MAY 2022—ISSUE 241

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

BERTHA
HOPE

HOPE SPRINGSETERNAL

20TH
ANNIV
ERSAR
ISSUE YMARKRYANMORGANELLI TRUESDELL

GUY
KLUCEVSEKROBERTNORTHERN

Managing Editor:
Laurence Donohue-Greene
Editorial Director &Production Manager:
Andrey Henkin
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Phone/Fax: 212-568-9628

MAY 2022—ISSUE 241
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : MARK MORGANELLI

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : RYAN TRUESDELL

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Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Kevin Canfield, Marco Cangiano,
Thomas Conrad, Pierre Crépon,Ken Dryden, Donald Elfman,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Mike Cobb, Gregory N. Heires,
George Kanzler, Sylvia Levine,
Steven Loewy, Monique Ngozi Nri,
Eric Wendell
Contributing Photographers
John Abbott, Caroline Conejero,
Jerry Lacay, John Pietaro, Marc Santos,
Robert I. Sutherland-Cohen, Adrien H. Tillmann
Fact-checker
Nate Dorward

ON THE COVER : BERTHA HOPE
ENCORE : GUY KLUCEVSEKLEST WE FORGET : ROBERT NORTHERNLABEL SPOTLIGHT : CANDID
VOXNEWS
OBITUARIESFESTIVAL REPORTALBUM REVIEWSEVENT CALENDAR

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by gregory n. heires
by sylvia levine
by anders griffen
by mike cobb
by elliott simonby jim motavalli
by suzanne lorge
by andrey henkin

20 years.
241 issues.
10,182 pages.
1,505 features.
288 festival reports.
1,801 concert reviews.
35 in memoriam spreads.
2,002 concert venues listed.
320 book and/or film reviews.
12,717 album reviews from over 2,500 labels.
Thank you to the musicians, labels, clubs, festivals,
authors and directors who have appeared on these pages.
Thank you to all of our writers, photographers, editors andfact-checkers for their contributions over the last two decades.
Thank you to all the advertisers who have supported our mission.
And biggest thanks of all to our readers, to whom we dedicate this issue.

nycjazzrecord.com

On The Cover: Bertha Hope (photo by Jerry Lacay / courtesy of the artist)
Corrections: In last month’s CD Reviews, the Exuberant Ellingtonia album included “Isfahan”,
not “A Flower Is a Lovesome Thing”; in the LeAutoRoiOgraphy, it was Jenna Camille singing,
not Nettie Chickering; and in the (EEE) The Eubanks-Evans-Experience, the correct song title is“Dreams Of Lovin’ You”.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

MAY 19–21

MONK CON CLAVE
MAY 12–13

CÉCILE MCLORINSALVANT
Three-time Grammy Award winnerand MacArthur Fellow Cécile McLorin
Salvant returns to Rose Theater forher fourth headlining performancewith the New York City debut of her
new album, Ghost Song.

PRESENTED AS PART OF THE ERTEGUN JAZZ CONCERT SERIESJazz at Lincoln Center Orchestra
bassist Carlos Henriquez will
present the world premiereof an exclusive new JLCO
program, with special guest
Pedrito Martinez, entitled Monk
con Clave, featuring new andreinvented music inspired by
Thelonious Monk. Named “themost important Latin jazz artist
in New York City today” by New
York Latin Culture, Henriquez
is one of the most exciting
bandleaders in town.

PRESENTED AS PART OF THE ERTEGUNJAZZ CONCERT SERIES

212.721.6500
BROADWAY AT 60 ST., 5TH FL.

AMADOU & MARIAM a n d MAY 2
BLIND BOYS OF ALABAMA 8 PM

NEW YORK @ NIGHT
Who better than Christian McBride to honor the The pity about vocalist Roberta Gambarini is that
legacy of Ray Brown, especially with the help of pianist
Benny Green and drummer Gregory Hutchinson,both veterans of the late bassist’s trio? The two-set
tribute at Dizzy’s Club (Apr. 2nd) opened the second
with “Ja-Da”, a relaxed two-beat swinger with chainsof plunging dominant chords during which Greenswung in a churchy Gene Harris vein, McBride ‘gothouse’ for his tasteful blues with rapid-fire ornaments
and Hutchinson added that extra ineffable yet essential
ingredient he later described as “bacon fat”. The tempo
went way up on Mario Bauzá’s “Tanga”, an Oscar
Peterson-style burner, which ended delicately,changing to medium speed for Kenny Burrell’s “BassFace”, Green again in a soulful mood, McBride quoting“The Hucklebuck” during his humorous turn, thentrading 16s, 8s and finally 4s with Hutchinson. The
latter ’s extended solo on Green’s rollicking “Phoebe’s
Samba” showcased his ability to modulate tempos,
alternately decelerating and accelerating with
impeccable finesse. “Tenderly”, a favorite of Brown,
performed at (in Hutchinson’s parlance) an “adulttempo”, found Green evoking an intimate emotional
space, taking the crowd along, until McBride lightened
the vibe with a quote from “As Time Goes By”. On
Brown’s “Buhaina Buhaina” the trio affirmed its tightbut-loose rhythmic simpatico, closing with Johnny
Hodges’ “Squatty Roo”, McBride dropping a few jawgapingly-fast phrases at the finish.
—Tom Greenland

JOEL HARRISON+18
AMERICA AT WAR—Tragically overlooked in May 2020 due tothe pandemic!
—Arguably one of the finest recordings of2020.—Chris Cooke / KIOSJOEL HARRISON’s
AMERICA AT WAR@

DIZZY’s
MEMORIAL DAY
May 30, 2022

www.sunnysiderecords.com

PHOTO © CAROLINE CONEJERO 2022

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

V

eteran jazz guitarist Joel Harrison brings together
an all-star ensemble of 18 players for a very heartfelt, emotive release. “America at War” is a tribute to
the veterans. “I respect veterans--less so the leaders
who have put them in harm’s way”, states Harrison, in
the introduction to this honest musical commentaryon the impact of near continous United States engagement in foreign military wars since the late 1950s.
“America at War” begins with “March on Washington”,
featuring Harrison’s fiery guitar work in front of his
fully alive orchestra that culminates in a literal shoutof protest from the band. “My Father in Nagasaki” is amusical portrait of Harrison’s father’s experience of being one of the first two American soldiers in Nagasaki
after an atomic bomb was dropped on the city. Other
selections include “Gratitude”, based on a traumaticbrain injury the guitarist suffered in recent years andthe moving lament of “Reqiuem for an Unkown Soldier”. Harrison’s stellar cast on this recording includes
band conductor Matt Holman, trumpeters Seneca
Black and Ingrid Jensen, tenor saxophonists Jon Irabagon and Stacy Dillard, and many others. Arguably oneof the finest recordings of 2020.

she doesn’t perform often enough in New York City.
Her return to Birdland Theater (Apr. 10th) offered abrilliant, masterful and eclectic set, accompanied by
Jeb Patton (piano), John Lee (bass) and Tommy
Campbell (drums). She began with a remarkable fulla cappella rendition of “Where Is Love?” (Lionel Bart),
asserting her range, intelligent yet intuitive phrasing
and smooth-as-velvet vocal tone, as well as bravery atsuch an attempt. As for her scatting, she performed
the Dizzy Gillespie arrangement of “On the SunnySide of the Street” (Jimmy McHugh-Dorothy Fields)
emulating it with scat, note for note, thereby
demonstrating her ability to create a musicalvocabulary of its own with expressive voicing as
distinct as that of any instrument. Swinging the bossa
beat of “Chega de Saudade” (“No More Blues”—
Antônio Carlos Jobim-Vinicius de Moraes) in perfect
Portuguese, she proved she can scat in that language
too. What is also heartening and worthy of praise is thedeep respect Gambarini has for the music and those
who have created it. For one of her mentors, the latesaxophonist Jimmy Heath, she sensitively delivered
his ballad “Without Song”. For versatility, the diva
performed a few torch numbers, sending chills up thespine with “What’s New?” (Bob Haggart-Johnny
Burke) and finally ending with a breezy, uplifting “Just
Squeeze Me (But Please Don’t Tease Me)” (DukeEllington-Lee Gaines).
—Marilyn Lester

Benny Green, Christian McBride & Gregory Hutchinson @ Dizzy’s Club

Roberta Gambarini @ Birdland Theater

As part of Columbia University’s Miller Theatre’s Laid-back was the mood for the Bruce Harris Trio at
Composer Portraits series, Matana Roberts’ undecet
world-premiered I call America: Sandy Speaks – iteration
II (Apr. 7th). The sprawling opus, ‘conductioned’ via
verbal, visual and audio cues, was both fixed and freeform, an hour-long découpage of scenic (on two large
rear-stage video screens) and sonic scapes. The titular
Sandy is the late Sandra Bland, victim of police
brutality, whose life and death spurred racial justiceactivism. Through interwoven texts intoned by
LaTasha N. Nevada Diggs and GENG PTP/King Vision
Ultra, Bland and her fellow victims were summoned,
the “wordspeakers” dovetailing separate discourses inprovocative juxtaposition. Roberts, cuing the band bypacing around the podium, through specific blown
pitches, spoken phrases like “(Bow) Wow Wow Wow”
or “Hello My Beautiful Kings and Queens” (quoting
Bland’s dashcam and YouTube videos) or circularbaton rolls—at times sweeping horizontally over theensemble for the musical equivalent of a baseball gamewave—ushered the group through recurrent sections.
The tessitura of the ensemble—comprised of bass
clarinets, baritone and tenor saxophones, cello,
bassoon, piano, drums, percussion—was deep yet
lithe, each transition expertly threaded by Tomas
Fujiwara’s nimble drumming. Like a palimpsest, eachmusical layer settled atop the previous to merge thenreemerge, the seepage blurring and blending, thecumulative effect transcending the particulars.
(TG)

4 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

Cellar Dog (Apr. 17th). With guitarist Charlie Sigler
and bassist Clovis Nicolas, the trio was in a relaxedmood, with a set of mellow tunes played at mellow
tempos, the exception being Randy Weston’s
speedy “Saucer Eyes”. Overheard was Harris, sotto
voce, to his men, “Let’s see what happens.” It was thatkind of evening. What happened was a terrific handfulof primal jazz standards played with indisputable
expertise. At first glance, it was evident this wasgoing to be a different kind of Harris set. Sans trumpet,
Harris played a cornet with a very slightly upturned
bell, à la Dizzy Gillespie, accenting the naturalrichness of the instrument. From the opener, fellow
trumpeter Blue Mitchell’s “Sir John”, to Charlie
Parker ’s “Segment”, a dynamic emerged: an equallyshared partnership between Sigler and Harris.
During their extended solos and tradeoffs on any given
piece, Nicolas steadfastly kept time in the background.
The bassist did have his moment on the Great
American Songbook standard “I’ve Never Been in
Love Before” (Frank Loesser) from Guys and Dolls,
picking up the melody amid improvisations by Sigler
and Harris; muting his instrument on this number also
created an effective moodiness on top of the cornet’s
already rich sound. Throughout, Harris offered hissmooth tone (especially on sustained notes), expert
and flexible glissandi and well-timed bursts of soundfor accenting. 				(ML)Back in New York after a COVID-mandated hiatus Voyagers is a multicultural trio of disparate origins:
SFJAZZ Collective departed from its custom of fêting
a single composer, instead presenting New Works
Reflecting The Moment, pieces inspired by recent social
unrest, at Sony Hall (Apr. 5th). It opened withvibraphonist Warren Wolf’s “Vicissitude”, he andpianist Ed Simon duetting airily before bassist Matt
Brewer and drummer Kendrick Scott came in to up theante. This made way for trumpeter Etienne Charles
and tenor saxophonists Chris Potter and David
Sánchez, who set the pace for an energized journey.
Vocalist Gretchen Parlato joined for Scott’s stirring
arrangement of Abbey Lincoln’s “Throw It Away”.
Simon’s “8’46” had Martin Luther McCoy prayerfully
singing the lyric memorializing George Floyd. The
percussion of Charles, Sanchez and Scott prefaced theformer ’s take on Marvin Gaye’s “What’s Going On”,
Parlato vocalizing wordlessly before McCoy enteredsinging the lyric in a call and response with band
members’ voices. Brewer ’s “The Sower” had Parlato
ethereally soaring over modulating cadences andsymphonic horn backing. Sanchez invoked the memoryof Roberto Clemente with his powerful “Ay Bendito”.
Potter ’s dichotomous medley of “Can You See” and“Mutuality” were inspired by the Jan. 6th insurrection
and the legacy of Martin Luther King. Parlato wasfeatured on her uplifting “All There Inside”. The
concert ended with an encore of McCoy soulfully
singing his “Already Died For Her”.
—Russ Musto

Austrian saxophonist Edith Lettner, Malian kora
player/vocalist Yacouba Sissoko and American
guitarist Banning Eyre. They have worked closely oversome years and recorded Chasing Light in 2019, but the
project was shelved until they could safely tour. So,
Voyagers hit Soapbox Gallery (Apr. 1st) in celebrationof the record’s one-world statement. Hosted by Abby
London-Crawford, the ensemble engaged in a magicalemulsion of Malian song, AfroPop and global sounds
reveling in improvisational statements. The melodies,both originals and those derived from folk song,
were largely propulsive, bouncing works in classic
6/8 meter, featuring intertwined guitar and kora
tapestries under clear, soaring saxophone. During trips
to New York, Lettner has engaged in Downtown free
jazz, particularly at ABC No Rio in its heyday, but here
she trod entirely within tonality, her vintage curved
soprano resounding in Paul Winter mode. Eyre, best
known as founder of the NPR AfroPop series, is anamazingly tactile guitarist whose immersion in Africansong bore flowing, finger-style soukous lead lines,
which interlocked so thoroughly with Sissoko’s thetimbres often merged into a single backdrop. The kora,
a sparkling, traditional 21-string harp, came alive inthis master ’s hands and his vocals in a whispery split
tenor spoke of a new day. The packed house wasthrobbing, the sheer joy reflected in Lettner with arms
outstretched, elevated in the moment. —John Pietaro

W H AT ’ S N E W S
Winners of the 2021 Grammy Awards have been announced.
Album of the Year: We Are - Jon Batiste; Best Traditional Pop
Vocal Album: Love For Sale - Tony Bennett & Lady Gaga; Best
Contemporary Instrumental Album: Tree Falls - Taylor Eigsti; Best
Improvised Jazz Solo: Chick Corea; Jazz Vocal Album:
Songwrights Apothecary Lab - Esperanza Spalding; Best Jazz
Instrumental Album: Skyline - Ron Carter/Jack DeJohnette/
Gonzalo Rubalcaba; Best Large Jazz Ensemble Album: For
Jimmy, Wes And Oliver - Christian McBride Big Band; Best Latin
Jazz Album: Mirror Mirror - Eliane Elias With Chick Corea andChucho Valdés; Best American Roots Performance: “Cry” - Jon
Batiste; Best American Roots Song: “Cry” - Jon Batiste; Best
Compilation Soundtrack For Visual Media: The United States Vs.
Billie Holiday; Best Score Soundtrack For Visual Media: Soul - Jon
Batiste, Trent Reznor & Atticus Ross. Best Instrumental
Composition: “Eberhard” - Lyle Mays. Best Album Notes: The
Complete Louis Armstrong Columbia And RCA Victor Studio
Sessions 1946-1966 - Ricky Riccardi. For more information, visit
grammy.com.
2022 entries into the National Recording Registry Listing at the
Library of Congress have been announced and include James P.
Johnson’s “Harlem Strut”, Duke Ellington’s Ellington at Newport
and Max Roach’s We Insist! - Freedom Now Suite.
The Jazz Gallery’s 25th Anniversary Gala takes place May 16th
at the Cosmopolitan Club and will honor Kenny Barron, Maria
Schneider, Jeff “Tain” Watts and Rio Sakairi. In addition the club iscurrently presenting the exhibition “A Show of Hands” featuring
photography by William Brown, Jonathan Chimene, Hank O’Neal
and Mike Shur. For more information, visit jazzgallery.org.

ADRIEN H. TILLMANN - WWW.AHT1985.COM

The 27th Annual Essentially Ellington High School Jazz Band
Competition and Festival will take place at Jazz at Lincoln
Center May 5th-7th. For more information, visit jazz.org/ee.
The American Pianists Association has announced the finalists forthe 2023 American Pianists Awards: Caelan Cardello, EstebanCastro, Paul Cornish, Thomas Linger and Isaiah Thompson. The
five will perform at a concert at Dizzy’s Club May 25th. For more
information, visit americanpianists.org.

JOHN PIETARO

Registration is now open for NJPAC’s City Verses—Jazz And
Poetry Program at Rutgers-Newark Campus, taking place Jul.
18th-30th for teens age 13 – 18 at no cost. For more information,
visit njpac.org/cityverses.

SFJAZZ Collective @ Sony Hall

Jazz at Lincoln Center has announced the winners of the Jack
Rudin Jazz Championship. The first-place winner was Michigan
State University College of Music, second place Temple University
and third place North Carolina Central University. For more
information, visit 2022.jazz.org/jrjc.

Voyagers @ Soapbox Gallery

In the nearly three decades since the Joshua Redman Composer, guitarist and reedplayer Elliott Sharp
Quartet with pianist Brad Mehldau, bassist Christian
McBride and drummer Brian Blade first came together
all have become leading voices of their generation.
So their reunion concert at Town Hall (Apr. 19th) was
indeed an historic occasion. The band eased into theset, reaching back to their 1994 MoodSwing album toplay Redman’s “Chill”, the leader blowing bluesy
tenor over the trio’s funky groove reminiscent of Bobby
Timmons’ “Dat Dere”. Mehldau played a Monk-ish
intro to his “Father”, a brightly swinging waltz, before
Redman joined with tonally expansive soprano. Backon tenor he delivered a compelling unaccompanied
prologue to his “Undertow”, a classically-tinged
outing on which Mehldau improvised with virtuosic
flourish. The pianist’s “Moe Honk” found the groupburning through bebop chord changes with racing
tenor, piano and bass solos and a climactic drum break.
McBride was featured on his quirky blues “Floppy
Diss”, the foursome (Redman on soprano) in a playful
mood, engaging in waggish exchanges. The moodturned serious for Blade’s “Your Part To Play”; it began
as a brooding ballad, gradually modulated into John
Coltrane-esque intensity, Redman blowing fervent
tenor propelled by sprawling drums. The band slipped
into a relaxed gospel-flavored mode with Redman’s“Silly Little Love Song” to close out the show, garneringa standing ovation. That brought them back for an
encore: Redman’s jubilant “Rejoice”.
(RM)

maintains a sense of wonder and innovation. Among
his most profound pieces are those createdcollaboratively and this was evident at Alphabet City’s
Whitebox Artspace (Apr. 5th). Sharp, playing an eightstring electric guitar/bass further expanded by effects,
performed live to segments of film by Janene Higgins.
The designer/video artist’s work is as severe,
expansive and mercurial as the East Village itself (heralliances with Zeena Parkins, Christian Marclay, Ikue
Mori and others speaks volumes) and these selections
from Sharp’s opera installations and a work withinterdisciplinary artist Rena Anakwe were visuallycompelling and sonically riveting. Port Bou, an opera
based on the final moments of Marxist philosopher
Walter Benjamin prior to his execution by the Nazis,
sports dark fascist imagery countered by Sharp’s
hammer-ons, tapping and long held distorted tones.
Opera installation Filiseti Mekidesi (2018) explores thesearch for solace and belonging by refugees via
intertwined genome-like designs and visions of deep
space; the score (pre-recorded but enhanced by Sharp’s
performance) featured repetition and phasing in theflute and brass sections and throbbing percussion, but
this was far from Minimalism. And Die Grosse Fugue(2021) was an emotional firestorm, depicting Beethoven
at 250, mad, detached, deaf and falling into fuguestates, which had Sharp’s searing, canonic guitar lines
conjuring Robert Fripp over stunning visuals.
(JP)

Orchard of Pomegranates will present “Sounding Revolution: A
Deep Dive into the Music of Abbey Lincoln, Jeanne Lee &Ran Blake” Mondays in May with listening sessions, masterclasses and a panel discussion and the participation of Christine
Correa, Eric Lewis, Ayelet Rose Gottlieb and Jay Clayton. For
more information, visit ayeletrose.com/Sounding-Revolution.
Issue Project Room has announced that its space at 22 Boerum
Place has been donated to the organization Two TreesManagement and the City of New York, including $1 million
towards the capital project.
Herbie Hancock will receive the George Peabody Medal for
Outstanding Contributions to Music in America during the
Peabody Conservatory’s graduation ceremony on May 25th.
Vanderbilt University’s Jean and Alexander Heard Libraries haveacquired the archives of multi-instrumentalist Yusef A. Lateef. For
more information, visit news.vanderbilt.edu/2022/03/18/heardlibraries-acquire-collection-of-jazz-world-music-master-yuseflateef.
A section of Newark, NJ’s Park Place has been renamed Wayne
Shorter Way in honor to the hometown saxophonist.
Blue Note Records and Universal Music Group Africa haveannounced Blue Note Africa, an imprint dedicated to signing jazzartists from across the African continent, beginning with South
African pianist Nduduzo Makhathini’s In The Spirit Of Ntu. For
more information, visit bluenote.com.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 5

JOHN ABBOTT / COURTESY OF THE ARTISTINTERVIEWMARK
MORGANELLI
by gregory n. heires

Trumpeter/flugelhorn player Mark Morganelli has devoted

himself to spreading the gospel of jazz for decades. As
Executive Director of the non-profit Jazz Forum Arts,
Morganelli has promoted 150 concerts in New York,
Westchester County and Connecticut. Each year, thousands
enjoy performances at outdoor events and the Jazz Forumclub in Tarrytown, NY. He has performed at the Montreux,
Syracuse and Saratoga Jazz Festivals and toured Europe,
the Caribbean, Japan and Brazil. Morganelli has recorded
five albums, including his latest double CD, Brasil!
The New York City Jazz Record: How did yourinterest in music and jazz develop? Did you grow up in
a musical family?
Mark Morganelli: My parents were big music
enthusiasts and my mother played the piano. I started
listening as a young person, maybe five years old. My
dad and I would drum together on the floor to Glenn
Miller, the Dorseys, Duke Ellington, Count Basie, Tony
Bennett, Frank Sinatra, Ella Fitzgerald, Joe Williams.
TNYCJR: What about your choice of instrument?
MM: The people I listened to with my father included
Harry James and Louis Armstrong. That’s what got me
to take up the trumpet in fourth grade. I wound up
being interested in Herb Alpert’s Tijuana Brass, Doc
Severinsen, who I saw on The Tonight Show, and
Al Hirt. I bought some of Al Hirt’s records and was justflabbergasted.
TNYCJR: When did you take up the flugelhorn?
MM: I was 11 when I was introduced to the flugelhorn.
I bought my first flugel in 1973. When I started
attending Bucknell University, where I ended upgetting a degree in music education, I became amember of the Bucknell Jazz and Rock Ensemble. The
bass player brought in an arrangement of Chuck
Mangione’s Land of Make Believe album. That’s whenreally I fell in love with Chuck’s playing and theflugelhorn.
TNYCJR: How did your professional career develop?
MM: After graduation, a piano player and I went on
the road with our own band. We hired a couple of guys
from Berklee, including Tim Price, the reedplayer. Ourrepertoire included original, Chick Corea and Chuck
Mangione tunes. But all of sudden we were playing themusic of Dizzy Gillespie, Charlie Parker, Miles Davis,
John Coltrane, Thelonious Monk. We learned thewhole language.
TNYCJR: You settled in New York City, where you
quickly became a member of the jazz community.
MM: Yes. I did some jam sessions in my apartment,

but it wasn’t the right environment. So, after about six
months, I got my first loft in the East Village at Cooper
Square. I split the loft with two roommates, musician
friends of mine, and I started a rehearsal big band. We
rehearsed every week for a year. In the spring of ‘79,
I decided to open up to the public. We had Barry
Harris’ class on Mondays, an open jam session on
Tuesdays, big band night on Wednesdays, emerging
artists on Thursdays and headliners on Fridays andSaturdays. We had guest artists like Kenny Barron,
Woody Shaw and Pepper Adams. My concept was tocreate a venue to showcase emerging artists as well as
established artists.
TNYCJR: Why did you open up a second loft?
MM: The landlord didn’t want to renew the lease.
Stern School of Business administration took up space
up and down the block. With a $10,000 settlement,
I opened a 5,000-square-foot loft space at 648 Broadway
and Bleecker. That’s where we really took off. I met
Wynton and Branford Marsalis there. I presented myneighbor, Art Blakey, many times. Philly Joe Jones
would come and play. In April of ’83, I went out ofbusiness with the second club. Later that year, I met
Ellen, my wife, and we moved to the Upper West Side.
I formed the non-profit Jazz Forum Arts, which is now
37 years old. We did the Riverside Park Arts Festival,
which ran for 13 years. We did live recordings there
and National Public Radio broadcasts. At 105th andBroadway, Birdland was around the corner from ourapartment. I became the music coordinator there forfive and a half years from ‘88 to ’93, producing 20 live
records among the 40 I produced for Candid.
TNYCJR: How did you make your way outside the city?
MM: I was phasing myself out of Birdland when we
decided to move to Westchester County with our twoyear-old son Ian. We found a house in Dobbs Ferry andmoved there in ’91. About six months after the move,
I started promoting jazz. A year or so later, I decided
to move it over as a program of the non-profit Jazz Arts
Forum because then I could get grants andsponsorships. The writing was on the wall. Ticket sales
alone were not going to be enough to pay the expenses
for large-hall productions.
TNYCJR: There were some hardships?
MM: Personal financial struggles. What happened was I
was doing all these programs, about 20 shows over theyears. There were times where we lost so much moneythat I had to remortgage our house two or three times tosave the non-profit. Thankfully, during all those years,
Ellen had a regular job, a salary and benefits. Afterabout 11 years, we decided to sell the home in Dobbs
Ferry and purchase the commercial building, where we
decided to create a 100-seat jazz club on the ground

6 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

floor and live on the second floor. It took 25 months
until we were able to open the club because we had tojump through so many hoops: permits, approvals,
licenses. But we persevered and we were able to open
five years ago this June with [the late trumpeter]
Roy Hargrove. We’re doing very well at the club. Our
performers have included emerging artists Veronica
Swift, Samara Joy and Pasquale Grasso and establishedartists like Bob James, David Sanborn, Randy Brecker,
Paquito D’Rivera and Eddie Palmieri. We are open
Fridays, Saturdays and Sundays. A lot of students cometo our jam sessions. The other night we got about 20 or
25 musicians and 20 to 25 listeners. With the pandemic,
		(CONTINUED ON PAGE 39)

Composers Concordance 10th Annual
CompCord Festival: Science
12th Annual Comp-Play-Comp Marathon
Let’s Get Physicists
Sunday, May 1 @ 5:30pm @ DROM

Sound Surround - Found In Space

Thursday, May 12 @ 7pm @ Kostabi WorldName 2 Chemist-Composers of Georgian Extraction
Saturday, May 21 @ 7pm @ Gallery MC

Heavy Metals

Saturday, May 28 @ 6pm @ The Delancey

Animal Intelligence with Entertaining Science
Saturday, June 4 @ 7pm @ Michiko Studios

composersconcordance.com

HMAY 3RD - MAY 8THH

JOE LOVANO

TRIO TAPESTRYMARILYN CRISPELL – CARMEN CASTALDIHMAY 10TH - MAY 15THH

LOGAN RICHARDSON QUINTETIGOR OSYPOV – PETER SCHLAMBDOMINIQUE SANDERS – RYAN J. LEE

HMAY 17TH - MAY 22NDH

RENEE
ROSNES QUARTETCHRIS POTTER – PETER WASHINGTON – CARL ALLEN
HMAY 24TH - MAY 29THHKRISJULIANDAVISQUINTETLAGE – VAL JEANTYTREVOR DUNN – TERRI LYNE CARRINGTONHMAY 31ST - JUNE 5THH

MIKE RODRIGUEZ
QUINTET
JOHN ELLIS – GARY VERSACECARLOS HENRIQUEZ – OBED CALVAIRE

COMING IN JUNE
HLINDA MAY HAN OHHHMARK TURNERH
HFRED HERSCHHHETHAN IVERSONH

MARC SANTOS / COURTESY OF THE ARTISTARTIST FEATU RERYANTRUESDELLa choice really.” v
For more information, visit ryantruesdell.com. Truesdell’s Gil
Evans Project is at Dizzy’s Club May 17th-18th. See Calendar.
Recommended Listening:• Ryan Truesdell–Centennial: Newly Discovered Worksof Gil Evans (ArtistShare, 2011)• Brian Landrus Kaleidoscope–Mirage(BlueLand, 2012)• Ryan Truesdell Gil Evans Project–Lines of Color(Live at Jazz Standard) (ArtistShare/Blue Note, 2014)• Elmhurst College Band (Conducted by Ryan
Truesdell)–The Music of Bob Brookmeyer (s/r, 2016)

by sylvia levine
who speak loudest through other people’s music. His
dedication to bringing to the concert stage andrecording studio the unadulterated music of legendary
arranger/composer/orchestrator Gil Evans, performed
from the original scores, continues to win him wide
acclaim and appreciative audiences. He is also deeply
involved with the small-group music of valve
trombonist and composer Bob Brookmeyer and has
been amassing that as a special project (he is the
manager of the Brookmeyer estate).
Of course, it is not uncommon for the best musicians
to be obsessive in their work and Truesdell is certainly
that. His Gil Evans Project has been ongoing at least
since 2010. “We have very little turnover in this band,”
Truesdell says. “The performers have been with the
project continuously since the beginning and we’re all
looking forward to coming out of the pandemic onto
the stage. For big bands especially, the pandemic madeit impossible to present music—it was too dangerous toblow air through horns in close proximity to one
another!... These are some of the best musicians in New
York or anywhere. And it is a thrill to work with themand see how they react to this music. It isn’t a job tothem. But some of it is remarkably difficult and it gives
them a good challenge. The stuff that was written andorchestrated in the 40s, from the Thornhill era, dancemusic of the era, sounds remarkably more progressive
than much of the music being written today.”
New Bottle Old Wine, Evans’ 1958 album for Pacific
Jazz, features Cannonball Adderley and Truesdell’sinterest in the latter was the hook that brought him
into Evans’ orchestrations. “I was a saxophonist when
I was younger,” Truesdell says, “really into Cannonball
Adderley and I was buying every record I could get myhands on with Cannonball. I just happened to see thathe played on Miles Davis’ Porgy and Bess and bought it.
I thought it would be Miles with his sextet, withorchestra added or something and it turned out to besomething completely different than I had imagined! It
really changed my life!” Truesdell soon was working
with Maria Schneider, who was Evans’ assistant in his
later years and through her met the Evans family.
“I tried to get my hands on as many of Gil’s scores as
I could through Maria, primarily to study them and to
see them in Gil’s own hand. Just transcribing, it isdifficult to really understand what he was doing. So I
always wanted to go to the source material and throughgetting to know the family, I was able to do that.”
As Truesdell’s research led him not just to theEvans family but also to other sources holding portionsof Evans musical legacy, collecting more than 150
scores along the way, he realized that a large chunk ofthis music had never been recorded and had been indanger of being lost. The Claude Thornhill music, forinstance, did not come through the family and it was achallenge tracking that down through the various
libraries and the artists with whom Evans had worked.
The logical next step would be to hear the foundtreasure! The first concert—before the Gil Evans Project
was born—was at Saint Peter ’s Church in New York, aspart of its PrezFest and Truesdell put together a bandof students from the Eastman School of Music withguests Phil Woods, Steve Wilson, Helen Merrill,
Howard Johnson, Frank Kimbrough and Andy Bey.
“That was the catalyst for me going through the Evansarchive to be able to perform this music from Gil’s
original manuscript,” he remembers.
2011 was the first year of the Gil Evans Project’s
Jazz Standard week-long residency, which continued
every May until the club’s closing in 2020. “I reallythought, though, when I started this, I would do theperformances and one recording, have a CD releaseand then never do it again,” Truesdell recalls. “Gil’scentennial was coming up and I just thought that it
was important that people hear some of these reallyremarkable pieces that had never been recorded. But it
just turned out so great, everyone seemed to like it andthe band really loved the music, the Standard was very
supportive. Things just evolved. And here it is,
11 years later.”
The first CD out of the Gil Evans Project wasCentennial (ArtistShare), which won Evans a
posthumous Grammy, followed by Lines of Color on
Blue Note and ArtistShare, also a Grammy nominee.
Evans’ music still fascinates and inspires Truesdell.
“His orchestrations sometimes go against everything
you’re taught and that’s what he liked. New sounds
and new effects and colors. Gil was the only person
I know of who knew how to take the individual
musician’s sound and turn it into something you’ve
never heard before, often using the extreme registers of
the instruments—he used to say ‘I want to hear themusicians suffering!’.”Other projects include a fakebook of all
Brookmeyer ’s small group tunes—at least 100 will
make the final cut. “I didn’t want people just to buy
the tunes they knew. I hope people discover music they
weren’t aware of. Each piece will have a connected
web page so buyers can hear the music and a little
historical background. It will definitely include all theclassics that he wrote for Stan Getz, Clark Terry andsome from Zoot Sims. I am choosing a wide range of
his composition styles, from the ‘50s through to the
2000s. I think people will see everything shows his
mindset, how he wrote for the whole group. He
controlled it and made it interesting. And it all swings!”
Lastly, Truesdell, always open to new challenges,
has been invited to write for a classic string quartet ina project with other composers primarily from the jazz
idiom but, he says, “it has been fascinating to hear how
we all evolve within that idiom of the string quartet. In
some ways, it is a legitimizing experience. You don’t
ever make it as a composer until you write for a string
quartet.”On his many projects, Truesdell reflects, “We lovethe music and that is why we are musicians, because
we love it enough that we have to do it. We don’t have

WESTCHESTER’SPREMIERJAZZ CLUBFRIDAYS & SATURDAYS(7 & 9:30 PM SETS)

SUNDAYS(4 & 6 PM SETS)

KARRYIN ALLYSON
MAY 13 & 14

© Jim O’Keefe

Ryan Truesdell is one of those remarkable individuals

1 DIXON L ANE, TARRY TOWN NY 914-631-1000
WWW.JAZZFORUMART S.ORG/TICKET S

Marty
Ehrlichat the stone
MAY 4-7 2022
May 4 - Trio Exaltation
reunion of Trio Exaltation
John HÉbert – Bass
Nasheet Waits – drums
Marty Ehrlich – reeds
May 5 - Bells I and II:
Solo woodwind performance
Percussion and Woodwind
Choir soundscape recordingby Marty Ehrlich, Malinke
Elliott and Julius Hemphill
Marty Ehrlich – solo woodwinds
Guest Poet – Erica Hunt
May 6th - Trio expanse
Matt Pavolka – Bass
Tomas Fujiwara – Drums
Marty Ehrlich – reeds
May 7th - The Welcome Quartet
Returning from the lastStone Residency
Ron Horton – Trumpet
Michael Bates – Bass
Michael Sarin – Drums
Marty Ehrlich – reeds

55 W. 13th Street
in the New School
All shows are at
8:30 PM admission $20
For reservations
and Covid policy
thestonenyc.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 7

