warren, Don Rader, Ray Anthony, Bill
Holman, et al. He was also a member of Roger Neumann’s
Rather Large Band, Survival Kit and Tony Rizzi and His Five
Guitars Plus Four.

JOHN PISANO (Feb. 6, 1931 - May 2, 2024) The guitarist,
known for solid rhythm and melodic solo lines, died at 93
at home in Studio City, CA. Staten Island-born, his career,
spanning seven decades, included a longtime friendship withfellow guitarist, Joe Pass. In 1952, Pisano auditioned for andgot the gig with the Air Force Band. He would study musicat Los Angeles City College, before, in 1958, recording two
albums of guitar duets with Billy Bean: Makin’ It and TakeYour Pick. Pisano also had several co-led dates for Decca inthe ’50s and one in 1970 with Willie Ruff for A&M, until morein the mid ’90s for Pablo, String Jazz, Mel Bay, Flamingo Jazzand other labels. His many credits include Chico Hamilton,
Paul Horn, Tony Bennett, Peggy Lee, Herb Alpert, Howard
Roberts, Lalo Schifrin, Bud Shank, Sergio Mendes, Pete Jolly,
Walter Wanderley, Jimmy Scott, The Manhattan Transfer,
Diane Schuur, Dianne Reeves, Michel Legrand, Frank Capp,
Gato Barbieri and Diana Krall, among others.
DAVID SANBORN (Jul. 30, 1945 - May 12, 2024) The sixtime Grammy-winning saxophonist died in Tarrytown, NY,
at age 78 from complications of prostate cancer. He grew
up in Kirkwood, MI. A bout with polio at age 3 led to thesaxophone as a therapeutic treatment. His childhood hero,
Ray Charles’ music director Hank Crawford, quickly became
his primary influence. He performed at Woodstock with thePaul Butterfield Blues Band (four of his first five recordings
were with Butterfield Blues Band) and would later garnera string of crossover hits in the ’70s and ’80s, setting thetone for “smooth jazz.” His Straight to the Heart and Double
Vision (with pianist Bob James) likewise set the tone for“contemporary jazz.” He first became involved in jazz in theearly ’70s with Gil Evans and continued in the genre with the
likes of The Manhattan Transfer, Ron Carter, Joe Beck, Mark
Murphy, Brecker Brothers, George Benson, Mose Allison,
Jaco Pastorius, Miles Davis, John Scofield, Earl Klugh, Dave
Grusin, Tim Berne, Branford Marsalis, and others, to go
along with his own or collaborative albums since the ’70s on
Warner Bros., Reprise, Elektra, Verve, Decca and Okeh. In
the early ‘80s he was briefly a member of the Saturday Night
Live band, and frequently guested with Paul Shaffer’s bandon Late Night with David Letterman. Sanborn co-hosted the
syndicated, musical cross-genre TV show Night Music from1988-90, on which he invited, interviewed and frequently
played with guests from disparate backgrounds andgenerations, including his idol Crawford, as well as Kronos
Quartet, Miles Davis, Willie Dixon, Youssou N’Dour, Curtis
Mayfield, the Red Hot Chili Peppers, et al. As a cross-overartist himself, Sanborn had credits with everyone from
Stevie Wonder to Todd Rundgren and many of his most
iconic solos are outside of the jazz realm (e.g. David Bowie’s“Young Americans”).
VINZ VONLANTHEN (Feb. 7, 1959 - May 15, 2024) The
percussive, rock- and fusion-influenced Swiss guitarist diedin Geneva at age 65. He spent time in Brazil, then a year
in Ghana, studying African percussion. Spending time inCentral Europe, he would play with Bänz Oester and Gilbert
Paeffgen in the Free Funk Trio Aventure Dupont. In Parishe sessioned with Steve Grossman, Oliver Johnson, Bobby
Rangell and Étienne M’Bappé. He was also a member of Yves
Massy’s trio and the Box Room Orchestra and accompanied
singer Jean Bart. In addition to his band Urban Safari, he
played with Le Grand Frisson and Insub Meta Orchestra. In
2005 he released an album for solo guitar with [Oeil].
JAN PTASZYN WRÓBLEWSKI (Mar. 27, 1936 - May 7,2024) The Polish saxophonist, bandleader and broadcaster,
who was sometimes dubbed “Poland’s Bird,” diedin Warsaw at age 88. He debuted in 1956 on baritone
saxophone in pianist Krzysztof Komeda’s band. He was a
Polish representative at the Newport Jazz Festival in 1958 asa member of the International Youth Band. Wróblewski led
many bands over the years and had albums since the early’60s on Polskie Nagrania Muza, Poljazz, GOWI, Jazz Forumand For Tune, and led the Studio Jazzowe Polskiego Radia
and Grand Standard Orchestra. His many collaborations
include Milan Svoboda, Piotr Wojtasik, Jarosław Śmietana,Adam Czerwiński and EABS.

THE NEW YORK CITY JAZZ RECORD | June 2024 51

VISION FESTIVAL 2024:
BUILDING BRIDGES

featuring William Parker’s LifeTime Achievement
award and Marshall Allen 100th Birthday Celebration
6 days of FreeJazz, Dance, Poetry and Visual Arts

William Parker & Friends, Davalois Fearon Dance, James Brandon Lewis,
Chad Taylor, Matthew Shipp Trio, Nasheet Waits: Tarbaby, Jen Shyu’s Fetile Land
Fertile Boy, Ingrid Laubrock’s Lilith, Darius Jones Quintet, James Blood Ulmer’sBlack Rock Trio, Isaiah Barr Duo “Red Zone”, Miriam Parker Core-Edge Quartet,
Fred Moten, Cooper-Moore, TA Thompson, Ken Filiano, Ava Mendoza, Melanie Dyer:“Incalculable
Likelihood”,
Amina
Claudine-Myers,
Jason
Kao
Hwang,
Oliver Lake, Patricia Nicholson, Matana Roberts COIN COIN, Thollem McDonas,
Isaiah Collier and the Chosen Few, Marshall Allen & The Arkestra

June 18-23, @ Roulette Intermedium
509 Atlantic Ave., Brooklyn, NY

Untitled-2 1

5/11/24 2:21 PM