COURTESY OF THE ARTISTON THE COVER

BERTHA
HOPE
HOPE SPRINGS ETERNAL
by anders griffen

Bertha Hope (née Rosemond) is a pianist from amusical family with a remarkable story from a lifetimein music. In 1960 she married pioneering bebop pianist
Elmo Hope and continues to present her late husband’smusic alongside her own while also championing
women in jazz. She has received numerous accolades,
including a Lifetime Achievement Award from Cobi
Narita’s Jazz Coalition in 2002, the Women in JazzAward from the Mary Lou Williams Festival in 2005
and the Legends of Jazz Award from the National Jazz
Museum in Harlem in 2018. Bassist/vocalist Mimi
Jones has a documentary film in production about her
life and music called Seeking Hope.
Hope is a native of Los Angeles. At three she
surprised her family when she went to the piano andpicked out the melody she had just heard on the radio,
which happened to be the Brahms lullaby. It was soon
evident she had perfect pitch. She and her two siblings,
all of whom also sang, were encouraged to take piano
lessons and they put on living room performances fortheir neighbors where they sold cookies and lemonade.
She also studied clarinet and strings in school. Her father,
Clinton Rosemond, had a career concertizing bel cantoand German lieder and worked globally with Sidney
Bechet, Josephine Baker, Mabel Mercer, Florence Mills,
Paul Robeson and Eubie Blake. She used to practice withher father and when she was about 12 years old, he had achurch concert and asked if she thought she was ready to
perform with him. He gave her seven dollars, a lot ofmoney, especially for a kid, and it was the first time she
made the connection between music and money. With thegrowth of the movie studios, her father found acting
work and Hope got a part in Tonight We Sing (20thCentury Fox, 1953) about Sol Hurok.
It was later that she discovered jazz. She didn’t see
a lot of live music early on and records were a significant
influence. In junior high school she befriended drummer
Billy Higgins and, along with another friend, DannyJohnson, listened to records. Danny had the Blue Note
recordThe
Amazing
Bud
Powellfeaturing“Un Poco Loco”, which made a major impact, and she
resolved to pursue jazz. While still in high school she
started performing with Johnny Otis in a band thatfeatured Little Esther Phillips. She was studying theory
and harmony at Los Angeles City College when she
started carpooling with multi-instrumentalist Eric
Dolphy, who lived around the corner. He was highly
influential in his dedication to becoming a skilledmusician. She also listened to rehearsals at his houseand was there as the Clifford Brown-Max Roach Quintet
was being formed, which led to lessons with its pianist
Richie Powell for a few months. She then started playing
solo piano in Beverly Hills. “I can’t remember the nameof that beautiful little room,” Hope says. “After Hours”
was the popular blues number she had to play for thoseaudiences. She also worked with saxophonists Teddy
Edwards and Vi Redd. The latter made a strong
impression in part because at the time she was the only
woman Hope had ever seen play a saxophone. Aroundthis time Higgins was rehearsing with Ornette Coleman,
Don Cherry and Charlie Haden. Hope would sit andlisten to them, and this also made an impression.
She met Elmo in 1957. His cabaret license had beentaken away from him and he couldn’t work anywherethat served alcohol in New York. He traveled out west
on tour with Chet Baker. “He went on the road, I think,
to be a little freer, move to a different location and give
himself a different start.” After finishing up with Baker,
he became a first-call accompanist, especially forsoloists traveling through town. “I think I met him at
the Hillcrest Club when he was working with Sonny
Rollins. By that time I had been listening to his records
along with Bud and Thelonious. I think Elmo was more
lyrical than Thelonious, who was much more angularthan either one of them. Bud had that light, fast righthand and piercing left that let you know who it wasright away. The three of them spent a lot of time
together. It would be interesting to know what they
thought of themselves as a trio and what theircontributions were to the music. In conversations withpeople like Johnny Griffin, he told me that Elmo was
the idea person, sort of like the ringleader of whatever
they were going to be working on next.”
Soon after they were married, she went on theroad. The opportunity to work with saxophonist JamesClay, whom she had heard with Coleman and at jam
sessions, piqued her interest in a job backing up dancer
Jeni LeGon. They traveled across Route 66 playing
night clubs and Army bases. The tour ended abruptly
in Florida when dates up to New York were canceled.
“Elmo actually wanted to come back to New Yorkbecause by then [Riverside Records producer] Orrin
Keepnews had offered him a recording date that might
help to launch a different side of his career, still without
the cabaret license, but at least get some recordings out
and be able to work other places. He had had someoffers in California, but that fell through and that wasdisheartening. So at that point he wanted to come backand I went from Florida to meet him.” Putting work
together in New York, she very briefly had a job withan all-female Cuban ensemble in Boston for which hercabaret card read “Tonita Alvarez”. She also foundwork with Jimmy Castor and Jimmy Norman. “Jimmy
Norman was one of the original Coasters, but he had
other repertoire. He sang all the standards and he sangblues songs. We worked together quite a bit, a lot ofprivate parties and things like that out in Jersey. When
Sweetwater ’s opened up in New York, we opened thatroom. We were there a long time, like 14 months. That
became a jazz band after a while.”
Everything changed with Elmo’s death in 1967.
“Right after Elmo died, that was pretty much it for me
in terms of music. I just decided I wasn’t going to play
anymore. So I gave away my piano, my in-laws were
helping me with the kids and I decided just to finda day job. I really did stop thinking I was going to workin music anymore.” She became a teacher, working for
the Head Start program from 1971-82, during whichtime she went back to school and earned her B.A. in
Early Childhood Education from Antioch College. She
did have a jazz-fusion band called Inner Spirit she
rehearsed with on Sundays out in New Jersey in which

8 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

she played electric keyboards with Doug Hawthorne(vibraphone), David Eubanks (bass) and Ivan
Hampden (drums) but they never recorded. By the‘80s, Hope wanted to play piano again. “I would reallyjust be very happy to play an acoustic piano that reallyrang with whatever my body’s strength can give it. The
first group I joined when I decided I wanted to playagain—and could make myself available for travel andrehearsals and all the things you need to be involved inin order to be an available working musician—wasa women’s band led by Kit McClure. She had great
standard charts and a lot of people interested in herband. Teo Macero supervised recordings and I’m on atleast two recordings that she put out.”
She did most of her own recording in the ‘90s but
much prefers live performance. “I did that one
recording for Riverside with Elmo that became sort ofan underground collector ’s item [Hope-Full, 1961].
Then I did [almost no] recording until the ‘90s. I’m justa nervous wreck in the studio. I think that’s one of thereasons I haven’t recorded more.” She lived with herpartner, bassist Walter Booker, for over 20 years before
they married in 2004. Together they released fouralbums, the last one was Nothin’ But Love, named after
a song by saxophonist Frank Lowe, to which she added
lyrics. Booker was a great part of the community,a mentor to many young musicians through his
underground Boogie Woogie studio and Hope credits
him for the inspiration to form the band Elmollenium.
This month, Hope has a solo performance at
Brooklyn’s Soapbox Gallery as part of the venue’s
Master Series (previous participants were Reggie
Workman, Houston Person, Lenny White and Joanne
Brackeen). “I have a possible tour in Holland in thefall, depending on where COVID is in Europe,” Hopesays. “That will involve some workshops in The
Hague, some children’s concerts and concerts at the
Bimhuis and two other venues in Amsterdam. I’mworking on taking some of Elmo’s pieces and arranging
them for string quartet. I am planning, with my[playwright and lyricist] daughter Monica, several
projects to celebrate Elmo’s centennial [June 2023].
I did a recording connected with the Seeking Hope
documentary and I’m about to go back and clean someof that up and add to it. Music grows. You start to hearthings acquainted with that first piece, but they’re
expanded now. So, I’ve got quite a few things I’mworking through and working towards.” v
Hope is at Bryant Park May 3rd-6th and Soapbox Gallery
May 21st. See Calendar.
Recommended Listening:• Elmo Hope–Hope-Full (Riverside, 1961)• Bertha Hope–In Search Of…Hope(SteepleChase, 1990)• Bertha Hope–Elmo’s Fire (SteepleChase, 1991)• Bertha Hope–Between Two Kings(Minor Music, 1992)• Frank Lowe Quintet–Soul Folks (No More, 1998)• Bertha Hope–Nothin’ But Love (Reservoir, 1999)

cityversesamplifying new voices
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JazzRecord_9.5x12_May.indd 1

4/8/22 10:03 AM

ENCOREGUY
KLUCEVSEK
by mike cobb
G uy Klucevsek was born in New York City and raisedin Pennsylvania. At six, he convinced his father to buy
him an accordion after seeing Dick Contino playing
one on TV. He went on to pursue music composition
with Robert Bernat at Indiana University ofPennsylvania and Morton Subotnick at the Universityof Pittsburgh and California Institute of the Arts.
Klucevsek is on the New England Conservatory ofMusic faculty and recipient of a 2010 United States
Artists Collins Fellowship.
After spending 1972-76 in the Philadelphia area,
where he began a decades-long musical relationshipwith the contemporary music ensemble Relâche,Klucevsek returned to New York City, where he has
lived ever since. Over the last 50 years, he has createdan extensive body of music for solo accordion, chamber
ensembles, bands, modern dance, theater and film.
He has performed his music internationally as asoloist; in duos with Alan Bern (accordion/piano),
Phillip Johnston (saxophone) and Todd Reynolds(violin); and with his group projects Accordion Tribe,
Polka from the Fringe and The Bantam Orchestra.
Klucevsek has also appeared as a subject in the
documentary films Accordion Tribe: Music Travels(Stefan Schwietert), Accordions Rising (Roberta Cantow)
and Behind the Bellows (Steve Mobia).
“I’m not a jazz musician, but I’ve been used in jazzcontexts with Bill Frisell, Dave Douglas and John Zorn.
The biggest challenge is the left hand. In a standard
accordion the buttons have preset chords and sochromatic movement is not so easy,” he says.
Selected works by Klucevsek will be performed
this month for his 75th Birthday Celebration at
Roulette. Due to health issues, Klucevsek no longer
performs in public but will be in attendance. “I’ll justbe sitting in the audience enjoying other people doing
all the hard work for a change,” he says.
The pieces Klucevsek has chosen represent
40-plus years of his composing, from “Oscillation No. 2

for piano “(1980) through “The Grass, It Is Blue (Ain’t
Nothin’ But a Polka)” (1986), “Flying Vegetables of the
Apocalypse” (1988), “Eleven Large Lobsters Loose in
the Lobby” (1991) and “Bar Talk” (1998), up to pieces
from the 21st Century, including seven world
premieres. He is proud to hand over the performancesin this program of solos, duets and quartets to a
distinguished cast of musicians he has worked withover many years: Reynolds, pianist Jenny Lin and the
Bachtopus Accordion Ensemble (Robert Duncan, Peter
Flint, Mayumi Miyaoka, Jeanne Velonis) and accordion
players Bern, Will Holshouser and Nathan Koci.
Klucevsek stopped touring years ago but has been
productively working from home, which allowed him
to adapt seamlessly to the pandemic. In March 2020,
Klucevsek published Vignettes: Short Pieces for
Accordion, scores he wrote between 1988–2019, alongwith photos, drawings and posters from his life as aperformer and digital recordings of all the pieces.
About these works he says, “These are all solo
pieces. Each player would record them on their own in
different ways. They did what they could. My pieces
had been on albums but never published in sheet music
form. I wanted to include some that had never beenrecorded, which I did right from my living room withthe help of a friend and very talented sound engineer
named Jeanne Velonis. It was largely musicians doing
this as a favor to me, so it was like a great community
project. It came out on Mar. 10th, 2020, almost exactly
when the pandemic hit. It seemed like terrible timing,
but it actually reached a lot of people. I was happy that
it filled a void, though I wish it happened under better
circumstances.”
Klucevsek had also been recording videos from hishome prior to the pandemic, a project he continued
throughout these challenging years. “When I retired
I wanted to stay connected to music and my audience. I
decided video was the best way. My friend Ray Foley isa brilliant director, producer and camera person. Before
the pandemic, I proposed recording some pieces andwe did that in my living room. It took a while to edit,
but then he put them out and we were very pleased.
Each video is dedicated to one piece of mine. They’repretty short, averaging about three minutes. Ray doesvery creative things with the camera, though it is all arecording of the performance. We used different props
and setup depending on what the piece suggested toRay. There are 12, which are available on YouTube. The
health issues I’m dealing with make it difficult for me

to get into a studio, but I can still create and record. It
was great to be able to perform for the public,” he says.
Other recent projects include a collaboration with
Lin for a collection of 33 miniatures by Georgiancomposer Giya Kancheli. “Kancheli was known for hislarge-scale works, oratorios and symphonies. He
encouraged interpretation and improvisation, which iswhat drew me in. The pieces are very short, one to four
pages. They’ve been done as duos and various
interpretations over the years. Jenny proposed that
I explore them as accordion solos and as duos with her.
I picked out six and made my own versions of them,”
he says. “For the duos, we spoke over the phone. She’dplay piano and I’d come up with a counterpoint,a harmonic line or sometimes alternate voices. It all had
to be done virtually because of the pandemic. We never
got to rehearse anything. Jenny has a recording studioand did all her solos and parts for piano there and sentme the piano parts for the duos. I rehearsed with themand then the record label hired a producer who did it byZoom from the Carolinas. The engineer was in mybasement, the mics in my living room andI was listening to Jenny in my headphones. It was a true
pandemic project and turned out beautifully. Jenny’stime is fantastic, so I had no problem playing in sync
with her. The editor and producer did a great job mixing
the two parts. People say it sounds like we’re playing inthe same space. I still have not met Jenny by the way;
I hope we can sometime soon. I loved doing it and amvery pleased with the way it turned out,” he says.
Looking back over a long career, Klucevsek says,“It was great touring with Dave Douglas andperforming for his score with the Trisha Brown Dance
Company. In the ‘80s and ‘90s, I wrote a lot of scores fordance companies. I loved collaborating with people
from other mediums such as theater, dance anddocumentary films. I loved that the concepts camefrom outside me. I loved the limits of it sometimes, e.g.
choreographers who’d ask for something short andenergetic.”
Other career highlights included working withJohn Williams to score films by Steven Spielberg
including Indiana Jones and the Kingdom of the Crystal
Skull, The Terminal and The Adventures of Tintin.
“Watching Williams work as a conductor was abeautiful experience. He put everything on himself
and never put anybody down. Spielberg was at every
session. He’d walk over and speak to Williams quietly.
				(CONTINUED ON PAGE 39)

audition with horn player Gunther Schuller led toa scholarship to Manhattan School of Music (MSM). Alsoat MSM in 1952 were French horn player Julius Watkins,
trumpeters Donald Byrd, Leonard Goines and Joe Wilder,
pianist John Lewis, trombonist Eddie Bert and drummer
Max Roach. They struggled with MSM’s no-jazz policy
and Northern decided to give up his aspiration to be a
bebop trumpeter. After a stint in the Air Force, he went toVienna and studied classical repertoire with French hornplayer Gottfried von Freiberg. Upon his return, he took
Schuller’s recommendation to join the Metropolitan
Opera Orchestra as its first Black musician. He was amagnificent classical musician but many white musicians
treated him poorly. After joining the Radio City MusicHall Orchestra the racism continued. Prohibited fromrecording, he was directed by management to sit for thefilming as evidence that the Orchestra had been
integrated. With this indignity, Northern left and becamea freelancer. He first recorded with The Gil Evans
Orchestra on Great Jazz Standards (World Pacific, 1959).
A residency with Evans exposed Northern to top
jazz musicians and he became integral to many sessions
with the likes of Thelonious Monk (At Town Hall,Riverside, 1959), John Coltrane (Africa/Brass, Impulse!,

1961) and Dizzy Gillespie (Perceptions, Verve, 1961).
If a French horn was needed for a track, Watkins,
Northern or both got the call. In addition, he played in
the backing bands for vocalists such as Ella Fitzgerald,
Tony Bennett, Peggy Lee and Lena Horne. In 1964, atsaxophonist Eric Dolphy’s continual urging, he agreed
to go hear a band at Slugs’ in the East Village. There heheard the Sun Ra Arkestra and it changed his life.
Northern secured an audition on saxophonist Pat
Patrick’s endorsement and a 10-year association began.
He played in many concerts in and around NYC with
the Arkestra but only a few verified live dates exist.
These include Sun Ra and his Arkestra Featuring Pharoah
Sanders and Black Harold (El Saturn) at Judson Hall in
1964 and the second side of Atlantis (Saturn Research)at the Olatunji Center of African Culture in 1967.
Ra’s dictum “You must learn to listen” made a big
impression and influenced Northern’s teaching
appointments at both Dartmouth and Brown. At theformer students called him “Brother Ah” in reference tohis speech pattern and he embraced the name, “Ah” and“Ra” being the sounds that represent the Egyptian moonand sun deities. In the ‘70s, he spent seven summers in				(CONTINUED ON PAGE 39)

LEST WE FORGETROBERTNORTHERN
by elliott simon
Robert Northern, born in 1934, was among the mostimportant French horn players in jazz history. His workin classical music, Sun Ra Arkestra affiliation, solo
projects, innovative radio programming and musicalpedagogy are his lasting legacy. After a confrontation
between his father and the Klan, the Northerns relocatedfrom North Carolina to Harlem and then the SouthBronx. As a child Northern imitated the rhythms ofstreet vendor calls, birds, dogs and insects on his bugle.
At nine he studied with trumpeter Benny Harris who
lived a few blocks away, mastered his tune “Ornithology”
and knew he would be a professional musician.
Northern played the French horn for the first time at
NYC’s High School for the Performing Arts and an

10 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHTCANDIDby jim motavalli
Candid Records was relaunched in March with fiveiconic titles from a catalog that continued to growthrough the ‘90s and now includes more than 300
sessions. “We’re moving forward and along with thereissues and we will continue to provide a home forviable artists wanting to put their music out,” says newlabel head Mark Wexler, formerly CEO at Concord.
Candid was purchased in 2019 from longtime
owner Alan Bates, founder of the British Black Lionjazz label. Bates kept the label current with newreleases, but was ready for an offer from Exceleration
Music, helmed by former Concord Music Group CEO
Glen Barros and former Concord President John Burk.
“After Glen and John left Concord and Alan said hewanted to sell Candid, they called me and asked me
if I wanted to run it,” Wexler says. “Running recordlabels is what I do, so I said yes.”
The first three from the under-new-management
Candid in 2021 were Stacey Kent’s Songs from Other
Places, The Count Basie Orchestra’s Live at Birdland andEliane Elias’ Mirror Mirror, duets with fellow pianists
Chick Corea and Chucho Valdés. The latter won a Latin
Jazz Grammy this year, Elias’ third. She says the album
garnered excellent reviews and Candid “has a great
team. Mark and John are wonderful to work with.”
The Candid story: bandleader and arranger Archie
Bleyer founded Cadence in the early ‘50s to record starsof the day, including Don Shirley, The Everly Brothers

Songs From Other Places
Stacey Kent

Mirror Mirror
Eliane Elias

and Andy Williams. In 1960, with Cadence a success, hedecided also to create a jazz label, Candid, and recruited
jazz critic and First Amendment scholar Nat Hentoff tobe its first A&R man. Hentoff had catholic tastes andthe recordings are very eclectic, including both cuttingedge blues and progressive jazz.
Candid had a brief early career, but then both it
and Cadence ran out of money, Wexler says. The labels
were rescued in 1964 by the unlikely figure of Williams,
who wanted to keep his Cadence recordings in print.
“Williams did nothing with Candid, but in the late ‘80s
he sold it to Bates, who returned it to active duty,
signing Kenny Barron, Buddy DeFranco, Clark Terry,
Donald Harrison, Paquito D’Rivera and many more.”
Vocalists were part of the mix, including both Kent andJamie Cullum.
Candid’s first five reissues (available in 180-gramvinyl LP, CD and streaming forms) are all extremely
worthy. Max Roach’s We Insist! Freedom Now Suite
emerged from the ferment of the Civil Rights movement
and features a lunch counter sit-in on the cover anda lineup of vocalist Abbey Lincoln, trumpeter Booker
Little, saxophonists Walter Benton and Coleman
Hawkins and percussionist Michael Olatunji; it now
trades for $200 as an original LP. Hawkins is also
on board for another classic, Lincoln’s Straight Ahead,with Roach and Eric Dolphy. And Dolphy is also
featured on ($180 on eBay) Charles Mingus Presents
Charles Mingus, along with trumpeter Ted Curson and
Mingus’ longtime drummer Dannie Richmond.
The very first Candid release (with Hentoff as“supervisor” and liner notes contributor) was Otis
Spann is the Blues, a rollicking session—one of Spann’s
all-time best—recorded in New York with guitar andLive at Birdland
Count Baise Orchestra

vocal support from Robert Lockwood, Jr., who learned
his trade from the master Robert Johnson. Lightnin’
Hopkins’ Lightnin’ in New York was also very successful,a fast-paced solo recording made soon after thebluesman’s New York debut at Carnegie Hall on a billwith Joan Baez and Pete Seeger. In his notes, Hentoff
describes Hopkins as “a lean, tough, sometimes
extraordinarily gentle man.”Candid has a deep catalogue and many morereissues are forthcoming. Wexler says its archives at the
1.8-million-square-foot Iron Mountain depository inPennsylvania contains many treasures. “We will put out
15 this year,” he says. “We’re finding art work and themaster tapes and [audio engineer] Bernie Grundman isremastering everything. There are gaps—sometimes theart work is missing or we have layouts for the LP but
not the CD.” Don’t expect a bumper crop of bonus
tracks—Wexler says the search hasn’t yielded many.
In August, Candid will release the next five
releases, with Pee Wee Russell and Coleman Hawkins’
Jazz Reunion, The World of Cecil Taylor, Booker Ervin’s
That’s It, Little’s Out Front and Clark Terry’s Color
Changes. Further on, there will be a live recording ofThelonious Monk in Japan, Dr. John with the Donald
Harrison Band and more Cullum.
Clearly Candid has extensive assets and a creative
future. “There are many artists a lot of people know
about, but what they don’t know is that they maderecords for Candid,” Wexler says. “The label is adiamond in the rough.” And artists are encouraged tosend in their demo reels. v
For more information, visit candidrecords.com. Artists performing
this month include Elias at Birdland May 17th-21st. See Calendar.

We Insist! - Freedom Now Suite
Max Roach

Straight Ahead
Abbey Lincoln

VOXNEWS

GHOST
SONGS
by suzanne lorge
C écile McLorin Salvant ponders our connection withthe afterlife on Ghost Song, her Nonesuch debut and an
artistic juggernaut. Each track evinces a different
aspect of loss and longing, in expression, perhaps, ofthe mortal apprehension rumbling through thezeitgeist these last years. There are so many ways tohurt, it seems. Salvant wrote 7 of the 12 tracks, again
distinguishing herself as a modern jazz composer forthe voice. On the title track, for instance, she openswith a shout and a gritty blues head before settling
into the sweet sway of a rueful refrain; the extended
outro is a children’s choir repeating this haunting
melody. In a similarly deft approach to song-mapping,“I Lost My Mind” opens with what sounds like a warm,
traditional jazz verse, only to flip into an eerily
harmonized, organ-based chorus with high-pitched,pleading antiphons, a brilliant rendering of dystopian
angst. Notably, she uses delightful reversals like theseon almost all of the tunes, even those by othercomposers (like Harold Arlen, Kurt Weill and KateBush). Salvant’s imaginative use of space and color inher music reflects her like interests in the visual arts:
she typically acts as creative director and illustrator forher physical releases, leaning towards abstraction,
expressionism and vibrancy in her designs. Under thisalbum’s title, too, she has created a collection ofartworks (ink on paper or thread on textiles) revealing
how deeply she has contemplated her theme. These
pieces—collectively, the Ghost Song exhibition—are on
display at Brooklyn’s Picture Room gallery until May
1st. Salvant will perform from Ghost Song in album
release concerts at Rose Theater (May 12th-13th).
Tierney Sutton extracts new meaning fromcherished songs on Paris Sessions 2, her sequel to 2012’s
Paris Sessions with (now husband) classical guitarist
Serge Merlaud, both on BFM Jazz. When singing
known tunes, Sutton, like Salvant, changes the feel andfocus to emphasize the poetry, as on the medleyof Vernon Duke’s “April in Paris” and Joni Mitchell’s“Free Man in Paris”; a string-voice ballad withgenerous rubato sections, the melancholy hidden
behind the shine of the originals dominates. Later, asubdued setting for “Beautiful Love” emphasizes themysterious nature of romantic attraction. And her blue
take on “You’d Be So Nice To Come Home To” hints atthe seduction intent inherent in Cole Porter ’s lyrics.
Sutton presents the album at Birdland (May 24th-28th).
Kristen Lee Sergeant will officially launch her
third self-released album, Falling, at Birdland too (May12th). Sergeant, fronting an exceptional band(saxophonist Ted Nash, pianist Helen Sung, bassist
Hannah Marks and drummer Jay Sawyer), will likely

recap some of her clever originals from the album, likeflirtatious “Let’s Fall” and confrontational “BetterOff”. One hopes that she will include her arrangementof Arlen’s “That Old Black Magic”, a bold interpretation
vibrating with passion, laughter and brio.
Back in 2013, Catherine Russell, Brianna Thomas
and Charenée Wade first presented Ladies Sing The
Blues at Jazz at Lincoln Center, in a live-streamed
performance long before it was a regular thing. Usinghorn charts from original 1920s recordings, the singers
honor the work and lives of Bessie Smith (“Empress of
the Blues”), Mamie Smith (“Queen of the Blues”), Ma
Rainey (“Mother of the Blues”) and film legend Ethel
Waters. The trio will reprise this concert at Kupferberg
Center For Arts at Queens College (May 6th).
Post-Grammy gigs: Jazz/R&B artist Jon Batiste’s
album We Are (Verve)—with its funky anthem title
cut—earned eight nominations and four wins this year,
including Best American Roots Performance, Best
American Roots Song, Best Music Video and Album of
the Year. (Batiste also won Best Score Soundtrack for
Visual Media for the 2020 Disney-Pixar film Soul). The
singer/composer will play Carnegie Hall (May 7th).
Pianist/vocalist Eliane Elias won Best Latin Jazz
Album this year for her Mirror Mirror (Candid), fourhanded piano duets featuring her with Chick Corea andChucho Valdés This winning album was piano-only—
Elias’ first in almost 30 years—but no doubt she willshow off her smoky vocals at Birdland (May 17th-21st). v

THE NEW YORK CITY JAZZ RECORD | MAY 2022 11

IN MEMORIAM
DENNIS GONZÁLEZ (Aug. 15th, 1954
- Mar. 15th, 2022) The trumpeter, a key
figure in the Dallas avant garde jazzscene with his founding of Dallas
Association for Avant-Garde and Neo
Impressionistic Music, the associatedlabel of which released his albums aswell as those of Henry Franklin, Prince Lasha, Tina
Marsh and others, also had dates for Konnex,
8th Harmonic Breakdown, Qbico, Clean Feed andAyler and credits with Lasha, Marsh, Charles Brackeen,
Alvin Fielder, Faruq Z. Bey and others and two
musician sons, bassist Aaron and drummer Stefan,
who were members of his Yells At Eels band. González
died Mar. 15th at 68.
CONRAD JANIS (Feb. 11th, 1928 - Mar.
1st, 2022) Before and during his rise tofame in the theater and on numerous TV
shows, most notably as the father on
Mork & Mindy, the actor played
Dixieland trombone, leading several
albums in the ‘50s for Circle, Jubilee andRiverside and continuing to perform into the newmillennium. Janis died Mar. 1st at 94.
ZBIGNIEW JAREMKO (May 27th, 1946
- Mar. 2nd, 2022) The Polish tenor/
soprano saxophonist and clarinetist hada single album as a leader, 1982-86’s
Dedications (PolJazz), to go along withleading the Jazz Carriers, membershipin the Stodoła Big-Band and Sun Shipand credits under Sandy Brown, Ptaszyn Wróblewski,
Wojciech Kamiński, Jarosław Śmietana and others.
Jaremko died Mar. 2nd at 75.

11th at 63.

MARK KERESMAN (Aug. 8th, 1958 Mar. 11th, 2022) The jazz writer wasa contributor to this gazette since 2014,
penning
numerousfeaturesandfestival reports from his homebase ofChicago as well as nearly 200 album
and film reviews. Keresman died Mar.

TINA MAY (Mar. 30th, 1961 - Mar. 26th,2022) The British vocalist had nearly
two dozen albums since the ‘90s on
33 Records, Doz, Spotlite, Hep Jazz andASC, both as a leader and incollaboration with Tony Coe, Nikki
Isles, Dylan Fowler, Enrico Pieranunzi
and others, and credits with Pendulum, Frank Griffith
and Ray Guntrip. May died Mar. 26th at 60.
RON MILES (May 9th, 1963 - Mar. 8th,2022) The trumpeter/cornet player was
active since the ‘80s, releasing albums
on Endemic, Capri, Gramavision,
Sterling Circle, Enja-Yellowbird, Sound
American and most recently Blue Note(2019’s Rainbow Sign) to go along withcredits under 3ology, Myriam Alter, Ginger Baker, Matt
Chamberlain, Bruce Cockburn, Elvis Costello, Bill
Frisell, Ben Goldberg, Joe Gunther, Harriet Tubman,
Joe Henry, Fred Hess, Wayne Horvitz, Chie Imaizumi,
Jazz Worms, Art Lande, Myra Melford, Jason Moran,Mark Nodwell, Joshua Redman, Brandon Ross,Charles Rumback, Jenny Scheinman, Jason Steele,
Kim Stone, Colin Stranahan, Michael Vlatkovich,
Whirlpool, Matt Wilson, Nate Wooley and others.
Miles died Mar. 8th at 58.

12 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

BARBARA MORRISON (Sep. 10th,
1949 - Mar. 16th, 2022) The vocalist got
her start singing as a child in her native
Michigan, went on to work with Eddie“Cleanhead” Vinson in the ‘70s, had along stint working with Johnny Otis inthe ‘70s-90s, was part of the Philip
Morris Superband in 1986 and released nearly a dozen
albums since the ‘80s on Esoteric, P.C.H., Mons,
Chartmakers, Blue Lady, J&T, Springboard, Dakota
Live, Capri and Savant, the latter yielding threecollaborative dates with Houston Person. Morrison
died Mar. 16th at 72.
ISAO SUZUKI (Jan. 2nd, 1933 - Mar.
8th, 2022) The Japanese bassist came up
in the ‘60s, working with the collective
group Ace 7, Sadao Watanabe, Hampton
Hawes, George Kawaguchi, Mal
Waldron, Terumasa Hino, Motohiko
Hino, Fumio Karashima, Kunhiko
Sugano, Noriko Miyamoto, Masahiko Togashi, Red
Mitchell, Fumiko Suzuki and others, had many albums
on Three Blind Mice, East Wind, Flying Disk, Yupiteru,
Paddle Wheel, Trio, Atlantic, Art Union, Off Note andKing and was briefly a member of Art Blakey’s Jazz
Messengers in 1970. Suzuki died Mar. 8th at 89.
JESSICA WILLIAMS (Mar. 17th, 1948
- Mar. 10, 2022) The pianist was aprolific recording artist since the ‘70s,
with over 50 albums for Adelphi,
Black Hawk, Candid, Clean Cuts,
Concord, Hep Jazz, Jazz Focus,
MAXJAZZ, Origin, Red and Blue andTimeless. Williams died Mar. 10th at 73. v

FESTIVAL REPORT

COURTESY OF THE FESTIVAL

HUDSONJAZZFEST
by suzanne lorge

Jazzmeia Horn

Many things recommend the former whaling town ofHudson, NY besides its river perch, Greek Revivalist
architecture and mid-century modern antique stores. Not
the least of these is the Hudson Jazz Festival (Feb.
10th-13th and Feb. 17th-20th), now in its fourth year.
Curated by seasoned arts administrator Cat Henry—wholeft Jazz at Lincoln Center in July 2020 after two decades
in multiple executive roles—the festival benefits as muchfrom the town’s intrinsic cultural inclusivity as from therecent influx of New York City transplants. (According to
The New York Times, Hudson was one of the fastestgrowing U.S. metro populations from 2019-20.) “This
year’s festival is inspired by the poem by James Weldon
Johnson, ‘Life Every Voice and Sing’. The poem—and theanthem—have had deep personal resonance over the last
two years,” Henry said in her opening remarks. “Wehonor all voices as they’re lifted in song, in praise, inprayer, in protest, in hope, in celebration, in joy and—especially this weekend—in love.”
Constellated around the theme Lift Every Voice,the festival threw a light on both the triumphs and thesufferings of African Americans throughout America’s
past, in fitting acknowledgement of Black History
Month. With this theme in mind, more than 30 jazzmusicians crossed the stage of the magnificently
restored Hudson Hall—New York State’s oldest
surviving theater—during the eight days of the festival.
“There’s such a warm vibe here,” said drummer
Marcus Baylor after he and vocalist Jean Baylor, thehusband/wife duo at the center of The Baylor Project,finished their set on Feb. 11th. “You can hear thequietest whisper or brush stroke.” Such intimacy

characterized Jean’s exquisitely gentle vocals on“Tenderly”, from last year ’s Generations, and Marcus’
deft percussiveness on “Afro Blue (Dream)”, from2017’s The Journey, both on the Baylor ’s Be A Lightlabel. But close as it is, the 350-seat room readilysustains grandeur, too, as when Jean opened into
gospel fervency on “Great Is Thy Faithfulness” or“Praise Song”, this last a preternaturally inspired
original. The Baylor sound—an easy synthesis ofcontemporary R&B, church and jazz—needs a capableroom like this. Not necessarily to handle the volume
but to channel the vibe.
Jazzmeia Horn also packs a big voice and an
unerring way with a spontaneous vocal solo. On Feb.
19th she built a superlative program from her threecelebrated releases, riffing with nary a pause on tunes
like “East Of The Sun” and “Tight” from her 2017 debut
A Social Call (Prestige); “Free Your Mind” and “When I
Say” from her 2019 release Love And Liberation (Concord);and “Let Us (Take Our Time)” and “Strive (To Be)” fromlast year’s Dear Love (Empress Legacy Records), herinaugural big band LP. These recordings faithfully
document Horn’s indefatigable scatting ability, a marvel
when witnessed in person. What they don’t capture,
though, is how funny and friendly she is on stage.
On hearing the news of Chick Corea’s passing
back in February 2021, vibraphonist Warren Wolf andpianist Alex Brown felt moved to recreate some of theiconic tunes that he had played during a nearly-50year collaboration with vibraphonist Gary Burton. On
Feb. 18th in their tribute to this historic duo, Wolf and
Brown recalled all the excitement and lavish beauty ofthat partnership on the likes of “Captain Señor Mouse”,“Armando’s Rhumba” and “Bud Powell”, Corea’s nodto the modern jazz master. The pair brought their own
compositions to the evening as well: Brown’s “New
Flamenco” swayed with rhythmic vitality and Wolf’s“Come and Dance with Me”, a love letter to his wife,
both engaged and endeared.
Jimmy Greene’s originals swing and uplift, too, somuch so that it would be impossible to guess thetragedy behind them. For his Feb. 20th set the tenor
saxophonist pulled select tunes from his various
releases, including “Last Summer”; he wrote thissweet, loping melody for his 2014 studio album
Beautiful Life (Mack Avenue), a dedication to his young
daughter, who was killed in the Sandy Hook massacre.
Some tunes from his more recent release While Looking
Up (Mack Avenue) also hinted at sorrow, like his slow
arrangement of the Whitney Houston hit “I Wanna
Dance with Somebody”. In this, Greene reached for thelonging that feeds our hopes and the shared humanitythat binds us together.
Jazz ambassador Louis Armstrong left thousands
upon thousands of historic documents chronicling hislife both in and outside of music. In cooperation with
the Louis Armstrong House Museum, Broadway
veteran Daniel J. Watts used this archival material tocraft Armstrong Now!, fitting more than an hour ’s
worth of music, tap-dancing and spoken word into his
Feb. 17th show. Against the backdrop of Armstrong’s
generous humanitarianism, Watts’ call for racial justicereverberated soundly, as timely as it was forthright.
Singer Alexis Morrast—a sophomore at Berklee
College of Music and the festival’s youngest artist—isalready touring internationally, playing major concert
halls and catching critics’ ears. Her Feb. 12th
performance affirmed the precocity fueling this early
success; her dexterous voice, mature phrasing andclever, jumbled arrangements augur well for a postBerklee career. Surprisingly, it was Morrast who took
on the Black National Anthem, the festival’s title song.
Brief and moving, her rendition of the hymn rang withpromise, drawing shouts of solidarity from theaudience. In Hudson, at least, people get it. v

A series of concerts celebrating therelease of Diaspora Meets AfroHORN
Sunday, May 1st@Soapbox Gallery
4:30pm (I hour presentation)
Ahmed Abdullah, trumpet and vocals
Francisco Mora Catlett, multi-percussion
Monique Ngozi Nri, poet, and vocals
Don Chapman, saxophone
D.D Jackson, piano
Radu ben Judah, bass
Roman Diaz, African percussion

The Central Brooklyn Jazz Festival@Sistas’ Place
Saturday, May 14th at 9 & 10:30 pm
In Tribute to Donald Smith
Ahmed Abdullah, trumpet and vocals
Francisco Mora Catlett, multi-percussion
Monique Ngozi Nri, poetry and vocals
Salim Washington and Don Chapman, woodwinds
Bob Stewart, tuba
DD Jackson, piano
Radu ben Judah, bass
Roman Diaz, African percussion

The Vision Festival
Friday, June 24

Ahmed Abdullah, trumpet and vocals
Francisco Mora Catlett, multi-percussion
Monique Ngozi Nri, poetry and vocals
Sam Newsome and Don Chapman, woodwinds
Bob Stewart, tuba
DD Jackson, piano
Radu ben Judah, bass
Roman Diaz, African percussion

The Vision Festival
Saturday, June 25

Ahmed Abdullah, trumpet and vocals
Monique Ngozi Nri, poetry and vocals

ahmedian.com

For more information, visit hudsonhall.org/event/hudsonjazz-festival

THE NEW YORK CITY JAZZ RECORD | MAY 2022 13

ALBUM REVIEWS

The Parable of the Poet
Joel Ross (Blue Note)by Eric Wendell

F or a musician only in his late 20s, vibraphonist Joel

Ross is attuned to a frequency only an elder statesman
can achieve. With his debut album (Kingmaker), Ross
demonstrated an adept melodic sensibility. His latest
release, the seven-piece original suite The Parable of thePoet, shows him as the willing bandleader granting his
sidepeople an equal voice.
Ross beautifully sets the scene with “Prayer”, thegentle tremolo of vibraphone slowly blooming in themain melody. The rhythm section of bassist Rick Rosato
and drummer Craig Weinrib organically comes in at 1:04
with the horns of Immanuel Wilkins (alto), María Grand(tenor), Marquis Hill (trumpet) and Kalia Vandever(trombone) joining around 1:27. This is Ross at his mostelegant, with a plaintive melody that crescendos andallows the ensemble to play off one another. “Guilt”
features a triumphant Rosato solo, which slowly builds
to a frenzied yet refined dialogue within the ensemble.
“Choices” begins with Hill’s undeterred voice,heightened by bowed bass. While the music is doleful,Ross’ performance keeps it from running down themelancholic rabbit hole. “Wail” is Wilkins’ time in the
spotlight with a spiritual feel that doesn’t quite stickthe landing, although his soloing throughout the piece
keeps it from falling off track.
“Doxology” is the group at its most traditionalwith a hardbop melody straight out of the late ‘50s andhad Ross and Co. leaned more into it by having
everyone take a solo or trade fours it would be thestandout track. The album ends with “Benediction”,
a devout melody filled with contemplation and thebreathy timbre of the saxophones beautifully mixed
with vibraphone hues in an outstanding performance.
The Parable of the Poet is an excellent statementfrom an artist looking forward to new and exciting
textures. However Ross decides to move forward, hewill certainly make sure that he is in good company
and that their voices are as bold as his.
For more information, visit bluenote.com. Ross is at Village
Vanguard through May 1st with Johnathan Blake, Dizzy’s
Club May 11th-12th with Marquis Hill and May 20th-21stwith the Young Monk Project and The Jazz Gallery May
13th-14th with this project. See Calendar.

Manifesto Of Henry-isms (Community Music, Vol. 3)
Steven Bernstein & The Hot 9 (Royal Potato Family)
by Steven Loewy

F oryears, trumpeter/arranger/organizer StevenBernstein has delighted his fans with bold andoutrageous mixes of genres, applying his wickedhumor to a range of settings. One of four simultaneously
released albums in his Community Music Series
Manifesto of Henry-isms is a sort of tribute to late pianist
Henry Butler, whom Bernstein has called a “genius-level brilliant man” and with whom Bernstein formed
The Hot 9 in 2013. Bernstein engages in various
strategies to incorporate Butler ’s spirit as well as
Bernstein’s arrangements originally written for the
pianist. The results are stunning, with an eclectic mixof danceable funk, blues, Dixieland and big band jazz,
all with a stamp of modern craziness.
Yes, this is “goodtime music”, but it is much more,too, building on old tunes as it twists and bends them,sometimes ever so slightly, with a respect toward
historical antecedents and solos immersing themselvesin the silvery waves of the early 20th Century while
keeping one foot (or at least a toe) in the 21st. For
Bernstein, these tunes are as alive and present today as
they were a century ago, providing a fount of creativity.
Bernstein grabs the pieces and makes them his own
without gutting their essence.
There are highlights on every piece: forcefully
confident organ and piano of John Medeski and equally
powerful piano of Arturo O’Farrill; swaggering vocals
of Charles Burnham; attractively gruff trombone ofCurtis Fowlkes; and Bernstein’s own deliciously pithy
trumpet. Opener “Black Bottom Stomp” roars with
Medeski’s joyousness, culminating in a long collective
improvisation. The spirits unite remarkably on“Begalusa Strut”, an engaging melody slowed downfrom its 1927 recording and incorporating modern
collective improv. Similarly, the closing “Diminuendo
and Crescendo in Blue” thrills with O’Farrill’s masterfulcontribution. And, let’s not forget the hauntingly
attractive melody and slow drawl of “Booker Time”.

moves between folkish romanticism and exhilaration.
Renta switches to soprano for the remainder of thedate, beginning with “Matriarca”, a melancholy tributeto Ayala’s recently departed grandmother. On“Agosoto” bass highlights tranquil North Africantinged ambience, ending with an extended interlude,
segueing into “Ma, Benedición”, Ayala’s homage to his
late mother, modulating between solemn andcelebratory veins. The album comes to a rousing finish
with an exciting arrangement of Tite Curet Alonzo’s
iconic “Las Caras Lindas”.
For more information, visit truthrevolutionrecords.com. This
project is at Chelsea Table & Stage May 4th. See Calendar.

For more information, visit royalpotatofamily.com. This
project is at Birdland Theater through May 1st. See Calendar.

R • Albert Ayler–Revelations: The Complete
1970 Fondation Maeght Recordings
e ORTF(Elemental Music)c • Will Bernard–Pond Life (Dreck to Desk)
Bertault/David Helbock–o • Camille
Playground (ACT Music)m • Satoko Fujii/Joe Fonda–
Thread of Light (FSR)m • Yuko
Fujiyama/Graham Haynes/Ikue Mori–
Quiet
Passion (Intakt)e • Mary Halvorson–n Amaryllis & Belladonna (Nonesuch)
Johnston–Life in Time (Origin)d •• Darren
Miles Okazaki Trickster–Thisness (Pi)e • Álvaro Torres–The Heart Is The Most
Important Ingredient (Sunnyside)d Laurence
Donohue-Greene, Managing Editor• Zoh Amba–O LIFE, O LIGHT (577 Records)

BámbulaAlex “Apolo” Ayala (Truth Revolution)
by Russ Musto

In the decade since his debut album as a leader, Puerto

Rican bassist Alex “Apolo” Ayala has become an
in-demand sideman in both jazz and Latin music, oftenwith groups where the two intersect. On this sophomore
effort, Ayala delivers in a big way on the promise heinitially displayed as a bandleader-composer-arranger.
Following the trajectory of fellow Puerto Rican artists
David Sánchez, Miguel Zenón and Papo Vazquez, heputs forth a program of original compositions merging
contemporary jazz and traditional Afro Puerto Rican
music—specifically the various bomba rhythms of his
native island—in a distinctively personal manner.
The disc opens with the title track. The Bantu
word, meaning the memory of a forgotten place, is theorganizing principle of the album’s song cycle andmakes clear the African origin of bomba. Ayala’s talent
as a composer is immediately evident as Ivan Renta’s
alto saxophone renders the hummable melodic lines,
both brooding and celebratory, with a sense of urgency
recalling early Ornette Coleman over the polyrhythmic
intensity of potent bass notes and kaleidoscopic
cadences of Fernando Garcia’s trap set and Nelson
Mateo Gonzalez’ barrel drum. Bass and barrel drum
open ‘”Jibaro Negro”, giving the piece a decidedly
Middle Eastern tenor enhanced by twisting alto lines
and a taut bass solo. The boppish uptempo melody of“Bozales” sets the pace for a dynamic percussion
feature with ringing cowbell.
Vocalist Anna Louise Anderson joins on “Café yBomba Eh”, singing Ayala’s bilingual lyric as the song

14 MAY 2022 | THE NEW YORK CITY JAZZ RECORDn • Dave Brubeck Trio–Live From Vienna 1967e (Brubeck Editions)
Eberhard’s Potsa Lotsa XL &w • Silke
Youjin Sung–Gaya (Trouble in the East)
r
e
l
e
a
s
e
s

• Dave Gisler Trio–See You Out There (withJaimie Branch and David Murray) (Intakt)• HÜM–Don’t Take It So Personally (Losen)• Charles Mingus–The Lost Album from
Ronnie Scott’s (Resonance)• PLOP & JUNNU–Eponymous (Fiasko)• Shake Stew–Heat (Traumton)• Steamboat Switzerland–
Terrifying Sunset (Trost)• Natsuki Tamura–Summer Tree (Libra)• Yamash’ta & The Horizon–Sunrise from
West Sea (London-Wewantsounds)
Andrey Henkin, Editorial Director

Raw Demoon Alchemy (a lone operation)
Darius Jones (Northern Spy)by Robert Bush

The first solo saxophone album is usually attributed

to Anthony Braxton, who recorded For Alto in 1969.
The world has never really been the same since.
Nowadays, solo saxophone records are far morecommon; everyone from Sonny Rollins to Evan Parker
to Roscoe Mitchell (and that’s the tip of the proverbial
iceberg) has issued their own take on the concept.
Darius Jones has been creating highly personal(his sound is unmistakable) music since his debut
album Man’ish Boy (A Raw & Beautiful Thing) droppedon AUM Fidelity in 2009. Ten albums or so under his
belt led to this document, a solo set recorded in
Portland, Oregon on Oct. 18th, 2019.
This is a dark disc, brimming with acidic emotions,
not surprising considering Jones experienced thedissolution of his marriage prior to its recording. In theloosest possible sense, it is a ‘covers’ album. He openswith “Figure #2” by Georgia Anne Muldrow and one isimmediately struck by how he approaches the theme.
It would be hard to imagine a more plaintive andforlorn performance. It is pretty damn minimalistic as
well. Jones breaks the tune into two sections; on thefirst he leans toward a screaming multiphonic while
the second is daubed with a lighter texture. Veryslowly, he walks progressively further out of
microphone range, until silence takes over. That silence
is pierced dramatically by the first notes of Ornette
Coleman’s “Sadness” as Jones bends certain notes into
submission while holding others past the point ofrecognition. There is a pervasive beauty at work here.
The Wayne King-Victor Young-Egbert Van
Alstyne-Haven Gillespie standard “Beautiful Love” isheavily and brutally fragmented at first before settling
into an aching abstraction that sounds quite harrowing.
Perhaps there is an underlying message about theinherent danger of love being expressed—it also could
be noteworthy that “Beautiful Love” was featured in
the 1932 horror movie The Mummy. For the penultimate
tune Jones chose to interpret Mitchell’s legendary“Nonaah” from the 1976-77 Nessa album of the same
name. Jazz critic Clifford Allen has called it“extraordinarily confrontational” and that spirit alsoprevails here, in the best possible way.
For more information, visit northernspyrecs.com. Jones is at
Roulette May 4th-5th and National Sawdust May 6th-7th,
all as part of the MATA Festival, and Roulette May
20th-21st with Henry Threadgill. See Calendar.

IsabelaOded Tzur (ECM)
by Tyran Grillo

Tenor saxophonist Oded Tzur resurfaces in ECM

waters for his followup to 2019’s Here Be Dragons,a maiden voyage, which, like this spiritual twin, wasa musical parable. Rejoined by pianist Nitai Hershkovits,
bassist Petros Klampanis and drummer Johnathan
Blake, Tzur examines the fluidity of structural principles
and the materials involved in their making.
From the threads of “Invocation”, the quartet sews
the binding of its thematic pages in “Noam”, which
speaks through soulful melodies. In “The Lion Turtle”,
Blake taps the edges of his kit like someone testing theshell of an egg for vulnerabilities (and finding none).
Klampanis’ solo feels like an extension of Hershkovits’(and vice versa). Suggestions of alternate realities fadeas quickly as they appear. Tzur ’s unraveling is
profundity incarnate, gracing the inner circle of every
chord change as the tongue would move a morsel
around the mouth for proper chewing. The result ismore than a conversation, it is an interactive prayer.
The title track awakens suddenly yet quietly. Love isthe universal whisper here, as supple as skin. A
near-stillness shifts midway into a locomotive dream
before allowing the dawn to have its way. “Love SongFor The Rainy Season” whips up the most energetic
passages of the album, ending it on a cymbal crash thatdissipates in breath.
At 36 minutes, Isabela is a profound example ofquality over quantity. The depth of interpretation
promised by repeat listening far outweighs the
expectation that a mere profession of duration may
court from the skeptical heart. Tzur plays as if shielding
his eyes from the sun, seeing in the distance a vessel hecould have known as a child yet which is now haggard
and without a sail, going only where the water andwaves permit. He swings and whispers, meditates andshouts, holding each dichotomy as a eulogy.

the brakes for a fanfare-like chorus just as it is getting
going, does nobody any favors. The album’s second
half is dominated by a nearly ten-minute Ellington
medley (“Black Beauty/Drop Me Off In Harlem/
Echoes Of Harlem”), which feels like Broadway
pastiche until the halfway mark, when Fortner andKimmel deliver a dose of piano and drum thunder
worthy of Matthew Shipp and Whit Dickey. After that,everyone recalibrates and the music becomes much
more interesting. Bruce Harris is a player to watch.
For more information, visit cellarlive.com. Harris is at
Birdland May 8th with Andy Farber, The Django May 12th
and Cellar Dog May 21st as a leader. See Calendar.

For more information, visit ecmrecords.com. This project is
at Joe’s Pub May 7th. See Calendar.

Soundview
Bruce Harris (Cellar Live)by Phil Freeman

Bronx-born trumpeter Bruce Harris debuted as aleader with 2016’s Beginnings (Posi-Tone) and has alsooffered striking performances on albums byvibraphonist Behn Gillece, pianist Aaron Diehl anddrummer Herlin Riley, among others, and spent asignificant amount of time playing music for Broadwayshows. The latter aspect of his career gives him anunerring instinct for what will please an audience, but
he is enough of a hardcore jazz player to understandthe risks of letting that tip over into hammy overblowing
or simplistic approaches to the songs he chooses.
On this album, named for the neighborhood where
Harris grew up, he has written two pieces—the opening
title track and “Maybe It’s Hazy”—and picked out
compositions by jazz greats, including Duke Ellington,
Hank Mobley, Gigi Gryce, Randy Weston and therecently departed Barry Harris. The core band is pianist
Sullivan Fortner, bassist David Wong and drummer
Aaron Kimmel; vocalist Samara Joy appears on two
tracks, “If You Were Mine” and “Bird Of Red And
Gold”. Harris demonstrates his facility in a variety ofold-school styles; when blowing over hardbop changes,
he delivers a very slightly modern version of ‘50s
Freddie Hubbard, but when backing Joy, he becomesa Doc Cheatham-esque accompanist, offering a muted,
vocalized countermelody.
Mobley’s “Hank’s Prank” has energy to spare,though the tricky melody, which repeatedly slams on

THE NEW YORK CITY JAZZ RECORD | MAY 2022 15

Our Time (Reimagining Dave Brubeck)
Mark Zaleski Band (Origin)
by Ken Dryden

O ne of the biggest challenges in jazz is to takeanother ’s compositions and create fresh arrangements
paying respect to the originals while making personalstatements. Saxophonist Mark Zaleski, like his pianist
brother Glenn, is a Brubeck Institute alum and had theopportunity to perform for the legendary pianist,
though, as he explains in his liner notes, his
performance of a Brubeck standard upset the composer
because it was too close to the original recording. Thatleft a lasting impression and Zaleski not only finds his
own voice in his arrangements of Brubeck’s music,
but also includes many lesser-known works from thepianist’s vast repertoire. Due to Brubeck’s prolificoutput, many of his songs were written for studiorecordings and rarely explored in concert, sometimes
due to alto saxophonist Paul Desmond’s attitude
toward them. The band includes his brother, tenor
saxophonist Jon Bean, guitarist Mark Cocheo, bassist
Danny Weller and drummer Oscar Suchanek, all ofwhom are up to the demands of the music and theleader ’s arrangements.
The introduction to “Blue Rondo à la Turk” willsound familiar, though it quickly shifts gears with theaddition of tenor saxophone and guitar and Zaleski
far grittier than Desmond. The leader slows down “TheDuke” to a crawl, giving it a bluesier flavor, with lessemphasis on piano. Bean is a perfect foil for the leader,with subtle guitar adding a contemporary air. “Softly,
William, Softly”, one of Brubeck’s neglected masterpieces,
has Zaleski on soprano in a brilliant, deliberatearrangement, sharing the spotlight with passionate
tenor. The ethereal setting of “They Look Like God”,
written by Brubeck and his wife Iola for Louis Armstrongin The Real Ambassadors, is buoyed by Michael Mayo’s
effective vocal. Explosive soprano, an inventive bassline
and rockish backbeat takes “The Golden Horn”, anotherlittle-heard work, into new territory.
For more information, visit originarts.com. This project is
at The Atlantic BKLN May 11th. See Calendar.

Make Your Move
Ray Gallon (Cellar Live)by Marco Cangiano

The New York jazz scene is so rich with talents thatquite a few risk remaining in the somewhat
underappreciated musicians’ musician category. This
seems to be the case with Ray Gallon, a mainstay forsome 30 years as performer, composer and educator.

16 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

Thanks to Cory Weeds’ Cellar Live, this is Gallon’s
first CD, which is incredible looking at his resumé:
credits with a long list of vocalists including Jon
Hendricks and Sheila Jordan and everybody from
Dizzy Gillespie and Milt Jackson to Ron Carter, who
penned the savvy liner notes. Bassist Dave Wong anddrummer Kenny Washington complete a very empathic
trio showcased on nine originals and two standards.
Gallon is a brilliant pianist deeply rooted in the
tradition and mentions among his teachers a Who’s
Who of bop from John Lewis to Barry Harris and Hank
Jones, the latter to whom “Hanks a Lot”
is dedicated. Gallon’s originals are reminiscent of the
bop/hardbop canon with echoes of Bud Powell (opener“Kitty Paws” and “Harm’s Way”), aforementioned
Jones and the occasional reference to Thelonious Monk
(an appropriately titled “Out of Whack”).
Gallon has also quite a knack for the blues as
illustrated by “Craw Daddy”, where Red Garland’s
way of harmonizing comes to mind. Wong andWashington are essential both in their accompanimentand solo outings; the former ’s deep sound is always
very musical, as his solos in “Craw Daddy” and “That’s
the Question” clearly show, while the latter delivers aclinic on taste and restraint (listen to “Back to the Wall”
and “Plus One”).
Victor Young-Ned Washington-Bing Crosby’s“I Don’t Stand a Ghost of a Chance with You” is given
a dramatic treatment whereas Jerome Kern-Otto
Harbach’s “Yesterdays” is executed at a brisk tempo
with a Latin twist. The midtempo title track wraps up
a most enjoyable recording. Let us hope we will nothave to wait another 30 years for a followup.
For more information, visit cellarlive.com. Gallon is at The
Django May 11th. See Calendar.

G LO B E U N I T Y

The Purity of Desire
Ivo Perelman/Gordon Grdina/Hamin Honari (Not Two)
It Forgets About The Snow
Urs Leimgruber/Jacques Demierre (Creative Works)
Weft
Robbie Avenaim/Chris Abrahams/Jim Denley(Relative Pitch)by Tom GreenlandThis month’s column reviews projects featuring

less commonly used improvising instruments.
Though their timbres may be unfamiliar, in creative
hands they offer novel possibilities.
Brazilian tenor saxophonist Ivo Perelman ispredictably unpredictable on The Purity of Desire in atrio with Vancouver-based oud player Gordon Grdina
and percussionist Hamin Honari, the latter a specialist
in Iranian tombak (goblet drum) and daf (jingled
frame-drum). Certainly the tones of the Middle
Eastern instruments are redolent of their heritage,
but Grdina and Honari are not culture-bound,
preferring to forge new frontiers. On most tracks
Honari favors daf, tapping and shaking soft ripplingrhythms as Grdina picks biting patterns in the oud’s
lower register and Perelman explores the middle,
upper and stratospheric ranges of the tenor with atechnique so lithe and controlled you would swear he
was playing a soprano. The most inspired moments—
at the end of “Love Is a Stranger”, last half of “TheJoy that Wounds” and middle of “Light upon
Light”—attain quiet ecstasy.
It Forgets About The Snow, a two-disc (one studio,
one live) set by Swiss duo Urs Leimgruber (sopranosaxophone) and Jacques Demierre (amplified spinet),suggests through its title and stark white cover anabsence of color and, by extension, negative space.
Persistent silences typically lasting 30 seconds orlonger interrupt the flow, pushing background to thefore, creating positive space from negative, the audio
equivalent of a Zen rock garden. Demierre is often in
the spinet box, striking, strumming, plucking or
bending strings to induce a gamut of unusual sounds,
from clockworks, buzz saws, sirens and gongs to amenagerie of animal calls. Leimgruber percussively
hammers his keys or detaches the mouthpiece toemulate yodeling trills and overtone-ladenbullroarers. Lack of audible audience noises on thelive disc only amplifies the silences, the listeners’
presence suggested by an upsurge of musical energy.
Weft by Australians Robbie Avenaim (preparedtypewriter), Chris Abrahams (synthesizer) and Jim
Denley (bass flute) is a 45-minute safari into themusical outback where a variety of indigenous
wildlife may be heard. Avenaim, known for expansive
percussive technique, serves as ‘drummer’, triggeringa series of noises suggesting crickets, bullfrogs,
swarming locusts, metallic raps, unspooling fishingreels, tap-dancing stiletto heels, crinkling cellophaneor chopsticks on a linoleum tabletop. Abrahams
exploits the plasticity of analog synthesizer toconjure up unusual drones, theremin-like murmurs,
thrumming motors, twanging jaw harps and otherless identifiable sounds. Denley supplies breathy
textures, throaty chortles, multiphonics and low-end
bass notes recalling a didgeridoo. He often sounds
like a clarinetist in the chalumeau register, thewarmest color in an otherwise shadowy soundscape.
For more information, visit nottwo.com, creativeworks.ch
and relativepitchrecords.com

Ghost Song
Cécile McLorin Salvant (Nonesuch)by Joel Roberts

O ver five previous albums, hyper-talented vocalist

Cécile McLorin Salvant has established herself as her
generation’s jazz singer to watch with an emotive,
crystal clear voice and far-ranging musical influences.
A savvy interpreter of less-familiar standards, known
for giving a uniquely personal and modern twist to
obscure and long-forgotten songs, she takes a major
leap forward with her latest release, turning to more
contemporary and non-jazz covers, as well as more ofher own original compositions than in the past.
All of that makes for a supremely eclectic, yetsomehow cohesive album. The opening track, forexample, is a stunning a cappella rendering of KateBush’s “Wuthering Heights”, which segues into an
unlikely mashup of “Optimistic Voices” (a frenetic,
oddball tune from The Wizard of Oz) and the melancholic
Gregory Porter ballad “No Love Dying”. Other covers
of note include an intimate reading of Sting’s “Until”
and rambunctious take on Kurt Weill-Bertolt Brecht’s“The World Is Mean”.
Equally impressive—and eclectic—are the seventracks Salvant wrote, which run the gamut from “MoonSong”, a classic jazz ballad evoking prime Sarah
Vaughan, and folksy Americana of “Thunderclouds” tothe experimental “I Lost My Mind”, which starts out
simply enough as a duo with Salvant and pianist
Sullivan Fortner before morphing into a sort of PhilipGlass-esque electronic soundscape with Aaron Diehl
on pipe organ. The title track is a mournful blues,
which opens with Salvant’s powerful unaccompanied
voice and closes with a youth choir singing thedecidedly un-childlike refrain, “I will die with theghost of our love / I will die with the ghost of our long
lost love”. And if Salvant’s intellectual and creative
ambitions weren’t apparent enough, she even sets tomusic a moving love letter from photographer Alfred
Stieglitz to painter Georgia O’Keefe.
Still only 32, Salvant already has three Grammy
Awards and a MacArthur “Genius” grant to her credit,
but if Ghost Song is any indication, she is just beginningto hit her stride and truly find her voice.
For more information, visit nonesuch.com. This project is at
Rose Theater May 12th-13th. See Calendar.

Songbook, Vol. 1: Bus Stop Serenade
Brian Lynch (Hollistic Music Works)
by Scott Yanow

Trumpeter Brian Lynch’s Songbook, Vol. 1: Bus Stop

Serenade, recorded in 2016 but only released recently, isa two-CD set of nine of his originals. Lynch’s goal is to
document on his Hollistic Music Works label all of his
compositions previously recorded elsewhere. Lynchand his quintet ran through his tunes once as a warmup
and then as final versions but he found that he liked

18 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

both sets and decided to release everything. Disc One
has all nine songs, all but “Keep The Circle Small”
heard in alternate versions on the second disc.
A member of the last version of Art Blakey’s Jazz
Messengers in 1989-90, Lynch has always had aconnection to great hardbop trumpeters like Freddie
Hubbard and Woody Shaw. The compositions herein,advanced hardbop tunes written from the mid ‘90smid ’00s, would have been perfectly suited for the 1973
Jazz Messengers with Shaw and tenor saxophonist
Carter Jefferson. Lynch is joined by alto saxophonist
Jim Snidero, pianist Orrin Evans, bassist Boris Kozlov
and drummer Donald Edwards. The two-horn
harmonies during the melody statements, modern
chord changes and frameworks are both timeless anda logical extension of late ‘60s-early ‘70s acoustic jazz.
The solos are concise and so filled with emotion anddrive that they often leave one wanting a bit more.
Among the songs are uptempo “24-7”, cooking“On The Dot”, “Clairevoyance” (which one could
imagine Wayne Shorter writing for the Jazz
Messengers), jazz waltz “Before The First Cup” andtwo songs named after great trumpeters and befitting
their style: “Woody Shaw” and “Charles Tolliver”. The
latter, a modal blues with a theme that pops up between
the solos, is particularly memorable. Throughout
Lynch is heard in top form with Snidero contributing acomplementary voice and the rhythm section (all ofwhom have solo features) is tight. The alternate
versions hold their own with the first choices and there
are certainly no throwaways on this twofer.
For more information, visit hollisticmusicworks.com. Lynchis at Tribeca Performing Arts Center May 12th as part ofHighlights in Jazz and Dizzy’s Club May 31st as part of aRalph Peterson tribute. See Calendar.

Live in Pawling
PAKT (MoonJune)by Marc Medwin

It is amazing what can happen in five minutes, howthat seemingly insignificant interval can feel lengthy
or brief depending on occurrence and circumstance.
That is how long it took PAKT to find itself, to gain thatebbing, flowing and always resourceful grooving
momentum that is coming to be the launchpad forevery performance. When Kenny Grohowski’s snare
hits big at 4:56 and Percy Jones’ bass slides down
freedom’s precarious slope at 5:02, a portal opens,a gateway to one of the finest sets of improvised music
to grace these ears in recent memory.
Suggesting a period of discovery should not betaken as exposing weakness and “Inception”’s firstinteractive stretch seethes with protean invariance only
veteran improvisers can muster. Witness the whisps ofsteam emerging from the luminous brew, like the brief
but venomously difficult extended phrase from Jones at
2:01 or the stealthy tones guitarist Alex Skolnick floats
throughout, fellow guitarist Tim Motzer entwining themwith piquant fifths over the sudden punctuations ofbrushed snare. It is only when that singular moment
occurs there is a melding of purpose that will assist all
succeeding events in falling into place. By the nineminute mark, we have raced headlong into a monster
Motzer solo with Skolnick’s fundamentals and pitch
displacements providing one layer of the fluid backdrop.
It is impossible to encapsulate the music’s myriad
peaks and valleys, often molten or littered withvolcanic ash. Those crystallized moments of change
and exchange will have to suffice, like “Harlem Valley
Medication”’s exquisitely multidirectional opening,
guitar timbres mirroring both themselves and theirmotion across the stereo spectrum even as subtle bass
and sizzling cymbals support them. As wonderful as
the counterpoint can be—such as Jones echoing
Motzer ’s ascending phrase at 4:50—none of it preparesfor the rock fury of “Restore Order in the Gallery”.
Skolnick’s mind-stomping solo there has its analog inthe screaming technological mayhem unleashed at thehighest points of “Fonk Junket”, a relative miniature incomparison to the surrounding ‘prog’ giants. Yet, after
all the skronk and psychedelic wizardry have spentthemselves, “Gateways and Goodbyes” concludes theevening with the delicacy and grace of “Inception”’s
inaugural forays. Grohowski paints with fine strokes
enhanced by Jones’ foundational octaves, arpeggiations
and perfect slides, the guitarists in dialogue over alayer of luminous electronic orchestration.
Live in Pawling is one of four concerts recorded bythis quartet over a four-night period in Summer 2021
and each is superb. The playing is second to none,building and rebuilding on the foundations of every
slow atmospheric swell and groove, but equally
impressive is the production, making individual
contributions sound like a small ensemble and allgroup interactions multi-leveled aural experiences.
The fact that so many effects are used is an advantage,as created environment becomes an orchestral
instrument in the lush and ever-evolving soundscapes.
Live in Pawling and its companion downloads areamong the best in MoonJune’s increasingly daunting
catalogue. If only all ‘supergroups’ were this good.
For more information, visit moonjune.com. Kenny Grohowski
is at The Stone at The New School May 12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2022 19

A Point On A Slow Curve
Dana Lyn (In a Circle)
by George Grella

Violinist Dana Lyn is a versatile musician. She sounds so

at home playing Irish music, rearranging Bach orconstructing prog-punk arrangements behind Vincent
D’Onofrio’s surreal beat poetry, it can be easy to admire
her musicianship but hard to pin down her specific voice.
This album goes a long way toward filling ina picture that was substantially begun with 2013’s
Aqualude and it is no criticism of the music-making to
say that this also is only a partial illustration, one large
piece in a larger puzzle. This is also not a jazz album,
even with the presence of musicians like clarinetist
Mike McGinnis, bassoonist Sara Schoenbeck and cellist
Hank Roberts. Lyn is not really a jazz player and, infact, this album is not about her playing—she is verymuch one musician in a larger ensemble—but it isabout her as a composer and lyricist.
The style here is something like the recent indieclassical movement, but less about compositional
technique and more honest about the progressive rockroots that are at the foundation of both album andgenre. Not that it is loud or heavy—the album is mostly
warm and gentle though at times it does build up
a good head of steam—but the rhythms are rock andthere is a song-form core that Lyn stretches out andreassembles into more complex shapes.
There is a restraint at times sounding like designand others like the musicians weren’t totally confident
with the material. The voices have a gliding shape andsome vinegary harmonies that connect to Steve Reichand the classic prog band Renaissance. Tonal andorganized, it still sounds like the parts are striving to
fit into some spaces that are absent, music Lyn has yet
to make but that will fill in another piece.
For more information, visit danalynmusic.com. Lyn is at
BRIC House May 6th, Barbès May 14th and Greenwich
House Music School May 19th. See Calendar.

messages often come fused to the music. “Covid
Blues”, where Handy’s piquant yet poignant soprano
joins the core trio, nods to the prevailing mood of thepast two years while pushing back with smilinginterplay. “A Change Is Gonna Come”, spotlighting
affecting piano and soulful tenor, is sadly relevant,addressing the same racial prejudice and horrors thatinspired Sam Cooke to write it well over 50 years ago.
“Enough is Enough” rightly broods while straddlingthe boiling point. “A Prayer for Us”, with its gospelinformed considerations, sounds hopeful while
acknowledging hardship(s). And “Chaos”, displaying
a bubbling and rumbling rhythmic syntax, provescompletely of and for our times.
While largely focused on issues from this day andage, O’Connell, as indicated at the album’s dawn, isn’t
beyond looking elsewhere for inspiration. Brightcalypso “Sun for Sonny” pays tribute to tenor
saxophone icon Sonny Rollins, who brought O’Connell
and Jordan together under his employ nearly four
decades ago (and also ushered Goines into his bandat a different point in time). “Sweet Peanut”, carriedalong with a buoyant Brazilian groove, is dedicated to
O’Connell’s young granddaughter Poppy. And closingwith Victor Young-Ned Washington’s “My FoolishHeart”, served up in funky fashion, demonstrates, likethe album’s other bookend, how quality compositions
are both timeless and malleable. Boasting a brilliant
cast, sharp writing, strong and stylistically varied
performances and meaningful commentary on ourcurrent condition(s), A Change Is Gonna Come shows
O’Connell at his well-rounded best.
For more information, visit jazzdepot.com. O’Connell is at
Chelsea Table & Stage May 14th with Richard Baratta andBirdland Theater May 26th. See Calendar.

N

U

EW

SE
D

236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com

A Change Is Gonna Come
Bill O’Connell (Savant)by Dan Bilawsky

Both musically and socially speaking, there is absolutecertainty surrounding what Bill O’Connell has to say.
This veteran pianist, reacting to the maladies of the
moment, states his thoughts about where we stand in
perfectly transparent fashion, openly sharing themthrough his work. Teaming up with bassist Lincoln
Goines and drummer Steve Jordan and adding
saxophonist Craig Handy and percussionist Pedrito
Martinez to the mix as guests, O’Connell offers passion
and pure truth in equal measure.
After opening this stellar set with a funk-meetsswing trio take on John Coltrane’s “Moment’s Notice”
and following that up with an insistent samba—“LocoMotive”, adding Martinez to the equation—clear

20 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Criss Cross, ECM, Enja, ESP,
Fresh Sound, High Note, Pi, Savant,Sunnyside, Venus and many more.

Amaryllis & Belladonna
Mary Halvorson (Nonesuch)by Stuart Broomer

Guitarist

Mary
Halvorson’s
Nonesuchdebut
accompanies a significant expansion of her composing
activities. She is releasing two individual CDs (alsoavailable as a two-LP set), each a multi-segment suite.
Amaryllis debuts a new sextet with vibraphonist Patricia
Brennan, trumpeter Adam O’Farrill, trombonist Jacob
Garchik, bassist Nick Dunston and drummer Tomas
Fujiwara. Belladonna has her with Mivos String Quartet.
However, the two suites are closer than one may think.
The final three of Amaryllis’ six movements have Mivos
Quartet joining the sextet, creating a tentet, the largest
group for which Halvorson has thus far composed.
Further, there is something in the titling suggestive ofgreater affinity. While “amaryllis” names a common
winter-blooming houseplant and “belladonna” suggests“deadly nightshade”, the botanical name of the former isamaryllis belladonna, suggesting two sides of the same idea.
The sextet’s sonic profile is immediately attractive,
with all the brightness of vibraphone and guitar
complemented by the brassy lustre of trumpet andtrombone. The compositions seem modular and flexible,
built out of moving segments emphasizing writing or
improvisation, resisting definitive structures. Realized bya troupe of gifted improvisers, this is music of compoundsuggestion, created by ambiguities and contrasts ofmood, harmony and orchestration, an innate quality of
Halvorson’s composing further enhanced by the string
quartet. “Hoodwink” has distinct textural contrasts;
it begins in high-pitched, whistling, dissonant bowedstrings with pizzicato punctuations and cello glissandi,
briefly giving way to a rhythmic pattern of vibraphone
and percussion, then eventually merging with the full
ensemble. Halvorson’s solos feed on this, blending clean
sounds and pitch-spinning electronics even further than
one has come to expect, the two becoming a simultaneity,a virtual duet inside and outside conventions.
Belladonna is an equally striking conception, botha distant and close relative of a 60-year-old Third Stream
masterpiece, Stan Getz’ Focus, a suite composed by Eddie
Sauter in which he created pieces for a string ensemble
and rhythm section, over which Getz improvised without
pre-determined melodic content. Halvorson hascomposed a five-part suite over which she improvises,
sometimes synchronizing with the composed parts,
at other times playing with tremendous freedom. On“Moonburn”, a slow-tempo work with melodic materials
stretching from wistful to longing to gloomy, Halvorson
improvises through the work’s early minutes, her
contribution a polyphonic cascading of burbling lines,
myriad light dissonances suggesting a spring rain of
microtones. On “Flying Song” she initially moves in andout of the string quartet, sometimes matching the celloline, at others functioning as a melodic lead. The middle
section is an unaccompanied guitar solo, Halvorson’schords and looping creating a virtual analogue of thequartet. Throughout, her affinity with the strings isremarkable. One doesn’t immediately imagine an electricguitar as compatible with a string quartet, but Halvorson
creates a genuine equilibrium, whether it is her guitar’s
clarity, the sustain enhanced by subtle amplification or
the way her strange electronic bends inhabit the strings’
flexible pitches.
For more information, visit nonesuch.com. This project is at
National Sawdust May 18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2022 21

ON SCREEN

Imágenes Latinas
Spanish Harlem Orchestra (Ovation)
by Marilyn Lester
Bix: Ain’t None of Them Play Like Him Yet
Brigitte Berman (Kino Lorber)by Kevin Canfield

A century ago, Hoagy Carmichael says in thisbeguiling documentary, jazz fans who liked to “standin front of the band and clap their hands and carryon” were known, at least in the Midwest, as“alligators”. Carmichael doesn’t explain the term’s
origin, but it may have something to do with theshort-armed, close-to-the-chest applauding hedemonstrates when recalling a Bix Beiderbecke
performance. In the early 1920s, Carmichael was alaw student at Indiana University when a band called
The Wolverines, with Beiderbecke on cornet, played
there. “He hit four notes and I’m telling you, I jumped
to the ceiling,” the songwriter says. The music “struck
me so deeply that I went over and fell down on thedivan to get my breath.” When it came to Beiderbecke,
Carmichael says, he was a shameless alligator.
Restored four decades after its premiere, Brigitte
Berman’s Bix is an insightful documentary abouta man who, per his contemporaries, couldn’t playa hackneyed note. An Oscar winner for Artie Shaw:
Time Is All You’ve Got, her 1985 documentary, Berman
eschews of-the-moment graphics, outré camera angles
and other frills, instead crafting a straightforward,
well-organized, smartly-paced celluloid biography.
Informative bits about, for instance, the laborious
effort to transcribe Beiderbecke’s ever-changing
composition “In A Mist” are augmented by insightful
anecdotes told by Carmichael, Doc Cheatham andothers who knew and admired Beiderbecke. These
interviews are particularly interesting because they
are among the last some of these men gave—
Carmichael died in 1981, four months after the film’s
first screening in New York.
Using still photos and the popular music of theday, Berman provides a vivid look at Beiderbecke’s
youth in Iowa, where his relatively prosperous family
owned a single record: the Original Dixieland Jass
Band’s “Tiger Rag” from 1917. Nonetheless,
Beiderbecke was a piano whiz who made anapparently seamless transition to cornet, landing gigs
with busy bands. In one eight-week tour, he andfellow members of Paul Whiteman’s orchestra logged
12,000 miles on trains. Beiderbecke generally playedin all-white bands showcased by segregated clubs,
but he was a diehard fan of many Black musicians.
A perhaps apocryphal story, told by narrator Richard
Basehart, has it that Beiderbecke, not eager for Bessie
Smith to end her set at a Chicago speakeasy, emptied“his pockets and put all his money on the table, justto keep her singing.” Beiderbecke’s former bandmatesrecall an uncommonly innovative player with
idiosyncrasies that cost him jobs. He barely readmusic, avoided predictable musical phrasing anddrank a lot, contributing to his death from pneumonia
in Queens at the age of 28. Beiderbecke recorded withrelative frequency, however, and Berman peppers her
film with his uptempo, intricately articulated cornet
solos, rich, distinctive sounds evoking the joy andmelancholy of the interwar years.
For more information, visit kinolorber.com

The Gospel According to Nikki Giovanni
Javon Jackson (Solid Jackson)
by John Pietaro

You don’t have to hable español to enjoy the Spanish N ikki Giovanni is a national treasure, a seminal figure
Harlem Orchestra (SHO), but it helps to get the full
impact of the music on Imágenes Latinas (Latin Images),even though it is highly evocative. The 11-track album,
the group’s eighth release, is pure high-energy salsa
gold, a vocally-driven collection of tunes of what
leader Oscar Hernández calls “hardcore salsa”. 		
Basically, the music is mambo. From the first cut,
“Llegó Hispanica” (loosely meaning, the Spanish havearrived) to the last, self-explanatory “La Música Latina”,
what is in between is an homage to the iconic Palladium
ballroom and the likes of musicians Mario Bauza, Tito
Puente, Machito and Damaso Perez Prado. SHO, formed
in 2002 by pianist Hernández, has won three welldeserved Grammy Awards. Their sound is tight andenjoyable no matter how fine a point you want to put on
defining true salsa/Latin style. Historically, the basic
rhythm is defined by the clave, which made its way via
the enslaved from West Africa to the Caribbean andthen to New Orleans. But broken down to the core, what
this music is all about is rhythm. Technically, the soundis a basic mix of Cuban rumba and son, Puerto Rican
bomba and plena and Dominican merengue. There arehints of Brazilian samba and Mexican bolero in sometunes, but it is percussion that drives the beat and thebeat is about movement and dance.
Lusito Quintero (timbales, maracas, güiro), George
Delgado (congas) and Jorge Gonzalez (bongos) are theheart of the album. The vocalists—Marco Bermudez,
Carlos Cascante and Jeremy Bosch (who also plays
flute)—all provide both leads and backup. Geared tothe tenor vocal range, the style is full of the shortclipped phrasing defining much of Latin dance genres.
There are several ballads, but two stand out inparticular. The Hernández-composed “Como Te Amo”
opens with a lovely flute solo and sways into close
harmonies behind the impassioned soloist declaring
his love. The tune evokes images of undulating palms
under Caribbean moonlight, as does the equally
impassioned “Mi Amor Sincero” (Marco Bermudez-Gil
Lopez), a song of intense longing and high hopes.
With percussion mostly always forward on all
tracks, “Romance Divino” begins with a soft piano
introduction, showcasing Hernández’ artistry andskill. The arrangement then flows into vocals and a
melodic base drawing inspiration from the classic ‘60s
Motown sound. “Mambo 2021”, the sole instrumental,
while still featuring percussion forward, gives equal
voice to all the players, including trumpeters Manuel“Maneco” Ruiz and Alex Pope Norris, whose brightsound is an essential accenting and secondary melodic
contribution to the album’s arrangements. Trombonists
Doug Beavers and Juan Gabriel Lakunza, flutist/
baritone saxophonist Mitch Frohman and bassist Jerry
Madera also shine.
The entirety of Imágenes Latinas is a bonanza forthose who love this music, romanticized in film andliterature (think the Pulitzer Prize-winning novel
The Mambo Kings Play Songs of Love by Oscar Hijuelos).
In striving to keep tradition alive, SHO gloriously
succeeds in a Latin groove guaranteed to get feettapping and bodies moving with delight.

in the annals of the Civil Rights and Black Liberation
struggles and a stalwart poet of renown and a certain
fearlessness. Presently, just shy of her 79th birthday,
Giovanni continues to be tireless in her roles as a
Virginia Tech Distinguished Professor and as a vital
literary figure. Her sizeable body of work has primarily
focused on the socio-political, but never with a loss
to art; she is living, breathing evidence that works ofprotest need not be fleeting.
Giovanni has a long history as a performance poetwithin the Black Arts Movement and several of her mostimportant records of the ‘70s—featuring commanding
spoken word with backing by David “Fathead”
Newman, Cornell Dupree, Richard Tee, Steve Gadd,
Bernard “Pretty” Purdie and others—are deeply
impactful. Happily, the Modern Harmonic label has,just last year, rereleased several of these historic works.
In contrast, with tenor saxophonist Javon Jackson,
Giovanni stands as guide, surely inspiration, who
selected the spirituals that comprise the album. Whilethat is of great significance, her direct participation isleveled at only two pieces. High points of The Gospel
According to Nikki Giovanni include Giovanni’s poem
interpretation of “Wade in the Water” (read by Christina
Greer) and the single track including the poet, “NightSong”, for which she is employed as singer, notable as
Giovanni’s only recording as a vocalist and, further,
dedicated to the late, great Nina Simone, a dear friend.
A lasting part of Simone’s repertoire, “Night Song” is aCharles Strouse-Lee Adams number from the Broadway
musical production of Clifford Odets’ Golden Boy(playwright Odets was a fighting cultural worker of the‘30s). The poet’s voice, appropriately strained with age,easily depicts her long and noble struggle as well as thewarm connection to a lost friend. “Wade in the Water”,
an allegory of revolution, is here expanded by Giovanni’s“A Very Simple Gift”:

For more information, visit ovation-records.com. This
project is at Hostos Center May 14th. See Calendar.

For more information, visit javonjackson.com. This project is at
BAM Howard Gilman Opera House May 22nd. See Calendar.

22 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

i should imagine we shall lose our souls
since we have so blatantly put them up
for sale and glutted the marketplace
thereby depressing the priceJackson’s bold-faced tone is quite the match forthis body of work; midranged, he exudes John
Coltrane’s “Alabama”, particularly with the moody,dark interpretations of “Wade in the Water” andespecially “Sometimes I Feel Like a Motherless Child”.
Jeremy Manasia’s piano thrives on the Freedom
Summer influences, flawlessly capturing theatmospherics, so profound, so grounded, and Jackson
organically touches upon the encoded messages built
into these works, which guided liberation from slavery.
While a powerful authenticity is felt in many
selections, there are points when the material settles
into an uncomfortable, possibly unforgiveable ‘soft
jazz’ realm. Most vexing is the bossa nova that becomesof “Swing Low, Sweet Chariot”. Largely, however, thisrecord makes a relevant adjunctive statement to
Giovanni’s earlier albums Truth is on Its Way, The Way
I Feel and Like a Ripple on a Pond.

Paris Sessions 2
Tierney Sutton (BFM Jazz)
by Jim Motavalli

Paris Sessions 2 is a bit of a misnomer. The first

Grammy-nominated Paris Sessions, from 2012, wasrecorded in the City of Lights, but its followup was
made in LA. The connection is pretty deep, though.
Sutton bonded with guitarist-arranger Serge Merlaud
at the first session, then married him. He is co-producer,
arranger and featured guitarist and should probably
be co-billed here, since he is omnipresent.
This is an expansive date, with 13 tracks, some ofthem lengthy. Hubert Laws—not heard nearly enoughthese days—is on flute and Kevin Axt is on bass. The
material ranges from standards to three songs by Alanand (recently departed) Marilyn Bergman and two by
Antônio Carlos Jobim. The drum-free album maintains
a consistently languid mood; Jeri Southern meetsJohnny Smith is one model, maybe wearing a beret.
Jobim’s “Triste” is a feature for wordless vocalizing
and bossa guitar and Merlaud’s “Zingaro” is the same
but with a haunting Laws creating atmosphere andsoloing beautifully. A shifty medley of “April in Paris/
Free Man in Paris” has Merlaud (gloriously) upfront.
On the standards, Sutton’s gentle, perfectly
articulated style doesn’t change much but Merlaud isclearly channeling the Bucky Pizzarelli/George
Barnes/Jim Hall axis (with Brazilian touches). Sutton
uses a tiny bit of vibrato on the Gershwins’ “Isn’t it a
Pity” and even more, with sustain, on “Beautiful
Love”, which also features a lovely solo from Axt; thebassist also gets his due on Sting’s “August Winds”.
“Cinema Paradiso/I Knew I Loved You” is wordlessfor the Ennio Morricone section, then segues into afairly straight reading of the Bergmans’ tune. This is
more pop than jazz, but with Laws aboard still in the
mood. “Moonlight” and “A Child is Born”—theBergmans again—are kind of gloppy, though Merlaud
does his best on the former and Laws on the latter. Willy
Wonka anyone? Everyone from Lou Rawls and Maroon
5 to Fiona Apple and the cast of Glee has covered Leslie
Bricusse-Anthony Newly staple “Pure Imagination”.
Sutton and Merlaud spin it Brazilian jazz-wards.
It all comes together on the penultimate track, Cole
Porter’s “You’d Be So Nice to Come Home To”, which islike something comfortable Sutton slips on. The samecan be said of this comforting album, which would benice to come home to after a day in the salt mines.
For more information, visit bfmjazz.com. This project is at
Birdland May 24th-28th. See Calendar.

1960-1961 (Live in Paris)
Cannonball Adderley (Fremeaux & Associes)
Chemistry (feat. Louis Hayes & Jeff “Tain” Watts)
Joris Teepe/Don Braden (Creative Perspective Music)
by George Kanzler

J ulian Cannonball Adderley’s Quintet was the second
important hardbop band drummer Louis Hayes joined.
As a 19-year-old, in 1956, his first major gig was with

the Horace Silver Quintet. He joined Adderley in 1959
and the concerts documented on 1960-1961 (Live inParis) were recorded when he was 23. He remained
through mid 1965, holding down the drum chair inwhat was arguably the heyday of the Cannonball
Adderley Quintet/Sextet. Hayes is also one of the two
drummers featured by Don Braden and Joris Teepe on
their new album Chemistry, recorded over 60 years
after the drummer began playing with Adderley.
With the exception of the first three tracks on thefirst CD, all the music on 1960-1961 (Live in Paris)
comes from two concerts on Apr. 15th, 1961 at the
Olympia Theater. The alto saxophonist had reformed
his quintet, with brother Nat Adderley on cornet, in
1959 after a stint with Miles Davis (including appearing
on the best-selling jazz album of all time, Kind of Blue).
His quintet prior to Davis had not been very successful,commercially, but the 1959 rebirth burst out of theblocks with a genuine hit tune, pianist Bobby Timmons’“This Here”, which was credited with kicking off thegenre “soul jazz”. Timmons had moved on from theband by Paris, replaced by Victor Feldman, but thequintet’s version can be heard on both of the sets.
Adderley’s signature music was blues-infusedand highly rhythmic hardbop, heavy on backbeats andemphatic, finger-snapping rhythms, making Hayes’role crucial to the band’s sound. Bluesy call andresponse over syncopated blues-swing beats animatedsuch tunes as Nat Adderley’s “Work Song”, Duke
Pearson’s “Jeannine” and Adderley’s own “Sack
O’Woe”, all heard here, the latter pair each in two
versions. Whether essaying such soul jazz or more
boppish and hard boppish tunes such as Thelonious
Monk’s “Well You Needn’t”, Tadd Dameron’s “OurDelight”, or Randy Weston’s “Hi-Fly”, the quintet,
rounded out by bassist Sam Jones, brings spark andverve to the proceedings, both Adderleys forceful andcommanding in solos.
However, Cannonball Adderley was no one-trick
pony, as the inclusion of Monk and Weston suggests.
A highlight of the first CD is a take of Joseph Kosma’s“Autumn Leaves” modeled on the version recorded on
his Somethin’ Else album, which featured Davis as asideman. Nat ably echoes the Harmon mute trumpetrole and Cannonball unspools a captivating solo. The
concerts also gave prominent cameos to the nonAdderleys in the band. Feldman is featured in trio as
well as on vibraphone, both with the quintet and ina trio ballad. Jones steps out front on cello (pizzicato)both with the band (“In Walked Ray”) and in a quartet
setting, Ron Carter enlisted to play bass in bothinstances. Oscar Pettiford’s “Bohemia After Dark”,
the closing track of Disc Three, becomes a feature forHayes, beginning with fours traded with alto before an
extended solo, wherein he manages to suggest handdrumming while playing with sticks.
Chemistry is the second recording of Trio of Liberty,
a band co-led by tenor saxophonist Braden and bassist
Teepe featuring different guest drummers as musicalcatalysts. Cast in the open, no-chordal instruments trio
tradition of Sonny Rollins and Joe Henderson, they
here employ either Hayes or Jeff “Tain” Watts. Hayes’
three appearances include him reprising his soulful
swing feel on Silver ’s “Song for My Father”; laying
down a slow blues groove on Sam Jones’ “Unit 7”;
and engaging in a spirited give-and-take duet with
Braden on Ernie Wilkins’ “Dizzy’s Business”. Watts
joins the for four tracks, splashing cymbals on Braden’s
6/4 blues “Steps”; grooving a shuffle on Teepe’s“The Optimist”; and, most impressively, varying, by
accelerating and decelerating tempos, the momentumof Braden’s compelling solo on Herbie Hancock’s “OneFinger Snap”. Braden plays flute on “Unit 7” and theco-leaders duet on his lyrical ballad “Morning”.
For more information, visit fremeaux.com anddonbradenjazz.com. Louis Hayes’ 85th Birthday Celebration
is at Dizzy’s Club May 26th-27th. See Calendar.

MINGUS BIG BAND

EVERY MONDAY! 7:30 & 9:30pm Shows!
TUE
5/3

Yotam Silberstein Brazilian Quartet
Fabiana Masili

7:30PM
10:30PMWED
5/4

Pete Malinverni ft. Anais Reno
Tony Glausi Quintet

7:30PM
10:30PM

THR
5/5

Benito Gonzalez Quartet
High & Mighty Brass Band

7:30PM
10:30PM

FRI
5/6

Ken Fowser Quintet
Gotham Kings

7:30PM
10PM

SAT
5/7

Hank Allen-Barfield Quintet
Domo Branch Quintet

7:30PM
10:30PM

TUE
5/10

Private Event
ELEW Electro Acoustic Trio

7PM
10:30PMWED
5/11

Terreno Comum ft. Alexia Bomtempo
Ray Gallon Trio

7:30PM
10:30PM

THR
5/12

Alex De Lazzari Quintet
Django All Stars

7:30PM
10:30PM

FRI
5/13

Ken Fowser Quintet
Aaron Seeber Album Release

7:30PM
10PM

SAT
5/14

Private Event
Evan Sherman

7PM
10:30PMTUE
5/17

Pedro Cortes Flamenco Ensemble
Chino Pons

7:30PM
10:30PMWED
5/18

Pasquale Grasso & Friends
Sachal Vasandani Presents

7:30PM
10:30PM

THR
5/19

Chris Lewis Quartet
Sean Mason Quintet

7PM
10:30PM

FRI
5/20

Ken Fowser Quintet
Endea Owens & The Cookout

7:30PM
10PM

SAT
5/21

Andrew Wagner Quintet
Alexander Claffy & Phamily

7:30PM
10:30PMTUE
5/24

Irwin Hall Quartet
Hudson Horns

7:30PM
10:30PMWED
5/25

Champian Fulton Trio
The Octet ft. Samara Joy

7:30PM
10:30PMTHR
5/26

Joe Block Trio
Ian Hendrickson-Smith

7:00PM
10:30PM

FRI
5/27

Ken Fowser Quintet
Alonzo Demetrius & The Ego

7:30PM
10:30PMSAT
5/28

Anthony Hervey Quintet
James Sarno Quintet

7:30PM
10:30PM

TUE
5/31

Pedro Giraudo Quartet
Los Hacheros

7:30PM
10PM

DINNER, LIBATIONS & LIVE JAZZTHEDJANGONYC.COM
2 AVE OF THE AMERICAS

THE NEW YORK CITY JAZZ RECORD | MAY 2022 23

IN PRINT

No One Is Anyone
Ember with Orrin Evans (Sunnyside)by Phil Freeman
I Didn’t Come Here to Tap Dance (A Poetic Memoir)
Ngoma Hill (s/r)
by John Pietaro

Ember is a collective trio of alto saxophonist Caleb

Amerikkka is a place where the past always looks like the future
But these twisted I want to be hip hoppers / And ku klux killer kops
Think niggas come in all colors
So I still do protests and die-ins / Cause in this atmosphere
I Can’t Breathe / And New York just seems like Up South to me

Wheeler Curtis, bassist Noah Garabedian and drummer
Vinnie Sperrazza. They first began rehearsing together
in 2017 and in October 2018 recorded an album, New
Year, released on the Outside In Music label thefollowing May, credited to the three individually. They
subsequently adopted their band name and hadplanned to record this music in March 2020, but…well,
you know what happened next. Ultimately, they wereable to creep cautiously into Samurai Hotel studio in
July 2020 and make this album. It was Curtis’ idea tobring in Orrin Evans; he had appeared on the pianist’s#knowingishalfthebattle and two albums—Presence and
The Intangible Between—with Evans’ Captain Black Big
Band and they had worked together on trumpeter Josh
Lawrence’s Color Theory and Contrast.
Evans only appears on four of the album’s ten
tracks, all bundled together at the end of the album,
with one more trio piece afterward as a final statement.
This gives it the feeling of a live performance wherea guest comes out to jam with the band for a little
while. That feeling is only enhanced by the strength ofthe core group’s collective language. Garabedian and
Sperrazza click together like Lego bricks, the former ’s
thick strumming matched by the latter ’s meaty snare
and bouncing toms. Curtis is versatile, capable ofjoyous, Ornette Coleman-ish cavorting (“GlassHouse”) but just as prepared to play gently enough tomimic a flute (“Pilot Light”).
He is at his gentlest on “Peace of DeoxygenatedSleep”, the first track with Evans. It is an evanescentballad, bass dominant simply by virtue of force andvolume as the other three drop notes like pennies into afountain. “Thomas” is another showcase for Garabedian;he is at the center of the mix, opening the piece with analmost Jimmy Garrison-esque intro and laying downa thick groove as Evans dances up and down the
keyboard like Fred Astaire on gleaming marble steps
and Sperrazza attacks the kit with martial intensity.

Hill’s immersion into music, too, features highly. The
rhythm and melody of this couplet speaks volumes:

For more information, visit sunnysiderecords.com. This
project is at Bar Lunàticao May 12th. See Calendar.

N goma Hill came of age in urgency, from the Jim

Crow south to Vietnam and Black Liberation. As apoet and instrumentalist he has worked with Amiri
Baraka, Sonia Sanchez, Grachan Moncur III, Odetta,
Craig Harris, Pete Seeger, Sweet Honey in the Rock,Richie Havens, Linton Kwesi Johnson and many
more. Hill served as Beat Poet Laureate of New York
from 2017-19 and last year he was awarded a lifetime
honor by the National Beat Poetry Foundation.
Hill began writing during infantry service. He
explains: “In the African tradition all art has purpose.
My work has a purpose and that is to raise sociopolitical and spiritual consciousness…I follow theAfrican griot or Djeli tradition.” I Didn’t Come Here to
Tap Dance is Hill’s first collection, one exploring decadesof both cutting-edge creativity and Movement streetheat. While his poetry is nakedly born of pride andprotest, artfulness is never at stake. The opening work,“I Didn’t Ask to Come Here” speaks fluidly of homelandand inner city, the Middle Passage and police murders:
I didn’t ask to come here, I was kidnapped / Tied up, tied down…
To come to these shores / To lose my name, my religion,
My ancestors, my land, my mind…
The poems speak of Black Panthers, Young Lords, Attica,
segregation, but also about his father as a plaintiff ofBrown vs. Board of Education, the Black teachers who
served as models of dignity and his school’s marching
band playing R&B. In “Up South” he writes:

Swallow sweet sounds like Quinine / dog faced blues
And “String”, a piece in memory of Billy Bangcelebrates the violinist and the continuum:
Gotta be able to play in to understand where out is…
Pluck harmonic double stops / and chromatic overtones
Like kora sounds / multiplicity surrounds
And the challenge posed in “Jazz Doesn’t Live HereAnymore”, a piece about Harlem’s gentrification, is
one for all to consider deeply:
From the Lindy Hop to bebop to hip hop
Now all the legacy / has been closed, sold out and boughtNot even the Red Rooster crows like it used to
Where Adam Clayton Powell ate breakfast /Before Sunday’s service at Abyssinia
So it’s got me wondering / How can this legacy be saved
For more information, visit facebook.com/ngoma

Meets Sheila Jordan
trioTrio (SteepleChase)by Ken Dryden

P ianist Jacob Sacks, bassist David Ambrosio anddrummer Vinnie Sperrazza have played with one
another for much of their careers and released theirdebut recording as trioTrio in 2020 for SteepleChasewith trumpeter Dave Scott and tenor saxophonist Rich
Perry. Well versed in bop, they sought new inspiration
for their followup CD. This meeting with master
vocalist/NEA Jazz Master Sheila Jordan, whom
Ambrosio met early in his career and never forgot,

24 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

took place a few months after Jordan turned 92 and she
had many lessons to share with the much younger
musicians. The trio shows great respect for the singer
and provides strong backing that puts the focus on her,making it seem like it is her album, Sperrazzafrequently using brushes.
Her voice is still rich and effective, beginning with
“The Bird”, a tribute to her mentor, Charlie Parker,
segueing into a playful rendition of his “Confirmation”.
Jordan’s scat vehicle “Workshop Blues” is a virtual
workshop for her bandmates and they acknowledge
her expertise with in-the-pocket support. By no means
just a bop stylist, Jordan also excels as a balladinterpreter, making both Ralph Rainger-Leo Robin’s“If I Should Lose You” and Matt Dennis-Tom Adair’s“Everything Happens To Me” sound like they were
written with her in mind. Jordan also surprised theband by bringing in Kenny Dorham’s little known
ballad “Fair Weather”, for which the trumpeter wrote
both the music and lyric. Her sensitive reading makes it
a hidden gem worth other vocalists’ attention. Jordan’spoignant “The Crossing”, a song she composed after
overcoming alcoholism, has a hymn-like air.
Two instrumentals were recorded after Jordan
departed, though the musicians admitted feeling a bitof a brief letdown without her presence. The intricate,contemplative interpretation of Eubie Blake’s timelessballad “Memories Of You” gives the impression thatthe musicians had learned Andy Razaf’s lyric, making
it seem like they were still accompanying a singer.
They alternate between a funky air and straight bop ina sizzling treatment of Hank Jones’ “Hanky Panky”.
For more information, visit steeplechase.dk. Jordan is at
Birdland Theater May 14th-15th with The Royal Bopsters
and Mezzrow May 16th as a leader. See Calendar.

Despertar
Manel Fortià (Segell Microscopi/Altafonte Distribution)
by Marco CangianoThis is an exquisite dedication to the city of New York.

One has to go back to Don Friedman’s A Day in the City
for an equally compelling portrait. Whereas that was a
New York portrait from dawn to sunset, Barcelonaborn bassist Manel Fortià’s is a journey around familiar
neighborhoods. He has an impressive yet eclectic
resumé ranging from mainstream modern jazz to afolk-inspired blend of free flamenco.
No matter the context, it is his large and deepsound that immediately hooks the listener, as in the
opening “Dormir”. The comparison and affinity withCharlie Haden stands out: an appetite for different
musical influences along with involvement in social
justice projects. Fortià’s European trio of Spanish
pianist Marco Mezquida and French drummer Raphaël
Pannier is as tight a unit as it can be. Mezquida
collaborated with Fortià on the duo album My Old
Flame and Fortià and Pannier were the rhythm section
for Albert Marquès’ Bulería Brooklyniana. Such closenessemerges as they often solo at the same time yet soundlike a single voice. Mezquida reveals a very melodic
and liquid touch while Pannier excels with bothsuppleness and dynamism. It is remarkable that this istheir first CD given the close interplay.
The music is impressionistic and at times quite
intense, if not dramatic. Most of the tunes develop asa mini-suite with introduction-main theme-crescendodiminuendo-closing theme as in “Circular“, dedicatedto the JFK AirTrain, and “Saudade”, which portrays
Astoria in very thick strokes. “Crescente”, inspired byand depicting Grand Central Station, is anotherexample: the melody is introduced with a light gallop,
which accelerates progressively until a plateau isreached and then decelerates, leaving space for deep
bass. “Aires de Libertad” is dedicated to Prospect Parkand is introduced by a bass solo clearly reminiscent ofHaden. The theme has a decisive tango feeling and thebassline strangely recalls The Godfather theme.
“Espiritual” is a very personal take on Harlem’s gospel
tradition. The title track closes the CD, starting withanother impressionistic bass solo, followed by arhapsodic piano solo eventually resolving in a pedal
above which Fortià and Pennier join as the music keeps
growing and then dissolves.
For more information, visit manelfortia.com. Fortià is atDrom May 21st as part of the Mediterranean Jazz Festival.
See Calendar.

him and he started gigging when he was 13 withguitarist Art Ryerson. After graduating from Columbia
University in 1972, he took lessons from Richie Beirach
for two years, accompanied a variety of singers and in1975 had his breakthrough when he joined Mongo
Santamaria. Important associations with Sonny Rollins,
Chet Baker, Paquito D’Rivera and Billy Harper
followed. Starting in 1980, Donelian (who has also
been active as an educator for many years) began along series of rewarding recordings as a leader,including 11 for the Sunnyside label.
At 71, Donelian still plays in a fresh, lively andmostly swinging but unpredictable style. Both hissolos and his original compositions are quite
harmonically advanced and personal, not reallysounding like anyone else.
Fresh Start has him joined by bassist Jay Anderson
and drummer Dennis Mackrel on six originals, four
obscurities (including a song apiece by Beirach and Ken
McIntyre) and two standards. The emphasis is on slower
tempos and melodic improvisations with plenty ofinterplay between Donelian and Anderson; Mackrel isoften felt as much as heard other than on his occasionalsolos. To name a few of the more memorable
performances, “Noviembre” has a mysterious sounding
theme and inventive trades between piano and bass
while Vatan Rijan Singh’s “Ferry Maiden” and Beirach’s“Gale” are both introspective and laidback ballads filledwith subtle creativity. “Madagascar” includes a catchy
bass pattern in 5/4, which inspires some of Donelian’s
most heated playing of the set. “Tirado” has a haunting
melody and a Latin tinge, Sophia Bonid’s “In The
Western Night” features assertive and triumphant piano
recalling Keith Jarrett and the episodic nature of “Janet
Left The Planet” will keep one guessing. Throughout
the set Anderson, who is showcased on Makanda Ken
McIntyre’s “Day Break”, provides concise solos and acts
as a constant commentator behind Donelian’s lead.
The biggest surprise is Herb Magidson-Allie
Wrubel’s “I’m Stepping Out With A Memory Tonight”,
probably Donelian’s first-ever recorded vocal. He
sounds fine although obviously will not be giving up
his career as a pianist for singing anytime soon. Fresh
Start is a fine outing, a fine introduction for those notfamiliar with Donelian’s consistently excellent playing.

force in the form of bassist Rashaan Carter anddrummer Allan Mednard. Moving on, the pianist offers
a companion piece concerned with self-worth in darkbrewed ballad “Dear Worthiness”; makes pointed
pronouncements, essaying intensity on the title track;and looks down the line—from saxophones to bubbling
bass and conversant trio to her own achingly archedpiano on back—in unraveling “The Eternal Stillness”.
Expanding the ensemble to an octet with vocalist/
guitarist Camila Meza, trumpeter Ambrose Akinmusire
and synthesizer player Charlotte Greve, Sanchez
searches her feelings and honors her mother, who
passed away during lockdown, with “Marivi”.
A departure in format, serving as the album’s literalandfigurative
centerpiece,
theperformancenevertheless remains consistent with(in) the theme.
So too do the four quintet numbers that follow. “If You
Could Create It”, emphasizing movement with relative
grace, delivers a different spin on developmental flow.
“The Hard Balance”, toying with rhythmic equilibrium
and working with a marked tenderness, draws
a spotlight over the difficult footing often faced ina daily reckoning with life’s push and pull. “December
11th”—the date of Sanchez’ mother ’s death—clears
space for ruminative and cathartic expression, leading
to one of the most moving piano statements on thealbum. And “When Dreaming Is The Only” serves up
some seriously heady interaction(s), holding attention
as it takes things to the finish line.
Sanchez, proudly open in addressing self,surroundings and sensitivities, has taken her art to thenext level in this Spanish American Art Museum.
For more information, visit whirlwindrecordings.com.
Sanchez is at Vanderbilt Open Streets May 7th and Bar
Bayeux Thursdays. See Calendar.

For more information, visit sunnysiderecords.com. This
project is at Soapbox Gallery May 27th. See Calendar.

SAAM (Spanish American Art Museum)
Martá Sanchez (Whirlwind)
by Dan Bilawsky

The notion of highly approachable leading-edge

Fresh Start
Armen Donelian (Sunnyside)
by Scott Yanow

Armen Donelian began playing piano early in life, atfirst by ear when he was five then having extensiveclassical lessons from age seven. Jazz always interested

music can initially come off as something of an
oxymoron, but Martá Sanchez’ work confirms thatconcept as reality. On this, her fourth quintet album,
the Madrid-born, New York-based pianist frames anddisplays her experiences within a matrix that explores
her identity with rich complexity and utter clarity.
Sanchez’ intricate, dovetailing designs, primarily
crafted during lockdown, prove gripping as theysurround and sound myriad emotions. Baring her soulfrom the first, Sanchez sets off with “The Unconquered
Vulnerable Areas”. A work of remarkable passion andreflection, this revealing opener showcases the weightof the quintet—the winding and wondrous frontline
combination of alto saxophonist Alex LoRe and tenor
saxophonist Román Filiú and an artfully prodding

THE NEW YORK CITY JAZZ RECORD | MAY 2022 25

Forfolks
Jeff Parker (International Anthem/Nonesuch)by Kurt Gottschalk

After a half-dozen or so albums as a leader, guitarist

Jeff Parker released his first major statement with
2020’s Suite for Max Brown, a bright set of hip-hop andsoul–inflected compositions for his band The New
Breed, and one of the best albums of the year.
How he followed that was an interesting exercise indissection and reformulation: a limited-edition album ofsources and stems (JP’s Myspace Beats), then a solo album,
his second, after 2016’s Slight Freedom. It was wellreceived but sounds a bit isolated and lost, recorded
shortly after he relocated from Chicago to Los Angeles.
But with Forfolks, Parker is heard in his strong andsubdued solo self. If before he was feeling slightly free,
now he is playing to be heard. He is playing for the folks.
As with Slight Freedom, the rich sound of hollowbody electric is adorned on Forfolks with loops, lighteffects and tapped beats. It opens with an assertive 80
seconds in the nearly proggy “Off Om”, followed by
the gently loping, stopping-and-starting title track.
The loops of “Suffolk” get a bit more angular andParker clearly enjoys playing around in the corners,
whereas “Flour of Fur” is set adrift with a ringing
harmonic as the horizon. The most successful track isalso the longest; at nearly 11 minutes, “Excess Success”
allows Parker to play with rhythms and melodic
variations and is an opportunity to listen to his relaxed
but never static delivery as it develops. Closing “La
Jetée” is another piece of crafty melodic development.
The title, presumably referencing the 1962 French shortfilm told almost entirely through still photos, evokes
something of Parker ’s movements through stillness.
There are also two standards. Thelonious Monk’s“Ugly Beauty” is a slice of plaintive beauty and Richard
Whiting-Leo Robin-Newell Chase’s “My Ideal” suggests
a winsome rumination: “Will I ever find the tune in mymind? / The one that is my ideal”. Parker doesn’t
actually sing in his carving of the chestnut. “Maybe it’sa dream and yet it might be / Just around the corner,
waiting for me.” With Forfolks, it’s all about the search.
For more information, visit intlanthem.com. Parker is at Le
Poisson Rouge May 22nd. See Calendar.

Midnight Shelter
Sachal Vasandani/Romain Collin (Edition)
by Jim Motavalli

N o hiding on this date, just Sachal Vasandani’s
chocolate-y voice and the piano of Romain Collin(whom he met in the park near his house). Vasandani“RARELY DOESA TROMBONISTSHOW SUCHVERSATILITY
ON HIS HORNWITHIN A
CD. EXPECTTO FIND WHATHAVE I DONE?
ON MANY
CRITICS’ BESTOF 2021 LISTS.”NEW RELEASEHOLLI HARMS, THE FRONT ROW CENTER

ED NEUMEISTER QUARTET
MAY 30, 2022
8:30PM

BIRDLANDTHEATER

315 WEST 44TH STREEETNEW YORK, NY 10036

FEATURING GARYVERSACE, DREW
GRESS
& TOM RAINEYAVAILABLE AT:
MEISTEROMUSIC.
BANDCAMP.COM“NEUMEISTER IS A SOLELYUNIQUE TROMBONIST. HIS SOLOS
ARE FILLED WITH HIS OWN‘LANGUAGE;’ EXPRESSIVE,
FUN, PLAYFUL, EVEN PERHAPSA BIT DANGEROUS.” CRAIG BRENAN,
TROMBONE.ORG

ED NEUMEISTER QUARTETJUNE 13, 2022
7:30PM + 9:00PM

SMALLS

163 WEST 10TH STREETNEW YORK, NY 10014

26 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

For more information, visit editionrecords.com. This projectis at The Atlantic BKLN May 28th. See Calendar.

itforgets
about
the
snow

Urs Leimgruber – soprano saxophone
Jacques Demierre – amplified spinet

KEN DRYDEN,THE NEW YORK CITY
JAZZ RECORD“ED NEUMEISTER IS THE
PICASSO OF MUSIC. TESTINGTHE GROUNDS OF MUSICAND IN THE PROCESS CREATINGHIS OWN UNIQUE STYLE AND
SOUND THAT SHOULD NOT
BE MISSED. HE IS A TREASURE
OF THE MUSIC WORLD.”

has always been willing to try something new and here
doesn’t settle for a set of standards but instead offers
originals, a few pop songs via Bob Dylan, John LennonPaul McCartney, Nick Drake and even Harry Styles
and jazz tunes by Abbey Lincoln and Wayne Shorter.
Styles sings “Adore You” to a big fish, but
Vasandani’s take is lush, romantic and intimate, as isvirtually the whole album. He would walk through firefor her. Nothing at all wrong with that. Drake’s jazziest
song is probably “Poor Boy”, but “River Man” is theone covered many dozens of times. Vasandani’s take isstraightforward and heartfelt; Andy Bey recorded it
this way too and this album has parallels to Bey’s
ultra-slow work with piano.
French-born Collin is a Berklee grad with solid
jazz credentials and a gorgeous turn on the trio record
Americana with Bill Frisell. He is mostly in subdued
accompanist mode, though his work as a composer isfeatured on “Great Ocean Road” and “One Last Try”.
Lincoln’s version of “Throw it Away”, one of her
best songs, was much more upbeat; Vasandani makes
it wistful and drawn-out. Dylan’s “Don’t Think Twice”
is, by contrast, taken optimistically, at a medium
gallop, with the folksiness drained through a sieve.
Collin is very lyrical here.
Vasandani’s “Love Away” is a highlight. It would
translate easily into a big-production pop song—
Styles, are you listening? Vasandani should havewritten one more song and chucked the over-recorded“Blackbird”, which here is a bit lugubrious. That is also
true of his takes on “One Last Try” and Shorter ’s“Dance Cadaverous”. Both are so slow they are miredand “One Last Try” works better as a solo piano piece.

CW 1067/1068
www.creativeworks.chScan for more
upcoming
events!

\Day of Rest
David Friesen (Origin)
PassageDavid Friesen/Bob Ravenscroft (Origin)
by Ken Dryden

During a career spanning over four-plus years, David

Friesen, who turns 80 this month, has excelled as abassist in small groups and as an unaccompanied
soloist, in addition to being a prolific composer.
Yet Day of Rest is devoted exclusively to Friesen
playing piano, an instrument he has played since his
youth, alternating between both in the early ‘60s before
focusing on bass. Recorded on a Ravenscroft grandpiano, Friesen performs 20 originals, many previously
recorded on bass in various settings. Most have a
meditative mood, perfect for times when one needs to
get away from the distractions of the day, and several
sound like they could be studio improvisations.
Anyone used to Friesen’s prodigious bass
technique on originals like “Signs & Wonders” will be
surprised by his more subdued nature on piano. His
focus is on creating beautiful melodies, so there isneither much variety in tempo nor florid displays ofchops. The looseness of the lush miniature “Day
Dream” suggests that it was created on the spot.
There is a wistfulness to “Green Hills Passing By”
conveying a sense of reflection and loss. “Remembering
The Moment” is sentimental with its simple,
pastoral air. The easygoing flow of warm ballad“Distant Shores” seems a natural for a future lyric,though the instrumental conveys its mood very wellon its own, with the sound of surprise being its
unresolved ending.
Friesen is no stranger to piano/bass duo settings,
making several acclaimed recordings with pianist
Denny Zeitlin. Friesen returns to his custom Hemage
bass for his meeting with Bob Ravenscroft, an oldfriend of several decades, a brilliant musician worthyof wider recognition and co-founder of Ravenscroft
Pianos. Although they have played together for years,
Passage seems to be their first record date.
Friesen’s unique instrument combines the sonicpossibilities of both acoustic and electric bass, as healternates between pizzicato and arco passages, thelatter frequently adding the effects of a digital delay.
The sound of Ravenscroft’s custom grand pianocompares positively to the long established brands.
Recorded in 2015 and 2020, the 25 tracks, ranging fromunder a minute to less than 5, are credited as jointly
composed and arranged by the musicians.
Their familiarity with each other ’s musicalapproach enables both to anticipate the path hispartner is taking. Each track evolves in unexpected
ways, with one song frequently flowing directly into
the next, giving the impression that the music came
together in one continuous session. It is difficult to citehighlights from the recording, as time is needed toabsorb the magic of these performances. Ravenscroft’s
introduction to “Direction” gives it a haunting mood,which then yields to Friesen’s arco lines utilizing
digital delay to continue the mysterious air. The
dramatic “Voyage” suggests a time of reflection andasking for forgiveness.
Some of the shortest pieces, like the abstract“Challenged” with its furious arco bass, and moody,menacing “Struggle”, stand out and Friesen’s
percussive effects and col legno, along with pensive
piano, help the exotic “Journey” create vibrant imagery.

eDDIe
PALMIerI
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JAZZ
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SAT, MAY 21 AT 8PM
Tickets: $45-$59

Bria Skonberg Quartet

Jesse Cook

the James hunter Six

SAT, JUN 11 AT 8PM

tempest tour II

FRI, SEP 23 AT 8PM

Tickets: $29-$39

FRI, JUN 17 AT 8PM

Tickets: $36-$56

Tickets: $34-$42

Billie & Blue eyes presented byJohn Pizzarelli & Catherine russell
SAT, SEP 24 AT 8PM

Delfeayo Marsalis
SAT, SEP 30 AT 8PM
Tickets: $35-$45

Tickets: $48-$68

Buy Tickets Today!

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SOPAC programs are supported in part bya grant from the new Jersey Department ofState, Division of travel and tourism.

For more information, visit originarts.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 27

Hard Living
Mike Forbes/Andrew Scott Young/Weasel Walter(ugEXPLODE)
Sirens and Mermaids Know
Mario Rechtern/Weasel Walter/Eric Zinman(ugEXPLODE)
Negative Infinity
The Flying Luttenbachers (ugEXPLODE)
by John Pietaro

Weasel Walter, who turns 50 this month, has

functioned as a one-person revivalist for all things
connected to the no wave arts movement even as heengages within the wider scope of free jazz. Arriving
in New York in 2009 after lighting fires beneath raw
experimentalists in Chicago and San Francisco, he hadalready become established as a tireless drummer. In
the interim, Walter revived his Flying Luttenbachersband, collaborated with Marshall Allen, Elliott Sharp,
Mary Halvorson, Evan Parker, Henry Kaiser and many
more and founded ugEXPLODE to document themusic (which too often proved fleeting in earlier days).
He also premiered formidable works as a composerand has proved just as tireless as a guitarist, particularly
in partnership with no wave empress Lydia Lunch.
Hard Living by the trio of Mike Forbes (tenor
saxophone), Andrew Scott Young (bass) and Walter(drums) was recorded at the Menegroth Thousand
Caves studio, Forest Hills, Queens in 2010. So named
for the Middle Earth literary mythology its acoustics
sometimes capture, Menegroth is one of several
recording rooms so embracing of the far avant garde,
it may be deemed the new Noise New York. While
Forbes, he of the left coast, is positioned out front, thefour pieces seem to be wholly improvised and without
a thought to who is leading. In total, Hard Living isclassic fire music, expressionism reminiscent of theAlbert Ayler variety, particularly within the first half.
Walter ’s drumming may be called primal, but only inthe sense that Milford Graves and Sunny Murray, too,
could be so described: a rollicking, throbbing anddancing whirl of sound, its accents and pulsation
directly affront saxophonic shouts and sobs. “Embracein the Darkness”, however, offers a special repetitive
thematic cry, long held, almost a davening, against
well-choreographed drum eruptions and rapid-firebass counterpoint (pizzicato and, even more effectively,arco). Once this work catches its collective breath, theensemble transports into an unexpected field ofopenness, bowed bass in the higher register acting as
stirring electronic sound. A drum solo, all crackling
rim shots and tom-tom throbs, brings the listener backinto the free zone, but built on the same almost
lamentative theme before shredding bridles andtonality. Listen, though, for the pizzicato bass solo
accentuated by the others that carries the ear into new
realms. The music’s visual counterpart, a cover photoby Lunch, displays an overfilled ashtray alongsidebones, dice, pills, a straight razor and lines of cocaine.
Sirens and Mermaids Know brings the drummer intoa similar realm, this one possibly more touched by
improvisation of the European school, even as label
publicity addresses the inspiration of the classic Cecil
Taylor Unit by way of saxophonist Mario Rechtern,
pianist Walter Zinman and Walter. Opener “Mermaids
in the Water; Sirens in the Sand”, all 34-plus-minutes ofit, is a tour de force of liberation separated by organic
cadences and natural movements. By the 20-minutemark, the piece takes on a piano/drums intensity
threatening to burst all over one’s speakers. Even withemphasis on dynamics, the work is lengthy, almost
exhausting, but in the range of Rechtern’s liner notes, so
deeply modernist in grasp, it is all very rational: “This is

28 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

not a new paganism, or the empathy of the devil ofwhich the enlightenment was so afraid that it put ratio
moral and legislation against it…” This piece is followedby two shorter works, each nine-plus-minutes long,
only lengthening the myths. While based in the freecontinuum, the album perhaps sounds ultimately as astory, bringing the listener into the final title piece,
which clocks in at nearly 20 minutes. The sopranino
saxophone, here shedding phrases only limited by theneed for a breath, mimics a bagpipe, crisscrossing
national and cultural boundaries with the ease of Taylor.
Negative Infinity is yet another renewed Flying
Luttenbachers lineup, the place where free improv
tangles with punk rock, no wave and what Walter calls“brutal prog”. Recorded in Brooklyn in late 2020 and
capturing the essence of Red-era King Crimson but neverscoffing at anything that flourished at CBGB’s, the album
easily fuses genres. While “Fury of the Delusion” has arhythmically variegated hardcore center, “Omnicide”
perhaps too closely calls on the memory of “Lark’s
Tongues in Aspic”. In any case, dual guitarists Walter
and Katie Battistoni, whose pained leads are painted
over by tenor saxophonist Matt Nelson, carve out riffbased melodies carrying us into next year. Bassist Tim
Dahl seems enraptured by drummer Sam Ospovat’s
perpetual motion, both carrying on fearlessly,
wondrously reaching further and further into thefrontline. Flying Luttenbachers holds a vital place in therealm of the shocking “new”. Happily, the band has been
reshaped and renewed to fit the turns and shifts in thelife of Walter. By the time closing opus “On the Verge of
Destruction” is cued up, the album coalesces into the nowave/post-punk/new music/free improv journey you
always knew Walter had in him.
For more information, visit nowave.pair.com/ugexplodeMary’s Ideas
Umlaut Big Band (Umlaut)by John Sharpe

Born 112 years ago and dying 41 years ago this month,Mary Lou Williams was a groundbreaking pianist andcomposer who thrived in the Swing Era and mentored
the bebop generation. Her status in what was an
overwhelmingly male environment is illustrated byher presence as just one of three women in thecelebrated Great Day In Harlem photograph in 1958.
She came to fame with Andy Kirk’s Twelve Clouds of
Joy in 1930 and subsequently wrote arrangements for
Duke Ellington and Benny Goodman. But many of hercompositions and orchestrations languished unplayed
and unheard in spite of her success.
There have been many tributes since her death,
including sessions by trumpeter Dave Douglas,
pianists Geri Allen and John Hicks and Trio 3 again
with Allen, but none are as comprehensive as the twodisc Mary’s Ideas by the Umlaut Big Band, under the
direction of reedplayer Pierre-Antoine Badaroux.
Working from her manuscripts acquired by theInstitute of Jazz Studies at Rutgers University, he andtrumpeter Benjamin Dousteyssier assembled 42 of her
pieces, many rarely performed or newly discovered.
Rather than adopt a straightforward chronologicalapproach, they grouped the tunes thematically underheadings such as Variations In The Blues, Prelude To
Duke, Boogies and Eternal Youth.
This is no pastiche or modish update. As withprevious excursions into the oeuvres of Don Redman,
Benny Carter and other early practitioners, the Umlaut
Big Band plays everything straight, whether that beswing, boogie-woogie or even the latter-day modal or
funk-inflected numbers. Consequently, most of theentries on the 151-minute double album would fit on
a 78 rpm record, as they place the emphasis on thenotation, notwithstanding the pithy solos in theappropriate style which help bring the charts to life.
But with a crew including several leading French
improvisers, those who take the most liberties makefor the most engaging listen, such as tenor saxophonist
Pierre Borel on “New Musical Express” and a punchy“Sweet Georgia Brown” and the leader on a surging“Medi No.2”.
Other highlights include two short extracts from
Williams’ “History of Jazz for Wind Symphony”,
a piece left unfinished when she died, which Badaroux
pulled together from sketches and fragments, in whichchamber ensemble blossoms into big band; 1968’s“Aries” in which boppish darting lines open up fora series of more adventurous solos with hard-hitting
group interjections; the dramatic 1946 version of“Lonely Moments”; and 1967’s “Joe”, a lovely achingballad arranged for, but never played by, Ellington’sorchestra, which deserves to be better known.
Strangely, it is the older selections that still soundmost vital, having worn better than some of Williams’
later works, which come hampered with unchanging
vamps, although the marriage of orchestral and jazzvernaculars in her 1945 Zodiac Suite can seem hackneyed
to modern ears. Nonetheless, this set is a treasure trove
for anyone hankering for more insight into her world,
rendered as she intended without the simplifications
and truncations that so often affected the original
realizations.
For more information, visit umlautrecords.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 29

Vol. 2
Jazz Sabbath (Blacklake)
by Alex Henderson

It is impossible to overstate the influence of Black

Sabbath (whose founding drummer Bill Ward turns 74
this month) on heavy metal, impacting everyone fromBlue Öyster Cult to Iron Maiden to White Zombie.
Black Sabbath’s forceful, often menacing work hasreceived scant attention from the jazz world over theyears, but the piano trio Jazz Sabbath (pianist Adam
Wakeman, bassist Jerry Meehan and drummer AshSoan) demonstrates that Black Sabbath classics can, in
fact, work perfectly well in a postbop setting.
Vol. 2, a followup to the band’s 2020 debut, is mostdefinitely not a heavy metal album. The crunching,
distorted guitar of Tony Iommi is nowhere to be foundand gems like “Paranoid”, “Behind the Wall of Sleep”
and “N.I.B.” are skillfully reworked as instrumental
jazz. All of the material comes from Black Sabbath’s
initial period with Ozzy Osbourne from 1968-79.
“Paranoid” has been covered by plenty of metal
bands, but Jazz Sabbath takes it in a totally different
direction, combining postbop with elements of German
cabaret. “Snowblind”, meanwhile, has hints of R&B
and soul-jazz and “Sabbra Cadabra” (on which
Wakeman’s father Rick, of Yes fame, played keyboardson the original 1973 version) recalls ‘70s-era McCoy
Tyner. Wakeman brings a variety of pianistic influences
to this project; Tyner is one of them, but he also draws
on everyone from Bill Evans to Joe Zawinul. “Behind
the Wall of Sleep” also has hints of soul-jazz, evenrecalling Nat Adderley’s “Work Song”, while“Symptom of the Universe” becomes wistful anddownright introspective in Jazz Sabbath’s hands.
The occult themes of “Black Sabbath”, which
opened Sabbath’s eponymous 1969 debut, are as
disturbing now as they were 53 years ago. And eventhough Jazz Sabbath omits the dark lyrics and doom
guitar of the original, the song is no less ominous.
Critics of heavy metal have long dismissed it as
Satanists in leather favoring decibels and brute force
over musicality. But, for all its aggression, Black
Sabbath was impressively melodic and Jazz Sabbathreally zeros in on that aspect of its work.
For more information, visit jazzsabbath.net

Pelikula
Gerd Baumann/Gregor Hübner (Millaphon)by Anna Steegmann

G ermans Gerd Baumann and Gregor Hübner (whoturns 55 this month), both professors at the University
for Music and Theater in Munich, started working
together in 2009 to compose the music for a play. In thefollowing years, they frequently collaborated on film
music. They found some of the outtakes beautiful andworthy of development. So those and new compositions
became Pelikula (Filipino for film), so named because

they thought of each track as a miniature film. Hübner
plays piano and violin and Baumann guitar and bass
and both also include percussion. In addition, Flurin
Mück plays drums on one track.
These ‘tiny films’ pull the listener in from thestart. Each of the 12 tracks on the 49-minute-longalbum is an epic miniature, a small sketch developing
into a colorful soundscape. This is profoundly
emotional storytelling at its finest. Notes are unhurriedand elongated, the melodies steeped in deep
melancholy.
Opener “Octavio” begins slow and haunting withviolin achingly beautiful, the melody reminiscent ofEastern European folk songs. The most moving tune is“Fogcutter”: piano captivates with a poetic andsorrowful tone, then, mid-track, an energetic hypnotic
beat emerges to lift the fog temporarily until thebrooding melody returns. ”Offstage” is an excellent
showcase for Baumann’s bass playing, rich in texture
and pleasing in its lower register, while Hübner ’sviolin is at its most experimental. ”Kaleko”, the mostoriginal track, enchants with its gorgeous melody andadded beats give it the dynamism of contemporary
electronic music. “Rara Vez” showcases Baumann’s
gifts as a guitarist, as he takes center stage for theentire song, with violin appearing only occasionally inthe background.
Each musician is a master, both as composers andinstrumentalists. The more one listens to Pelikula, thestunning result of their combined talents, the more thealbum enchants. Don’t be surprised when images ofEuropean black-and-white films of the ‘40s-50s float tomind while listening.
For more information, visit millaphon.de

Dedicated To You
Jorge Garcia (with Richie Cole) (s/r)
by George Kanzler

Cuban-American guitarist Jorge Garcia divides histime between Southern Florida, where he met andworked with the late alto saxophonist Richie Cole, andupstate South Carolina. This brief (27-plus minutes)
album opens with a two-song session recordedwith Cole months before his death (May 2020). Fourof the other five tracks feature Garcia in different
combo settings.
Cole, who called his own bands “Alto Madness”,
was an inveterate bebopper, a disciple of Phil Woods
who displayed his own distinctive personality on thealto. The album kicks off with what Garcia says was
one of Cole’s favorites, Gigi Gryce’s pure bop“Minority”. Cole is off and running from the get-go,using the theme to start his solo, spelled by brief ones
from Garcia in pure bebop mode and late bassist Rick
Doll. Garcia’s “This One’s For Richie”, also at
a bop fast clip, is a contrafact of “There Will Never Be
Another You”, which Cole references in his solo.
Various aspects of Garcia’s playing, on amplified
hollow body to electric solid body guitar, are featured
on the rest of the album: two originals and threestandards. Not included here are any of Garcia’s jazzy
interpretations of classic rock songs, a facet of his live
performances and the subject of his 2020 album
Crossover (s/r).
His “With You Always” is a silky bossa nova
featuring the harmonica of Hendrik Meurkens anda rhythm section. Singer Wendy Pedersen is on

30 MAY 2022 | THE NEW YORK CITY JAZZ RECORD“Somewhere Over the Rainbow”, including some vocal
overdubbing recalling Mary Ford with Les Paul. Cy
Coleman’s “You Fascinate Me So” showcases Garcia
with a piano trio while “S’Wonderful” finds him withjust bass and drums for a swinging two-minutes-plus.
The brief, lyrical title track, a guitar solo with backing
synth chords, closes the album.
For more information, visit facebook.com/jorgecgarciajazz

Dancing Shadows (featuring Marshall Allen)
Tyler Mitchell (Mahakala Music)
by Monique Ngozi Nri

It is hard to describe the energy on Tyler Mitchell’s

latest album Dancing Shadows. The overall feel is laidback, a surprising combination of Sun Ra’s intergalactic
melodies with a fairly conventional rhythm section of
Mitchell (bass), Wayne Smith (drums) and Elson
Nascimento (percussion). Mitchell has atypicallystraddled the divide between straightahead jazz andmore experimental or free music and this recording is atrue expression of that bridge.
Opening track “Interstellar Loways” has bass
walking and the saxophones of Sun Ra veteranMarshall Allen (alto), Chris Hemingway (tenor) andNicoletta Manzini (alto) soloing in mellow fashion.
Only Marshall starts with his characteristic scowls andscreeches, but even his sound seems uncharacteristicallymuted. The second track, “Spaced Out”, composed by
Manzini, is a little edgier, the introduction of Marshall’s
EVI (Electric Valve Instrument) giving a sense of moremysterious planetary travel.
Most of the tracks are between three and fiveminutes, with the exception of two Sun Ra staples,
aforementioned“Interstellar
Loways”
and“Enlightenment”, which clock in at around seven andsix minutes, respectively. Sun Ra used to play
“Enlightenment” at every concert, so it is fitting that it
is included in this collaboration between Mitchell andAllen, two long-time Arkestra Members. Allen, whoturns 98 this month, joined the Arkestra in the ‘50s andhas led the band for more than 30 years following Sun
Ra’s death. Ever curious, Marshall spent the pandemic
exploring the 20-plus instruments he learned to play.
In addition to his unique saxophone voice, what is
striking about Marshall is a never-ending curiosity as atone scientist, a seeking spirit and willingness to
explore different iterations of Sun Ra’s music with agrowing group of musicians. Mitchell moved from
Chicago to New York in the ‘80s and played with the
Sun Ra Arkestra in that decade and, since his returnfrom Mexico in 2011, rejoined the Allen-led version of
the band and traveled with them extensively.
There are three pieces by Mitchell: “Nico”, “Nico
Revisited” and “Marshall the Deputy”. The first twoare languorous ballads featuring Hemingway with
Manzini playing counter melodies. The latter, one of
Sun Ra’s famous nicknames, is more adventurous andis definitely in Sun Ra territory. The odd man out on
the recording is Thelonious Monk’s “Skippy”:
saxophones play in unison, disrupted by a solo from
Allen, which takes us to the end of the track. The
highlight of the date is the title piece, an uptempo
version of Sun Ra’s composition sizzling with energy
as Allen takes off into the stratosphere, the rhythm
section setting up a frenetic pace.
For more information, visit mahakalamusic.com

Ave B Free Jam
Laurence Cook, Jacques Coursil, Warren Gale,
Perry Robinson, Steve Tintweiss(INKY DoT MEDIA)
by Pierre Crépon

A common denominator among the musicians playing

here is ESP-Disk’, the historical label of the ‘60s New
York avant garde. Collectively, trumpeters Jacques
Coursil and Warren Gale, clarinetist Perry Robinson,
bassist Steve Tintweiss and drummer Laurence Cook
accumulated sidemen credits on a substantial numberof ESP dates, including sessions led by Henry Grimes,
Patty Waters, James Zitro, Frank Wright, Burton
Greene, Alan Silva and Sunny Murray. The ‘star ’ of thegroup is Robinson, having made his leader debut on
Savoy five years earlier.
Recorded 55 years ago this month in an Alphabet
City apartment, this previously unreleased tape differs
in a major way from ESP releases. This isa leaderless collective free improvisation devoid of
themes or structure, elements that long remained
staples of the avant garde when presented publicly. Ifmusicians such as Silva and Greene had begun todiscard tunes entirely, it remained a marginal endeavor.
Preserved and issued by Tintweiss, the recording
is of a kind that can rarely be heard: a private session
without any audience, unlikely taped with possible
release in mind. Was it originally a practice tape? The
liner notes shed little light on the context.
This is free playing of the busy kind, with nearlycontinuous contributions from all participants. The
atonal flurry of notes from the trumpets dominates theoverall sound. But, thanks to a good recording quality,
all instruments are clearly audible, including Tintweiss’arco and pizzicato contributions. Robinson makes his
only known appearance on bass clarinet, an oddity
reinforcing the feeling that this music was not madefor public consumption.
The tape fills the entire CD. A cut may be attributable
to a reel change and after what sounds like an ending,a few minutes picking up in the thick of things areadded. The tracking sensibly matches the flow of themusic. The extended length gives the impression thatwhat is being heard is an unedited version of what
would have been trimmed down live, between framing
devices, but when the musicians hit, they hit.
For more information, visit originalvinylrecords.com/inkydot

The Lights Are Always On
Lynne Arriale Trio (Challenge)
by Pierre Giroux

The latest project from pianist Lynne Arriale, whoturns 65 this month, is a suite of compositions looking
at important events taking place over the past coupleof years. Along with bassist Jasper Somsen anddrummer E.J. Strickland, Arriale fashions a soundscapefilled with layers of subtlety along with varied

rhythmic and tonal relationships inhabiting the pieces.
“March On” opens with an AfroCuban affectthrough low-intensity drumming. Through herchording, Arriale evokes the vision of the story ofactivists looking to advance their cause. The title track
is a lyrical melody, which ebbs and flows through thetrio’s exploration of its contours.
The next two tracks are an interesting juxtaposition:“Sisters” is a boisterous gospel-influenced piece,
Arriale developing her ideas to express the courage ofwomen around the world facing oppression, while“Honor” takes a contemplative approach, Arriale
ruminating over the keyboard and Somsen taking asolo showing off his big tone and nimble fingering.
“The Notorious RBG”, dedicated to late Supreme
Court Justice Ruth Bader Ginsberg, is a sprightly andjolly romp spurred along by Strickland.
Sometimes albums based on contemporaneous
events or individuals are a slog to get through. But
Arriale has developed the music with the listener inmind and it is a welcome addition to the genre.
For more information, visit challengerecords.com

Pacemaker
Liudas Mockūnas/Christian Windfeld (NoBusiness)
by John Sharpe

Turning 45 this month, reedplayer Liudas Mockūnas,already one of Lithuania’s most talented improvisers,
has become almost the go-to partner for like-minded
visitors. This 2018 date pairing him with adventurous
Danish percussionist Christian Windfeld stands as justthe latest in a line of collaborations with pianist Agustí
Fernández, bassist Barry Guy, guitarist Marc Ducretand drummer William Hooker, to name only thoseissued on NoBusiness. As with many free practitioners,
the duet is a favored format for Mockūnas, offering
fulsome opportunity for intense dialogue.
However, the intensity here stems from restraint
rather than rampage, with the feeling that both men
are holding themselves in check, only letting off steam
in short passionate outbursts when the pressure
becomes too much to bear. Windfeld promotes aminimal aesthetic, focusing intently on particular partsof a pared-back armory derived from his personalized
kit, which encourages Mockūnas to follow suit. So thefirst side of the limited-edition LP (also available as adownload) begins with the vaguely unsettlingconfluence of bowed cymbals and subdued keypad
popping on contrabass clarinet. Such timbral
atmospherics set the scene for much of the ensuing
discourse, as they deploy unconventional techniques
to nonetheless musical ends.
Within the taut exchanges, it is possible to sense
keen attentiveness, both to the detail of what is being
played and to the overall trajectory, the sort of set
where the roles of accompanist and leader shift by the
moment. Certainly Mockūnas grabs the ear with his
prepared clarinet on “Maker” when he interrupts hismellifluous tones with sharp interjections of yapping
shrieks and vocalized growls and then again on tenor
saxophone as his repeated probing, almost lyricalphrases develop a querulous vulnerability. But thenWindfeld takes the spotlight as an extended flinty
tattoo clatters and whirls to furnish an emphatic
conclusion to an absorbing encounter.
For more information, visit nobusinessrecords.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 31

UNEARTHED GEM

Retrospect in Retirement of Delay: The Solo Recordings
Hasaan Ibn Ali (Ominivore)
by Stuart Broomer

Pianist Hasaan Ibn Ali is currently receiving far

more widespread attention for his music than heever did during his lifetime (born 91 years ago thismonth and dying in 1980). An intense personality
devoted to developing his own musical language, heinfluenced other musicians with whom he interacted
in his North Philadelphia neighborhood, including
John Coltrane and McCoy Tyner.
Until the past year, his recorded legacy consistedof a single brilliant LP on Atlantic recorded in 1964
by a Max Roach trio and called Max Roach Presents
the Legendary Hasaan. Released in 1965, one of themost tumultuous years in jazz history, it was largely
overlooked; reissued a half-century later, it garneredmore attention. Last year, Metaphysics appeared, Ibn
Ali’s only studio recording as a leader. Thought lost,
it was recorded for Atlantic in 1965 by a quartet withsaxophonist Odean Pope, bassist Art Davis anddrummer Kalil Madi. It too, like the Roach trio

recording, was devoted to Ibn Ali’s compositions.
Retrospect in Retirement of Delay is even moresignificant than Metaphysics, presenting 150 minutesof solo playing, which puts Ibn Ali’s extraordinary
pianism and his musical conception in clear relief.
Exploring standards and an occasional original at
length, he demonstrates mastery and invention
comparable to some of the 20th Century’s greatest
jazz pianists. Alan Sukoenig, Ibn Ali’s friend who
discovered Metaphysics, has assembled his own andothers’ recordings of Ibn Ali from 1962-65, largely
from lounges at the University of Pennsylvania.
There are also brief recordings of Ibn Ali’s voice on“Arabic Song” and “Extemporaneous Prose Poem”.
Until now, the only available example of Ibn Ali’ssolo playing has been his Thelonious Monk-ish
ballad “To Inscribe” on the Roach LP.
Matthew Shipp, extending his previous writing
on a school of “Black Mystery Pianists”, contributes
an essay to the 40-page booklet, placing Ibn Ali
within that realm, noting the influence of Monk
and Elmo Hope, the latter a friend, mentor andinspiration to Ibn Ali. Ibn Ali’s own recovered note
invokes Beethoven, Hope, Art Tatum and Duke
Ellington, though Monk and Bud Powell seem likeobvious additions.
Ibn Ali is the whole package, creating dense
harmonic and rhythmic knitwork à la Monk or Hope
while interpolating pinwheel runs with his righthand, as if the poles of jazz piano have intersected ina way similar to, but more traditionally than, Cecil
Taylor’s work. A parallel for that right hand is Tyner,
but that speaks to the little-known Ibn Ali‘s special
status: the influence runs from him to the younger,
more focused and percussive Tyner. One gets the

32 MAY 2022 | THE NEW YORK CITY JAZZ RECORD

impression that one is listening to a solo record by a
Monk-influenced pianist whose right eye scans
Slonimsky’s Thesaurus of Scales and Melodic Patterns.
Recorded on diverse pianos (ranging from a
Steinway grand to a spinet of unknown manufacture),
the focus on standards lends another complexity to
Ibn Ali’s work. If the Tatum-like elaboration canseem decorative at its source, it is also an effluence of
creativity, an insistence on identity. Here, conjoined
to the harmonic and rhythmic knots of the Monk/
Hope school, that surfeit of technique has acompound impact on the Great American Songbook.
It is an act of ideological appropriation, an assertionof identity and art, both elevating and drowning thesource material in waves of energy. “Yesterdays”
is a slightly staggering cakewalk given to sudden
runs and tremolos, then strangely keening melodic
inventions and clusters, the standard almost
conceived as a site for interruption.
The Steinway recordings come within six weeksof the Max Roach Trio session and catch Ibn Ali at an
absolute peak. “Body and Soul” is a 14-minutefantasia, percussive, insistent, leaping, pensive,
dissonant, fractured and nostalgic by turn...in its
first three minutes. An elaborate version of Monk’s“Off Minor” includes a joyously distorted quotationof “Love Is Just Around the Corner”. “Lover”,
recorded the same day on a Baldwin baby grand as
Ibn Ali and Sukoenig moved from university lounge
to lounge, has even more energy.
Ibn Ali’s work, long lost, now grows insignificance, these recordings making the jazz pastand its myriad connections loom still larger.
For more information, visit omnivorerecordings.com

B OXED SE T

Genesis of Genius (The Contemporary Albums)
Ornette Coleman (Contemporary-Craft)by Robert Bush

The first two albums by alto saxophonist Ornette

Coleman on Lester Koenig’s Contemporary Records
stand out as an audacious calling card for where jazz
was heading, whether anyone was ready to embracethat direction or not. Hats off to Koenig forrecognizing Coleman’s bona fides (especially as acomposer) and taking a chance on releasing thesetwo discs. Neither record sold particularly well, but
the impact on the jazz community was immeasurable.
Something Else!!! was recorded in 1958, Tomorrow
Is The Question! in 1959. Each album contains two or
three compositions that would shake the world for
decades to come. There are very few frontlines withthe degree of intuition inherent in the pairing of
Coleman and trumpeter Don Cherry. They seem tobreathe and even think in unison. This simpatico isimmediately apparent on Something Else!!!’s opening
salvo “Invisible”, which practically bursts out of the
speakers. Coleman’s sound is raw and bluesy andCD - download - streaming

incredibly distinctive. Cherry is still evolving out ofa more traditional bebop aesthetic and it is gratifying
to witness his exponential development over thecourse of the next few years.
Bassist Don Payne comes off as a solid
journeyman, but pianist Walter Norris serves as an
impediment rather than a boost. Drummer Billy
Higgins even gets a solo on the opening tune. Backin the ‘50s, when musicians would opine on thequestion, “can he play?” the subtext of that inquiry
boiled down to “can he play bebop?” or “can he playchanges?” Coleman was still struggling with thismatter of validation in 1958, so it could be argued
that collaboration with a chordal instrument (shortly
after the release of Something Else!!!, Coleman,
Cherry, Higgins and Charlie Haden would join Paul
Bley to cut Live at the Hillcrest Club 1958) was anecessity, albeit an uncomfortable one.
Coleman just could be the most importantcomposer of short-form melody of his time. Every
one of the tunes on these albums is singable andmemorable and they seem to spring from an infinite
well of creativity. “The Disguise”, for instance,
is incredibly catchy, full of twists and turns anda childlike sense of wonder. Something Else!!! closes
with another soon-to-be classic composition, “TheSphinx”, a song that drummer Jack DeJohnette used
to open concerts with back in the ‘80s with his bandSpecial Edition. Those are the kind of legs Colemantunes possess.
Higgins does not appear on Tomorrow Is The
Question!, replaced by Shelly Manne, and the bass
chair is filled by Percy Heath on Side One and Red
Mitchell on Side Two. Later in the year, Coleman
would sign with Atlantic and his whole vibe would

MAY 1

MAY 15

MAY 25

MAY 2–3

MAY 16MAY 26–27

MAY 4

MAY 17–18

MAY 28–29

MAY 5–8

MAY 19SAMMY MILLER AND THE
CONGREGATION BIG BANDESSENTIALLY ELLINGTONALUMNI BANDSCCD 31930

180g AuDiophile Vinyl

JUILLIARD JAZZ ORCHESTRA:MUSIC OF DUKE ELLINGTON
MAY 9PETE MALINVERNI TRIOFEATURING UGONNA OKEGWO
AND JEFF HAMILTON
MAY 10MIHO HAZAMA AND M_UNIT
MAY 11–12

MARQUIS HILL“NEW GOSPEL REVISITED”
MAY 13–14

ENDEA OWENS AND THE COOKOUT
G1109

US distribution:

For more information, visit craftrecordings.com. A Coleman
tribute with Denardo Coleman and Bang on a Can is at
BAM Howard Gilman Opera House May 1st. See Calendar.

new releases
MZANTSI JAZZ AWARDS WINNER:
THEMBELIHLE DUNJANASCCD 31929

transform with Haden on bass and either Higgins or
Ed Blackwell on drums.
One distinct improvement on Tomorrow Is The
Question! is the removal of the piano in the lineup.
Heath sounds wonderful on the title track and it isworth noting that both he and Modern Jazz Quartet
bandmate John Lewis were early and enthusiastic
supporters of Coleman. Aside from the title track,
there are some additional Coleman chestnuts thesesessions yielded: “Giggin’” showcases his boundless
gift for melodic development; “Lorraine” explores
an open-ended approach to balladry, which would
culminate magnificently several months later with“Lonely Woman” on the first Atlantic session The
Shape of Jazz To Come; and the penultimate selectionof Tomorrow Is The Question! is a Coleman standard,
the glorious blues piece “Turnaround”, which has
been covered by everyone from Pee Wee Russell to
Joshua Redman to Pat Metheny.
To say that people don’t release debut andsophomore albums like this anymore is a considerable
understatement. It is astonishing to listen andcontemplate how much controversy it engendered
for years to come. Almost 65 years after its release,the music on Genesis of Genius still sounds fresh andvital. The boxed set is a blue package adorned withexclamation marks. Inside are the two discs faithfully
reproduced with original art and liner notes by Nat
Hentoff (you will need a magnifying glass to readthem though.) Also included is a 46-page booklet
with notes by the always-insightful Ashley Khan.

G1043

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

DOMO BRANCH TRIO WITHAMERICAN PIANISTS AWARDSSTEFON HARRIS & IMANI ROUSSELLE PREVIEW CONCERTDOMINICK FARINACCIAND TRI-C JAZZFEST ACADEMYGIL EVANS PROJECTDIRECTED BY RYAN TRUESDELL
ORRIN EVANS TRIO PLAYS MONK
MAY 20–21

YOUNG MONK PROJECTLOUIS HAYES QUINTET:
MY 85TH BIRTHDAY!
REMEMBERING SLIDE HAMPTON
MAY 30

JOEL HARRISON
MAY 31

CELEBRATING RALPH PETERSON

MAY 22AMERICAN SONGBOOK:GOT GERSHWIN
MAY 23FRAN VIELMA VENEZUELANCOLLECTIVE
MAY 24

JENNA MAMMINA – ROLF STURM
WITH SPECIAL GUESTS

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

212.258.9595
BROADWAY AT 60TH ST.
THE NEW YORK CITY JAZZ RECORD | MAY 2022 33

CALENDAR
Sunday, May 1• Remy Le Boeuf Quartet with Martha Kato, Martin Nevin, Peter Kronreif				
55Bar 9:30 pmêBang on a Can Long-Play Festival - Ornette Coleman’s The Shape of Jazz to Come:
Denardo Coleman/Ornette Expressions with Jamaaladeen Tacuma, Jason Moran,
Lee Odom, Wallace Roney, Jr. and guest James “Blood” Ulmer		BAM Howard Gilman Opera House 7:30 pm• Danny Fox Trio
Bar Lunàtico 8:30, 10 pm $10êStéphane Wrembel
Barbès 8 pm $20
êMeg Okura Pan Asian Jazz Ensemble with Remy LeBoeuf, Anne Drummond,
Sam Sadigursky, Mike Rodriguez, Becca Patterson, Sebastian Noelle, Riza Printup,
Brian Marsella, Evan Gregor, Peter Kronreif		
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 8:30, 10:30 pm $40
êSteven Bernstein’s Millennial Territory Orchestra with Curtis Fowlkes, Charlie Burnham,
Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Ben Allison,
Ben Perowsky
Birdland Theater 7, 9:30 pm $30
êStanley Clarke/Gonzalo Rubalcaba Blue Note 8, 10:30 pm $65
êRay Gallon Trio
Cellar Dog 7 pm $10• Brawlik: Stacy Dillard, Martin Kelley, Joey Johnson, Chris Cuzme, Michael-Louis Smith,
Patrick Maguire, T.W. Sample, Diallo House, Ismail Lawal, Christian Coleman				Culture Lab LIC 5 pm
• Thembelihle Dunjana with Vuyo Sotashe, Zoe Obadia, Jennifer Vincent,
Jerome Jennings
Dizzy’s Club 5, 7:30 pm $35
êDowntown Music Gallery 31st Anniversary Celebration: Gary Lucas, Elliott Sharp,
Joel Harrison
Downtown Music Gallery 6:30 pm• Comp-Play-Comp Marathon: William Anderson, Angela Babin, Geoffrey Burleson,
Veracity Butcher, John Clark, Marshall Coid, Charles Coleman, Dan Cooper,
Amadis Dunkel, Jay Elfenbein, Shanan Estreicher, Peter Fabrizio, Jenn Forese,
Patrick Grant, Brad Hubbard, Debra Kaye, Bruce Lazarus, Max Lifchitz,
Eugene W. McBride, Joshua Mirman, Alon Nechushtan, Milica Paranosic, Hyuna Park,
Gene Pritsker, Dina Pruzhansky, Daniel Schnyder, David See, Gottfried Stoger,
Lois Hicks-Wozniak
Drom 5:30 pm $30• Mike Holober and Balancing Act with Jamile, Marvin Stamm, Dick Oatts, Jason Rigby,
Mark Patterson, Mike McGuirk, Dennis Mackrel
		Greenwich House Music School 3 pm $20• Welf Dorr, Elias Meister, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pmêBang on a Can Long-Play Festival: Nick Dunston Spider Season; Brandon Lopez 				Littlefield 2 pm
• Barbara Rosene
Mezzrow 7:30, 9 pm $20• Jon Boutellier
Minton’s 7, 9 pm $20• Blood Drum Spirit: Wes Brown, David Bindman, Richard Harper, Royal Hartigan
		
New Amsterdam Musical Association NAMA 3 pm
• Melissa Stylianou Trio with Gene Bertoncini, Josh Marcum		North Square Lounge 12:30, 2 pm
• Tahira Clayton, Willerm Delisfort, Jonathan Michel		Saint Peter’s Church 5 pm
• Alex Hoffman; Aaron Johnson Smalls 7:30, 9, 10:30 pm $20
êDiaspora Meets AfroHORN: Ahmed Abdullah, Monique Ngozi Nri, Don Chapman,
DD Jackson, Radu ben Judah, Francisco Mora Catlett, Roman Díaz		
Soapbox Gallery 4:30 pm $25• Paul Steven Ray Trio with Josh Scott, Lisette Santiago; Vessels to Motherland:
Danica Borisavljevic/Nikita Morozov		Super Secret Arts 6, 7 pm $25
êJohnathan Blake Pentad with Immanuel Wilkins, Joel Ross, David Virelles, Ben Street		
Village Vanguard 8, 10 pm $40

Monday, May 2• Jasper Dutz Band
55Bar 6:30 pm• Julieta Eugenio Trio
Bar Lunàtico 8:30, 10 pm $10• XALAM: Brandon Terzic, Matt Darriau, Rufus Cappadocia, Matt Kilmer				Barbès 10 pm $20• Anaïs Reno and Pete Malinverni Trio		
Birdland Theater 8:30 pm $30• Dizzy Gillespie Afro-Latin Experience‘		Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks‘		Bond 45 8 pm $25• Sammy Miller and The Congregation Big Band		
Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7:30, 9:30 pm• Spike Wilner
Mezzrow 7:30, 9 pm $20• Charlotte Greve/Simon Jermyn SEEDS 8 pm $20• Seamus Blake
Smalls 7:30, 9 pm $20• Vinicius Gomes/John Cowherd Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, May 3êBill Charlap Trio with Kenny Washington, Peter Washington

		
Birdland 7, 9:30 pm $40
êStanley Clarke Trio with Kenny Barron, Billy Hart		Blue Note 8, 10:30 pm $65
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25
êBertha Hope
Bryant Park 12:30 pm• John Pizzarelli Trio
Café Carlyle 8:45 pm $75-160• Sammy Miller and The Congregation Big Band		
Dizzy’s Club 7:30, 9:30 pm $35• Yotam Silberstein Brazilian Quartet with Vitor Gonçalves, Eduardo Belo,
Dennis Bulhoes; Fabiana Masili The Django 7:30, 10:30 pm• Federico Balducci, Brian Kastan, Mike Pride; Alix Tucou
		
Downtown Music Gallery 6:30, 7:30 pm• Look + Listen 2022: Phyllis Chen; JACK Quartet; Jason Treuting/Eric Cha-Beach;
Jen Shyu; Mikael Darmanie; Patricia Spencer		Invisible Dog Art Center 7 pm
• Kevin Sun Quartet with Dana Saul, Simón Willson, Matt Honor		
Lowlands 8, 9:30 pm• Danny Kolke
Mezzrow 7:30, 9 pm $20• Hillai Govreen Quartet with Steve Cardenas, Ben Meigners, Eviatar Slivnik				Ornithology Jazz Club 9 pm
• Seamus Blake
Smalls 7:30, 9 pm $20
êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40

Wednesday, May 4• Rachel Therrien
55Bar 6:30 pm• Gui Duvignau Quartet with Billy Drewes, Leo Genovese, Jeff Hirshfield		
Bar Bayeux 8, 9:30 pm• Jorge Glem/Ana Carmela Ramirez Bar Lunàtico 8:30, 10 pm $10êBill Charlap Trio with Kenny Washington, Peter Washington
		
Birdland 7, 9:30 pm $40• David Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola Guitar Night with Jimmy Bruno, Gary Mazzaroppi, Vince Cherico andguestsBirdland Theater 8:30 pm $30• Stanley Clarke/DJ PremierBlue Note 8, 10:30 pm $65
êBertha Hope
Bryant Park 12:30 pm• John Pizzarelli Trio
Café Carlyle 8:45 pm $75-160
êJohnny O’Neal Trio
Cellar Dog 7 pm $10êAlex “Apolo” Ayala’s Bambula
Chelsea Table & Stage 7 pm $35• Essentially Ellington Alumni Band Dizzy’s Club 7:30, 9:30 pm $40• Anaïs Reno and Pete Malinverni Trio with Ugonna Okegwo, Aaron Seeber;
Tony Glausi Quartet with Sean Mason, Felix Moseholm, Domo Branch		
The Django 7:30, 10:30 pm• Lao Tizer Quartet with Chieli Minucci, Cheikh N’Doye, Joel Rosenblatt				
Iridium 8 pm $25-35• Sunny Jain’s Love Force
Joe’s Pub 7 pm $25• David Mirarchi’s Umbra with Dierk Peters, Mathias Jensen, Eliza Salem				
Lowlands 8 pm
• Saul Rubin
Mezzrow 7:30, 9 pm $20• Ari Hoenig, Gadi Lehavi, Jason Lindner, Panagiotis Andreou
		Nublu 151 10 pm $20• Jan Findlay Quartet with Tomoko Ohno Farnham, John Zweig, Rick Crane				Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• MATA Festival: International Contemporary Ensemble and Chris Ryan Williams,
Shara Lunon, Lester St. Louis, Luke Stewart		Roulette 8 pm $25• Tom Dempsey/Tim Ferguson Band Smalls 7:30, 9 pm $20• Nicki Adams/Michael Eaton
Soapbox Gallery 8 pm $25
êTrio Exaltation: Marty Ehrlich, John Hébert, Nasheet Waits		
The Stone at The New School 8:30 pm $20
êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, May 5êAdam O’Farrill

55Bar 6:30 pm• Marta Sanchez
Bar Bayeux 5:30 pm• Anwar Marshall Trio with Khemist Bar Lunàtico 8:30, 10 pm $10êAnthony Coleman/Anna Abondolo; Mark Helias/Tim Berne; Tony Malaby,

Angelica Sanchez, Tom Rainey

Barbès 7 pm $15êBill Charlap Trio with Kenny Washington, Peter Washington

		
Birdland 7, 9:30 pm $40• Lauren Henderson Quartet
Birdland Theater 8:30 pm $30• Stanley Clarke/DJ PremierBlue Note 8, 10:30 pm $65
êBertha Hope
Bryant Park 12:30 pm• John Pizzarelli Trio
Café Carlyle 8:45 pm $75-160• Mike Ledonne Quartet
Cellar Dog 7 pm $10• Music of Duke Ellington: Juilliard Jazz Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $40• Benito Gonzalez Trio with Will Slater, Curtis McPhetter, Jr.; High and Mighty Brass Band:
Evan Howard, Charly Kay, Nolan Tsang, Gabe Medd, Nadav Nirenberg, Steve Duffy,
VJ Brown
The Django 7:30, 10:30 pm• Jeremy Bosch Orchestra
Drom 7 pm $30• Caroline Davis, Carmen Rothwell, Qasim Naqvi, Grey McMurray		Endless Life Brewery 8 pm
• Val-Inc
Greenwich House Music School 8 pm $20• Look + Listen 2022: Paul Pinto; Anaïs Maviel, Rashaan Carter, Rema Hasumi;
Joy Guidry/Jessie Cox; Chromic Duo: Lucy Yao/Dorothy Chen;
Ayane Kozasa/Paul Wianco
Invisible Dog Art Center 7 pmêRoy Hargrove Big BandThe Jazz Gallery 7:30, 9:30 pm $30-40êDavid Schnitter Quartet
Jazz Museum in Harlem 2 pm
• Dominic Farinacci
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 8 pm
• Roberta Piket’s Sorceress with Virginia Mayhew, Lim Jang, Lucianna Padmore				
Ornithology Jazz Club 9 pm
• MATA Festival: International Contemporary Ensemble		Roulette 8 pm $25• Mike Boone
Smalls 7:30, 9 pm $20• Roni Ben-Hur/Magos Herrera
Soapbox Gallery 8 pm $25
êMarty Ehrlich/Erica Hunt
The Stone at The New School 8:30 pm $20• City of the Sun; Rotem Sivan
The Sultan Room 7 pm $20
êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40

Friday, May 6• Ben Monder• Birdland Big Band

55Bar 5:30 pm
Birdland 5:30 pm $30

êBill Charlap Trio with Kenny Washington, Peter Washington

		
Birdland 8:30, 10:30 pm $40• Steve Slagle Band with Scott Wendholt, Bruce Barth, Ugonna Okegwo, Jason Tiemann		Birdland Theater 7, 9:30 pm $30
êStanley Clarke
Blue Note 8, 10:30 pm $65• Look + Listen 2022: John Glover; Dana Lyn’s A Point on a Slow Curve; Alicia Waller;
Sugar Vendil
BRIC House 7 pmêBertha Hope
Bryant Park 12:30 pm• John Pizzarelli Trio
Café Carlyle 8:45 pm $90-200êScatter the Atoms That Remain: Franklin Kiermyer, Davis Whitfield, Emilio Modeste,
Otto Gardner; Raphael D’lugoff Cellar Dog 7, 11:30 pm $10• Svetlana and The Delancey Five Culture Lab LIC 7 pm
• Music of Duke Ellington: Juilliard Jazz Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $45• Ken Fowser Quintet; Alphonso Horne and The Gotham Kings		
The Django 7:30, 10:30 pm• Kelsey Mines/Gabby Fluke-Mogul and guests
		Ibeam Brooklyn 8, 9 pm $15• Jihye Lee Orchestra with Ben Kono, Alejandro Aviles, Quinsin Nachoff, Charles Pillow,
Carl Maraghi, Mike Fahie, Matt McDonald, Jennifer Wharton, Brian Pareschi, John Lake,
Jon Challoner, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jeff Davis		
The Jazz Gallery 7:30, 9:30 pm $25-35• Kuni Mikami/Jon Roche
Knickerbocker Bar & Grill 9 pm $3.50
êLadies Sing The Blues: Catherine Russell, Charenée Wade, Brianna Thomas				
LeFrak Hall, Queens College 8 pm $25-35• Vanessa Rubin
Mezzrow 7:30, 9 pm $20• V. Shayne Frederick
Minton’s 7, 9 pm $20• MATA Festival: International Contemporary Ensemble with Travis LaPlante				
National Sawdust 7:30 pm $25• Tammy Scheffer Sextet with Jasper Dütz, Dan Pratt, Glenn Zaleski, Danny Weller,
Ronen Itzik
Neighborhood Church of Greenwich Village 8, 9:30 pm• Marc Mommaas, Kenny Wessel and guest Rez Abbasi
		
New York Jazz Workshop 9:15 pm $20• Malick Koly
Nublu 151 7 pm $20• Lea Bertucci’s Of Shadow and Substance with Henry Fraser, Lester St. Louis,
Lucia Starvos, Matt Evans; Lea Bertucci/Olivia Block		
Pioneer Works 7 pm $25

34 MAY 2022 | THE NEW YORK CITY JAZZ RECORD• Tomas Janzon; Irwin Hall

Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
Smalls 7:30, 9 pm $20• Lorin Cohen Trio
Soapbox Gallery 8 pm $25
êTrio Expanse: Marty Ehrlich, Matt Pavolka, Tomas Fujiwara
		The Stone at The New School 8:30 pm $20• Victor Prieto Trio
Terraza 7 7 pm $15êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40
êRick Germanson

Saturday, May 7• Sonido Costeno
The Atlantic BKLN 7 pm $10• Adam Kolker/Gary Versace
Bar Bayeux 8 pm
• Helio Alves/Guilherme Monteiro Bar Lunàtico 8:30, 10 pm $10êBill Charlap solo
Birdland 5:30 pm $30
êBill Charlap Trio with Kenny Washington, Peter Washington

		
Birdland 8:30, 10:30 pm $40• Steve Slagle Band with Scott Wendholt, Bruce Barth, Ugonna Okegwo, Jason Tiemann		Birdland Theater 7, 9:30 pm $30• Stanley Clarke Band with Cory Henry, Cameron Graves, Jeremiah Collier
		Blue Note 8, 10:30 pm $65• Shoko Nagai’s Tokala
Brooklyn Museum of Art 5 pm
• John Pizzarelli Trio
Café Carlyle 8:45 pm $90-200• Nick Hempton Quartet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10• Ben Freidkin/Omri Bar Giora Fusion Project; Liftoff Brass		
Culture Lab LIC 7 pm
• Music of Duke Ellington: Juilliard Jazz Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $45• Hank Allen-Barfield Quintet with Wallace Roney, Jr., Chris Lewis, Luther Allison,
Mikey Migliore; Domo Branch Trio with Sean Mason, Ben Feldman and guests
Imani Rousselle, Abdias Armenteros		
The Django 7:30, 10:30 pm• Kelsey Mines/Erin Rogers and guests
		Ibeam Brooklyn 8, 9 pm $15• Jon Batiste
Isaac Stern Auditorium at Carnegie Hall 8 pm
• Kalia Vandever’s Regrowth with Immanuel Wilkins, Lee Meadvin, Tyrone Allen,
Connor Parks
The Jazz Gallery 7:30, 9:30 pm $25-35
êOded Tzur Quartet with Nitai Hershkovits, Petros Klampanis, Johnathan Blake				Joe’s Pub 7 pm $25
êLadies Sing The Blues: Catherine Russell, Charenée Wade, Brianna Thomas				Kingsborough Community College 8 pm $34-39• Kuni Mikami/Jon Roche
Knickerbocker Bar & Grill 9 pm $3.50• Vanessa Rubin; Johnny O’Neal Mezzrow 7:30, 9, 10:30 pm $20• Phil Young and The Harlem Hip Minton’s 7, 9 pm $20
êMATA Festival: International Contemporary Ensemble with Darius Jones,
Hajnal Pivnick, Ledah Finck, Josh Henderson, Issei Herr, Sean Conly, Gerald Cleaver,
Aviva Mitchell
National Sawdust 7:30 pm $25• Leonor Falcón’s Imaga Mondo II Our Savior’s Atonement Lutheran Church 6:30 pm• Michael Eaton and Seth Davis Octet 				
Scholes Street Studio 8 pm
• Robert Rutledge Quintet
Sistas’ Place 9, 10:30 pm $20
êRick Germanson
Smalls 7:30, 9 pm $20
êThe Welcome Quartet: Marty Ehrlich, Ron Horton, Michael Bates, Michael Sarin
		The Stone at The New School 8:30 pm $20• Antonio Lizana
Terraza 7 8 pm $15• Marta Sanchez Group
Vanderbilt Open Streets 5 pm ¸êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40

Sunday, May 8• Nir Felder• Or Bareket Quartet

55Bar 9:30 pm
Bar Lunàtico 8:30, 10 pm $10êSam Bardfeld Trio with Jacob Sacks, Michael Sarin
		
Barbès 6 pm $20
êStéphane Wrembel
Barbès 8 pm $20
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 8:30, 10:30 pm $40• Andy Farber Big Band
Birdland Theater 5:30 pm $30• Steve Slagle Band with Scott Wendholt, Bruce Barth, Ugonna Okegwo, Jason Tiemann		Birdland Theater 7, 9:30 pm $30• Svetlana and The New York Collective		Blue Note 12:30, 2:30 pm $25• Stanley Clarke Band with Cory Henry, Cameron Graves, Jeremiah Collier
		Blue Note 8, 10:30 pm $65• Saul Rubin Trio
Cellar Dog 7 pm $10• Woodsiders Collective: Luis Sigüenza, Justus Heher, Andrew McGowan,
Yuto Kanazawa, Ilya Dynov
Culture Lab LIC 7 pm
• Music of Duke Ellington: Juilliard Jazz Orchestra
		
Dizzy’s Club 5, 7:30 pm $35• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Treut The Keep 9 pm
• Stefano Doglioni
Mezzrow 7:30, 9 pm $20• Alexis Lombre
Minton’s 7, 9 pm $20• Louise Rogers Trio with Mark Kross, John Loehrke		North Square Lounge 12:30, 2 pm
• Tahira Clayton/Caili O’Doherty Saint Peter’s Church 5 pm
• Tad Shull; Jeff McGregor
Smalls 7:30, 9, 10:30 pm $20
êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi
		Village Vanguard 8, 10 pm $40

Monday, May 9êSheryl Bailey
55Bar 6:30 pmêOhad Talmor Quartet with David Virelles, Chris Tordini, Eric McPherson

		
Bar Lunàtico 8:30, 10 pm $10• Ricardo Gallo solo
Barbès 7 pm $15• Mafalda Minnozzi Sextet with Paul Ricci, Helio Alves, Eduardo Belo, Rogério Boccato,Franz Hackl
Birdland Theater 8:30 pm $30• Kurt Elling’s SuperBlue with Charlie Hunter, Corey Fonville, DJ Harrison
		Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Todd Robbins
Bryant Park 12:30 pmêPete Malinverni Trio with Ugonna Okegwo, Jeff Hamilton
		Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7:30, 9:30 pm• Spike Wilner
Mezzrow 7:30, 9 pm $20• Kelsey Mines, Brandon Lopez, Cecilia Lopez
		
Michiko Studios 8 pm $20• Alfredo Colón’s Echando Los Santos with Kalia Vandever, Jacob Sacks, Hannah Marks,
Connor Parks
Roulette 8 pm $25
êJonathan Barber; Darius Jones/Gerald Cleaver		
Smalls 7:30, 9, 10:30 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êEd Cherry/Yotam Silberstein Group with Gary Wang, Anwar Marshall		
Zinc Bar 7, 8:30 pm $25

Tuesday, May 10êBill Charlap Trio with Kenny Washington, Peter Washington

		
Birdland 7, 9:30 pm $40• Kurt Elling’s SuperBlue with Charlie Hunter, Corey Fonville, DJ Harrison
		Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Todd Robbins
Bryant Park 12:30 pm• Miho Hazama and m_unit with Michael Thomas, Jason Rigby, Carl Maraghi,
Josh Deutsch, Adam Unsworth, Tomoko Akaboshi, Maria Im, Meaghan Burke,
James Shipp, Martha Kato, Edward Perez, Jared Schonig		Dizzy’s Club 7:30, 9:30 pm $35• ELEW Electro Acoustic Trio with Conrad Korsch, Allan Mednard		
The Django 10:30 pm• Symbiotique: Michael Eaton, Seth Andrew Davis, Cheryl Pyle, Kyle Quass;
Kate Birch/Tal Yahalom; Kevin Murray/Chris Pitsiokos
		Downtown Music Gallery 6:30, 7:30, 8:30 pmêRon Carter 85th Birthday Celebration: Golden Striker Trio: Ron Carter, Donald Vega,
Russell Malone; Ron Carter Foursight Quartet with Jimmy Greene, Renee Rosnes,
Payton Crossley; Ron Carter Octet with Maxine Neuman, Zöe Hassman, Sibylle Johner,
Dorothy Lawson, Donald Vega, Leon Maleson, Payton Crossley		Isaac Stern Auditorium at Carnegie Hall 8 pm $20-200• McClintic Sphere: Alex LoRe, Kevin Sun, Jeonglim Yang, Allan Mednard				
Lowlands 8, 9:30 pm• Naama GheberMezzrow 7:30, 9 pm $20
êSteve Nelson
Smalls 7:30, 9 pm $20• Paul Jost Quartet
Soapbox Gallery 8 pm $25• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40

Wednesday, May 11• Gabrielle Stravelli Quartet• Mark Zaleski’s Our TimeThe Atlantic BKLN 7:30 pm $15
The Atlantic BKLN 9 pm $15êSamara Joy/Pasquale Grasso
Bar Bayeux 8, 9:30 pm• Sylvia Cuenca Quartet
Bar Lunàtico 8:30, 10 pm $10êBill Charlap Trio with Kenny Washington, Peter Washington
		
Birdland 7, 9:30 pm $40• David Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola Guitar Night with Jimmy Bruno, Gary Mazzaroppi, Vince Cherico andguestsBirdland Theater 8:30 pm $30• Kurt Elling’s SuperBlue with Charlie Hunter, Corey Fonville, DJ Harrison
		Blue Note 8, 10:30 pm $35• Todd Robbins
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10• As Is: Alan and Stacey Lynn Schulman
		Chelsea Table & Stage 7 pm $45
êAaron Burnett Trio
Chelsea Table & Stage 9:30 pm $40
êMarquis Hill’s New Gospel Revisited with Joel Ross		
Dizzy’s Club 7:30, 9:30 pm $35• Terreno Comum: Alexia Bomtempo, Orrin Evans, Leandro Pellegrino, Luques Curtis;
Ray Gallon Trio with Jay Leonhart, Jimmy Macbride and guest Carolyn Leonhart
		
The Django 7:30, 10:30 pm• Brandon Lopez 4tet
Lowlands 8 pm
• Nitai Hershkovits
Mezzrow 7:30, 9 pm $20
êLew Tabackin Trio with Peter Washington, Jason Tiemann		Michiko Studios 7 pm $20• Alfa Mist with Kalia Vandever
National Sawdust 7:30 pm $25• Ray Blue Quartet
New Amsterdam Musical Association NAMA 8 pmêThe Fringe: George Garzone, John Lockwood, Francisco Mela		
Nublu 151 9, 11 pm $20• Kate Baker Quartet
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êJohn Zorn Three Premieres: Jack Quartet: Chris Otto, Austin Wulliman,
John Pickford Richards, Jay Campbell, Michael Nicolas, Sae Hashimoto, Ches Smith,
Yura Lee
Roulette 8 pm $40• Ben Rosenbloom
Smalls 7:30, 9 pm $20• Lauren Lee
Soapbox Gallery 8 pm $25• Gatos do Sul: Brian Marsella, Itai Kriss, Michael Formanek, John Lee, Felipe Hostins,
Gil Oliveira, Cyro Baptista
The Stone at The New School 8:30 pm $20• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, May 12• Marta Sanchez

Bar Bayeux 5:30 pmêEmber: Caleb Curtis, Noah Garabedian, Vinnie Sperrazza and guest Orrin Evans

		Bar Lunàtico 8:30, 10 pm $10• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka				Barbès 8 pm $20
êBill Charlap Trio with Kenny Washington, Peter Washington
		
Birdland 7, 9:30 pm $40• Kristen Lee Sergeant with Ted Nash, Helen Sung, Hannah Marks, Jay Sawyer				
Birdland Theater 8:30 pm $30• DJ Logic and Friends with Vernon Reid, Marcus Gilmore, David Dyson, James Hurt andguests Talib Kweli, James Carter Blue Note 8, 10:30 pm $35• Todd Robbins
Bryant Park 12:30 pm• Sylvia Cuenca Quintet
Cellar Dog 7 pm $10êLakecia Benjamin’s PursuanceDavid Rubenstein Atrium 7:30 pmêMarquis Hill’s New Gospel Revisited with Joel Ross		
Dizzy’s Club 7:30, 9:30 pm $35• Alex de Lazzari Quartet with Andrew Wagner, Charlie Sigler, Jason Clotter,
Winard Harper; Django All-Stars: Ken Fowser, Bruce Harris, Anthony Wonsey,
Alexander Claffy
The Django 7:30, 10:30 pm• Pedrito Martinez Group
Drom 7 pm $30• Charlotte Greve’s Wood River with Charlotte Jacobs, Ryan Dugre, Chris Morrissey,
Bill Campbell
The Jazz Gallery 7:30, 9:30 pm $15-25• Sylvia Cuenca Quartet
Jazz Museum in Harlem 2 pm
• Sound Surround—Found In Space: Jay Rozen, Mark Kostabi, Benjamin Louis Brody,
Rachel Drehmann, Lynn Bechtold, Max Pollak, Sharon Harns, Gene Pritsker				
Kostabi World 7 pm $30• Matt Slocum
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 8 pm
• Alfa Mist with Kalia Vandever
National Sawdust 7:30 pm $25• Glenn Zaleski Quintet with with Adam O’Farrill, Lucas Pino, Desmond White,
Allan Mednard
Nublu 151 7 pm $20
êCécile McLorin Salvant’s Ghost Songs with Sullivan Fortner, Keita Ogawa,
Marvin Sewell, Alexa Tarantino, Yasushi Nakamura		Rose Theater 8 pm $40-130• Interpretations: Tom Hamilton with Bonnie Lander, Alex LoRe, Jacqueline Martelle,
Joe Moffett, Andie Tanning
Roulette 8 pm $20• Aaron Seeber; David Gibson
Smalls 7:30, 9, 10:30 pm $20• Benji Kaplan/Hugo Aran
Soapbox Gallery 8 pm $25• The Modulators: Brian Marsella, Reid Taylor, Kenny Grohowski and guest John Lee

		The Stone at The New School 8:30 pm $20• Pedro Giraudo
Terraza 7 7:30 pm $15• Highlights in Jazz: The Return of the Jam Session with Peter and Will Anderson,
Ted Rosenthal, James Chirillo, Wycliffe Gordon, Victor Lewis, Brian Lynch and guest
		Tribeca Performing Arts Center 8 pm $45-50• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40

Friday, May 13• Jerome Sabbagh Trio with Dezron Douglas, Otis Brown III

		Bar Bayeux 8 pm
• Álvaro Benavides GroupBar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5:30 pm $30
êBill Charlap Trio with Kenny Washington, Peter Washington
		
Birdland 8:30, 10:30 pm $40
êThe Royal Bopsters: Amy London, Jeanne O’Connor, Pete McGuinness, Dylan Pramuk
with Steve Schmidt, Cameron Brown, Tim Horner		
Birdland Theater 7, 9:30 pm $30• DJ Logic and Friends with Vernon Reid, Marcus Gilmore, David Dyson, James Hurt andguests Talib Kweli, James Carter Blue Note 8, 10:30 pm $35• Todd Robbins
Bryant Park 12:30 pm• Frank Basile Quartet; Miki Yamanaka Quartet
		
Cellar Dog 7, 11:30 pm $10êEndea Owens and The Cookout Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet; Aaron Seeber First Move with Jeremy Pelt, Tim Green,
Isaac Wilson, Ugonna Okegwo The Django 7:30, 10:30 pmêJoel Ross’ The Parable of The Poet with Micah Thomas, Marquis Hill, Kalia Vandever,
Immanuel Wilkins, Sergio Tabanico, Rick Rosato, Craig Weinrib		
The Jazz Gallery 7:30, 9:30 pm $25-35• Mikey Migliore
Knickerbocker Bar & Grill 9 pm $3.50
êAdam Birnbaum/Al Foster
Mezzrow 7:30, 9 pm $20• Denise King
Minton’s 7, 9 pm $20• Joaquin Pozo y La Clave Suena Poe Park 12 pm• Jordan Young; Sylvia Cuenca Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êCécile McLorin Salvant’s Ghost Songs with Sullivan Fortner, Keita Ogawa,
Marvin Sewell, Alexa Tarantino, Yasushi Nakamura		Rose Theater 8 pm $40-130êValery Ponomarev
Smalls 7:30, 9 pm $20• Archipelago X: Ikue Mori, Brian Marsella, Sae Hashimoto
		The Stone at The New School 8:30 pm $20• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40• Talujon: Ian Antonio, Caitlin Cawley, Tom Kolor, Matt Ward		
Zürcher Gallery 8 pm $20

Saturday, May 14• John Cooksey Quartet

Alfred E. Smith Recreation Center 11 amêSamara Joy
Apollo Theater & Music Café 10 pm $25• Adam Kolker/Isaac Wilson
Bar Bayeux 8 pm
• Clark Gayton and The Superslicks Bar Lunàtico 8:30, 10 pm $10• Dana Lyn’s Mother Octopus with Mike McGinnis, Sara Schoenbeck, Gary Wang,
Patrician Brennan, Noel Brennan Barbès 6 pm $20
êBill Charlap solo
Birdland 5:30 pm $30
êBill Charlap Trio with Kenny Washington, Peter Washington
		
Birdland 8:30, 10:30 pm $40
êThe Royal Bopsters: Amy London, Jeanne O’Connor, Pete McGuinness, Dylan Pramuk
with Steve Schmidt, Cameron Brown, Tim Horner and guest Sheila Jordan				Birdland Theater 7, 9:30 pm $30• DJ Logic and Friends with Vernon Reid, Marcus Gilmore, David Dyson, James Hurt andguests Talib Kweli, James Carter Blue Note 8, 10:30 pm $35• Richie Clements Quartet; Avi Rothbard Quartet
		
Cellar Dog 7, 11:30 pm $10• Richard Baratta Gotham City Septet with Vincent Herring, Paul Bollenback,Bill O’Connell, Michael Goetz, Paul Rossman, Rogério Boccato		Chelsea Table & Stage 7, 9:30 pm $35• Hyuna Park
Culture Lab LIC 5 pmêEndea Owens and The Cookout Dizzy’s Club 7:30, 9:30 pm $45• Evan Sherman Quintet
The Django 10:30 pm• Spanish Harlem Orchestra with Paquito D’Rivera, Herman Olivera
		
Hostos Center 8 pm $25-35
êJoel Ross’ The Parable of The Poet with Micah Thomas, Marquis Hill, Kalia Vandever,
Immanuel Wilkins, Sergio Tabanico, Rick Rosato, Craig Weinrib		
The Jazz Gallery 7:30, 9:30 pm $25-35• Imani Rousselle
Jazz Museum in Harlem 11 am• Mikey Migliore
Knickerbocker Bar & Grill 9 pm $3.50
êAdam Birnbaum/Al Foster
Mezzrow 7:30, 9 pm $20• Wright Family Gospel Choir
Minton’s 7, 9 pm $20• Ray Blue Quartet
Patrick’s Place 8 pm
• Myk Freedman Quartet with Kenny Warren, JP Schlegelmilch, Ari Folman Cohen				Rockwood Music Hall Stage 3 7 pm $15êGuy Klucevsek 75th Birthday Celebration: Alan Bern; Bachtopus Accordion Ensemble:
Robert Duncan, Peter Flint, Mayumi Miyaoka, Jeanne Velonis; Will Holshouser;
Nathan Koci; Jenny Lin; Todd Reynolds
		
Roulette 8 pm $25
êDiaspora Meets AfroHORN: Ahmed Abdullah, Monique Ngozi Nri, Don Chapman,
DD Jackson, Radu ben Judah, Francisco Mora Catlett, Roman Díaz		
Sistas’ Place 9, 10:30 pm $20• Sylvia Cuenca
Smalls 7:30, 9 pm $20
êBrian Marsella solo
The Stone at The New School 8:30 pm $20• Wall to Wall—Quincy Jones: Pedrito Martinez Group; Sly5thAve; Justin Hicks;
Helga Davis; Damien Sneed and Friends; Adeline; Oddisee and Good Compny;
Sing Harlem; Mari World; Ella Bric; Brooklyn United; Mahogany Browne; Kayla Farrish;
Keeanna Faircloth; DJ Spinna
Symphony Space Peter Jay Sharpe Theatre 3 pm
• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40

Sunday, May 15• Yotam Silberstein

55Bar 9:30 pm
Barbès 8 pm $20• NYC All-City Latin Ensemble and The Fat Cats		
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 8:30, 10:30 pm $40
êThe Royal Bopsters: Amy London, Jeanne O’Connor, Pete McGuinness, Dylan Pramuk
with Steve Schmidt, Cameron Brown, Tim Horner and guest Sheila Jordan				Birdland Theater 7, 9:30 pm $30• Olli Soikkeli Trio
Blue Note 12:30, 2:30 pm $25• DJ Logic and Friends with Vernon Reid, Marcus Gilmore, David Dyson, James Hurt andguests Talib Kweli, James Carter Blue Note 8, 10:30 pm $35• Willerm Delisfort Trio
Cellar Dog 7 pm $10• Unruly Neighbors: Sameer Gupta/Ben Tyree; Philip Weberndörfer Quartet				
Culture Lab LIC 5, 7 pm
• Domo Branch Trio with Sean Mason, Ben Feldman and guests Stefon Harris,
Imani Rousselle
Dizzy’s Club 5, 7:30 pm $40
êStéphane Wrembel• Sofia Ribeiro
Drom 7 pm $25• Guy Mintus Trio with Luke Sellick, Phillippe Lemm		
Joe’s Pub 7 pm $25• Welf Dorr, Elias Meister, Dmitry Ishenko, Dalius Naujo
		
The Keep 9 pm
• Barbès 20th Anniversary Celebration: Red Baraat; Son Rompe Pera;
Ethan Lipton and His Orchestra; Mamie Minch, Tamar Horn with guest DJs
Sonido Talacha, Little Dynasty Le Poisson Rouge 7:30 pm $25• Gabrielle Stravelli
Mezzrow 7:30, 9 pm $20• Russell Hall
Minton’s 7, 9 pm $20• Roz Corral Trio with Eddie Monteiro, Roni Ben-Hur		North Square Lounge 12:30, 2 pm
• Elsa Nilsson’s Atlas Of Sound with Jon Cowherd, Chris Morrissey					Rockwood Music Hall Stage 2 7 pm $15• Tahira Clayton/Caili O’Doherty Saint Peter’s Church 5 pm
• Carlo Morgan; Aaron Johnson Smalls 7:30, 9, 10:30 pm $20• DDQ Experience: Mafalda Minnozzi, Paul Ricci, Leo Genovese, Franz Hackl
		
Soapbox Gallery 8 pm $25• Logan Richardson Quintet with Igor Osypov, Peter Schlamb, Dominique Sanders,
Ryan J. Lee
Village Vanguard 8, 10 pm $40• Lalo Rodriguez Antiquity Quintet Zürcher Gallery 7:30 pm $20

Monday, May 16êMarco Cappelli/Jim Pugliese’s Italian Doc Remix		The Atlantic BKLN 7 pm $15• Ben Stivers Trio
Bar Lunàtico 8:30, 10 pm $10• Dizzy Gillespie Afro-Latin Experience‘		Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Luiz Simas
Bryant Park 12:30 pm• Dominick Farinacci and Tri-C JazzFest Academy’s Spirit of the Groove with
Thomas Schinabeck, Ava Preston, Liam Speaks, Emmet Creamer, Eli Leder,
Oscar Lacombe, Henry Peyrebrune, Ted Clouser, Drew Hoschar, Ben Bosler,
Rohit Kashyap, Nehemiah Baker and guests Jonathan Thomas, Carmen Intorre, Jr.,
Chris Coles
Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7:30, 9:30 pmêSheila Jordan
Mezzrow 7:30, 9 pm $20• Anthony Pinciotti
Smalls 7:30, 9 pm $20• Arco Sandoval
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, May 17êRoy Nathanson

Bar Lunàtico 8:30, 10 pm $10• Eliane Elias Trio with Marc Johnson, Rafael Barata		Birdland 7, 9:30 pm $40
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Luiz Simas
Bryant Park 12:30 pmêGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Tom Christiansen, Alden Banta, Dave Peel, Shelagh Abate,
Augie Haas, Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer, George Flynn,
Marcus Rojas, James Chirillo, Gary Versace, Jay Anderson, Lewis Nash, Wendy Gilles
		Dizzy’s Club 7:30, 9:30 pm $35• Pedro Cortes Flamenco Ensemble with Juan Pedro Jimenez, Elisabet Tottas,
Luis Ossa; Chino Pons
The Django 7:30, 10:30 pm• Michel Gentile’s FLOW with Chris Speed, Jacob Garchik, Chris Lightcap, Rob Garcia
		Ibeam Brooklyn 8, 9:30 pm $20
êJazz and Social Justice: Jimmy Greene		Jazz Museum in Harlem 7 pm
• Sonny Singh’s Chardi Kala
Joe’s Pub 9:30 pm $15• Kevin Sun Quartet with Dana Saul, Simón Willson, Matt Honor		
Lowlands 8, 9:30 pm• Antonio Ciacca
Mezzrow 7:30, 9 pm $20• Abraham Burton
Smalls 7:30, 9 pm $20• Jim Ridl/Kim Kalesti
Soapbox Gallery 8 pm $25
êRenee Rosnes Quartet with Chris Potter, Peter Washington, Carl Allen		
Village Vanguard 8, 10 pm $40

Wednesday, May 18• Fever! The Peggy Lee Century: Ann Hampton Callaway		
54 Below 7 pm $50-100• Bobby Spellman Nonet
The Atlantic BKLN 7 pm $15êVictor Gould Trio
Bar Bayeux 8, 9:30 pm• Lau NoahBar Lunàtico 8:30, 10 pm $10• Eliane Elias Trio with Marc Johnson, Rafael Barata		Birdland 7, 9:30 pm $40• David Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola Guitar Night with Jimmy Bruno, Gary Mazzaroppi, Vince Cherico
and guests
Birdland Theater 8:30 pm $30
êAmina Claudine Myers Trio with guest Richarda Abrams
		Blank Forms 8 pm $35• Luiz Simas
Bryant Park 12:30 pm• Akiko Tsuruga Trio
Cellar Dog 7 pm $10• Charu Suri’s Raga Jazz
Chelsea Table & Stage 7 pm $35
êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Tom Christiansen, Alden Banta, Dave Peel, Shelagh Abate,
Augie Haas, Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer, George Flynn,
Marcus Rojas, James Chirillo, Gary Versace, Jay Anderson, Lewis Nash, Wendy Gilles
		Dizzy’s Club 7:30, 9:30 pm $35• Pasquale Grasso and Friends with Ari Roland, Keith Balla; Sachal Vasandani with
Victor Gould, Alex Claffy, Domo Branch and guests Marianne Solivan, Milton Suggs
		
The Django 7:30, 10:30 pmêJazzmobile: Mark Morganelli and The Jazz Forum All-Stars with Roni Ben-Hur,
Eduardo Belo, Nanny AssisInterchurch Center 7 pm
• Matt Marantz, Luke Marantz, Michael Davis		
Lowlands 8 pm
• David Berkman
Mezzrow 7:30, 9 pm $20
êMary Halvorson’s Amaryllis Belladonna with Mivos Quartet, Adam O’Farrill,
Jacob Garchik, Patricia Brennan, Nick Dunston, Tomas Fujiwara		
National Sawdust 7 pm $30• Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner		Pangea 7 pm $25• Bonicellia Lewis and Friends
Pelham Fritz Recreation Center 5:30 pm• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Gabby Fluke-Mogul’s Rue with Nava Dunkelman, Ava Mendoza, Zeena Parkins				
Roulette 8 pm $25• Kofi Hunter
Smalls 7:30, 9 pm $20• Hayes Greenfield solo
Soapbox Gallery 8 pm $25
êBen Goldberg’s Glamorous Escapades with John Ellis, Steve Cardenas, Ben Allison
		
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• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

THE NEW YORK CITY JAZZ RECORD | MAY 2022 35

Thursday, May 19• Fever! The Peggy Lee Century: Ann Hampton Callaway		
54 Below 7 pm $50-100• New Bojaira
The Atlantic BKLN 9 pm $20• Steve Kroon Sextet
A.R.R.O.W. Field House 6 pmêPeter Evans/Elias Stemeseder
Austrian Cultural Forum 7 pm
• Marta Sanchez
Bar Bayeux 5:30 pm• Eliane Elias Trio with Marc Johnson, Rafael Barata		Birdland 7, 9:30 pm $40• Oz Noy, Ugonna Okegwo, Ray Marchica		Birdland Theater 8:30 pm $30• Luiz Simas
Bryant Park 12:30 pm• Greg Glassman Quartet
Cellar Dog 7 pm $10• Kaoru Watanabe’s IncenseDavid Rubenstein Atrium 7:30 pmêOrrin Evans Trio with Eric Revis, Jeff “Tain” Watts
		
Dizzy’s Club 7:30, 9:30 pm $40• Chris Lewis Quartet with Sean Mason, Philip Norris, Nazir Ebo; Sean Mason Quintet
		
The Django 7:30, 10:30 pm• Dana Lyn, Charlie Burnham, Marika Hughes		Greenwich House Music School 8 pm $20• Gerald Clayton’s Piedmont Blues with René Marie, Maurice Chestnut				Harlem Stage Gatehouse 7:30 pm $25-35• Simon Moullier
The Jazz Gallery 7:30, 9:30 pm $15-25
êPaul West Trio with Kenny Barron, Willie Jones III		Jazz Museum in Harlem 2 pm
• Allan Harris
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 8 pmêMonk con Clave: Jazz at Lincoln Center Orchestra with guest Pedrito Martinez		
Rose Theater 8 pm $40-130êMike Clark
Smalls 7:30, 9 pm $20• Haeun Joo Group with Sara Serpa, Matt Holman, Chris Tordini, Ronen Itzik				
Soapbox Gallery 8 pm $25
êBen Goldberg, Michael Formanek, Billy Mintz
		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
êSusan Alcorn/Catherine Sikora
Zürcher Gallery 8 pm $20

Friday, May 20• Fever! The Peggy Lee Century: Ann Hampton Callaway		
54 Below 7 pm $50-100• Birdland Big Band
Birdland 5:30 pm $30• Eliane Elias Trio with Marc Johnson, Rafael Barata		Birdland 7, 9:30 pm $40• Alexa Tarantino Quartet
Birdland Theater 7, 9:30 pm $30• Luiz Simas
Bryant Park 12:30 pm• Will Terrill Quintet; Simona Premazzi Quartet
		
Cellar Dog 7, 11:30 pm $10• Young Monk Project: Joel Ross, Zoe Obadia, Sean Mason, Mark Lewandowski,
Kayvon Gordon
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet; Endea Owens and The Cookout
		
The Django 7:30, 10:30 pm• Spanish Harlem Orchestra
Drom 7 pm $25-35• Gerald Clayton’s Piedmont Blues with René Marie, Maurice Chestnut				Harlem Stage Gatehouse 7:30 pm $25-35• Taru Alexander Quartet
Hunts Point Recreation Center 12 pm• Keith LaMar and Albert Marquès’ Freedom First with Gil Defay, Caroline Davis,
Salim Washington, Manel Fortià, Zack O’Farrill
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Tom Placido, Scott Ritchie, Vin Scialla
		
Knickerbocker Bar & Grill 9 pm $3.50• Ben SidranMezzrow 7:30, 9 pm $20• Samuel Torres
Minton’s 7, 9 pm $20• Marc Mommaas, Kenny Wessel and guest Michelle Walker
		
New York Jazz Workshop 9:15 pm $20
êJason Moran solo
Park Avenue Armory 7:30 pm $45• Jasim Perales; Yayoi Ikawa
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êMonk con Clave: Jazz at Lincoln Center Orchestra with guest Pedrito Martinez				
Rose Theater 8 pm $40-130êHenry Threadgill’s One with Darius Jones, Noah Becker, Peyton Pleninger,
Craig Weinrib, Sara Caswell, Stephanie Griffin, Marika Hughes, Christopher Hoffman,
Jose Davila, David Virelles, Sara Schoenbeck, Adam Cordero		Roulette 8 pm $45• VEER Quartet: Sarah Bernstein, Sana Nagano, Leonor Falcón, Nick Jozwiak				Scholes Street Studio 8 pm
• Quincy Davis
Smalls 7:30, 9 pm $20
êBen Goldberg’s Euphemystical Vibraphonium with Kenny Wollesen, Ches Smith,
Ryan Ferreira, Michael Coleman, Thomas Morgan		
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

Saturday, May 21• Fever! The Peggy Lee Century: Ann Hampton Callaway		
54 Below 7 pm $50-100• Adam Kolker/Franck Amsallem Bar Bayeux 8 pm
• Itamar Borochov Quartet
Bar Lunàtico 8:30, 10 pm $10• Pedro Giraudo Tango Quarte
Barbès 8 pm $20• Eliane Elias Trio with Marc Johnson, Rafael Barata		Birdland 7, 9:30 pm $40• Alexa Tarantino Quartet
Birdland Theater 7, 9:30 pm $30• Bruce Harris Quartet; Todd Herbert Quartet
		
Cellar Dog 7, 11:30 pm $10• Cameron Mizell/Charlie Rauh; Yu Nishiyama Big Band		
Culture Lab LIC 5, 7 pm
• Young Monk Project: Joel Ross, Zoe Obadia, Sean Mason, Mark Lewandowski,
Kayvon Gordon
Dizzy’s Club 7:30, 9:30 pm $45• Andrew Wagner Quintet with Alex de Lazzari, Charlie Sigler, Jason Clotter,
Hank Allen-Barfield; Alexander Claffy and Phamily
		The Django 7:30, 10:30 pm• 5th Mediterranean Jazz Festival: Giovanni Mirabassi/Christos Rafalides;
Manel Fortià Trio with Albert Marques, Vinnie Sperrazza; Eleni Arapoglou Group with
Gilad Barakan, Kyle Miles
Drom 6 pm $25• Victor Provost Band with Alex Brown, Edward Perez, Eric Doob and guest
Chico Pinhiero
Flushing Town Hall 7 pm $15• Name 2 Chemist-Composers of Georgian Extraction: Daniel Schnyder, Brad Hubbard,
Bruce Arnold, Gene Pritsker, Jai Jeffries, Max Pollak, Adriana Valdes		
Gallery MC 7 pm $20
êAngelica Sanchez Trio with Michael Formanek, Billy Hart		The Jazz Gallery 7:30, 9:30 pm $25-35

Wednesday, May 25• Tom Placido, Scott Ritchie, Vin Scialla

		
Knickerbocker Bar & Grill 9 pm $3.50
êJimmy Heath Scholarship Fund Concert led by Antonio Hart		
LeFrak Hall, Queens College 7 pm $10-25• Ben Sidran; Johnny O’Neal
Mezzrow 7:30, 9, 10:30 pm $20
êMiguel Zenón Sonero Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Miller Theatre 8 pm $20• Chelsea Baratz
Minton’s 7, 9 pm $20
êJason Moran solo
Park Avenue Armory 7:30 pm $45• Alex Zhang Hungtai; Chris Williams/Greg Fox
		Public Records 7 pm $20
êMonk con Clave: Jazz at Lincoln Center Orchestra with guest Pedrito Martinez		
Rose Theater 8 pm $40-130êHenry Threadgill’s One with Darius Jones, Noah Becker, Peyton Pleninger,
Craig Weinrib, Sara Caswell, Stephanie Griffin, Marika Hughes, Christopher Hoffman,
Jose Davila, David Virelles, Sara Schoenbeck, Adam Cordero		Roulette 8 pm $45
êAndrew Lamb Trio with Hilliard Greene, Newman Taylor Baker		
Sistas’ Place 9, 10:30 pm $20• Quincy Davis
Smalls 7:30, 9 pm $20
êBertha Hope
Soapbox Gallery 8 pm $25
êBen Goldberg, Gregg Belisle-Chi, Todd Sickafoose
		
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, May 22• Javon Jackson with Nikki Giovanni		
BAM Howard Gilman Opera House 8 pm $25
êDan Weiss Trio
Bar Lunàtico 8:30, 10 pm $10êStéphane Wrembel
Barbès 8 pm $20• George Gee Swing Orchestra with John Dokes, Julius Tolentino, Michael Hashim,
Anthony Nelson, Jr., Freddie Hendrix, Andy Gravish, David Gibson, Jay Sawyer,
Malik McLaurine, Steve Einerson Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 8:30, 10:30 pm $40• Alexa Tarantino Quartet
Birdland Theater 7, 9:30 pm $30• Jon Davis Trio
Cellar Dog 7 pm $10• Middle Blue; Sam Blakeslee Large Group		
Culture Lab LIC 5, 7 pm
• American Songbook—Got Gershwin: Karen Ziemba, Sydney James Harcourt,
Georgia Heers, Tedd Firth
Dizzy’s Club 5, 7:30 pm $40• 5th Mediterranean Jazz Festival: Yvonnick Prene; Tania Mesa Trio with Andreas Arnold,
Jeremy Smith; Marwan Allam’s Bab Bhar with Chris McCarthy, Yacine Boulares,
Samvel Sarkisyan
Drom 6 pm $25• Kelly Green/Luca Soul Rosenfeld and guests
		Green Soul Studios 6:30 pm• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Treut		
The Keep 9 pmêJeff Parker/Lee Ranaldo
Le Poisson Rouge 7:30 pm $25• Gillian Margot
Mezzrow 7:30, 9 pm $20• Franck Amsallem
Minton’s 7, 9 pm $20• Roz Corral Trio with Michael Kanan, Paul Gill
		
North Square Lounge 12:30, 2 pmêPatience Higgins and the Sugar Hill Quartet		Roberto Clemente State Park 1 pmêMichael Bates’ Acrobat with Marty Ehrlich, Mazz Swift, Sara Schoenbeck, Michael Sarin
		Rizzoli Bookstore 5 pm $20• Akiko Tsuruga
Smalls 7:30, 9 pm $20
êRenee Rosnes Quartet with Chris Potter, Peter Washington, Carl Allen		
Village Vanguard 8, 10 pm $40

Monday, May 23• Charity Dawson and Sebastien Ammann

		
The Atlantic BKLN 7 pm $20
êEd Cherry Trio
Bar Lunàtico 8:30, 10 pm $10• Leni Stern Trio with Mamadou Ba, Alione Faye		
Barbès 7 pm $20• Stefan Zeniuk’s The Green Mambo Barbès 9 pm $20
êBrandee Younger
Blue Note 8, 10:30 pm $25
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Ayako Shirasaki Memorial
Bryant Park 12:30 pm• Fran Vielma Venezuelan Collective with Alex Norris, Erena Terakubo, Marshall Gilkes,
Santiago Bosch, Diego Maldonado, Gabriel Vivas and guest Jeremy Bosch				Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7:30, 9:30 pm
êEd Palermo Big Band
Iridium 8:30 pm $30• Franck Amsallem
Mezzrow 7:30, 9 pm $20• Ari Hoenig
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, May 24• Jason Lindner/Nate Wood

Bar Lunàtico 8:30, 10 pm $10êWhat Happens in a Year: Josh Sinton, Todd Neufeld, Giacomo Merega				Barbès 7 pm $15• Tierney Sutton
Birdland 7, 9:30 pm $40• The Baylor Project: Jean and Marcus Baylor, Terry Brewer, Yasushi Nakamura,Freddie Hendrix, Keith Loftis
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25
êJon Weber
Bryant Park 12:30 pm• Jenna Mammina/Rolf Sturm and guests
		Dizzy’s Club 7:30, 9:30 pm $35• Irwin Hall Quartet; Hudson Horns: Michael Stephenson, Alita Moses, Jovan Johnson,
Jake Kenowitz, Peter Nelson, Finnegan Singer, Itay Morchi, Caleb Spaulding		
The Django 7:30, 10:30 pm• Free Fyre
Jazz Museum in Harlem 6 pm
• Kevin Sun Quartet with Dana Saul, Walter Stinson, Matt Honor		
Lowlands 8, 9:30 pmêDavid Virelles
Mezzrow 7:30, 9 pm $20• Owen Chen Quintet with Sunhyun Yoo, Sukyung Kim, Sean Hannon, Joshua Roberts
		Rockwood Music Hall Stage 3 9 pm $10• Ikue Mori’s Tracing the Magic with Charmaine Lee, Ikue Mori, Sylvie Courvoisier,
Ned Rothenberg, David Watson, Sae Hashimoto		Roulette 8 pm $25
êTyshawn Sorey
Smalls 7:30, 9 pm $20• Verena McBee Quartet with Alberto Pibiri, Zwelkahe-Dumas Bell LePere, Cory Cox				
Soapbox Gallery 8 pm $25
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington				
Village Vanguard 8, 10 pm $40

36 MAY 2022 | THE NEW YORK CITY JAZZ RECORD• Glen David Andrews
The Atlantic BKLN 7:30 pm $20• Nick Biello Five for One Quintet The Atlantic BKLN 9:30 pm $15êMarc Copland Quartet with Robin Verheyen, John Hébert, Mark Ferber		
Bar Bayeux 8, 9:30 pm• Sanfonya Brasileira: Vanderlei Pereira, Vitor Goncalves, Eduardo Belo		
Bar Lunàtico 8:30, 10 pm $10êJacob Garchik’s Assembly with Sam Newsome, Jacob Sacks, Thomas Morgan,
Dan WeissBarbès 8 pm $20• Tierney Sutton
Birdland 7, 9:30 pm $40• David Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola Guitar Night with Jimmy Bruno, Gary Mazzaroppi, Vince Cherico
and guests
Birdland Theater 8:30 pm $30• The Baylor Project: Jean and Marcus Baylor, Terry Brewer, Yasushi Nakamura,Freddie Hendrix, Keith Loftis
Blue Note 8, 10:30 pm $35• Ehud Asherie Trio
Cellar Dog 7 pm $10êRick Germanson Trio
Chelsea Table & Stage 7 pm $45• Gabriel Schillinger-Hyman, Birsa Chatterjee, Dan Finn, Eliza Salem		
Chelsea Table & Stage 9:30 pm $35• American Pianists Awards Preview Concert: Caelan Cardello; Esteban Castro;
Paul Cornish; Thomas Linger; Isaiah J. Thompson
		Dizzy’s Club 7:30, 9:30 pm $40
êChampian Fulton Trio with Hide Tanaka, Fukushi Tainaka; The Octet with Samara Joy
		
The Django 7:30, 10:30 pm• Stefan Bauer Voyage with Tammy Scheffer, Chris Bacas, Dan Montgomery, Evan Hyde		
Lowlands 8 pm
• Brooks Hartell
Mezzrow 7:30, 9 pm $20• Ray Blue Quartet
New Amsterdam Musical Association NAMA 8 pm
• Alphawhore: Chris Cochrane, Kevin Shea, Gordon Beeferman;
Ches Smith/Shara Lunon; G. Calvin Weston’s Apocalypse with Brian Marsella,
Tony ScherrNublu 151 7 pm $20• Aimée Allen Trio
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Jerome Sabbagh Quartet with Ben Monder, Chris Lightcap, Kush Abadey
		
Smalls 7:30, 9 pm $20• Clotilde, Chris McCarthy, Gabriella Belfiglio, Paola Corso, Phyllis Capello		Soapbox Gallery 8 pm $25• David Watson solo
The Stone at The New School 8:30 pm $20
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington
		Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, May 26• Divine Sass: Lillias White• Marta Sanchez

54 Below 7 pm $55-110
Bar Bayeux 5:30 pmêJeff Lederer’s Swing ‘N Dix with Kirk Knuffke, Bob Stewart, Matt Wilson
		
Bar Lunàtico 8:30, 10 pm $10• Frank London’s Brass Klezmer All-Stars		
Barbès 10 pm $20• Tierney Sutton
Birdland 7, 9:30 pm $40• Bill O’Connell Quartet with Craig Handy
		
Birdland Theater 8:30 pm $30
êJon Weber
Bryant Park 12:30 pm• Jade Synstelien Quartet
Cellar Dog 7 pm $10êLouis Hayes 85th Birthday Celebration with Abraham Burton, Dezron Douglas,
Steve Nelson, David Hazeltine
Dizzy’s Club 7:30, 9:30 pm $45• Joe Block Trio; Ian Hendrickson-Smith		The Django 7:30, 10:30 pm• Edge of Jazz: Mark Johnson, Rod Williams, Rachiim Ausar-Sahu, Patience Higgins
		Jazz Museum in Harlem 2 pmêSullivan Fortner
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 8 pm
• Mariel Roberts/Tomas Fujiwara; Adam O’Farrill Trio with Ledah Finck, Dana Saul		The Owl Music Parlor 8 pm $12• Kate Gentile’s biome ii with Isabel Lepanto Gleicher, Joshua Rubin, Rebekah Heller,
Matt Mitchell, Josh Modney, Ross Karre; Fay Victor’s Sirens and Silences withPatrick Holmes, Kalia Vandever, Mazz Swift, Marika Hughes; Peter Evans’ Ars Sublitor
with Mazz Swift, Alice Tessyier, Ryan Muncy
		Roulette 8 pm $25• Todd Williams; David Gibson
Smalls 7:30, 9, 10:30 pm $20• Ludovica Burtone Quartet with Marta Sanchez, Matt Aronoff, Jay Sawyer
		Soapbox Gallery 8 pm $25• Samara Lubelski, Bill Nace, Ryan Sawyer, David Watson
		The Stone at The New School 8:30 pm $20
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington
		Village Vanguard 8, 10 pm $40

Friday, May 27• Divine Sass: Lillias White
54 Below 7 pm $55-110• Oz Noy/Noé Socha
Bar Lunàtico 8:30, 10 pm $10• Curtis Hasselbring Curhachestra with Raphael McGregor, Adam Minkoff, Dan Rieser
		
Barbès 8 pm $20• Birdland Big Band
Birdland 5:30 pm $30• Tierney Sutton
Birdland 8:30, 10:30 pm $40
êDezron Douglas Quartet
Birdland Theater 7, 9:30 pm $30• Savion Glover
Blue Note 8, 10:30 pm $45• Yuka Aikawa
Bryant Park 12:30 pm• Darrell Green Quartet; Courtney Wright Quartet
		
Cellar Dog 7, 11:30 pm $10êLouis Hayes 85th Birthday Celebration with Abraham Burton, Gerald Cannon,
Steve Nelson, David Hazeltine
Dizzy’s Club 7:30, 9:30 pm $45• Ken Fowser Quintet; Alonzo Demetrius
		
The Django 7:30, 10:30 pmêDavid Virelles Trio with Ben Street, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êBill Mays Trio with Harvie S, Billy Mintz; Neal Caine		
Mezzrow 7:30, 9, 10:30 pm $20
êFreddie Hendrix Quintet with Steve Carrington, Brandon McCune, Joseph Lepore,
McClenty Hunter
Minton’s 7, 9 pm $20• Connor Evans; Ed Cherry
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Mopcut: Alfred Kornberg, Giuliano Deadprez, Audrey Chen		
Roulette 8 pm $25• Willy Rodriguez
Scholes Street Studio 8 pm
• David Williams
Smalls 7:30, 9 pm $20
êArmen Donelian Trio with Jay Anderson, Dennis Mackrel
		Soapbox Gallery 8 pm $25
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington
		Village Vanguard 8, 10 pm $40

100 MILES OUT
CONNECTICUT
5/12 (5 pm) Mykael Ross Band
5/20 (5 pm) Joe Carter/Jeff Fuller Brazilian Trio
Best Video Film and Cultural Center Hamden, CT www.bestvideo.com

5/15 (4 pm) Terell Stafford with Bruce Barth, Tim Warfield, Tim Brey,Sam Harris, Johnathan Blake
Jones/Hockaday Barn Hopewell, NJ www.jazznightsprinceton.com

5/4, 5/18 (6:30 pm) Corinthian Dixieland Jazz Band
Bill’s Seafood Westbrook, CT www.billsseafood.com

5/8 (4 pm) Artemis: Renee Rosnes, Anat Cohen, Ingrid Jensen, Nicole Glover,
Noriko Ueda, Allison Miller
Shea Center for the Performing Arts @William Paterson University Wayne, NJ
www.wpunj.edu/wppresents/jazz-room-series

5/7 (8 pm) Nu Band: Joe Fonda, Lou Grassi, Thomas Heberer, Kenny Wessel
5/28 (8 pm) Ryan Sands
Buttonwood Tree Middletown, CT www.buttonwood.org

5/21 (8 pm) Eddie Palmieri Latin Jazz Band
South Orange Performing Arts Center South Orange, NJ www.sopacnow.org

5/19 (7 pm) Peter Hand Big Band with Jay Brandford, Bruce Williams, Don Braden, 5/1 (11 am) Mike Bond Duo
5/15 (11 am) Leonieke Scheuble Duo
Ralph Lalama, Kenny Berger, Brian Pareschi,Duane Eubanks,
5/22 (11 am) Keith Franklin Duo
Eddie Allen, John Bailey, Mark Patterson, James Burton,
Stage House Tavern Somerset, NJ www.stagehousetavern.com/somerset/index.html
Jason Jackson, James Weidman, Harvie S, Steve Johns
Byram Shubert Library Greenwich, CT www.greenwichlibrary.org/byram-shubert
5/3 (7/8:45 pm) Pierre Cornilliat
5/5 (7/8:45 pm) Sylvia Cuenca Quartet
5/1 (8 pm) Frankensax with Andrew Beal
5/10 (7/8:45 pm) Andrew Wagner Quartet
5/7 (4 pm) Jazz Jam Session with Michael Coppola
5/12 (7/8:45 pm) Evan Sherman Quartet
5/14 (4 pm) Jazz Jam Session with Gary Grippo
5/17 (7/8:45 pm) Alicyn Yaffee Trio
5/21 (4 pm) Jazz Jam Session with Tony Di & Friends
Café Nine New Haven, CT www.cafenine.com
5/19 (7/8:45 pm) Erena Terakubo Quartet
5/24 (7/8:45 pm) Danny Raycraft Quartet
5/6 (8:30 pm) Peter Evans/Elias Stemeseder
5/26 (7/8:45 pm) Mike Lee Quartet
5/13 (8:30 pm) Tomas Fujiwara Triple Double with Zack O’Farrill, Mary Halvorson, 5/31 (7/8:45 pm) Matt Renzo Quartet
Matt Hollenberg, Taylor Ho Bynum, Adam O’Farrill
Tavern on George New Brunswick, NJ www.tavernongeorge.com
5/20 (8:30 pm) Mitch Marcus Band with Evan Francis, Jeff Miles, Peter Brendler, Jera Lippi
Firehouse 12 New Haven, CT www.firehouse12.com
5/1 (7:30 pm) John Scofield with Vicente Archer, Jon Cowherd, Josh Dion
5/7 (8 pm) Stanley Jordan Trio
5/1 (2 pm) Nathan Edwards Trio
5/14 (8 pm) Marcus Miller
5/8 (2 pm) Blossom Fest featuring Leala Cyr Trio
The Vogel at Count Basie Center for the Arts Red Bank, NJ www.thebasie.org
5/15 (2 pm) Michael Carabello Trio
5/22 (2 pm) Joe Carter Duo
NEW YORK
5/29 (2 pm) Mixed Company
Hog River Brewing Hartford, CT www.hogriverbrewing.com
5/6 (7 pm) Victor LaGamma Trio
5/7 (7:30 pm) Brazilwood Trio
5/3 (7:30 pm) Louis Prima, Jr. & Witnesses
5/13 5/27 (7 pm) Dinah Vero
The Kate Old Saybrook, CT www.katharinehepburntheater.org
5/14 5/28 (7:30 pm) Leslie Pintchik Trio
5/20 (7 pm) Alexander McCabe Trio
5/25 (7 pm) Roni Ben-Hur, Harvie S, Tim Horner
5/21 (7:30 pm) Barbara KingLa Zingara Bethel, CT www.lazingara.com
Alvin & Friends New Rochelle, NY www.alvinandfriendsrestaurant.com
5/2 5/16 (6:30 pm) Nat Reeves
The Local - Parkville Market Hartford, CT www.parkvillemarket.com/vendor/the-local 5/7 (6 pm) International Orange: Todd Isler, David Phelps, Leo Traversa, Adam Morrison
5/13 (6 pm) Fat Boi’s Brass Band
5/4, 11, 18, 25 (9 pm) Hawkins Jazz Collective
5/14 (6 pm) Eric Person Quartet with Tim Regusis, Lew Scott, Darrell Green
Owl Shop New Haven, CT www.owlshopcigars.com
5/21 (6 pm) Doug Munro and La Pompe Attack
5/28 (6 pm) Ray Blue Quartet
5/20 (7/9 pm) Melinda Rodriguez with Albert Rivera and Matt DeChamplain Trio
Bean Runner Café Peekskill, NY www.beanrunnercafe.com
Palace Theater Poli Club Waterbury, CT www.palacetheaterct.org/shows/jazz
5/5 (7 pm) Luke Franco Quartet with Steve Einerson
5/1 (7 pm) Spyro Gyra
5/8 (12pm) Teri Roiger Quartet
Palace Theater Stamford, CT www.palacestamford.org
Bearsville Theater Woodstock, NY www.bearsvilletheater.com
5/6 (7:30 pm) Jonathan Barber’s Vision Ahead with Walter Smith III, Matt Dwonszyk 5/5, 12, 9 (7 pm) Paul Connors Organ Groove with Dave Kain, Jon Doty
Parkville Sounds Hartford, CT www.parkvillesounds.com
5/7 (7:30 pm) KJ Denhert(7:30 pm) Chris Conte Trio with Tom McDonough, Mark McIntyre
5/15 (2:30 pm) Geometry: Tomeka Reid, Kyoko Kitamura, Taylor Ho Bynum, Joe Morris 5/21
5/26 (7 pm) Paul Connors Organ Groove with Jon Doty & Friends
Real Art Ways Hartford, CT www.realartways.org
Elk’s Lodge Ossining, NY www.jazzatthelodge.com
5/6 (8:30 pm) Sami Stevens/Kazemde George Quintet
5/1 (7 pm) Orrin Evans Trio
5/7 (8:30 pm) Ed Cherry Trio with Keith Brown, Gary Wang
5/20 (8:30 pm) Medusa with Corey Hutchins, Jocelyn Pleasant, Michael Carabello, 5/7 (7:45 pm) Ozmosys
5/8 (10 am/ 1 pm) Saints of Swing, (7 pm) Adam O’Farrill’s Stranger Days
Dakota Austin, Zwelakhe Bell le Pere, Nathan Davis
5/15 (7 pm) Samara Joy with Pasquale Grasso Trio
5/21 (8:30 pm) Keith Loftis Quartet with John Chin, Eric Wheeler, Willie Jones III
5/19 (7 pm) Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen
5/27 5/28 (8:30 pm) Lew Tabackin Trio
The Side Door Old Lyme, CT www.oldlymeinn.com/TheSideDoorJazzClub.html 5/22 (7 pm) Sasha Dobson with Peter Bernstein
5/29 (7 pm) Richie Goods
The Falcon Marlboro, NY www.liveatthefalcon.com
5/15 (4 pm) Kaoru Watanabe Taiko Center Professional Ensemble
South Church New Britain, CT www.southchurch.org
5/15 (2 pm) CCC Ensemble featuring Ray Blue
5/1 (2 pm) Mary DiPaola/Nat Reeves
Hendrick Hudson Free Library Lawn Montrose, NY www.henhudfreelibrary.org
Wadsworth Atheneum Museum of Art Hartford, CT www.thewadsworth.org
5/1 (4/6 pm) Steve Nelson Quartet, (8 pm) David Janeway
NEW JERSEY
5/6-7 (7/9:30 pm) Scott Robinson with Helen Sung, Martin Wind, Dennis Mackrel
5/8 (4/6 pm) Stephanie Nakasian Trio
5/7 (6 pm) George Cables Trio with Jerome Jennings
5/13-14 (7/9:30 pm) Karrin Allyson with Ted Rosenthal, Ed Howard, Matt Wilson
Bethany Baptist Church Newark, NJ www.njpac.org
5/15 (4/6 pm) Alan Broadbent Trio with Harvie S, Billy Mintz(7/9:30 pm) Houston Person Quartet
5/28 (7 pm) Blues People with Kelton Cooper, Victor Burks, Mike Griot, Gene Lake 5/20-21
5/22 (4/6 pm) Empathia Duo: Mafalda Minozzi/Paul Ricci
The Blue Moon South Amboy, NJ www.bluemoonsouthamboy.com
5/27-28 (7/9:30 pm) Helio Alves/Chico Pinheiro Quartet with Scott Colley, Eric Doob
5/29 (4/6 pm) Ludovica Burtone & Little Sparks Quartet
5/6 (7:30/9:15 pm) Dave Kikoski, Essiet Essiet, Sylvia Cuenca
Jazz Forum Arts Tarrytown, NY www.jazzforumarts.org
5/13 (7:30/9:15 pm) T.K. Blue and Planet Bluu Quintet with Wallace Roney, Jr.,
Davis Whitfield, Dishan Harper, Orion Turre
5/4 (1,7 pm) Tom Manuel Young At Heart Trio with Steve Salerno, Kennan Zach
5/20 (7:30/9:15 pm) Kahlil Kwame Bell Trio with Jared Gold, Javon Alexandre
5/5-7 (7 pm) Jazz Loft Big Band with Tom Manuel, Pete Caldera
5/27 (7:30/9:15 pm) Akiko Tsuruga Organ Trio with T.K. Blue, Winard Harper
5/9 (7 pm) SBU Blowage Big Band with Ray Anderson, Tom ManuelBrothers Smokehouse Ramsey, NJ www.brotherssmokehousenj.com
5/11, 5/18, 5/25 (7 pm) Jazz Loft Trio
5/17 (7 pm) SBU Graduate Recitals feat. Jeremy Carlstedt, Martin Isenberg
5/7 (3:30 pm) Gene Ghee
5/19 (7 pm) Bad Little Big Band with Madeline Kole, Rich Iacona
5/14 (3:30 pm) Lars Haake
5/20 (7 pm) Jon Irabagon with Matt Mitchell, Chris Lightcap, Dan Weiss
5/21 (3:30 pm) Michelle Beckum
5/21 (7 pm) Bill Mays Trio with Dean Johnson, Ron Vincent and Tom Manuel
5/28 (3:30 pm) James Stewart
Candlelight Lounge Trenton, NJ www.candlelighteventsjazz.com
5/26 (7 pm) Interplay Jazz Orchestra with Joe Devassy, Gary Henderson
The Jazz Loft Stony Brook, NY www.thejazzloft.org
5/6 (7:30/9 pm) Andrea Brachfeld with Bill O’Connell, Craig Handy, Santi Debriano,
Alvester Garnett
5/15 (4 pm) Tani Tabbal Trio with Adam Siegel, Michael Bisio
5/20 (7:30/9 pm) Bill O’Connell
The Lace Mill Kingston, NY www.facebook.com/TheLaceMill
Clement’s Place Newark, NJ www.facebook.com/clementsplacejazz
5/7 (7 pm) Pete Levin Trio with Mike Jackson, Jeff “Siege” Seigel
5/5 (7:30 pm) Dave Stryker
5/14 (7 pm) Joel Harrison with Gary Kelly, Aaron Johnson
Collingswood Community Center Collingswood, NJ www.jazzbridge.org
5/21 (7 pm) Jimmy Keneally Band
5/28 (7 pm) David Lopato with Lucas Pino, Ed Neumeister, Ratzo Harris, Harvey Sorgen
5/6 8 pm) Kate Baker Juris with Jim Ridl, Sarah Caswell, Mayra Casales
5/13 (8 pm) James Gibbs Quartet with Nick Masters, Motoki Mihari, Noel Sagerman Lydia’s Café Stone Ridge, NY www.lydias-cafe.com
5/20 (8 pm) Carrie Jackson Quartet with Radam Schwartz, Takashi Otsuka, Gordon Lane
5/13 (8 pm) Tamuz Nissim Quartet
5/27 (8 pm) James Austin with Ben Rubens, Jeremy Waarren, Charlie Sigler
5/14 (8 pm) Judi Marie Canterino Quartet
Cricket Club Jazz Irvington, NJ www.facebook.com/CricketClub411
5/20 (8 pm) Bill Mays Trio
5/21 (8 pm) Martin Pizzarelli Quartet with Larry Fuller
5/27 (7 pm) Acute Inflections: Elasea Douglas/Sadiki Pierre
5/27 (8 pm) Michelle Lordi Quartet with Matt Parrish
Englewood Public Library Englewood, NJ www.englewoodlibrary.org
5/28 (7:30/9:30 pm pm) Tania Grubbs Quartet
Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
5/13 (1 pm-midnight) Melissa Aldana; Keyon Harrold Quintet; Marcus Miller;
Houston Person; Makaya McCraven
5/22 (2 pm) Armen Donelian Trio with Jay Anderson, Dennis Mackrel
5/14 (1 pm-midnight) Emmet Cohen Trio; Charles Lloyd; Artemis; Kurt Elling;
Ossining Public Library Ossining, NY www.ossininglibrary.org
Mingus Big Band
5/15 (1-10:30 pm) Lakecia Benjamin; Cécile McLorin Salvant; Arturo Sandoval;
Alphonso Horne and The Gotham Kings
5/1 (5 pm) Sherry Winston Band
Exit Zero Jazz Festival Cape May, NJ www.exitzerojazzfestival.com
PJS Jazz Society at First Presbyterian Church Mt. Vernon, NY www.pjsjazz.org

5/2 (8:30 pm) Two Sisters, Inc.: Dave Sewelson, Claire Daly, Dave Hofstra, Michael Sarin
5/9, 5/30 (8:30 pm) Ray Blue
5/16 (8:30 pm) Pete Levin Trio with Mike DeMicco, Jeff “Siege” Siegel
5/23 (8:30 pm) Ornettiquette with Chris Pasin, Jeff Lederer, Michael Bisio, Harvey Sorgen
Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
5/22 (7 pm) Guillermo Gregorio, Damon Smith, Jerome Bryerton;
Michael Foster, Fred Lonberg-Holm, Matt Weston
Tubby’s Kingston, NY www.tubbyskingston.com
5/2, 9, 16, 23, 30 (8pm) Monday Jazz Sessions with John RichmondTurning Point Café Piermont, NY www.piermont.club
5/12 (5:30 pm) Shag Horns
5/19 (5:30 pm) Brass Queens
White Plains BID White Plains, NY www.wpbid.com
PENNSYLVANIA
5/8 (8 pm) ArsNova Presents Lea Bertucci with Matt Evans, Henry Fraser,
Lester St. Louis, Lucia Stavros
Benjamin Franklin Hall Philadelphia, PA www.arsnovaworkshop.org
5/4 (7:30 pm) Dave Posmontier “Jazz @The Center” with Andrea Carlson
Cheltenham Center for the Arts Cheltenham, PA www.jazzbridge.org
5/3 (8/9:30 pm) Nick Lombardelli Quartet
5/4 (8/9:30 pm) Temple University Quintet with Frank Groenendijk, Martin Diaz,
Joan Fort, Philip Lewin, Nitin Parree
5/6 (8/10 pm) Lynn Riley Band
5/7 (8/10 pm) Tobias Meinhart Quartet with Julian Shore, Matt Penman, Obed Calvaire
5/10 (8/9:30 pm) Inslide Job: Jasyn Brazoban, Sean McCusker, Morgan Walbridge,
Matt Turowski, Bryana Crockett
5/11 (8/9:30 pm) Keith Chasin with Nick Krolak, Zach Martin
5/12 (8/9:30 pm) James Austin Melton with Daniel McCain, Justin Cabrera, Adam Gresko
5/13 5/14 (8/10 pm) Orrin Evans with Luques Curtis, Mark Whitfield, Jr., Caleb Curtis
5/18, 5/25 (8/9:30 pm) Lower Merio Jazz Combo
5/19 (8/9:30 pm) Steven Perry with Zion Fritzinger, David Bamber, Dan Monaghan
5/21 (8/10 pm) Tony Miceli Band with Joanna Pascale
5/26 (8/9:30 pm) University of the Arts Allstar High School Big Band with
Nick Lombardelli, Matt Gallagher
5/27 (8/10 pm) Ben Turner Quartet with Pat Bianchi, Larry McKenna
5/31 (8/9:30 pm) V. Shayne Trio with Justin Sekelewski, Conner Saltzer
Chris’ Jazz Café Philadephia, PA www.chrisjazzcafe.com
5/21 (7:30 pm) Sun Ra Arkestra
Clef Club Philadephia, PA www.clefclubofjazz.org
5/15 (2 pm) Tri-State Jazz Society presents New York Classic 7 with Colin Hancock
Community Arts Center Wallingford, PA www.tristatejazz.org
5/1 (5 pm) Steve Sandberg Trio with Michael O’Brien, Kirk Driscoll
5/5, 5/12, 5/19, 5/26 (7 pm) Bill Washer and Friends
5/6 (7 pm) Alex Wintz Quartet with Dave Baron, Jimmy Macbride
5/7 (7 pm) Kate Baker Quartet with Dean Johnson, Myra Casales
5/8 (5 pm) Horizons Quartet: Dan Wilkins, James Collins, Gene Perla, Byron Landham
5/13 (7 pm) Stephanie Nakasian
5/14 (7 pm) Lew Tabackin Trio with Boris Kozlov, Jason Tiemann
5/15 (5 pm) Bill Mays Trio with Dean Johnson, Ron Vincent
5/16 (7 pm) Eric Mintel Quartet with Nelson Hill, Dave Antonow, Dave Mohn
5/20 (7 pm) Danny Tobias Quartet with Steve Ash, Chris Flory, Lee Hudson
5/21 (7 pm) Carrie Jackson & Jazzin’ All Stars with Radam Schwartz,
Takashi Otsuka, Gordon Lane
5/22 (5 pm) Da-Mo-Jo: Daniel Gonzalez, Morrie Louden, Jon Ballantyne
5/27 (7 pm) Joanna Pascale with John Swana, Josh Richman, Steve Varner, Dan Monaghan
5/28 (7 pm) Paul Jost with Jim Ridl, Boots Maleson, Pete McCann, Tim Horner
5/29 (5 pm) Bil Charlap solo
5/30 (7:30 pm) Water Gap Jazz Orchestra with Matt VashlishanDeer Head Inn Delaware Water Gap, PA www.deerheadinn.com
5/18 (7:30 pm) Jazz Bridge Presents Jim Dragoni
Fellowship Hall Philadelphia, PA www.jazzbridge.org
5/1 (8 pm) Astroturf Noise: Sam Day Harmet, Sana Nagano, Zach Swanson;
Space Whale Orchestra; Christina Gesualdi-Jesse Kudler Duo; 2223.fish
Fire Museum, Philadelphia, PA www.firemuseumpresents.com
5/18 (8 pm) Luke O’Reilly and Philly Jazz Divas with Sherry Butler,
Jeannie Brooks, Hailey Brinnel, Lee Mo, Matt Parish, Johnathan Blake
5/27 (11 am) Mike Raymond with Peter Rushing, Christian Harrison, Dan McCain
Kimmel Center Commonwealth Plaza Stage Philadelphia, PA
www.kimmelculturalcampus.org
5/2, 5/9, 5/16, 5/23, 5/30 (5:30-9:30 pm): Tony Williams Jazz Quartet
La Rose Jazz Club Philadelphia, PA www.jazzclublarose.com
5/25 (6 pm) ArsNova Fundraiser with Monnette Sudler
Maas Building Philadelphia, PA www.arsnovaworkshop.org
5/18 (7:30 pm) Jim Dragoni
Ridge Avenue Methodist Church Philadelphia, PA www.jazzbridge.org
5/15 (8 pm) Arthur Brooks Ensemble V; Amirtha Kidambi/Matteo Liberatore
The Rotunda Philadelphia, PA www.firemuseumpresents.com
5/6 (8 pm) ArsNova Presents Adam O’Farrill’s Stranger Days with
Xavier Del Castillo, Walter Stinson, Zack O’Farrill
RUBA Club Philadelphia, PA www.arsnovaworkshop.org
5/1 (6:30/8:30 pm) Michael Tozzi’s ijazzglobal with Nate Kahn
5/5 (7/9:30 pm) Gerald Veasley Band with Lao Tizer, Joel Rosenblatt
5/6-8 (7/9:30 pm) Arpeggio Jazz Ensemble: Sherry Wilson Butler, Warren Cooper
5/13-14 (7/9:30 pm) Jazzmeia Horn
5/19 (7/9 pm) Pablo Batista Latin Jazz Quintet
5/26 (7/9 pm) Cory Cox
5/27-28 (7/9:30 pm) Warren Wolf and The Wolf Pack
South Jazz Club Philadelphia, PA www.southjazzkitchen.com
5/7 (8 pm) Jessica Pavone String Ensemble with Aimee Niemann, Abby Swidler
University Lutheran Philadelphia, PA www.bowerbird.org
5/21 (8 pm) Makaya McCraven
World Café Philadelphia, PA www.worldcafelive.com

THE NEW YORK CITY JAZZ RECORD | MAY 2022 37

Saturday, May 28• Divine Sass: Lillias White
54 Below 7 pm $55-110• Sachal Vasandani/Romain Collin The Atlantic BKLN 7 pm $15• Carlos Abadie Quartet
The Atlantic BKLN 9 pm $15• Adam Kolker/Peter Bernstein
Bar Bayeux 8 pmêJohn Ellis’ Double Wide
Bar Lunàtico 8:30, 10 pm $10• Tierney Sutton
Birdland 8:30, 10:30 pm $40
êDezron Douglas Quartet
Birdland Theater 7, 9:30 pm $30• Savion Glover
Blue Note 8, 10:30 pm $45• Duane Eubanks; Rob Edwards Cellar Dog 7, 11:30 pm $10• Teddy Royal and Company
Conference House Park 1 pm
• Yotam Ben-Or; Michael Sarian and The Big Chabones
		
Culture Lab LIC 5, 7 pm
• CompCord Heavy Metal Ensemble: Maria Tegzes, David Banks, Jane Getter,

Gene Pritsker, Greg Baker, Peter Fabrizio, Adam Holzman, Geoffrey Burleson,
Dan Cooper, John Ferrari
The Delancey 6 pm $10êRemembering Slide Hampton
Dizzy’s Club 7:30, 9:30 pm $45• Anthony Hervey; James Sarno The Django 7:30, 10:30 pmêKresten Osgood, Herb Robertson, Marcus Rojas		
Downtown Music Gallery 6:30 pmêDavid Virelles Trio with Ben Street, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $25-35• The Hot Sardines
Joe’s Pub 9:30 pm $35
êBill Mays Trio with Harvie S, Billy Mintz; Alan Broadbent
		
Mezzrow 7:30, 9, 10:30 pm $20
êFreddie Hendrix Quintet with Steve Carrington, Brandon McCune, Joseph Lepore,
McClenty Hunter
Minton’s 7, 9 pm $20
êTim Berne/Gregg Belisle-Chi
The Owl Music Parlor 7:30 pmêBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Immanuel Wilkins		Roulette 8 pm $40
êJerome Jennings Quartet with Anthony Ware, Wallace Roney, Jr., Liany Mateo				
Sistas’ Place 9, 10:30 pm $20• David Williams
Smalls 7:30, 9 pm $20
êJay Clayton/Judy Niemack Voices In Flight with John DiMartino, Jay Anderson
		
Soapbox Gallery 8 pm $25• Lee Ranaldo/David Watson
The Stone at The New School 8:30 pm $20
êAccentuate the Positive: Konrad Paszkudzki Trio; Pasquale Grasso; Samara Joy;
Harry Allen; Hilary Gardner
Symphony Space Leonard Nimoy Thalia 7 pm $40-75
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington
		Village Vanguard 8, 10 pm $40

Sunday, May 29êLucian Ban soloêStéphane Wrembel

Barbès 6 pm $15
Barbès 8 pm $20
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Ensemble		Birdland 8:30, 10:30 pm $40
êDezron Douglas Quartet
Birdland Theater 7, 9:30 pm $30• Savion Glover
Blue Note 8, 10:30 pm $45• Ned Goold Trio
Cellar Dog 7 pm $10êRemembering Slide Hampton
Dizzy’s Club 5, 7:30 pm $45• The Hot Sardines
Joe’s Pub 7, 9:30 pm $35• Welf Dorr, Elias Meister, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pm
• Ashley Pezzotti
Mezzrow 7:30, 9 pm $20
êCooper-Moore/Kresten Osgood Michiko Studios 3 pm $20• Steve Carrington
Minton’s 7, 9 pm $20• Kendra Shank Trio with Pete McCann, Dean Johnson
		North Square Lounge 12:30, 2 pmêSam Yahel, Ben Street, Kresten Osgood		
Ornithology Jazz Club 9 pm
• Pieces of a Song: Chris McCarthy and Clotilde		Rockwood Music Hall Stage 3 7 pm $10êBenefit for Ukraine Support: New Masada Quartet: John Zorn, Julian Lage,
Jorge Roeder, Tomas Fujiwara; Leila Josefowicz; Bill Frisell/Julian Lage;
Cyro Baptista and Glossolalia with Brian Marsella, Felipe Hostins, Gil Oliveira;
Laurie Anderson/John Zorn; Arturo O’Farrill Quartet with Adam O’Farrill, Liany Mateo,
Zack O’farrill; Hilary Hahn; Joe Lovano Group with Judi Silvano, Bill Frisell,
Andrew Cyrille
Roulette 8 pm $50• Tahira Clayton, Willerm Delisfort, Jonathan Michel		Saint Peter’s Church 5 pm
• Sasha Dobson; Aaron Johnson Smalls 7:30, 9, 10:30 pm $20
êAccentuate the Positive: Konrad Paszkudzki Trio; Pasquale Grasso; Samara Joy;
Harry Allen; Hilary Gardner
Symphony Space Leonard Nimoy Thalia 5 pm $40-75
êKris Davis Quintet with Julian Lage, Val Jeanty, Trevor Dunn, Terri Lyne Carrington
		Village Vanguard 8, 10 pm $40• Robert Edwards Big Band

Monday, May 30êBlaketet: Michael Blake, Steven Bernstein, Tony Scherr, Kresten Osgood		
Bar Lunàtico 8:30, 10 pm $10• Tatiana Eva-Marie
Birdland Theater 7 pm $30
êEd Neumeister Quartet
Birdland Theater 8:30 pm $30• Gregoire Maret/Romain Collin Blue Note 8 pm $15êVince Giordano and The Nighthawks
		Bond 45 8 pm $25
êPete Malinverni
Bryant Park 12:30 pm• Joel Harrison Jazz Orchestra with Seneca Black, Dave Smith, Charlie Porter,
Justin Mullens, Alan Ferber, Sara Jacovino, Curtis Hasselbring, Ben Staap, Ben Kono,
Jasper Shogo Dutz, Stacy Dillard, Lisa Parrot, Daniel Kelly, Gregg August,
Jared Schonig
Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7:30, 9:30 pm• Spike Wilner
Mezzrow 7:30, 9 pm $20
êDan Tepfer
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, May 31• Luca Benedetti Trio with Tony Scherr, Tony Mason
		
Bar Lunàtico 8:30, 10 pm $10• Kenny Warren Quintet with Christopher Hoffman, Zekkereya El-magharbel,
Matthias Pichler, Carlo Costa

Barbès 7 pm $20

êDave Liebman, Randy Brecker, Marc Copland, Drew Gress, Joey Baron		
Birdland 7, 9:30 pm $40• Gabrielle Stravelli Trio with Michael Kanan, Pat O’Leary		
Birdland Theater 5:30 pm $20
êDOMi/JD Beck
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25
êPete Malinverni
Bryant Park 12:30 pmêRalph Peterson Celebration: Bill Pierce, Craig Handy, Brian Lynch, Essiet Essiet,
Tyshawn Sorey, Anthony Wonsey and guest Tia Fuller		Dizzy’s Club 7:30, 9:30 pm $35• Pedro Giraudo Quartet with Nick Danielson, Rodolfo Zanetti, Ahmed Alom;Los Hacheros: Jeremy Bosch, Itai Kriss, Eddie Venegas, Jacob Plasse, William Ash,
Marcos Lopez, Carlitos Padron, Jacob Plasse		
The Django 7:30, 10:30 pmêJessica Ackerley, Erin Rogers, Henry Mermer; Darren Johnston/Ches Smith		
Downtown Music Gallery 6:30, 7:30 pm• Kevin Sun/Mat Brewer Trio
Lowlands 8, 9:30 pm• Roni Ben-Hur
Mezzrow 7:30, 9 pm $20
êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman
		
SEEDS 8 pm $20• Ben Solomon
Smalls 7:30, 9 pm $20
êMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40
êKresten Osgood, Thomas Buckner, Robert Dick, Thomas Morgan		
Zürcher Gallery 8 pm $20

CLU B DI RE CTORY• 54 Below 254 W. 54th Street(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com• 55Bar 55 Christopher Street between Waverly Place and Seventh Avenue South(212-929-9883) Subway: 1, 2 to Christopher Street- Sheridan Squarewww.55bar.com• A.R.R.O.W. Field House 35-30 35th Street, Queens(718-349-0444) Subway: N, W to 36th Street
www.nycgovparks.org/facilities/recreationcenters/Q470• Alfred E. Smith Recreation Center 80 Catherine Street(212-285-0300) Subway: F to East Broadway
www.nycgovparks.org/facilities/recreationcenters/M194• Apollo Theater & Music Café 253 W. 125th Street(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street
www.apollotheater.org• The Atlantic BKLN 333 Atlantic Avenue
Subway: A, C, G to Hoyt-Schermerhorn Streets www.atlanticbkln.com• Austrian Cultural Forum 11 E. 52nd Street at Madison Avenue(212-319-5300) Subway: 6 to 51st Street www.acfny.org• BAM Howard Gilman Opera House
30 Lafayette Avenue (718-636-4100) Subway: Subway: M, N, R, W to PacificStreet; Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues
www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com• Blank Forms 99 Scott Avenue
Subway: L to Jefferson Street www.blankforms.org• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Bond 45 221 W. 46th Street(212-869-4545) Subway: B, F, M to 47-50 Streets www.bond45ny.com• BRIC House Ballroom, Media House and Stoop 647 Fulton Street(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org• Brooklyn Museum of Art 200 Eastern Parkway(718-638-5000) Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Café Carlyle 35 E. 76th Street(212-570-7189) Subway: 6 to 77th Street www.thecarlyle.com• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street www.cellardog.net• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Conference House Park 298 Satterlee Street, Staten Island(718-984-6046) Bus: SIM25 to Hylan Boulevard/Craig Avenue
www.nycgovparks.org/parks/conferencehousepark• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.facebook.com/culturelablic• David Rubenstein Atrium Broadway at 60th Street(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.lincolncenter.org/venue/atrium• The Delancey 168 Delancey Street(212-254-9920) Subway: F to Delancey Street www.thedelancey.com• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• The Django 2 Sixth Avenue(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com• Downtown Music Gallery 13 Monroe Street(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com• Drom 85 Avenue A(212-777-1157) Subway: F to Second Avenue www.dromnyc.com• Endless Life Brewery 585 Franklin Avenue(347-789-4211) Subway: C, S to Franklin Avenue www.endlesslifebrewing.com• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Gallery MC 549 W. 52nd Street(212-581-1966) Subway: C, E to 50th Street www.gallerymc.org• Green Soul Studios
Subway: F to 75th Avenue www.instagram.com/green_soul_studios• Greenwich House Music School 46 Barrow Street(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org• Hostos Center 450 Grand Concourse(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu• Hunts Point Recreation Center 765 Manida Street(718-860-5544) Subway: 6 to Hunts Point Avenue www.nycgovparks.org• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com• The Interchurch Center 61 Claremont Avenue(212-870-2200) Subway: 1 to 116th Street www.interchurch-center.org• Invisible Dog Art Center 51 Bergen Street Subway: F, G to Bergen Street• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com• Isaac Stern Auditorium at Carnegie Hall 881 Seventh Avenue(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox(212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street www.thekeepny.com

38 MAY 2022 | THE NEW YORK CITY JAZZ RECORD• Kingsborough Community College 2001 Oriental Boulevard(718-368-6686) Subway:Q to Brighton Beachwww.onstageatkingsborough.org• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Kostabi World 225 W. 22nd Street Subway: C, E to 23rd Street• LeFrak Hall, Queens College 65-30 Kissena Boulevard, Flushing(718-793-8080) Subway: 7 to Main Street, then bus• Le Poisson Rouge 158 Bleecker Street
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue www.lowlandsbar.com• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com• Miller Theatre 2960 Broadway and 116th Street(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com• National Sawdust 80 N. 6th Street(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org• Neighborhood Church of Greenwich Village 269 Bleecker Street(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net• New Amsterdam Musical Association (NAMA) 107 W. 130th Street(212-234-2973) Subway: 2, 3 to 125th Street• New York Jazz Workshop 265 W. 37th St, 10th floor suite(212-287-5908) Subway: A, C, E to 34th Street-Penn Stationwww.newyorkjazzworkshop.com• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street• Nublu 151 151 Avenue C
Subway: L to First Avenue www.nublu.net• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• Our Savior’s Atonement Lutheran Church 178 Bennett Avenue(212-923-5757) Subway: 1 to 191st Street www.osanyc.org• The Owl Music Parlor 497 Rogers Avenue, Brooklyn(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue www.pangeanyc.com• Park Avenue Armory 643 Park Avenue(212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Street www.patricksplaceharlem.com• Pelham Fritz Recreation Center 18 Mt Morris Park West(212-860-1380) Subway: 2, 3 to 125th Street• Pioneer Works 159 Pioneer Street, Brooklyn(718-596-3001) Bus: B61 www.pioneerworks.org• Poe Park 2640 Grand Concourse(718-365-5516) Subway: B, D to Kingsbridge Road www.nycgovparks.org• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue www.publicrecords.nyc• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Street www.rizzolibookstore.com• Roberto Clemente State Park 301 W. Tremont Avenue, Bronx(718-299-8750) Metro North: Hudson Line to Morris Heights
www.parks.ny.gov/parks/140/details.aspx• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street www.b2harlem.com• Rose Theater Broadway at 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Roulette 509 Atlantic Avenue(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street
www.scholesstreetstudio.com• SEEDS 617 Vanderbilt Avenue
Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com• The Sultan Room 234 Starr Street(612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com• Super Secret Arts 400 3rd Avenue, 2nd Floor, Brooklyn(347-384-2016) Subway: F, G to 4th Avenue-9th Street; R to 9th Street
www.supersecretarts.com• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and Bar Thalia
2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street
www.symphonyspace.org• Terraza 7 40-19 Gleane Street(718-803-9602) Subway: 7 to 82nd Street/Jackson Heights www.terraza7.com• Tribeca Performing Arts Center 199 Chambers Street(212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org• Vanderbilt Open Streets Vanderbilt Avenue between Atlantic Avenue andPark Place Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, C, E, F, V, Grand Street Shuttle to W. 4th Street
www.zincjazz.com• Zürcher Gallery 33 Bleecker Street(212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayettewww.galeriezurcher.com

(INTERVIEW CONTINUED FROM PAGE 6)(ENCORE CONTINUED FROM PAGE 10)

we had to transition to online programming. We didthat for almost a hundred live sessions before ending
this past December.

Spielberg knew the timing of the editing and the moodhe wanted. It was a workshop on how to be acollaborator. You never show another person up andyou always treat the other person with respect andlove. It taught me a lot.”
One of the most meaningful moments came when
Klucevsek was a guest on Mister Rogers’ Neighborhood in1988. “I’d written an article for Keyboard Magazine about
regional accordion styles. Fred Rogers read it and I was
contacted to appear on the show. I did an original piececalled ‘Scenes From A Mirage’. It was beautiful. He
asked me, ‘What might you play if you’re happy? Whatmight you play if you’re sad?’ Since I was originallyinspired to play accordion from watching TV, it
practically brought me to tears knowing that I could
inspire others by playing on TV,” he says. v

TNYCJR: How do you regard your role as a
producer in the larger sense, in addition to helping
emerging artists?
MM: What we do is great for the community. We havebuilt up free summer concerts in five different venues
with between 15,000 and 18,000 attendees. The club
generates 17,000 to 20,000 listeners a year. So that’s
40,000 people that we positively affect here in
Westchester on an annual basis. I am constantly getting
submissions online from artists who want exposure orwant gigs, be it at the club or our outdoor summer
concerts. Naturally I can’t book everybody. But I am
committed to giving these artists the opportunities.
TNYCJR: How did your interest in Brazilian musiccome about?
MM: I was on a rowboat in Central Park and heard thisSamba band on the shore and was like, “What is that?”
I was really bitten by the Brazilian music book. I began
incorporating Brazilian sounds in my music andplayed in a Samba band. Antônio Carlos Jobim is myfavorite composer. My most recent recording is adouble album with Brazilian artists.
TNYCJR: How do you feel about the future of jazz?
MM: Jazz’ future is pretty good. You have so many
young players coming up embracing the tradition. But
this is a niche marketplace. Jazz accounts for maybe
three percent of all music purchases. I guess you could
say it was the popular music of the day in the ‘40s, ‘30s,
you know the big bands, swing and the vocalists. Those
days are long gone. Being a musician, beinga recording artist and being a producer of at least 60
albums by various artists, I can tell you that it is very
difficult to sell CDs. We sell CDs here in the clubprimarily because people want the autograph of theartists. They want to meet the artists. It is becoming
increasingly easy for people to record their own CD.
Artists may get on the charts for six weeks in a row.
That’s great. But I bet you they still don’t sell more than
2,000 copies. The upshot of it is that these artists,
including myself, use their recorded product as a callingcard to get gigs, which pay money. CDs are incidental.
TNYCJR: What are your future plans?
MM: People have been suggesting to me that I write abook and I have been thinking about it for decades.
And I have finally started to do it. When we went to
Italy last month, I wrote the first entry, whose title is“Chet Baker Died Owing Me $53.” True story. v
For more information, visit jazzforumarts.org. Morganelli
and The Jazz Forum All-Stars are at The Interchurch CenterMay 18th presented by Jazzmobile. See Calendar.
Recommended Listening:• Mark Morganelli–Live on Broadway(Jazz Forum, 1982)• Mark Morganelli & The Jazz Forum All-Stars–
Five is Bliss (Jazz Forum, 1987)• Mark Morganelli & The Jazz Forum All-Stars–
Speak Low (Candid, 1990)• Paquito D’Rivera–Who’s Smoking (with James Moody)(Candid, 1991)• Mark Morganelli & The Jazz Forum All-Stars–
My Romance (Jazz Forum, 2003)• Mark Morganelli & The Jazz Forum All-Stars–
Brasil! (Jazz Forum, 2018)

For more information, visit guyklucevsek.com. Klucevsek’s 75th
Birthday Celebration is at Roulette May 14th. See Calendar.

Saturday, May 28
andSunday, May 29

Recommended Listening:• Guy Klucevsek–Manhattan Cascade(Composers Recordings, 1986-7/1991)• Bill Frisell–Have A Little Faith(Elektra Nonesuch, 1992)• Dave Douglas–Charms of the Night Sky(Winter & Winter, 1997)• Accordion Tribe–Sea of Reeds (Intuition, 2001)• Guy Klucevsek–Dancing on the Volcano(Tzadik, 2008)• Jenny Lin/Guy Klucevsek–Giya Kancheli: Simple
Music (Steinway & Sons, 2020)(LEST WE FORGET CONTINUED FROM PAGE 10)
Africa and gained a deep understanding of African
ethos and music. His solo releases, such as Sound
Awareness (Strata-East, 1972) and the 2017 three-CD set
Divine Music from 1978, 1981 and 1985 (Manufactured
Recordings) are exceptional for their integration of
performance, Afroculture, ambient sounds and vocals.
In the late ‘60s, Northern hosted “Dimensions in Black
Sounds” at NYC radio station WBAI. The first guest was
Ra and over the years it was NYC’s primary radio outlet
for avant garde music and the Black Arts Movement.
In 1976 Northern assisted in starting radio station
WPFW in Washington, DC and moved there in 1986. For
the next 34 years at live gigs, as a teacher and on WPFW
his spirituality, singular sense of self and desire for
equality were a constant presence. His three-hour radio
show, “The Collectors”, was his ministry. Brother Ahleft the planet two years ago this month but thankfullyin 2017, jazz historian Rusty Hassan and DC Jazz
Festival curator Willard Jenkins recorded Northern’s
oral history. Brother Ah’s “Collectors: Next Generation
in Sound” continues on WPFW hosted by bassist Luke
Stewart, who had this to say, “He was so full of lessons…
The importance of the spirit in music, the importance ofbeing connected to my history as an African in
America…he encouraged me to be a teacher, saying thatteaching is a crucial aspect of being a musician. That issomething that has stayed with me and I am living that
advice now with my recent appointment as an adjunctprofessor at The New School.” The spirit lives on. v
Recommended Listening:• Julius Watkins–French Horns For My Lady
(Philips, 1962)• McCoy Tyner–Tender Moments (Blue Note, 1967)• Charlie Haden–Liberation Music Orchestra(Impulse, 1969)• Andrew Hill–Passing Ships (Blue Note, 1969)• Brother Ahh–Sound Awareness (Strata-East, 1972)• Brother Ah–Divine Music (The Sea/Meditation/
Searching) (Manufactured, 1978/1981/1985)

Harry Allen
Benny Benack
Olivia Chindamo
Hilary Gardner
Pasquale Grasso
Konrad Paszkudzki
Jay Sawyer
Dylan Shamat

www.atpshow.org

THE NEW YORK CITY JAZZ RECORD | MAY 2022 39